Following on from last week’s blog, this week I will be listening to another show from 1994 -the soundboard recording from the Roseland Ballroom New York. On the surface, it seems to be similar to the show from the Palladium earlier in the year, but a preliminary listen the other day reveals that this one has raised the bar higher, and with some additional songs in the setlist it offers a different listening experience. I know I spoke highly of the show last week, and I somewhat regret that now that I have heard this one and it’s even better. There is a lot to be said for this one, so I guess I had better get on and say it.
12th December 1994, Roseland Ballroom New York
The recording opens with an incomplete “Endorphinmachine.” The first portion of the song is missing and the recording picks up just as Prince's guitar solo is in full flight before he slips into the spoken-word breakdown. It's wonderfully clear, and even incomplete it is well worth the listen. Prince isn’t setting the world on fire here, but he is sounding strong and clear, something that bodes well for the rest of the recording.
I have previously often written of my ambivalent feelings toward “The Jam,” the version played here leaves no doubt in my mind, it sounds fresh and light and is a great introduction to the band leaving me completely sold on it. The keyboard solos are lighter, they lift the song, and the guitar line underneath is well served by the recording, every nuance is recorded and easy to hear. Normally I enjoy the first organ solo, then drift off as the rest of the song plays, today is different and I listen enraptured to every moment. I enjoy all the different elements, as each member plays, I listen to them with enthusiasm, and never once do I lose interest.
Last week I wrote that “Shhh” was the highlight of the show. This week’s performance trumps that, it is hands down one of the best versions I have heard. A lot of this has to do with the recording, it's silky smooth, and I can feel the song as much as I can hear it. Prince’s performance sounds steamy and the recording is so good I can almost hear the sweat dripping off him as he sings. There are two aspects to the song, firstly the vocal performance which is sensual and full of desire, and then the guitar breaks which start with a smoky stutter before becoming full-blooded and soaked in passion. Both parts of the song are beyond compare, and as Prince wraps it up with the guitar crying I decide that this is my new favorite version.
“Days Of Wild” also benefits from this soundboard recording, it has a lightness and clarity as it squelches across the soundscape. Without the heaviness Prince’s vocals can be heard clearly, and every syllable enunciated has been captured by this fantastic recording. The groove continues its roll, and even as Prince sings “Hair,” the underlying “Days Of Wild” rumbles along before we return to the chorus. The song has a couple of twists and turns which keep it interesting, as well as the heavy funk there is a lighter guitar break that drops out of nowhere before it closes with the crowd chanting.
We have another long funk workout next with “Now.” It’s the latter part of the song where things get interesting, the band goes into a long extended groove before Ninety-9 joins them and begins to rap. It may not be everyone’s cup of tea but it is interesting to hear something different, personally, I’m not overly enamored by it although it does keep me listening. However there is no denying the pulse of the organ groove under it, and this is what keeps the song and me moving forward.
With the quality of the recording and a slight echo, Prince sounds ethereal as he sings “The Most Beautiful Girl In The World.” The music is fine, but it does sound of this earth while Prince’s vocals seem to come from someplace else entirely. This is the hit song of the year and was played constantly, yet here it is as fresh as ever, its pure pop sound undiminished by constant rotation. With the keyboards showering the song in their colorful runs, it ends on a high that has me smiling for several minutes after.
Prince's vocals sound somewhat detached from “P.Control,” although it is held together by the music. The vocals are clear but not as loud as I expect, maybe the recording is too clean for its own good. The band is very tight throughout the song, and there is not a loose moment in the whole thing, it is played as straight as can be. It’s a good moment in the show, without exploding into anything more.
“Letitgo” has Prince talking about his contract for the first minute before the band slips into the easy groove. It has a seductive slide to it which gets my head bobbing from the start. The song lacks any real punch; it stays on the gentle side of a groove with the wheeze of the organ carrying the verses before the song opens up for the chorus. It’s an enjoyable few minutes although like the previous song it doesn’t punch things to the next level.
We get a treat next as the band plays the first live performance of “Pink Cashmere.” The stabs at the beginning add some sharpness to it, although to be honest, it is Prince’s singing that is the main attraction of the song. There is added interest in way of a jazzy interlude which briefly takes the song to a different plane. Overall Prince keeps it relatively straight and this song is the biggest benefactor of the soundboard recording, Prince's vocals sound great as do the keyboards and drums throughout the whole song.
A minute of guitar noodling leads us into a version of “The Ride” that seems to be slightly faster. Prince doesn’t dwell on it as is his usual way, instead, the song moves along at a steady pace allowing him to quickly cut into this work on the guitar. The normal slow-burning guitar is replaced by something quicker and sharper, there is still a buzz to it but the notes come in flurries rather than being drawn out. The song is shorter than normal, the final minutes dominated by Prince talking to the crowd as he plays.
“Race” has things moving, and like other songs on this recording it gains a lot from the soundboard recording – Prince sounds cleaner than I have previously heard in live versions of this, and the song gains an extra level of energy. It rattles and rolls without settling down, and Tommy’s solo keeps it off balance, it never feels like it settles into a groove. That is until Morris plays on his organ, and it is at this point that the song and the band hit their straps and drive it home. There are some excellent keyboard sounds from all involved in the final minutes of the song, and at that point, it becomes looser and more of a jam.
I was looking forward to hearing “Superhero,” it is a great NPG song that deserves more coverage. The up-tempo beat and quick groove get the energy levels up, especially midsong when the drums begin to pound with the “Superhero” refrain. Things get wild from this point on as the keyboards go off-piste with some very cool solos that lead naturally into “Outa-space.” We are fully into the jam at this point, with plenty of different sounds coming at us thick and fast. The groove however remains constant, and I find that I have to resist the urge to get up and dance to it. The final few minutes bring the greatest surprise, with Morris indulging in some playing that has come straight out of the church while the rest of the band falls silent. It’s an interesting moment, and although I am used to the God and religion in Prince’s music it is still a surprise to hear such a church moment at this stage.
The organ sound makes a return as the final song of the evening begins, and the first couple of minutes are all Morris Hayes before “Get Wild” kicks off properly. It's bright and shiny, with the keyboard playing horn parts and giving it some extra sparkle. Things become much more serious as Prince unleashes some heavy guitar. It’s brief as it ushers in the next part of the song, with plenty of loose solos provided by all. Prince's vocals are again sounding detached in the mix, luckily it’s all about the band and the music for this final hoorah. The highlight is certainly the bass, as the song plays this is the moment I look forward to and it doesn’t disappoint at all with some thick yet sharp bass playing. The disappointment comes from the fact that this is the final song, and as it wraps up I am still hungry for more.
It’s refreshing to hear a show such as this on soundboard, and in years to come, I am confident it will be highly regarded. Prince and the band are lively and play a tight and enjoyable show. I have only listened to this a couple of times, and I will be listening to it plenty more times in the years to come. A great show, with a quality recording and a beautiful cover, you really couldn’t ask for anything more, this recording deserves all the coverage it gets.
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