Released ahead of the album, everybody called the infectious title track “minimalist” and it is, based around a simple stock drum pattern, with a few bass runs and lots of bluesy guitar. It’s probably also the last time anybody referred to heroin as “horse”. Lest anyone think he was leaving the funk behind, “Play In The Sunshine” is an upbeat distillation of “1999” and “Delirious”, then—“Shut up already! Damn!”—“Housequake” is an even nastier groove, and pretty funny to boot. (His voice is sped up a tad here, and credited to “Camille” on other instances too.) “The Ballad Of Dorothy Parker” keeps up the funk, and manages to slip in a Joni Mitchell reference halfway through. This is where the album starts to get what people call “eclectic”, and we’re pretty sure it has nothing to do with the legendary wit of the same name.
The meaning of “It” shouldn’t be too hard to figure out, but there’s something about that raspy vocal that cracks us up. The very surreal “Starfish And Coffee” becomes less so when one learns it’s an account of Susannah (and Wendy) Melvoin’s grade school classmates, eventually given a charming reading on a mid-‘90s reboot of The Muppet Show. The horn-infused “Slow Love” fits its title just fine, a Hey Love-style jam with minimal falsetto, and things pick up again on “Hot Thing”. “Forever In My Life” could be called a departure, wherein he expresses a desire for long-term commitment over some subtle yet tasty acoustic guitar.
The idea is swatted away with the surprising hit in the form of “U Got The Look”, basically a duet with Sheena Easton, who had a hit a few years earlier with “Sugar Walls”, and definitely Prince’s type. Here’s where “Camille” truly stands out, seeming to get squeakier with every line. “She” apparently sings “If I Was Your Girlfriend” too, making the pronouns and perspective dizzying. “Strange Relationship” seems like a rearrangement of the same tune, but with a more straightforward structure and no monologue. The extremely catchy “I Could Never Take The Place Of Your Man” was already a terrific single, with its “nah-nah-nah-nah” vocals predicting “November Rain”; on the album it’s extended by about three minutes with a tempo shift and guitar solos before reverting to the original theme.
Despite being only two chords over one bass note, “The Cross” builds from its simple strum to a driving grunge that Lenny Kravitz would eventually cop for three full albums. Suddenly we’re transported back to Paris the previous summer for “It’s Gonna Be A Beautiful Night” with the expanded Revolution, reviving the “oh-wee-oh” Wizard Of Oz chant last heard in “Jungle Love”. Finally, “Adore” says goodnight with another horn-driven slow jam, with about four or five vocal parts weaving in and out of each other at all octaves.
Because the four sides’ worth offer a lot to ingest, Sign "☮" The Times takes a lot of time to appreciate. That said, it’s diverse, a lot of fun, and better than 1999. Pare it down to a single, and it would be even better, but what would you leave off? Besides ending his golden era, it mostly signified the end of the Revolution, and we miss them. (He didn’t tour America behind it, but did release a concert-style film, which did about as well as his previous film, but is worth checking out if you can find it.)
Prince Sign "☮" The Times (1987)—4