It’s difficult to pin down when the color purple took on the deep significance it would come to hold in Prince’s universe. The reference to a “purple lawn” in his 1976 song “Leaving for New York” was an interesting piece of trivia, but it felt more like an early attempt at Joni Mitchell-esque lyrical impressionism than the genuine birth of a motif. It wasn’t until much later, after the pastel pinks and blues of 1979’s Prince and the stark monochrome of 1980’s Dirty Mind, when the color began to show up in earnest. The album cover for 1981’s Controversy featured a lavender font, with Prince sporting one of his trademark studded trenchcoats in a matching color. And of course, at some point after he moved into his house on Kiowa Trail in Chanhassen, Prince had the exterior painted from its original cream color to an electric purple.
Whether the color’s importance to Prince was a recent development or a long-simmering fixation, it was on his fifth album that he finally shared it with the world. 1999 is rife with lyrical references to purple: it’s the color of the title track’s apocalyptic sky; the “rock” he invites listeners to “take a bite of” in “D.M.S.R.”; the “star in the night supreme” to which he compares his lover in “Automatic”; the promised “love-amour” and the “high” he craves in “All the Critics Love U in New York.” The artwork, too, is dominated by purples of all shades: from the deep royal purple of the background to the phallic, red-tinged shades of the lettering, to the cool violet tones of the inner sleeve photo of Prince with his backing band. Yet not even this veritable explosion of purple makes as clear a statement as another song, recorded on May 22, 1982 and titled simply “Purple Music.”
