New Prince LP works I
Courtesy of Elektra/Asylum Records
TRACY from Page 8
be positive for change in the future.
Not only does she do all the vocals,
but she writes her own words and
music, and playsclcclric and acoustic
guitars, as well as percussion, in her
songs. This is very uncommon these
days among all die Debbie Gibson/
Tiffany-typewanna-bc’savailablcon
today’s airwaves. Therefore,
Chapman makes providesa rare treat.
The combination ol her voice,
which has been likened by some to
that ol Joan Armatrading and Jom
Mitchell, and the way she addresses
social concerns through her words
and music, makes for an album well
worth listening to if you are looking
for quality music with a quality mes
sage.
— Deanne Nelson
r~ mm i
Courtesy of Paisley Park/
Warner Bros. Records
Prince “Lovesexy” Paisley Park/
Warner Brothers Records
His Majesty, the High Priest of
Funk returned. Minus the Revolution
and his clothing on the provocative
album cover, Prince is back with a
new album to let the “New Power
Generation” in on the way to scxuui
and spiritual fulfillment.
The publicity surrounding
“Lovesexy” may do it harm. But for
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get about the lyrics supposedly too hot
for radio playlists and the “shocking”
nude photo of Prince on the cover.
Ignore the so-called “Black Album”
lull ol even more explicitly taboo
lyrics that was scrapped before this
album’s debut.
Backed up with the strong but
understated percussion of Sheila E.
and tight backing from the rest of his
ensemble, Prince shrieks and coos his
way through a continuous string of
entrancing songs to make
“Lovesexy ” one of the albums to buy
this year.
As always with Prince’s work,
“Lovesexy” revels in the seductive
pleasures of life yet reminds us with a
chill hint of an apocalyptic reckoning
to come, unless, in the words of the
mfcctiouscurrcntchart hit “Alphabet
Street,” we “put the right letters to
gether and make a better da^‘ A n n a
Stcsia,” the track with the most driv
ing rhythms, most clearly emphasizes
this mingling of the erotic and reli
gious characteristic of Prince's work.
Beginning with lines such as “Come
to me/ravish mc/liberatc my mind,”
in midsong Prince re-avows himself
loGod, promising to tel I His story and
ending with a hypnotic chant that
“Love is God/God is love/Girls and
boys love God above.” Scarily
enough, it works.
The second side contains the most
seductive song on the album, the
smooth “When 2 R in Love,” a pretty
melody with an irresistibly quiet bass
line, followed by the swirling, airy
rendition of “I Wish U Heaven.”
Yet no matter how funky
“Lovesexy” gets, and despite the
presence of such “happy” tunes as
“Glam Slam,” (“This thing we’ve got
is alive/It seems 2 transcend the
physical/Onc touch and I’m satisfied/
Must be a dream it’s so magical”)
Prince never lets us ignore the fore
boding, particularly in such songs as
the final “Positivity.” As the volume
increases, Prince admonishes us “not
to kiss the beast/Wc need love and
honesty, peace and harmony” be
cause “We got a long, long way 2 go.”
This mixture makes “Lovesexy” a
spellbinding, highly listcnable,
danccablc, yet ultimately disturbing
work by one of the most elusive icons
of our time.
—William Rudolph
•& I K
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