プリンスさんのインスタグラム写真 - (プリンスInstagram)「New musical ideas were pouring out of Prince at a feverish rate in 1986, and he was clearly restless and hungry for a fresh approach to making art. Within the span of a few months he began working on a new album with the Revolution, Dream Factory; disbanded that influential group; recorded tracks for an unrelated album under his alter-ego, Camille, and a triple album, Crystal Ball; and started dabbling with a jazz side project known as Madhouse. • It’s no wonder that Sign o’ the Times, released on Warner Bros. in 1987, ended up as a double album with 16 radically different tracks; it captured Prince in a moment of peak productivity, his creative tap flowing at full blast. • As the title suggests, Sign o’ the Times is deeply rooted in a cultural and social moment, and the lyrics on the album veer into apocalyptic territory, contemplating the ongoing threat of AIDS, nuclear war, poverty, and the drug epidemic on a country that seemed to be living under an ominous cloud. • And yet the dark undertones are balanced with moments of levity — the irresistible hooks of “Housequake,” the pure innocence of “Starfish and Coffee” — reminding listeners that even the most oppressive times should be confronted with dancing and laughter.」4月4日 4時56分 - prince

プリンスのインスタグラム(prince) - 4月4日 04時56分


New musical ideas were pouring out of Prince at a feverish rate in 1986, and he was clearly restless and hungry for a fresh approach to making art. Within the span of a few months he began working on a new album with the Revolution, Dream Factory; disbanded that influential group; recorded tracks for an unrelated album under his alter-ego, Camille, and a triple album, Crystal Ball; and started dabbling with a jazz side project known as Madhouse. •
It’s no wonder that Sign o’ the Times, released on Warner Bros. in 1987, ended up as a double album with 16 radically different tracks; it captured Prince in a moment of peak productivity, his creative tap flowing at full blast.

As the title suggests, Sign o’ the Times is deeply rooted in a cultural and social moment, and the lyrics on the album veer into apocalyptic territory, contemplating the ongoing threat of AIDS, nuclear war, poverty, and the drug epidemic on a country that seemed to be living under an ominous cloud.

And yet the dark undertones are balanced with moments of levity — the irresistible hooks of “Housequake,” the pure innocence of “Starfish and Coffee” — reminding listeners that even the most oppressive times should be confronted with dancing and laughter.


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