Miami 7 April 1985

 

Last week I took a closer listen to one of the earliest shows of the Purple Rain tour, one of the opening concerts in Detroit. To close the circle, this week I will be taking a listen to the final performance of the Purple Rain tour, the finale from the Orange Bowl, Miami. This particular day is well covered, we have a stupendous soundboard of the rehearsal, which demonstrates that The Revolution have lost none of their fire as the tour progressed. If anything, they are playing harder, faster, and playing with just as much to prove on the opening nights. We also have the opening act of Sheila E. in soundboard quality which gives the main show added depth and context when these supplementary recordings are taken as a whole. The main show itself is widely circulating, and I know very few people who don’t have this in their collection. As such, you might think there is no need to cover this ground, but I do want to listen to it again with the hangover of that Detroit concert in my mind.

7th April 1985. Orange Bowl, Miami

When it comes to classic pop-rock songs, there is no song more pop, rock, or classic than “Let’s Go Crazy.” The phosphorescent guitar breaks by Prince paired with the contagious keyboard riffs fill every crack of the song. The rendition presented on this recording leans toward the pop end of the scale, a lot of the furious guitar work sits low in the mix, leaving Prince and the Linn drum to carry the song forward with their sparse rhythm. It is an energized start to the recording, and even 30 years on I can yet again feel myself being caught up in the fervor of the moment.

The 1999 songs that follow are only two or three years old at this time, yet sound light years away from the music Prince was currently producing. “Delirious” is bright and youthful, yet sounds less well-considered than the Purple Rain songs that will fill the setlist. The second half of the song features piano work from Prince and some horns that speaks far more of Prince at this time, and nicely update the song for the Purple Rain audience.

 

The song “1999” falls into the same category for me, even by this stage it already sounds dated, and although it keeps the energy levels up and provokes an enthusiastic response from the crowd, it does sound very much like the era that it is from. That aside, I like it. The verses, with their relay of lines from the Revolution, are very clean sounding, as is the greasy guitar line by Prince and I wholeheartedly approve of both. To my ears, the ending is overworked, but that is just my taste rather than anything that is happening at the concert.

I am warmed by the introduction of “Little Red Corvette,” and although it offers no surprises I welcome it like an old friend. Prince's vocals emerge from the soft fog of synthesizes, standing alone and stark in contrast. It doesn’t get any better than this opening moment, the rest of the song can’t carry the emotional weight that Prince sets out at the beginning. It is crowd-pleasing though, and I enjoy it for what it is here at home.

There is a wonderful jangle that first catches my ear in “Take Me With U,” the guitars creating a youthful and energetic fill that Prince and the rest of the song ride across. The bulk of the song is filled by a long rise that neatly joins the first part of the song to what promises to be a longer jam. This jam gets off to a fine start, in particular, Brown Mark and his bass pull the pop of “Take Me With U” back and instead root it firmly to the dance floor. This is sharpened with Wendy’s contribution on the funk guitar and although only two minutes it is one of the early highlights to be heard on this recording.

We can all catch a breath with the “Yankee Doodle” section, and even though I could easily skip it, I stick with it to complete the concert experience for myself. Prince’s spoken word section is interesting at first, but after numerous listens there is nothing more to be had from that section. The payoff for enduring this section is “Do Me, Baby” that follows, and for the first time, we have a direct comparison to what we heard at the Detroit concert earlier in the tour. “Do Me, Baby” isn’t quite as lush as the Detroit show, but on the same hand, it isn’t as indulgent either, which leaves us with a crisp, clean rendition of one of Prince’s most enduring ballads. I prefer it when Prince wrings every drop of yearning and lust from it, but having this in soundboard quality more than makes up for any thoughts.

The Detroit concert segued from “Do Me, Baby” to “Fathers Song.”  Prince has altered the setlist by the end of the tour, and we have an injection of James Brown-styled funk with “Irresistible Bitch” and “Possessed.” Both provide drive and focus, and drive the concert forward after the brief lull of “Yankee Doodle.”  The Revolution are sounding great, but it is the supplemental players that elevate these songs for me, the saxophone in particular used to great effect in the last minutes of the performance.

 

The contrast as Prince moves to the solo piano couldn’t be greater, and although he plays with plenty of swing and swagger, the previous funk quickly dissipates. “How Come You Don’t Call Me Anymore” sees Prince playing the audience as much as he plays the piano. In fact, there is very little music after the first stanza, and most of the song consists of Prince teasing the audience with his smutty talk.

He also teases as he introduces the next song as “Temptation” from the new album. It is only that though, a tease, and all we get is a couple of lines as he plays the piano riff of “Let’s Pretend We’re Married.” With the saxophones present, it is infectious and is one to get the crowd moving. Wendy too gets things moving with a guitar contribution which nicely matches Prince on the piano and all in all it is a hit out for all the band before Prince pulls things back in the next few minutes.

With Prince at the piano, we get several minutes of audience  interplay before he finally settles on “God.” In the Detroit concert this was paired with “Father’s Song,” and even though we don’t get “Father’s Song” at this show, we do get a quieter and more respectful audience as Prince plays “God” It is a much better sounding performance than the Detroit concert, and I find I listen intently throughout. I’m not so thrilled about the final minutes of weirdness, but I am perfectly accepting that this is part of being a Prince fan.

 

The is a vicious snarl to “Computer Blue” that brings an animalistic fury back to the show. In the first minutes, there is a sense of shock and awe as Prince unleashes the Revolution, and before I can regain my senses the song is already morphing into the second half. I am always hoping for more with “Computer Blue,” but Prince always pitches it just right. Any more would just be tiring, and he brings it to a close as it climaxes, leaving me to indulge myself in a post-coital rendition of “Darling Nikki”

“Darling Nikki” is to be expected, and there are no surprises or extras tacked on here. It is a pleasing few minutes, it is never too challenging a listen and the minutes slip quickly by.

There is a sheen and polish to “The Beautiful Ones” that leaves me feeling less satisfied than a lot of recordings I have heard. Is the soundboard too clean? I just don’t know, but there does seem to be an element of intensity and emotion missing from the performance. It sounds beautiful though, and I can only think that this is one song where one would tire from investing too much into it. Maybe, just maybe, as the last show on the tour Prince is skating through this song.

The opening guitar riff of “When Doves Cry” rips through this soundscape, and tears up the previous gloss of “The Beautiful Ones.” The guitar gives way to that irresistible keyboard hook, and I know that it will stay with me for the rest of the day. Prince’s vocals sound shallow on this recording, but it does give us more space to hear Wendy and Lisa, and that’s no bad thing. It is mid-song that the song begins to fly, Brown Mark’s bass ushering in a harder, denser sound that brushes up hard against Wendy’s fearsome solo. She is formidable for the minutes she plays, and her piece is the strongest moment in the song.

Normally it is the drum machine that I hear most in “I Would Die 4 U,” in this case, it is the bass of Brown Mark that I gravitate towards. The song isn’t as bright as one might expect, and certainly not as sparkling as the show I listened to on the first days of the tour. However, it is a pop song and can carry itself despite a rather lackluster performance. The song explodes in the final minute as it becomes a jam that will eventually be “Baby I’m A Star.” One gets the feeling that this is the moment The Revolution have been waiting for, and they explode out of the gate with wings of funk.

“Baby I’m A Star” is flexible and on the Purple Rain tour could be dragged out for as long as needed. The performance at this concert is relatively short, and clocks in at a sprightly thirteen minutes. With Sheila E. and her band joining the fray there is plenty to take in. Her percussion adds an exotic quality to the song and coupled with the bass of Brown Mark, the song becomes a mixture of styles that removes it far from the album version. My only reservation is there is some tremendously busy saxophone to be heard, but it is low in the mix and one must strain hard to catch it all. It does come further forward later, but nearly as much as I would like. If it was louder and to the fore, I would rate this rendition highly, and even as it is I was thrilled to hear these new additions to Prince’s music at the time.

 

One would assume that the final “Purple Rain” of the tour would be an emotional one, and from the first moments, the guitar is infused with a sense of melancholy and finality. Like any great art, what you bring to it is what is reflected back at you, and in this case, I can feel the end of the era and the swirl of emotion that I associate with that time as Prince puts Purple Rain behind him and strides confidently into the future. It sounds big, as it should, and even though the introduction is long there is never the feeling that the band is dwelling on it, they are simply letting the song move in its own way. Prince’s opening move on the guitar is stunning, and I would be more than happy if the song ended simply at this point. However, there is so much more to come as Prince blazes a trail across the recording, his guitar a comet that lights up the arena sky. 55,000 move and sing with him, and that becomes 55,001 as I lose myself in the magic of the moment.  Even after 97 concerts, and 97 renditions of Purple Rain, Prince, and the band nail it one last time with a rendition that is just as good as any other heard on the tour. I expect the guitar solo to be overwrought, instead, Prince keeps it clinical and generates an inner intensity as he plays. A final goodbye from Prince closes the concert and there is a simplicity and power in his words.

A well-known show, one can see why this recording has retained its popularity over the years. Not only is it a noteworthy mark in history, but it is also an equally powerful and affecting concert. Comparing it to the show from the first week of the tour, we can see that Prince has streamlined the show, in particular, the sagging middle section is brightened with the addition of “Possessed” and “Irresistible Bitch.” Likewise, the piano set has been tightened up, and although still a little ponderous, it does engage the audience far more. There is no need for me to make a recommendation on this recording, most people already have it and are no doubt overly familiar with it. It has stood the test of time, and thirty years later I still label this as a must-listen.

Miami 7 April 1985 (Soundcheck)

 

David Bowie once sung “Gee my life’s a funny thing, am I still too young” and I know exactly what he means. After the last few weeks I have had I feel like I am watching my life from a distance, I have moved house, had no internet for two weeks, and on top of that I have been battling bureaucracy with Immigration trying to keep my girlfriend in the country (should we fail, the next blog post will be coming out of Tokyo). It’s now that I have discovered the great power of music. Today’s recording is simply astounding, and as I listen to it with headphones on I find all my troubles fade away as the real world disappears into the background. I have written about rehearsals and soundchecks before, and I decided that in the future I would shy away from them. This one though is so mind-blowingly good that I find I am compelled to write about it. A soundboard from 1985, this soundcheck has The Revolution playing an amazing set, and within minutes of beginning to play it, I was captivated. Already there is a lot of internet buzz about it, and I will say this – believe every word you read, this one is one of the greats.

7th April 1985, Soundcheck, Miami

As soon as the recording started I wanted to talk to someone about it and share the experience. All the elements I love are present right from the start, a crystal clear soundboard, a pounding beat, some delicate funky guitar, and then the sax shows up on the scene and I am mouth open and eyes bugging. The “Controversy/Mutiny” combination is so perfect, you need to hear it to believe it. The “Controversy” riff is full and dirty, I sweat just listening to it, and the sax playing the “Mutiny” riff, well it’s just unfair that anything could sound so good. Add in some lead guitar from Prince and this thing is TNT. No more writing here, I am going to spend the next few minutes strutting around the room with this blasting.

 

From funk to blues, Prince next shows his blues chops with “I Got Some Help I don’t Know I Need.” The Revolution shows their versatility as they turn their hand to this, in a heartbeat they go from a funky monster to a laidback deep blue’s groove. I love the feel of it, and once the singing stops and the sax and guitar take over it becomes something else again. Prince lets the sax play before upping the stakes with a stellar guitar break that leaves me with my eyes closed shaking my head, oh yes The Kid can play.

“Erotic City” is heavy on the drums, as it should be. It’s not much more than a minute, but in those sixty seconds, I am holding my breath hoping the packaging was wrong and we’d get much more.

The ‘much more’ that I had hoped for comes next. I read someone commenting that “Something In The Water” here is the best 12 minutes of your life, and they weren’t far wrong. It's 12 minutes of brain-melting music that is The Revolution at their very best. It’s a combination of things that make it such a standout, I don’t know where to start, the funky guitar groove that runs for several minutes as the song builds, the melancholy keyboard swells, or the surprising saxophone that leaves me floored. It’s not what’s played, it’s how it is played, and I soak all of it up, not wanting a single element to ever end. I keep coming back to the saxophone, it’s got such a feel to it that it stays with me for hours after I have finished listening. The guitar picks up seamlessly from where the sax finishes, and I swear I have never heard anything so beautiful in my life. It's a close-run thing, but I think the guitar just tops it.

 

The obligatory James Brown cover (“Bodyheat” in this case) gives the saxophone another chance to get front and center as it holds down the groove through the song. The band is just on fire at this point, and it amazes me that they can play such a variety of styles right after one another, and inject much life into each one. A few minutes ago I had tears in my eyes as they played the emotion-heavy “Something In The Water,” now they are a classic funk band, complete with a horn section, and jamming on a groove that demands I get up and dance. Don’t let anyone ever tell you The Revolution couldn’t do this or that, listen here, they can do it all.

I wonder what could possibly come after all this, and for the third time in the evening I have to pick my jaw up off the floor as the band play “Strange Relationship.” For real. I read it on the cover, but I don’t believe it until the song is deep in my ears.  It’s not as funky as it would become, but asides from that it is 98% the same song that would later be released. Did I mention it sounds good? Oh yes, it does, the keyboard swells rather than grooves, and there is a piano solo mid-song that pulls it all together. There is a part of me that wants to write “this is the best thing on the recording”, that would be a lie, there are many great moments on the recording, and this is right up there with the other ones. As a bonus though it does have a great Eric Leeds solo that gains it a few more credits in my book.

 

We get another rare treat next as “High Fashion” is heard. What a pleasant surprise, I smile as soon as I hear it begin. This is much more of a jam, and I love that distinctive rumble of Brown Mark. He has a great chugging sound, and it’s almost as unmistakable as the funky sound of Wendy’s guitar that plays over top. It’s got an undeniable summer sound and I sing along enthusiastically, much to my girlfriend’s dismay. As the riff plays over and over, I find I never tire of it and I am surprised as the song comes to an end.

With the horns playing the riff of “17 Days,” it has a different sound and leaves me off balance. The heavy keyboards feel safer as they begin and the song takes on its classic sound. The instrument that I pick out for special attention is Wendy’s guitar, she is something else, and the song has plenty of her sound that I love. The song becomes a jam, and it spins off in a direction I hadn’t expected. The bass and drums pick up a different groove as the sax solos, and surprisingly I like this even more.

“Groove In A” is an even better jam, with everyone contributing something. Listening to this, I find myself thinking that it’s a shame that The Revolution didn’t play after shows like Prince started doing a few years later, jams like this demonstrate to me that they would have killed it. In fact, this whole soundcheck would have worked brilliantly as an aftershow, just close your eyes and imagine hearing this at a small club. Groove In A has a nice funky thing going, with a sax riff, before Prince plugs in his guitar and begins to let loose. I say let loose, but in reality, he is playing well within the song, and nice and tight. It’s a claustrophobic sounding jam at this point, and I am still with it, every beat and pop, howl, and squeal. The song ends with an exchange between Prince and Wendy that has Prince telling her “say into the mic, “I’m weak”, which sets us up nicely for the final song which is a “Groove In F”

 

It starts fast, very fast, and Prince and Wendy have me laughing as she says “I hate this kind of music”. The bass the cymbals hold most of the sound, with a final appearance from the saxophone a minute into the song. Things take off at this point, Prince responds with a quick solo, before we drop back to the groove. It's funny guy Prince, with him talking funny before the last solo fades out the recording.

I have only had this recording for 24 hours, and already I know that it is one for the ages. We will be hearing a lot more about this in the future, I am sure over the coming days, weeks, and months everyone will be talking about it. I don’t know how many times I have felt like a jaded fan and the excitement is gone, only for a recording to surface that makes me just as excited as the first time I heard Prince’s music. This is one of those recordings, and listening to it this evening I was transported to another time and place, a time and place where The Revolution reigned supreme. Truly amazing performance and recording, this sounds just as fresh as the day it was recorded 31 years ago.

Worcester 28 March 1985

 

Several weeks ago I wrote about a leak from part of a Purple Rain show from Worcester Massachusetts. At the time, I spoke highly of it and that I hoped for the full show to be released. Now that day is upon us and Eye records have obliged with a release of the show. After high expectations, I am disappointed in hearing the full show – it is a let-down. Although a soundboard, the sound quality is poor throughout. Not poor as an audience recording, I can hear Prince and the music perfectly well, but the overall sound is weak and all life has been sucked out of the recording. I did take the time to give it a good listen, and my thoughts are below.

28th March 1985, Worcester Centrum, Worcester Massachusetts

The opening “Let’s Go Crazy” is a suitable introduction to what will follow. Prince is sounding good, as is The Revolution, although the recording is lacking any depth and feeling. “Let’s Go Crazy” is dominated by Prince and his guitar, everything else is in the background, and although it’s an exciting opening for the show the recording captures none of this excitement and at times sounds simply like a rehearsal for the show. Cold and sterile, I feel all my energy drain away as I listen.

 

“Delirious” is better, it does a better job of conveying the feelings of a live show, although the sound is still deadened. The keyboards and horns have a fun sound to them and bring a sparkle to the show that “Let’s Go Crazy” Was Missing.

The crowd is heard for the first time in “1999,” again though most of the song sounds like a cold rehearsal. There is some funky guitar in the mix that I latch onto to listen to, but the rest of the song fails to excite me. I know there is better to come, yet I find I am still struggling to get into the show in the early stages. The highlight of “1999” comes at the very end as Prince delivers up some thrills on the guitar, but the recording is still thin, and it lacks the muscle of other shows I have heard.

The first minutes of “Little Red Corvette” sound as good as ever as the band play through the long intro, and the keyboards can be heard adding their wash to the sound. This is an early high point in the show, especially as I can hear the audience cheer at one point. It’s finally starting to sound like a live show. Prince matches the keyboards when he sings, and it begins to add up to the Purple Rain shows I know and love. Despite a thin start to the guitar solo, it still sounds good and the song ends on a high as Prince sings the chorus one final time.

 

The keyboards are also very strong for the opening of “Take Me With U.” They fill out the sound somewhat, although in contrast I can hear the bass but it lacks any real depth due to the recording. Everything is in place, yet it all sounds weaker and watered down in the recording. The ending coda lacks much of anything, and the song that started so brightly fizzles out by the end.

The next section of the show I have covered in an earlier blog post, here I will reiterate some of what I have already said previously. It is easily the best part of the show as for the next thirty minutes Prince is on fire.

Next on the set list is a rare performance of “4 The Tears In Your Eyes.” From the outset, I am lost for words. Prince introduces it as a new song “for the children of Ethiopia” and the performance of it is full of sincerity and heart. To my ears, this performance sounds better than it does on record, even in this quality. With the bare guitar sounding live and raw it gives the song some feeling in the music as well as Prince’s well-intentioned lyrics. Wendy and Lisa weave their magic into the song as we are again reminded of The Revolution in its glory days.

Prince follows up with some more lone guitar, now switching to a blues riff for his take on “I Got Some Help I Don’t Need (Blues In G).” Prince tells the crowd he wants to get loose, and he is as good as his word for the next few minutes as he takes a leisurely stroll through the song. There is plenty of Prince’s good-natured humor on display throughout the song as he runs through his clever lines. As fun as it is, it’s the music that excites me most and the appearance of Eddie M for the closing sax solo is certainly something I appreciate.

“When You Were Mine” stays with the light-hearted mood as Prince plays a loose intro while encouraging the crowd to sing “whoo hoo”. The song is perky and upbeat as always, and although it’s not long it is the final few minutes where all the treasures lie – a sparkling guitar solo from Prince that isn’t overplayed and keeps the song on an up. On top of the last couple of songs, it is a stunning few minutes and only makes me hungry for more -especially as he ends with an elongated howl that switches to a crunching guitar jam. I thought I was beyond fan boy freakouts but apparently not – this has me squealing in delight.

 

With Prince taking the keyboard the mood and tempo change with “Free,” just Prince with backing vocals from Wendy and Lisa. The best moments come as Prince speaks rather than sings, firstly listing the things he is thankful for before speaking (briefly) about God. It sounds on paper as if it might be corny, trust me it’s not. It sounds heartfelt and Prince has some sincerity in his words.

 

“Do Me, Baby” has me back to my fanboy ways, it sounds gorgeous on this recording. Princes vocals are good, but in this case, it is the pop of Brownmarks bass that I gravity to, and it has my head moving subconsciously. The song ends to make way for “Head,” and as much as I like “Head” I could have done with a lot more of “Do Me, Baby.”

There is plenty of piano and smutty talk from Prince before the song starts properly. Firstly, Prince, has Eddie pull his shoes off, while he talks about some girls coming over for the evening -again with plenty of his humor on display. Eddie adds the sleazy sound of his horn as Prince continues to work up the crowd. Effortlessly cool, this is the Prince I know and love. The band comes in with a great push as “Head” begins in earnest, the bass, and keyboard pushing it along. Prince is loose, the band pulls back as he continues his patter and I don’t know if I should laugh or just write down his lines so I can use them myself at a later date.

Things are more romantic with the sentimental “Still Waiting,” both sentimental in lyrical content and sound. With just the piano for accompaniment, Prince knows how to wring emotion out of the song, and as his vocals go from a whisper to a soaring finish we are caught up in the feel of the song.

Things are equally cool with his solo performance of “I Feel 4 U.” Only the first verse and a chorus, yet with only the piano the song captures attention and is another highlight in this short set of highlights.

 

The following “Something In The Water (Does Not Compute)” is equally short, and after only a verse it fades on his fingertips, but not before my heart has skipped several beats.

Prince does his usual introduction for I Wanna Be Your Lover as he was fond of during the Purple Rain shows, with his “stomp your feet” etc spiel. It’s fun and the piano riff of the song emphasizes this with its ‘pop’ soul and innate energy. The crowd takes to the sing-along quickly before Prince jokes with them about getting sexy.

There comes next a segue into some funky piano playing by Prince. He keeps the rhythm going while speaking to the crowd about the press and reviews of his show, ending his comments with “I would rather have someone do me a long time than do me for a short time” in regards to reviews saying the middle of the show dragged. It’s something he could play all day long, as well as something I could listen to all day long. The payoff comes as the band jump in and “Irresistible Bitch” begins. It’s tight, it’s funky, it’s Prince and The Revolution doing what they do best.

There is the inevitable “Possessed” right after, it’s not quite as tight as Irresistible Bitch, but it still has plenty of funk of its own. The keyboards give plenty early on before the horn swells drive the second part of the song. The count of “25” by Prince is standard practice, and the band is right on the money. There is a moment of fun as Prince speaks to the band about catching them out tonight. There’s money on the line, and the band doesn’t fail to deliver. The horns and the stabs are throughout, as Prince sings “I’m going to get you tonight” before calling for “63”. I lost count, as did the band – Bobby Z gives a couple of extra beats as the song gives way to a scream and several whoops, presumably from Prince as he has indeed caught the band out.

 

There is more fun in the air as Prince begins to play “How Come You Don’t Call Me Anymore” and encourages the audience to sing if they can. The song itself is kept very short, at a single verse it barely registers, but it is the final song before the rest of the show is given over to Purple Rain songs.

“God” is as beautiful as to be expected, with Prince and the piano holding the audience enraptured in its charms as it plays. The band adds some harmonies to the vocals which is a nice touch, the only downside being the quality of the recording- on a better sounding recording, this would sound magnificent, as it is it lacks a thickness and full sound. It doesn’t matter too much as the next few minutes are given over to the bath sequence of the Purple Rain shows.

 

The fierceness that I have come to expect from “Computer Blue” is lacking, in part to the thin sound of the recording. The band though cannot be faulted, and I can hear the band playing a rough and tumble version with plenty of jagged guitar from Prince. The bass work from Brownmark is to the fore, a shame that the recording lacks the richness of the performance.

The segue into “Darling Nikki” is predictable and entirely enjoyable. Dr. Fink is a real highlight as his keyboard squiggles are all over the latter part of the song. It shines brightly after the previous “Computer Blue” and up the tempo again as we head to the last quarter of the show.

 

The introduction of “The Beautiful Ones” fades in and out, but once the song starts proper it is full-blooded and Prince gives another heartfelt rendition. There are plenty of shrieks and screams near the end which aren’t served well by the recording, nevertheless, they add a lot to the show and the audience can be heard responding well to what is a highlight.

Another show stopper follows in the form of “When Doves Cry.” Dr. Fink and Lisa are key players, but for me, the highlight is Brownmark and his elastic-sounding bass. He gets plenty of time to show us what he’s got, especially the final coda which is heavy on the bass, and despite everything going on over the top, it is the bass that I gravitate to.

“I Would Die 4 U” starts with a pop bent, but the final minutes are all about the funk as it gets an extended treatment, with plenty of Wendy’s guitar to the fore. It wasn’t a song that I immediately fell in love with, but I always enjoy these live performances. Even with the coda tagged on, it still only runs for three and a half minutes, and as it ends just as I am developing a hunger for much more.

 

I am disappointed with “Baby I’m A Star.” Some nights it runs upwards of twenty minutes, this version is considerably shorter at eleven minutes, and even then there is a couple of minutes’ introduction. This is the point of the show where the band traditionally cut loose, so it comes as a surprise to see this shortened version. The tempo does accelerate halfway into it,  this gives it an unbalanced sound and as it increases in tempo I feel left behind by it all. With the horns adding their burst of excitement there is the sound of show business in the air, the band jam on but it never feels like a groove as I have heard elsewhere on the Purple Rain tour. The sax is easily the best thing about “Baby I’m A Star,” and we have plenty of time to enjoy it before the song loses its way with Prince’s final few minutes of train-inspired groove.

It’s been a long time since I listened to a full Purple Rain show, and I find myself falling in love with the song again all over as the introduction plays and the piano gives it an extra touch of special. By the time I hear Prince’s guitar noodling, I am already sold on it and I don’t care what type of performance will follow. The following Cloud guitar sound lets me down, but that barely matters as what I have already heard is good enough for me. The final solos by Prince are long and over the top, normally something I would greatly enjoy, but here they are undone by a thin sound and although they are likable they don’t quite deliver the knockout blow. It is however the type of finish that this show required, and I must admit I was smiling all the way through the song.

This wasn’t the show I was expecting. The middle section I had previously heard is easily the best part of the show, and this alone makes the show worth listening to. In fact, it makes the show much more interesting than other Purple Rain shows in circulation and if the recording was of better quality it would be essential. As it is, it is a serviceable soundboard recording that documents a potentially great show that loses its way towards the end and becomes just another Purple Rain show. An interesting experience that wasn’t what I wanted or expected, nevertheless it was worth the time to take a listen.

Worcester 28 March 1985 - leak

 

I recently heard the newly leaked soundboard recorded at Worcester during the Purple Rain tour. It’s only 35 minutes long, and the first time I heard it I had my mouth wide open the whole time, it is a jaw-dropping performance and recording and I can only hope and pray that one day we will hear the whole show. I am not always the greatest cheer leader for the Purple Rain shows but this one has me completely revaluating my feelings about them. I have to say if I heard more shows like this one, my blog would only focus on the Purple Rain tour, I could seriously listen to this stuff all day long. I don’t normally go for only part shows, but I am more than willing to make an exception in this case.

28th March 1985, Worcester Centrum, Worcester Massachusetts

The recording picks up mid-show, and what a way to start a recording – a rare performance of “4 The Tears In Your Eyes.” From the outset, I am lost for words. Prince introduces it as a new song “for the children of Ethiopia” and the performance of it is full of sincerity and heart. To my ears, this performance sounds better than it does on record, even if it is mono. With the bare guitar sounding live and raw it gives the song some feeling in the music as well as Prince's well-intentioned lyrics. Wendy and Lisa weave their magic into the song as we are again reminded of The Revolution in its glory days.

Prince follows up with some more lone guitar, now switching to a blues riff for his take on “I Got Some Help I Don’t Need (Blues In G).” Prince tells the crowd he wants to get loose, and he is as good as his word for the next few minutes as he takes a leisurely stroll through the song. There is plenty of Prince’s good-natured humor on display throughout the song as he runs through his clever lines. As fun as it is, it’s the music that excites me most and the appearance of Eddie M for the closing sax solo is certainly something I appreciate.

 

“When You Were Mine” stays with the light-hearted mood as Prince plays a loose intro while encouraging the crowd to sing “whoo hoo”. The song is perky and upbeat as always, and although it’s not long it is the final few minutes where all the treasures lie – a sparkling guitar solo from Prince that isn’t overplayed and keeps the song on an up. On top of the last couple of songs, it is a stunning few minutes and only makes me hungry for more -especially as he ends with an elongated howl that switches to a crunching guitar jam. I thought I was beyond fan boy freakouts but apparently not – this has me squealing in delight.

With Prince taking the keyboard the mood and tempo change with “Free,” just Prince with backing vocals from Wendy and Lisa. The best moments come as Prince speaks rather than sings, firstly listing the things he is thankful for before speaking (briefly) about God. It sounds on paper as if it might be corny, trust me it’s not. It sounds heartfelt and Prince has some sincerity in his words.

 

 

“Do Me, Baby” has me back to my fanboy ways, it sounds gorgeous on this recording. Prince’s vocals are good, but in this case, it is the pop of Brownmarks bass that I gravity to, and it has my head moving subconsciously. The song ends to make way for “Head,” and as much as I like “Head” I could have done with a lot more of “Do Me, Baby.”

There is plenty of piano and smutty talk from Prince before the song starts properly. Firstly, Prince, has Eddie pull his shoes off, while he talks about some girls coming over for the evening -again with plenty of his humor on display. Eddie adds the sleazy sound of his horn as Prince continues to work up the crowd. Effortlessly cool, this is the Prince I know and love. The band comes in with a great push as “Head” begins in earnest, the bass, and keyboard pushing it along. Prince is loose, the band pulls back as he continues his patter and I don’t know if I should laugh or just write down his lines so I can use them myself at a later date.

 

Things are more romantic with the sentimental “Still Waiting,” both sentimental in lyrical content and sound. With just the piano for accompaniment, Prince knows how to wring emotion out of the song, and as his vocals go from a whisper to a soaring finish we are caught up in the feel of the song.

Things are equally cool with his solo performance of “I Feel 4 U.” Only the first verse and a chorus, yet with only the piano it captures attention and is another highlight in this short set of highlights.

The following “Something In The Water (Does Not Compute)” is equally short, and after only a verse it fades on his fingertips, but not before my heart has skipped several beats.

Prince does his usual introduction for “I Wanna Be Your Lover” as he was fond of during the Purple Rain shows, with his “stomp your feet” etc spiel. It’s fun and the piano riff of the song emphasizes this with its ‘pop’ soul and innate energy. The crowd takes to the sing-along quickly before Prince jokes with them about getting sexy.

 

The last five minutes of the recording feature some funky piano playing by Prince. He keeps the rhythm going while speaking to the crowd about the press and reviews of his show, ending his comments with “I would rather have someone do me a long time than do me for a short time” in regards to reviews saying the middle of the show dragged. It’s something he could play all day long, as well as something I could listen to all day long. The payoff comes as the band jumps in and “Irresistible Bitch” begins, although this is where the recording ends – leaving me hoping and praying that one day the rest of it will see the light of day.

This is only a small portion of the show, and from what we can hear this is one loose and funky show. Prince is sounding incredibly relaxed, and that transfers through to the music. This is a lightness and playful tone in the music which makes listening to this just as much fun as they sound like they are having to make it. This is one of those recordings that has you hitting the replay button over and over. I’m confident that one day we’ll hear the full show, until that day comes this is going to be on constant rotation.

Uniondale 23 March 1985

 

The new Eye records release of the Uniondale shows was just too much to digest in one sitting, so today I return to the second show featured on the recording – Uniondale March 23rd, 1985. It does differ from the other Uniondale concert in several ways. There is a performance of Head that has me a gasp, as well as “Condition Of The Heart”, “Raspberry Beret” and “America” all making appearances, pointing towards the release of Around The World In a Day later in the year. Like the previous concert, there are edits throughout, in particular, “Raspberry Beret” is missing its second verse,  I am prepared to overlook that for now and enjoy the recording for what it is, a passionate delivery of one of Prince’s most beloved concert tours.

23rd March 1985, Nassau Veterans Memorial Coliseum,  Uniondale, NY

We’re now 32 years beyond the Purple Rain tour and yet I have still not tired of the “Let’s Go Crazy” opening. This rendition captures my imagination, the guitar touches on the raw sound that appeals to my punk rock roots and it has similar energy. The recording is nice and clean, and this emphasizes the dirtiness of Prince's guitar. I may have had reservations based on being overly familiar, yet I am sold on it from the start.

Likewise, “Delirious” gets a firm pass from me. It has never stood out to me as a great song, this performance though has me seeing it in a different light, especially as I can hear a wonderful funk guitar playing in the background. The soundboard recording is paying dividends and I get much more out of the song at this concert than I normally do. There is much more to it than I previously thought, and the bootleg nerd in me revels in all the small details I can hear.

There is a natural pairing of “1999” and “Little Red Corvette”. Although both are from the same album they come from different places and “1999” is as much a celebration as “Little Red Corvette” is a sensitive moment in a concert that is otherwise bombastic. I am drawn to both of them, but at the end of the day, it is “Little Red Corvette” that has me pushing the repeat button. There is plenty of great guitar work in “1999”, yet it is the synthesizer in “Little Red Corvette”  that places me at the concert. There is also some notable guitar work in “Little Red Corvette” as the song provides something for everyone and I think by the time it ends most people would be well satisfied with the preceding ten minutes.

 

I find “Take Me With U” to be highly enjoyable, although again, I gravitate towards the later section of the song as Prince dresses it up with some lead guitar and the hook of “All The Critics Love U In New York” Catchy and fun, this moment comes as a lightness before the following “Yankee Doodle” drags the show down.

I want the following “Do Me, Baby” to be great. I want it to ooze out my speakers and fill the room with love and lust. It shapes up well, but like most of these Purple Rain performances, it is abridged and runs for only a couple of minutes. Despite its brief appearance, I still find it to be a highlight and it is certainly a lot better than “Yankee Doodle” that came before it.

The guitar is sharp and carries plenty of funk for  “Irresistible Bitch”. The guitar is subverted for the following “Possessed”, where the horn of Eric Leeds dominates. He is in fine form, and Prince introduces him to the crowd with a humorous “He just got out of college”. That comment belies the immense talent that Eric is as he interlaces his style all through the song, making it another standout.

The piano set at this show is a highlight and for me is the best part of the gig. “How Come U Don’t Call Me Anymore” has some very ‘Princely’ ad-libs in the final minute, in particular, I get a kick out of “How come you don’t screw me, anymore?”. However, this is merely the appetizer, it is “Condition Of The Heart” that serves as the main course in this delightful treat. He may wrap it up after a couple of minutes, but it leaves an aftertaste that lasts with me long after. Prince coyly introduces “Raspberry Beret” with “You wanna hear some more new songs? Can you keep a secret?” before the now familiar piano riff plays. Princes vocals stand out alone in front of the music, I find this adds a lot to the song. It sparkles in its freshness and Prince is relishing sharing his new music with the audience. Sadly, the second verse has been edited out, but what remains still sounds good.

 

“Head” is introduced as “Something nasty” and it is a piano-driven, rhythm and funk monster. Prince works the crowd with his chants and piano riffs as it becomes a stop-start jam. With Eric Leeds playing over Prince’s bare piano it becomes different from what one would normally expect, making it something special that is worth coming back to. Even with the rest of the band, the song comes as a stripped-back groove. Eric does lead it off to a lighter and more ethereal place, giving the song a lightness I have never heard before.

The band is again the focus for “Let's Pretend We’re Married”, both Wendy and Eric get a shout-out. Eric can be heard all over the song, but for my money, Wendy is the star. Even though she only gets the briefest of solos, she is sounding fierce and raw, two attributes I look for first when listening to guitarists.

It is hardly worth mentioning “International Lover”, barely 20 seconds of singing and a minute of the crowd cheering, but “God’ follows and that deserves a much closer listen. It’s a fine rendition, with Prince taking some time with this introspection. As much as I like the song, it doesn’t fit well with the overall concert and as it gives way to “Computer Blue” there is the feeling that it is misplaced.

I enjoy both halves of “Computer Blue”. Usually, it is the guitar-fueled first half that I give all my attention to, but in this case, the song is well balanced and I find I give equal credence to the delicate piano playing in the second section. That is, of course, eventually overwhelmed by the heavier groove, but not before it has made a lasting impression on me.

 

Some of the heavier guitar from “Computer Blue” bleeds through to “Darling Nikki”. The guitar has an extra crunch to them which gives the song a different texture against the wall of synthesizer. The music is good enough that I forget the lyrical content, which is normally the main focus, and instead, just sit back and swim in the groove of it. This is another song that is resurrected by the soundboard recording, new nuances can be picked out and the song is heard in a new light in this context.

“The Beautiful Ones” may have an alluring beginning, but it is the epic finish that stands out. Prince works the audience and the song into a climax that sounds as intense on record as it must have been onstage. “The Beautiful Ones” gets plenty of credit for being beautiful, but it is the intensity of the moment that marks this one as a great performance.

It is “When Doves Cry” that follows, no surprises there. It begins and ends with a great guitar performance from Wendy, who nails her part with a rock-solid drive. The opening riff and squeal throw down the gauntlet, the song staying as a groove before Wendy accepts the challenge with her guitar solo and a solid riff that carries the song to the end. It is much less pop than heard on record, but I for one love it even more for its relentless drive and cold percussive sound.

Three minutes of pure pop joy follow with “I Would Die 4 U”. Its lightness comes as a great contrast after “When Doves Cry” and the concert again soars as the band plays.

“Baby I’m A Star” is heavily edited. There are still moments to enjoy, just try not to think about what isn’t there. As always, Eric Leeds gives plenty over a great rhythm groove, the piano and guitar both propelling the song forward.  As much as I enjoy it, I can’t help but think about what isn’t there. An audience recording of the same show reveals it to run at a longer 13 minutes, so what we have here is barely half the song. Still, let's be positive, better to enjoy what we do have and appreciate the soundboard recording.

 

The opening few minutes of “Purple Rain” are heaven to me. I could quite happily listen to the introduction on loop for the rest of my life. I can’t put my finger on it, but it makes me feel warm, safe, nostalgic, and hopeful all at once. The rest of the is good, but it does have an obvious cut that is quite jarring (at least to my ears). I still give it a solid pass mark, however, as the song is as we know it and it is a lot more complete than the first show covered by this release.

The show ends with one final encore, a furious run-through of “America”. The edits made to “Baby I’m A Star” are all but forgiven as the band jam on “America” for ten minutes. There is plenty of guitar work for those who like that sort of thing, tempered again by Eric Leeds who comes to the party with lots of honk and sass. Prince does stop the song at one point, apparently to chastise those fighting in the audience, although it can’t be anything too serious as it's only briefly before the band pick right back up on their groove. The band is relentless and the guitars derive a lot of passion and drive from the strong groove. The basic sound is supplemented by a Shelia E solo, but the real star of the performance is the song itself. There is a much stronger synth sound, especially on the left, and it gives a solid backdrop for the guitar to play. The song passes by surprisingly quickly and, before I know it, it ends and I’m sitting in silence.

Somebody said to me the other day that this is their release of the year. Even with the edits and tags, it's hard not to disagree with them. Both shows are fantastic, and the soundboard brings the Purple Rain concerts into sharp focus. I am not normally a great fan of Eye records, but I must admit the packaging and material here is exceptional. One can only hope that there is plenty more where this one came from.