In the past 25 years, Prince has become one of music's most legendary artists by making some of the sexiest, funkiest music to hit the airwaves. These defining characteristics could have easily become tired and cliché after more than two decades — and they probably would have for a less prolific artist — but Prince manages to put a fresh spin on the sexiness and the funkiness on every album. 3121, his latest, is no different.

It's hardly surprising that the first half of 3121 finds Prince in a naughty, raunchy state of mind. Sex is a ubiquitous part of Prince's persona, and he seems to be making up for the fact that this motif was scaled way back on his last album, Musicology, by offering up tracks like "Lolita," a crunchy, synthesized tribute to underage lust that samples funk and pop sounds and conjures up memories of the classic Purple Rain period.

Lyrics like "imagine me on the tip of your tongue," on "Lolita," sound positively subtle compared to the hypersexual "Incense and Candles," on which Prince really gets down and dirty, singing "come into my room of incense and candles / I'm gonna give you something you won't know how to handle." He keeps this sensuality going on "Black Sweat," on which he implies that his perspiration has more to do with the bedroom than the gym.

The amazing thing about Prince is that even with such tawdry subject matter and mildly cheesy lyrics, the songs are never cliché or laughable. Prince is probably one of the only artists that can be taken seriously while being so unabashedly sexual. He gets away with it because he's an amazing producer and musician (he plays all the instruments on his albums) and wisely keeps the music on the lascivious tracks spare, as to not outdo the subject matter and his signature beckoning falsetto.

At best, the music on these tracks is perfectly sparse, composed of synthesized beats that could easily inspire gyrations in any club. This is especially true of the track "Love." At worst, the beats sound a bit cheap and slightly under-produced, as if they could provide the background music for a provocative video game. Fortunately, these moments don't happen often.

The second half of 3121 begins with "Fury," a thick slice of disco funk/pop that is undoubtedly the album's best track. The beat is up-tempo, the mood dramatic. Prince's voice is flawless, and the guitar, which sounds a lot like it did on "When Doves Cry," weaves the song together. "Fury" is Prince at his best. The song simultaneously sounds like his vintage work, perhaps a darker "Raspberry Beret," and displays a level of sophistication that proves his relentless desire for artistic growth and innovation.

The theme switches in the final third of 3121, with Prince taking the album out of the bedroom, off the dance floor and into the church. It's seems an unlikely final destination, but if anyone can do it, it's Prince, who in the past 20 years has both released a song entitled "Pussy Control" and become a devout Jehovah's Witness.

The religious revival starts with "The Word," the theme of which is fairly self-explanatory. As with "Fury," the track is musically richer, containing layers of percussion and guitar. The tempo is slow and contemplative, the chorus almost gospel choir-like. The lyrics border on preachy ("Don't you want to go get saved?"), but thankfully manage to steer clear of becoming annoyingly self-righteous.

The mood stays optimistic for the next track, "Beautiful, Loved and Blessed," a duet featuring singer Tamar, the latest in Prince's long line of sexy female protégés, which in the past have included such talents as Carmen Electra. The track is smooth, forgettable R&B, but at least Prince chose someone who can actually sing to guest star.

Overall, this album exemplifies the fact that Prince is capable of experimenting with his sound and maintaining his artistic relevance while simultaneously reminding listeners of everything that's classic about his past work. There are a few places on 3121 that falter (the tragically tacky "Te Amo Corazon," for instance), but all in all, 3121 is a sexy, smooth, danceable example of why, after so many years, Prince still reigns supreme over his musical kingdom.

Rating: 4 out of 5