Prince has long been hailed as the ultimate pop star, not merely due to his flamboyant persona or eye-popping imagery, but because of his musical restlessness and playful experimentation. His albums are more than collections of tracks; they are dynamic experiences that skew traditional formats, often playing with the very fabric of music itself. The songs interact with one another in buoyant, spring-loaded patterns, compelling listeners to engage deeply with each release. Few artists can claim to demonstrate such flair and innovation in album-making as Prince did.
A Lackluster Collection
However, his latest release, Timeless, fails to capture that magic. The collection, comprised of old outtakes, comes across as a disjointed assembly rather than a thoughtfully curated album. If it were called a last-minute effort, it wouldn’t be far from the truth. Arranged chronologically, spanning from a 1977 demo to a 2016 live recording of a beloved B-side, the album lacks coherence and fails to draw listeners in. Instead of offering intriguing alternate paths or capturing the essence of what might have been, Timeless feels disappointingly flat, reminiscent of a club soda left to go stale in the sun.
Questionable Choices
One might wonder about the reasoning behind the selection of tracks featured in Timeless. After listening, the only answer that emerges seems to be, “Why not?” The standout songs in this lackluster collection include a couple of throwaway rockers: the 2007 track “The Guilty Ones,” with its compelling guitar riffs, and the original new-wave interpretation of “Tick Tick Bang,” from 1981. These tracks could serve as the foundation for a thematically more coherent collection yet are relegated to an album that leaves listeners wanting.
Dissipation of Impact
As one continues to listen to the collection, it becomes increasingly challenging to hold onto the musical threads. The live version of “How Come U Don’t Call Me Anymore,” recorded during his final tour, feels shoehorned into the mix instead of serving as a meaningful shift. Similarly, the opening track, “I Am You,” leaves listeners reminiscing about The Time’s “The Walk,” which reimagines the demo’s groove with vigor. The attempt to revisit past styles comes off less as homage and more as a sign of musical stagnation. Even when Prince declares, “NPG cutting up a rug” in “Calabama” from 2003, any hints of revitalization quickly dissipate.
The Legacy Questioned
Ultimately, Timeless provides scant evidence to support the claim of Prince’s status as the ultimate pop star. If someone were to use this collection as a reference, you might find yourself questioning both Prince’s genius and that individual’s judgment. This release, despite its historical context, does little to honor the legacy of an artist known for his transformative impact on music.
