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With Dirty Mind, Prince had established a wild fusion of funk, rock, new wave, and soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album, Controversy, Prince revamped his sound and delivered the double album 1999. Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself. Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the electro-funk experiments of several underground funk and hip-hop artists at the time. Prince had also constructed an album dominated by computer funk, but he didn't simply rely on the extended instrumental grooves to carry the album -- he didn't have to when his songwriting was improving by leaps and bounds. The first side of the record contained all of the hit singles, and, unsurprisingly, they were the ones that contained the least amount of electronics. "1999" parties to the apocalypse with a P-Funk groove much tighter than anything George Clinton ever did, "Little Red Corvette" is pure pop, and "Delirious" takes rockabilly riffs into the computer age. After that opening salvo, all the rules go out the window -- "Let's Pretend We're Married" is a salacious extended lust letter, "Free" is an elegiac anthem, "All the Critics Love U in New York" is a vicious attack at hipsters, and "Lady Cab Driver," with its notorious bridge, is the culmination of all of his sexual fantasies. Sure, Prince stretches out a bit too much over the course of 1999, but the result is a stunning display of raw talent, not wallowing indulgence.
© Stephen Thomas Erlewine /TiVo
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Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Dez Dickerson, Solo Guitar, Backing Vocals - Lisa Coleman, Backing Vocals - Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Lisa Coleman, Backing Vocals - Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Jill Jones, Backing Vocals - Lisa Coleman, Backing Vocals - Wendy Melvoin, Backing Vocals - Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Vanity, Backing Vocals - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Jill Jones, Backing Vocals - Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Prince, Producer, Arranger, Lead Vocals, Writer, Instruments, MainArtist - Bernie Grundman, MasteringEngineer - Peggy McCreary, Engineer - Don Batts, AssistantEngineer
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1982 NPG Records, Inc. under exclusive license to Warner Records Inc.
Album review
With Dirty Mind, Prince had established a wild fusion of funk, rock, new wave, and soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album, Controversy, Prince revamped his sound and delivered the double album 1999. Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself. Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the electro-funk experiments of several underground funk and hip-hop artists at the time. Prince had also constructed an album dominated by computer funk, but he didn't simply rely on the extended instrumental grooves to carry the album -- he didn't have to when his songwriting was improving by leaps and bounds. The first side of the record contained all of the hit singles, and, unsurprisingly, they were the ones that contained the least amount of electronics. "1999" parties to the apocalypse with a P-Funk groove much tighter than anything George Clinton ever did, "Little Red Corvette" is pure pop, and "Delirious" takes rockabilly riffs into the computer age. After that opening salvo, all the rules go out the window -- "Let's Pretend We're Married" is a salacious extended lust letter, "Free" is an elegiac anthem, "All the Critics Love U in New York" is a vicious attack at hipsters, and "Lady Cab Driver," with its notorious bridge, is the culmination of all of his sexual fantasies. Sure, Prince stretches out a bit too much over the course of 1999, but the result is a stunning display of raw talent, not wallowing indulgence.
© Stephen Thomas Erlewine /TiVo
About the album
- 1 disc(s) - 11 track(s)
- Total length: 01:10:31
- Main artists: Prince
- Label: Warner Records
- Genre: Soul/Funk/R&B Funk
© 1984 NPG Records, Inc. under exclusive license to Warner Records Inc. ℗ 1984 NPG Records, Inc. under exclusive license to Warner Records Inc.
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