Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince has shown remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music can be maddeningly inconsistent because of this eclecticism, but his experiments frequently succeed; no other contemporary artist can blend so many diverse styles into a cohesive whole.

Prince's first two albums were solid, if unremarkable, late-'70s funk-pop. With 1980's Dirty Mind, he recorded his first masterpiece, a one-man tour de force of sex and music; it was hard funk, catchy Beatlesque melodies, sweet soul ballads, and rocking guitar pop, all at once. The follow-up, Controversy, was more of the same, but 1999 was brilliant. The album was a monster hit, selling over three million copies, but it was nothing compared to 1984's Purple Rain. Purple Rain made Prince a superstar; it eventually sold over ten million copies in the U.S. and spent 24 weeks at number one. Partially recorded with his touring band, the Revolution, the record featured the most pop-oriented music he has ever made. Instead of continuing in this accessible direction, he veered off into the bizarre psycho-psychedelia of Around the World in a Day, which nevertheless sold over two million copies. In 1986, he released the even stranger Parade, which was in its own way as ambitious and intricate as any art rock of the '60s; however, no art rock was ever grounded with a hit as brilliant as the spare funk of "Kiss." By 1987, Prince's ambitions were growing by leaps and bounds, resulting in the sprawling masterpiece Sign 'O' the Times. Prince was set to release the hard funk of The Black Album by the end of the year, yet he withdrew it just before its release, deciding it was too dark and immoral. Instead, he released the confused Lovesexy in 1988, which was a commercial disaster. With the soundtrack to 1989's Batman he returned to the top of the charts, even if the album was essentially a recap of everything he had done before. The following year he released Graffiti Bridge, the sequel to Purple Rain, which turned out to be a considerable commercial disappointment. In 1991, Prince formed the New Power Generation, the best and most versatile and talented band he has ever assembled. With their first album, Diamonds and Pearls, Prince reasserted his mastery of contemporary R&B; it was his biggest hit since 1985. The following year, he released his 12th album, which was titled with a cryptic symbol; in 1993, Prince legally changed his name to the symbol. In 1994, after becoming embroiled in contract disagreements with Warner Bros., he independently released the single "The Most Beautiful Girl in the World," likely to illustrate what he would be capable of on his own; the song became his biggest hit in years. Later that summer, Warner released the somewhat halfhearted Come under the name of Prince; the record was a moderate success, going gold.

In November 1994, as part of a contractual obligation, Prince agreed to the official release of The Black Album. In early 1995, he immersed himself in another legal battle with Warner, proclaiming himself a slave and refusing to deliver his new record, The Gold Experience, for release. By the end of the summer, a fed-up Warner had negotiated a compromise that guaranteed the album's release, plus one final record for the label. The Gold Experience was issued in the fall; although it received good reviews and was following a smash single, it failed to catch fire commercially. In the summer of 1996, Prince released Chaos & Disorder, which freed him to become an independent artist. Setting up his own label, NPG (which was distributed by EMI), he resurfaced later that same year with the three-disc Emancipation, which was designed as a magnum opus that would spin off singles for several years and be supported with several tours. However, even his devoted cult following needed considerable time to digest such an enormous compilation of songs. Once it was clear that Emancipation wasn't the commercial blockbuster he hoped it would be, Prince assembled a long-awaited collection of outtakes and unreleased material called Crystal Ball in 1998. With Crystal Ball, Prince discovered that it's much more difficult to get records to an audience than it seems; some fans who pre-ordered their copies through Prince's website (from which a bonus fifth disc was included) didn't receive them until months after the set began appearing in stores. Prince then released a new one-man album, New Power Soul, just three months after Crystal Ball; even though it was his most straightforward album since Diamonds and Pearls, it didn't do well on the charts, partly because many listeners didn't realize it had been released. A year later, with "1999" predictably an end-of-the-millennium anthem, Prince issued the remix collection 1999 (The New Master). A collection of Warner Bros.-era leftovers, Vault: Old Friends 4 Sale, followed that summer, and in the fall Prince returned on Arista with the all-star Rave Un2 the Joy Fantastic.

LONDON - Prince has angered the music industry and stirred up trouble among British retailers by giving away his new album with a tabloid newspaper this weekend. "Planet Earth" will be packaged with the Mail on Sunday at a price of $2.80.

The giveaway has been roundly criticized as a major blow for an industry already facing rapidly declining CD sales. It has led Sony BMG U.K., Prince's local label, to pull the plug on its own sales release of the CD in Britain. International sales launch for "Planet Earth" is July 16; the U.S. launch is July 24. "The Artist formerly known as Prince should know that with behavior like this he will soon be the Artist Formerly Available in Record Stores," said Paul Quirk, co-chairman of the Entertainment Retailers Association, referring to a period in the 1990s when the singer famously stopped using his name to protest a binding record deal. "It is an insult to all those record stores who have supported Prince throughout his career," Quirk added. Also fueling retailers' ire is what they see as a traitorous move by one of their own. After initially harshly criticizing Prince and the deal, music and books retailer HMV, which doesn't normally sell newspapers, decided to sell the Mail on Sunday in its 400-plus stores across the country. "Like it or not, selling the newspaper is the only way to make the Prince album available to our customers," HMV said. Rival retailers were outraged. "We're stunned that HMV has decided to take what appears to be a complete U-turn on their stance," said Simon Douglas, managing director of retail at Virgin Megastores. "It's not only retailers that suffer; the public will suffer in the long term by restricting choice on the high street."

The use of so-called "covermounts," where free CDs or DVDs are attached to the front of a newspaper to catch the buyer's eye, is widespread in Britain where many newspapers are struggling to retain readers who are turning to online news and entertainment. Most of the giveaways are compilations of archive recordings or older films. Past giveaways by the Mail on Sunday include CDs by Duran Duran, Peter Gabriel and Dolly Parton. Prince's CD contains new tracks along with old hits such as "Purple Rain." Sony BMG U.K. said it decided it was "ridiculous" to go ahead with its own sales launch in light of the newspaper deal, but stood by its star singer, adding it remained "delighted" to be working with Prince. The Mail on Sunday declined to say how much it paid to secure the deal or how many copies of "Planet Earth" it planned to sell. Its average circulation is 2.3 million copies. Quirk said the deal was "yet another example of the damaging covermount culture which is destroying any perception of value around recorded music." Beyond the covermounts, the value of recorded music is already under widespread threat from the rapid rise of digital downloads. The International Federation of the Phonographic Industry estimated that overall music sales worldwide fell around 3 percent last year as a doubling in digital sales failed to compensate for falls in physical CD sales and digital piracy.