With the release of this seminal double-album, Prince evolves from the minimalist synth-pop that powered such discs as DIRTY MIND and CONTROVERSY into the pop genius that defined such quirky masterpieces as PURPLE RAIN and SIGN OF THE TIMES. Were it only for the hits–the loopy bounce of “Delirious”, the moody slide of “Little Red Corvette”, and the irresistible title track (only Prince could have written the ultimate dance song for the turn of the millennium 18 years before the fact)–1999 would be essential. These tracks are as perfect as they are familiar from incessant radio play. The rest of 1999 holds up to the radio hits. Loose, nasty grooves like “D.M.S.R”. and “Automatic” are interspersed with the propulsive shuffle of “Let’s Pretend We’re Married” and the soulful, psychedelic pulse of “Something In The Water”. This is not average dance music. Prince’s hybrid of rich, trippy atmospherics, ’80s synth-y keyboard sounds, lush, asymmetrical harmonies, elements of rock guitar, soulful singing, and strong songwriting–all rolled together with beats–weaves dark, sexual energy into ebullient boogie anthems. 1999 is one of the definitive pop music documents of the ’80s.