Happy 15th Anniversary to Prince’s thirty-first studio album 3121, originally released March 21, 2006.
Prince's illustrious career was one of smash albums followed by periods of defying listener expectations set by those very albums that drew them in. Sometimes, following his purple muse paid off, and other times it found him wandering the musical wilderness.
During the late ‘90s and early ‘00s, Prince was still a revered artist, but his output and change in name confused many casual listeners, and his works became more inward-looking, distributed through exclusive arrangements or via his fledgling website. Albums explored deep religious views (2001’s The Rainbow Children) or pure musicianship (2003’s four-track instrumental offering N.E.W.S.) or piano and vocal inspired offerings (2002’s One Nite Alone…), but these musical ventures—as satisfying as they were for the die-hard fan—often meant Prince had to stage a "comeback" as a way of reintroduction to a broader audience.
In 2004 that was achieved with the release of Musicology and the tour in support of it that saw him play to packed arenas night after night. If somewhat calculated in its configuration, Musicology reminded people of the various musical facets of his personality that captivated them back in the days of “Purple Rain,” “Kiss” or “Cream.”
So when news came of a major label follow-up album through a one album deal with Universal, the inevitable question was whether Prince would continue down the road of popularity that Musicology gained or if he would take a left turn once more.
Named after his residence in Los Angeles, the 3121 album cemented Prince's move back into the mainstream. Due to the groundswell of support and admiration he had built in the preceding years, the album debuted at #1 on the Billboard charts (surprisingly his first album to do so) and garnered him his first #1 album since 1989's Batman album.
A more cohesive and self-assured album than Musicology, 3121 is Prince comfortable in his heels with nothing to prove, and well and truly in love with the groove.
Kicking off with the murky funk of “3121,” Prince informs you "that’s where the party be" as he guides through the impromptu house parties that became legendary during this era. This is gritty funk, rolled in mud and left to harden. You can't listen to this groove without nodding your head in support and preparing for the face-melting guitar solo that sears its way across the track.
From the gritty funk to some old school play, “Lolita” has a synth line that just bubbles throughout the track. This is classic Prince—radio-friendly funk just shy of being harsh with a playful take on the titular temptress's expected narrative as Prince rejects her advances. Who would have thought a song with such an iconic title would be a strong statement in fidelity?
As the first single from the album, “Te Amo Corazón” is a classic study in songwriting seduction. Smooth and tranquil, the song floats over a Bossa Nova groove and hints at Prince's admiration for Santana with the way he teases the guitar throughout.
Back up against the next single, we get to enjoy the two sides of Prince in six minutes. “Te Amo Corazon” is the sweet, romantic balladeer and “Black Sweat” is the manifestation of a true funk master. Working the drum machine as no one else can, Prince creates a sparse groove for a sizzling synth to ripple against. And in the space of the track, you find your way in as it just revolves around you.
Seduction abounds on the intoxicating “Incense and Candles” featuring Tamar (Prince's of-the-moment protégé) whose soulful, sultry tone matches Prince perfectly. Tamar also appears on the neo-soul inspired “Beautiful, Loved, and Blessed” taking a stronger role, and again on the hyper-funk of “Love” that crashes biting verses with a swirling sing-along chorus.
Seduction is also front and center with the super-ballad of the album “Satisfied” that offers a smooth and more focused take with Prince milking the slow-burn feel. Heralding Otis Redding's classic soul ballads, Prince lays it on the line and delivers, as his desire is perfectly punctuated by the brilliant musicianship of the NPG behind him.
Balancing things on the funkier side of the ledger is the new wave rocker “Fury” with a blistering guitar solo from Prince that threatens to blow your speakers. The smooth coasting groove of “The Word” showcases Prince's prowess as a producer with stacked vocals aplenty and the perfectly balanced mix of the talented musicians backing him.
This is nowhere more evident than on the album's party jam, “Get On The Boat.” Featuring soulful horn hits from Maceo Parker, the percussive prowess of Sheila E., Tamar's smooth tones, and a vibe that feels like you're sitting in on your very own private party, “Get On The Boat” has Prince as skipper calling out solos and melody instructions.
Everything that is perfect about 3121 is encapsulated on the standout track, “The Dance.” Released initially via Prince's online Music Club and reworked here, “The Dance” is a bittersweet love song of infatuation that has Prince aching, "If eye can't b ur lover eye don't want to be friends." Here is lust and love all mixed and messed up in all the pain and joy it can bring. Several tracks on the album are very much a band affair, but “The Dance” is all Prince, playing every instrument. This adds extra punch to the track as he uses every instrument and track to explore the passion and pain inside—expression in every note that's played.
Due to his prolific recording schedule, 3121 had a brief moment in the sun before Prince moved forward with his next release, Planet Earth (2007). And despite being his final #1 album, it isn't given the props it truly deserves. Was it a daring departure? No. But what 3121 delivers is one of Prince's most consistent and satisfying listens of his later studio output.
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