Detroit 7 June 1986

 

The most famous of the Detroit shows circulating is undoubtedly the 1986 birthday concert from Cobo Arena. Professionally filmed and broadcast, I feel safe in saying that it is in most people's collections. A great performance, and a fantastic recording, it is one of the most well-known concerts in circulation. Not so well known is the audience recording of this show. A typical audience recording of the mid-80s, there is nothing remarkable about it asides from the fact that it records the whole show, a show that spans two hours in comparison to the aired version that clocks in just over an hour. What is missing is significant, and hearing it in this case makes the show a more well-rounded and even experience. The quality can’t be compared, this is another rough listen, but it shines a different light on this well-known show with songs such as “Purple Rain” and “A Love Bizarre” adding some weight to the short sharp songs that make up the rest of the concert.

7th June 1986. Cobo Arena, Detroit.

Like the previous Detroit concerts I have listened to, the audience is vocal and right in our ears from the first moments. “Around The World In A Day” doesn’t make any discernible sonic statement, apart from the fact that it is here the concert has started. With an energized Detroit crowd, the song clatters and dissolves into a morass of screams and cheers for our birthday boy.

There is more to be gained from “Christopher Tracy’s Parade” as the crowd settles and the recording becomes better balanced. With its chorus soaring skyward the song bursts into the sunlight and lifts the concert from the opening hubbub. As noisy as the recording is, the music emerges with a rugged charm that keeps me listening close.

 

“New Position” is where this audience recording differs from the broadcast version. Whereas the video of  “New Position” is the briefest of hooks before a long vamp into “Raspberry Beret,” this recording reveals it to be a breezy full-length rendition that leads neatly into “I Wonder U” – a song that doesn’t appear on the broadcast at all. It’s not a great bootleg moment, the sound is too poor, but it is interesting to note how seamlessly the TV production is put together so that this moment isn’t missed at all.

With the final vamp into “Raspberry Beret,” we return to what we are familiar with from the broadcast, a crowd-pleasing bubblegum rendition of the ever joyful “Raspberry Beret.” Some of that pop and fizz is missing from the audience recording, but one can hear the Detroit crowd lapping it up and reveling in the moment.

The appearance of “Alexa De Paris” would also be a revelation for someone who has only ever experienced the broadcast. The anguished cries of the guitar are nullified by the crowd chatter, with Prince absent from stage interest is waning somewhat, but it is still likable enough, albeit a tough listen.

The arrival of “Controversy” for me is similar to the arrival of Godzilla in the movies. Everyone and everything is forgotten as this funk monster wrecks havoc across the stage for the next few minutes. Although not as visually stimulating as the DVD, there is plenty of damage inflicted by the band in this battle for the groove, and initially, it is the twin guitar attack that has me salivating. It is longer than the video would have you believe, Prince engages the crowd in the first minutes with some chanting, and you know how well a Detroit crowd responds to that.  “Mutiny” in contrast doesn’t have the crushing weight you hear on the DVD, it is somewhat frustrating knowing how much better this sounds, but there is enough funk in the song to grease my ears right through until the end.

 

After the obligatory “Happy Birthday” and a swing through 1999 with “Lady Cab Driver,” “Automatic,” and “D.M.S.R” we receive another birthday gift from Prince in the form of “The Dance Electric” – featuring Andre Cymone. The recording may be less than stellar, but the next few minutes are electrifying as the Revolution coat the song in their brand of purple funk, and with Andre Cymone in the mix, it becomes a highlight of the recording. On a better recording, I would be raving about this for days, as it is the recording can’t come close to the moment, making the song a frustrating listen with the thought “this could be so much better” bouncing around my brain. The recording only really catches the guitar solo well, the rest is what one expects from a 1980’s audience recording, just too much other noise.

Like so many other of these great songs, “Under The Cherry Moon” also failed to make it to the broadcast. A shame, as its delicate nature is preserved remarkably well on the recording. In many ways it sounds better than the preceding “Dance Electric” and Prince’s light touch across the keys is just as important as the insistent groove of the previous song.  All too short, yet just as important as anything that is heard from the evening.

We get a little extra squeezed from “Anotherloverholenyohead” with an extra piece heard after the false ending. The quality remains as per the rest of the recording, but again it is nice to hear the song as it was supposed to be heard.

“Soft And Wet” and “I Wanna Be Your Lover” glisten in nostalgia, both have a brightness to them that light up the murky recording. It is again the Detroit crowd that carries the song, making for a typical live performance with a lively response to Prince himself. Familiarity certainly helps the songs in this case, and I easily hear past any problems with the recording.

I have heard “Head” countless times, and it is still Dr. Fink’s solo that excites me. Here it is just as weird and wonderful as you might expect, but the real “ohhs” and “ahhhs” are saved for Prince’s slow-burning performance later in the song. As he smolders and smokes the music slows to a crawl, while the intensity burns brightly through the recording. The music slowly sinks into the darkness, taking Prince and the audience with it in the final minute, capping off a spectacular 10 minutes that the recording just doesn’t do justice to.

 

The extended break before “Pop Life” gives us far more time to soak in what we have just heard, rather than jumping straight in as we do on the broadcast. When “Pop Life” does arrive, the recording steals the pop from it. It’s not flat sounding, but it is close to it. For all the extras we gain from the audience recording, it can’t compare to the soundboard, and this is the perfect example. A song we know crackles and fizzes on the soundboard, instead it sounds damp and soft.

I am far more enthused for “Girls And Boys,” a song that reeks of funk from start to finish. With Eric Leeds on board, the song stretches out further sonically, and additional swirls of sound emanate from a keyboard which I daresay is Prince. It does lose its drive and energy towards the end, but by the time it has wound down, it has already delivered enough to satisfy.

This is the business end of the gig, and following on from the seven minutes of “Girls And Boys” is a five-minute rendition of “Life Can Be So Nice” that sounds much longer than it is. The pop is all loaded at the front end, and it is the back section that contains the real interest as the band transition through a series of moods and breaks. Eric’s slow drawl of a sax solo is the highlight for me, although it does make me wish for a quality recording.

There is a shaky start to “Purple Rain” as the recording briefly trembles before its majestic weight, and just as it looks like it may improve into one of the most touching moments of the recording the audience arrives with their contribution – obliterating any sense of elegance, but certainly giving it an emotional charge. Prince’s opening guitar stanza contains a restrained power, one can feel it tugging at the leash, but it is soon enough swept aside by Prince’s vocals and the shrieks of the crowd. The vocals are too much for the recording unfortunately, they do have a push it to point of distortion, and the rest of the song fares no better as it is well and truly buried until the unrestrained pleasure of the Detroit crowd.  The final release of the guitar solo does nothing to quell this passion, and we end with Prince and the crowd both in the throes of an intensely symbiotic relationship.

 

“Whole Lotta Shakin’ Goin’ On” is a quick fire romp before normal service resumes with “Mountains.”  “Mountains” is too ornate and busy for this recording and all the colors are lost to the tape. The rhythm stays strong with us though, and that drives the song for the minutes that it plays.

Sheila E’s appearance for “A Love Bizarre” is no doubt another highlight, and another lost opportunity as the recording doesn’t live up to the moment. There are several things in its favor however, the extended jam differs from the widely known performance from Sheila’s San Francisco concert. It is far more music-oriented and has an intensity that burns at its very core keeping the song a flame from start to finish. In this form, I prefer it to the more widely known video, but again with this recording, well, perhaps not so much.

 

We return to the video version with the performance of “Kiss.” Although it has a long run time, it’s not the same as the intensive workouts of the earlier songs and serves only as a smooth cruise to the finish. The final coda gets more attention in this case, there are no distracting visuals, and we can fully appreciate the music. It’s an easy finish to a concert that encapsulated all that was great in 1986, albeit not in perfect quality.

The Detroit birthday concert will always rate highly among the Prince fan community, the quality of the material, show, and broadcast all make for a spectacular bootleg. This audience recording rounds out that bootleg with the missing pieces, but in this quality, it doesn’t add much. We know what is missing, and hearing it on an audience recording doesn’t give the concert any more shine and sparkle. An interesting bootleg for the collectors, for those that prefer soundboards and visuals I recommend you stick to what you know and love.

San Francisco 23 May 1986

 

I am happy to say I have finished work for the year now, and I am looking forward to three weeks of relaxation. The summer is hot, the beer is cold, and I have more time to listen to some of the longer shows in my collection. Today I am going to take a listen to the longest show in circulation from 1986, a show from the Warfield Theatre, San Francisco. The shows from this year follow a formula, and this one differs in the inclusion of a couple of interesting moments. “♥ or $” is in the show, which is always good to hear, and we have a long version of America, something I am looking forward to hearing very much. Also, the appearance of Andre Cymone playing “Dance Electric” gives this show a buzz and adds another good reason for me to sit down and give it a listen.

23 May 1986. Warfield Theatre, San Francisco

No surprise at all as the show opens with “Around The World In A Day.” What I immediately like about it is the noise and passion of the crowd. There is a great roar as Prince is introduced, and some immediate chanting, which helps me create a virtual concert in my mind. However the recording is an OK audience recording, and at first, doesn’t sound great on my speakers. I switch to my headphones and it becomes much fuller and I am rewarded right away with the band playing up to their impeccable standards.

“Christopher Tracy’s Parade” doesn’t have me quite as enthralled. The vocals aren’t as tight as I would like, and some of the momentum of the previous song is lost. I do like the bass I hear later in the song, and Prince engages the audience with some hand waving near the end which sounds like fun. Unfortunately, the sound quality drops off a little at this stage too, which leaves me feeling disappointed and underwhelmed at the end of the song.

The drums and bass are the best things in “New Position.” The sound is still uneven on the recording, so I don’t get as much out of Prince’s vocals as I would like. The song is still very good though, and any problems I am having are definitely down to the taping rather than the show.

 

“I Wonder U” also has rather murky-sounding vocals.  I do like the vocal play between the singers, however, and the song is so short that I don’t have too much to complain about, or indeed praise.

Prince counts us off, and the band steamrolls into “Raspberry Beret.” With the crowd clapping and singing, it’s easy to overlook the sound quality. This song sounds light and easy every time, and there isn’t anything fancy required to get it across to the crowd. It does have its classic pop sound here, and Prince takes a minute near the end to do a little spiel to the crowd about a girl who is looking fine. There’s not anything more to it, and with a final fanfare, we move on.

“Alexa De Paris” is the best-sounding song so far, mostly because there are no vocals, and the recording does a far better job capturing the instruments rather than the singers. Prince always has a nice balance to his songs, and in this case, I really like how the horns offset the guitars. It’s a nice dynamic, and it's small things like this that I notice more and more as I listen to Prince.

The beat of “Controversy” begins, and as that funky guitar line starts I already know that this is going to be my favorite part of the recording. This feeling is heightened as Prince says “Frisco, tonight you’re mine” The introduction is just brilliant, with Prince telling the audience that tonight they are going to be Uptown, before having them do the Holly Rock chant. I turn the volume right up on this one and switch back to the speakers, but again I find it much better when I am listening with my headphones. The bass is great right before the breakdown, and what comes next is a highlight, as Prince stops the band as they segue into “Controversy” and introduces Miko Weaver to the crowd. He has him play just the guitar line, and this is what I have always wanted to hear most, just that great slippery guitar. Prince quietens Miko, and speaks to the crowd, asking about his suit, before Wendy starts her guitar line. Prince calls Miko to join and it’s just heavenly, it’s these spontaneous moments that make live recordings worth listening to. A few more Holly Rock chants and we kick back into “Controversy” proper.

 

The good times roll on as the band next plays “Mutiny.” Prince is feeling the funk now, and so am I here at home. I go to turn the volume up again, but I am already at maximum, and there is nothing more I can do but bob my head along with it and grin like an idiot. The groove is a monster, and Eric Leeds puts his mark all over it. I don’t know if Prince is pulling his funk face, but I certainly am as the song gets better and better. Eric’s breakdown seems to go on for an age, the band stops, and just Eric and the chanting of the backing singers are heard. It is hot, oh so HOT. Prince is in fine form, stopping the band and asking Jerome “What you wanna do” and then letting the band loose, cutting him off just as he begins to answer. It’s funny, funky, and great to listen to. Prince drops in the chorus of “Dream Factory,” giving us a little treat, especially 30 years on and we know the full story. Even the outro gets the full treatment, with the band winding down for a good minute with the horn riff. The last ten minutes have been magnificent, and if the show ended right now I would be more than satisfied.

“How Much Is That Doggie In The Window” seems a strange choice, but it segues beautifully into “Lady Cab Driver.” It’s a shame we don’t get to hear “Lady Cab Driver” in all its glory, but this show is already so crammed full that I can’t complain in the slightest.

Automatic doesn’t have the ominous cold sound I normally associate with it. In this context, the horns lighten the feel of it, and it’s a good fit for the show. The song is kept short, with some horn vamps near the end to round it out.

 

I like the horns playing the intro of “D.M.S.R” and there is a fantastic scream just before Prince speaks the opening words. The song is shaping up to be another funky jam, but things become even better than I could imagine as Prince rather simply says “Ladies and Gentlemen, Andre Cymone”  as the beginning of “The Dance Electric” begins. I don’t know what I love more, the song itself, or the fact that Andre is playing it in the middle of this wonderful show. The song surpasses its novelty value, and I can’t express enough how good it sounds to hear. There is some flaming hot guitar sound, and the bass matches its intensity. To be honest, the band plays this to the hilt, and everyone holds the groove so tightly as the guitar is let loose. It's eye-watering good, and as soon as it finishes I hit the repeat button, several times.

After the intensity of “The Dance Electric,” “Under The Cherry Moon” is a nice contrast, and also a sign of how far Prince had come in his sound in just a few years. He is clearly at the top of his game here, to have the confidence to present a song like this straight after the funkfest we have had so far, and I applaud and admire him for that. The song works well as a break in the ferocity of the show and a chance for us to collect our breath. It’s also a chance for someone near the taper to find their seat, all beautifully recorded for prosperity (seat 7 for those who are interested).

The guitar whine that introduces “Anotherloverholenyohead” has me perked up, and Prince doesn’t disappoint at all, his vocals are perfect and I get the same feeling that I get every time I hear it on record. The intensity is back in the show, and I feel the song as much as I hear it. I love Eric Leeds and Atlantic Bliss for their contribution, and just as much I find myself listening to and enjoying the keyboard of Lisa. I am not sure if I am imagining it or not, but she seems to get longer to play, and I lap it up here at home. There is a false ending that throws me, Lisa plays a keyboard run that I expect the song to end with, but then she picks up again for another minute of playing as the chant continues “You need another lover, like you need a hole in the head”

 

What follows is a kicking beat that I can’t quite place, even as Prince tells us it’s a blast from the past. He puts me out of my misery as “Soft & Wet” is heard, and I am very happy to have it on the setlist. This setlist is light on pop songs, and this and “Raspberry Beret” carry the load in that respect. Dr. Finks's solo is mind-blowingly good, only half a minute it comes out of nowhere and floors me. I wait until my partner leaves the room and then I sing along for the last minute, it’s just too catchy to resist.

You wait all day for a pop song, and then two come along at once. “I Wanna Be Your Lover” is ever-youthful, and still sounds like a sunny day. I have long since forgotten about the quality of the recording, I am just enjoying these songs and this show too much. The bass and keys hit the groove in the latter part of the song, and I find this just as enjoyable as the opening couple of minutes, and in addition, there is the realization of what song will follow- oh boy, I can’t wait.

The horns signal the beginning of “Head,” but something is missing. There doesn’t seem to be the nastiness and dirty sound to it that I expect. I may have spoken too soon, but Lisa’s vocals add the sound I am looking for, and paired with Dr. Fink they nail that old-school sound I am looking for. For the second time today, Dr. Fink delivers the goods, and I love the sound he gets out of his keyboard. The song progresses through to its “head, till you burn it” stage and Prince works the microphone like a pro with plenty of croons and squeals. Some of this good work is undone as Prince introduces the wooden leg, luckily I can’t see it and I just keep on listening to that slippery guitar sound underneath. Things get worse as I hear the word “oaktree”, but again the music is still strong and keeps things balanced. Things get very interesting as I hear Prince say “I wish Morris was here to see this, would he be mad or what” as he chops the oak tree down. I had never noticed that before, and I find it very interesting to hear.

 

There is an interlude as the keyboard plays and Prince addresses the crowd, before a very cool-sounding “Pop Life” follows. The keys sound laid back, and Prince’s delivery is equally relaxed sounding. The song still has its pop, and I enjoy hearing the girl’s voices singing with Prince. Eric’s flute solo is very good, and the sharp sound goes well with the song. The bass isn’t as strong as I have heard on other recordings, but the song doesn’t seem any worse for it.

Another favorite of mine next with “Girls & Boys,” I don’t know what it is about this song, but I think it’s the quirky keyboard sound with the deep sax of Eric rubbing up against each other. I could enthuse about every member of the band here, but there is only one star, and that’s Eric. His signature sound drives the song, and I could easily listen to him play all day. Prince gives him space to play before coming back strongly with his vocals near the end of the songs. Yet again, I find I can’t help but sing along – I guess I really am a fan.

“Life Can Be So Nice” comes in a rush after “Girls & Boys” winds down. I can’t catch Prince’s vocals very well, and neither can I pick out some of the other band members. Things sound better in the chorus, the band pulls back and the recording sounds better, it’s only during the verses that the recording can’t match all the sounds that are there to be heard.

It’s untalked about in the fan community, but I find that “Purple Rain” is the odd man out at Prince shows, especially in a show such as this. There is no other song like it in the Prince canon, and its sound is completely different from anything else we have heard at this show. I find it strange that the most well-known song of Prince’s, indeed his signature song, is also the most unrepresentative of his sound. For all that, it is a song that I still enjoy, even after hearing it thousands of times live, and the version played here is pretty darn good. There is a long intro with Prince playing the soft lead, and although the beat sounds weak and thin on the recording, his guitar playing makes up for it. There is plenty of time for the crowd to get their “ooh, oohs” in before Prince begins to sing at the four-minute mark. Again, any issues with the recording are forgiven, as Prince delivers a sublime vocal performance. In particular, when he sings “I know, I know, I know times are changing” I can feel the weight and emotion in his voice, and I am sold on it. The guitar break picks up right where his vocals left off, and there is a flurry of guitar work in the middle that captures my imagination. By the time the song ends with the cascading keyboards, I am more than satisfied, and I can’t believe how much this show has given us already.

There is no time to dwell on that thought as the driving beat of “America” comes right in over top, and some furious guitar work from Prince opens the song. This show just keeps giving and giving, the first salvo from Prince is great before he hits the main riff, and Eric and the band come and drive the beat home. I have used the word intensity many times already, but it’s entirely appropriate, the band is playing everything with intensity, and this one is no exception.  I shake my head at how good this all is, we have Atlanta Bliss in the mix and some fiery guitar work from Prince. The band gets into the groove, and there are a few stops and starts from Prince as he puts them through their paces. He throws in some funky chants as they jam on it before a drum solo appears in the mix. It does peter out at this stage and comes to a rather limp finish.

“Whole Lotta Shakin’” is short and light, and doesn’t fire my enthusiasm. What I did enjoy though is when the song abruptly stops and Prince demands of Wendy “Wendy, what’s so funny?” The crowd begins to bark and Prince picks up on it and calls for a beat to be put to it – I like the casual way he calls Bobby Z “Bob”. I hadn’t expected to hear him call on the band in such a friendly manner. The band briefly jams and it turns into Holly Rock. This gets a much fuller treatment than Whole Lotta Shakin’ and they play it for a good four minutes. The bass work is tight, and Prince has the crowd barking along all through the song.

“Love Bizarre” starts very suddenly with Prince calling “A, B, C”. We can’t see what is happening on stage, but it is eliciting plenty of cheers and shouts from the crowd. Eric Leeds is to the fore, and his playing is on point throughout. The best part for me though is when Prince starts the chant “Whose house? Wendy’s house” and Wendy obliges with some great guitar work. Prince stops the band, and as the crowd cheers, Wendy calls “Yeah, wasn’t that great!” Prince starts to talk, and at first I think he is going to diss Wendy, instead he praises her to the sky. It's fantastic to hear him speak so highly of her, and I agree with everything he says.

 

It’s a tepid-sounding “Kiss” that follows, but I think we can blame the recording for that. The actual song is an extended version and has a classic long ending with plenty of funky guitar and groove. Wendy lives up to all the praise Prince has just given her, and along with Brown Mark, their sound holds it down for the latter portion of the song. There are plenty of horns and the rest of the band, but it is Wendy and Brown Mark holding it all down.

“♥ or $” closes the show, and it’s a great demonstration of how good this band is. Every member of the band can be heard doing their part, and without being individually showcased you can still hear the valuable contribution each member is making. I love the sound of the horns in the mix of this one, they are all scrambling over each other to be heard, and it gives it a little more energy. The song comes to a sudden halt and the show ends with applause and more barking from the crowd.

With the recent appearance of the (unofficial) 1986 boxset, these concerts have been at the front of my mind. The amazing part for me is, that not only did Prince play these amazing shows, but he also recorded and laid down a fantastic catalog of songs all in a single calendar year. It’s an unmatched achievement, and listening to these shows in that broader context is mind-blowing. This show, although not the greatest recording, is just as fantastic as anything else from this era. The warm-up show is always my favorite, but this one matches it in many ways. The setlist is great, and there are plenty of interesting bits as Prince acknowledges his past with the appearance of Andre, and also in his telling comments about Morris. Musically brilliant, historically interesting, and contextually essential, I have gushed about this show, and for good reason. Every show from 1986 is a must-listen, and this is one of them.

Bloomington 20 May 1986

 

1986 stands above all other years of Prince's career as his creative peak. I don’t say that lightly, for a career of 35 years he has had many fertile periods when his creativity has astounded all of us. But for me, 1986 tops them all. He released the fabulous Parade album, the not so fabulous Under The Cherry Moon movie, recorded the bulk of Sign O The Times/Crystal Ball/Dream factory/Camille, worked on The Family project, Shelia E, the hit and run tour of the US (and who doesn’t love the Cobo arena gig?), and the Parade tour of Europe. And Prince's huge outpouring of work this year is a boon for we collectors of unofficial recordings. Fantastic concerts, and great work that was recorded but never released, it’s a gold mine for us. Some of my favorite recordings are from this period, but in this flurry of music and recordings, it’s easy to overlook some of the smaller, lesser-known shows. Today I will be listening to a recording of Prince playing at the Minnesota music awards. It slots in early on in the hit and run shows, just a couple of weeks before the Cobo show. Prince and the Revolution only play 40 minutes at the awards, just enough time to play the highlights of the arena shows, but it is worth a listen.

May 20, 1986, Minnesota music awards, Bloomington

The show starts simply enough, with one of Prince’s trademarked “Awwwww!” There is a cheer from the crowd then after a drum roll and pause everyone is left waiting in anticipation, me included! Another flurry of horns and guitars, then the familiar refrain of “Raspberry Beret.” Such an upbeat song, it’s hard not to feel uplifted. Nowadays “Raspberry Beret” is beginning to sound a little stale to my ears, but here in 1986 it’s still fresh as a daisy, and the crowd gleefully sings along. The female vocals on this one are right out front and very strong. The song is abridged, somewhat surprising for a song that is already so short. Prince is very playful with the crowd, as he was throughout this era. He asks Jerome “can I tell you about this little nasty girl?” And Eric Leeds's sax makes its first appearance as the groove of “Girls and Boys” begins.

 

“Girls and Boys” is my favorite song on the Parade album, and this live version certainly delivers the goods. So much I enjoy about this one, the guitar, the deep groove of the keys, Fink’s quirky sound, and the deep honk of Eric Leeds. Prince exhorts the crowd to get up, and I should think it would be pretty hard to stay seated as the band grooves on this one. “Girls and Boys” always sounds so different live, but it never diminishes the sound of the song to me, often live it feels much more muscular to me, it hit me like a punch. Prince calls Eric to solo, and it crosses my mind that this would be a great jam song if they decided to take it that way. But Prince keeps the band on a tight leash and hammers us with the funk in the song. The song has a false ending and then continues with Prince calling for everyone to get up again. I would love to see the visuals for this one, I am sure it looks as good as it sounds. I smiled when after a few “Vous etes tres belle, mama, girls an’ boys”, Prince tells the crowd “that’s French, you understand”

 

There is no respite as the distinctive intro to “Life Can Be So Nice” plays. The band and crowd sound like they are having lots of fun, there is plenty of squeals and screams from the crowd. There is a deep refrain coming out of the left speaker, I don’t know what it is, but it drives the song along for a minute or two. There is a nice change of tempo and the song winds down, the Revolution sounds as tight as ever, and even at the slower tempo it still sounds funky. The song continues in this vein, and then a steady beat and some very funky guitar take us into the next song.

With the pounding beat and funky beat, at first, I think it’s going to be “Mutiny,” but then Prince sings “all day, all night” and I think my heart is going to explode out of my chest. Unfortunately, it’s just another Prince tease and the band continues with some great funky rhythm guitar. This recording is not the greatest quality, but it’s worth listening to just for these two minutes of funk guitar. I don’t mind admitting, that when I was writing this I listened to the first three minutes of this song five or six times in a row. It felt so good. And all the while Prince is encouraging the crowd to make a funk face. His humor is further displayed when he tells the band “Bring it way down fellas, and ladies, I’m sorry” I have listened to enough Parade shows that I should have realized what was coming, and this funky intro slams in “Controversy.” “Come on band, groove” and the band plays the horn-infused intro that we are familiar with from the Parade shows. Of the 1986 shows I have heard and seen this is always one of the highlights for me when he plays “Controversy” and into “Mutiny.” “Controversy” has a massive groove to it, much more so than on the album, and energy levels are high, especially encouraged by Wally and his calls to the crowd. Things slow as Prince does his whole smoking a cigarette charade. I know what is coming next and I can’t wait. With a shout of “Get Up!’ the band storms into “Mutiny.” This is one song that never got the release it deserved. I can’t help but move every time I hear it, it’s an absolute monster, and here the band plays a rousing version. Something about the organ and the horns just really gets me. I could listen to this all day long. Eric plays such a great role in this song, I love it when the band drops out and gives him space to play his solo, especially when Prince cuts him short with “Eric, shut the fuck up” and the band explodes back into action. “On the one” ends the song, but thankfully they enter back into the groove right where they left off for another couple of minutes. During this long groove, Prince sings lines from ‘Hollyrock’ which always seems to go over well with the crowd. Prince teases me further when he has the girls singing the chorus of the “Dream Factory.” I wonder if those in the crowd knew what they were hearing. Some more funk guitar ends it, and there is a pause for the crowd to catch their collective breath.

 

It doesn’t last long, as the instantly recognizable intro of “Kiss” is played. After the full-on assault of “Controversy/Mutiny,” it feels a little light. It is, nevertheless, still very good. I cringe when I hear Prince say the words “Wooden Leg” during the bridge, glad I don’t have to watch THAT dance again. I have always loved the guitar break in this song, and I was surprised when I saw Prince live and how many other people dig it too. As usual, here it sounds very good. It is strange to hear the original “you don’t have to watch Dynasty” line still in it, I have become so used to the move recent versions with the TV show of the moment inserted here. 1986, and the line is still fresh and humorous. There is s a long playout, and Brown Mark is sounding very good, he often gets overlooked when I am writing these.

 

The show ends with “♥ Or $.” It’s refreshing to hear it, and it's another chance for the band to show how good they are. Especially the horns and Eric Leeds are very prominent throughout. I was surprised he finished with this one, but I did enjoy the horns on it. It very quickly settles on repetition with the girls singing “love or Money” while the horns play all over it. It comes to a sudden halt where I am expecting Prince to call them back in, but he never does.

The recording itself goes for another minute, with Prince thanking the crowd for his award. He thanks the usual people, The Revolution, The fans, before finishing by thanking God.

This recording was very short, and yet very enjoyable. It briefly presents the best of the Parade era tours. All the material played, except for Controversy, is new, yet the crowd responds to it well, and everything is well received. Like I said earlier, this is many more recordings from this era I would grab before this one, but it would be a shame if this was overlooked.

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.