Mobile 31 October 1997

 “Pssstt, over here”

“Who, me?”
“Yeah you – I hear you didn’t like the first show of 1997”
“Well, I must admit, it wasn’t exactly my cup of tea”
“Yeah, well try this one, you might find it more to your taste”
“Hey man, thanks. I’ll try it now”
“No problem”

31st October 1997, Mobile, Alabama

A forceful and focused “Jam Of The Year” is everything that the song wasn’t in the January 7th concert I listened to previously. With its elastic bass and deep groove, Rhonda Smith reveals herself to be one of the most important members of this iteration of the NPG, and her contribution is mighty in this opening number. Prince doesn’t linger too long on the other members of the band, and it is Rhonda who makes the greatest contribution beneath Prince’s vocals, her bass work is just as essential as what Prince is singing. A shorter and tighter version than what was heard at the start of the year and the concert is all the better for it.

Funk is the foremost driver of the opening salvo of this concert, and “Talkin’ Loud And Sayin nothin'” is in its rightful place here. Paired with an “I like funky music” chant the concert heaves and groans under the weight of the funk, only lightened by some quicksilver keyboard by Prince. This light and dark give the music a tension that holds it tightly together and keeps my ear interested throughout. An equally fast guitar solo spins the music in a new direction before it all spirals into “Let’s Work.”

I rarely mention Kirk Johnson in this blog, but it is his drum that leads the band into “Let’s Work.” Built on the back of this drum, Rhonda Smith’s bass and Morris Hayes's keyboard pull the song deep back into Prince territory. His funk of the early ’80s holds up well almost twenty years later, and this particular version could look any rendition from the 1980s in the eye. The “Rock N Roll” instrumental is a clever coda and serves well as a transition from funk to the guitar rock that will follow.

The guitar rock song in question is “Purple Rain” and the version Prince plays here is arid in the vocal delivery. However, the guitar solo is distinctly Prince. His guitar tone is unmistakable, it is pure Prince throughout. Prince’s mastery is a double-edged sword- he has the guitar tightly reined through the solo and there is no sense of danger and thrill despite the guitar soaring and falling at his will.

 

Far more emotive is “Little Red Corvette.” Prince manages to hang just a hint of youth in his delivery, and for a minute the years roll back as he sings the opening verse. The guitar break also manages to plug into this sense of youthfulness. Brisk and unhinged, it is the final flourish before the Prince swings us back into the Nineties.

I have plenty of love for the Emancipation album, and “Get Yo Groove On” manages to capture the feel of the album nicely in this live setting, making me wish we could have more of these songs appearing in concert over the years. The diversion through “Six’ is a reminder that Prince hasn’t moved as far away from his Eighties material as we might think, and is yet another clever addition to the set.

There is plenty of time to dwell on the pop magnificence of “The Most Beautiful Girl In The World” It shines brilliantly at the heart of this concert, a gem that still retains its sincerity and purity after all these years. Rhonda Smith manages to rise from the mix later in the song, her bass pulling the song into deeper sonic territory. A previously unknown seam of funk is mined and I am once again enthralled by Rhonda’s contribution.

The celebration of the bass continues through “Facedown.” With Prince’s long introduction, there is plenty of time to indulge in this low-end glory. Even with the arrival of Prince’s vocals, it continues to be the bass that holds center stage, a fact accentuated by Prince’s call of “bass!” through the backend of the song. The final minutes see total capitulation to this bass groove, the bass strangling the song in its dense and furious tone.

The opening drizzle of guitar from Prince is a sleight of hand and as the “The Ride” opens up Prince slides into a deeper and more solid tone. Prince squeezes and teases the blues for the first minutes before the levee final breaks and a heavy blues solo engulfs the recording. It washes over the audience for the next few minutes, swirling ever deeper into this pool of blues, the guitar flowing easily beneath Prince’s hand.

“When You Were Mine” is another chance for Prince to indulge in guitar heroics, this time alone. The song is a demonstration of his pure songwriting ability, and his ability to lift styles from others and make them his own. As a solo performance, it is one of the most central moments of the concert and provides a minute of mindfulness amidst a concert jammed with ideas and styles.

The concert gains momentum again as a weighty version of “The Cross” lumbers into view. The lightness of “When You Were Mine” is trampled beneath the overwhelming crush and intense guitar snort that drives “The Cross” as it obliterates all that has come before. It is not as elegant or spiritual as I’ve heard elsewhere, the sheer heft of the band and performance crushing the nuance from it, leaving a solid wall of sound.

 

Also guitar-driven, “One Of Us’ is a subtle performance that carries off Prince’s spiritual convictions better than the song that precedes it. Prince’s opening speech sketches out his spirituality at the time, but the music that carries his message is more convincing. In a well-balanced performance, the music allows far more room for the message to breathe. There is a calm to the moment that was missing in “The Cross,” allowing the crowd to digest his message of love and God. Just as actions speak louder than words, so too does Prince’s music.

Prince dips into his grab bag of ballads for the “Do Me, Baby,” medley. The gold standard of this medley is “Do Me, Baby,” which is afforded an extended guitar intro from Mike Scott. Louder than the usual soft-lit sound of other introductions, it is nevertheless a fine demonstration of his abilities. In a similar vein, Rhonda Smith indulges us with a sensuous bass run that while highlighting her playing, also remains subservient to the vibe of the song. Kat Dyson is not to be forgotten, although by the time she finishes, I am itching to enter into the song proper. Prince delivers his lines as expected, each one loaded with sex and lust, but never dipping into pure caricature. He maintains this tone as he touches on the sexy part of his catalog, each song becoming sweatier in the live setting as Prince works them, and the audience, into a climax.

“Sexy M.F” doesn’t sound particularly sexy after this, and Prince enters a cartoon world for this rendition with exaggerated horn lines and vocal inflections throughout. It is a low after the previous high, although it is short.

A vital “If I Was Your Girlfriend” restores the concert. Listening to it here, one could easily forget it was 1997, so studiously does the band play the 1987 versions. “Sexy M.F.” was appreciatively brief, unfortunately so too is “If I Was Your Girlfriend.” It keeps the concert moving at a good pace, but this is one song that could have done with more airtime.

Prince slips the band for a solo jam on the piano. Riffing on “Mobile,” he slides easily into “Purple House,” a song normally associated with the guitar. This new spin on it sees a gospel sound emanating from Prince’s piano, a fact highlighted as he segues into “It’s No Secret (What God Can Do).” Prince lingers on the song, allowing his vocals to carry the load as his piano fades beneath his fingertips.

The piano medley unfurls for the next few minutes, the crowd-pleasing “The Beautiful Ones” inviting the audience into this world of piano and microphone. There is too little of the song for it to make an impact outside of this, the two minutes are just enough to lure the listener in without making it a highlight.

“Girls And Boys” adds funk to this mix. Prince stops and starts it to allow the audience to further participate, but again it’s slight and leaves one hungry for more. However, Prince does retain this piano tone for “Delirious,” and things remain upbeat and funky for the next few minutes.

 

At an almost crawl, “Darlin Nikki” slips in, leaving the crowd in raptures of delight as Prince pauses and teases like a coy schoolgirl. The song takes a long time to emerge from behind the screen of the piano hook, and when it finally does Prince teases the crowd in a moment that has to be heard. Trust me, it’ll be worth it.

After the tease of “Darlin Nikki,” the crowd never fully settles for “Diamonds And Pearls.” Prince gives us the first verse and chorus, but it isn’t as effective as other songs in the setlist.

“How Come U Don’t Call Me Anymore?” anchors the piano set. It also serves to reintroduce the band, and it is pleasing to see it fully fleshed out like this. The fullness of sound doesn’t dilute Prince’s tale, and the guitar break bestowed upon it late in the piece brings a sense of urgency to an otherwise ambling piece of music

The “Take Me With U” and “Raspberry Beret” combination lifts the energy of the concert after the piano set. It also drops a large slice of pop into the show, the earlier rock, and funk forgotten as the band swing upwards. It is a combined effort, no one voice or instrument is singled out. Even Prince on the microphone is no more important than any other component in the song, and this is truly a moment that belongs to the band.

A percussive introduction to “Kiss” heralds the arrival of the encores. With the crowd heavily involved in chanting from the start it is a uniquely live moment and one that translates well to the recording. The guitar riff is not revealed for some time, and when it does arrive it continues to remain secondary to the rhythm section. However, it is not the rhythm guitar that I am listening for, but the brief flame of a lead guitar that excites me as it scorches the tail end of the song.

“Gett Off” becomes the soundtrack to a dance contest, something that doesn’t translate well to an audio recording. The guitar solo by Mike Scott goes some way to appease those not at the concert. It is sharp and loud, providing a jolt to an otherwise steady groove. The house-style mix that the song finishes with is a lot of fun, although twenty years later it does feel somewhat generic.

The electrifying guitar static that opens “When Doves Cry” has aged better, and the jolt it delivers now is just as strong as it was in 1984. However, the piano riff is lost in the mix, the strength of the band overwhelming the nuances of the song as they power through it. It is a powerful version that takes the template of the original as a jumping-off point to push the full sound of it in every direction. Perhaps not one for the purists, but a fine way to wrap up the first encore.

 

The recording becomes smeared in the grease of a funk guitar that establishes the foundation of the second encore. Atop this slippery guitar, Prince balances a chant that flares momentarily before the Purpleaxxe sound settles into a groove that will eventually become “FlashLight” and “Stomp”

Prince has toyed with “Flash Light” many times over the years, and this iteration that incorporates “Stomp” works well. Prince is giving the audience funk from the past, as well as something from the present with “Stomp” being of the time. Nowadays we would call it a mash-up, and it was not unique for Prince to do this throughout his career. We could pull examples from after-shows, but he was equally adept at doing it at main shows such as this.

“Johnny” is a reminder of Prince’s lyrical range. While not as poetic as some of his other works, it does have cleverness and humor that not many other artists capture. The song itself remains true to its groove, and as always my only complaint is it’s all too short.

There is no surprise in the “Baby I’m A Star” and “1999” double punch that closes the show. Long-time party favorites of Prince, many a concert has closed with them over the years. There is no faulting Prince and his intentions here, but with the application of Nineties gloss the charm of the originals is lost. The sense of adventure is gone, replaced with a too-cool-for-school party vibe that serves the concert well even if it doesn’t serve the song. The tone of it does capture the late Nineties sound Prince was working with, and it is a neat snapshot of the time.

Lesson learned. Don’t judge a book by its cover, and don’t judge 1997 by the first concert of the year. Prince was an ever-evolving artist, both in the studio and in concert. Concerts even a few months apart can be quite different, Prince shifting songs and sound in a lifelong pursuit of excellence. I found the first concert of 1997 to be uneven and off-kilter. This concert later in the year had a natural flow and overall consistent sound. Even as Prince switched genres and instruments, the concert held together and felt as a whole. I often play the Emancipation album, but rarely the concerts of the era. This concert is a clear demonstration to me that I should be more patient and dig further into the era. I might just have to go back to my source and see what else they can recommend to me.

Mountain View 10 October 1997

 

I can’t even remember the last time I listened to a Jam Of The Year concert, let alone wrote about one. I can’t offer a good excuse, looking at this show now I can’t see any reason not to listen to it, or even dislike it. Yes, it does have some weak moments, but these are offset by a run of classic hits, party grooves, and a Carlos Santana guest appearance that brought me here in the first place. This show was recommended by someone whose opinion I value highly, so I do expect it to exceed any expectations I might have.

10th October 1997, Shoreline Amphitheater, Mountain View, California

The opening intro leaves me cold, I don’t need to hear snippets of his hits to hype me up. I have always had a soft spot for “Jam of the Year”, and this performance is everything I could ask for. It is stronger than on the album, giving the concert a great push from the start. The performance and concert tour hinge on this song and, although Prince does hype the crowd in the midsection,  it sets the tone for all that will follow.

The jams keep on flowing, with the band grooving on “Talkin Loud and Sayin Nothin” It is as one might expect, a solid groove that has the crowd on their feet as Prince encourages them to dance and clap. The highlight for me though comes when Mike Scott makes an appearance with a sizzling guitar solo that catches me off guard yet has me enraptured as he plays. I’m not so fussed about Prince and the crowd chanting which comes next, but the song does its job of enthusing the audience. A Prince piano solo ends the song on a high for me, and I find that all in all it is an enjoyable few minutes.

“Let’s Work” initially has me on a nostalgic trip, but interest wanes later in the song as it begins to take on a plastic sound. The outro of “Rock ‘n’ Roll is Alive” is where the real fun is, especially as Prince provides a ferocious guitar upon it that cuts through all the grooves and jams that have been heard thus far on the recording.

This loud and heavy guitar tone is maintained through the following “Purple Rain” which begins with a snort and a grunt and ends on the most epic of howls. With Carlos Santana in the building, Prince is putting on a show worthy of his influence, and although it's not overlong it does give one a taste of Prince's guitar abilities.

Things stay in the early ’80 s as the warm swells of “Little Red Corvette” introduces the next section of the concert. Personally, I think it’s a letdown. After a great introduction that had me raising my expectations through the roof, the next couple of minutes sees Prince racing through the song leaving me feeling that it was a lost opportunity.

  

I am caught off guard by how good, and downright fun, “Get Yo Groove On” is. It has a lively pop to it and would sit completely at ease on any radio station in the late ’90 s. As much as I love it from the outset, it does lose its way after a couple of minutes, but the guitar solo from Kat Dyson snaps me out of this thought, and the rest of the song is an easy groove that I would happily dance to when I’m home alone.

As much as I enjoy “The Most Beautiful Girl In The World” (especially singing along) I always find that in the live performance I am drawn to the sudden stop in the song when Prince sings “How can I get through days when I can’t get through hours” The ticking clock and the way the band jump in and out of the song always has me sitting in admiration of their professionalism and abilities. As for the rest of the song, I sing boisterously along to what is proving to be a very good audience recording.

“Face Down” is one of the pillars that the concert is built around, and it monsters the recording for the next ten minutes. With its big beat and infectious vocal hook, I am completely drawn in, the following few minutes I am in another world. Prince knows what he is about to unleash upon the crowd, the first few minutes particularly interesting as he warns those with children that they should cover their ears or take them out before he hits us with the full force of his agenda and power of the groove.  The bass comes like a tank, rolling across the land, for the final few moments, and this emphatically seals the deal for me – this is just what I want to hear.

 

Contrast, contrast. The following two songs not only come from a different time but also from a completely different place musically. “A Case Of U” gently grounds the performance and brings intimacy to the arena not previously heard. The bump and grind of the opening half-hour are replaced by an emotional pull and thoughtful lyrics. “When You Were Mine” is equally compelling, this time the emotion replace with simple energy that is completely natural and can’t be replicated. With Prince playing alone for these two songs, his natural abilities are spotlighted and he draws attention to this with his final comment of “I would like to apply for the position of King” – a sly reference and dig at Michael Jackson.

The arena is again filled with sound as the band rejoins Prince for “The Cross” It lacks some seriousness of earlier tours, here it is a joyful stomp through a song that has become a celebration. This is underlined by the guitar solo that Prince brings to it, all shrieks of joy and howls of passion.

“The Cross” is more than matched in the spiritual stakes by “One Of Us”, a song that takes the celebration of God to yet another joyful stomp. These two songs are the backbone of the evening's performance and Prince gives plenty of time to the introduction, the vocals, and the guitar solo. Each part of the arrangement is worthy of the time invested, but it is the final minute of the guitar break where the rewards are greatest, with Prince playing with finesse and power.

The band all has a chance to play as “Do Me Baby” begins, the opening minutes are given over to the band introducing themselves and each playing a solo. I found this most enjoyable, but once Prince comes to the microphone the band is forgotten as he sings a timeless rendition of this seduction classic. The previous two songs may be the spiritual highlight, but “Do Me, Baby” is the sexy highlight and a song I could happily listen to again and again.

 

The concert speeds up considerably at this point, and the next 15 minutes see a quick romp through Prince’s back catalog.  “Sexy M.F.” starts this off in fine style. It is uptempo and fun early on before a surprising upswing occurs midsong that carries it away from its initial funk. “If I Was Your Girlfriend” likewise has an element of fun to it and although it lacks the intensity of the album version, it is still a rewarding listen here.

It’s with the piano set that Prince brings an air of intimacy to the recording. Although he plays a run of truncated songs, it still brings a smile to my face. “Diamonds and Pearls” begins this set, but it's “The Beautiful Ones” that follows where the real heart of the performance lies. However, the largest cheer comes for “Darlin Nikki”, and one can hear why. Prince teases the opening minute on his piano, picking out the hook as the crowd cheers him on at every pause. When he does sing, he only gives the first few lines, letting the audience loudly sing the risque lines.

As much as I love “Condition Of The Heart”, the rendition here is too short for me to get much enjoyment out of. “Girls and Boys” has my head nodding in approval, and even with only the piano for accompaniment Prince gives it the required funk and swing. Again it is short, but a nice moment.

“How Come You Don’t Call Me Anymore” begins with Prince, but sees the reintroduction of the band. It is much longer than the previous few songs and sees the concert pull back to a more traditional format. I think the song sounds great, but there is nothing for me to latch onto emotionally and I find it drifts by me rather quickly.

I am far more engaged with “Take Me With You” which comes quickly after. Only a minute, but it is a joyful rendition that warms the cockles of my heart.

My cockles are less warmed by “Raspberry Beret” that comes paired with it. I don’t have a problem with the song, but the performance at this show is luck warm and it fails to build into the explosion of pop that it promises. It is the end of the main show, however, before a lengthy break before the first encore.

 

The song that opens the encore is the reason this bootleg was recommended to be, a 10-minute jam on “Soul Sacrifice” with Carlos Santana. After a slow build, the song kicks off at the two-minute mark as the guitars rise to the occasion and blaze across the recording. Insert any superlative you want at this point, the following minutes are beyond description and make this recording indispensable. Prince introduces Carlos as his hero, and he delivers a performance to match expectations. Forget everything else I have said about the performance up to this stage, this song is all you ever need to hear and it lays waste to all that has come before it.

“Soul Sacrifice” is the pinnacle of the show and the following “Sleep Around” feels quite a letdown. It does play as a party jam, albeit a very ’90’s inspired party. I like to party just as much as the next man, but following after “Soul Sacrifice” it comes across as weak and almost throw-away.

There is plenty of audience interaction for “I Like Funky Music”, but very little for us to enjoy here at home. The groove works, but without seeing the dancers on stage or being involved, it does seem like a flat spot in the concert. No doubt a great concert experience, but it does play as a poor bootleg experience.

There is no surprise at all as the final songs of the recording are “Baby I’m A Star” and “1999”. “Baby I’m A Star” serves as an introduction, its energy giving the show one final boost. “1999” plays as an almost full version, with plenty of “Party!” chanting and funky groove playing us out for the final minutes. It doesn’t reach the heights that were previously hit by other songs in the evening, but it does close out the show on the right note.

Ignore the flat ending, and a couple of weak spots mid-setlist, there is no doubt that this show is worth listening to. “Soul Sacrifice” with Santana was what brought me to this bootleg, and it delivered far more than I could have imagined. Along with “Do Me, Baby” and “One Of Us”, it formed the backbone of the show. Despite some cliched ’90 s sound in places, the show was far better than I expected for a Jam Of The Year concert. It might be some time before I get back around to listening to this one again, but I would have no hesitation in listening to it again in the future.