SPILL ALBUM REVIEW: VARIOUS ARTISTS – DEARLY BELOVED: A PRINCE SONGBOOK

VARIOUS ARTISTS
DEARLY BELOVED: A PRINCE SONGBOOK
CHERRY RED RECORDS

While the word untimely is often thrown around, particularly when a bona fide legend passes, it seems that the absence of Prince is felt more so than others since his death at the age of 57 in 2016. While tributes and stories alike continue to surface, even now nearly a decade later, Cherry Red Records has assembled an expansive compilation in honour of Prince. Dearly Beloved: A Prince Songbook collects 52 tracks in celebration of the songwriting and artistry of Prince. Divided into three segments, the first third includes songs written by Prince for other artists, the second section consists of artists covering some of Prince’s classic work, and the concluding section features more covers of lesser-known tracks.

Dearly Beloved: A Prince Songbook opens with 18 songs. Organized chronologically, the album opens with the electronic R&B ballad, “Love… Thy Will Be Done”, as performed by Martika. The disc continues with classics from Sheena Easton (“Sugar Walls”), The Bangles (“Manic Monday”), and Patti LaBelle (“Yo Mister”). Surprisingly, there is minimal repetition between this and Originals, a posthumous album released in 2019 that was made up of Prince’s versions of songs written for other artists. While representing a wide range, from pop to country, key moments from this section of the compilation go beyond the most well-known Prince hits, including André Cymone’s “The Dance Electric”, Kid Creole & The Coconuts’ “The Sex Of It”, Rosie Gaines’ “I Want U”, Brownmark’s “Shall We Dance?”, Van Gogh’s “Van Gogh”, and Ana Moura featuring Herbie Hancock’s “Dream Of Fire”.

The album continues with a collection of some of Prince’s greatest hits. From “I Wanna Be Your Lover” (performed by Corinne Bailey Rae) to “Uptown” (performed by Crystal Waters), disc two of Dearly Beloved: A Prince Songbook includes another 18 songs but excludes some of his most recognizable hits. This feels deliberate, allowing for Prince’s massive catalogue to breathe without the weight of generational anthems of the likes of “Purple Rain”, “When Doves Cry”, and “Little Red Corvette”. Most impressively, this reaffirms the old adage that a good song remains a good song, no matter who’s performing it, which, much like the first disc, effectively demonstrates the prowess of Prince as a songwriter. Highlights from this section include the Pointer Sisters’ “I Feel For You”, Traces Gospel Choir’s “Walk Don’t Walk”, N’Dambi’s “Soft And Wet”, and Bobby Sparks II featuring Lizz Wright’s “Sometimes It Snows In April”, among many others. While not all covers are created equally, Dearly Beloved: A Prince Songbook continues to pay homage to its titular artist.

Starting with “Sexy Dancer”, performed by 7 Hurtz, featuring Peaches & Bitch Lap Lap, the final segment of Dearly Beloved: A Prince Songbook also consists of covers. This time, however, attention is given to some lesser-known gems and B-Sides–save a few mega-hits–from Prince’s discography. Much like the previous disc, this collection of covers demonstrates the range and versatility of Prince’s original songwriting. From the up-tempo funk of Sharon Jones & The Dap Kings on “Take Me With U”, to Hue & Cry’s bebop rendition of “Sign O’ The Times” –which also melodically references “Gett Off” –and from 1920’s ragtime of Robyn’s “Jack U Off” to the alt-pop of Surferosa’s “Controversy”, this selection of covers proves to be far more experimental and much more thrilling than that of the previous disc. Additional highlights include the jazzy and soulful rendition of “Other Side Of The Pillow” by Maceo Parker–a frequent Prince collaborator–and the absolutely stirring “Purple Rain”, by Amanda Parker, ultimately bringing the compilation to a climatic and emotional close.

Dearly Beloved: A Prince Songbook soars as an exceptional tribute to the legacy of Prince. On one hand, we see the versatility of his songwriting through hits he had made with other artists and styles in mind. On the other hand, we can hear a rich collection of interpretations of his work. By hearing these two reflections side by side, a sense of timelessness is demonstrated, perhaps more so than ever before, in the artistry of Prince. Through his writing for other artists, we can see a knowledge, understanding, and respect for genres far beyond the pop and funk most associated with Prince. Few songwriters could depart from their main genre and write with an equal level of conviction. Meanwhile, through seeing his own material covered by an equally wide range of artists, it can be determined that these songs stand not only the test of time, but the challenge of being repurposed into other styles–something that reaffirms the quality and brilliance of his songwriting. If anything, Dearly Beloved: A Prince Songbook demonstrates both the universality of Prince and the undeniable influence he has had on the modern adaption of the American songbook.

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