Prince (November 21, 1982) “Pomp and circumstance” – The Commercial Appeal

A detailed album review in The Commercial Appeal by Walter Dawson examining Prince’s double album 1999, praising its danceable energy, sexual-political commentary, and the artist’s growth while noting the excesses and occasional incomprehensibility of the sprawling release.

Publication: The Commercial Appeal Date: Sunday, November 21, 1982 Country: United States

Section / Pages: New Records / Album Reviews

Title: Pomp and circumstance

THE STORY

Walter Dawson reviews 1999 as a bold evolution from Prince’s earlier work, highlighting the album’s funk grooves, synthesizer work, and Prince’s one-man-band approach across four sides. He acknowledges the “pomp” and excesses of the double LP but appreciates the danceable vitality, witty lyrics, and Prince’s ability to blend party music with deeper themes. The review also notes Prince’s upcoming concert at the Mid-South Coliseum on December 15.

CONTEXT AND NOTES

Published shortly after the October 1982 release of 1999, this Memphis review captures the critical excitement (and occasional reservations) surrounding Prince’s major breakthrough album. It reflects the growing national recognition of Prince as a major rock-funk innovator during the 1999 Tour era.

FEATURE HIGHLIGHTS

Event: Album review of 1999 (Warner Bros.) Era: 1999 era (1982) Tone: Balanced — appreciative of talent and grooves with notes on excess Photography: Black & white portrait of Prince

Visual Motifs: Classic newspaper “New Records” column layout with photo

WHAT THE CLIPPING SHOWS

• Early mainstream assessment of 1999 as a significant artistic step

• Recognition of Prince’s multi-faceted talent and boundary-pushing style

• Local promotion tying the review to an upcoming Memphis concert date

RELATED MATERIAL

For other relevant posts, see the tags at the foot of the page.

All magazine scans, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

1999 is Prince’s fifth studio album and his first double album, released in October 1982. A groundbreaking, futuristic masterpiece, it marked his commercial breakthrough and introduced the world to the full power of The Revolution.

RELEASE DETAILS

Artist: Prince

Label: Warner Bros. Records

Date: October 27, 1982 (USA)

Catalogue: 9 23720-1 (2LP)

Format: 2LP (US), Single LP (UK/Europe reissue 1983)

Country: United States (international releases followed)

THE STORY

1999 is a bold, danceable, and apocalyptic double album that perfectly captures Prince’s vision of the future. Filled with infectious funk, new wave, and rock elements, it features some of his most iconic songs, including the title track and the massive hit “Little Red Corvette.” The album was largely a solo effort by Prince, with key contributions from early Revolution members.

CONTEXT & NOTES

Released just one year after Controversy, 1999 catapulted Prince into the mainstream. The album’s themes of partying in the face of nuclear doom resonated strongly in the early 1980s. It became Prince’s first Top 10 album in the US and established him as a major star. The 1999 Tour (with The Time and Vanity 6 as openers) was a huge success.

TRACK LIST

(US 2LP Version)

Side One

1999 (6:22)

Little Red Corvette (4:58)

Delirious (3:56)

Side Two

Let’s Pretend We’re Married (7:20)

D.M.S.R. (8:15)

Side Three

Automatic (9:27)

Something In The Water (Does Not Compute) (4:00)

Free (5:08)

Side Four

Lady Cab Driver (8:25)

All The Critics Love U In New York (5:55)

International Lover (6:37)

PERSONNEL

Musicians

• Prince — all vocals and instruments (except where noted)

• Lisa Coleman — background vocals on “1999,” “Little Red Corvette,” “Delirious,” “D.M.S.R.,” “Automatic,” and “Free”

• Dez Dickerson — co-lead vocals and guitar solo on “1999,” background vocals on “Little Red Corvette”

• Jill Jones — co-lead vocals on “1999,” background vocals on “Automatic,” “Free,” and “Lady Cab Driver”

• Jesse Johnson, BrownMark, Jamie Shoop, Carol McGovney, Peggy McCreary, Poochie, The Count, Vanity, Wendy Melvoin — additional background vocals and handclaps (various tracks)

• 
  

Production

• Prince — producer, arranger

• Peggy McCreary — engineer

• Don Batts — assistant engineer

• Bernie Grundman — mastering (A&M Records)

• 
  

Special Thanks "Thank U - God. Steve - 'Your guidance is invaluable'. Jamie - 'I’m glad you’re my friend'. Lisa, J.J., Dez, Brown Mark, Bobby Z. & Fink. Carol, Peggy, Don, Fred M., Sandy, Lee Phillips, Roy (The Best) Bennett, Tom Marzullo and the crew. David the blade, My love to Vashti and my money to Al. Thank U all for being my pal."

PACKAGING HIGHLIGHTS

• Iconic hand-drawn psychedelic “1999” lettering on a deep purple starry background

• Vibrant, colorful, surreal artwork by Prince himself

• Double gatefold sleeve with full lyrics and photos

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WHAT THE SLEEVE SHOWS

 The front cover features a striking purple background with white stars and a highly stylized, multicolored hand-drawn “1999” logo designed by Prince. The word “Prince” appears at the top in a matching psychedelic font. The overall design is playful, cosmic, and distinctly Prince — perfectly capturing the album’s futuristic and celebratory spirit.

CHARTS America

Country: Chart | Entry Date | Peak Position | Weeks in Chart

USA: Billboard Top LP’s & Tapes | 20 Nov. 1982 | 9 | 153

USA: Billboard Black LPs | 20 Nov. 1982 | 4 | 93

USA: The Billboard 200 | 7 May 2016 | 7 (R) | 9

SINGLES RELEASED

• “1999” (b/w “How Come U Don’t Call Me Anymore”)

• “Little Red Corvette” (b/w “All The Critics Love U In New York”)

• “Delirious” (b/w “Horny Toad”)

• “Automatic” (Australia only)

• “Let’s Pretend We’re Married” (b/w “Irresistible Bitch”)

The album opens with the title track “1999,” which was also its first single, initially reaching No. 44 on the US Billboard Hot 100. After the huge success of the follow-up single and second track, “Little Red Corvette,” which hit No. 6, “1999” was re-released and climbed to No. 12, becoming one of Prince’s most iconic songs. Lisa Coleman, who sang on the album, recalled Prince writing “Little Red Corvette” after sleeping in her pink Mercury Montclair Marauder. The record label may have originally suggested including the title track.

The music videos for both songs were groundbreaking, as they were among the first by a Black artist to get heavy rotation on the newly launched MTV after criticism over the channel’s lack of Black performers. In the UK, the two songs were released together as a double A-side single, peaking at No. 2. Another single, the rockabilly-inspired “Delirious,” reached No. 8 in the US, while the double-sided “Let’s Pretend We’re Married”/“Irresistible Bitch” peaked at No. 52.

While “Little Red Corvette” brought Prince to a wider rock audience, the rest of 1999 stayed true to the funk sound of his earlier albums, heavy on synthesizers and drum machines. The record stands out for its variety of themes alongside the sexual imagery that had become his trademark. “Automatic,” nearly ten minutes long, kicks off side three with a strong synth melody and bondage-inspired lyrics.

SOURCES Prince Vault, Wikipedia, Discogs, Billboard, Warner Bros. archives.