Showing posts with label Controversy. Show all posts
Showing posts with label Controversy. Show all posts

Monday, May 29, 2017

Purple Power Rankings #405-391: I Think My "Love Machine" is Broken...

405. Undisputed (Rave Un2 the Joy Fantastic, 1999)
--An old, uninspired Chuck D. laying down bars over synthesizers seemingly left untuned since the Controversy days. This one set the disappointing tone of the entire Rave album early on: Bring in an all-star cast, then don't let them do much of any importance. For his part, Prince brings in a boast about starting trends rather than following them, then saddles it with a Moses metaphor. Not the way to get back in touch with the streets.

404. Love Machine (Graffiti Bridge, 1990)
--Elisa Fiorillo's album I Am was criminally slept on. Her turn on this track as the vocal stunt double for Ingrid Chavez's drunken angel? Eh, not so much. Meanwhile, Morris Day and Jerome Benton get roped into being surrogate mouthpieces for Prince's "let's get this chick in a bubble bath" fetish. All three performers deserved better.

Sunday, April 30, 2017

Purple Power Rankings #433-421: Yes, "Poom Poom" is About What U Think It Is

"Hmm, tastes like...what was her name again?"
433. Until U're In My Arms Again (Newpower Soul, 1998)
--Aural diabetes. A ballad so saccharine, it would make Diane Warren puke.

432. My Little Pill (Old Friends 4 Sale, 1999)
--It's easy to look askance now at any reference to popping pills in Prince's music--and in his later years, there were many, even on otherwise upbeat tracks like "$". This leftover from the aborted I'll Do Anything soundtrack was probably the first, and it's easily the bleakest. This is what depression sounds like, and it was only slightly less disturbing then than it is now.

431. Somewhere Here on Earth (Planet Earth, 2007)
--Prince had an avowed distrust of cell phones, and it left him open to ridicule about continuing to reference obsolete technology ("In this digital age, U can just page me/I know it's the rage, but it just don't engage me"). The singer's Luddite tendencies aside, this cloying ballad simply ends up somewhere close to "Solo" in its overwrought attempts at emotion.