Planet Earth (2007)
1. Planet Earth
2. Guitar
3. Somewhere Here on Earth
4. The One U Wanna C
5. Future Baby Mama
6. Mr. Goodnight
7. All the Midnights in the World
8. Chelsea Rogers
9. Lion of Judah
10.Resolution
By the time Planet Earth arrived in 2007, Prince had clearly entered a new phase in his career. No longer the chart-dominating provocateur of the 1980s, he had, since 2004’s Musicology, embraced a quieter renaissance—an era marked by mature craftsmanship, stylistic focus, and a renewed desire to connect. Planet Earth continues in that vein: no grand reinvention, no bold departures—just a modest, often impressive, reaffirmation of his gifts.
What’s most apparent here is Prince’s consistency. While the album doesn’t scale the creative heights of his heyday, nor does it embarrass itself with failed experimentation or overwrought pretension. There’s a sense of economy in both structure and ambition. The title track opens proceedings with a surprisingly meditative tone—ethereal, atmospheric, and lyrically centered around ecological concern. It’s a rare topical gesture from Prince, and though it’s not what longtime fans might expect, the track is tastefully executed and melodically strong.
Then comes Guitar, a sharp pivot into classic rock territory. As the title unsubtly implies, this is Prince showcasing his guitar prowess—never excessive, always tasteful. It’s not his most electrifying six-string moment, but it has bite and swagger. The contrast between the first two tracks sets the tone for the rest of the record: stylistic variety executed with technical assurance.
The album’s core strength lies in its middle stretch. Future Baby Mama, Mr. Goodnight, and the frustratingly brief All the Midnights in the World represent Prince in seductive, mid-tempo soul mode—territory he has long since mastered. These tracks are the smoothest, most cohesive moments on the album. There’s nothing surprising about them, but they play to his strengths with quiet confidence. All the Midnights in the World, though clocking in at barely over two minutes, hints at something more expansive and might have been a standout had it been properly developed.
The energy lifts again with The One U Wanna C and Chelsea Rodgers, two of the album’s most rhythmically engaging offerings. Funk-infused and dance-friendly, they recall Prince’s earlier party anthems without directly imitating them. For fans of the more upbeat side of his catalogue, these are easy favorites, though they fall short of the spark and chaos that defined earlier classics like 1999 or Housequake.
Unfortunately, the album’s momentum stalls at the finish line. Lion of Judah and Resolution bring the proceedings to a close on a decidedly flat note. Neither track offends, but both feel undercooked—sketches rather than statements. The ten-track structure might suggest conceptual unity, but the closing pair suggests filler.
And yet, Planet Earth is far from forgettable. It is well-played, often well-written, and finds Prince in a reflective rather than combative mood. It also reaffirms his disdain for industry norms; in a move that bewildered executives and delighted fans, he reportedly distributed the album for free with newspapers in parts of Europe—an act of defiance as eccentric as it was generous.
In summary, Planet Earth is a minor record in Prince’s vast discography, but a worthwhile one. It doesn’t demand reverence, but it earns respect—a portrait of an artist who, while no longer chasing innovation, still knew exactly who he was.
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