Prince's Sign O' the Times

One of the greatest double albums of the vinyl era, Sign 'O' the Times shows Prince at his peak. Here, Michaelangelo Matos tells the story of how it emerged from an extraordinary period of creativity to become one of the landmark recordings of the 1980s. He also illustrates beautifully how - if a record is great enough and lucky enough to hit you at the right time - it can change your way of looking at the world.EXCERPTThe most immediately striking thing about Sign 'O' the Times is the jazzy sensibility running through it. Prince's father was a jazz musician, his mother a vocalist; he'd been a fan of chops-heavy jazz-fusion as well as rock and R&B growing up. But when Prince began recording for Warner Bros., he abjured the brass sections that dominated groups like Earth, Wind and Fire and Parliament-Funkadelic, opting instead for stacked synthesizer patterns and a spare, cold feel that markedly contrasted with lush, overarranged disco and the wild, thick underbrush of the era's giant funk ensembles; Rickey Vincent, author of Funk: The Music, the People, and the Rhythm of the One, dubbed it "naked funk." Getting away from traditional R&B instrumentation is an underappreciated aspect of Prince's crossover success; Prince is also said to have actively disliked the sound of horns early in his career.

"If Matos admits to being somewhat nonplussed at Prince's shift in musical direction with Sign 'o' the Times, his reminiscence of the milieu that midwifed this classic if not definitive Prince album is entirely welcome." Booklist

"It was only a matter of time before a clever publisher realized that there is an audience for whom Exile on Main Street or Electric Ladyland are as significant and worthy of study as The Catcher in the Rye or Middlemarch. The series... is freewheeling and eclectic, ranging from minute rock-geek analysis to idiosyncratic personal celebration." The New York Times Book Review

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"A brilliant series... each one a word of real love." NME

"Passionate, obsessive, and smart." Nylon

"Religious tracts for the rock 'n' roll faithful." Uncut

"We... aren't naive enough to think that we're your only source for reading about music (but if we had our way... watch out). For those of you who really like to know everything there is to know about an album, you'd do well to check out Continuum's 33 1/3 series of books." Pitchfork

The most immediately striking thing about Sign 'O' the Times is the jazzy sensibility running through it. Prince's father was a jazz musician, his mother a vocalist; he'd been a fan of chops-heavy jazz-fusion as well as rock and R&B growing up. But when Prince began recording for Warner Bros, he abjured the brass sections that dominated groups like Earth, Wind & Fire and Parliament-Funkadelic, opting instead for stacked synthesizer patterns and a spare, cold feel that markedly contrasted with lush, overarranged disco and the wild, thick underbrush of the era's giant funk ensembles; author Rickey Vincent dubbed it "naked funk." Getting away from traditional R&B instrumentation is an underappreciated aspect of Prince's crossover success; Prince is also said to have actively disliked the sound of horns early in his career.

One of the greatest double albums of the vinyl era, Sign 'O' the Times shows Prince at his peak. Here, Michaelangelo Matos tells the story of how it emerged from an extraordinary period of creativity to become one of the landmark recordings of the 1980s. He also illustrates beautifully how — if a record is great enough and lucky enough to hit you at the right time — it can change your way of looking at the world.

"Thirty Three and a Third" is a new series of short books about critically acclaimed and much-loved albums of the last 40 years. The authors provide fresh, original perspectives — often through their access to and relationships with the key figures involved in the recording of these albums. By turns obsessive, passionate, creative, and informed, the books in this series demonstrate many different ways of writing about music. What binds the series together, and what brings it to life, is that all of the authors — musicians, broadcasters, scholars, and writers — are huge fans of the album they have chosen.

Michaelangelo Matos is Music Editor at Seattle Weekly.