I vividly recall not liking this track when it came out 15 years ago, thanks to the stupid video with stupid costumes and equally stupid dancing. It wasn't until very recently that I, by sheer impulse, dropped it into a set that I had an immediate change of heart. This tune went down an absolute storm and on closer inspection, I guess I can understand why. 15 years on, the piano and bassline, not to mention the wonderfully uplifting chorus, sound remarkably fresher than ever. In an era where accessible soulful house is rarer than hen's teeth, 'Sing Hallelujah' still fulfills a purpose on today's floors.

'1999' is my favourite Prince album, more experimental and outrageous than the preceeding 'Dirty Mind'/'Controversy', and less eclectic than the follow-up, 'Purple Rain'. Plus I can't imagine the release of this album to have been better-timed as it came when very exciting things were happening in the scene, namely the emergence of Electro and a wider use of new technology. Despite most of the album being synthetic, it rarely sounds mechanical as Prince's ever-present funk sensibilities show through in a way where the songcraft is never overshadowed by neither the Linns or the Yamahas. Indeed, his use of the new technology simply take his compositions to a new level; the electronic underbellies of tracks like '1999', 'Let's Get Married' and 'D.M.S.R.' give the songs a unique robotic perfection which would not have been possible had they been solely recorded on real instruments (use your common sense when drawing the line between "real" and "fake" instruments). The whole album is a wet dream come true for anyone who digs on both classic groove and the angular perfection of MIDI. It has also proved to be my own personal bible when it comes to composing or producing. The sheer original brilliance of '1999' makes it perhaps the best funk album of the 80's; you're hard-pressed finding anything else as insatiable or unique.

One word: superb. Despite my being barely conceived at the time, I must imagine this was cutting-edge shit for 1982. The production is pristine; slinky bassline, sexy synths, great vocal. The groove just sucks you in everytime.