Disco de Prince: “Graffiti Bridge”

There are some great tracks here amidst a variety of enervated clunkers. Part of the problem is that this is a soundtrack to the movie of the same name, and soundtracks are sometimes linked (and given more depth) by the scenes in which they appear. The anthemic (I wish he'd get away from those) title track is good, but lacks the emotional impact that it might have on the big screen. Several of these tracks just sound too homogenized and bereft of emotion; for example, "Still Would Stand All Time," "Elephants and Flowers," and "New Power Generation." Then there's the annoying "Can't Stop This Feeling I Got"; I can't help but feeling this sounds too much like Kenny Loggins (!) "Footloose" (another soundtrack title cut).

Here's the good news: Mavis Staples, Mavis Staples, Mavis Staples. On "Melody Kool," her rich husky voice is soaked in soul; Prince performs all the instruments. "Question of You" - equal parts Robert Cray and Bela Lugosi, Prince hits his stride with this ballad, as he does on "Joy of Repetition." ON `Joy' he seems interested in the music again, and there's some excellent screaming guitar work here. "Love Machine" with Morris Day and Elisa on vocals, is either a tribute or a mocking of Michael Jackson, in any event, it's playful and danceable. Finally, "Shake" is an old-fashioned rocker, with great cheesy organ effects, it's like a 50's or garage band song if you had a few million dollars for superb sound.

Some of the "big" songs have some excitement to them; "NPG (part II) has a nice messy sound with a genuine-sounding rap. It moves along nicely, but still needs some instrumentation or vocals to cut through the wall. On the mediocre numbers, there's simply too much background, and not enough foreground... again, this may be due partially to the requirements of a soundtrack. On the better numbers, Prince is superb.

I never saw Graffiti Bridge, having no luck in finding a theatre that carried it. The sound of the soundtrack itself threw me for awhile, but I wondered why it had been put in the cut-out bins only two years after its release. It was clear that Prince was still in some kind of transition period that had begun with LoveSexy, been interrupted by the superlative Batman soundtrack, and would end with Diamonds And Pearls. Many of the songs are retreads of his previous oeuvre.

The energy of "Can't Stop This Feelin' I Got" is a great way to start the soundtrack. It could be a cousin of "Let's Go Crazy," except its missing those fiery Hendrix riffs.

With "N.P.G.", we have the introduction of the band that would be billed on his next album Diamonds and Pearls. With a heavy funk beat, and a call for a revolution and against the imposed old rules, and the calling for others to join them on the dance floor. There's still the peace and love motif, but it's activist. Other guests include Rosie Gaines, to get more fame on the title track to Prince's next album, Morris Day on drums here, and sampling by Levi Seacer, who would collaborate more with Prince later. Part II of this song concludes the album, reminding the listener that a new era is about to begin.

The Time get four songs here, of which the first "Release It" starts out with some of Morris Day's rapid-fire talk, then a sax bit by Candy Dulfer. It also has the steady rollicking drums that would pop up on Diamonds And Pearls and (Symbol). Nothing like the Time's debut or Ice Cream Castle, but it does have Day's primping man-about-town-with-the ladies schtick that has Jerome hunting down Stellas for him: "I'm not a man. Jerome?/He's an adventure/Slap me." Dulfer gets some chance to do some nice blowing here in this dance jam. The mid-paced funk of "Love Machine" has Elisa on lead vocals, Morris doing his raps, and Candy back on sax. The best number is "Shake," with some insistent guitar riffs and keyboard motifs that would pop up in Prince's "Cream." Finally, the Time and Prince team up in funking "The Latest Fashion," which resurrects the line "What time is it?" the line "oak tree," which was from Day's first solo album, and Morris's squawking laugh in the beginning. Dulfer again appears in sax support.

The slow-bumping ballad "The Question Of U" is one of the highlights of this album, recalling "Under The Cherry Moon." "Elephants And Flowers" fits in the Sign O The Times era with its tight funky beat and instrumentation. And at least Prince is telling the truth when he and George Clinton duet on "We Can Funk."

"Thieves In The Temple" became the only big hit here, and the temple here is one's soul or self-esteem, with the thieves being negative feelings and thoughts. Although not bad, I would've chosen some other number as a single.

Mavis Staples' bluesy-soul-dance of "Melody Cool", backed by the Steeles, is decent enough to offset some unspectacular filler earlier. The Steeles back Prince in the piano and synth ballad "Still Would Stand All Time," which is one of the standout cuts here.

It's clear that with the title track, Graffiti Bridge is the same as Paisley Park, some place of happiness, whether it's "a reason to believe that there's a heaven above" or "everybody's looking for love," or a place where "everybody wants to find the perfect one/someone that makes you happy/someone who makes you laugh when you want to cry." This multivocal harmony sung by Prince, Mavis Staples, Tevin Campbell, with backing vocals by Levi Seacer Jr. and Sheila E., and an orchestra, is definitely the best song here.

Compared to Purple Rain, Graffiti Bridge is more a soundtrack as despite being billed as a Prince album, it contains songs by other artists, most of whom outshine Prince, particularly the Time. Taken by itself, it's ok, but within the entire Prince canon, ranks as one of his weaker albums.

It's worth the price for "The Question of U" which is an unknown Prince song (check out the song sample). And I am totally in love with The Time's "Love Machine." The Time rocks, and so does Elisa (the girl they are singing with!)

What better way to preview the cd than to rent the movie. As well thought and planned as Prince's albums usually are, you can believe there is correlation to the movie, so you'll have the background. Some tracks are meant to be lesser tracks. The best songs on this album are the title track, We Can Funk (feat George Clinton), and Melody Cool (with the powerful vocals of Mavis Staples). With George Clinton and the Prince together this is definitely the funkiest song in all of Prince's career I'd say. The Time also has 3 songs on this one which mainly are there for fun. Love Machine is sexy and inspiring in it's simplicity with a hook that sounds like a blonde joke. Also is Tevin Campbell's hit Round and Round. If you like Tevin's debut cd, keep in mind that most of it was written by Prince apparently at this time. Joy in Repetition is a fabulous sexy ballad (a requisite on every album it seems), and Graffit Brigde is an uplifting "feel-good" fave.

Graffiti Bridge is not Prince's strongest work but features some cuts worth a listen. "The question of U" is probably the sexiest track here. The collaboration with George Clinton, "We Can Funk", is also worth a listen.