The Mindstate: 1999

An outrageously raunchy, funk-riddled ride into the end of the world.

Taine Knox

By 1982, Prince had already excited, appalled, and amazed audiences with his equally-revolutionary, equally-risqué brand of funk-heavy pop music. He was lauded by his immense and undeniable talent, having played all of the instruments on his 1978 debut For You, for his hit-making abilities (1979’s “I Wanna Be Your Lover”) and especially for his remarkable (and nearly inhuman) rate of output. But at that point in his career, none of his projects made half the impact that 1999 would.

THE BREAKDOWN - SOMETHING IN THE WATER

Before 1999, Prince was already the subject of a LOT of controversy for his music. His lyrics pushed norms of the portrayals of gender and sexuality, and he didn’t try to hide it. Album covers, costume choices, and extravagant live shows became synonymous with his onstage persona; tracks from 1980’s Dirty Mind were banned from radio because of how vulgar the lyrics and subject matter were. 

These controversies came at a time where society was growing more paranoid and pessimistic. Everywhere, Cold War-inspired fears about nuclear threats loomed and were a constant topic in the media. For many, it felt like Armageddon could happen at any time. 

These fears were well-founded. Estimates place the number of nuclear warheads around the world at the start of the 1980s at around 55,000. This constantly-present, imposing threat cultivated a culture of fear, which Prince and supporting band The Revolution found themselves in the middle of one night on the Dirty Mind tour. Reportedly, the band were stopped at a hotel watching a TV special about the year 1999 (at the time over 17 years away) and speculated what could happen to the world right before the turn of the millennium.

And just like everyone else, their predictions were not optimistic.

“…and I just found it real ironic how everyone around me, whom I thought to be very optimistic people, were dreading those days.”

- Prince, “Larry King Live” (1999)

The day after the band watched the special, Prince had the album’s title track “1999” completely written. It’s a hopeful party anthem; a more optimistic take on the end of days. The Revolution perform with an undeniable chemistry and the instrumental work is ridiculously good; Prince’s preferences and style evolved to incorporate electrical drum kits, some of the funkiest synths ever heard, and intricately layered instrumentation you could analyse for days, all staples found throughout the album it would eventually be part of. 

It’s a hopeful, infectious groove that provides some positivity for a world that was drowning in pessimism—as Prince and co. intended—and this very concept is the driving idea behind the project as a whole.

It’s these key features that make 1999 such a fun and rewarding listen. The whole project is fuelled by this energy that takes different forms, and whether it’s a 4-minute radio friendly jam like “Delirious” or a 8-minute slow burner like “D.M.S.R.” it rarely bores. Prince continues to push thematic boundaries but does so in a well-organised way that makes it a more enjoyable experience than his earlier work. Although the sexual themes can often be more than a bit much, the positives definitely outweigh the negatives. It remains a wonderfully raucous experience and my favourite of Prince’s projects in his extensive discography.

The epitome of the 1999 era for me would have to be the music video of the song of the same name. It’s a slightly out-there affair which sits comfortably in its own marked spot somewhere between hyper and hypnotic. The Revolution’s seamless choreography, energetic lighting, and other striking visual elements elevate an already fantastic song. The video itself is simple enough—just the band performing on stage—but it’s absolutely worth the watch and really captures the mood of the whole album.

In 2019, Prince’s estate released the 1999: Super Deluxe Edition, which is jam-packed with B-sides, new edits, and quality songs that didn’t fit onto the original cut of the album. My favourite previously unreleased tracks from the bunch is “Possessed - 1982 Version”, a slow burner that is both remarkably barebones and infectiously funky. I really recommend giving it a listen if you get the chance.

THE TRACKS - WE ONLY WANT TO HAVE SOME FUN

1999 - 10/10

A classic.

Little Red Corvette – 10/10

Also a classic. Lots of fun.

Delirious - 9.5/10

Upbeat and not as whole as the first two tracks, but very danceable and knows when to stop.

Let’s Pretend We’re Married - 9/10

A tongue-n-cheek, fun and upbeat song. The only bad part is Prince’s slightly uncomfortable rant around six minutes in. For the best (and most family-friendly) version of this song, try the 7’’ edit off the Super Deluxe Edition.

D.M.S.R. - 8.5/10

Funky as funky gets.

Automatic - 6.5/10

Drags a little bit—dwindles away and gets too much at times. The 7” edit really benefits from the changes, and I’d rate the 7” version an 8/10. 

Something in the Water (Does Not Compute) - 9/10

Has a really unique feel, likely a result of the divergent LinnDrum beat and the hypnotic, slightly spooky synths. Cool. Doesn’t overstay its welcome.

Free - 5.5/10

An entirely different sound to everything else on the album. A bit cheesy and not really my favourite, but still quality to be found. 

Lady Cab Driver - 5/10

Another sonic detour that switches the electric drums and synths for an organic, intensely funky arrangement. The song is fantastic, but Prince’s “rant” halfway makes it more than a bit uncomfortable. It would be a 10/10 without it. 

All the Critics Love U in New York - 6.5/10

A very low-key, upbeat track. Not outstanding, but a solid track.

International Lover - 7/10

A good song. Gets a little uncomfortable at times. 

OVERALL RATING - 9.5/10

1999 was revolutionary in its influence on pop, hypnotising in its trance, and electric in its energy. Though the second half isn’t quite as good as the first and the raunchiness at times comes at the expense of the listener, it remains an unforgettable and fun ride.

Want more?

You can find more from The Mindstate on substack at themindstate.substack.com 

Also on albumoftheyear.org under the username “themindstate”