Prince And The Revolution
Parade

THE REVIEW

There are songs, so famous and "representative," capable of overshadowing an artist's entire career, while others have the ability to only overshadow those contained within the same album. Fortunately, only the most distracted listeners consider "Kiss" as "the song" of Prince; many other gems have been given to us by the artist from Minneapolis over the years. However, it is undeniable that the album containing it, "Parade," is predominantly remembered as "the album of Kiss," thus diminishing the beauty of the other tracks within. Certainly, "Parade" does not have the rock drive that permeates "Purple Rain" nor the almost encyclopedic variety that characterizes the subsequent "Sign O'The Times," but it is probably the album that most resembles its creator, witnessing the full maturity of his unique mix of musical styles and languages, and above all, it is the record from his golden period that still sounds current and modern.

The album, born as the soundtrack of the film "Under The Cherry Moon," starring Prince himself (a box office flop), is more essential and sparse (in the arrangements) compared to its predecessors but sounds just as extravagant (if not more), combining sound experiments with smooth melodies and always remaining on the edge between kitsch excess and cultured reference. Thus, in just over half an hour, Prince showcases his talent by creating arrhythmic solutions that still sound daring today ("New Position," "Life Can Be So Nice"), embodies the role of the chansonnier for the cabaret of "Do U Lie?" and the melodrama of "Under The Cherry Moon," refines his idea of funky-pop ("Mountains," "Anotherloverholenyohead," "Girls & Boys") that has never been as infectious as this time, and demonstrates his compositional skills in the languid and cinematic instrumental "Venus De Milo." And if a sumptuous and playful orchestral pastiche opens the album, Prince closes it with what is still his most intimate and heartfelt ballad, the "Sometimes It Snows In April" that unexpectedly brings him closer to American singer-songwriters and seals his most simply complex and genius work.

For once, try to forget "Kiss"...