Publication: Pittsburgh Post-Gazette [US]
Date: August 26, 1994
Section: Arts & Entertainment
Page Number(s): 20
Length: 956 Words
Title: "From Frog To Prince"
Written By: Tony Norman

PRINCE: 1958-1993, COME (WARNER BROS.), three and a half stars

I remember when the artist formerly known as Prince used to freak us out. Now he just ticks us off with obscurantist games we can barely summon the energy to think about while scanning the People column.

What's his name this week? Victor? Symbol Man? Anastasia Blue? Al? Who cares, really. It's been so long since Prince Rogers Nelson has mattered to the pop mainstream that he's in jeopardy of becoming recognized more as an icon of glam than revered as the most versatile and prolific artist of the last 15 years.

''Come'' is Prince's coming out party -- a refreshing return to form of an artist who has abandoned and reclaimed the black roots of his music with the irritating regularity of dice on a roulette table.

From the title cut's seductive, funky bass line vamping ever higher to some incandescent union with the heart to ''Letitgo,'' Prince's most rhythmically infectious pop song since ''Raspberry Beret,'' this album has a staying power the mysterious composer had all but relinquished in the pursuit of his solipsistic agenda.

The standout cuts are ''Papa'' and ''Race,'' two close-to-home treatments of childhood abuse and racial alienation that probably say more about where Prince's head has been than the last three albums combined.

''Race'' in particular sounds like the old C+C Music Factory cross- pollinated with Jah Wobble and the JB Horns.

I've heard better Prince albums, but this one has come along at just the right time -- a must for fans of the artist when he was a young genius. POP/ROCK