Prince (October 27, 1982) – 1999 Album Release / “Prince’s New Album Motivates Body, Muddles Brain” Review - Minneapolis Tribune (November 28, 1982)
Released on October 27, 1982, 1999 receives a detailed and decidedly mixed assessment from Jon Bream in this November 28 Minneapolis Tribune review. Bream praises Prince’s synthesiser work, rhythms, instrumental hooks and musical versatility, but argues that the sprawling double album is less successful lyrically and emotionally. Even with those reservations, the review identifies several standout moments, including “1999,” “Little Red Corvette,” “Delirious,” “Free” and “D.M.S.R.”
Publication: Minneapolis Tribune
Publication Date: November 28, 1982
Album Release Date: October 27, 1982
Country: United States
Writer: Jon Bream
Album: 1999
Label: Warner Bros.
THE REVIEW
Published under the headline “Prince’s new album motivates body, muddles brain,” Jon Bream begins by looking back at Prince’s two previous albums, Dirty Mind and Controversy.
Bream says it took time for the brilliance of 1980’s Dirty Mind and 1981’s Controversy to become apparent to him. With 1999, however, Bream says three listens had already revealed a record working on several levels.
The review immediately acknowledges the physical impact of the album.
Bream describes Prince’s one-man recording approach as producing a “rapturous dance record”, but argues that the album’s length presents a challenge. With eleven extended songs spread across four sides, Bream suggests that listeners would need considerable stamina to maintain the same level of enthusiasm throughout.
MUSICAL STRENGTHS
Bream reserves some of the review’s strongest praise for Prince’s musicianship and production.
Prince’s synthesiser work is described as clever, while the rhythms are characterised as irresistible. Bream also praises the variety of instrumental hooks running through the record.
The review places Prince among the most inventive young composers in popular music and highlights the conviction and flexibility of Prince’s singing.
For Bream, these musical qualities are among the strongest arguments in favour of 1999, even when the lyrical material proves less convincing.
LYRICAL AND EMOTIONAL RESERVATIONS
The review’s main criticism concerns Prince’s lyrics.
Bream writes that Prince’s musical inspiration appears fully active in the recording studio, but argues that the lyrical and emotional side of the work is less focused.
The reviewer characterises much of Prince’s subject matter as revolving around sexuality and relationships while suggesting that some of the material lacks sufficient emotional connection.
Bream also believes that visual presentation could sometimes distract from the effectiveness of Prince’s music, suggesting that Prince could be more effective by relying on the music rather than elaborate image-making.
1999
Despite the broader criticism, Bream identifies genuine highlights.
The title track “1999” is praised as an effective party record, even with its nuclear-holocaust theme.
Bream notes that the song was already achieving success on the Black charts and in discos and argues that it deserved exposure to a wider audience.
The song provides one of the clearest examples in the review of Prince successfully combining an immediate dance sound with a more unusual lyrical idea.
LITTLE RED CORVETTE
“Little Red Corvette” also receives a favourable assessment.
Bream highlights the song’s attractive qualities and identifies it as another of the album’s strongest moments.
The track is contrasted with some of the more lyrically troublesome material on the album, demonstrating the considerable variation Bream hears across the double set.
DELIRIOUS
“Delirious” is described as possessing an infectious gospel-style bounce.
Its energy helps make it another of Bream’s preferred tracks from the album.
FREE
Bream describes “Free” as an arresting and overwrought ballad concerned with love and freedom.
Although the description is not entirely uncritical, the song is nevertheless highlighted as one of the recordings that stands apart within the broader album.
D.M.S.R.
The review singles out “D.M.S.R.” as the strongest groove on the album.
Bream expands the initials as:
“dance, music, sex, romance”
and positions the track as one of the clearest examples of Prince’s ability to create music designed around rhythm and physical movement.
CONTEXT AND NOTES
The review appeared approximately one month after the October 27, 1982 release of 1999.
Rather than offering unqualified praise, Jon Bream divides his assessment between admiration for Prince’s musical abilities and reservations about the record’s length, lyrics and emotional focus.
The headline neatly summarises the overall verdict: 1999 is presented as music capable of strongly engaging the body while proving less convincing intellectually or emotionally.
A large black-and-white performance photograph accompanies the review, captioned simply “Prince.”
The page also contains reviews of other records, but Prince and 1999 occupy the dominant position.
FEATURE HIGHLIGHTS
Event: Contemporary review of 1999
Album Release Date: October 27, 1982
Publication Date: November 28, 1982
Writer: Jon Bream
Album: 1999
Label: Warner Bros.
Tone: Mixed, strongly appreciative of the music but critical of aspects of the lyrics and emotional content
Photography: Large black-and-white performance photograph accompanying the review
WHAT THE CLIPPING SHOWS
• Jon Bream reviewing Prince’s 1999
• Comparison with Dirty Mind and Controversy
• Praise for Prince’s synthesiser work, rhythms and instrumental hooks
• Recognition of Prince as a highly inventive young composer
• Reservations about the eleven-song double album’s length
• Criticism of aspects of Prince’s lyrical and emotional approach
• “1999” singled out as a strong party record
• Positive attention given to “Little Red Corvette”
• “Delirious” praised for its infectious character
• “Free” identified as a notable ballad
• “D.M.S.R.” described as the album’s strongest groove
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