The years 1994 and 1995 are already well covered in this blog, some might go so far as to say they are over-represented. With many of the setlists being similar, one may question why these concerts get so much coverage. The same music is indeed heard again and again, but Prince and the band are discovering new sounds and textures, and with each song played as an extended version there is plenty of scope for surprising jams to be heard. A couple of weeks ago I wrote about the performance on June 26th, 1994. While researching the concert I read the Databank’s assessment that the show on the 27th was even better, and one of the best bootlegs of the era circulating. This brings me to where I am today, headphones on, 4DF’s ‘Acknowledge Me’ in the player and I am all set to take a closer listen to what the Databank calls “one of the best of 1994”
27th June 1994. Glam Slam Los Angeles
“The Star-Spangled Banner” is the first song of the night, with its strong and forceful guitar tone Prince is making a clear signal of intent, the guitar will dominate early on. “The Ride” backs this up as it goes from its steady opening into a blazing solo that captures the listeners' imagination even 20 years after the fact. Sometimes I find “The Ride” to be a plod, here it is anything but as the band turns it into a stonking celebration of Prince and his guitar abilities. As an opening number, it slaps the faces of the audience, immediately snapping them into life.
Likewise, “The Jam” has an extra sense of energy and thrill to it. The recording is good at this stage, and the audience noise that is heard adds to the sense of the moment rather than detracts from it. It all adds up to a version that I find I enjoy immensely, often I find I am waiting for “The Jam” to finish so we can get on to the other music, in this case, I enjoy it just as much as anything else on the bootleg.
The first few songs have been good, but it is the following “Shhh” that makes this bootleg what it is. It is a sublime performance of one of Prince's most intense songs, the following minutes transport me to another world altogether. Prince's vocals are spellbinding, and the guitar break is both haunting and incessantly angry at the same time. These eight minutes are the best of the recording and enough for me to recommend it to anyone.
I don’t think I have ever heard a bad version of “Days Of Wild”, and the performance here doesn’t break that winning streak. It is in its full head bobbing, heavy funk glory. However, it is the guitar break from Prince that has me grinning from ear to ear – it is sharp and forceful, cutting through the wild jungle of “Days Of Wild” like a flashing machete. The appendage of “Hair” is unnecessary in this performance, Prince has plenty of his own funk without having to dip his pen in someone else’s ink well. This is further highlighted when the bassline of “777-9311” suddenly appears, Prince's own funk obliterating any memory of “Hair”
“Now” runs at a lengthy 13 minutes, turning into a long easy groove and jam. The second half is much more enjoyable, the band has a smooth way to them and the song flows easily from the speakers. It is an easy groove that could go for hours, and even though not a lot seems to be happening it is still worth the listen. Especially catching is the chant of “Clap your hands somebody, somebody clap your hands”, which will be rattling around in my head for the rest of the day.
The next song is a live rarity. “Ripopgodazippa” was only played twice live, this performance is the second and last time. It doesn’t do anything more than is heard on the studio version, but it doesn’t have to as its seductive groove makes it another outstanding moment at this concert. Smoky and sexy, the late-night groove fits perfectly in the setlist, and I can only wish that Prince had played it more often. Again, it heightens the desirability of this bootleg and is another must-listen.
Equally of the era is “Acknowledge Me”, from the opening notes it takes us directly back to 1994. The is a lively performance that stands up well to the other songs that have already appeared at the show, it doesn’t outshine anything else, but neither does it fade into the background. It’s a highly enjoyable moment that sets the baseline standard for the concert.
The following two songs are from the “Come” album and work as a nice pairing together. “Papa” is noisier than expected, it loses some of its message, but the music is undeniably good and carries the day. “Race” is a steady performance of a steady song. It never catches fire at the concert, or on the recording, and although these run of songs are very good, this part of the show plateaus.
“The Most Beautiful Girl In The World” restores the crowd’s enthusiasm and Prince’s performance gets a welcome cheer. The song is faultless and injects pop into a show that is otherwise a succession of funk jams. Its appearance is bright and the recording becomes energized again.
I would love to see the band get wild for “Get Wild”. It does sound like they are going all out, and even listening at home I can visualize what is happening on stage. The long jam keeps me interested, and the bass and guitar parts hold me enraptured between chanting and singing. My favorite moment though belongs to Tommy Barbarella who plays a fast and furious solo that bucks like a wild horse under his command. Every member makes an impression, and this is one of my favorite versions of “Get Wild” in circulation. This bootleg is rapidly approaching a 10/10.
That sentiment carries over to “Santana Medley” which comes next. I thought everything else so far had been great, but Prince finds a way to take the concert through the stratosphere with an epic rendition of the “Santana Medley” This is the moment where the recording almost spontaneously bursts into flames as Prince plays a soulful, yet furious guitar break. It continues to evolve and a couple of times Prince slips back into the shadows before reemerging with another solo that could strip paint from the walls. I listen intently as it spirals and turns, the world rotating around Prince for the minutes that he plays.
“Billy Jack Bitch” is a direct statement and one of the least veiled songs Prince has ever written. Prince takes on the media head-on in a none-too-subtle attack on those that write about him. The live performance is not as venomous as the studio recording and some of Prince’s anger is dissipated by the music, in particular the swirling keyboards that provide a depth and backdrop to Prince’s sharp lyrics. It lives up to some of the other funkier moments in the concert and the final horn stabs drive the point home with a timeless funk sound.
The last song of the show is “Johnny”. Prince's rap is much more relaxed, perhaps due to the recording, or perhaps reflecting his mood at this concert. The lyrics may be dated and nowhere as funny as they were at the time, yet the song still stands on its own two feet – especially as Prince’s guitar emerges from the groove with a snake-charming solo that has me hanging on every note. The keyboard solo later in the song is every bit its equal and it is easy to disappear into the groove and music at this point. It is entirely fitting that the show ends with the crowd chanting “NPG” – this is very much a band performance and this final song sees them at their very finest.
This is a great release, in a year that is well covered by bootlegs, this one stands out. The quality of the recording is outstanding for an audience recording, but it is the show itself that garners the most praise. These songs are familiar to all Prince fans and have been heard plenty of times over the years, yet here they are infused with extra sparkle and energy. I can’t account for why that might be, all I know is that the show sounds fantastic and this is exactly the sort of bootleg that ignites my passion. 10/10
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