A1 	Around The World In A Day 	3:25
A2 	Paisley Park 	4:41
A3 	Condition Of The Heart 	6:46
A4 	Raspberry Beret 	3:31
A5 	Tamborine 	2:46
B1 	America 	3:40
B2 	Pop Life	3:42
B3 	The Ladder 	5:26
B4 	Temptation 	8:21

Prince - Bass, Composer, Drums, Guitar, Keyboards, Producer, Vocals
Ann Atkinson - Bass
Annette Atkinson - Bass
Timothy Barr - Bass
Brownmark - Bass, Vocals
Denyse Buffum 	- Viola
David Coleman 	- Cello, Composer, Darbouka, Finger Cymbals, Finger Snaps, Oud, Vocals, Wind
Lisa Coleman - Keyboards, Sitar, Vocals
Dr. Fink - Keyboards
Eddie M. - Saxophone
Susanna Hoffs - Vocals (Background)
Suzie Katayama - Cello
Jon Malvoin - Percussion
Brad Marsh - Percussion, Tambourine, Vocals
Jonathan Melvoin - Tambourine, Vocals (Background)
Susannah Melvoin - Vocals
Wendy Melvoin - Guitar, Percussion, Vocals
Novi Novog – Violin
Sheila E. - Drums, Guest Artist, Vocals
Taj - Vocals
Vaj - Violin
Laury Woods - Viola
Bobby Z – Drums

Purple Rain made Prince sound like he could do anything, but it still didn't prepare even his most fervent fans for the insular psychedelia of Around the World in a Day. Prince had made his interior world sound fascinating and utopian on Purple Rain, but Around the World in a Day is filled with cryptic religious imagery, bizarre mysticism, and confounding metaphors which were drenched in heavily processed guitars, shimmering keyboards, grandiose strings, and layers of vocals. As an album, the record is a bit impenetrable, requiring great demands of the listener, but individual songs do shine through: "Raspberry Beret" is a brilliant piece of neo-psychedelia with an indelible chorus, "Pop Life" is a snide swipe at stardom that emphasizes Prince's outsider status, "Condition of the Heart" is a fine ballad, "America" is a good funk jam, "Paisley Park" is heavy and slightly frightening guitar psychedelia, while the title track is a sunny, kaleidoscopic pastiche of Magical Mystery Tour. The problem is, only a handful of the songs have much substance outside of their detailed production and intoxicating performances, and the album has a creepy sense of paranoia that is eventually its undoing. --- Stephen Thomas Erlewine, allmusic.com

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1. Let's Go Crazy 	4:39
2. Take Me With U 	3:54
3. The Beautiful Ones 	5:15
4. Computer Blue 	3:59
5. Darling Nikki 	4:15
6. When Doves Cry 	5:52
7. I Would Die 4 U 	2:51
8. Baby I'm A Star 	4:20
9. Purple Rain 	8:45

    Prince – all other vocals and instruments
    Wendy Melvoin – guitar and vocals (1, 2, 4, 7, 8, 9)
    Lisa Coleman – keyboards and vocals (1, 2, 4, 7, 8, 9)
    Matt Fink – keyboards (1, 2, 7, 8, 9)
    Brown Mark – bass (1, 2, 7, 8, 9)
    Bobby Z. – drums and percussion (1, 2, 7, 8, 9)
    Novi Novog – violin and viola (2, 8, 9)
    David Coleman – cello (2, 8, 9)
    Suzie Katayama – cello (2, 8, 9)
    Apollonia – co-lead vocals (2)
    Jill Jones – background vocals (2)

Prince designed Purple Rain as the project that would make him a superstar, and, surprisingly, that is exactly what happened. Simultaneously more focused and ambitious than any of his previous records, Purple Rain finds Prince consolidating his funk and R&B roots while moving boldly into pop, rock, and heavy metal with nine superbly crafted songs. Even its best-known songs don't tread conventional territory: the bass-less "When Doves Cry" is an eerie, spare neo-psychedelic masterpiece; "Let's Go Crazy" is a furious blend of metallic guitars, Stonesy riffs, and a hard funk backbeat; the anthemic title track is a majestic ballad filled with brilliant guitar flourishes. Although Prince's songwriting is at a peak, the presence of the Revolution pulls the music into sharper focus, giving it a tougher, more aggressive edge. And, with the guidance of Wendy and Lisa, Prince pushed heavily into psychedelia, adding swirling strings to the dreamy "Take Me With U" and the hard rock of "Baby I'm a Star." Even with all of his new, but uncompromising, forays into pop, Prince hasn't abandoned funk, and the robotic jam of "Computer Blue" and the menacing grind of "Darling Nikki" are among his finest songs. Taken together, all of the stylistic experiments add up to a stunning statement of purpose that remains one of the most exciting rock & roll albums ever recorded. --- Stephen Thomas Erlewine, allmusic.com

Prince, the songwriter, singer, producer, one-man studio band and consummate showman, died Thursday at his residence, Paisley Park, in Chanhassen, Minn., according to a statement from his publicist, Yvette Noel-Schure. He was 57. Prince, born Prince Rogers Nelson on June 7, 1958, was a man bursting with music — a wildly prolific songwriter, a virtuoso on guitars, keyboards and drums and a master architect of funk, rock, R&B and pop, even as his music defied genres. In a career that lasted from the late 1970s until the arena tour this year, he was acclaimed as a sex symbol, a musical prodigy and an artist who shaped his career his way, often battling with accepted music-business practices. Prince’s Top 10 hits included “Little Red Corvette,” “When Doves Cry,” “Let’s Go Crazy,” “Kiss,” and “The Most Beautiful Girl in the World”; albums like “Dirty Mind,” “1999” and “Sign O’ the Times” were full-length statements. His songs also became hits for others, among them “Nothing Compares 2 U” for Sinead O’Connor and “I Feel for You” for Chaka Khan. With the 1984 film and album “Purple Rain,” Prince told a fictionalized version of his own story: biracial, gifted, spectacularly ambitious. Its music won him an Academy Award and the album sold more than 13 million copies in the United States alone. ---Jon Pareless, nytimes.com

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1 	Dirty Mind	4:11
2 	When You Were Mine 	3:44
3 	Do It All Night 	3:42
4 	Gotta Broken Heart Again 	2:13
5 	Uptown 	5:30
6 	Head	4:40
7 	Sister 	1:33
8 	Partyup 	4:24

Prince - Bass, Drums, Guitar, Keyboards, Producer, Vocals
Lisa Coleman - Keyboards, Sitar, Vocals
Dr. Fink - Keyboards, Synthesizer
Bob Mockler – Remixing
Wendy Coleman – Vocals (6)

Neither For You nor Prince was adequate preparation for the full-blown masterpiece of Prince's third album, Dirty Mind. Recorded in his home studio, with Prince playing nearly every instrument, Dirty Mind is a stunning, audacious amalgam of funk, new wave, R&B, and pop, fueled by grinningly salacious sex and the desire to shock. Where other pop musicians suggested sex in lewd double-entendres, Prince left nothing to hide -- before its release, no other rock or funk record was ever quite as explicit as Dirty Mind, with its gleeful tales of oral sex, threesomes, and even incest. Certainly, it opened the doors for countless sexually explicit albums, but to reduce its impact to mere profanity is too reductive -- the music of Dirty Mind is as shocking as its graphic language, bending styles and breaking rules with little regard for fixed genres. Basing the album on a harder, rock-oriented beat more than before, Prince tries everything -- there's pure new wave pop ("When You Were Mine"), soulful crooning ("Gotta Broken Heart Again"), robotic funk ("Dirty Mind"), rock & roll ("Sister"), sultry funk ("Head," "Do It All Night"), and relentless dance jams ("Uptown," "Partyup"), all in the space of half an hour. It's a breathtaking, visionary album, and its fusion of synthesizers, rock rhythms, and funk set the style for much of the urban soul and funk of the early '80s. --- Stephen Thomas Erlewine, allmusic.com

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1 	1999	6:22
2 	Little Red Corvette	4:58
3 	Delirious	3:56
4 	Let's Pretend We're Married 	7:20
5 	D.M.S.R.	8:05
6 	Automatic	9:24
7 	Something In The Water (Does Not Compute) 	4:00
8 	Free	5:00
9 	Lady Cab Driver		8:25
10 	All The Critics Love U In New York 	5:55
11 	International Lover 	6:35

Prince - Arranger, Bass, Drums, Guitar, Keyboards, Producer, Vocals
Dez Dickerson - co-lead vocals (1), guitar solos and backing vocals (2)
Lisa Coleman - keyboards, sitar, co-lead vocals (1), backing vocals (2, 3, 5, 6, 8)
Jill Jones - co-lead vocals (1), backing vocals (6, 8, 9)
Wendy Melvoin - guitar, percussion, backing vocals (8)
Jamie Starr – backing vocals (5)
Vanity - backing vocals (8)
Poochie - handclapping, backing vocals (5)

With Dirty Mind, Prince had established a wild fusion of funk, rock, new wave, and soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album, Controversy, Prince revamped his sound and delivered the double album 1999. Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself. Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the electro-funk experiments of several underground funk and hip-hop artists at the time. Prince had also constructed an album dominated by computer funk, but he didn't simply rely on the extended instrumental grooves to carry the album -- he didn't have to when his songwriting was improving by leaps and bounds. The first side of the record contained all of the hit singles, and, unsurprisingly, they were the ones that contained the least amount of electronics. "1999" parties to the apocalypse with a P-Funk groove much tighter than anything George Clinton ever did, "Little Red Corvette" is pure pop, and "Delirious" takes rockabilly riffs into the computer age. After that opening salvo, all the rules go out the window -- "Let's Pretend We're Married" is a salacious extended lust letter, "Free" is an elegiac anthem, "All the Critics Love U in New York" is a vicious attack at hipsters, and "Lady Cab Driver," with its notorious bridge, is the culmination of all of his sexual fantasies. Sure, Prince stretches out a bit too much over the course of 1999, but the result is a stunning display of raw talent, not wallowing indulgence. --- Stephen Thomas Erlewine, allmusic.com

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