Boston 3 April 1986

 

I was intending on writing about the second half of the 2008 bootleg that I took a listen to last week, but I have been overtaken by events in the fast-moving world of Prince bootlegs. The last couple of weeks has seen Eye records release two great packages, the 1986 show at Boston, and “Rainmaker” which covers some well-known concerts of the Purple Rain era. Of the two I am more interested in the 1986 concert as the other concerts have been circulating for some time in a variety of guises. I have audience recordings of the Boston concert, but I was excited to hear it in soundboard quality. As Prince himself once said “All that glitters, ain’t gold,” and this is true with this soundboard recording. Yes, it is a soundboard recording, but that doesn’t mean that it is perfect. There are quality issues (especially on the first disc) and to my ears, the tape speed isn’t quite right. The first disc in particular sounds slow, it’s most noticeable with the opening notes that immediately sound off. Again, the second disc is better, but still not quite perfect. I may sound pedantic on this point, but when you listen to as many bootlegs as I do, then you tend to notice little things like this, and it is worth noting. As always, there are positives – it is a soundboard recording we haven’t heard before, and even as it is, it is still a fine document of one of my favorite tours, the hit n run tour of 1986. That is something worth celebrating and I am quite prepared to put aside my bootleg snobbery for a couple of hours and wallow in this glorious show.

3rd April 1986. The Metro, Boston

There are no surprises with the setlist early on. Prince doesn’t deviate from any of the other shows of the era, and anyone who has been listening to these bootlegs over the years will know exactly what to expect. The flighty and twitching “Around The World In A Day”  moves under the feet with ever-changing soundscapes as an ethereal flute opening gives way to some Byrds-esque guitar before the sound unfolds with Prince’s chorus bringing the song to firmer ground. It is a kinetic opener, even with the slight sound issues I previously mentioned.

The sound becomes bolder with “Christopher Tracy’s Parade.” There is more of the band to be heard, and even with muddled sound, the recording captures the energy of the performance. What captures my ear the most is the horn section, here fully integrated into the band and providing the early impetus. The song never fully develops though (due to the recording) and the remaining impression of it is the organ solo that is provided, one presumes, by Prince.

The sound strips back for “New Position,” and the rhythm section is outstanding with their funk and bump. Bobby Z and Brown Mark are often overlooked visually, but they more than makeup for it their musical contributions, and this song is an early indication of how much their input makes a Prince concert what it is. Prince himself makes his mark, the one lyric that sounds very clear is when he asks Jerome to sing “P.U.S.S.Y.” It can be heard on the album, but here it is very bold and obvious, and it is the loudest moment in the song.

 

There is time for “I Wonder U,” although it doesn’t match anything heard in the first handful of songs. The crowd is bought back into the concert with “Raspberry Beret.” It’s not quite the riotous celebration heard on other bootlegs though. The crowd is present, but not to the same extent as at other concerts. The payoff is that Prince sings most of the lines himself, something I greatly appreciate and enjoy.

I wish I could say the “Alexa De Paris” stands alone as an ornate monument surrounded by these slighter pop songs. However, the recording is again muddled with its mix, and although the individual parts sound great, when they all come together they don’t gel. There is some fierce-some guitar to be heard, but it is very low in the mix. If it was alone out front it would be scorching, but as it is no more than a smolder in the background, threatening to burst into flame but never reaching the point of combustion.

The is an outstanding start to “Controversy,” with a scratch guitar to die for and the keyboards playing with a robo-funk coldness. The rest of the song sounds thin, and it has a weak ending with Prince's overplayed “Where’s my cigarettes” shtick. All is forgiven with “Mutiny.” From the opening seconds, it has my nerves jangling, the music connecting my ears to my feet as my brain screams “dance!” The song itself would be enough, but when the sizzling saxophone of Eric Leeds is thrown into the mix, well then, it’s at that point that it becomes the epitome of Prince and the funk he was peddling at the time. Eric Leeds practically bursts into flames as he plays, and Prince does nothing to extinguish this fire as he has the band chant “St Paul, punk of the month” as Wendy and Lisa give clues to the hardcore with their “Dream Factory” chorus. The song is a tour de force for the extended Revolution; the rest of the concert and bootleg is irrelevant, this song alone is all you need as it covers all that was good and great about Prince and this band.

The following four songs maintain this thrill of excitement. “How Much Is That Doggie In The Window,” “Lady Cab Driver,” “Automatic,” and “D.M.S.R” come in quick-fire succession, increasing the tempo of the show and laying the groundwork for what will unfold next.

It is “The Dance Electric” that comes next, and from the title alone you know this is going to be something special. Needless to say, it matches Mutiny for funkiness and upstages it in raw, unfiltered intensity. It has a deep funk in its groove, and Prince injects impassioned guitar into the vein, giving the song an uncontrollable rush and head-spinning high. This is one of the great performances of this song on bootleg, an instant addiction the first time you hear it.

 

There is the inevitable come down in the form of “Under The Cherry Moon.” Its otherworldliness is heightened as it is coming directly after “The Dance Electric,” and in contrast, it isn’t just a comedown, it’s a crash. I rate it highly, but I would have preferred to have it somewhere else rather than directly after “The Dance Electric.”

I don’t know what's going on with “Anotherloverholenyohead,” but Prince’s vocals are almost inaudible for the first verse. However, Wendy and Lisa are enthusiastically loud and the keyboard can be heard dominating the sound. This is another song where the sound quality is less than stellar, unfortunately, a recurring issue. There are positives though, Lisa is enthralling with her piano break, everything else disappears as she plays, the world turning on her breathtaking feel for the keys.

“Soft And Wet” comes from another world, sonically and historically. It still proudly wears the disco coat of the era it was born in and is shameless in the way it sparkles and glitters in this show. Dr. Fink’s solo is particularly nostalgic, and for a few minutes, I forget this is 1986 as Prince and the band recreate the brown and orange world of the late 70s.

Prince stays in the era with “I Wanna Be Your Lover” which performs the same trick on steroids. Everything “Soft And Wet” was, “I Wanna Be Your Lover” is, times five. It is stronger, funkier, and forceful throughout, not just suggesting you get up and dance but roughly shaking you to your feet and dragging you to the dance floor. The real action happens in the second half of the song, as the groove moves from the dance floor to a dark corner of the room for some nastiness. Even with the gleam of the horns, there is a dirtiness that can’t be shaken – definitely a recommendation.

“Head” leads us further down this path, the music becoming darker and murkier as Prince spreads a layer of sleaze across the performance. The song lives up to its name, but there is no climax, just more nastiness and Dr. Fink adds his smutty solo before the scratch guitar hints at all sorts of unmentionable things. It would be the most sexual part of the show, if not for Prince talking about Morris Day and chopping down the Oaktree. This takes me out of the moment, and I do up my pants and move on to the next song.

 

There is an extended opening to “Pop Life” which gives us all a chance to regather our composure before Prince delivers a sunny version of one of his greatest pop songs. It floats easy as a cloud, a feeling further enhanced with Eric Leeds’s flute solo that flutters and flits across the sky. It is far removed from the previous song, but it moves the concert forward and brings us back into the sun.

With Eric Leeds’s saxophone, and some slippery guitar to grease the wheels, “Girls And Boys” ticks two of the key boxes for what makes a great song. This song is entirely representative of the era, it perfectly encapsulates the era and the music Prince was creating. Prince’s voice has a touch of arrogance, born of the confidence in the scope of work he has created,  while Eric Leeds’s saxophone ties the groove to the ground before taking flight late in the song. Elsewhere Dr.Fink, and the twin guitars of Wendy and Miko, give it all the funk you will ever need. It never reaches the same funky heights as some of the earlier songs, but it does neatly package up what the era was all about.

These two songs are the opening numbers of disc two, and they sound much better than the songs on the first disc. This standard is maintained for “Life Can Be So Nice.” It is a clean performance of the song, without being outstanding, but it does gain a few extra marks in my book with the improved sound quality. It doesn’t leap off the page as some of the other songs do, yet with all the instruments and vocals clearly heard it is a pleasant listen.

There is a buzz in the left speaker for the beginning of “Purple Rain,” which does initially detract from the moment. The rest of the opening is faultless, however, especially the guitar of Prince that tiptoes briefly through the field of piano, creating a path for the listener to find their way into the song. It is this entrance and then the final exit that is the highlight of the song. The final guitar break sees Prince light up the darkness with its intensity, not just leading the listener through the final minutes but pushing them with an electrifying and emotive shriek.

 

I have never been completely sold on Prince’s performance of “Whole Lotta Shaking Going On,” and this concert isn’t going to change my mind. It is snappy and sharp, but undemanding and as far as I’m concerned it doesn’t add to the show and is unnecessary.

“A Love Bizarre” throws up the most interesting moment in the show. A minute into the song there is a glitch, one assumes with the drum machine or pads, and Bobby Z catches the moment with an effortless switch to a heavier, and more organic, live drum. The change comes in a split second, but one can clearly hear the change in the drum sound. The rest of the song lives up to other live performances from the year.  It may start with a veneer of pop over a funk groove, but it is the second half of the song where this veneer is stripped back to reveal what the song truly is, a hard-hitting beast of a song that gives Prince and the band plenty of time to ride the groove where ever they please. There are very few surprises to be heard, but as always the song delivers with its strident and bold riffs, highlighting the rhythm section of Brown Mark and Bobby, and the newly acquired horn section.

It is a firestorm of guitar that opens “America.” The guitar has been prominent throughout the concert, and here Prince takes it to new levels with an electrifying performance. The guitar establishes a beachhead for the rest of the band to storm through, Eric Leeds and Atlanta Bliss immediately providing a twin horn attack that tears the song in half. The breakdown halts this attack, the momentum temporarily lost as Prince indulgently leads the crowd with some chants. The rhythm guitars bring some forward movement to the song, but it fails to live up to the opening salvo heard in the first five minutes.

Screams and shrieks greet “Kiss.” It does sound strangely flat on the recording, all the fizz and pop are missing. The appearance of the wooden leg doesn’t help, but the guitar break brings a welcome surge of energy, and the song sounds more lively after its appearance. The final coda restores my enthusiasm for the song, an element of fun is introduced and this brings a lightness to the song that serves it well.

The concert ends with an intricate rendition of “Love or $.” It is monochrome and highly manicured performance, highlighted by the soundboard recording. The horns are again high in the mix, giving a hint of sparkle to the intertwining sounds that can be heard. The song never bursts out of the tight cocoon that the band weaves around it, often threatening to break out in a flutter of color it instead stays tight in the pocket until the very end.

Ignore any negative comments I may have made about the sound quality and take this show for what it is – a soundboard recording of Prince and The Revolution at their very best. This is only the first show after the Parade warm-up at First Ave, but the band is already firing on all cylinders as memories of Purple Rain rapidly vanish in the rearview mirror. I wouldn’t go so far as to give this a five-star rating, but it is a concert and bootleg that you need to hear. Indulge yourself and hunt it out.

Minneapolis 3 March 1986

 

Writing each week about these recordings, I find myself using the same words again and again “favorite” “best version” and “love this”. I try to avoid it, but the point of being a fan is that I am passionate about it, and there are many ‘favorites’ and ‘best versions’ Today I will be using these words a lot. I apologize in advance, but when I started listening to this one I just found that song after song I was thinking, “Man, this is the best ever”. I very rarely namedrop this as a favorite recording, but I think in the future I should. The Parade warm-up show from First Avenue is widely circulating on both DVD and CD. I have seen people talk passionately of it, but it doesn’t seem to get the same coverage as say Small Club or For Those Of You On Valium. It deserves to rank up there with the best, and I only hope that my words today can do the show justice.

3 March 1986, First Avenue, Minneapolis

“We only been rehearsing about a week, so we a little rusty” Prince informs the crowd as the show starts “But here goes”. Immediately the sound of “Around the World In a Day” can be heard, and Prince starts the gig with an “Aawwwhhh” as he does so many times. “Around the World In a Day” is one of those songs that have seemed to have fallen through the cracks. It’s an interesting song but never seems to quite fit with anything else he has done before or since. The first half of the song is delicate, but in the second half the lights come up and Prince and the band run through some fairly solid dance moves. It is a bit of a novelty song for me, so I enjoy the performance here.

A shout, and the band switch to “Christopher Tracey’s Parade.” A fun song, the audience and I start to relax more. The mood is pretty light throughout, and Prince ad-libs a nice little line in the middle with “Jimmy Jam, I don’t want to hear this on your record”! The extended Revolution shows off the new members, especially the horns are much more prominent. The song ends with Prince moving to the keyboards and jamming for half a minute. Oh, if only it was longer.

 

There is no rest as they immediately segue into “New Position.” My thoughts are already how well these three songs all work together. It’s a nice energy to all three of them, and they all demonstrate his nice clean sound at this stage. For a band that has supposedly only been rehearsing for a week, they all sound tight to me. One can only guess that the week involved some very long days.

“I Wonder U” slows us all down, and takes us somewhere different again. What a great mix of styles he had at the time. They play slightly faster than I normally hear on the record, and it takes a couple of lines before Wendy’s voice warms up and gets stronger.

Another nice moment is between songs when Prince says “oh, I like you guys already”. Again he explains they have only been rehearsing a week and may be rusty. No fear of that, I assure you, it’s all sounding great so far.

Next up is the first of many highlights for me, when Prince pulls out his guitar and delivers a rarely heard live version of “Paisley Park.” A favorite of mine on record, live it's something better again. I can’t explain what it is about this version that I enjoy, maybe the rawness of his voice, and the guitar. There is a lyric ad-lib as well, which only adds to the loose live feel of it. Prince is playing with a big smile, I am sure this comes across in the audio recording. Price plays a nice guitar break near the end, buts it’s the sound of all the instruments working together that I enjoy. And in a very nice moment, Prince plays the finger cymbals as the song has its long fade out. The fade-out goes for quite a while, and Prince gets up close and personal with some of the audience. I do love gigs like this when he is relaxed.

 

“Alex de Paris” is next, but sadly it’s just a mistake, with only Wendy playing. Obviously she has misread the setlist. Prince covers with an “oh man, you let someone new in the band and they wanna solo”, which seems like a strange comment considering Wendy had been in the band for almost 3 years by this stage.

A little bit of pop music next as they play “Raspberry Beret.” Usually, a crowd sing-along song this version is refreshing in that Prince himself sings most of it rather than leaving the crowd to sing it. Energy levels are high, with some choreographed dancing by Prince, as well as just some joyful jumping around. There is some excellent face-pulling by Prince at the crowd, then some humorous banter between Prince and Jerome- mostly about wiener size. (Seriously!) There is a final flourish by the band, the finally Wendy gets her moment with “Alex De Paris.”

 

It’s worth the wait, she takes center stage and plays a great version. Although her body language doesn’t show it, she speaks through her music and it sounds quite impassioned. Again, another gem that should be heard more often. She stalks back and forth across the stage, and I must admit I watch pretty enrapt as she plays. The Revolution certainly was a great band.

The pounding beginning of “Controversy” never fails to excite me, especially when that killer guitar enters, this time backed by the horn section. The balance is just right here, with the funk of the original still intact and the horns not overwhelming it. Prince himself doesn’t play guitar on it here, content with dancing and singing, and the energy seems to pore out of him during this performance.

“Get up!”, oh yes, this is my moment as “Mutiny” begins. I have said it before and I will say it again, this is my favorite part of any Parade show. Prince dances across the stage back by the dancers and then hits us for a few lines. There are many elements to this that I love- his dancing, Eric Leeds playing, the funky guitar line, the driving beat, and the lyrics. There is a breakdown mid-song, I think it sounds good, but somebody has missed a cue- Prince calls “breakdown, then I told you we were rusty.” Eric Leeds's sax solo is an absolute joy, especially while Prince and the backup singers have fun chanting “Paul, punk of the month” Prince teases me even further by singing ‘ this is what it’s like in the dream factory”. This performance is stellar, so much happening in it, and it’s all played with passion and fire. Prince clearly enjoys this song a lot at this stage, and it gets played to maximum impact.

 

I am very surprised to hear “Soft and Wet” next, although given the variety and quantity of music Prince has recorded anything could be heard at any time. This one isn’t as choreographed as some of the other songs, and at stages Prince looks like his younger self, just playing his music and moving how he feels to it. Fink plays a nice solo, and it feels straight out of 78 again. It’s a real contrast to the previous 40 minutes of music.

There is further nostalgia when he follows up by playing “I Wanna Be Your Lover.” It feels so simple after some of the more complex music he had been working on at the time but doesn’t lessen the enjoyment level in the slightest. It’s always going to be one of his catchiest songs and an essential part of his legend. The song segues into its funky second half and Prince tells the crowd “We gonna play everything we know tonight” There is a party atmosphere, and I find myself typing faster and faster as I listen to it. The crowd is clapping and singing and I find it hard to not get caught up in it all myself. Wendy gets a couple of guitar breaks, and the tone of her guitar sounds nice and sharp.

 

Of course, it moves easily into “Head,” seamlessly. I would say that this sound of Prince is the sound that made me a fan and probably introduced me to the world of funk. I should mention Brown Mark at this stage, his playing here is what I am listening to most throughout this song. The horns here really strengthen and fill out the sound. The keyboards are very much still the basis of the song, and this is highlighted by the solo that Dr. Fink plays. Never boring, he delivers every time I hear this song. Prince says “don’t play no keyboard unless you do that” and I know exactly what he means. Dr. Fink puts everything into it, and it’s a lot of fun to watch him bobbing and jerking behind the keyboard. Things take a dark turn after this as it slides into a long dark groove. There is plenty of Prince interplay with the dancers, as he moves through some of his more corny dance moves (Oaktree or wooden leg anyone?) It’s hard to dislike any of it, as the music is so strong and carries it.

 

There is some very funny interplay between Prince and the band between songs, difficult to transcribe here, but very insightful to the band dynamics.

A keyboard is placed center stage and Prince plays a nice rendition of “Under The Cherry Moon.” I am shaking my head at this stage, difficult to believe that just a minute ago we were getting funked up to “Head.” Prince plays the song, but there seems to be a lot of audience talk throughout the recording, so I am wondering how well it’s going across with the crowd. However, 30 years later I think it’s great.

 

“Pop Life,” is not only one of my favorites on the record but also a live favorite, here it gets a full treatment. A very well-titled song, it just oozes pop, with just a touch of funk underneath it all to satisfy most fans. Not many songs have a flute solo, but this one does, and somehow Eric Leeds still manages to look cool as ever as he plays it. The bass playing on this is excellent, I just wish there was more of it. The song has a long breakdown, with the male dancers singing “Pop Life” over and over while Prince breaks into some dancing. Doesn’t sound wonderful, but it is enjoyable. Especially when Prince tells the audience “we got plenty of time”

Eric Leeds gets further praise from me, as the next song is “Girls and Boys.” The band is well and truly in the groove now, and the audience is right behind them. This version is tight, my only quibble is the guitar isn’t in the mix as much as in other recordings I have heard. On the plus side, Princes’ singing is very strong here, and he does encourage the crowd to party throughout. The latter part of the song finds me with a big smile on my face. The band is heating up, and the song starts to take off as it goes along. Again Prince prowls back and forth across the stage, with plenty of audience interaction, and ad-libs, everyone has their hands in the air by now, and you know he owns them. Normally I dislike it when Prince tells me how funky he is, but here he is preaching to the converted, this song is funky as hell. Just when I think it can’t get any better Prince whips off his top, engages in some dancing, then moves to the organ and begins to jam. By now my greatest wish is that one day he will go back, pull a clean copy of this video from his vault, and release it. The song lasts for a good nine minutes, never repeats itself, showcases all his styles and talents, and I am breathless by the time it finishes.

 

There is no let-up as we get “Life Can Be So Nice” right on top of it. I don’t know where Prince gets his energy from, I feel tired just listening to it. Not just the energy of the song itself, but also all the stage antics and performance. If anyone ever doubts he’s the greatest ever, just show them this. The show to this point has been truly sublime. The song ends with the band leaving the stage one by one, leaving just Bobby Z and Eric Leeds playing. It lasts like this for a minute, until even those two leave.

The show to this point has been outstanding, but it’s about to get even better. The next song is undoubtedly the most overplayed of Prince’s career. When I look at my Prince recordings I have hundreds of versions of “Purple Rain.” No matter how good the song is, the fact is I have heard it too many times, and I will quite happily skip it on most recordings. The version here is the exception to that. The arrangement played at this gig is unlike any other I have heard, and it is my favorite recording of Prince’s most famous song.

“Purple Rain” begins with the simple guitar signature that we are all so familiar with and the steady beat. But where it takes off for me is when Eric Leeds starts playing saxophone all over the intro. Some people may feel that it shouldn’t be messed with, but for me, it adds a whole new element, and in no way at all detracts from the song. It’s another layer to it, and it’s very welcome for me. His playing gets more passionate and feeling as it goes, and it adds another emotional layer to the song. I don’t know how many times it was played like this, but I would love to hear more recordings of this arrangement.

Prince asks “Can I play just a little bit” and he adds a beautiful little run on the guitar. Although only 30 seconds, I find myself moved by it, there is a lot of feeling hanging on those few notes.
By the time he begins singing at the five-minute mark I have already had my money's worth, and already this is my favorite performance at this gig. Prince sings the verses the same as we have heard so many times, that’s not to say they are bad, but after the first five minutes I am already floored, nothing else can elevate this song more. The Prince solo is just as good as any other I have heard, and it deviates just enough to keep me interested. Actually, it gets better and better and by the end of it, I find myself just sitting there nodding, much like Billy in the Purple Rain movie. This is MY “Purple Rain.”

It’s a bit of a letdown when they follow up with “Whole Lotta Shakin.” But to its credit, it is short and energetic. Both the piano and horns get moments to shine, and it does lift the audience after “Purple Rain.” Hard to imagine anything to follow that, so this seems like not a bad choice!

 

Another personal favorite next is when the long deep sounds of Eric Leeds's sax introduce “Anotherloverholenyohead.” Prince immediately starts to gee up the crowd, but if they are anything like me, there is no need. Again it’s hard to believe that this is a new song for the band. They seem to have it down pretty well, and it’s another high point in a gig full of high points. Wendy and Suzanne share a mic for the backing vocals, and Eric and Atlanta deliver up a couple of nice little runs. The song quickly turns to a jam with the band playing while the singers sing “You need another lover, like you need a hole in yo head” It's songs like this that I enjoy most, the horns playing over the top of a long groove. Prince seems in a playful mood, bouncing around the stage and just moving to the music.

 

The songs keep on coming, next we have “Mountains.” Again it’s lively, with Prince doing plenty of dancing. Early in his career, he wasn’t much of a dancer, but by this stage, he has got it done, and he is excellent in this song, and indeed in every song. The horns sound nice and sharp in this one, and there is a brief moment for Wendy and Miko to play. Wendy is upfront and prominent for most of the gig, while Miko is fairly anonymous at the back in the shadows. It’s a shame because his funk playing is excellent. There is a nice long fade out, and I can hear his playing a little better. Prince ends the song with finger cymbals, I can’t help but smile when I see him play them.

 

Another favorite of mine from this era follows, with a shout of “A, B, A, B, C, D!!” “A Love Bizarre” almost has me leaping from my seat. It’s astonishing how much great music he was writing at this stage, not only for himself but for everyone. “A Love Bizarre” is a classic, and the performance here is brilliant, not just the audio, but also the onstage show. Prince again is all over the stage, dancing, and singing. The band doesn’t miss a single note, and the club is partying. Eric solo begins with Prince exclaiming “Eric Leeds, look at his suit!” The whole band is bouncing as Eric plays, and it sends my pulse racing. But the best is yet to come, as Prince plays some mean guitar next. He plays a nice minute on “A Love Bizarre,” but then continues playing as they move to the main riff of “America.”

It’s a shame there aren’t more performances of this song out there. I love the video performance of America recorded in Paris, and the “America” played at this gig is also outstanding. The Revolution plays the hell out of it, and Prince demonstrates that he hasn’t forgotten how to play guitar. This song is so sharp and tight, the band very cohesive and plays furiously. Listening to it, I wish he still played it today, but to be honest, I think it's The Revolution that elevates this song. Every member gets a moment, and the pace of it is just relentless. Prince puts down the guitar and dances hard as the band marches on. It’s about now that it turns into the jam as you knew it would. With Prince leading the dancing he also demonstrates his band leader skills and leads the band through several changes. Prince sings bits and pieces of several songs, but never for a moment does the groove let up. Prince further demonstrates his many talents by taking a turn at the drums later in the song. I am doing it an injustice here, this is one of those you have to hear or see.

 

There is a brief interlude, where Prince promises that he will come back and build a clubhouse and they can do this every day. It’s a nice thought, and I am reminded of his song uptown. With a call of “who’s house -Prince house” the band begins the final song of the night, “Kiss.” It feels light, after some of the songs we have heard previously, but it’s very enjoyable. I especially enjoy the last portion, after the verses have finished and it just moves to funky guitar and a beat. There is some more of Prince dancing with his ‘Wooden Leg’ (That didn’t catch on, did it?) while the band and audience stick with him. There is a final chorus and the show ends.

 

I have many thoughts about this one. It contains many of my favorite songs and favorite performances, yet it’s not often played by me. After listening to it the last few days, this would be number one on my wish list for a better soundboard recording to suddenly appear from the vault or a crystal clear video. In my list of top twenty shows, this deserves to be somewhere near the top. With a lot of new music here, an excellent performance, and some stellar reworkings of familiar songs, I can’t praise this show enough. The show is 10/10, even if the recording is not.

Minneapolis 7 June 1985

 

I have a confession. I listened to today’s recording twice and wrote two reviews for it. Last time I promised myself I would listen to something that was recorded in better quality. I found this birthday recording from 1985, and I thought it was just the thing. I listened to it but was disappointed to find it was less than ideal, it sounded like a 20th generation tape.

However, I did persevere and write a post about it, only to find that when I went to put it away I had a recent and much-improved copy of the gig. So I sat down, popped it on, and did it all again. And it was well worth the effort, the gig was very rewarding.

 June 7 1985 Minneapolis

A long bass intro begins the concert. It takes me a second to register what I am hearing – it is “Love Bizarre.” Prince sings alone, but you can hear Shelia singing the chorus with him. It’s a typically funky version, and there is some very nice sax interplay throughout. The song is more bass-heavy than other times I have heard it, and it’s all the better for it. I am not sure if the taper is picking up the bass better, or is it just more in the mix. I am thinking it’s the mix. Whatever the reason, I like it a lot. Prince calls out just kick drum and guitar and the funk takes off. He then calls out Eddie M for a sax solo, and boy does he deliver.

 

The song ends with Prince asking for a D minor, and the band slips into the next song. I fail to recognize “Mutiny” for the first minute, it is lacking the deep organ groove underneath I have heard elsewhere. The song starts pretty straight, but later there are a lot of adlibs and talking over the top. Again we have another couple of sax solos, with Prince directing musical stabs throughout. The sax then hits a riff and just sticks to it – sounds great. There is then some interplay between Suzanna and the band while the music continues, talking about kissing a man, then encouraging the crowd to get her to sing. She and Paul then trade lines for a minute. The song then loses its way a bit, it never settles back into the song, or a jam. It’s all a bit stop-start, with a lot of talk with the crowd. Paul introduces Prince’s birthday to the crowd and promises Prince will solo for them. But nothing ever seems to develop or gets drawn out.

It gets back on track a little when the sax hits its groove again. Prince gets back on the mic, calls for some chicken grease guitar, then Eddie blow your horn. The song ends with Eddie soloing.

 

There is a misleading moment just after this, Prince says “Sometimes in Snows in April” and then Shelia E delivers a drum solo. It’s enjoyable enough, but I am already waiting in anticipation for what comes next.

Sure enough, “Sometimes It Snows In April” follows. A new song at the time, Prince tells the crowd that if they want to get a drink, it’s cool. The song itself is beautiful, the guitar is slightly extended and the song is well-paced. Everything has time to breathe. The backing vocals are perfect, just one voice backing Prince. As always, less is more. The song is short but is a highlight.

The funky guitar of “Irresistible Bitch” is unmistakable as it begins. This is the sound that first got me into Prince. It starts as it's heard on the Purple Rain tour, all funky guitar and heavy bass. There is plenty of Prince calling directions to the band “stop on the One” “stop on the three” etc. I love it when he calls for just Wendy's guitar, or just guitar and drums. That stripped-back sound appeals to me. There is very little singing at all through the song, Prince sings a few lines, but it’s all about the band and the funk.

Prince calls for the horns, and they add a little light to the dark funk of the song. There is some great soloing from all the band members here. The song moves into another long jam and Prince directs Bobby Z. To my mind, Bobby Z is vastly underrated. Here he gives Prince exactly what he wanted and played everything as required, as he did throughout his time Prince. The song is funky as hell, and Bobby Z is right on it throughout. Prince strips the song down and continues to give calls to Bobby Z. Then over the top of the beat he sings a couple of verses from The Bird. There is a short call and response with the crowd.

 

Brown Mark keeps things moving along with some sharp bass playing, and Prince starts the crowd singing “Drawers burning”

Shelia delivers one of her trademark solos; there is no mistaking her distinctive sound. The band then transitions into “Hollyrock.” It’s a great version; Prince is playing with a lot of energy and passion. Again the saxophones have a couple of solos, at this stage, Prince was beginning to embrace the use of horns. A couple of the band are given a chance to shine, and then it is back to more of Eddie and blowing the horn. Of the songs on this recording, this is the one that is infused with the most energy. The crowd response had been muted all evening, but now they can be heard enthusiastically singing along. Most of these songs are new to the crowd, so this is one of the few times you can hear the audience on the recording enjoying it.

It then gets the full jam treatment, with a nice long groove with plenty of guitar and sax over the top. Then just as suddenly it stops and the recording ends.

 

All in all, a nice little recording. I wouldn’t be quite so praising if I only had the first copy I listened to, but the newer, cleaner version was definitely worth the listen. I am always a fan of these longer funky jams, and that is essentially all this gig is. I would say if this sounds like you, definitely make an effort to listen to the more recently circulating version.

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.