PRINCE
(US, twenty Top 40 hits, seven Top 40 albums)

Not only as mad as a beetroot, but also dressing like one, this compact parcel of alluring testosterone (full name Prince Rogers Nelson) became one the most appealing, elusive and supertalented stars of the decade. Never interviewed, his mystique remained intact when the 80s came to an end, and only a reversal in fortunes opened his heart to the media sometime in the mid 90s. He did a three year apprenticeship of some acclamation, including a phase involving the donning of bikinis and fur coats, before it really began in '83 when a barnstorming single called "1999" ("they say two thousand zero zero over oops out of time") peaked at No.25, followed by a shimmering car-crazy number called "Little Red Corvette". Neither broke the man - that distinction went to the seriously sexual "When Doves Cry" ("how can you just leave me standing alone in a world that's so cold") which featured clips from the accompanying musical movie as the video, went to No.4 and a star was born. The film was okay, as was the beautiful, balladeering title track "Purple Rain" ("I never meant to cause you any sorrow, I never meant to cause you any pain") which was and still is utterly gorgeous.

TRADEMARK

Into '85, and Prince caused a stir at the BRITS when he collected two gongs alongside two troglodyte minders and gave the pretentious, short acceptance speech "thanks to God" on getting the second award. It was clear that he was a knob, but his music made all his pillockisms forgivable. There was a double A-side re-issue of his first two hits, which would become his highest chart placing at No.2, and a madhouse rock opera called "Let's Go Crazy" ("let's go nuts"), which was also double-sided with a simple piece of loved-up pleading called "Take Me With U", which also introduced us to his trademark of using singular letters and digits if they homonised actual words. He toddled along with other just-enough releases until his most erotically perfect song emerged in '86. "Kiss" ("you don't have to be beautiful to turn me on") featured a basic chicka-chicka guitar strum and Prince doing nutty falsetto. It worked perfectly, so much so that Tom Jones had a fair go at it later. By now, it was clear that each year would produce one exceptional single, flanked by three or four decent back-up releases. The offerings for '87 followed the pattern, with the poignant, guilt-ridden lecture "Sign O The Times" ("you turn on the radio and every other story will tell you somebody had died") reaching No.10 (and being ruined later by Simple Minds) while an interesting combo with the uncredited potential squeeze Sheena Easton brought us "U Got The Look", which would be ripped off by Roxette eighteen months later.  

IMPROVISED

He wasn't at his finest in '88, though still managed the Top 10 again with "Alphabet Street", but his commercial standing rocketed to its highest for five years in '89 when he was summoned to do the soundtrack for the new Batman film. The result was "Batdance", a rollercoaster piece of synthesised zig-zag which sounded almost improvised, and occasionally layered with a few choice cuts from the film, which was a stormer. It got to No.2, and should have done better but for Soul II Soul. The decade ended with Prince an international figure of intrigue. Many hated him, more adored him for his music and unashamed use of the sex angle on his songs and production, with bump and grind never quite sounding as good again. Just for good measure, he also wrote "I Feel For You", "Manic Monday" (under the nom de plume of 'Christopher') and "Nothing Compares 2 U". The 90s saw those infamous barking name changes, (when he became a 'symbol', one genius DJ started calling him 'upside down Granada TV logo with a trumpet through it'), his first and only No.1 single ("The Most Beautiful Girl In The World"), marriage, fatherhood and a small amount of shell-leaving. But he still remains an enigma, and frankly, his 80s legacy gives him the right to be as enigmatic as he likes. Purple has never looked as good on anyone else. And of course, a certain single was shamelessly re-released as the last few weeks of the 20th century drew in.

Biggest Hit: "1999/Little Red Corvette", "Batdance", both No.2, 1985 and 1989
Defining Moment: "Thanks to God." 

Matt