Minneapolis 7 June 1984

 Some time ago I rather rashly stated that the 2002 Copenhagen recording was the greatest of all Prince Bootlegs. I have been forced to swallow my words many times since then as I listen to my collection and some of the gems contained therein. There are quite a few recordings that could lay claim to being ‘the greatest’ and today’s show I would guess is atop of many people's lists. The 1984 birthday show is something very special. It oozes quality at every level, a brilliant sparkling soundboard recording that sounds better than the recording on many of his albums, the quality of the performance itself, and of course, those unforgettable songs played to the hilt just as Prince was to ascend to his greatest heights. Yes, this one well and truly lives up to the hype, and I’m itching to take another listen to it today. 

7 June 1984, First Avenue, Minneapolis 

 

The recording starts with the PA sound, and it serves as a nice soft opening. It gives a better feel for what it would have been like to be there, and we don’t have a hard jump straight into a song. There is a classic spoken intro of an announcer saying ‘Ladies and Gentlemen, Prince, and the Revolution’, and then we are off into it. “17 Days” sounds just as good here as I have ever heard it. The recording is so sharp, to my ears it sounds even better than it did on vinyl. The first thing that strikes me is the bass. It’s got an elastic feel to it, and it’s a beautiful big groove that comes out of the speakers at me. It’s almost like riding a wave, it’s so full and washing over me. The second thing that I notice is Prince’s vocals. His singing is so clean sounding, that it’s hard to believe it’s in a live setting. Generally, I try not to gush about what I am listening to, but in this case, it’s very hard not just to sit back and listen to it and be a fan. It’s oh so good. Brown Mark just grooves along underneath, and there are some nice moments when I hear Wendy playing with him on the groove. By the time the song finishes, I am wondering how they could have relegated something so good to a B side. 

“Our Destiny” starts slowly. I am not immediately won over as Prince starts singing, but when that chorus hits me I am fully converted. The keyboards are the hero of this particular song, whether it be the twinkling sound under the verses, or the muscular stabs driving the choruses. Prince’s vocals are a little more casual for this one, and some of his character shines through. Also worth mentioning are the drums in this song. Not the obvious beat of the bass drum, but instead the rather glorious sounds played on the cymbals. They seem to add just the right feel at just the right moment and serve nicely as punctuation to Prince's vocals. 

 

The band is very well-rehearsed as they move easily into “Roadhouse Garden.” Like the previous song, it is an unreleased classic.  There is an excellent crisp guitar picking away, and it gives a sharp sound while Prince and the girls sing some nice full vocals. Listening to it now I realize there isn’t too much to the song, the keyboards are barely heard at all, there is a solid bass line, but most of the interest is coming from the guitar sound and the girls singing. Prince tells the audience “you going to have to excuse us, we just jamming’ and it does very much sound like one of the jams that the band plays endlessly at rehearsal. It does have a good feel to it, and at no point does one member of the band get the spotlight, it’s very much a band thing. 

Prince takes time to chat to the audience next, and I like it when he takes a moment to tell them “you’all came in here expecting to drive Prince’s red corvette, that’s not going to work. We just going to play a few numbers, some of them you’ll gonna know, most of them you won’t” Then follows one of my favorite moments of the show, Prince says “Wendy wants to live forever. Maybe she will” and the band rip into a storming version of “All Day, All Night.”  The bass line is heavy and right in my face, and the whole band rides on it and it’s got a feeling as if they are playing as one, as a single entity. Every aspect is so tight and interwoven, it is an absolute joy to listen to. I could quite happily just listen to an instrumental of this, I feel like getting up and dancing as the introduction plays on. Prince comes with the first verse, and he is sounding excellent, as he is throughout the show. I love the way the groove lets up just a little at the end of the chorus so the guitar and music can take a few little steps up. Bobby Z gets a moment and plays some hard electronic-sounding drum rolls, which add to the overall pulsating feel of the song. If fact the whole song feels like it galloping along, and when it suddenly ends it’s like a sharp intake of breath. 

 

Things slow down next as Prince plays a gentler sounding “Free.” After the dense sounding “All Day, All Night,” it’s a very sparse sound, and it serves the song well. Prince's vocals are back to being the main focus, and he delivers beautifully. I thought the “Free” sounded light on the 1999 album, but here it is much stronger sounding. A lot of the corniness is stripped away, and it no longer has the over-the-top finish as heard in 1999. All in all, I much prefer this arrangement, and I am glad we get to hear it. Prince ups the ante with his singing near the end, before the song closes with the solo piano again. This is not the best song on the recording, but it is a very pleasant surprise. 

The drums take a few bars to find a steady beat for the next song as a funky-sounding rhythm guitar begins to play. As good as it sounds, it is a little misleading as the song takes a sudden turn. Prince dedicates it to Shelia E, and the music takes on the smooth sound of “Noon Rendezvous.” Again, this is another song never released by Prince, and that’s a shame as it does have a very alluring sound to it. The guitar is playing just enough to draw me in, and the rest of the band creates a smooth velvet sound. There is a guitar solo, but it’s in no way disruptive to the gentle groove, and it’s well tucked up inside the song. The second lead guitar break is slightly louder, and Prince is playing more of what I might expect from this time. The girls enter with the soft refrain of “sitting in this cafe, waiting for my baby”, but it’s not as drawn out as we hear in rehearsals, and the song ends soon after. 

 

Things are much heavier almost right away, as a hard drum beat begins, and some rock lead guitar. It’s quite a loose sounding, but after half a minute the band comes on board and things immediately tighten up as they play “Erotic City.” Although not as bass-driven as it sounds on the record, it is still very strong sounding. Some of the sparseness of the record is sacrificed, but what we get instead is a lot more guitar and a lot stronger vocals from Prince. It also sounds faster to my ears and doesn’t sound as dirty and funky. It’s a fair trade-off, but only just. With the intonation of “all the critics love me” we get plenty more guitar from Prince, and I can hear Wendy step up the funky guitar she is playing. The band is heavily in the groove by this point and Prince becomes a lot wilder sounding on the guitar, but always returning to the “All The Critics Love U” riff. The keyboards also get stronger as the song progresses, and as time goes on it becomes denser and louder. It increases in intensity until it eventually comes to an end at the eight-minute mark. 

 

“Something In The Water (Does Not Compute)” has a great dark beginning. The cold keyboard initially starts before a brooding guitar riff from Prince. He asks the crowd “alright if I just play for a minute” as he then proceeds to do just that. It’s atmospheric in sound, and suitably slow and mournful. When Prince begins to sing he captures the lonely feel of the song perfectly, especially with his “does not compute, does not compute” There is even a moment when he sings “what’s the hang-up, bitch” which adds a hint of desperation and feeling to the song. The song is without the drum machine rhythm heard on record, but that barely matters as Prince is sounding so emotional, yet the music is cold and detached, much like the woman the protagonist in the song is singing to. Later in the song Prince lets his guitar do his talking. It’s not right in front in the mix, but it does sound very good, and worth listening carefully to. This song is played right out and every minute of it is worth listening to. 

 

“When Doves Cry” is the standout track on this recording for me. Right from the first moment, it has a clean sound, and the drumline is so familiar. Dr. Fink plays the lead line a couple of times before Prince comes to the microphone. At first, he blows the first line, he mumbles “how can you…” before he catches himself and quickly covers with “come on, have you heard this before?”  It’s very fast and smooth, and a great recovery. He then asks the crowd to get on board, before calling for Dr. Fink to play the lead line gain. He then implores the crowd further to “get down” before calling for the lead line once more before singing the first chorus. The longer intro works well, and I like hearing him talk to the crowd like this. Once the song starts, I notice that Wendy and Lisa are very strong on the vocals, they are much more prominent than heard on record. It’s not bad, just different. Wendy gets her moment to shine on guitar, and it's good sounding, but perhaps not as clean sounding like everything else. The best is yet to come, as the band plays on, Dr. Fink plays a cool solo, and then there comes a great scratch guitar. I’m not sure if it's Prince or Wendy, but it’s my favorite part of the song. It plays on and on, and I never tire of it. The band sings “Don’t cry” over and over as that beautiful guitar line just loops again and again. I don’t know how long it goes for, but it feels like forever, and it encapsulates the Prince sound I first knew and loved.  And just on a side note, my girlfriend told me she thought this part was boring and repetitive -looks like I might be single again soon! This last half is a song unto itself and the recording is excellent just based on this alone. 

 

Of course, there is the obligatory “Happy Birthday” sung by the audience, before the band turns up the funk levels with “Irresistible Bitch.” It’s not as dark as I have heard elsewhere, but it’s still a nice version. The band is playing incredibly tightly, and it’s the guitar that mostly holds my attention. It’s so crisp sounding, and the song revolves around the guitar riff. There is a keyboard solo that sounds good to my ears, but it’s a little low in the mix, I would have liked to hear it much more. Near the end, Prince stops and starts the band several times, and as always they are right on the button. 

 

“Possessed” is equally funky, but with a dash of pop thrown in the mix. After a Vegas sounding opening the band open up a rapid groove, again the rhythm is king here, the only melody coming from a simple keyboard line. Prince’s vocals aren’t quite as clear as they had been earlier in the show, he is a little more in the mix, but that’s not a negative at all, and in the second verse I can understand his lyrics much better, so it may be my problem more than his. There is some further interesting keyboard jamming later, again it’s all too quiet for my taste and I have to listen carefully to appreciate all of it. Prince does a scat about ‘big ole soul sisters’  and it's very tightly in the rhythm, so I give him a pass despite the corniness. I think that the band is going to play this one as a long funky jam, so I am very surprised when it stops suddenly and Prince tells the crowd that they got to go. 

There has been a lot of talk about this soundboard recording since it first surfaced, and I can fully understand why. This show is mindbogglingly good and deserves all the praise heaped upon it. If someone was to tell me that this was the best recording, I would have very little argument with them. This one is excellent in every way, and a must-listen for any sort of fan. 

Rehearsal May/June 1984

 

I am rare to listen to rehearsals. I admit that they are great, and show off another side of Prince and his talent. But they don’t have the same intensity as a live show, and that’s what I enjoy most. However, without that intensity we do get some very cool arrangements of the songs, often being drawn out and just letting the band do what they do best -play! Today’s rehearsal is from May/June before the birthday show of 1984. There are a few rehearsals from this period, and I think this one exists in several variations, but this is my favorite and the one I play most.

 

Noon Rendezvous Rehearsal May/June 1984

As I mentioned above, there is a couple of variations of this rehearsal circulating, the major difference is the sequence of tracks. I am listening to the FBG release, which opens with “I’ve Gotta Shake This Feeling Baby (Purple Rain),” and I have to say that right from the start it grabs me and any reservations I have about listening to a rehearsal are immediately laid to rest.  Over the familiar beat of “Purple Rain,” Prince lays down some very raw, yet beautiful guitar work. There is very little in the way of lyrics, just Prince singing “I’ve gotta shake this feeling baby” over the top of the Purple Rain music we know so well. He does ask for a longer echo at the start, but I can’t hear where it is applied. The rest of the band is a solid base on which Prince lays his guitar work. Some of the phrases and melodies he plays are familiar, and some are new to me. The best parts are for me when he reins in the guitar and plays it tightly in the song. The quality of the recording is very good, and all the other instruments can be heard clearly, especially the piano, which I enjoy. I can’t stress enough how much I enjoy this, and what a complete surprise it is to me. I was planning to sit down one evening to write this blog post, but truth be told I played this several days in a row, dumbstruck, jaw on the floor before I finally was able to find the words. It’s a great listen, imagine the second half of the Purple Rain song doubled in length, and that's pretty much what we have here.

The treats keep coming as without pause the band plays an electrifying version of “Noon Rendezvous.” Although the music does have a gentle sound to it, what is attention-grabbing is once again the raw guitar sound of Prince in the mix. The lead guitar isn’t overpowering, but it does give it a rock edge. The guitar does pull out and Prince's singing is light and ethereal and blends in well with the overall feeling of the song. It is an intoxicating song, and before I know it Prince's guitar sound is back in the mix as we get a brilliant lead break. For the longest time, I couldn’t understand the fuss over this song, but in recent years it has grown on me. I always loved the version on the 1984 birthday show, but I can’t quite decide if that one or this is my favorite. On any given day it may well be the one I am listening to here. As the song continues and Prince is “sitting in this cafe, waiting for my baby” I am in heaven. And even better, this goes on and on, there is no audience, no time constraints and it feels the band is playing on and just enjoying the gentle groove. It’s just brilliant, and oh, did I mention it goes for almost 20 minutes?!

 

There is then what I more associate with rehearsals, checking to get the sound right, some tinkling and crashing of instruments and the like, before a steady beat is taken up, the piano plays and then we settle into “Free.” “Free” consists of just a drum beat, a piano, and Prince and the girls singing. I find the drum a little plodding, but I do like Prince's vocal performance on this one. He sings around the melody and plays with it. And the girls sound excellent, and once again it only highlights how great Prince, Wendy, and Lisa sounded together. The song doesn’t get played on as much as the previous two songs, and it remains reasonably faithful to what is on record, sans the big finish.

Things take a serious turn next as we hear the strong drum pattern of “Erotic City,” and some equally erotic sounding guitar from Prince. I wonder what kind of heavy arrangement he is going to play, the vocals begin and it reverts to its familiar sound. I rate this song just as highly as the first two songs on the recording, it’s fantastic. After sticking with the song for the first couple of verses, Prince then unleashes his guitar, as well as a line from “All The Critic Love U In New York.” The guitar has a howling whining tone at this point, and it gives the song a harder, darker edge. The guitar becomes more intense as the song progresses, and Prince is working on it in the latter part of the song. As brilliant as it is, it’s almost a relief when it finishes, it was so intense. Yet another highlight in a recording full of highlights.

 

I am used to hearing guitar-heavy arrangements of “Something In The Water” of late, but this one offers another dimension. Sure, it’s full of the guitar as he has recently played it, but here he is backed by the Revolution, and they give it a cold remote feeling behind Prince's guitar playing. Prince’s voice is in fine form, and although he doesn’t scream, he does at one point give a nice long howl. As the song gets to the refrain of ‘must be something in the water you drink’ the guitar again comes to the fore. I know Prince is a good guitarist, but even after being a fan for 30 years I still find myself shaking my head as I listen to some of these recordings. He plays so much, it’s everywhere, and he plays on and on. Even today I still think of him as a song and dance man and listening to his guitar playing is always a head buster. I didn’t think this rehearsal could get any better but as the song moves past the 12-minute mark I realize that I underestimated this recording a long way.

“When Doves Cry” begins very faithfully with what we know so well. After the main hook is played a couple of times, Prince is straight into singing the verses and chorus. Even though it is played as per record, it does have a harder sound to it. Obviously, it’s not as polished, but I do love the sound of it here, it is a much stronger band sound. Later in the song, we do hear Wendy’s rhythm guitar, which I always enjoy immensely. And my smile becomes even broader as Wendy launches into her guitar solo, it’s impossible not to enjoy her and her playing. After Dr. Fink plays his equally cool solo, and Prince gives a fairly impassioned scream, he’s not holding anything back for this rehearsal. The rest of the song is pure groove, and for a few minutes, I forget to write as I sit enraptured by the music.

 

A couple of James Brownesque grunts and ‘huh’ and the band plays the equally James-inspired “Irresistible Bitch.” For the first time on the recording, I find it lacking the intensity of earlier. This is a great song live, but here it’s missing that sharpness and quickness. There is a Dr. Fink solo, which has all the qualities you would expect from such a thing, and it’s at this point that I find my interest in the song reinvigorated somewhat. I am very impressed at how well-drilled the band is, and how well they respond to Prince's call. But I’m not surprised as I know how much Prince rehearses his bands, and the Revolution is one of the greatest bands he has put together. I thought that this song would have been ripe for the long jam, but it’s played very straight, and Prince ends it sharply after a few stops and starts with the band.

As far as rehearsals go, this one has forced me to reassess my feelings about listening to them. This is far from a rock rehearsal, yet there is plenty of Prince's guitar on all the tracks. If anything, it only served to highlight what a well-balanced and versatile band The Revolution was. They have plenty of funk, but rock when they have to. As I said in the beginning, I am rare to listen to rehearsals, but if I was going to take a listen this would be one of my first choices.

Minnesota 3 August 1983

 I am very intimidated about writing about this recording. Some shows are so legendary, so much part of the Prince mythos, that they are almost untouchable. This is very much one of those shows. Recorded between the albums 1999 and Purple Rain, it captures the genesis of what will follow in the coming years. It is legendary on so many different levels and offers something for everyone. First of all, it's Wendy Melvoins debut with the band- that in itself is a key marker for the storm that will follow in the next few years. Next, there are six new songs introduced, and three of them were recorded for the basic tracks on Purple Rain (“I Would Die 4 U,” “Baby, I’m a Star,” and “Purple Rain” itself). Again, a mouth-watering proposition for any fan. And one of the songs played here is the unreleased fan favorite “Electric Intercourse.” The most famous song that Prince never released? Perhaps, but I am not going to pass judgment on that. I can barely bring myself to write about this show, at least I do it an injustice. I am not one for hype or hyperbole, but this show more than lives up to every expectation heaped upon it. 

Minnesota Dance Theatre benefit show, August 3rd, 1983 

The opening keyboard of “Let's Go Crazy” is the first thing heard in this recording. The crowd cheers, but there isn’t the frenzied anticipation we see in later years. As a new song, I am sure most of the crowd are unsure of what to expect next. Prince quickly shows them as he finishes his after-world speech and goes into the now-familiar riff of “Let's Go Crazy.” The vocals on the recording are a little fuzzy, but the song is already being played very tight, like all Prince bands there are many hours of rehearsal to back them up. Despite hearing this song hundreds of times, it sounds fresh to me here- perhaps as it's fresh to the band themselves, and they certainly look like they are having a lot of fun playing it. Prince still has his 1999 look about him in terms of clothing and hairstyle, and he plays with a big grin on his face. I find myself smiling with him and I love it when he plays alongside Wendy and there is some nice interaction between them. Wendy makes an immediate impression, and she more than holds her own on this song. At times she does look a little stiff, but overall she kills it on the guitar and already has good onstage chemistry with Prince. It’s a great opening song, in fact, it was so good I went back and played it twice. 

 

The audience is much more familiar with the next song, “When You Were Mine.” I was going to write that this is another favorite of mine from this recording, but then I realized that I love all the songs on this one. It’s a good rocking version here, but Prince's guitar is a little more buried in the mix, it sounds much noisier, and it’s not as clean as other versions. It’s a short song, but here it’s even shorter, as when the music stops and I expect Prince to do his unaccompanied singing before a reprise, the mood changes and he instead starts playing a slower song on his guitar. I have to shout out to Dr. Fink, his robotic handclaps are very entertaining. 

 

That song is of course a cover of Joni Mitchell’s “A Case Of You,” and what we have here is outstanding. Prince delivers a knockout in this one. His singing is beautiful and his guitar playing compliments his vocals fantastically well. The only other instrument is a keyboard filling the background, but I am entranced by Prince and his delivery. It’s only a minute and a half, but it’s one of my favorite minutes of his whole career. This one is otherworldly in its beauty. Although the lyrics aren’t Princes, he delivers them with total conviction, he more than does justice to Joni’s words. In particular, the opening lines he sings are heartfelt 

Oh I am a lonely painter

I live in a box of paints

I’m frightened by the devil

And I’m drawn to those ones that isn’t afraid 

 

Things change completely as Prince introduces the next song “This song is called Computer Blue” As much as I love this song, I find it jarring coming in right after “A Case Of You.” But soon all is forgiven as Prince and the band play a rollicking version. A lot of the audience looks pretty stunned at this stage of the gig, and who could blame them. For all his history of guitar work and rock sensibilities, he hadn’t played a song quite like this before. It’s not just the guitar I am referencing here, the overall tone of the music is darker and heavy, from the drumbeat to the keyboards. All of it has a foreboding sound. The band is pushed right back on the stage, and Prince stands on the edge of the stage pulling all the guitar licks and tricks he knows. Like the last song, it’s all about Prince, and he holds the center of attention throughout the song. The keyboards are strong and aren’t drowned by the guitar as you might expect. Wendy goes to her knees when Prince wails on his guitar for a bit, before the fantastic segue into the second half of the song, and another chance for Prince to get busy on the guitar. The lead is played as we have all heard before, but here once again it's sounding fresh, and Prince is very much playing the hell out of it with great relish. The last guitar break in particular has some real venom in it and has a nice heavy, almost industrial sound to it. The song ends with a big smile from Prince as he throws his guitar pick to the crowd. 

 

Another about-face next, as Princes puts down the guitar and we hear the quirky pop of “Delirious.” Plenty of dancing and handclapping from Prince soon has the crowd back on board. Although I have no great love for the song, it does seem like a very fun song to play. Freed from guitar duty, Prince does interact a little more with the crowd, moving back and forth across the stage and holding the microphone for the crowd to sing. The response is inaudible most of the time, mostly because the band is very loud, and at times it seems that Prince himself is almost yelling over the top of the band. That’s one thing I like about the gig, it does have that great live sound, where everything is a little louder, and little nosier, and overall a little more ‘rock n roll’. Prince does pick up the guitar near the end of the song, he is playing the main lead line, but it’s rawer, and just on the right side of loose. 

 

What follows is one of the most famous unreleased songs in the Prince canon – “Electric Intercourse.” Led by Prince at the piano, this song was desperately unlucky to not be on the Purple Rain soundtrack. For many years I thought this song was overrated, but now I am firmly in the camp that considers it a great lost gem. The keyboard and piano in this one sound great, and Prince uses plenty of shrieks and screams throughout to emphasize his emotion. Between verses, there are some very nice piano lines, while the band holds it all together in the background. Even Prince's corny spoken word (Don’t you want to make love?) fails to take the shine off this. It’s very much a highlight, and worth listening to if you have a chance. 

 

Nasty Prince is back in full effect when “Automatic” begins next. As with the other songs on this night, it’s not as clean and smooth as it sounds on the album. Some of the robotic coldness is gone, but it’s more than made up for with the intensity of the bands playing. Prince puts a lot into this one, and the crowd responds in kind. He gets them all waving their hands mid-song, and there is plenty of shouts and screams as he strokes his microphone stand. Prince doesn’t play guitar on this, but there is some great playing from Brown Mark and Wendy. As far as the band goes, I think this is the song where they are at their best. Admittedly every song played tonight is top drawer- with some recorded as a basis for use on Purple Rain, but in this one, I feel we get to see a little more of each band member, and as far as I can see they are all giving maximum effort and enjoying playing. Prince does lie on the floor for a minute to talk some smut. It’s pretty cool, but I just wish I could hear him a little better. The next part of the song is a long groove, and Prince engages in a few dance moves with the rest of the band. There is no let-up in the intensity though, and overall it’s a riveting performance. 

 

There is quite a long pause next, with the stage in darkness, before Prince introduces “This is I Would Die 4 U” The distinct drum machine immediately begins, and already I can tell that I am going to like this one a lot. Prince spits out the lyrics rapid-fire, slowing down during the chorus and releasing a single note on his guitar. I realize that this song is pretty minimal but it’s the drum machine that’s filling all the space and giving it that immediate energy. The guitar break by Prince is a highlight for me, not what he plays, but the tone of his guitar. It’s nice and strong, and I think that’s the best way to describe it- strong. The song goes by in flash, so I had to listen to it a few times, twice because I enjoyed it so much, and once because I hadn’t written anything about it the first two times. 

 

“Baby I’m a Star” has a nice long intro before Prince throws some tambourines’ and it begins proper. This is another recording that was used for Purple Rain, so as you might imagine a lot of this sounds as it does on record. Part of the fun in listening to this one is trying to work out what he has used on the final record, and what has he changed or overdubbed. I’m impressed by the passion demonstrated by Prince in every song on this recording. Here we find him covered in sweat, putting all his energy into the singing, especially when he goes to the floor and unleashes a series of excellent screams. Back on his feet, he calls “Doctor” and Fink plays the quirky sound we know and love so much. I was half expecting the song to go on way past this point, but it wraps up very quickly after this. 

 

The familiar strains of “Little Red Corvette” elicit a few squeals of delight from the crowd. Lisa is beautifully lit from behind, and every time I see this and hear her play fall in love with her a little bit more. In near darkness, Prince sings the opening verse before the lights come up for the chorus. I thought the crowd would be more animated, but they are fairly subdued throughout the performance of this. Prince delivers a raw performance of this, with no choreography or tricks, he just delivers it straight down the line with fantastic backing from the band. It’s a more raw performance I would like to see more, a sweaty band playing hard and delivering the song straight out. Wendy steps up to the mark and plays the solo, and I am struck by how young she was at this time, how good she was, and not the least bit intimidated. The solo again has a heavy tone to it, not her playing but the sound of her guitar. The song ends simply enough with a “Thank you, good night” from Prince. 

 

There is a break in proceeding next as Prince is publicly thanked and presented with a flower. Tucking one into his breast pocket he takes the mic as Wendy begins to play the public debut of what will become his signature song – “Purple Rain.” The fact that this recording was used as the basic track for the finished song tells you how well it’s played here. Don’t be fooled into thinking that this song is the same as the album however, there is a suitably drawn out and beautiful start to the song, as Wendy plays the opening chords over and over while Prince indulges in some nice lead guitar. Foreshadowing future live performances on this tour, it’s a good few minutes before Prince begins to sing. And sing he does, the vocals here are magnificent, it’s hard to believe that this was the public debut of the song, he sings so strongly and confidently. It’s interesting to note the expressions of the audience at the time, some of them look noticeably bored as Prince plays his new, distinctly unfunky, song. There is an extra verse sung that doesn’t make it into the final song, and when you hear it you can understand why it didn’t make the final cut. It doesn’t quite scan as well as the other verses and the song is much more cohesive without it. There is a moment in the next verse when someone from the band or audience lets out a “whooo!” which can be heard on the final album version. I’m not sure if it’s an audience member, but I kind of hope it is, that would be cool. Prince plays the impassioned solo, with plenty of suitable face-pulling thrown in for good measure. The audience looks muted throughout, and there is no arm-waving for this new song. Only a couple of girls with hands in the air near the front seem to be feeling it at all. It’s a stunning performance of what is now a classic, and I would think this recording is worth having just for the historic value of this moment alone. 

 

There is again another long break before the next song, but the reason why is apparent when Prince begins “D.M.S.R.” in his old school leg warmers, bikini briefs, long coat, hat, and mirrored glasses. Wendy shows another side to her playing on this one, and her funky rhythm holds it down throughout. The song has an effortless groove to it, and Prince is nice and funky on the microphone. This is the party song of the evening (and perhaps of every evening), and Prince and the audience seem to be having a great time. Prince is constantly moving throughout the song, with lots of dancing and audience participation. As you might expect, this is the song that they stretch out, and Prince shows how well-drilled the band is. The song ends with Prince saying goodnight, introducing the band one by one before they kick back into the song-this time it’s all groove and Dr. Fink gives a cool little piano solo. Prince clowns around a little on the mic, calling for horns as the keyboards play what would normally be a horn line. There is another false ending, and then, as per his modus operandi, he calls them back in on the beat. This happens a couple of times, and Prince engages in some very energetic footwork. Another nice touch is when he calls for just Wendy and Brown Mark, and they have just half a minute just grooving on it. The song ends rather abruptly, it stops, and then without a word Prince and the band walk off stage. 

 

Nothing I write here can do this show justice. Everything here is a 10/10. The songs played at this stage touch on his past, and his future and gives us pointers to his influences, as well as what gems still lie in the vault. The band is as tight as they have ever been, and young Wendy is a star right from the first notes she plays. The blueprint for the next few years is laid out, and it’s fascinating to see it all unfold here right before our eyes. I watched this one with my mouth open for the whole 70 minutes, and I still shake my head when I think that such a historic show has been captured for us to enjoy. Amazing. 

Minnesota 1983

 After claiming that I rarely listen to rehearsals, I find myself listening to another one today. Listening to the rehearsal for the 1984 Birthday show piqued my curiosity, so I pulled a rehearsal of another famous show- the 1983 benefit for the Minnesota Dance Theatre, at First Ave I will be listening to that show next week, but I thought I would take a look at the rehearsal first to round out the full picture. 

Rehearsal for First Avenue Benefit Concert 1983 

The rehearsal begins with Prince’s spoken word intro of “Let’s Go Crazy.” The most striking thing about it is how deep his voice is as he speaks it, it’s not the voice I am used to from Purple Rain. He sounds very relaxed, and he does have fun with it as he says “there’s something else.. that’s right, something”. The second thing that hits me is when he says “so when you call up that nigger in Beverley Hills”. It seems a little out of character now, but I guess it is of its time. The rest of the song sounds light after the deep voice of the intro, even with the heavy sounding bass and guitar, the keyboards have a very bright sound that seems to permeate through the song. There is plenty of guitar in the song, but there is so much of everything else that it never really comes to the fore as you may expect. The final solo and howl are a little damp, and I have to remind myself that this isn’t a live situation, it is a rehearsal. And as such the song seems to stop dead, only silence greets the final note. 

 

“When You Were Mine” sounds excellent in this situation. I warm to the song right away as the keys and guitar come in.  The playing is tight, and you can hear Prince instruct the sound guy. There is innate energy in the song, even without the audience it shines. The ladies' voices are very strong in my right ear, and I was going to comment more on it, but halfway through Prince calls for sound adjustments, and they do disappear back into the mix. Another part of the song I enjoy early on is when Prince talks to the sound guy, and then the band plays on for half a minute with no vocals. It’s got a good stripped-down sound that I like. The ever-reliable Doctor plays an enthusiastic solo before the song comes to a sudden halt. 

Prince’s delicate guitar playing draws me into “A Case Of U,” and I am in love almost right away. As the keys move easily beneath his guitar he sings beautifully. Even in rehearsal, there is a touch of emotion that is needed to carry this song off. The lyrics match up great with his playing, and there is a fantastic little guitar run as the song nears the end. I would have a lot more to say about this song, but the final version played live at the show is so phenomenal, that even as good as this is, I know that there is better to come. 

The introduction of “Computer Blue” is without the girl’s spoken piece, but that isn’t a big deal as the music is extremely cold and strong sounding. The keyboards provide some good runs, but it is the guitar and bass on this track that makes it what it is. I had to listen to it twice, as I was so enraptured with the guitar sound the first time I missed everything else that was going on. One of the great things about listening to Prince and his music, there is so much to listen to that I can always find new things every time I listen to a song. Prince’s vocals stray from what we know, especially as he sings “where is my baby” in a variety of styles, before ending with a throaty shriek. The change midsong is, as always, killer, and I never seem to tire of it. Here I can hear the keyboards much better than I remember, and they provide a nice layer of fill in my left ear. All the while Prince continues with his guitar break. It is par for the course, and somewhat quieter than I am used to. However just as I was thinking that he comes on with the second half of his guitar break which is much more improvised and freer, I am happy to hear more of this from him. The song finishes with a great roll and howl that belies the fact it is a rehearsal. 

 

“Delirious” is a complete 180 from what we have just heard and it takes me half a minute to adjust to the sudden pop bounce. The guitar vanishes at the start, and as one might expect there are a lot of light keyboards playing. Later I do hear a rhythm guitar but it is very low in the mix. I am normally dismissive of Delirious, but tonight I enjoy it a lot. It does have a lot of nostalgic value for me, and this arrangement is a lot of fun, with lots of crazy keyboard solos, and a rockabilly guitar all vying for attention later in the song. The song ends in a keyboard crescendo as Prince instructs Lisa to turn the keyboard effects up, and she, in turn, replies that her keyboard is dead. Then as the music simmers Prince sets his piano sound, playing as the sound comes to his liking. 

It took me a long time to come around to “Electric Intercourse,” but its performances like this one that won me over. The bass in the right speaker is pitched just right, and Prince's vocals are on point from the first line to the last. I think part of the attraction of this song is that it has never been overplayed, it still has a freshness to it, and this recording in particular catches that feeling. In fact it’s so fresh that at one point Wendy misses her cue, only to be chastised by Prince with a loud “Wake up Wendy!” The keyboard solo has a sweetness to it, and although it’s short I still give it a lot of appreciation. As the song progresses I find myself listening to Prince more and more carefully, and with the way his vocal arrangement works with the girls, he knows how he wants it to sound, and what is required. 

We are back into more familiar territory next as “Automatic” begins. It has a dense sound to it and feels somewhat like a sledgehammer following the delicate Electric Intercourse. It is a joy to listen to the synthesizers play off against each other, and it’s another one of Prince's songs where he very much creates a mood with the sound of his music. The song sticks fairly close to the original, there is one stage where the keyboards get all weird and wonderful, before pulling out and Prince plays a staggered guitar break. Right after this, it takes on a dance feel, and despite still having a dark sound I find myself beginning to move. 

 

Again there is a great contrast in the tracklist as Prince flips the mood with “I Would Die 4 U.” The song has a fresh and energetic sound, especially coming off “Automatic.” I like Prince's vocals, but he does sound removed, almost as if his voice is coming from another room. It’s not that his vocals are low in the mix, just the effect on his voice. The song goes past at a fair clip, and it’s a real sweetener. 

“Baby I’m A Star” suffers a little at the start as the tape has that ominous chewing sound that I grew up with. However it does recover by the time Prince's vocals start, and it’s not a big deal. As with the previous song Prince does have the sound of being in an empty room. I like the sound of it, but it does feel as if he is coming from a distance. The rest of the band is fairly anonymous throughout the song, it's Prince I am listening to, and the keyboard coming from the left speaker. Although unreleased at this stage, the band sounds like they have the song well and truly down, and they play note-perfect throughout. The Doctors solo is very enjoyable, and even though it’s as I have heard plenty of times, it’s still infused with a joyous sound. 

Things once again slow down with “Little Red Corvette.” By this stage, the band had played it many times, and it seems that they could play it in their sleep. It’s so spot-on note-perfect, I love it for its perfectionism. The introduction is kept short, and Prince sings the song in an upbeat voice, foregoing emotion for efficiency. Hitting the first verse he does ask for more echo, but the song never lets up, in fact, the whole song seems to fly by, the guitar solo is upon us before I know it, and then the whole song wraps up a line later, with Prince deadpanning “Thank you, good night” 

The guitar opening of “Purple Rain” is what we hear next, and it differs from what we know so well in that it doesn’t have a flat drum beat. The beat has an echo on it, which gives it a double kick all the way through. I find it distracting, but I do enjoy the rest of the song. Prince sounds cold at the beginning, but he asks for more echo in the voice, and this gives him a much warmer sound as the song moves forward. I do also enjoy the extra verse that didn’t make the final cut, I can understand why it was cut through, as thematically it doesn’t quite fit with the rest of the song. The song meanders after that verse, but things get back on track as Prince gets to “Purple Rain, Purple Rain” and then the epic-sounding guitar solo. The solo is as expected, although for the first-minute Prince's guitar sounds thin, but this is rectified, and he takes on a bolder sound as the solo progresses. It’s an interesting solo, Prince is still playing with it, so apart from the opening, the rest of it is new and interesting to hear. 

“D.M.S.R.” has another ad-lib start as Prince kicks it off with “Holland, London, Paris, France” before some funky bass ups the ante. The bass playing hasn’t garnered much comment from me up until this point, but now I find I am paying close attention as Brown Mark rumbles along. Again when we reach the chorus Prince reverts to calling sitting names, this time throwing New York into the mix as well. There is a rhythm break for the guitar, but it's low in the mix and I don’t hear it as well as I would like to. The song catches me off guard with a false ending before it comes back in and there is a cool little piano solo. Prince calls “Give me some horns” and the keyboards provide a nice-sounding line. With another call of “Telephone” we get a quirky keyboard run and Prince taking a mock call. The song is a showcase for the band, and Prince gives them several calls and leads to follow, and they respond well. There is another piano solo, with Prince chanting “Planet Rock, we don’t stop” as well as singing lines from George Clinton’s Loopzilla. Just as Prince calls break time I think it's all over, but there are a couple more reprises. This is one of my favorite songs on the recording, the groove is excellent and it sounds like a lot of fun is being had. 

 

I cringe when I see the next track listed as ‘Band Tuning’. These are just the sort of things a dislike about rehearsals- minutes of the band tuning up and getting their sound right while very little happens musically. There is not much for me at this stage of the recording, so I am quietly happy when the tune-up is over and we move to the next musical portion of the recording. 

Things get back to the music next as the band plays a laid-back “Africa Talks To You.” It's a nice groove, and there is some enjoyable keyboard played over the top of the groove. Prince ad-libs a bit too, which is fun. I especially like it when he calls out “You gotta purify yourself in Lake Minnetonka.” You can also hear him asking for Wendy’s guitar to be ready “that’s why we bought it for her”. The song does meander towards the end before it peters out into some tomfoolery. 

Next, is ten minutes of the band fooling around and generally having fun. Its primarily led by Dr. Fink, who does a variety of voices as he sings a medley of tunes and plays a light organ.  “I Could Have Danced All Night” has me smiling, as he sings briefly with great gusto, before moving to “Catch A Falling Star.” There are all sorts of snippets played including “Our House,” and the James Bond theme. There is also a Popeye impersonation that is pretty good. It's great to hear the band feeding off each other and being completely at ease. I don’t feel I ever have to listen to this track again, but it was fun to listen to once. The track ends appropriately enough with a Dolphin singing Stevie Nicks ‘Stand Back’. If you have heard it you will know exactly what I mean. 

Things become business-like again as Prince says “All right, lets go” and the organ of “Let’s Go Crazy” begins again. This time it starts closer to what I am used to, but then Prince quickly takes it in a different tack with a final couple of lines of the intro, before the band begins right on cue. After the looseness of the previous few tracks, it is somewhat surprising how quickly they tighten up, they are right on the money for the rest of this track. Prince's guitar is very faint as he solos, I can only just hear him. Even the latter solo is faint, and the rest of the band easily drowns him out in the final crescendo. 

After listening to this rehearsal and the one the other week, I think I should more time for rehearsals. I prefer this rehearsal to the last one, and I thought the last one was excellent. This one had the band playing the songs in a very fresh-sounding way, and yet they were very tight as a unit. And also you could hear how much they were enjoying being in a band and being together. If you only hear one rehearsal in your life, this would be the one I would choose. But then again I do have another couple of excellent propositions… 

Chicago 10 April 1983

After dancing through several 1999 concerts earlier in the year, today I have bitten the bullet and am heading straight for the good stuff -the tour finale in Chicago which well and truly lives up to its billing. The 1999 shows are generally short, punchy affairs that distill the sprawling genius of the 1999 album into a more palatable one-hour set. This concert isn’t much longer than that, but it does give us more than we would normally expect, including a couple of crowd-pleasing treats. With the 1999 tour coming to a close, Prince has paved the way and built an expectation for his next project, the world-conquering Purple Rain. This concert in many ways is a farewell to Prince and his formative years, everything that follows will be scrutinized under the hash spotlight of publicity and fame, and the youthfulness we hear on the recording is replaced with a self-awareness that steals this last vestige of innocence.

 10th April 1983, UIC Pavilion, Chicago

The opening spoken introduction quickly reveals the quality of the recording – an audience recording that, although contains all we might want on the musical front, also includes a large portion of crowd noise. As far as audience recordings go, it’s not too bad, but as always leaves me wishing for something just a little cleaner.

Loud and upfront, “Controversy” storms to the front of the stage, the music so muscular and powerful that it practically drags the band in its wake. The noise and loudness are all in its favor and Prince and the band remain pressed against the wall in the background while the song itself stomps the concert into life. The previous sheen of the 1999 concerts gives way to a real rawness that harks back to the Controversy tour and its almost punk rock energy. Prince may be riding the pop wave to the top with his current chart successes, but this performance roots him back to his unfiltered punk/funk sound that had propelled him thus far. The quality of the recording is temporarily forgotten as Prince and his band stirs up a storm of sound that washes over the audience.

 

I would normally expect “Let’s Work” to bring some sense of decorum to the concert, and bring the dance floor back to the fore. However, with the levels pushed high it continues to ride on the coattails of the previous punky explosion, the groove is present, but so too is a vocal delivery that is unconnected to any measured delivery, instead coming as Prince sees fit with shrieks of delight as the words themselves are lost to the sound of the recording, leaving just the intent of the singer and the band impressed upon the bootleg.

I can finally catch my breath as the tempo slows for “Do Me, Baby,” although it is only a temporary reprieve as Prince’s delivery leaves me breathless with wonder and delight. And it’s not just me, the audience reaction matched my feelings at home as they trace the song with their own outline of screams and squeals. The intricacies of the vocals are lost in the smear of the recording, but the intent is clear from the sultry and all-enveloping music. As I listen, cocooned in the sound of the band, Prince continues his seductive patter that remains undecipherable to me. Whatever he is spinning seems to have the desired effect, and the final cheer of the crowd suggests that this battle has well and truly been won. If only we could bottle such sexual energy.

The first 1999 song to make an appearance is Prince’s shorthand manifesto – “D.M.S.R.”  For the first time Prince’s vocals emerge from the sonic mist, the sharpness of the beat leaving room for him to emote the song’s central theme. Unfortunately not all the instruments are served so well by the recording, the bass is murky at best and the guitar is almost non-existent, leaving Prince and the synths to carry most of the funk and the groove. The cold, clinical sound of the 1999 album laid down a strong template for many of these songs, and this particular night the live settling isn’t the best match for “D.M.S.R.”

 

I am enraptured by Lisa’s solo, as it brings a cleaner sound to the concert, and reveals new sounds and influences swirling around Prince at the time. As it ebbs and flows, waves and washes, it cleanses the palate for the next treat that Prince will bestow upon us.

The instrumental “With You’ sets the tone for the piano set, and although it is desperately short, some would say criminally so, it does whet the appetite for what will surely follow. What does follow is a sublime rendition of “Free.” It may not be to everyone's taste with its somewhat naive lyrics, but there is no doubting the message of the song, and at barely a minute Prince pulls the rug from under it before its shaky premise is revealed.

Keeping things moving is the name of the game, and with that in mind Prince presents an equally quickfire “Something In The Water You Drink (Does Not Compute)” There is no time to scratch beneath the surface and reveal the true depths of the song, Prince’s lyrically delivery is perfunctory at best and only hints at the true emotion of the song. I do enjoy it for its appearance, but there are far deeper(and darker) renditions circulating that I would prefer to listen to.

“Still Waiting” brings a lengthy performance from Prince, the song dripping off the tip of his tongue as the piano lilts beneath his fingers. The song has a motion to it, the music non-linear, swaying easily under Prince’s command. One could easily fall between the cracks of the uneasy structure, yet it remains an easy ride, the song sliding to the most natural of finishes that it seems not to emanate from Prince himself, but rather it rises from the piano and into the universe.

 

Familiarity breeds contempt, and “How Come You Don’t Call Me Anymore” can’t overcome the staleness of my ears.  There is no doubting that Prince is fully invested in this performance, one can hear it in his screams and the subsequent audience reactions, but I can’t escape the feeling that I have heard it all before. Time catches up with us all, and this is one song that I know just too well from years of listening, stealing the freshness and youthful yearning I used to know so well.

There is a jolt with the arrival of “Lady Cab Driver” and the concert is jump-started into life again. As with so many of these songs, the clean groove is lost in the excitement and noise of the show, very little of the song stands proud above this fog of noise. I have high hopes for the guitar as the song nears its end, and this certainly delivers as its wailing sound cuts through the din, finally giving a focus to the uncertainty of the rest of the song.

The emotive swells that wash “Little Red Corvette” ashore are undone by the persistent crowd sound and a drum machine beat that seems intent on dominating proceedings. The song settles on neither pop, nor raw emotion, and considering it is the current hit of the time is perhaps the most disappointing part of the show. It’s hard to accurately gauge if this is due to the quality of the recording, or the performance itself, it’s certainly hard to imagine that Prince hadn’t polished this song to the brightest point by this stage of the tour, and overall I feel that it is the recording that is letting him down.

There is another great rush of energy as “Dirty Mind” arrives unannounced and slightly unhinged. At almost seven minutes this is one of the pillars of the concert as Prince buries my previous disappointments in a youthful avalanche of pure lust and longing, something the teenage me could easily identify with, and even now I can feel that teenager inside me emerge as Prince calls him forth with his impulsive and furious sound. The raw-boned guitar break midsong says far more than words ever could, and all that Prince needs to say is in that electric howl and scream released from the strings.

 

The most disappointing aspect of “Sexuality” is that it is short. After hearing some excellent full-blooded renditions, what we have here is a quick facsimile that is as unsatisfying as it is disappointing. It is a song that lacks a heart or a clear direction, and the full version we are accustomed to is neutered in its brevity.

I am pleased to hear “Let’s Pretend We’re Married” in its entirety, the unevenness of the previous few songs forgotten as Prince sights the finish line of the concert and delivers a triumvirate of triumphant songs.  “Let’s Pretend We’re Married’ obits around the synth hook, never quite striking out on its own as Prince keeps it moving to his own whim. The synths stretch and pull, but they never break and the song continues in its own galaxy of sound and colors. The song climaxes naturally with the crowd chanting for Prince and the final encores.

Prince responds with a climax of his own as he swoops and dips into his seductive side for a dripping rendition of “International Lover” The vocals may be syrupy, but the music does just enough to keep the concert moving forward, even if Prince lulls and lingers over some of his lyrics. The finale is almost silly in its audaciousness, but Prince delivers it with such earnestly that one can’t help but buy into whatever he is selling. Even as I grown man I can’t help but feel a weakness and he pleads and rolls his way through his final lines with all the maturity of a drunken teen. Silly, but completely essential.

The 1999 album, the 1999 tour, and finally, the “1999” song. As a finale to the concert, and indeed the tour, it can’t be faulted. The song serves as a rallying call to all those who have embraced Prince, and those about to take the next step with him to a world with a purple hue. The mood is celebratory, and although the sound isn’t as good as I hoped, the song stands strong at the center of the recording, Prince's vocals and the all too familiar synth refrain pulling us through a purple black hole and directly into the heart of Prince’s world. I can’t think of a better way to end the tour, and although the show has at times been uneven, Prince is right here ending it on a high.

 

This is not a bad way to finish the 1999 tour. There are better recordings of the tour circulating, but none of them lay claim to being the finale such as this one, and as one of the longest this recording again stands apart from most of the crowd. I could bemoan the quality of the recording, but for me, the performance remains paramount, and Prince and the Revolution are firing on all cylinders as they close out the tour. An interesting boot, this is one that shouldn’t be overlooked when considering the 1999 tour, and although I have enjoyed other concerts of the era more, I still find this one a worthy listen.

Detroit 8 April 1983

 I have so far covered two Detroit concerts from the 1999 tour , and this week I will take a listen to the third concert from Detroit, this time from the end of the tour. The concert on 8th April 1983 is the third to last concert of the tour and is worth listening to for several reasons. Its setlist is different from the earlier two Detroit concerts from 1982 (including in this case a performance of “Free” and “Still Waiting”), giving us an added interest during the piano set. It is also filmed, and I certainly recommend checking out the video if you can. The sound quality is rough and ready, but the spectacle of the show is what counts, as Prince and The Revolution have the concert running faultlessly by this stage of the tour. I’m sure most fans have seen it at some stage, but it is still worth revisiting and taking another sip of the purple juice Prince was peddling at the time. 

8th April 1983. Joe Louis Arena, Detroit 

I watched the Vanity 6 set, and that of The Time that was also featured on the DVD. Their music and performance are just as much Prince as anything else at the concert, and who doesn’t want a bit of Vanity eye candy before catching the Prince main show. It is well worth taking in both as the Prince portion of the video is barely an hour, while if we digest these opening acts we get almost two hours of Prince music. Prince’s eventual arrival to “Controversy” has my heart-pounding time with the music, and while it sounds passable on the tape, the visuals more than makeup for it with Prince’s dramatic silhouetted entrance. This is definitely one to watch rather than listen to. 

 

The band comes alive for “Let’s Work” and the stage and recording are awash with motion and kinetic energy. The recording fails the song somewhat, the bass playing can’t be faulted, but it is lost in the general chaos of the recording, while most of the rest of the music becomes lost among the combined white noise of cymbals and crowd screams. However, I can’t take my eyes off Prince, even after 35 years I am still mesmerized by his stage presence and sheer cool. 

The sound improves for “Do Me, Baby” as the song carries more space for the band to be heard. It is as lush as the purple lighting that baths the stage, and Prince wallows in its melodramatic nature with a performance that matches it on every level. Prince sells the song, his performance, and himself with a display of raw sexuality neatly cocooned in a honey-dipped vocal performance that would slide by even the harshest of censors. 

My favorite song off the Controversy album is “Sexuality” (this week at least) and as much as I enjoy the bare-knuckled performance of it here, it doesn’t come remotely close to the power of the preceding “Do Me, Baby.” It’s brisk, and as much as I wish it was longer, it is only a couple of minutes. It does, however, serve as a nice intro to “Let’s Pretend We’re Married,” another song that carries a momentum that propels the concert forward. Prince embodies this energy with a physical performance that matches the non-stop nature of the music, again making this a recording to watch rather than listen to. 

 

The keyboard interlude by Lisa is as we have heard throughout the 1999 tour, but in this case, I would choose to listen to it on a proper soundboard recording rather than what we have here. The visuals add very little, and it certainly sounds a lot better elsewhere. 

The piano set is the portion of the show that makes this concert a key part of most people's collections. It doesn’t get much better than the moment when Prince hunches over the keyboard for a rare performance of “Free.” As always Detroit draws the best out of him, both with its inclusion, and his vocals which are loaded with an ornate power. Paired with “Still Waiting” it becomes an unmissable bootleg moment, this is Prince at his purist, just the piano and his unblemished vocals creating their own inner sanctum and turning the arena into the most intimate of temples. 

 

“How Come You Don’t Call Me Anymore” doesn’t fill me with quite the same depth of feeling and as good as it is, that is all it remains – good. Prince’s vocal yoga at the end of the song is noteworthy, but the most dramatic part of the song comes when a stagehand comes to replace the stool Prince kicks over, only for Prince to pick it up and hurl it off the stage. Now that’s rock n roll! 

 

Hands are raised for “Lady Cab Driver,” a song that is deceptively good in this context. In a concert that seems to have its fair share of drama, this is one song that is played straight, and that is the strength of it as we finally can sit back and let the funk wash over us.  It initially has a smooth sheen, before Dez adds some bite with his overhead guitar playing in a final stanza that is a fitting exclamation mark. 

 

Prince reclaims the spotlight with a perfunctory performance of “Little Red Corvette” The Detroit crowd response isn’t as strong as it had been for some of the earlier numbers, which suggests to me that it’s not just the recording that is flat in this case. 

The feverish moans and howls at the beginning of “Dirty Mind” usher in a much more frenzied and wild part of the show, and a part of the show that sees the simmering tension of “Little Red Corvette” unleashed in a maelstrom of unbridled guitar, frantic keyboard lines, and instinctive dance moves from Prince. It is a heady mix, I feel myself becoming drunk on the music being created on stage and it is easy enough to imagine myself becoming lost in the moment if I was at the actual concert itself. 

 

This extravaganza is followed by Prince’s carefully crafted seduction piece “International Lover.” Unfortunately, the recording is missing the final “1999,” so as far as this recording is concerned, this is the finale. It is every bit as seductive as you might expect, the Detroit crowd furnishing the bootleg with screams of delight at all the appropriate places. It’s not as essential as some of the earlier songs, but it does bring the 1999 album back into firm focus for the end of the concert. We never reach the climax that Prince is building to as the recording finishes before Prince can scale the final heights of satisfaction, but we see enough to know where this one is heading. 

 

I can’t deny that this is another quality Detroit show. Each of the three circulating Detroit concerts from this tour is worthy in their own way, and although I feel last week's concert was better, this is the better bootleg, purely based on the visual aspect. The 1999 tour see’s Prince playing on a far grander scale, and this is a great visual representation of where he was at that time. The video has aged badly, with color dropouts throughout the concert, but there is enough there to make this a worthwhile experience. Definitely a must-have for the collection. 

Kansas City 19 March 1983

 1999 is to me Prince's best album. Many would disagree and say Sign O The Times, but for me, 1982 and the 1999 album is where Prince finally delivered on his potential and recorded the first masterpiece of his career. 1999 is the album that cemented my fandom, and it’s still much loved by me today. So it’s somewhat of a surprise that I don’t hold the 1999 tour in such high esteem, and although I listen to the 1999 album a lot, the tour itself is often overlooked by me. This is for a variety of reasons. Firstly, the 1999 concerts don’t concentrate on the 1999 album as much as I would like. Only about half the album is played, and it’s not until well into the shows do we first get a song off 1999. The 1999 songs miss that cold electric feel in the live setting, and there is more warmth to them. Secondly, Prince firmly has his eye on reaching a larger audience. There is nothing wrong with that, but I feel the band has a little less fire and freedom than they do on earlier tours. There are no wild guitar breaks, and Prince has toned down his look, as well as doing away with some of his racier songs such as Head.  The shows are now streamlined, and a lot more predictable. On the plus side, the 1999 shows clearly signpost what is coming next with Purple Rain, and there is newer professionalism evident that is required to reach the next level. Also, the piano set makes its first appearance at these shows, and although short, set the standard for the future. An exciting transitional period, it’s worth hearing these shows as they capture Prince just as he is reaching a wider audience. 

 

19 March 1983 Kansas City, Missouri 

The first thing heard in this recording is the “Don’t worry, I won’t hurt you” voice from the beginning of “1999.” However, it’s not “1999” that opens the but instead the electrifying guitar riff of “Controversy.” It may seem strange, but one of the things I notice is the reaction of the crowd is different from previous tours. The response is loud, but not wild, and there is more of a sound of expectation rather than wild abandonment. The recording is an audience recording, and it has aged well. The music sounds strong and bold, and Prince's vocals are clear and easily understood. He calls to the crowd “welcome to 1999” as the band plays a polished version of Controversy. All Prince's bands are well-rehearsed, but here there seems to be an extra sharpness. They are very lean and polished sounding. The song is very tight, and even Dez's backing vocals are right on the money. It’s not a 1999 song, but it is a good opening song for the show. I like the guitar sound throughout the song, and it gains extra emphasis in this tight arrangement. The song isn’t overplayed and doesn’t get played out quite as much as I would like. 

Sticking with songs from the Controversy album the band plays an equally tight version of “Lets Work.” This elicits a more wild reaction from the crowd and there are many squeals to be heard. This song also seems to have a very strong sound to it, and it pumps through my speakers nicely. Prince’s vocals are out front and strong and he is well matched by the synth. I normally hear the bass much more when listening to recordings of this song, however here it seems to be lower in the mix. As per “Controversy,” the song is kept short, and Prince doesn’t jam on it in any way at all. It’s got a good party sound to it, and Prince can be heard winning over the audience and working them well. 

Third song in and we get the trademark slow song. “Do Me, Baby” has a long intro and it quickly quietens the audience. Prince has changed since the Controversy tour and he doesn’t overwork the song as he did on that tour. He is far more restrained in his vocals, yet they are still great and very strong, just he doesn’t pour as much emotion into them. Perhaps being a longer tour, or playing in larger arenas, he holds it in and just sings it straight down the line. The song itself is great, and I do enjoy it immensely. I love the long opening sequence before he sings, and as always his vocals performance and screams hold my attention. Performances like this are timeless. 

Finally, we get a 1999 song as the synths play the synth horn-line of “D.M.S.R.” The bass and the drums lock into step and it’s hard not to smile listening to it. It’s a little quicker than the album, I’m not sure if it’s due to the live performance or the tape recording. I can hear the audience clapping along, and that’s normally a good sign. The whole middle section is present complete with sirens and female shrieks, before some very funky rhythm guitar plays. Prince encourages the “White folks clap on the two and four”, acknowledging the changing color of his audience. I could have happily listened to this song much longer (I was clapping on the two and four) but it ends in a wave of shimmering synths before things quieten again and there is another change of pace. 

 

Next Lisa plays a lovely interlude. There are more shimmering synths that come in waves adding layer upon layer of sound. It’s a good couple of minutes and I am happy to hear Lisa showing some of her talents. 

The sound of the piano marks the return of Prince and he takes a solo turn at the piano. He warms himself and us up with an instrumental arrangement of “For You.” It serves as a nice introduction to his piano playing and is a sweet couple of minutes. It’s a good chance for Prince to showcase another one of his talents to the crowd, and they do show their appreciation with applause. 

“Still Waiting” has him singing, but it's slight and his vocals are soft sounding. I get a lot of enjoyment from the song, but I am mostly listening to the piano, and Prince's vocals don’t make much of an impression on me. 

“How Come You Don’t Me Anymore” is much stronger, both in his piano playing and his singing. He can be heard playing the keys much harder, and his vocals are sung with more gusto. This song is still a regular in the piano set to this day, and listening here I can see why it’s made such an impression all these years. The vocals are playful, and tell a story most can relate to, while the piano has a lilt and swing to it that is irresistible. It also contains some great screams near the end, as well as a hint of Prince's smutty humor as he asks “Don’t you want to play with my tootsie roll?” 

 

What follows next is my personal highlight of the show as they play “Lady Cab Driver.” They manage to capture the dry sound it has on the album, and the bass and synths are excellent. Prince has a detached sound to his voice, and for the first time I feel like it’s a 1999 show. Prince also has a brief but fine moment with his guitar near the end of the song. The only letdown is it’s nowhere near as long as it is on the album, and as an abridged version it sounds far more like a pop song. I do like it though, so I play it twice in a row. 

The ‘pop hit’ follows next as Prince and the band play an upbeat and sharp version of “Little Red Corvette.” It’s almost perfunctory in its delivery and it’s not the highlight you may expect. I would have thought Prince could do more with it, but he shuts it down right after the guitar solo, we are denied even hearing the album version.  I feel cheated as even the introduction keyboards are very short before Prince begins singing. The song does sound OK, but as it ends it seems like a wasted opportunity. 

The sound of a woman moaning heralds the return of the Prince I know and love as the band swings into a raucous version of “Dirty Mind.” For the first and only time in the evening, we hear Prince and the band play in a style I am used to from previous tours. There is a lot more energy in the song, Prince is singing his dirty lyrics, and the whole song has an exuberant feel to it. It also gets the jam treatment, which I like. There is a long bridge with plenty of keyboards before a rough-sounding guitar is heard underneath. The song comes to an end in a cascade of keyboard and guitar and I couldn’t be happier. 

“Fasten your seatbelts” and the seductive sounds of “International Lover” begin. Another professional performance follows as it played almost note-perfect to what’s heard on the album. The stand-out moments for me is as the music fades and quietens Prince delivers some great vocal work and especially some excellent shrieks. There is plenty of crowd noise as Prince goes through his stage show and it’s obviously going over very well with the audience. The recording is very clean here, and I love that I can hear every instrument and sound so clearly. Amazing sound for a 30-year-old audience recording. 

 

The song fades and instantly the synth riff of “1999” sounds. It’s got a good driving sound to it, and I like that it’s the synth that is driving it, rather than the pounding drum beat we hear on later tours. Prince’s vocals aren’t as clear as the other singers, but the music is the hero here, and that is perfect. The synth trumps everything, and at times it’s almost too much for me. Things become more balanced later in the song as the guitar sound becomes more prominent, as well as Prince's vocals become clearer. It’s no surprise at all that this is the party song of the evening and it closes on a high note with Prince and the crowd singing together. There is one final refrain before a glorious keyboard riff and the howl of a guitar wraps it up. The final crescendo is magnificent as Prince shreds the guitar over a wall of keyboards. 

My earlier assessment of the 1999 shows was perhaps overly harsh. I can’t deny that I greatly enjoyed listening to this show. There were some flashes of greatness from Prince, and I can’t deny the band was so tight and well-rehearsed that they were flawless. My only problem was it was too professional, too dry. I liked the looseness of “Dirty Mind,” and again the final couple of minutes of “1999,” but for the most part it was following a pretty tight script. Still, an interesting listen to the evolution of Prince, and a big step toward Purple Rain and world domination.