Prince Album: “Parade”

Upon hearing the lush opening track, "Christopher Tracy's Parade," one might think Parade is a continuation and slight variation of Around The World In A Day. Well, that assessment is accurate, as evidenced by the lush backing vocals by Wendy And Lisa, who figure more prominently in accompanying vocals than in any Prince album, strings, and psychedelic sounds.

It's on songs like "New Position" that the is accompanied by a funky bass beat along with the bell-like synthesizers. The beat slows down towards the end, with the sounds of laughter seguing into "I Wonder U."

"Under The Cherry Moon," also the title to Prince's second movie, is a slow ballad with piano accompaniment. While it's not bad, Prince would record a similar but improved cousin on Sign 'O' The Times, "Slow Love."

Things get more upbeat with the next two songs: "Girls & Boys" and "Life Can Be So Nice." The first incorporates funk elements on a synthesizer and beat while maintaining the thematic lushness introduced on the first song. The chorus is accompanied by a catchy rhythm: "I love u baby, I love u so much/Maybe we can stay in touch/Meet me in another world, space and joy/Vous etes tres belle, mama, girls & boys." Sheila E. helps out on backing vocals and cowbells on "Life Can Be So Nice." It features the lyric, "Nobody plays the clarinet the way you play my heart."

Following the piano instrumental interlude "Venus De Milo" comes the best song on the album: "Mountains." That underrated classic begins with a heavy synth drums, followed by a gaggle of instruments and a majestic horns towards the end. Prince sings in his falsetto here, accompanied by backing vocals by Wendy and Lisa, who sing, "It's only mountains/there's nothing greater/you and me." Fantasy images come into mind with the psychedelic sound.

After the slow leisurely stroll of "Do U Lie?" comes "Kiss." Now don't get me wrong--"Kiss" is arguably one of Prince's best singles. I mean that tight funky synthesizer's so irresistible, but its presence here is somewhat oddball, considering the other songs. It's like finding a chocolate Easter egg among one's jelly babies--different but good all the same. That is followed by the third single, "Anotherloverholenyohead," a piece of strident and mid-paced funk-psychedelia.

And "Sometimes It Snows In April," accompanied by piano and mellow guitar, is one of the saddest and best ballads Prince has ever performed. In it, the character of Tracy has died. It's tragic beauty is such that its 6:50 running time is not a debit. It might as well be a somber postscript to the "Purple Rain" song. The chorus goes: "Sometimes it snows in April/sometimes I feel so bad, so bad/sometimes I wish that life was neverending/but all goods they say never last."

Part of what makes this album appealing is its closeness to Around The World In A Day. The psychedelia from that album has been mixed with the funk of Dirty Mind. Most of the songs are laid-back so nothing like Controversy or 1999 here, which means it wasn't that radio-friendly, but sometimes, albums like this can be great without pandering to radio.

This richly textured album consolidated the core fanbase after others had dropped off during "Around The World In A Day" and although "Under The Cherry Moon" the film was harshly criticized the soundtrack on the whole was received very well.

The obvious highlight is the pop-funk masterpiece "Kiss". Once mixed by David Z and Mazarati, this originally blues based song was given life. It's simple stripped down drums and funky wah-wah guitar lick couple with Prince's mischievious falsetto equal one of his trademark singles and most defining moments. NOTE: Tom Jones' version is to be avoided. Such a shame that some people associate the song with him before Prince.

The album as a whole contains a big French influence garnered in so small part from the movie, which was set on The Riviera. This is best displayed in the funky and fun "Girls & Boys". There is also a lot of intrumental experiementation, plenty of hand cymbals and even a Big Band on the opening cut "Christopher Tracy's Parade". Soul however is as always at the root, with the horn section helping Prince give an old school soul review vibe, particularly for the album's tour.

Another personal favourite of mine is "Anotherloverholenyohead". With it's P-Funk style title and swaying Stevie Wonder-esque sound it's a really cool track. The following "Somtimes It Snows In April" is a beatiful, patient, ode to a departed friend and good closure to the album.

In short don't associate this soundtrack with the negative feelings some hold about the film it's taken from. This album again showed Prince's rich diversity and ranks amongst his most essential work.

The mad-scientist fissions strange and beautiful sounds in this incomplete soundtrack to his 1986 comedy "Under The Cherry Moon", while the masses become suddenly oblivious. Prince drops the heavy metal guitar, and dives into rich orchestration, walzes, jazz, funk (of course) and folk. Only ONE song ("Kiss") remains to tell the listener that you are indeed a-listenin' to a Prince album; the rest is insane, unpredictable and heavenly territory.

Critics always whine about the early '80s Prince: the up and coming one-man-band killer who seemed like he would rival some of their favorite rock gods. They still claim that his "Little Red Corvette" (1982) is one of the greatest rock songs of the '80s, despite the fact that Prince himself said he never liked it, that he only recorded it so he could get a hit. The best music was released after Purple Rain (1984)and before Batman (1989), in my opinion. There was none of the street-sound of "1999" or the rock-intensive, Woodstock/'80s modernism synthesis in his tear-the-roof-off-the-sucker, Jackson-obliterating "Purple Rain". After Rain, each album took the listener to newer dimensions and unflinchingly acknowledged the intelligence of an open-minded listener. Soaking wet with money from the success of the 12 million selling Rain (and $80 million grossing movie), he responsibly used the mass-market appeal of his name to release truely adventuress, risky material that would've never survived if he hadn't hit pop Godzilla status. As the masses moved on to Def Leopard, Janet Jackson, Beastie Boys, mainstream r&b/hip hop or whatever, Prince created a nice safe haven of music that was infinitely more personal, epic, powerful, limitless and encyclopedic than anything on the radio. Some of the sounds on the record, although getting very little radio exposure, would turn up on other musicians records years later, albeit in weaker form. He's still incredible to this day, often taking these same idiosyncratic paths now and again, but these formative, exploring years are still unmatched anywhere in the '80s or in modern pop(i.e. r&b and "alternative" rock). Anyway, if you have a few bucks, you could do worse than pick this old classic up and skip Limp Bizcuit or Ricky Martin.

After the revolutionary "Purple Rain" and the experimental "Around the World in a Day", Prince continues his creative peak with "Parade". Instead of Beatles-esque psychadelia, here we find Prince combining his usual sleek electro-funk with European sounds (clearly inspired by the Paris setting of the "Under the Cherry Moon" film that this album is actually the soundtrack to). The film was hopelessly silly, but this album is anything but. It's everything the best Prince music is: beautfiul, bizarre, sexy, intuitive and groundbreaking.

Damn, do I miss the Revolution.

Aside from the old pop and new wave formulas that imitators and stars of that time were overusing, Prince makes it clear he is not into being a follower; this is evident with the opening track of this CD: Christopher Tracy's Parade. Filled with masterful lyrics and rhythmic and melodic riffs ahead of its time, the listener is definitely experiencing a Parade! Most of the music on the first side of Parade is music no one has dared to venture as an 80s pop icon except Prince. Who could top avante garde "Christopher Tracy's Parade" to "Life Can Be So Nice" to the classical "Venus DeMilo", followed by the ultra funky "Kiss" in the same album? I'm a classical musician myself and can truly say that this is music that will be around to further demonstrate Prince's musical artistry. On a more philosophical note, the music illustrates a man's parade in search of true love. Forget critics who keep comparing him to his earlier works and their utter disappointment that he didn't continue in the same vein as Purple Rain. Prince is an artist, and one thing I've observed from this album is that Prince was moving forward in a different direction. Great Album to the Prince fanatic;meaning those who understands his vision. And probably an obscure one to the non-Prince fanatic.