3121

 Its quickly delivered 2006 follow-up, 3121, proves that Musicology was no fluke. Like its predecessor, 3121 is tight and concise, offering 12 songs in 53 minutes, and it's classically structured, emphasizing shifting moods and textures between songs. It is an album, not a collection of songs, and you could even call it old-fashioned, but it feels fresher than Musicology, as if Prince had listened to enough Neptunes productions to understand how they've absorbed his music. That acknowledgement doesn't come often -- it's evident in the sly, sexy grooves of "Black Sweat" and the squealing synths of "Lolita" -- but since it's paired with an emphasis on dance tunes and a retreat from the enjoyable but endless NPG-styled vamping that characterized a good portion of Musicology, 3121 winds up sounding lively, varied, and, at its best, exciting. And at the beginning of the album, 3121 is quite exciting, as Prince revives his high-pitched alter ego Camille on the title track and dives head first into the electro-funk of "Lolita" and "Black Sweat," songs that recall such mid-period masterpieces as "Kiss" or "Sign 'O' the Times" without being rewrites. Nevertheless, the fact that the freshest sounding music here still has a direct line back to records Prince made 20 years prior is a good indication that the album, like Prince himself in the wake of hip-hop, is a little bit conservative, emphasizing funk of both the James Brown and George Clinton varieties, late-night slow jams, classic dance, and soul, instead of wrestling with modern music. While that may disappoint some listeners who yearn for the return of the trailblazing Prince of the '80s, when he reinvented himself with each record, it's hardly surprising that a 47-year-old musician is spending more time refining his palette than expanding it. What is a surprise is that Prince is in top form as both a writer and record-maker; perhaps the one-man-band nature of its recording doesn't mean the album is as gritty or raw as his reliably thrilling live performances, but 3121 crackles with excitement, filled with different sounds and styles. Best of all, this is filled with songs that hold their own as individual tunes, yet gel into a cohesive record that is thankfully devoid of an overarching concept, a problem that plagued his albums after Diamonds and Pearls. 3121 does fall short from being perfect -- there may be no bad songs, but the momentum slows ever so slightly on the second half -- yet it's something more valuable than being a one-off classic: it's proof that Prince has indeed returned as a vital, serious recording artist on his own terms. Maybe he's no longer breaking new ground, but his eccentricities are now an attribute, not a curse, which goes a long way in making his trademark blend of funk, pop, soul, and rock sound nearly as dazzling as it did at his popular and creative peak in the '80s. 

07年上高中碟店画3块钱买的 在家里没人时用音响放 跳舞。后来心怀叵测加入高中广播站，午休给全校同学播放了the world 然后相关领导全来找我 说以后不能发这么有节奏感的歌。我同学跟我说，放歌的时候，操场上的人都跳着走路

乐观一些，从音乐地理学的角度说，n.e.w.s这张专辑已经完成了王子音乐王国内不计其数的豪华宫殿构建，那么之后的专辑则是试图建设普通生活房屋的努力。但王子既不是氛围音乐的家具设计师，也不是比伯式青春校园万人迷，王子04年后的大多数专辑则像是弥漫着印度香薰味的老照片地下纪念馆，神秘而无聊。

他自己有个录音室叫3121，有阵子在赌城短暂驻唱，名字也叫3121

后期的神作之一，事实证明这个男人的创作源泉永远不会干枯，他甚至能玩另类，但是要慢慢消化才能体会