Auburn Hills 31 July 2004

 Detroit – yes. Pro-shot – yes. Complete show – unfortunately not. But the forty minutes of circulating footage of Detroit in 2004 contains the essence of the concert as it cherry-picks the songs that create the biggest splash. Even at forty minutes, it is still essential to view as Prince and his band play to some of Prince’s greatest strengths with a party song, a ballad, some scorching guitar work, and then at the heart of the show, Prince at his purest with just him and his songs as he highlights that more than anything else he was one of the greatest songwriters. It’s a heady mix, and I look forward to watching this again just as much as any live show I have listened to in the last year. 

July 31st, 2004,  The Palace of Auburn Hills,  Auburn Hills, Michigan 

The concert is about history, both Prince’s history and the history of music itself (and subsequently his place in that history). This is made clear from the first minute as Prince opens with “Musicology,” a song that not only name-checks the musical past, but draws directly from it with its sound, and I might add with some of the personnel Prince has on board, especially if we consider Maceo Parker and Greg Boyer in the band. There is a further nod to Prince’s own past with his suit, a subtle acknowledgment of his purple era. “Musicology” comes as a parade celebrating all of this, each band member a float that pays homage to the past, both musically and with an underlying sense of Americana. Prince leads this parade, feeling the music as much as he is singing it, his body flowing with the rhythm, a performance that touches all the senses. Next to go by is Greg Boyer, his horn bringing the sound of classic R n B to the fore, a distinctive Americana sound hard-coded into his style. John Blackwell storms by, arms flailing, the percussion propelling the song forward to Rhonda, who along with Mike Scott brings the funk back, blanketing the song with a familiar funk and roll, before we rock back into the finish with the song itself as it draws a straight line back through the last sixty years of American music. 

 

Prince puts all his cards on the table from the start for “Shhh,” face-up, all aces. The rest of the band can’t match him, and the rolling drums of John Blackwell see the chips and cards go flying as the battle for the soul of the song commences. It is short-lived, Prince’s opening guitar note arching through the air, a knife-like flash, before he plunges it deep into the heart of the song, skewering the song to an emotional core that had only previously been hinted at in the opening verses. No matter how you come by this, old fan looking back, new fan discovering, a rocker here for the axe, or a player for the seduction, the guitar break remains the impenetrable, immovable, cold steel that is the very essence of the mood Prince seeks to create. Even as Prince smothers the song in a vocal delivery that matches the blue lighting, it is this guitar that demands you take notice as it ventures into sonic territory that no words could ever hope to penetrate. The final death rattle that unfurls from Prince’s fingers underlines all that has come before and is the only possible ending to such a song. 

 

“D.M.S.R” is a wild ride, even by Prince standards, and is as funky as the previous “Shhh” was deep. Prince uncages the inner beast that lay dormant on the album recording, and here it is unleashed in all its glory. On the record “D.M.S.R’ is as smooth as the fur of a lap dog, here it is a wild beast in the way it fiercely grabs the listener, forcing them to move in one way or another lest they be eaten alive by the groove that obliterates all in its path. The song briefly becomes circus-like with Prince’s clowning and diversion into Beyonce’s “Crazy In Love,” before Prince flips it into a celebration of his band, a celebration that one must stand for as Maceo and the band play not just to the heart, but to the feet. It is the final minute where Prince well and truly smashes through the artificial construct of the album cut as he drags the carcass of the song through the wall that separates audience and performer, bringing himself, band, and audience together to “dip down!”  in a moment that embodies the live concert experience where audience and performer become one in the celebration of music. If there was ever a moment where a bootleg captures the live experience, this is it as it comes barreling out of the speakers and into the room. 

 

The bootleg cuts to later in the show and Prince’s acoustic set, with another song that harks back to his eighties heyday, yet given new life in this acoustic setting. “17 Days” still has its interminably downbeat feel, even as the acoustic guitar brings a light drizzle to the song rather than the sweeping sound of the bass that normally flows under the lyrics. It’s all too brief, but yet another nod to the older fans in the audience, and those that lived through, and experienced, the Purple Rain era. The fact that we can hear these people singing along suggests that a lot of this Detroit crowd has stayed with him in the intervening twenty years, and this is their moment to once again feel the hurt and confusion of the teenage years as Prince leads them through his purple melancholia. 

We go even further back for “Something In The Water (Does Not Compute).” the angst is replaced by the rhythm of the guitar, and if I could have a choice, I would choose the angst any day. The guitar is crisp, but it leaves the song far behind as it corkscrews off in a new direction. 

 

There is a lack of venom in “Prince and The Band,” the music oddly at odds with the vocal delivery. The real poison is carried in the lyrics Prince is singing, one of the most honest songs Prince has ever composed, each word carrying his struggle of the previous ten years against record labels. I like the idea of the song far more than the performance, I find myself enjoying the lyrics and ignoring the music as Prince ensures the crowd is by his side in his ongoing crusade against the record companies. Overall though, the song remains flaccid, a word I never thought I would use for the highly sexualized Prince. 

 

There is no surprise at all to see that this bootleg ends with the obligatory performance of “Purple Rain.” Nothing is driving the song, it moves with its own weight and momentum, Prince is merely a spectator for most of it as the music channels effortlessly through him. It sounds tired, the most important parts of the show have already been heard, and felt, and this is merely here because it is expected. Prince doesn’t even trust himself for the final guitar break, as he is assisted by an intrusive horn section that brings a Las Vegas sound to what should be the most earthy and powerful of Prince’s songs. The early songs in the set carried the weight and sheer force of Prince’s abilities, and emotional impact, a sense of the here and now, that just isn’t present for “Purple Rain.” It should be one of the most important songs of the set, the song that opened all the doors for Prince, but instead, it plays as a pretty bookend, not even matching the power and message of the opening “Musicology.” 

 

A short bootleg, to be sure, but a very good one. Don’t be put off by my final thoughts on “Purple Rain,” the overall performance is again as smooth as anything else Prince has done, and it all looks superb in its professional shot glory. These are the key songs of the performance, although I must admit without the full show some of Prince’s message (real music by real musicians) is lost, as is his homage to the past as he seeks to cement his place as an icon. Widely circulating, and well known, it is no surprise to see how popular this particular bootleg is, as it is a nice companion piece to the full Los Angeles show from earlier in the tour that is currently available. If you haven’t seen this for a while it’s well worth a second look, but be warned, it may well lead to listening to a lot more from the Musicology tour. 

Toronto 28 July 2004

 The Musicology tour was a success on every level. A huge tour that delivered quality performance night after night for seven months, it saw Prince return to his rightful place at the top of the musical mountain. Almost every show is worth hearing, which makes choosing one to listen to very easy, or difficult depending on your point of view. Any concert could be chosen at random and provide a fine listening experience. 

In the last five years, I don’t think I’ve listened to a single show from Canada. So with that in mind, I have not chosen a show at random, rather I have pulled out this lively show from Toronto for a listen. 

July 28th, 2004, Air Canada Centre, Toronto, Canada 

Written large across the tour is the name Musicology. The album name, tour name, and opening song title, also contain Prince’s philosophy for the concerts – real music by real musicians. In this case, it is a bright performance of the song itself that opens the show. With its sleek horn sound, Prince straddles eras. The song reeks of 1970’s excess, yet Prince and the band keep it neatly trimmed, the musicians given time to play without becoming indulgent. Of note is John Blackwell on drums, and the swing of the horn section. Both hold the song together and give the song its signature sound of driving funk. 

 

“Let’s Go Crazy” also nods back to a previous era, an era that Prince himself shaped and dominated. It can sometimes sound stale, but here again, the band plays with a sharpness that keeps it well-defined and fresh. I’m not always a fan of the call and response, but in this case, it works well enough. It is Candy that is my highlight with her midsong punchy solo. Prince’s guitar can’t match it for excitement, and even as his final notes blaze I am left with the thought of Candy. 

The concert continues with this brisk pace set by the first few songs. “I Would Die 4 U” feels faster than I remember, but it serves the concert well. It blazes across the performance, a musical comet that burns itself out within a couple of minutes. I barely have time to enjoy it, but enjoy it I do. 

With the appearance of “When Doves Cry” it is apparent the concert is front-loaded with Purple Rain songs. It is far from the drawn-out versions we heard twenty years ago, Prince ticking off the key spots as the song becomes a flickering memory rather than a wallow in nostalgia. 

“Baby, I’m A Star” rounds out this Purple Rain celebration. The song is a fine match for the band, the horns are given another chance to shine with their busy drive and energy. They become more prominent as the song snowballs into the first real jam of the night. There is a piano solo that must be heard in the mix before the horns raise their heads from the background to remind us of the hook, but asides from that it is a free-form workout. Do I like it? You bet! 

Prince draws the musical curtains on the party, and the warm sweat of “Shhh” rises from the soundscape. It is given the time and respect to marinate in its juices, and like “Baby I’m A Star it delivers on many levels. Prince’s sultry tones draw me in, but it is his guitar work that slaps me down. Again and again, he reminds us what a master he is, not just of his instrument and songwriting, but of his ability to create atmosphere and mood. There is no slow build to his solo, he cuts quickly to his work. The guitar adds steel to the song in an instant and burns brightly for the final minutes as Prince draws a sharp line under his lyrics letting his guitar say all he needs. I have written about many great performances of “Shhh,” rest assured this is another. 

As much as I like Maceo Parker, I have heard “Pass The Peas’ enough at Prince concerts to last me a lifetime. It comes from the same place as “Musicology” and “Baby, I’m A Star,” – a chance for the band to indulge in some freewheeling music. However there is not enough of Prince himself in the DNA of the song, asides from his constant encouragement of the band, and as much as I enjoy each band member’s contribution I fail to connect with what the song’s true heart is. Interestingly, the final minutes of the song is a carbon copy of what appears in the performance of “D.M.S.R” a few days later in Detroit, this seemingly something Prince could cut and paste into the show as is his will. 

 

The concert comes into sharp focus again as a gleaming “I Feel 4 U” lightens the show. It is a song that lifts the soul, although I can never quite put my finger on why. The lyrics and music are instantly recognizable, and I contribute with both my singing and humming. It may appear lightweight in the setlist, but it brings another valuable pop song from the past into the fold. 

Prince pivots from this pop into the world of clinical funk with “Controversy.” “Clap your hands and stomp your feet” doesn’t move me, but Candy knocks me sideways with her forceful contribution. The saxophone and guitar are the two main pillars of the song. Each brings a huge dose of funk to the song. “I am being well-schooled” passes through my mind and Prince confirms it with his “schools still in” and another fiery contribution from Maceo, ably assisted by Greg Boyer on trombone. An exciting and breathless moment, Prince refuses to let it lie, and the transition to “Housequake” with some quicksilver guitar work managers to both encapsulate and top all that has come before. 

The first time I heard the interlude, with its segment of Purple Rain’s ‘backward crying’ was interesting, but fifteen years later I can live without it. Likewise, as much as I like the song “Georgia On My Mind,” it’s not what I came to a Prince concert for, and my interest wains while Prince isn’t on stage. 

I am much more invested in the slow-burning and audience-infused “Little Red Corvette.” Prince alone with his acoustic guitar sketch out the integrity of the song. With no gimmicks, the music becomes the sole focus, and it is obvious the crowd is on-board from the first minute. The song is best taken as a whole as the guitar and vocals intertwine, each adding different inflections and nuances to the story Prince is telling. Not all songs work when stripped back like this, but “Little Red Corvette” certainly does, and it loses none of its luster in this intimate setting. 

The surprise package of the acoustic set is “Peach.” Not for its inclusion, but for how well it works. Previously it was all fire and brimstone as Prince unleashed his guitar histrionics. In its acoustic form, it is an endearing moment as the audience has a chance to sing along. Prince reveals some delicate guitar work that suggests that I have long underestimated what lay at the core of the song. It threatens to outstay its welcome, but Prince pulls the plug on it at just the right moment. 

The Purple Rain era has already made quite an appearance at this show, but Prince delights with the period B-side “17 Days.” A slab of cold funk on record, again with only Prince and his guitar it becomes all the more heartfelt and delicate. With Prince’s guitar bringing some warmth, the pain becomes lukewarm, yet remains from the original. 

I would have liked to indulge more in “Sometimes It Snows In April” but Prince doesn’t dwell on the moment and the song clocks in at just under a minute. A mere taster, it does leave one wishing Prince could have given us just a little more. 

“Alphabet Street,” promises more than it delivers. I expect energy levels to go up, but it remains stubbornly subdued throughout. That’s not to say it’s bad in any way, but merely disappointing. Prince is never loud enough, nor is his guitar or the crowd. “Peach” worked, while “Alphabet St” doesn’t, a complete surprise to me. 

One thing I always liked about the Musicology tour was the regular appearance of “Prince And The Band.” With his biting lyrics and sharp guitar sound Prince delivers another cutting rendition. The crowd responds positively to the line about Warners, no doubt to Prince’s great pleasure. The thought of Prince playing a song called “Prince and the Band” solo also brings further humor to the moment. 

Prince takes this humor and runs with it through “Cream.” He gives plenty of time to joking and teasing the audience, momentarily threatening to derail the song. However he returns to the music, and the guitar work in the first minutes is fast and furious. Every note shines and sparkles, and I find myself listening to it several times before moving on. 

The song that stands above all in this acoustic set is “Raspberry Beret.” The familiarity and ease of the lyrics mark it as an easy singalong from the start. Prince knows this and gives the audience the holes they need to inject themselves. It was never going to be the most demanding of songs, there is no challenge in the music or lyrics, and it is the warmest and most communal experience of the evening. 

 

“7” serves as the bridge back to a full band performance. Once again Prince carries the audience with him, their voices adding to the fullness of the chorus. It is a brief performance and merely perfunctory to bring the band back on stage. 

A rather odd “Sign O The Times” follows. I am not familiar enough with the Musicology tour to know if it is a fair reflection of its form at the time. It feels skittish, and never settles on the hard groove that I desire. Even Prince’s guitar fails to bring a sense of stability to the tail of the song, and by the end, I still don’t have a handle on the overall feel. 

“Whole Lotta Love” often ripped through the heart of the One Night Alone tour, but by Musicology it has been tamed. Although Prince indulges in plenty of guitar work over its eleven-minute span, it never feels as threatening or heavy as it did a few years previous. There is no sense of danger, Prince’s guitar raging only against itself. I appreciate its appearance in the setlist and lose myself in the guitar work, but the concert would do just fine without it. 

We return to the more fertile ground with “Let’s Work.” The funky seeds sown by Prince in the earlier 1980’s come to full bloom here with the horn section filling out what Prince could only hint at back then. They take the heavy lifting off the bass and propel the groove with their bright sheen. It’s far from the eighties sound of Prince but has the same hypnotic effect as the band all hit the groove. 

The band remains in lockstep for the following groove of “U Got The Look.” It all happens at the bottom end, Prince’s guitar a shrill interloper on what is otherwise a deep groove. The is no true resolution to the song, it remains undercooked as Prince moves quickly on to his next number. 

 

We return to Musicology and its themes with a stomping “Life O’ The Party.” There is a sense that Prince is book-ending the concert with this song, and it is a nice companion to the opening “Musicology”. With its organic sound and the horns at the fore, it brings a fresh blast as we head towards the end of the concert. Prince’s thanking of the crowd suggests that this can’t be too far away, although there are still a couple of treats to come. 

“Soulman” could well be a description of Prince as well as a song title. It is a fitting cover, but I would have preferred for Prince to sing it rather than Chance Howard. One can’t deny how uplifting it sounds, and Prince takes control for a timely “Kiss” to further lift my spirits. “Kiss” molds itself well to the Musicology sound, and it fits seamlessly with the surrounding material. Updated for the 2004 tour and sound, it reveals itself to be timeless. 

“Take Me With U’ continues this uplifting stomp, and marches onward without ever becoming pounding or tiresome. The Purple Rain album gets plenty of airtime at this concert, and this is another example of an older song being revamped for Prince’s current sound. It is just as successful as the previous cases, and Prince gives way to Maceo Parker, Greg Boyer, and Candy Dulfer to round out the song with their brassy sound and attitude. 

I had forgotten just what a gem “Call My Name’ was until I heard it again here. It won a Grammy award for best male R&B vocal performance and one can hear why as Prince loads the vocals with a lush, sensuous delivery. It never drips into syrupy or overworked, remaining aloof in its dedication to its theme. Of all the Musicology material presented at this concert, this is the standout and one only wishes it could have been longer. 

 

“Purple Rain” closes the concert and it is pleasing to see it bring the evening to a climax. It has previously been slotted into different places throughout the setlists over the years, sometimes shortened and abridged, and I am overjoyed to see a full-length version closing the concert. The lyrics and delivery don’t quite hit the emotional highs they use to, but as Prince’s guitar snorts and grunts at the start of his solo all thought of that is put aside. For the next few minutes, his instrument conveys all that needs to be said as it touches on an array of emotions, including nostalgia, with its far-reaching range and depth. I admit, that I am sometimes overly effusive in my praise of Prince’s ability on the guitar, but it cannot be understated – he is one of the best. As the final notes fade there is nothing more to be said, it has been a spectacular end to a spectacular show. 

This is not one of the more known Musicology concerts, yet it is just as good as anything else heard on tour. This speaks to the quality of the tour itself. The tour was long, but Prince and his band gave us memorable shows night after night. With twenty-five years of experience behind him, Prince put together a setlist that dips into his history without dwelling on it and gives us something both current and pleasingly familiar. Any show of the tour could be listened to with confidence, and I found this one from Canada to be a real treat. After listening to this I will certainly be coming back to the Musicology tour with a renewed interest and vitality. 

San Jose 1 June 2004

 I have for a long time now avoided the Musicology shows. To be honest, I haven’t been very open-minded about these shows, I only listened to them shallowly and for too long I have regarded them as nothing more than a crowd-pleasing package. In recent times I have come around, and I have been overdue in blogging about these shows. When looking for a good show to listen to from this tour, I found the concerts far more rewarding than I anticipated, and some great shows are circulating from this tour. The show I am listening to today is from San Jose, and the main reason I chose this one is due to the acoustic guitar set, which I believe is one of the longest- if not the longest, from the tour. There is plenty more to enjoy on this recording too, and with a running time of slightly over two hours, there is something for everyone. 

1st June 2004. San Jose, California 

I don’t know if I’m the only one, but I enjoy the Rock And Roll Hall Of Fame video introduction, the speech from Alicia Keys does a fine job of neatly summing up all the reasons I am a Prince fan. Whoever wrote that speech, be it Alicia or someone else, they certainly captured the passion that keeps me listening to this day. 

Musically the show opens with “Musicology,” and it’s a rousing rendition that makes the album cut sound rather tepid. The recording is outstanding, it’s an audience recording of the highest order- outstandingly clear and crisp sounding, every instrument and Prince is heard in perfect balance. The rhythm guitar is heard much better at this show, and it gives it just a little more of the oomph that I need. I often think of “Musicology” being a longer song, here I enjoy it so much that it seems to go by in the blink of an eye. Greg Boyer and his trombone end the song on a high, and I am very happy with what I have heard so far. 

“Let’s Go Crazy” has a Vegas sound about it, with the horns playing prominently and Prince's guitar a little more in with the band. His solo is clean and clear, and although it doesn’t have any real fire to it the crowd does cheer appreciatively. Candy playing a solo is a nice touch, I don’t find myself too enthusiastic about it although it’s not bad in any way. Prince closes the song in the manner to which we have become accustomed, and like everything else in the song, it’s nice but doesn’t raise any pulses. 

The pop of “I Would Die 4 U” is infectious, and as soon as it starts I feel myself warming to the show. I don’t know if it is nostalgic value or the performance, the song has a life of its own, and the show ups tempo. It’s barely a minute, and I was grinning through it the whole time. 

 

I am very surprised as we next get a fuller take on “When Doves Cry.” The earworm of a keyboard riff and a fantastic-sounding elastic bass keep me hooked, and although some verses are missing there is still plenty here to listen to and enjoy. It’s an interesting arrangement and one I could happily listen to again. 

The keyboard intro of “1999” leads us straight into a crowd-pleasing “Baby I’m A Star.” Crowd noise is minimal on the recording, but there are plenty of whoops and cheers as Prince rips through the song. With four songs straight from Purple Rain, Prince is playing to please the crowd. I am not enamored with “Baby I’m A Star,” it’s a shade too polished and clean for me. The horns get plenty of play, and it sounds to my ears a little too close to a Vegas revue. There is a piano interlude mid-song which I find far more enjoyable and it’s more than enough to keep me interested to the end. 

For me things the show goes up several notches as “Shhh” begins. That guitar and drum introduction gives me time to prepare myself for what I hope will be a highlight. I am rewarded with an excellent rendition of a long-time favorite. Prince’s vocals are brilliant and the recording does him justice, capturing every nuance of his performance. Prince’s guitar playing matches his vocal performance, the tone is just right and the sound is crisp and restrained with the emotion present but reined in. John Blackwell doesn’t sound as strong as we sometimes hear, but that may well be up to the recording as much as anything. The last-minute of guitar work from Prince is outstanding, and it transports me away from the glitz and glamour we heard earlier. 

I have always loved the “D.M.S.R.” performances from the Musicology tour, so as the music starts I am already looking forward to hearing what comes next. The vocals are strong, the music funky, and the horns sound great with their top-end sound. The song has a fantastic slide to it, and this is heightened with the bass sound under it all. Greg Boyer and his trombone appear for a solo that keeps the party groove going. I am not surprised to hear the “Crazy In Love” riff thrown in, its horn vamp working well with the “D.M.S.R.” groove. Prince has a swagger to his voice and he is running the show, with both the crowd and band responding to his calls. Candy’s solo is fun, but it's Mike’s break with the vocoder that I dig, I could have easily listened to much more like this. I had almost forgotten about Maceo Parker, and he does a fine job of playing us out to the end of the song with Prince chanting with the audience. 

The briefest of introductions from “Love Bizarre” and “Glamorous Life” sound before we swing into “I Feel For You.” Prince's vocals are a little lost in the sound of the band, but aside from that the song is just as good as it has ever been. The sound is warm, and there is a comforting feel to it. The bass pops out of my speakers and the crowd responds to Prince's calls adding to the familiar feel. 

The pulsating rhythm of “Controversy” keeps us firmly rooted in the 1980s. The bass and drums drive along while Prince's crystal vocals sound sharp over top.  The guitar does become stronger after the first verse, and anyone who follows this blog regularly knows this is what moves me most. I don’t truly feel the song until Candy plays a scorching solo, and the bass ramps up. It pulls me right into the song, and I stay there as some choppy guitar plays. Prince reminds us of some of his great catalog by singing several lines of “Love Bizarre” before Candy gets another moment followed by the rest of the band. It’s very much one of Prince's band leader’s jams, with the band stretching out and getting a chance to groove on it while he calls the changes. This is a band that is often overlooked, but on listening to this I realize that they are very versatile and they had been with Prince for some time by this point. Housequake is in the mix too, with the horns making themselves heard again. 

I find the piano interlude by Renato Neto to be a pleasant surprise. I am gobsmacked when I hear the “she’s crying, it’s backward’ from “Purple Rain” playing. There is no way in a million years I could have ever guessed that I would hear this in concert. It’s an interesting diversion before Renato begins to play “God.” His piano playing has a tender solo sound before Maceo joins him playing saxophone. I like the sound of the sax, although I preferred the solo piano that we started with. The saxophone sounds good with the piano and the final sustained notes he plays get the crowd cheering before the song closes gently with the solo piano again. 

 

The acoustic set begins with Prince playing a heartwarming rendition of “Little Red Corvette.” With the song stripped back like this, there seems to be much more room for Prince to inject emotion with his vocal performance and guitar playing. The crowd lends their voices to the chorus and there is a real warmth to the recording. 

I have never been a big fan of “Cream,” but hearing it like this I feel the roots of it and I get a lot out of it. Prince is in fine form with his humor and chastises the crowd for lip-synching as they sing along. It’s almost like a campfire sing-along in places, and it has a lot of heart to it. If it was played more often like this I would be a much bigger fan of the song. 

“Sometimes It Snows In April” is tailor-made for an intimate performance like this. The naked sound of Prince and his guitar has never sounded so good, and this is one of the best live recordings I have heard of this song. There are cheers and calls from the crowd, but the recording is perfect, and I can only hear them as background noise, Prince and his guitar are front and center the whole time. All in all, it’s an excellent recording of a beautiful song. 

I have always preferred the live versions of “Dear Mr. Man” over what was released on the album, like I have said in previous songs here there is much more warmth and humanity to it.  The crowd claps along and it’s very in tune with the feel and the soul of the song. Prince plays loose with his guitar to end the song, and for me, this song is the heart of the show. 

He follows up by playing a few lines of “The Most Beautiful Girl In the World.” I look forward to hearing the whole song, although we only get half a minute, and surprisingly I am not too bothered as the next song is a glorious-sounding “Adore.” 

“Adore” works very well in this setting, with only the acoustic guitar playing I find that Prince's vocals gain an extra emphasis, not that they need it – the crowd certainly knows every word, as do I. It’s abridged, and only runs a couple of minutes before Prince breaks the spell with “Remember that song from High School’ as an introduction to “Sweet Thing.” 

He does very little singing on “Sweet Thing,” instead it’s the crowd that does all the heavy lifting in providing vocals to his guitar playing. His playing is indeed sweet and the song sounds just like its title. It’s a lovely moment, and it takes me back to a time and place. 

Likewise, “Raspberry Beret” sounds equally as sweet and pop. In this format, it works even better as there is much more space for the crowd to sing along with Prince as he plays. Naturally enough he ends after a verse and chorus with the traditional “I think I love heeeerrrr” Short and sweet, but it has its place here. 

Things get more upbeat with Prince playing “I Could Never Take The Place Of Your Man.” It works well acoustically, and I like that I can hear what the key components are for me, Prince’s vocals and his guitar. I have always had an enormous soft spot for this song, and I am delighted to hear it in this context. Prince seems to be in a great mood, playing with the crowd as they sing the chorus, and I can’t help but hark back to that feeling of a campfire sing-along. 

There is more humor as Prince next plays the opening to “Jail House Rock” and sings the first lines.  He pauses and tells the crowd “We can be Princes, but we don’t want to be no Kings” It gets a cheer from the crowd and a big grin from me at home. 

“Telemarketers Blues” is equally humorous. There isn’t much happening musically but the lyrics are always a lot of fun, and the last minute of Prince crooning and playing the blues is worth hearing. It segues in “12:01” which is a good bookend to it, and as it is similar in sound and humor they work well as a pair. 

I begin to lose interest in the acoustic set as “On The Couch” plays. It doesn’t stand out in its vocal performance, and the guitar playing isn’t particularly strong or interesting, and for me, the enthusiasm for the acoustic set wanes about now. 

“7” signals the return of the band, and I enjoy hearing the bass line in particular. The backing vocals seem too strong for the song, and for a while, I hear them more than I hear Prince. It’s no bad thing, as the song is kept to barely two minutes, so it doesn’t get long enough to bother me. 

I hadn’t anticipated hearing “Sign O The Times” at this show, but I’m sure glad it’s in there. The horns add a nice little riff to it, and I like that there are a few other differences too that don’t for a moment detract from the song. It’s not the bare-bones sounding song we know from the 1980s but this re-imagining of it for the 2000s works much better than some of his other updates. There is even a howling guitar later in the song that pulls back to a Santana sound which works equally well. 

 

I play “The Question Of U” a lot here at home, so I am not too excited to hear it on this recording. It’s a good clean version, nice sounding, but not as intimate sounding as I have heard at some after-shows. The guitar break almost has me eating my words, as Prince shows us why he is so highly regarded as a guitar player. His guitar says plenty as it howls and whines with emotion. The last squeal in particular before it changes tone has me beside myself. The music slows and Prince plays a stabbing break that shudders and shakes me before he builds up to “The One.”  I have always felt an emotional connection to “The One,” and here it lives up to my expectations as Prince's vocals capture the emotion of the lyrics. There are the lyrics of Alicia Keys Fallin sung by the girls, but it's Prince's singing of “The One” that holds me. He releases a final emotional charge with a fierce guitar solo to finish. 

“Let’s Work” is completely different from what we have just heard, and it takes me half a minute to get into it. It’s a chance for Rhonda Smith to shine and shine she does. Her bass work is solid, and the solo she gives us is a lot of fun. It’s rather short before the horns come back in, but still worth hearing. 

“U Got The Look “has a very different sound to it, initially there is no guitar at all, and it’s unlike anything I’ve heard. The keyboard fills all the gaps, and Prince's guitar can be heard later in the song, without ever coming right to the fore and dominating. 

“Life O The Party” stays with this upbeat vibe, and it too sounds just as shiny and bright. The bass and drums lock in, while the brassiness of the horns keeps things moving up top. I enjoy the party atmosphere, and I know that this signals the end of the show is getting near. 

“Soul Man” is a welcome addition to the setlist. Prince doesn’t sing, but that doesn’t matter in the slightest as I am sure the crowd is on their feet already for this. It’s all part of the greater medley and a lot of fun. 

We segue right into “Kiss,” it’s not the strongest version I have ever heard, but in a show like this it serves a purpose and that is to keep the party going to the end. It’s a chance for the crowd to scream and shout, and, in places, sing along. It’s still part of the surge to the finish line, and after a couple of minutes we plow into “Take Me With U.” 

I don’t normally get a lot out of “Take Me With U,” but this one is an exception. I find the band gives a push to it, and it works well in this party-like finish. The crowd gets another chance to sing along and the horns once again take over, with Mike Phillips playing Meet The Flintstones, as well as Greg Boyer and Candy both playing solo lines. John Blackwell’s shout-out sees him playing “777-9311” before a sample of The Time saying “We don’t like new wave’ ends the medley with Morris’s inane laugh. 

The main show ends here, and we get a couple of minutes to catch our breath before Prince and the band return to play “Call My Name.” It’s the first proper seduction ballad of the show, without any competition in its category I find it’s great and a song I would often overlook gets the attention it deserves. The song is a welcome addition to the show, and I enjoy the horns and keyboards in it just as much as I enjoy Prince's vocals. 

 

“Purple Rain” opens without fuss, just a quick piano line from Renato before Prince's guitar plays a strong lead break that takes us to the opening lines. The rest of the song ebbs and flows as is its way until Prince unveils the guitar break that will carry us to the end of the show. The crowd of course has their final opportunity to add their voices to the show, and the whole thing concludes with an overall feeling of togetherness and positivity. 

It’s been a while since I listened to a proper main show like this, normally it would be something I eschew in favor of a good after-show, however, this one has shown me that I should be more open-minded. Not only was it a very good main show, but it was also something from a year I have shied away from for too long. The Musicology tour has a great many circulating shows, and now I see why so many people enjoy them- a good configuration of the NPG, an interesting acoustic set, and a lengthy performance make this a good listen for all occasions. I shall be digging through more of these Musicology shows in the next few months, and hopefully, I will have a few more gems to blog about.