- Album: Hitnrun Phase Two. From Prince Vault. Jump to: navigation, search. 2015: Hitnrun Phase One. Is the 39th full-length studio album by Prince, and the final Prince-related album to be released during his lifetime. It was released digitally in December 2015. Three days later it was also available as standalone download via iTunes.
- Hit N Run Phase One marks Prince’s third LP in the last two years following 2014’s Art Official Age and 3rdEyeGirl’s collaborative record Plectrumelectrum.
Hit n Run Phase One is the thirty-eighth studio album by American recording artist Prince. It was first released exclusively on the Tidal streaming service on September 7, 2015 before being released on CD on September 15, 2015 by NPG Records.
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The final Prince album of his lifetime, Hit n Run Phase Two, was released this past December. It surely won’t be the final Prince album ever: if rumors are true, he left more tapes in the vault than Tupac Shakur, John Coltrane, Elliott Smith, Jimi Hendrix, and Richard Nixon combined. (I hope the news that Prince had no will won’t doom all that music to a years-long legal limbo.) But at least for now his unexpected death last week has transformed Hit n Run Phase Two into an inadvertent last testament, an unwanted valedictory.
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Two weeks ago, of course, it was just one more later-day Prince record, his 39th studio album, indifferently received like most of his output since the early 1990s. Pitchfork rated it 4.7 and called it “another underwhelming entry in his catalog.” AllMusic didn’t even bother to review it. Rolling Stone was more positive: 3.5 stars and a headline that declared, “Prince is back in top form.” Still, the album didn’t chart on the Billboard 200, though this was no doubt due in part to its being released with no pre-publicity and, at first, only on Tidal. That might work great for Beyoncé in 2016 (especially when she can also enlist HBO), but less so for Prince in 2015.
But cheer up! I’m with Rolling Stone: Hit n Run Phase Two is a fine album and to the extent that it now serves as Prince’s farewell, it’s an apt one, brimming with the near-profligate musical inventiveness and seemingly casual-seeming virtuosity that drew audiences to him in the first place. If it’s not up to his best work, what is? No one performs white hot forever; it’s just not possible according to the laws of both art and thermodynamics. So this is a problem all great pop stars face: once you’ve disrupted the musical order, where do you go from there? Many crank out increasingly unconvincing imitations of their younger selves, like Xeroxes of Xeroxes of Xeroxes—think of the Rolling Stones or Brian Wilson. Or Madonna, who has become a grim parody of herself in her desperation to stay current. The artists who endure, who continue to do interesting if not necessarily “culturally relevant” work, often become genres unto themselves—like Prince, and I’d put Bob Dylan in this category, too. We don’t come to a new Prince or Dylan album looking for revelation the way we might have decades ago; we come to renew the conversation. (The same can be true of film directors as well: Hitchcock’s and Fellini’s late movies are as much about being Hitchcock or Fellini movies as they are whatever particular story they may ostensibly be telling.)
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The Hit n Run rubric implies a kind of sneaky, magpie approach, which is fitting given that that has always been part of Prince’s aesthetic, both on albums—the eclectic double-LP Sign o’ the Times being the prime example—and on his breakthrough hits in the early 80s, where he mashed up funk, new wave, and his own uniquely witty, libidinous persona. Productivity is another Prince trademark, and true to form Hit n Run Phase Two was preceded only four months earlier by Hit n Run Phase One, an effective enough party record full of dance rhythms with song titles that spell out its intentions: “Million $ Show,” “Shut This Down,” “Ain’t About 2 Stop,” “Like a Mack.” It’s fun, if not memorable. The stand-out, for me, is the anomalous last track, “June,” a spare, lounge-y, free-associative reverie that sounds like an ode to a lazy spring Sunday spent with a possibly distant (or maybe altogether absent) lover: “Pasta simmers on the stove in June / Makes no sense yet, but it will soon . . . Our bodies got used to each other / Now they’re used to the sound / Of Richie Havens’s voice on the vinyl / Spinning round and round, round and round / Sometimes I feel I was born too late / Should have been born on the Woodstock stage / I’m just here waiting, and waiting . . . What’s that? Something’s burning on the stove / Must be the pasta, must be the pasta.” It’s funny, romantic, weird, a little sad. Not bad for a 57-year-old.
Phase Two ranges much more widely. Not that the record sounds retro, exactly, but you can almost hear it as a grab bag tribute to black music of the 1970s: some disco strings here, a full-fledged James Brown–style funk workout there, Tower-of-Power horns and 20 Feet from Stardom backup vocals throughout, a couple of slow jams in the middle that wouldn’t have sounded odd coming from Lionel Richie. One song is introduced with a Bootsy Collins–ish bass line. “Baltimore,” released as a single, is a protest number about police murders, which Marvin Gaye or Stevie Wonder or Brown might have admired, though its melody and arrangement are oddly upbeat, at least until the disco strings I mentioned above take a briefly sour left turn. (Perhaps Prince was also listening to some post-punk.) To the extent the record has an overriding aesthetic, Phase Two feels more organic than its immediate predecessor, or a lot of Prince’s music for that matter: the horns and reeds sound real, not synthesized or sampled. There’s even some jazzy flute playing that might get Ron Burgundy excited.
As I said, I’m not sure anything on Phase Two ranks with Prince’s best, but how’s this: if a number of these songs—“Baltimore,” say, plus “RocknRoll Love Affair,” “Stare,” “Groovy Potential,” and “Revelation”—had been released only as B-sides in the 80s, I’d bet they’d be coveted collectors’ items today. My favorite track here is “2 Y. 2 D.,” an irresistible slice of dance-floor funk about a modern “It girl,” an “Internet beauty,” on which Prince sounds like he’s having a blast, though I’m not sure I’d fully endorse the lyrics. (“She’s old enough to do ya / But too young to dare.”) I’m also quite fond of the final song, “Big City,” a horn-driven blast of sheer joy that wants to liken being in a lover’s arms to being “in the big city.” I guess. Happily, the music convinces even if the simile doesn’t.
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Like the album itself, the ending of “Big City” now echoes with an unintended poignancy: with the performance sounding as if it’s about to break down, Prince stops singing and says, almost sheepishly, “That’s it,” followed by a hit on the snare and one final blast from the brass section and then, at least on the version of the album I downloaded from iTunes, an appropriate if eerie 49 seconds of silence.
That’s it. For now.
Photo: By Sinead Lynch/AFP/Getty Images.