musicum a écrit : ↑15 juin 2020, 03:21
Bienvenue sur le forum Schkopi,
Moonbeam a écrit :Je m'appelle Ian et j'habite en Australie. Je suis fan de Prince depuis 1989, quand j'avais 9 ans.
Tu peux nous en dire plus sur l'intérêt que tu portes à Prince depuis ton jeune âge ?
Bien sûr! J'ai beaucoup écrit à ce sujet en anglais, donc si ça va, je pourrais partager certaines choses que j'ai écrites sur ce que Prince a voulu dire sur le plan personnel. Tout d'abord, concernant la sortie prochaine de 1999 Deluxe:
It’s been 29 years since I first immersed myself into Prince’s magnum opus
1999. For 29 years, it has felt like more than an album to me –
1999 creates its own solar system populated by 11 different worlds I could visit over and over again, in which light exists in the form of neon purple rays and senses melt together into a fluorescent magma of vision, sound, and movement. From childhood through adolescence, adulthood, and parenthood, its magnetism hasn’t dulled a bit.
I think part of it is that it feels like his most isolated album, like the songs were borne out of experiments devised and undertaken with limitless abandon inside a secluded lab. Many of the songs have an outward focus, such as the party call-to-arms of “D.M.S.R.” and the global apocalypse of “1999”, but the spirit of the album feels singular. It’s in the primordial screams of “Something in the Water (Does Not Compute)”. It’s in the feeling that the world may be watching (and even applauding), but those people don’t – they CAN’T – know the real you that echoes through “All the Critics Love U in New York”. It’s in the retreat from the perils of the real world where he can finally let his innermost thoughts out in “Lady Cab Driver”. Even the encounters with others – the flirtatious come-ons to the object of his affections in “Let’s Pretend We’re Married”, the mechanical declarations of love and lust in “Automatic”, the desperate confessions in “Lady Cab Driver”, the grandiose jetsetting of “International Lover” – these interactions feel like fantasy, concoctions of a vivid imagination. It’s that sense of aloneness that makes
1999 the perfect album to serve as a soundtrack to your escape into your inner sanctum, where your thoughts can run wild and free.
I’ve gone on and on about the album itself and it’s momentous personal impact. In short, it gave me the confidence to be unswervingly me, to forge a strong sense of self that I wouldn’t sacrifice. It led me into a wide community of Prince fans, many of whom have become very dear friends. It led me to my wife, and in doing so, led me to my new country and career. I both lost and found myself in the worlds of
1999 time and time again.
Inevitably, my Prince fandom led me to collect a number of bootlegs, many of which contained hidden worlds within 1999’s ever expanding solar system. Songs like “Possessed”, “Extraloveable”, and “Do Yourself a Favor” added impossibly good dimensions to the sound of
1999. “Purple Music” encapsulated the entire ethos of the era, a quaking colossus of a song outlining the all-encompassing panacea that this vibrant sci-fi synth funk provided. “No Call U” and “Turn It Up” (then split into a part 1 and a part 2) ignited with a hyperactive drive propelled by neon synths. And in “Moonbeam Levels”, I found heaven in song, an otherworldly embodiment of the transformative power of Prince’s music, and an inspiration for my screen name at all sites I frequent. For the past 20 years, I have filled disc after disc with companion sets to
1999 with these hidden treasures, gleefully expanding them with each new song that was unearthed.
Tomorrow, the solar system
1999 is due to expand to a galaxy. This super deluxe version is literally a dream come true after all these years. The past two months have filled me with the strangest feeling, as I have been put in a position to anticipate something that feels like it has been permanently engrained in my DNA. Unheard titles like “Rearrange” and “Bold Generation” and “You’re All I Want” have ignited that same sense of wonder in me that the infinite soundscapes of the album have filled me with for nearly 30 years. And the album itself! The prospect of experiencing that opening seismic rumble of the drum machine in “1999” in remastered quality mere hours from now leaves me overawed. I guess that’s what purple music’s all about!
Bienvenu à toi !
