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    Prince Made ‘Welcome 2 America’ in 2010. It Speaks to 2021.

    A full album has emerged from Prince’s vault that balances hard insights with visceral joys.It’s almost as if Prince knew what lay ahead.In 2010, Prince recorded but then shelved a finished album, “Welcome 2 America,” which was full of bleak reflections on the state of the nation. It arrives Friday as the Prince estate continues to open up Prince’s vault of unreleased music since his death in 2016. Unlike much of what has emerged so far, it’s a complete, stand-alone album — a disillusioned statement that sounds all too fitting in 2021.“Welcome 2 America” was made two years into the Obama administration, and Prince didn’t see much progress. In the title track, women sing, “Hope and change”; then Prince dryly observes, “Everything takes forever/The truth is a new minority.”The songs take on racism, exploitation, disinformation, celebrity, faith and capitalism: “21st century, it’s still about greed and fame,” Prince sings in “Running Game (Son of a Slave Master).” Eleven years after the album was recorded — as the 2020s have brought bitter divisiveness, blatant racism, battles over history and a digital hellscape of hyped consumption and algorithmically boosted lies — Prince doesn’t sound pessimistic, just matter-of-fact.“Welcome 2 America” wasn’t made casually. It’s one of Prince’s more collaborative albums, constructed in discrete stages with different cohorts of musicians. Prince started out recording instrumental tracks — without vocals or lyrics — live in the studio with Tal Wilkenfeld on bass and Chris Coleman on drums. Then he worked with the singers Shelby J. (for Johnson), Liv Warfield and Elisa Fiorillo, sharing leads and harmonies with them. Morris Hayes, billed as Mr. Hayes, added keyboards and intricately jazzy simulated string and horn arrangements, earning credit as co-producer for six of the album’s 12 songs. Prince also did some final tweaking, including a rewrite of the title track.But Prince had already released one album in 2010 — “20Ten” — and his attention turned to forming a new live band (including Mr. Hayes and the three backup singers) that would tour the world for the next two years. The American portion was called the “Welcome 2 America” tour, but the album stayed unreleased. (The deluxe version of “Welcome 2 America” includes a Blu-ray of a jubilant 2011 arena show in Inglewood, Calif.)“Welcome 2 America” was completed in 2010 but then shelved.Mike Ruiz, via The Prince Estate“Welcome 2 America” makes its way from the bitter derision of its title track toward a guarded optimism, with detours — it’s a Prince album after all — into physical pleasures. The title song telegraphs its mood with its first notes: a snake hiss of cymbals and a bass line that inches upward, skulks back down and then plunges further, against a backdrop of ambiguous chords and synthesizer swoops. The track edges toward funk, and the women sing, but Prince doesn’t; he simply talks, deadpan, about information overload, high-tech distractions, privilege, fame and culture, asking, “Think today’s music will last?” Singing in harmony, the women amend an American motto to “Land of the free, home of the slave.”In the cryptic “1010 (Rin Tin Tin),” Prince asks, “What could be stranger than the times we’re in?” over skeletal, choppy piano chords, and he goes on to decry “too much information” and a “wilderness of lies.” With “Running Game (Son of a Slave Master),” Prince confronts a microcosm of rich vs. poor: the way the music business takes advantage of newcomers.Yet as usual in Prince’s catalog, “Welcome 2 America” balances hard insights with visceral joys. He sings about pointless conflicts over religion in “Same Page, Different Book” — “So much more in common if you’d only look,” he insists — but his lyrics about rocks, missiles and car bombs arrive backed by crisp syncopations. In “1000 Light Years From Here,” he puts breezy Latin funk behind reminders of Black perseverance, touching on the subprime mortgage crisis and the 2008 financial-sector meltdown: “We can live underwater/It ain’t hard when you’ve never been a part/Of the country on dry land.” Prince put new lyrics to “1000 Light Years” as an upbeat coda to the even more pointed “Black Muse” — a song about slavery, injustice and America’s debt to Black culture — on the last album he released during his lifetime, “HitnRun Phase Two.”Prince pauses the sociopolitical commentary for “Check the Record,” a rock-funk stomp about infidelity, and for “When She Comes,” a sensual falsetto ballad marveling in a woman’s ecstasy. (Prince also reworked “When She Comes” for “HitnRun Phase Two,” emphasizing male technique instead.)As the album ends, Prince calls for positive thinking. “Yes” reaches back to the supercharged gospel-rock of Sly and the Family Stone. After that tambourine-shaking peak, “One Day We Will All B Free” eases into reassuring, midtempo soul. But the “Yes” that Prince calls for is an affirmation that “We can turn the page/As long as they ain’t movin’ us to a bigger cage,” and “One Day We Will All B Free” is also a warning about unquestioning belief in what churches and schools teach. Prince saw a long struggle ahead.Prince“Welcome 2 America”(NPG/Sony Legacy) More

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    Prince’s Unearthed, Disillusioned Funk, and 10 More New Songs

    Hear tracks by Doja Cat featuring SZA, Twenty One Pilots and Rhiannon Giddens with Francesco Turrisi.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Prince, ‘Welcome 2 America’Prince recorded an album called “Welcome 2 America” in 2010, but shelved it before his death in 2016; his estate will release it in July. Maybe Prince decided the album was too bleak. Its title song is ominous, funky, seemingly improvisational and deeply cynical about an era of misinformation, exploitation and distraction. A pithy, stop-start bass line leaves space for dissonant little solos, while Prince’s vocals are deadpan spoken words: “Truth is a new minority.” He’s answered by women singing precise, jazzy harmonies and layering on more messages: “Land of the free, home of the brave,” they sing with a swinging lilt. “Oops, I mean, land of the free, home of the slave.” JON PARELESDoja Cat featuring SZA, ‘Kiss Me More’The first single from the forthcoming Doja Cat album “Planet Her” features SZA and mixes the breeze of lite 1980s funk with the bawdiness of 2020s hip-hop, a juggling act that Doja Cat has pioneered, if not trademarked, by now. JON CARAMANICAMajid Jordan, ‘Waves of Blue’Crisply ecstatic new-wave R&B from the Toronto duo Majid Jordan. What’s most impressive about “Waves of Blue,” besides its spot on texture, is its modesty — the singer Majid Al Maskati doesn’t over-sing to emphasize his point, and the producer Jordan Ullman builds synths like pillars, unostentatiously building a whole world. CARAMANICATwenty One Pilots, ‘Shy Away’“Shy Away,” the first song from a May album called “Scaled and Icy” from the genre-agnostic Ohio duo Twenty One Pilots, starts off as jittery electro before expanding into the dreamy, arms-outstretched pop that keeps arenas and hearts full. There’s a Strokesian energy to the track, but the lyrics don’t bristle with angst; they (not so gently) nudge a loved one to start on a new path. CARYN GANZMiguel, ‘So I Lie’Over the last decade, Miguel has placed his darkest thoughts and most experimental music on his series of “Art Dealer Chic” EPs; he released “Art Dealer Chic Vol. 4” on Friday. In “So I Lie,” he sings, in a soulful falsetto, about fear, pressure, and alienation from himself: “I can barely breathe, treading water/Smile on my face while I’m turning blue/Nobody cares, just work harder/I do what I can to avoid the truth.” The chorus, repeating, “Lie, lie, lie,” would almost be jaunty if it weren’t surrounded in swampy rhythms, wordless voices and hollow echoes, like all the anxieties he can’t evade. PARELESCoultrain, ‘The Essentials’A singer, songwriter and multi-instrumentalist hailing from St. Louis, Aaron Michael Frison has been making music as Coultrain for well over a decade, pulling together what sounds like a hybrid of the early 2000s Soulquarian scene, the spiritual jazz of Lonnie Liston Smith and the kind of dusty old Southern soul records that you’d find hiding in the dollar bin. On “The Essentials,” from his new album, “Phantasmagoria,” over a glutinous backing of synths, vocal overdubs, bass and drums, he professes his commitment (“’Cause there’s no other for me/It ain’t no coincidence that you reflect my eyes”) before dipping into a wily rap verse and capping things with a mystical choral passage that sounds a note of uncertainty: “I wish I could promise forever/If I could promise forever/I would promise forever to you,” he sings, the layers of his voice all in a conversation with each other. GIOVANNI RUSSONELLORhiannon Giddens with Francesco Turrisi, ‘Calling Me Home’Looming mortality becomes a refuge in “Calling Me Home,” written by the celebrated old-timey singer Alice Gerrard. It’s the sentiment of a man on his deathbed: “I miss my friends of yesterday.” The song provides the title for “They’re Calling Me Home,” the new album by the opera-trained singer, fiddler, banjo player and traditional-music explorer (and MacArthur “genius grant” recipient) Rhiannon Giddens with her partner, the early music expert Francesco Turrisi. She sings it in long-breathed lines, sometimes ended in Appalachian yips, accompanied by stark, unyielding drones, as if she’s a lone voice making itself heard before eternity. PARELESKat & Alex, ‘Heartbreak Tour’An earnest power country slow-burner from the new duo Kat & Alex, who competed on “American Idol” last year, and who sing in both Spanish and English (though not here), “Heartbreak Tour” is delivered with soul music conviction and just the right touch of melodrama. CARAMANICAMon Laferte featuring Gloria Trevi, ‘La Mujer’The Chilean singer Mon Laferte infuses vintage styles with up-to-date sentiments and fierce attitude. Her new album, “Seis,” looks toward Mexican music, and she shares “La Mujer” (“The Woman”) with one of her idols: the Mexican singer and songwriter Gloria Trevi. They trade verses and share choruses in a bolero with punchy organ chords and rowdy horns, escalating from sultry self-confidence to unbridled fury at a man who’s getting decisively dumped: “Goodbye, sad coward,” is Laferte’s final sneer. PARELESQueen Naija featuring Ari Lennox, ‘Set Him Up’Over a slow-motion strut of a bass line and a glass of chardonnay in the lyrics, Queen Naija and Ari Lennox sweetly intertwine their voices, enjoying each other’s explicit details about their latest hookups. Then they realize it’s the same guy — and the conversation turns into a conspiracy to “Set Him Up.” Female solidarity reigns. PARELESSteve Slagle, ‘We Release’Riding a slick, whipsaw groove, “We Release” casually calls back to a mainstream jazz sound from the 1970s, while serving as a proud opening shot for the saxophonist Steve Slagle’s new album, “Nascentia.” Now 69, he composed and recorded all the material during the coronavirus pandemic, providing him a project and a jolt of energy amid trying times. An unerring optimism of spirit is palpable throughout, as he’s joined here by a number of fellow jazz veterans: Jeremy Pelt on trumpet, Clark Gayton on trombone, Bruce Barth on piano, Ugonna Okegwo on bass and Jason Tiemann on drums. RUSSONELLO More

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    Prince’s ‘Welcome 2 America,’ an Unreleased Album, Is Due Out in July

    The politically minded, never-before-heard 2010 album will be the first complete project released from Prince’s storied vault.For the first time since Prince died unexpectedly in 2016, the singer’s estate will release a completed — but never-before-heard — album from his storied vault of leftover music.Until now, the estate has largely focused on rereleasing some of the biggest albums of Prince’s career, like “1999” and “Sign o’ the Times,” or on compilations like “Originals,” made up of the singer’s demos that became hits for other artists.But on July 30, “Welcome 2 America,” a 12-track album recorded at Prince’s Paisley Park Studios in 2010, will finally see the light of day.In its announcement, the estate called “Welcome 2 America” a document of “Prince’s concerns, hopes and visions for a shifting society, presciently foreshadowing an era of political division, disinformation, and a renewed fight for racial justice.” The album touches on “golden parachutes, the superficial nature of social media, reality TV-fueled celebrity culture, and corporate monopolies in the music industry, ultimately concluding that America is the ‘Land of the free/home of the slave,’” the estate said.It also included a quote about the album from Prince at the time, written in his trademark style: “The world is fraught with misin4mation. George Orwell’s vision of the future is here. We need 2 remain steadfast in faith in the trying times ahead.”In line with that message, songs from the album include titles like “Running Game (Son of a Slave Master),” “Born 2 Die” and “One Day We Will All B Free.” On the title track, Prince sings, “Distracted by the features of the iPhone/Got an application, 2 fix Ur situation.”From 2010 to 2012, Prince played more than 80 concerts on a tour of the same name, but he never explained why he shelved the related “Welcome 2 America” album.It has been a fraught road for the estate since the singer died from an accidental overdose of an opioid painkiller five years ago this month. While Prince was known for fastidious control over his career, including retaining ownership of much of his music, he left no will. Prince was determined to have six family members who qualified as heirs, although one — a half brother — has since died.The release of “Welcome 2 America” will come via Legacy Recordings, a division of Sony Music Entertainment, which began releasing Prince music after an earlier $31 million deal between the estate and Universal Music was rescinded by a judge.The estate has since faced tax problems with the I.R.S., which said that the estate is worth $163.2 million — nearly double the $82.3 million claimed by the estate’s administrator, Comerica Bank & Trust. (A judge overseeing the estate has referred to a state of “personal and corporate mayhem.”)Prince’s vault at Paisley Park, his studio complex outside of Minneapolis, is thought to contain hundreds — or potentially thousands — of unreleased songs. More

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    Olivia Rodrigo's Hit 'Drivers License' Has the Best Part of a Song

    Listen and follow Still ProcessingApple Podcasts | Spotify | StitcherThis episode contains strong language.Wesley has made his pick for song of the year: “Drivers License” by Olivia Rodrigo. This record-breaking track makes him nostalgic for his favorite part of a song — the bridge.Bridges used to be a core feature of popular music, but they’ve become an endangered species, right next to the sitcom laugh track.With today’s pop songs increasingly devoid of bridges, how do we form emotional, heart-swelling connections to pop songs? For Jenna, the answer lies in the earthquake that hit the world in 2018: TikTok.Today, we listen back to iconic bridges and look ahead to the new ways TikTok allows us to experience the best part of the song.On today’s episodeA bridge at its bestWesley thinks that “Drivers License,” the debut single from an 18-year-old Disney actress, will be song of the year for one key reason: It’s got a bridge!“What I love about some bridges is you are dropped into the middle of a totally different song,” Wesley said. “And the bridge on ‘Drivers License’ basically does that.”The bridge begins around the two-and-a-half-minute mark, when Olivia Rodrigo starts belting, “Red lights / stop signs / I still see your face in the white cars.”Writing songs for TikTok-ificationIn an episode of “Diary of a Song,” Olivia Rodrigo told the culture reporter Joe Coscarelli that she wrote “Drivers License” with TikTok in mind. Her vision has held up, as swarms of TikTokers have captured the song’s transition into the bridge. “They’re really just playing into the cathartic release that the bridge offers,” Jenna said. “Like, here are the contents of my heart emptied out.”

    @spoiledmel can this be a trend? 😳 ##oliviarodrigo ##driverslicense ##fyp @livbedumb stream drivers license!!!! ♬ drivers license – Olivia Rodrigo Jenna discussed a few other song-based TikTok challenges that have gone viral, including “Buss It” by Erica Banks, “Mood” by 24kgoldn and “Savage” by Megan Thee Stallion.“I think what a lot of artists have done, and have really enjoyed doing, is seeing not just where these songs live in people’s bodies,” Jenna said, “but what their bodies do with them and what their minds do with them.” She added, “It is such a vehicle for creative expression, unlike anything I’ve ever seen in my lifetime.”Jenna and Wesley’s favorite bridgesIn the episode, the co-hosts treat us to some of their most treasured bridges — like the breakdown in Prince’s “Raspberry Beret” and the well-earned apex of “I’m Your Baby Tonight” by Whitney Houston.Here’s a playlist of all the songs mentioned in this episode.Hosted by: Jenna Wortham and Wesley MorrisProduced by: Elyssa Dudley and Hans BuetowEdited by: Sara SarasohnEngineered by: Marion LozanoExecutive Editor, Newsroom Audio: Wendy DorrAssistant Managing Editor: Sam DolnickSpecial thanks: Nora Keller, Julia Simon, Mahima Chablani and Desiree Ibekwe.Wesley Morris is a critic at large. He was awarded the 2012 Pulitzer Prize for his criticism while at the Boston Globe. He has also worked at Grantland, The San Francisco Chronicle and The San Francisco Examiner. @wesley_morrisJenna Wortham is a staff writer for The Times Magazine and co-editor of the book “Black Futures” with Kimberly Drew. @jennydeluxe More