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- Released: November 1, 1984
- Originally Released: 1984
- Label: Warner Bros / WEA
Rolling Stone - 4/11/02, p.106Ranked #14 in Rolling Stone's "50 Coolest Records" - "...Rubbery synth-funk odes to dance, music, sex and romance..."
Rolling Stone - November 1989Ranked #16 in Rolling Stone's "100 Best Albums Of The Eighties" survey.
CMJ - 1/5/04, p.12Ranked #5 in CMJ's "Top 20 Most-Played Albums of 1983".
Pitchfork (Website) - "1999 is the greatest album ever made about partying as a way of staring down oblivion. At the height of the Cold War, suddenly the world felt a little warmer."
- 2.Little Red Corvette
- 4.Let's Pretend We're Married
- 7.Something In The Water (Does Not Compute)
- 9.Lady Cab Driver
- 10.All The Critics Love U In New York
- 11.International Lover
Personnel: Prince (vocals, various instruments); Dez (vocals, guitar); Lisa Coleman, Wendy Melvoin, J.J. (vocals).
Recorded at Sunset Sound & Uptown, Los Angeles, California.
Personnel: Prince (vocals, guitar, keyboards, drums); Wendy Melvoin (vocals, guitar, percussion, background vocals); Dez Dickerson (vocals, guitar); Lisa Coleman (vocals, sitar, keyboards, background vocals); Poochie, Brownmark (vocals, hand claps, background vocals); Vanity (vocals, background vocals); The Count , Jill Jones, Peggy McCreary, Jamie Starr (vocals).
Audio Mixer: Peggy McCreary.
Recording information: Uptown & Sunset (1982); Uptown & Sunset Dound (1982).
With the release of this seminal double-album, Prince evolves from the minimalist synth-pop that powered such discs as DIRTY MIND and CONTROVERSY into the pop genius that defined such quirky masterpieces as PURPLE RAIN and SIGN OF THE TIMES. Were it only for the hits--the loopy bounce of "Delirious," the moody slide of "Little Red Corvette," and the irresistible title track (only Prince could have written the ultimate dance song for the turn of the millennium 18 years before the fact)--1999 would be essential. These tracks are as perfect as they are familiar from incessant radio play.
The rest of 1999 holds up to the radio hits. Loose, nasty grooves like "D.M.S.R." and "Automatic" are interspersed with the propulsive shuffle of "Let's Pretend We're Married" and the soulful, psychedelic pulse of "Something In The Water." This is not average dance music. Prince's hybrid of rich, trippy atmospherics, '80s synth-y keyboard sounds, lush, asymmetrical harmonies, elements of rock guitar, soulful singing, and strong songwriting--all rolled together with beats--weaves dark, sexual energy into ebullient boogie anthems. 1999 is one of the definitive pop music documents of the '80s.
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