Prince & The Revolution's 'Purple Rain' Gets a Splendid "One Step" Single LP

Cut from a hi-res transfer of original EQ'd analog master, this reissue creates spectacular three-dimensionality from a bright, glossy '80s production

Purple Rain arrived in 1984 two years after 1999, Prince's first big critical and commercial success. With songs like "Little Red Corvette" and the title track, It was the record that established his stardom and eventually in the year 1999, it was certified quadruple Platinum. Following his passing in 2016 it again charted, peaking at #7—better than when it was originally released.

Quick aside: I was in Minneapolis on April 21st, 2016, the day Prince died. I'd visited Audio Research for a factory tour video and on the way to the airport as we drove past First Avenue, the club where Prince built his career, my host asked if he should stop so I can get out and take a photo in front of the club. I said "next time." There was no "next time" posing there while Prince was alive. He was discovered around 10:00 in the morning just about when we drove by. It was kind of creepy to find this out later in the afternoon after arriving in Newark.

Purple Rain, his sixth studio album, was next up, the soundtrack to a movie he insisted his manager Rob Cavallo produce for him as a condition for renewing his contract. The movie was an undistinguished "local quality" vanity project with a weak plot and clunky direction, but its spectacular soundtrack became Prince's first #1 on the Billboard Top 200. By 1996 it was certified a ridiculous 13x Platinum seller with total sales in excess of 25 million copies.

At this point in time is there any reason to go over the memorable tunes? Or the monumental, audacious arranging and production values? Not really. Prince & The Revolution reached for the stars and they achieved lift off.

Unfortunately the recording, and especially the mix, though presumably all-analog, had that unbearable heavily processed sheen that, like a lot of what was produced in the mid '80s, spelled "c-o-c-a-i-n-e"—not saying that was involved or that Bernie Grundman, the mild mannered mastering engineer who worked for a great metropolitan mastering house, who first mastered and cut lacquers for the record, was sniffing—but the original's top end and midrange was so godawful hard, bright, and "sheeny" that it made listening to a great record very difficult. I tried a Japanese original (P-13021) and that was just a better pressed version of same. In 2008, Kevin Gray cut lacquers for a reissue (R125110) that was no better: sheen in the mids on up, not much bass and and soft kind of lower midrange/upper bass. Simultaneously sizzle and flaccid.

However by far the best sound from a song from this record is the specially-priced 2-cut 45rpm maxi-single of "When Doves Cry" (LP version)/"17 Days....." (Warner Brothers 0-20228). There's no edge, no harsh brightness, Prince's voice sounds warm and present, yet that electronic kick drum sounds perfectly aggressive. I play this track loud at shows and people go nuts. It's a sonic spectacular; difficult to believe it's the LP version and not a remix.

So what about this "One Step," and why cut from a file? Tom Biery, who is in charge of these Because Sound Matters One Steps, told me that the one and only tape had been repeatedly used since 1984 and though it wasn't in terrible shape, it would have to be run multiple times to produce lacquers for a 6000 edition run and he didn't want to be the one responsible for destroying or damaging the tape, so a one-off 192kHz/24bit file was produced from which Levi Seitz at Black Belt Mastering cut lacquers and...?

And though it's still bright, it is fundamentally even-keeled bright with the sheen and haze somehow removed. The sound is "tight" and transparent in a way that reveals details formerly caught in the haze. Yes, Prince's voice has that '80s era processing but it doesn't smear over everything, thus his voice sits solidly in a three-dimensional space as I've never before heard it. Production details hidden are now in plain audible sight and you can crank the shit out of it and your ears won't bleed. I don't know how Mr. Seitz did what no one else has managed when cutting from tape, but there it is. Even the title track's big ending blast with the guitar solo now sings.

A few bars into "Take Me With U," you'll completely understand how spectacular this is: the right channel synth accents pop with precision in startling three-dimensionality well away from the speaker. All of the centered vocal overdubs are easily discernible, the drums across the stage are well separated, and for the first time, the mix makes complete sense! You don't have to play it loud. At reasonable levels it still sounds inviting. The kick drum pops. There's an enormous sense of space across the soundstage and precise transient definition and I can honestly say that for the first time in 40-plus years I can sit back, listen, and enjoy Purple Rain. And from a digital file. Go figure.

This 180g One-Step pressed on Neotech VR900-D2 High Performance vinyl is limited to 6000 copies retailing at $99.98. The package is all deluxe with a gatefold jacket, all of the original inserts, and an outstanding purple slipcase. Purple Rain is one of the greatest rock/funk/soul/whatever albums and it finally sounds as it should. And no, I haven't heard the Blu-ray Audio or other special editions. But when Lisa asks Wendy if the water is warm enough, you'll know you made the right choice! The lacquer cut goes almost all the way to the label so there's that!