Paris 25 August 1986

 

After listening to some brilliant shows from the 1990s over the last few weeks, today I am going further back to that year of years, 1986. I have listened to many shows from 1986 already, so you might think there is nothing left to listen to that would be of interest. I have listened to some fine shows, that is true, but this particular show is of great interest as it is the live debut of “Its Gonna Be A Beautiful Night,” and the fact that it was recorded at this show and with the addition of overdubs is the version we all know so well from Sign O The Times. I have heard the song hundreds of times on Sign O The Times, and it gives me a thrill to hear it here in its untouched glory, The Revolution playing at its best. There is no one recording that does this show justice, so I am going to listen to a mixture of recordings. Firstly, a nice soundboard that covers 90% of the show, then an audience recording that covers the rest. In addition, I will also watch an audience video recording of the show, which doesn’t add much as it is quite hard on the eyes, but is still worth seeing at least once, if not for seeing The Revolution chewing up “Its Gonna Be A Beautiful Night.”

25th August 1986, Le Zenith Paris

As always the opening of “Around The World In A Day” starts behind the curtain, but once that curtain opens Prince and the Revolution are on fire. The first verse calls you in, but then the music takes off as Prince is revealed and the spotlights hit the stage. Brown Mark sounds great early on, and his bass has a cool rolling quality to it mid-song.

The horns that herald the beginning of “Christopher Tracey’s Parade” sound joyful in the extreme, and as Prince and Wendy sing there is a lovely summery feel to the show, and one expects that the whole evening will be an uplifting experience. It is bright and lively sounding, and I love the drum sound to it. Prince’s showmanship is excellent with some leaps and splits right from the start that sets the tone. However, the best moment is when he jumps behind the organ and starts playing, it’s so energetic sounding.

“New Position” stays with this bright sound with Wendy playing the steel drum adding a new dimension to the live show. The Purple Rain shows feel a million miles away as I watch Prince and the band work the stage, everyone seems to have an extra spring in their step. Three songs in and I am in love with 1986 all over again.

“I Wonder U” slows things down, and aside from highlighting Wendy on vocals we also get some cool sounds from Eric Leeds and Atlanta Bliss, as well as a fantastic guitar playing in my left ear. I don’t even know what to call this music, all I know is how much I get out of listening to it. For a couple of minutes, I don’t even mind that Prince isn’t on the stage.

 

Prince is well and truly back as a flurry of horns open up “Raspberry Beret.” This was all over the radio when I was a younger man, and age has not diminished its freshness to me. It is one of the great ‘pop’ songs, and Prince plays it with the spirit and youthfulness it deserves. Like all the best moments it comes and goes before I know it, but I still enjoy every fleeting second.

Prince is all over the stage and showboating as they play “Delirious” and I wonder how can he have so much energy. The first part of the song was cool, and it looks like Prince is about to play some organ, but then they swing into my favorite part of the show.

This version of The Revolution sounds great as they play “Controversy.” With the twin rhythm guitar of Wendy and Miko, they have a wonderful slippery funky sound, one that resonates in my ears all day long. “Controversy” is very short, before the segue into “Love Bizarre,” and I am perfectly happy with that as I know this medley so well, and it is usually the part of the show I skip to.

   

“Love Bizarre,” right from that first “A, B, A, B, C’ has the funk turned up to eleven. It’s in the sound of the guitars again, and until Eric Leeds appears this is what I listen to most. Eric Leeds's solo is different from how I remember it and infinitely enjoyable. However, the best bit comes next as Wendy and Miko stand back to back funking me up while Prince encourages the crowd to chant “Who’s house, Wendy’s house” The song goes off on an interesting tangent next with a bass-heavy groove leading us into Prince and the band stomping around the stage before, ugh, “the wooden leg”. Whatever my feelings for the wooden leg, the music is everything I could ever want and more, and it takes on a James Brown edge as the song comes to a close.

 

I can lean back and relax again as “Do Me, Baby” begins, although it doesn’t have the long beautiful intro that I usually look forward to. The intro is shorter, and Prince is into his singing right from the start. The music swells and rises behind him, I can’t deny it sounds good, but for me, it’s missing the wow factor that I have heard on other recordings. The small flourishes from Eric Leeds give it some extra shine, and these moments are a real high point for me, especially the little pieces I can hear him play as the song quietens. The last few minutes of the song are what make it for me, some of Prince's soft singing as the music twinkles and sparkles behind him, it’s divine.

 

A diversion next as “How Much Is That Doggie” leads us into the brief “Lady Cab Driver” which in itself quickly becomes “Automatic.” Compared to everything else in the show it's stripped back, and that works well for this part of the medley with the sound of the guitar and bass carrying us along. The rest of the band makes themselves heard in the chorus as it spins off into uncharted territories before settling on “D.M.S.R.” Wendy and Miko’s guitar sound once again sounds glorious in my ears. It is short-lived as we finally get a longer song.

 

“When Doves Cry” gets a bonus point in my book for being longer than the previous medley, and it’s played straight without too many extras in the sound. Like the other performances on the tour, it’s Wendy’s solo that gets all my attention and all my praise, she sounds amazing as her guitar comes hard and clear. As much as I love Prince’s vocals and performance, Wendy upstages him and it’s a wonderful moment. The intensity is ramped up as Prince climbs atop his piano to encourage the audience more, and the band responds with some great intense playing of their own. The last few minutes with Prince working away at the organ while the band plays on are sublime.

We come back to earth as Prince takes his time at the piano to play something a little more laid back. That something is the heavenly “Under The Cherry Moon,” a song completely at odds with all that has come before, and all the more powerful for it. The playing is lovely as is Prince’s vocal delivery, this time restrained and beautifully interweaving with the piano. No words can properly do this moment justice, it has to be heard and savour every note.

The sweet music is forgotten in an instant as the band strikes up another favorite of mine, “Anotherloverholenyohead.” Prince and Wendy’s vocals are tightly together in this song, and I am reminded of how well they worked together, not just playing but also singing. Other band members get their moments too, Atlanta Bliss and Eric Leeds play their piece before the band begins the long playout with Prince engaging the audience in some calls. Lisa is superb, her piano playing is light and bright and adds a sheen to the heavier bass sound of the song. It’s music that I find I have to listen to, you can’t let it slide by, and I find I enjoy every moment of the few minutes Lisa plays.

 

I had forgotten that “17 Days” was coming, and I am oh so pleased to hear it next, especially as I haven’t mentioned Brown Mark yet. He is in his element, and his sticky-sounding bass sucks me in. Prince tells the audience that they are recording the show, and I am only too happy to be enjoying the fruits of that thirty years later. The horns and guitar pick it up and run with it, and it becomes a groove that goes on and on. Prince starts to chant “Head, head” and I smile with anticipation.

Nasty Prince is definitely in the house as he tells the mothers in the crowd “Cover your daughter’s eyes” at the beginning of “Head.” I know we are in for a good one, as there is a pause before the horns start and the funky guitar plays through. Even when the horns come in, and the keyboard riff plays it’s still that guitar sound that stays with me. Head plays for ten minutes and I revel in every note of it, all of it deliciously dirty and funky. Dr. Fink’s solo is best summed up by Prince himself when he says “If you ain’t gonna do that to a synthesizer, then don’t play one” The long ‘burn it up’ sequence at the end is intense as Prince hurls his top into the crowd before engaging in some slick dance moves. Prince writhing on the floor singing "Electric Man" as the song sinks even deeper into the grimy funk is a fitting end. As far as I’m concerned it doesn’t get any better than this.

 

A shimmering sound comes like a glimmer of light in the darkness, and when “Pop Life” begins it’s like a door is suddenly opened and the show becomes uplifted and pure again. The pop of the bass is excellent, as are Prince’s crisp-sounding vocals. It’s in complete contrast to what we have just heard, I can only imagine Prince making such stylistic changes in a concert like this. Pop in sound, as well as name, Eric Leeds playing the flute, is the icing on top, and we come to a soft ending with the girls singing “Pop Life”

“Girls And Boys” has the crowd involved again, with Prince encouraging them to dance as the intro runs for a couple of wonderful minutes, the guitar, bass, and keyboards all interweaving and creating a colorful yet funky tapestry. Prince on the organ is the highlight as the intro plays, and he gives us a good couple of minutes here. The vocals are simply amazing when Prince is singing, the sound quality is just right on his vocals, and I feel like I am right there when he sings. I know I have been heavy with praise throughout this recording, and this song too has me floored – Eric is wonderful, Wendy’s vocals sweet, and the band is beyond words.

 

“Oh Honey, put your shirt back on,” Prince says as “Life Can Be So Nice,” and one can only speculate about what he was seeing from the stage. “Life Can Be So Nice” is full of sound and the band injects a lot of themselves into it. Bobby Z and Wendy are the heroes for me, Bobby gets a shout for his break, and Wendy’s vocals are all over this and heavy in my left ear. There is an awkward moment in the video when the stage is invaded by an audience member who knocks Prince over, but he recovers quickly and carries on very professionally.

“1999” is nice, in that it’s a beautiful-sounding recording, and the band plays it for the most part straight. The horns are an addition to what is heard on the album, but they aren’t overbearing and add just enough color. The guitar and vocals are very faithful to the album, and they are what I enjoy most in the performance. The “Mommy, why does everybody have a bomb” is playful and a nice way to finish the main show before we fade to darkness.

Now comes the moment I have been waiting for, the genesis of “It’s Gonna Be A Beautiful Night.” The single drum that begins is so familiar, yet also new and I know what is coming next as the horns play their refrain and the “ow, wee ow” chant begins. I don’t know what I was expecting, but for the most part, it does sound like it does on record. We do get Prince playing his organ which is cool, as is seeing Wendy play that guitar riff while stomping at the front of the stage. I greatly enjoy Brown Marks playing, as well as Eric Leeds, but I think the real highlight is watching the video and seeing The Revolution at its very best creating something that we will listen to for the next thirty years. The rap is missing, and instead, we get some wonderful bass, and a lot of crowd singing- in some ways I prefer it like this, it feels so real and natural. “Confusion” and a final horn blast close out what has been a wonderful ten minutes of my life.

 

“Mountains” comes on so quick, it’s like a breath of fresh air. The band looks and sounds incredibly relaxed, and in particular, I get a laugh when Prince rolls around on the piano. The coda is when things become more intense and when it finishes it seems the song has gone by in the blink of an eye.

“Kiss” has Prince stalking the front of the stage, shirt off and looking every inch the rock star. The song is tight, and there aren’t any real flourishes added to it. Of course, we get Prince dancing the wooden leg, but on the recording, it’s Wendy who is the star for me, her solo isn’t out of the box but it is excellent. It’s her guitar alone in the final moments of the song too, and it’s a fitting end before one final encore.

That encore is of course “Purple Rain,” and I am very happy to say that although the recording of it isn’t great, the song itself is just swell. A short intro before Prince starts singing, and the crowd is very vocal as he reaches the chorus. He sings it all the way, and we get every verse before the sweeping, epic guitar solo. It builds up well, and the notes come furiously fast right before the crowds “ooww oh ooowww”, and he keeps on playing as they sing. The song ends not long after this, but we do have a couple of minutes of the strings to cushion our fall back to earth.

 

Over the last few years, I have run out of words for the shows from the Parade Tour. This one is yet another fantastic one in the canon of shows from that year, and to see “It’s Gonna Be A Beautiful Night” brought to life right on the spot was beyond words. There was something magical in the air that night, and all these recordings catch some of that in one way or another. None of them are perfect but I am pleased we have some sort of record from that night. Here’s hoping in the future something better will surface that can truly do this show justice.