Prince: Originals review – his hits, his way

For Prince, writing for other artists was a way to proliferate his musical influence and secure his legacy. (Depressingly, his closest modern analogue in that respect is Ed Sheeran, a man spreading a considerably thinner gift thinner still.) Originals, a collection of Prince’s guide demos for his funk proselytisers, shows the breadth and brilliance of his compositional talents – and also the judiciousness underpinning his own catalogue.

It unspools like a greatest hits, even though few of the songs included were proper hits: the Bangles sell Manic Monday better than Prince does (bearing in mind these scratches weren’t made for public consumption), largely because you believe Susanna Hoffs actually understood the workaday grind, and Prince sounds miffed by the very concept of it. His Nothing Compares 2 U coexists beautifully with Sinéad O’Connor’s version, finding hope and sensuality where she saw devastation.

And he could easily have transformed some of the other tracks into chart fare: Jill Jones’s coquettish Baby, You’re a Trip pales next to his church organ-battering, throat-shredding psychedelic rhapsodics, and he pushes Holly Rock into more daring, vivacious territory than Sheila E did. He also shows up Kenny Rogers’ pale take on You’re My Love, sinking to deeper, soul-stirring notes almost worthy of Barry White.

Sometimes Prince’s limitations are revealed: he’s no match for the deliciously supercilious Vanity 6 on Make-Up, and adds too much gothic melodrama to Noon Rendezvous, bettered by a suitably crushed-sounding Sheila E. But still – he wrote these songs, a fact that Originals drives home with his trademark casual confidence.