Prince once claimed ‘Purple Rain’ was an avant-garde masterpiece, and its resurgence in ‘Stranger Things’ proves him right.
Prince’s album Purple Rain has long been hailed as one of the most electrifying records in the history of music. Its title track’s recent inclusion in the hit series Stranger Things has reignited interest in the album, highlighting its enduring influence more than three decades after its initial release. The album is not just a collection of songs; it’s a cultural touchstone that shaped the landscape of popular music.
The frenetic energy of the opening track, “Let’s Go Crazy,” encapsulates an era that dared to push musical boundaries. Prior to Purple Rain’s release, mainstream music had largely adhered to conventional sounds, but Prince’s work ushered in a period of bold experimentation. Fast forward to 2026, and it’s hard to envision a musical world where songs like “When Doves Cry” and “Let’s Go Crazy” didn’t pave the way for future artists. Despite the undeniable commercial success of these tracks, Prince himself claimed that creating a hit wasn’t his primary goal.
In a candid interview with Ebony in 1986, Prince expressed his discontent with the music industry, criticizing the ease with which artists could produce hit records. He felt that many musicians were merely motivated by financial gain, stating that anyone could make a record to afford luxuries like a Cadillac. His artistic vision was firmly rooted in the belief that true creativity demanded a higher level of risk and expression.
Prince believed he operated on a different plane compared to his contemporaries. He lamented the lack of diversity and originality in the music coming out during the mid-1980s. Drawing comparisons to the vibrant sounds of the 1960s, he noted that artists like Hendrix and Sly Stone had carved unique identities. He felt that many current musicians had simply latched onto trends rather than pursuing their own distinctive sounds.
Despite his criticisms, Prince maintained a hopeful outlook on the future of music. He recognized that commercialization had diluted the spirit of artistic expression but believed that a new wave of creativity was on the horizon. He suggested that artists should not let radio dictate their sound but should instead redefine what popular music could be. “A lot of the spirit is gone,” he remarked, acknowledging how the lure of profit had overshadowed artistic integrity. Yet, he remained optimistic about the potential for a musical renaissance characterized by both strictness and wildness.
