Prince has always been one to court controversy and stir up public opinion.

Whether its to do with his name changes, his androgynous, sexual behaviour of the 80’s, or playground myths - hands up who believed he had his bottom ribs removed for self pleasure purposes, a tale later bestowed upon other a-sexual purveyor, Marilyn Manson..?

It’s no surprise then to know that there are plenty of artists ready to pay tribute to his work by creating their own versions of his original visions. It’s not a new aspect, as Sinead O’Connor (Nothing Compares 2 U), Chaka Khan, Mariah Carey, Alicia Keys and more recently Inaya Day (Nasty Girl) are all artists who have achieved various degrees of success and notoriety since 1978.

This compilation is a hit-and-miss affair, but isn’t a complete waste of time. Opening track She’s Always In My Hair by D’Angelo fuses the funk, rock and RnB to worthy results, as does Susanna & The Magical Orchestra’s Condition of The Heart that isn’t too shabby with the piano in tow.

It continues to get better, with Osunlade’s Crazy You sounding ripe for a jazzy, soulful party, and The Broadway Project’s version of The Ballad Of Dorothy Parker providing a trippy highlight, which is only enhanced by Jeb Loy Nicholls’ vocal prowess.

The real winners come in the final quarter, with Soulwax, Rob Mello and 7 Hurz with Peaches covering Starfish & Coffee, Critical and Sexy Dancer respectively whilst keeping the duality of sexy/cool, raw but smooth, and brash but intricate that makes Prince a pioneering artist in the fore.

Sexy Dancer is the biggest plus as it is de-constructed into a backstory, with the actual idea of going to Prince’s house for a party becoming the main focal point. Its original, and scintillating to listen to.

Some other artists seem to have tried the same principle, but missed the target in a near tragic way. Blue States’ Alphabet Street is a bossanova take that sounds more like a Richard Cheese pastiche, and The Dynamics’ version of Girls and Boys makes Ali Campbell’s solo project sound near palatable.

Hefner’s Controversy and LB’s The Future are fine individually, but in comparison to their predecessors, they suddenly become frustratingly flat. It’s Stina Nordenstam’s Purple Rain cover though that comes off worse. You have to be a brave artist to take on a Prince tune as it is, but changing this classic into a lo-fi version takes out all the soul that made it what it is.

It’s a shame to conclude on a low-note, as the majority of the songs here are decent. All misses aside, this is still a decent attempt at taking Prince’s tunes on a complete 360.