Back in 1984, when Prince was at the height of his
commercial stardom with the blockbuster album/movie “Purple Rain,” the song "Darling Nikki" was best known for its lyrics. The opening words
about a woman caught masturbating in a hotel lobby turned heads and fed the
reactionary, right-wing hysteria that led to the creation of the Parents’ Music
Resource Center, congressional hearings, and content labels on records.
Overlooked amid the sound and fury was the potency
of the song, including Prince’s vocal.
“Nikki” begins with a mischievous keyboard-and-guitar
harmony that saunters along with the drumbeat, happy to take its time. The
first verse’s spare instrumentation—a lone percussion line—gives Prince’s voice
space to breathe and puts the story front and center. Once the lyrics trail
off, a balls-out funk riff and crashing drums come in, as if foreshadowing,
before quieting back down for the next verse.
The song upshifts at the conclusion of the fourth verse as
Prince lifts his voice into the upper registers, culminating at 2:38 in one of the most
spectacular shrieks of ecstasy ever recorded.
Most songwriters would have finished with the hyped
up drum-keys-guitar jam outro that follows, but Prince had the compositional
chutzpah to go further. Rather than simply fade out, Prince closed the song
with a counterintuitive segue into a gospel chorus singing backward over rain
and a howling wind, making “Nikki” a symbolic nod to his two favorite subjects,
sin and salvation.
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