The bootleg I listened to last week covers two nights that Prince played at The Emporium London in March of 1995. Last week we listened to the first show from March 22nd, and today I will be listening to the second part of the recording covering the show on the 23rd. This bootleg is hugely popular, and I know many people hold it dear. The 3 CD pack covers two nights, and on those two nights, Prince gave us a fantastic mix of styles and songs. Last week’s show I had a great time listening to, and I expect more of the same this time around.
23rd March (am), 1995, The Emporium London
The opening drum solo has me excited right from the beginning. Drum solos aren’t my thing, but I listen carefully as Michael B rolls around the kit, and already I have a good feeling about this show. The drum solo is achingly short but starts the gig with an exclamation point.
We roll into “The Ride,” and the band has me hooked as they groove on it. Prince sings with swagger and drawls over some lines which give it a nice bluesy sound. The sound of the recording gets much better after a weak start and when Prince calls “dirty up” as he begins to howl on the guitar it sounds much warmer on the ears. This recording is feeling different from the previous night already, there seems to be much more of Prince and his guitar right from the start, and as is usual he plays for some time over “The Ride,” effortlessly in his cool. That good feeling I had at the start of the show is proving to be well-founded.
This is further emphasized as “Poorgoo” begins and the crowd takes up a chant right from the start. Prince draws a smile as he asks how they are doing, then replies “Bullshit” before asking again. He’s cheeky and funny, and it sounds relaxed on the recording. The guitar is the center of attention and this time it’s darker and stronger, and much more in the mix. I liked the guitar in “The Ride” previously, here he takes it up and notch, and there is the feeling that both he and the crowd are beginning to warm up.
The crunching start of “Honky Tonk Woman” is electrifying, and it’s at this point that I realize we are essentially getting a performance of The Undertaker project, but with the addition of Morris Hayes. There is a moment of heavy distortion on the recording that has me nervous for a second, but it resolves itself as Mr. Hayes gives us another classic-sounding solo. As the song closes out Prince delivers a great line “One time I opened for the Rolling Stones, I got booed off. Perhaps I should have played that shit”
“Bambi” adds a bit more fire to the evening, and the intensity rises as Prince plays some blistering guitar. The only negative is, at this stage the recording becomes a little thin. Still, Prince sounds great and I can look past the quality of the recording and enjoy it for what it is. After a good start, things become even better as it does become just about Prince and his guitar playing. The song builds until we are left with a final flurry from Prince that ends in a furious howl.
I was listening to the album version of “Zannalee” only earlier today, and I am happy to hear it again here in the live context. It’s much more lively, and sounds nice and gritty with some of the polish rubbed off for the show. It’s still uplifting in spirit, and at first, I find I am listening to Morris Hayes on the keyboard, but once Prince begins to solo it's game over. The singing is joyful sounding, and the overall vibe of the performance and recording is fun. It’s another gear change in the show and takes us to another level.
Prince speaks as the groove of “The Undertaker” begins, with a speech about guns and troubles in America. I have high hopes for the song, especially as Prince introduces Eric Leeds to the mix. First though we have a great lead break on the keyboards. I am unsure as to exactly who is playing, but my word it’s good, nice full organ sound swirling around. I know for a fact it’s Tommy Barbarella who plays the next solo, Prince has the crowd chanting his name as he plays. It’s more piano-sounding, and although it doesn’t reach the heights of the previous solo, it’s still very good. I could go on and on about this song, this performance is very groovy, and the only thing that could make it better would be a little less chat from the crowd. Eric Leeds playing the last minute is just the icing on the cake.
We cut into something much more up-tempo next as the band takes on “Funky Stuff.” It’s infectious, with its quick sound, and Eric playing some runs over the first minute before the swirling organ returns, with the swing of it driving us forward all the time. Part of me wants to move, and part of me wants to listen and catch every note that Eric blows our way. Eric is at the center of it, and I could sit for hours listening to him play over this sort of music. It’s brilliant stuff, and I am pleased I chose this particular recording to listen to this week.
Things slow again as Prince is heard again when “Johnny” begins. I can’t decide if the lyrics are silly, or brilliant, all I know is that this is a great performance of the song. Prince is obviously in good humor, and his call of “Tommy, tickle me” that starts Barbarella’s solo again has me smiling. This is very much a band performance, no one person dominates, and this is highlighted as Prince calls for everyone to solo at once. NPG in the M***F**ing house indeed.
We spin back into “Funky Stuff,” which to my ears sounds faster than before. The playing is looser than previously and it becomes fantastically funky as Prince sings “Get Up (I Feel Like Being A) Sex Machine.” I can speak highly enough of this particular performance and again Eric Leeds is on hand to add that little bit extra. This is perhaps my favorite version of Prince covering this song, it’s mind-blowingly cool.
Prince keeps Eric close by as the next song in the setlist is “Asswoop.” Again it’s fabulous to have a rarity like this in the show, and I like that Eric receives the praise and credit from Prince. We feel a million miles away from the guitar-heavy first half hour, this is very light sounding, and a chance for Eric to show us a different side of his playing compared to what we have heard so far at this show. The band stays in the background as Eric solos, and yet again I have to praise this band for being so versatile, and just downright badass. They truly were one of his greatest bands.
“17” is a natural fit to follow straight after, and keeps Eric Leeds front and center. As much as I enjoy the song, I can hear the intensity of the show drop off, and things do feel like they are going in slow motion for a while. That doesn’t detract from my enjoyment here at home though, and I get a kick out of hearing another rarity.
The next song also features Eric Leeds, an instrumental of “The Most Beautiful Girl in the World” led by the saxophone. Anyone who has heard the remixes of The Most Beautiful Girl In The World won’t be surprised by this, and it is a nice arrangement. There is also delicate guitar work by Prince which holds my attention. Prince does come to the microphone for the chorus, but it’s the crowd that does the bulk of the singing, and that is a cool live moment which is what these shows are all about.
I recognize “I Believe In You” right away, it is another song I have heard countless times. This band is tailor-made for songs such as this, and I have to mention Morris Hayes again who is all over this one. He does eventually give way to Eric Leeds, who has another moment that carries us to the end of the song.
Things get seriously funky at this point as the hard, heavy grooves of “Days Of Wild” takes up. This is one for the ages, with plenty of audience chanting, the deep groove, and Eric Leeds carrying the first few minutes, before Prince sings- not spitting the lyrics as strongly as usual, instead sounding more relaxed and groove-focused. Likewise, the first bass solo isn’t as strong, similarly sounding more relaxed and groovy. The song is not brain-crushingly heavy as it sometimes as, instead it seems to be more colorful, but all the same, it’s locked into that fantastic groove. Prince is certainly getting his money’s worth out of Eric as he gives us another withering solo before Prince comes back singing “Hair.” There is no mistaking, this is a proper aftershow, especially when the audience takes up the “Days Of Wild” chants. Now, this is the sort of funk I love.
We stay in that funky place as next Prince introduces the song “Funky.” It’s another chance for the crowd to sing and be part of the show, and they take to it with great gusto. The audience chatting we had at the start of the recording is now a distant memory, and they are well and truly engaged in the show at this point. Prince has the perfect response with several quick guitar breaks that serve as a counterpoint to the crowd chanting. There is a brief rap from an audience member that, although not musically great, still very much keeps in the spirit of the evening, and I love that Prince includes it.
“Glam Slam Boogie” is a chance for the band to stretch out and take a turn to solo. It has an easy way about it, and it feels as if it might go all night long. Eric’s solo is more in the background than previously, and I can hear the guitar lines much clearer as the band plays. With the crowd chanting their lines I feel like I am almost there myself. Barbarella plays a piano solo with some seriousness about it, although it does get faster and lighter as it goes. Prince calls for a “Five in the morning solo” from Eric, and I think everyone in the crowd and I know exactly the sort of thing he means. Mr. Hayes gets the same call, and he ably delivers something that I would call a “five in the morning solo”
The crowd is right into “Sexy MF,” and sings every line perfectly, much better than I could ever do. It’s impressive to hear, and another cool aftershow moment to hear them singing the verses to Prince. We get a well-rounded performance with a solo from Eric before Prince picks out an equally sharp solo on his guitar. As Morris plays another solo I can see that this show has been heavy on solos from everyone and has been a showcase for this band, and it highlights again how good they were.
“Clap your hands, clap your hands” and I wonder what will follow. Prince answers soon enough with some funky guitar and “Pussy Control”. It’s an interesting start, and he keeps it in this vein as the song kicks off. The groove is strong, and it has a much funkier and darker sound. Prince’s rap isn’t as fast as on record, and the band is much more prominent. The chorus is also much more laid back. I have to say, I love this arrangement, as much as I like the album version, this one tops it. I think it’s that extra element of funk that does it for me, and the sheer coolness of it. The obligatory sax solo and the swirling organ of Morris Hayes seal the deal for me.
The segue into “Funky Design” is equally cool, with the sax and Prince’s call of “G” taking us through. Prince does chide an audience member “this ain’t a photo session motherfucker”, which makes me laugh even after all these years. Prince sings the first line of “Funky Design” and the crowd picks it up immediately with the chant. As Prince rails against DJs and praises the virtues of live music I am reminded of how much I must have played this over the years, I find I can match him word for word as he speaks. Strangely enough, I can’t remember his lyrics, but I remember little speeches like this. The song increases in speed a fraction and I can hear we are building to the finish. Sure enough, things increase in intensity before Prince brings things to a halt with “On the one”
This is one of the great bootlegs. It may not be one of the great recordings, but as a package it is sublime. The show is phenomenal, and the recording does a serviceable job of picking up not just the music, but also the vibe of the show. I have listened to this plenty of times over the years and listening to it more closely now I think it will still be being played at my house for some years to come. There are other shows from this period I enjoy more, but if I am honest this one is just as good as anything else from 1995.
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