I'm leery of the hype of this record as a return to 80s form, for the simple reason that Prince has never stopped recording and releasing outstanding music, never stopped evolving. Rainbow Children and the One Night Alone piano record, for example, are both fine records he's released within the past 5 years, and while his work may have lost consistency in the 90s, that was largely because he was putting out so much of it, not due to a decline in the quality of the best of it. The peaks were as high as always.

But indeed 3121 does hearken back to his classic middle-80s period, the run from Purple Rain through Sign O' the Times, when the music was as colorful as it ever was, and when Prince painted with his broadest palate. Here we combine the usual rock-solid funk, that glorious colorful music, and modern recording technology; this last point keeps the record from sounding like it was recorded back in the day, which is to say, it does not sound dated. What we have here, basically, is a fresh and vibrant album that evokes the color and style of Prince's most prolific, best-loved era.

3121 is a return to a particular sound, style of work. The vocals are rich and layered, with a heavy sense of female presence (sometimes Tamar, sometimes Prince himself); the instrumental backing is invigorating and creative and lush, and the playing, as if this even needs to be said, is right in the pocket. Something about this music sounds "revolutionary" (wink, wink.) And it can't be a coincidence that recently he has played live with Wendy, Lisa and Sheila E.

I'd swear that was the old Prince alter ego Camille singing with him on this opening track "3121," a song that merges the insistent prince funk with the sonic colors of his mid-80s work, both released and unreleased. Dream Factory anyone?

"Lolita" is a naughty call-and-response that invokes the Lovesexy album. "Te Amo Corazon" has gotten some lead play as a single, and it is smooth and easy on the ears, a little bit of Latin cool with lush orchestration and some tasteful Prince guitar.

"Black Sweat" is a funk groove that sounds a little like "Kiss," except that it stays on the one chord. Prince plays every instrument on this and several other tracks, and you can hear it. However, Prince (along with Todd Rundgren and Stevie Wonder) is one of the few musicians who has a distinct and articulate voice as a one-man studio band. He plays all the instruments, and he plays the studio.

"Incense and Candles" is a breezy and confident piece that erupts into a sweet vocal burst at the end. "Love" is a tasty poppy trifle (a good thing) with funk guitar chords, burping synths, and handclaps, but at precisely 4:20 Prince says, "Let's skate," and the song flips over into a sweaty funk stomp, suddenly nasty, an extended playout that vaguely evokes "Le Freak." Both these two songs are all Prince, save for protégé Tamar on vocals. (After catching the Tamar gig featuring Prince at Nokia in NYC, I've already wishlisted the upcoming Tamar record.)

"Satisfied" is one of those falsetto Prince love song testimonies (e.g., "Slow Love"), and you know what I mean, and it'll give you chills; here the horn section is added to the mix. "Fury" is instantly recognizable as a Prince rocker, lush fervent keyboards laying out the groove, Prince's rock God guitar searing over the top. "The Word" hasn't yet grabbed me, although yet again, nice guitar work. But next up is the sublime "Beautiful, Loved and Blessed," his duet with Tamar, which can only be described as old school soul of the very finest kind. Just note-perfect from beginning to end.

"Dance" is a pleading, sad, haunting eminently listenable minor key tune that (a signature move) goes major on the chorus; like most of the record, just Prince on the track.

The final track, "Get on the Boat," is a classic old school funk workout featuring a percolating drum and percussion section, and the stellar Maceo Parker on horn. This is a funk played live, not machine-made; the sound is different from much of the record because it features a full band. The brassy horn section and Latin groove of the percussion make this one feel like a dance party in your head.

I liked Musicology; and I really liked One Night Alone (the solo piano thing) and Rainbow Children. It is hard to be sure this soon, but I think this will wear as the most enduring and consistent Prince record since Sign O' the Times.

So maybe it IS a return to something.

Musicology from 2003 was Prince's comeback album to the spotlight. His best effort in over 10 years time, although it didn't score any major hit singles it was a powerful back to back album that proved Prince was back for real and so was his lost respect. Musicology was a somewhat careful album that sounded like a mix between ealy 90's NPG and an older grown up artist wanting to get back into the reputation he had built up for 2 decades, as great as it was it didn't take any risks and there were no explicit lyrics on the album either. 3121 goes one step further, it's not only better but it's more playful, with retro beats simular to what Prince delivered in his prime, catchy straight forward melodies and lyrics that only a poet could have written. You may think it's commercial and perhaps a little too much retro but it still feels fresh and original and considering that the Neptunes have made a name of themselves as one of the greatest producer teams around, relying on old skool beats like Prince already made in the early 80's, no wonder that Prince goes way back again into fammiliar territory. 3121 delivers 12 songs, and all of them are good on their own and yet coherant to the album concept, it also is shifting mood between the songs which makes it a pleasant listen all the way out. It may sound as a cliché but Prince is defenitely back in great form, this album only confirms his reputation as a musical genius.

It starts with the title track, a funky, sexy and extremly catchy song that is a duet with his high-pitched alter ego Camille. The hook goes "Don't U Wanna Come?, Gonna B So Much Fun, That's Where the Party B, U Can Come If U Want 2, But U Can Never Leave". Right on the spot. "Lolita" uses heavy synthesizer beats and sound so 80's but it still is one of my favorite picks, remind you alot of classic Prince around 81-84, but then again the Neptunes are doing the same thing with success so It's defenitely NOT dated. "Te Amo Corazon" or "I love you, sweetheart" is a slow ballad, I suppose it's for his wife Manuela Testolini. It's far from the typical hit single, but it's surprisingly moving and beautifully aranged musically. For you trivia geeks, Salma Hayek directed the video for it!.

"Black Sweat" is a blend of funk and hip hop and proves that Prince is still into contemporary music and it's trends. Gotta love the title and lyrics to this one. In the song Prince is anxious to dance in the presence of a beautiful woman, but doesn't have the choise cause the music is so funky. " I don't want too dance too hard, baby, but this is a groove (yes it is! funky!)" Eventually he just releases himself and gets over the anxiety and dances like never before. "I'm hot, and I don't care who knows it, I got a job to do"). The next song "Incense and Candles" is the closest thing you get to explicit sexuality on this album. It's a smooth and sexy mid tempo that will make old fans happy.

"Love" is one of the best songs on 3121 and should also be an upcoming single. The song deals with "Free Love" something that we've heard alot in older songs but once again it's convincing, fresh with wonderful lyrics and a truly beautiful chorus. "Satisfied" could have been made for Marvin Gaye, it's a seducing love-song with well written intelligent lyrics about how to get his woman satisfied. No wonder with a promise like "I Can Get U Out Of Your Body". "Fury" reminds me a little of "Let's Go Crazy" it's a Hendrix influenced uptempo rock song but still with trademark synthesizers and 80's feel. Based on the lyrics you could think it's a fury at his ex-wife maybe?.

"The Word" with it's jazzy feeling with horns is a personal favorite aswell. Brilliant and touching lyrics. It ends with a brilliant guitar solo. "Beautiful and Blessed" is a duet with a singer callled Tamar, it's a sweet ballad and this young woman certainly got a great voice. "The Dance" is another jazzy song that feautures great piano playing, no hit single but adds diversity to a already diverse album. "Get On the Boat" remind me alot of some songs of his previous album, especially it's title track, it's a funky uptempo song a la NPG.

Overall, Prince is defenitely back on point. This may be a rather commercial album compared to certain others he made but on the other hand he delivers an album full of great songs that will remind you of the good old days and compared to the 2003 comeback "Musicology" this one is more diverse with both ballads, funk, hip hop, retro pop songs and even a little jazz. 3121 is Prince's best album in almost 15 years and I'm not being biased when I say that. He's just happens to be back in great form and showing his best qualities. Genies never dies.

While many critics claim that this album is Prince's best since Sign O' the Times, it's not. Not even close. While a slight improvement over his last effort, 2004's Musicology, this album cannot compare with the artist's earlier material. This is not saying that it is not a great album, but Prince set the bar so high twenty years ago that his music can only be compared to his previous efforts. While this doesn't have the originality of Sign O'The Times or Purple Rain, it is still a very strong album with some of his funkiest music of late.

"Black Sweat" is the best Prince single since "The Most Beautiful Girl in the World." Too bad that it didn't generate the airplay that it deserved. It has a minimilistic funk bass similiar to "Kiss," and the lyrics are dripping with sex. While Prince may be a reformed Jehova's Witness, he still heats up your stereo better than anyone out there.

"Te Amo Corazon" comes across as a bland attempt at a ballad upon first listen, but this song sticks with you and grows with each listen. "Fury" has some of Prince's greatest guitar work this decade, but unfortunately the lyrics are a little bland and cliched.

The overproduction of much of Prince's material of late plagues this album and keeps it from being truly great. The instruments and effects on some of these songs are definately overkill, there is not a moment of silence on this album. With all of it's flaws, it is still better than 99% of the albums released in 2006, and Prince is still THE ARTIST.

The fans have already spoken and this is an album for fans of Prince's most commercial work. As much as I despise reviews that predict the commercial success of an album (an approach that is killing music and ensured that some of Prince's greatest work, including "The Truth", which is a work of genius, remains unheard by the sheepish masses), be warned: this album is going to be a monster!

In the early Eighties, Prince, as everyone knows, released the legendary "1999" album, built around the topical and timely concept of an apocalyptic vision of the future in the nuclear age. It was the perfect signifier for his passionate, obsessive themes of eros and thanatos and celebrated a conscious revolution of the sexual, beyond the sexual: a neo-hippy movement ("All the hippies sing together") which he fathered. That movement became The Revolution (aptly named), evolving into the Paisley Park label, before it finally matured into the New Power Generation. In 2006, Prince has released "3121", which comments very little on our times; instead, it revisits and revises those themes, both lyrically and musically, which is how this album succeeds.

In the Eighties, Prince's vision of the future truly made him visionary. "3121", however, is a stunningly vivid collage of lessons of the past. Those seeking the adventure and innovation of masterpieces like "Parade" will be disappointed; in fact, they may even cry "Sell out!" But Prince has proven in the past that he is definitely his own man and the fact that this album doesn't sound like anyone else but so-called "classic" Prince should confirm that, more than anything else, "3121" is Prince at play, enjoying being true to himself.

A mark of Prince's genius has always been the one song or more on every album that doesn't sound like any other song recorded in the history of music. It is the greatest pleasure any artist can give to the listener: the musical equivalent of a first kiss with your one true love. Can you name any song that sounds even remotely similar to "Rasberry Beret"? Of course, you can't. "3121" is this album's genuine original: the funkiest, nastiest, sexiest work Prince has produced since "Sexy MF". The vocal reacquaints you with the immortal Camille but precious little else is familiar. Although the song casts itself as a "futuristic fantasy", it is more like a lyrical reworking of "Darling Nikki" in every respect except for two things: there are oriental, perhaps even taoist allusions; and the fatalism of "1999" and "Purple Rain" has been revised with an exhileratingly ominous declaration of our sweet Prince being here to stay ("You can come if you want to / But you can never leave"). Again, this the expression of an artist who knows he is at his best.

As I'm sure most fans will recognise, "Lolita" echoes "Soft and Wet", although the production is jaw-droppingly free of bells and whistles and all their shackles. This may be why it sounds so modern, despite its Eighties-style construction. The song also features the popular catch-phrases of older recordings by The Time ("Fellas, how bad is this groove?"). Not surprisingly, the song is receiving virtually continuous airplay on Australian radio and would be a logical choice for a third single.

"Te Amo Corazon" is unique amongst Prince compositions, which is precisely why it infuriated as many established Prince fans as it awed. The fans it infuriated have obviously long forgotten how many of them wanted to throw their vinyl record of "Parade" against a brick wall before, a week later, they realised, like me, that "Parade" was and is the man's finest album. "Te Amo Corazon" is a delicate, layered work of art, further elevated by intimate, insightful lyrics ("Once when I first laied eyes on you /I saw heaven and earth anew") and typically sumptuous strings.

"Black Sweat" is the equally attractive cousin of "Kiss". When you first hear it, you may even think he can do this in his sleep, which is precisely the point. As the song says, "I don't wanna dance too hard / But this is a groove". Amen to that. Some have compared this mind-scrambling groove to the work of The Neptunes but Pharrell only wishes he could write something this intelligently infectious. Prince's trademark wit ("You'll be screaming like a white lady"), complete with delightfully deliquent androgeny, again transgresses all the dull, conformity that plagues contemporary radio-friendly hits. This may just be the music they play in neo-hippy heaven.

"Incense and Candles" is the closest thing to sex incarnate Prince will share these days with anyone other than his wife. Prince used to prefer "slamming" but now he likes to slow down, take his time and visit, even make, new worlds in the mind. Hence, this song is the centrepiece for the revelations introduced by the title track. Musically, the oriental influences are reintroduced as well. The song would be another worthy single.

"Love" is an ambitious piece. The arrangement is reminiscent of "I Want To Melt With U" but the heavy use of reverb delivers on its promise of warmer, engulfing vibes. The message is simple ("Love is free") but Prince, as usual, makes it sound like it's never been said before.

"Satisfied" is better than "Do Me, Baby" ever was at seducing the listener both literally and metaphorically. Prince always wrote, indeed seduced, on an intuitive level, blurting out brilliantly blunt truths along way like John Lennon; now he brings the wisdom of wider experience to his game. "Foreplay starts in the mind", he sings and how can anyone argue with him?

"Fury" is one of my personal favorite songs on the album and showcases more than one sizzling guitar solo. It rocks ... hard. The lyric is presumably directed at his lovely ex wife, Mayte, and comments she may have made in the press. Unless Universal totally lose their minds, this, too, will be a single.

Like Dylan before him, Prince reached new heights of unpopularity when what could be termed his "born again" period began, but it will be difficult for even the most cynical critics to dismiss a song as immaculate, in every sense, as "The Word". Scored by a subtle electro rhythm and melody, I can't remember the last time I was so moved by a Prince lyric: "...the truth has got to told / No matter how shiny ur lips r / They'll never b streets of gold.."

"Beautiful, Loved and Blessed", a duet with Tamar, is a case of Daddy Pop and his new protege looking in the mirror and reciting an exquisite affirmation of divine humanism. It is happily aimed at a wide audience and likely to win it.

For some strange reason, this allbum includes, albeit in a drastically improved version, "The Dance", a song previously released on Prince's criminally overlooked album, "The Chocolate Invasion", available now through the website: www.npgmusicclub.com. For those who haven't heard it before, "The Dance" is an epic tale of lust, self-doubt and tortured desire, in the tradition of "Something In The Water". It is the album's only curiosity but its inclusion here is obviously an indicator of how much Prince personally likes the song. As such, it is best received as a valentine from someone close.

Lastly, "Get On The Boat", like "Dear Mr Man" on "Musicolgy", exceeds all reasonable expectations as the album's political statement. Prince applies irresistible peer pressure on the proles to become conscious("We got room for a hundred more"). The James Brown style horns give the song a gospel edge that almost make it the funky equivalent of "Purple Rain". Maceo Parker has scarcely played better than he does on his solo.

Back in the day, C. Moon loved to tell the story of how he pitched Prince to Warner Bros. He apparently said, "I think I've found the new Stevie Wonder". Many times, I've tried to imagine the excitement that must have been in the room when C. Moon played Prince to "the suits" for the first time. Warner Bros must be kicking themselves now because that's just how this record defines itself and the man who made it. If anything, after "3121", every other artist out there may only be able to dream forever after of receiving the highest of all compliments: to, one day, be called the new Prince.

First of all, with all due respect to the Amazon reviewer, to call Prince "the black Beck" is like calling Otis Redding "the black Michael Bolton".

With that little bit of silliness out of the way, I am pleased to say that 3121 is an extremely solid album from His Royal Badness. Unlike many recent Prince albums, there's not one song I skip over here. It's also his second good album in a row, which also hasn't happened in quite some time.

I am not yet ready to declare Musicology better or worse that 3121, but I think this new album overall is way solid. Lolita, Black Sweat, Incense & Candles, Love, and The Word especially find Prince at or near his best.

The Dance? Great!! Beautiful, Loved & Blessed -- yes, he has a new chickie, but at least she can sing. I like the song. Get On The Boat would also belong in the Awesome Prince Pantheon if the lyrics weren't so goofy. But that's Prince for you. "Get on the boat! Get on the boat, people! Get on the boat now!"

There can be no doubt that Te Amo Corazon is the weakest song on the album. However, I can at least tolerate it, unlike other Prince car wrecks such as The Arms Of Orion, Wherever U Go, Whatever U Do, Courtin' Time, Three Chains of Gold, She Loves Me 4 Me, and the entire album Chaos & Disorder. Te Amo Corazon is wimpy and weird but I don't actively hate it the way I do those other tunes.

Prince seems to no longer feel the need to experiment for experimentation's sake. He seems content to act like the good company man Warners always wanted him to be, putting out 12 songs an album and trying to make them as radio-friendly as possible.

While it's true he is now content to follow trends, as opposed to setting them, he's earned that right. Plus, it's not that easy to make a #1 record, which he has also done with 3121. So while he breaks no new ground here, he does take current music trends and Princifies them up with the "whoa-whoa" background vocals, the synth, and the too-occasional-for-my-taste rockin' guitar. The results easily equal or surpass anything Beck has done.

I still say he has an all-time classic or two left in him, and while this isn't it, I would call 3121 good bordering on great.

Here's my lone complaint: Prince plays something like 198 musical instruments, but his specialty is the electric guitar. Why doesn't he use it more? He ROCKS on the guitar and it is really what sets him apart. But he rarely uses it! It's like Roger Clemens deciding he's going to pitch and then use his fastball only once an inning.

Recommended, especially if you like Musicology.