Dream Factory 1986

 

It’s early winter morning here. The sun has yet to rise, and outside my window, I can see the sparkle of frost on the lawn by moonlight. All is quiet as I sit here with my cup of tea, except for the sound of the Dream Factory album playing. Nothing moves and all is still as I sit here listening to it alone. Prince made a variety of great music over his career, some were for partying and sharing with others, and some were for private reflective moments. Then there was the music that he didn’t want us to hear at all, the unreleased tracks, the lost albums. It’s entirely appropriate that I sit here now listening to Dream Factory alone, as that is how I have heard it all my life. It wasn’t bumped at the clubs, or all over the radio, we didn’t talk about it at High School, and for most of us, we didn’t hear it until much later. It is however one of Prince's most important albums, one of his most creative albums, and one of my favorite albums. No, on second thought, it IS my favorite album.

This year marks the 30th anniversary of the Dream Factory, and July 18th marks the anniversary of my personal favorite configuration of the album. There are plenty of versions floating around, with June 3rd, 1986 being one of the most popular. My preference for the July 18th configuration comes from the fact that the Pimpsandwich edition has some beautiful covers that complement it wonderfully, and I feel that this tracklisting flows better than the one from June 3rd.

 

  

Of course, Dream Factory was never released, instead, it was pulled apart and used for Crystal Ball, before that project too was shelved and out of the ruins we got Sign O The Times. Many of the tracks on Dream Factory do appear on Sign O The Times, but it would be a mistake to think of Sign O The Times as being an upgrade of Dream Factory. Dream Factory works much better than Sign O The Times overall, it has a much more cohesive sound and overall consistent vibe to it. A large part of this could be put down to The Revolution who contribute heavily to Dream Factory, as well as the tracklisting itself.

Sign O The Times opens with the title song itself, which adds seriousness and weight to what follows. Dream Factory opens with the much lighter sounding “Visions,” and it immediately changes the feel of the album. The Dream Factory is more colorful, more layered, and having Lisa playing the opening solo piano track announces that this is a much more collaborative effort. Lisa plays as only Lisa can, layered chords as the other hand plays a light floating melody, it has an intimate sound, almost as if one has walked in unannounced on her practicing piano. This feeling of a band effort is reinforced by the following “Dream Factory” title song, it is bright and has twists and turns that hold your attention, and there is no mistaking the outside influences other band members have brought to the table. The downbeat verses are upstaged by a great chorus where all the band contributes their different sounds. It works, and it rattles around in my head long after it’s finished. “Train” continues with this sonic assault and cleverness, the music mimicking a train, something that sounds cool rather than corny. Again, the band is the thing, and this time the horns add another element to the mix.

There is a jump in sound and style from Parade to Sign O The Times. In Dream Factory we have the stepping stone between the two, Parade has its fingerprints over several songs, such as “Dream Factory” and “In All My Dreams,” while “Sign O The Times” looms on the horizon with the tracks from that album featured here. We get both sides of the same coin, and the album looks both backward and forwards in its sound and songwriting.

 

Even songs that we are familiar with from Sign O The Times get a new life in this context and surrounded by these Revolution contributions they sound more together and belonging. Side One and side four are where Dream Factory differs the most from Sign O The Times, but the songs that fill sides two and three still have a sense of belonging and place. “Dorothy Parker” and It both seem to shine a little brighter, and with “Sign O The Times” buried deeper in the album it loses some of its weight. Strange Relationship gains a fantastic sitar-sounding introduction (courtesy of a Fairlight CMI) which elevates it to another level and you can again hear the band influence on Prince adding layers to it, rather than the funk work out that it is at its heart.

Perhaps the most interesting part of the album is the run of “Sign O The Times,” “A Place In Heaven,” and “Crystal Ball.” On paper, they look like a desperate mix, but together on the album they are a showcase for the breadth and scope of Princes, and the band’s, vision. We have light and dark in equal measure, and each song acts as a counterbalance to the other. “Crystal Ball” is the most ambitious of the trio, it has Prince at his most creative stretching things to the limit, it doesn’t always work but today in the early morning it sounds pretty close to perfect. It is songs like this that show Prince was more than a song and dance man, he was also an artist and a visionary.

Although side 4 opens with “The Cross,” it could in some quarters be considered the weakest side of the album.  It’s at this stage that the comparisons to Sign O The Times don’t serve Dream Factory well. Whereas side four of Sign O The Times featured “The Cross,” “Its Gonna Be A Beautiful Night” and closes with the divine “Adore,” Dream Factory closes with “The Cross,” “Last Heart,” “Witness 4 The Prosecution,” “Movie Star” and “All My Dreams.”  “The Cross” is rightly hailed as a classic, and “All My Dreams” is a fantastic song that deserves more listens. The intervening songs are all good in their own right, but in such esteemed company, they sound thin. They do have their charms, “Last Heart” with its late-night pop sound, “Witness 4 The Prosecution” ticks all the rock boxes and sounds like something Prince could play in his sleep, and “Movie Star” is Prince playing with a knowing wink to us all, the lyrics themselves almost too clever for their own good. “All My Dreams” comes from a different place altogether and is in a league of its own. The vocal arrangements are beautifully textured, and Prince’s lead vocal sounds black and white against the music. It at times sounds like the theme song for a TV show, but it takes on a different tone mid-song with some weirdness that adds interest without detracting from the song. It is fitting that the word ‘Dream’ should be in the title as it does have a dream-like quality to it, and it summarizes the album nicely with the band contributing, and a piano solo that runs through the middle of the song that bookends the opening song on the album. By the time Prince croons “Don’t ever lose your dreams” a final time, it does feel as if we are coming to the end of a journey with him and in the case of The Revolution that is certainly true.

 

Dream Factory is a natural extension of Parade, you can hear where it follows on from where Parade left off. Much more than that, it is an extension of The Revolution, and not only are they confident and strong with their contributions, but Prince is also much more accepting and willing to use what they bring to the mix. The Revolution broke up a couple of weeks after this configuration, but this is a fitting memorial to their greatness and how much a part they were of the Prince legend.  1986 is the greatest year of Prince’s career, we have plenty of evidence of that, and the Dream Factory is the key thread that pulls it all together. To properly understand the relationship between Prince and The Revolution, and the creativity they had together, you only have to listen to this album. This is the greatest thing they ever did together, and the pinnacle of their partnership. One of Prince’s greatest albums, this would not exist without The Revolution.

“The Revolution will be heard!”

Yokohama 9 September 1986

 This week I am listening to one of the most important Prince bootlegs in circulation, the final show of the Parade tour that serves as the final performance of Prince and The Revolution. For historical significance alone it is a stand-out, and the moment is well served with a performance and recording to match. People often deride audience recordings, but when done well they are a joy to listen to as in this case. The recording is surprisingly good for an audience recording, and the concert, although at Yokohama Stadium, has a small and warm sound – perfect for a moment like this. The recording has plenty to recommend it, and when we factor in the historical context, well then it becomes essential.

9th September 1986, Yokohama Japan

A couple of minutes of audience noise beforehand is a nice touch in my book, it adds to that sense of anticipation and expectation. There is some chat, a couple of cheers and if you close your eyes you can just about picture yourself there. With the benefit of hindsight, it’s difficult not to read too much into what is happening, and when the announcer introduces the band I hear some melancholy in his voice, or like I say I am projecting my sense of history onto the moment. Once again “Around The World In A Day” is a great introduction for the band, with the horns making themselves heard early on, along with the fantastic Brown Mark bumping and buzzing along the bottom. He has a beautiful fat sound to his playing and I am very happy to say it comes over well on the recording.

 

I can hear Prince and the band well as “Christopher Tracey’s Parade” begins, although at first the girls’ voices aren’t heard well, they do however come further forward as the song goes, and it’s one of those “moments” when you can hear them singing with Prince. Prince does call “Tokyo!”, which has me scratching my head- I am prepared to give him a pass though, Yokohama is closer to Tokyo than Narita airport, and is only 40 minutes from Tokyo center. And it is the end of the tour, so we can forgive technicalities.

“New Position” sounds unbelievably smooth and easy, and is a testament to how tight the band was at this stage, there are a lot of new sounds and instruments in the mix, and somehow they weld it all together and make it work. The horns are what you hear most, but for me, there is just enough rhythm guitar in there to get my blood flowing.

There is a particularly psychedelic and alluring sound to “I Wonder U,” the flute giving it a floating quality that is offset by Wendy’s guitar. The band knit it together wonderfully, and as I said at the Paris show a few weeks ago it doesn’t matter that Prince isn’t there, this band and this music are strong enough to stand on its own without his powerful stage presence.

The next few songs come in a flurry of sound and excitement. “Raspberry Beret” is first out of the gate, as always it’s a crowd-pleasing singalong, although to be fair on this occasion the crowd is fairly muted. On a more positive note, I find Brown Marks bass again firmly in my ears and that is never a bad thing. The energy levels are kept high as it only runs for a couple of minutes before an equally quick run through “Delirious,” complete with a 1,2,3 count off in Japanese. It comes and goes in a blink of an eye before we get a quick snippet of the “oww wee oww” that segues into “Controversy.”

 

“Controversy” is just fine, my only complaint being the briefness of it, but that is amply compensated when the count of “A, B, A, B, C” comes and Prince is joined on stage by Shelia E.

This is the first of those magical concert moments that I look for, and as Prince and Shelia's vocals playfully dance around each other I am in fanboy heaven. Shelia sounds cool, Wendy and Brown Mark sound even better, and for a long time I just sit back and listen to them respectively. The breakdown with the vocals is sublime, and the recording is good enough that I can pick out each person’s voice and identify them. Eric Leeds sprinkles his magic dust over the performance with a solo that lives up to the high standards he sets show after show. The funk just gets stronger from here on in, firstly in Wendy’s playing, then in Prince and the band's scat and a capella performance. When the music comes back it’s with all the intensity you might expect and wave after wave of horn blasts and calls of “Ice Cream!” carry me to unexpected heights.

Even though I am in funk heaven at this stage, I am more than happy as the sultry sound of “Do Me, Baby” begins. The bass has a great pop to it as the horns add a touch of sass to the intro. All this becomes irrelevant however as Prince sings and I find listening to the lyrics and his delivery becomes an experience in itself. As the music rocks back and forth Prince croons and emotes as he has never emoted and crooned before, and I am sold on it. Maybe I feel like this for every live performance of this song, but tonight it smacks me right between the eyes and I am dangerously close to switching off the computer, going into the other room, and sweeping my girl off her feet. And at the end of the day, there is no higher recommendation of a slow jam song than that, it’s sublime through and through.

 

Next up is the trifecta of “How Much Is That Doggie In The Window,” “Automatic” and “D.M.S.R.” I would have liked to hear more of them, asides from How Much Is That Doggie, and it’s a giant tease from Prince to have two killer tracks from 1999 to be relegated to a two-minute medley like this. As you know I like to look on the positive side of things, so I give thanks that they are on the setlist at all.

The ship rights itself as “When Doves Cry” plays, and the opening keyboard riff still gives me chills even after all these years. It has a clinical delivery as it should, and over the cool electronic music, Prince sings dispassionately which only heightens the sense of loneliness I feel when I listen to this song. It’s a cold world indeed, and it’s only in the Prince's singing of the chorus do we feel the humanity and hurt. I have covered a few different shows from 1986 now, and I always speak highly of Wendy’s solo during this song. Today is no different, and even though the recording neuters her sound a little I still get a thrill from her playing.

 

“Little Red Corvette” has Prince alone at the piano, and is an emotional highlight. I want to write that it tugs at the heartstrings, but I know the following few songs are going to top it in the emotional stakes, so I enjoy it for what it is, a nice soft rendition of one of his classic songs.

The band joins in for “Do U Lie,” and it has a swing and sway to it, it’s got a lovely lilt and sounds like it has come from a completely different concert. I don’t have too long to wallow in it as Prince moves on, but it is another cool moment.

“The Ladder” is one of the songs I have been waiting to hear, and Prince doesn’t disappoint in the slightest. “The Ladder” has the obligatory piano, but also a lot more. One of the things that strike me most is the backing singers and the way that the horns lift the song to the heavens. For a stadium show, it is wonderful how Prince makes it feel like he’s singing in the living room, there’s a lively intimacy in the recording and a classy touch by Prince at the end thanking the audience in Japanese.

Prince is alone again for “Condition Of The Heart,” and at this point, it becomes very difficult for me to write objectively as this song has a special place in my heart. Prince delivers a performance that does the song credit and although short it gives me everything I could ever want.

 

“Under The Cherry Moon” is breath-taking, and has some wonderful flourishes on the piano that gives it that little bit extra. As much as I like Prince’s vocals, I find I tune out as I instead concentrate on the music. The music has a magical quality that is rarely heard, and as Prince plays piano I sit mesmerized here at home, this is a show for the ages.

The band and the funk return with “Anotherloverholenyohead.” This show has been phenomenal thus far, and “Anotherloverholenyohead” maintains this high standard. It returns us to the heavier sound of the band, and the darker sound as Prince starts his “Another lover” talk midsong. The piano and the horns via for my attention, and for me it’s the piano that nails it, I don’t write about Lisa enough in this blog, but she is a treasure. She sounds magnificent as she plays her piece, and it is distinctly- and uniquely her. And even better, she gets a good few minutes to play so there is plenty of time for me to lean back and swim in the music flowing from her fingers.

“♥ Or $,” now I didn’t expect that. Eric puts his mark on this one, but it’s again a complete band performance and I can’t single anyone out for praise, they all sound great singly and as a group.  From here on in the show becomes much more intense and focused, all medleys are dispensed with and we get some proper, heavy funk. Keeping with this direction the band funks up “♥ Or $” before turning their sights on “Head.”

I have always liked the slippery guitar sound in “Head,” in this case, it has a sharper sound but nonetheless is still funky as all hell. There is some fun as Prince toys with the crowd, but the whole time it’s that guitar I am listening to, at least until Matt Fink sets things on fire with his synth solo. “Electric Man” gets an outing, with Prince surprisingly throwing some lyrics from “Hot Thing,” recorded barely a month previous. As Prince squeals and squirms I wish I could be there to see a performance that sounds electrifying. The guitar sounds ominous as the music rises near the end, and I find myself enjoying this just as much as Prince's vocal performance.

 

“Pop Life” banishes the darkness of “Head” in the opening moments as, after a twinkling opening, it bursts out of the speakers at me. For all the melody of it, I find it's Brown Mark I listen to most, his bass adds an infectious bounce to the proceedings. Again Eric Leeds's flute lends a different sound to the concert and with some beautiful backing vocals, the song stands up to repeated listens.

Prince sings “Do you want to dance with me” as “Girls And Boys” begins, much to the delight of the audience. Eric has traded his flute for the sax and adds the deep honk that I adore so much. Prince seems to get a second burst of energy around this point and I swear you can hear him singing and performing harder. He gives way to Eric and his solo and it’s about now that I sit up and take notice of Wendy and Lisa’s singing- soft yet beautiful.

The first minute of “Life Can Be So Nice” seems to come fast, and it’s at the chorus that I catch up and begin to get into it. It’s a game as Prince and the band plays the crowded versus before pulling back for the chorus. Bobby Z does his thing, and he sounds great against the rhythm guitar. There seems to be a lot going on in my ears, and I have to listen closely to make sure I don’t miss a thing. The final fade-out is my favorite part, not because of its ending, but the way the band peels out and I can hear each of them.

 

I am feeling jaded as “1999” plays, the song sounds fine, but is already dated against the colorful parade of music that Prince has played this evening. I do hear the crowd enjoying it, and there is some singing, so the song certainly has its place in the setlist despite my own personal tastes. It goes out with a bang as the horns and the rest of the band tear through the last minute, and the main show ends on a high.

There is an underwater sound as “America” starts, and I am my expectations are sky-high in anticipation as there is the dual guitar attack of Wendy and Miko getting all funky for the first few minutes. Prince joins the fray with his vocals and there is a fire to the performance that I feel the recording doesn’t quite capture. Eric is great, and Atlanta is even better as his trumpet scorches through the song as he plays. A lead guitar appears and the song is smoking hot by this stage. It’s almost unfair that Prince has Wendy, Miko, and Eric on his team funking up the stage, as the solid bass of Brown Mark keeps us firmly on the dance floor. I was hoping for 20 minutes of this, but realistically the seven minutes we do get is amble, as I am sure those in the building had danced themselves into a frenzy in that time.

“Kiss” is nicely balanced, and I like that it has a stripped-back sound with Prince and Wendy’s guitar taking the lead roles, nothing else bolted on or tampered with.  The lyrics sound a shade downbeat, I kind of like it that way, and the crowd comes to the party with their boisterous “Kiss!” The ending is nice, with Prince thanking the crowd and a bare guitar playing for the last few moments that wraps it up in a bow before the next encore.

What comes next is, for me, the emotional and musical highlight of the show, a gut-wrenching rendition of “Sometimes It Snows In April.” The opening with Wendy and Lisa playing is simply stunning, the delicate guitar sound and piano dancing a beautiful dance together, this is a special moment worth listening to again and again. As Prince sings things become even more emotional and his voice has a melancholy tone to it, and I think it is real rather than the performance. The three voices come together for the final lines and it’s hard to not think about the times these three had together. Prince ends the song thanking Wendy and Lisa, and thirty years on it sounds like a full stop.

 

“Purple Rain” rises and falls as does the lump in my throat as I listen to it. Its plays as it does every time I hear it, a beautiful song that sounds so big and threatens to overwhelm all that has come before it. The guitars are warm, the piano clean, and Prince's vocals heavy with emotion. The guitar solo starts with a quiver and a shake before it becomes the howl we know so well. Having seen the video, I know how hard Prince was playing, and you can feel that on the recordings, he is pouring everything into the guitar with a long sustained howl that ends with him throwing it to the floor before strapping on another guitar and giving us more of the same before that too is thrown to the floor. As the crowd sings their part we do have half a minute of Prince playing the organ, and that is a real treat, it’s not high in the mix, but you can clearly hear it and it gives the song a final push before Prince thanks the crowd and leaves the stage, leaving the keyboards to play us out for the final minute.

As I have said throughout, it is impossible to divorce this recording from the context surrounding it, as great as the show and recording are, the historical significance of the moment looms large over it. I have heard people say that they cry listening to this, and I thought I was too far removed to have such feelings, but I must admit the last 15 minutes of listening tonight I did have a tear in my eye. Having heard a fair number of fantastic recordings of The Revolution over the last few years I found myself 30 years on listening to this thinking “why?”, they were beyond compare and seemed to still have more to give.
Many words spring to mind when considering this recording – essential, historical, and emotional are at the front of the list. There are no two ways about it, this recording demands you listen to it. A fitting send-off for The Revolution, this bootleg delivers on all counts and is an essential keystone of any collection.

Thanks for reading, I urge you to dig this one out and take a listen, celebrate The Revolution 30 years on, they were every bit as good as you remember.

Paris 25 August 1986

 

After listening to some brilliant shows from the 1990s over the last few weeks, today I am going further back to that year of years, 1986. I have listened to many shows from 1986 already, so you might think there is nothing left to listen to that would be of interest. I have listened to some fine shows, that is true, but this particular show is of great interest as it is the live debut of “Its Gonna Be A Beautiful Night,” and the fact that it was recorded at this show and with the addition of overdubs is the version we all know so well from Sign O The Times. I have heard the song hundreds of times on Sign O The Times, and it gives me a thrill to hear it here in its untouched glory, The Revolution playing at its best. There is no one recording that does this show justice, so I am going to listen to a mixture of recordings. Firstly, a nice soundboard that covers 90% of the show, then an audience recording that covers the rest. In addition, I will also watch an audience video recording of the show, which doesn’t add much as it is quite hard on the eyes, but is still worth seeing at least once, if not for seeing The Revolution chewing up “Its Gonna Be A Beautiful Night.”

25th August 1986, Le Zenith Paris

As always the opening of “Around The World In A Day” starts behind the curtain, but once that curtain opens Prince and the Revolution are on fire. The first verse calls you in, but then the music takes off as Prince is revealed and the spotlights hit the stage. Brown Mark sounds great early on, and his bass has a cool rolling quality to it mid-song.

The horns that herald the beginning of “Christopher Tracey’s Parade” sound joyful in the extreme, and as Prince and Wendy sing there is a lovely summery feel to the show, and one expects that the whole evening will be an uplifting experience. It is bright and lively sounding, and I love the drum sound to it. Prince’s showmanship is excellent with some leaps and splits right from the start that sets the tone. However, the best moment is when he jumps behind the organ and starts playing, it’s so energetic sounding.

“New Position” stays with this bright sound with Wendy playing the steel drum adding a new dimension to the live show. The Purple Rain shows feel a million miles away as I watch Prince and the band work the stage, everyone seems to have an extra spring in their step. Three songs in and I am in love with 1986 all over again.

“I Wonder U” slows things down, and aside from highlighting Wendy on vocals we also get some cool sounds from Eric Leeds and Atlanta Bliss, as well as a fantastic guitar playing in my left ear. I don’t even know what to call this music, all I know is how much I get out of listening to it. For a couple of minutes, I don’t even mind that Prince isn’t on the stage.

 

Prince is well and truly back as a flurry of horns open up “Raspberry Beret.” This was all over the radio when I was a younger man, and age has not diminished its freshness to me. It is one of the great ‘pop’ songs, and Prince plays it with the spirit and youthfulness it deserves. Like all the best moments it comes and goes before I know it, but I still enjoy every fleeting second.

Prince is all over the stage and showboating as they play “Delirious” and I wonder how can he have so much energy. The first part of the song was cool, and it looks like Prince is about to play some organ, but then they swing into my favorite part of the show.

This version of The Revolution sounds great as they play “Controversy.” With the twin rhythm guitar of Wendy and Miko, they have a wonderful slippery funky sound, one that resonates in my ears all day long. “Controversy” is very short, before the segue into “Love Bizarre,” and I am perfectly happy with that as I know this medley so well, and it is usually the part of the show I skip to.

   

“Love Bizarre,” right from that first “A, B, A, B, C’ has the funk turned up to eleven. It’s in the sound of the guitars again, and until Eric Leeds appears this is what I listen to most. Eric Leeds's solo is different from how I remember it and infinitely enjoyable. However, the best bit comes next as Wendy and Miko stand back to back funking me up while Prince encourages the crowd to chant “Who’s house, Wendy’s house” The song goes off on an interesting tangent next with a bass-heavy groove leading us into Prince and the band stomping around the stage before, ugh, “the wooden leg”. Whatever my feelings for the wooden leg, the music is everything I could ever want and more, and it takes on a James Brown edge as the song comes to a close.

 

I can lean back and relax again as “Do Me, Baby” begins, although it doesn’t have the long beautiful intro that I usually look forward to. The intro is shorter, and Prince is into his singing right from the start. The music swells and rises behind him, I can’t deny it sounds good, but for me, it’s missing the wow factor that I have heard on other recordings. The small flourishes from Eric Leeds give it some extra shine, and these moments are a real high point for me, especially the little pieces I can hear him play as the song quietens. The last few minutes of the song are what make it for me, some of Prince's soft singing as the music twinkles and sparkles behind him, it’s divine.

 

A diversion next as “How Much Is That Doggie” leads us into the brief “Lady Cab Driver” which in itself quickly becomes “Automatic.” Compared to everything else in the show it's stripped back, and that works well for this part of the medley with the sound of the guitar and bass carrying us along. The rest of the band makes themselves heard in the chorus as it spins off into uncharted territories before settling on “D.M.S.R.” Wendy and Miko’s guitar sound once again sounds glorious in my ears. It is short-lived as we finally get a longer song.

 

“When Doves Cry” gets a bonus point in my book for being longer than the previous medley, and it’s played straight without too many extras in the sound. Like the other performances on the tour, it’s Wendy’s solo that gets all my attention and all my praise, she sounds amazing as her guitar comes hard and clear. As much as I love Prince’s vocals and performance, Wendy upstages him and it’s a wonderful moment. The intensity is ramped up as Prince climbs atop his piano to encourage the audience more, and the band responds with some great intense playing of their own. The last few minutes with Prince working away at the organ while the band plays on are sublime.

We come back to earth as Prince takes his time at the piano to play something a little more laid back. That something is the heavenly “Under The Cherry Moon,” a song completely at odds with all that has come before, and all the more powerful for it. The playing is lovely as is Prince’s vocal delivery, this time restrained and beautifully interweaving with the piano. No words can properly do this moment justice, it has to be heard and savour every note.

The sweet music is forgotten in an instant as the band strikes up another favorite of mine, “Anotherloverholenyohead.” Prince and Wendy’s vocals are tightly together in this song, and I am reminded of how well they worked together, not just playing but also singing. Other band members get their moments too, Atlanta Bliss and Eric Leeds play their piece before the band begins the long playout with Prince engaging the audience in some calls. Lisa is superb, her piano playing is light and bright and adds a sheen to the heavier bass sound of the song. It’s music that I find I have to listen to, you can’t let it slide by, and I find I enjoy every moment of the few minutes Lisa plays.

 

I had forgotten that “17 Days” was coming, and I am oh so pleased to hear it next, especially as I haven’t mentioned Brown Mark yet. He is in his element, and his sticky-sounding bass sucks me in. Prince tells the audience that they are recording the show, and I am only too happy to be enjoying the fruits of that thirty years later. The horns and guitar pick it up and run with it, and it becomes a groove that goes on and on. Prince starts to chant “Head, head” and I smile with anticipation.

Nasty Prince is definitely in the house as he tells the mothers in the crowd “Cover your daughter’s eyes” at the beginning of “Head.” I know we are in for a good one, as there is a pause before the horns start and the funky guitar plays through. Even when the horns come in, and the keyboard riff plays it’s still that guitar sound that stays with me. Head plays for ten minutes and I revel in every note of it, all of it deliciously dirty and funky. Dr. Fink’s solo is best summed up by Prince himself when he says “If you ain’t gonna do that to a synthesizer, then don’t play one” The long ‘burn it up’ sequence at the end is intense as Prince hurls his top into the crowd before engaging in some slick dance moves. Prince writhing on the floor singing "Electric Man" as the song sinks even deeper into the grimy funk is a fitting end. As far as I’m concerned it doesn’t get any better than this.

 

A shimmering sound comes like a glimmer of light in the darkness, and when “Pop Life” begins it’s like a door is suddenly opened and the show becomes uplifted and pure again. The pop of the bass is excellent, as are Prince’s crisp-sounding vocals. It’s in complete contrast to what we have just heard, I can only imagine Prince making such stylistic changes in a concert like this. Pop in sound, as well as name, Eric Leeds playing the flute, is the icing on top, and we come to a soft ending with the girls singing “Pop Life”

“Girls And Boys” has the crowd involved again, with Prince encouraging them to dance as the intro runs for a couple of wonderful minutes, the guitar, bass, and keyboards all interweaving and creating a colorful yet funky tapestry. Prince on the organ is the highlight as the intro plays, and he gives us a good couple of minutes here. The vocals are simply amazing when Prince is singing, the sound quality is just right on his vocals, and I feel like I am right there when he sings. I know I have been heavy with praise throughout this recording, and this song too has me floored – Eric is wonderful, Wendy’s vocals sweet, and the band is beyond words.

 

“Oh Honey, put your shirt back on,” Prince says as “Life Can Be So Nice,” and one can only speculate about what he was seeing from the stage. “Life Can Be So Nice” is full of sound and the band injects a lot of themselves into it. Bobby Z and Wendy are the heroes for me, Bobby gets a shout for his break, and Wendy’s vocals are all over this and heavy in my left ear. There is an awkward moment in the video when the stage is invaded by an audience member who knocks Prince over, but he recovers quickly and carries on very professionally.

“1999” is nice, in that it’s a beautiful-sounding recording, and the band plays it for the most part straight. The horns are an addition to what is heard on the album, but they aren’t overbearing and add just enough color. The guitar and vocals are very faithful to the album, and they are what I enjoy most in the performance. The “Mommy, why does everybody have a bomb” is playful and a nice way to finish the main show before we fade to darkness.

Now comes the moment I have been waiting for, the genesis of “It’s Gonna Be A Beautiful Night.” The single drum that begins is so familiar, yet also new and I know what is coming next as the horns play their refrain and the “ow, wee ow” chant begins. I don’t know what I was expecting, but for the most part, it does sound like it does on record. We do get Prince playing his organ which is cool, as is seeing Wendy play that guitar riff while stomping at the front of the stage. I greatly enjoy Brown Marks playing, as well as Eric Leeds, but I think the real highlight is watching the video and seeing The Revolution at its very best creating something that we will listen to for the next thirty years. The rap is missing, and instead, we get some wonderful bass, and a lot of crowd singing- in some ways I prefer it like this, it feels so real and natural. “Confusion” and a final horn blast close out what has been a wonderful ten minutes of my life.

 

“Mountains” comes on so quick, it’s like a breath of fresh air. The band looks and sounds incredibly relaxed, and in particular, I get a laugh when Prince rolls around on the piano. The coda is when things become more intense and when it finishes it seems the song has gone by in the blink of an eye.

“Kiss” has Prince stalking the front of the stage, shirt off and looking every inch the rock star. The song is tight, and there aren’t any real flourishes added to it. Of course, we get Prince dancing the wooden leg, but on the recording, it’s Wendy who is the star for me, her solo isn’t out of the box but it is excellent. It’s her guitar alone in the final moments of the song too, and it’s a fitting end before one final encore.

That encore is of course “Purple Rain,” and I am very happy to say that although the recording of it isn’t great, the song itself is just swell. A short intro before Prince starts singing, and the crowd is very vocal as he reaches the chorus. He sings it all the way, and we get every verse before the sweeping, epic guitar solo. It builds up well, and the notes come furiously fast right before the crowds “ooww oh ooowww”, and he keeps on playing as they sing. The song ends not long after this, but we do have a couple of minutes of the strings to cushion our fall back to earth.

 

Over the last few years, I have run out of words for the shows from the Parade Tour. This one is yet another fantastic one in the canon of shows from that year, and to see “It’s Gonna Be A Beautiful Night” brought to life right on the spot was beyond words. There was something magical in the air that night, and all these recordings catch some of that in one way or another. None of them are perfect but I am pleased we have some sort of record from that night. Here’s hoping in the future something better will surface that can truly do this show justice.

Paris 24 August 1986

 

How does this sound for a set list?

I Can’t Get Next To You
Love Or $
Purple House
An Honest Man
Strange Relationship
Last Heart
Head
Anotherloverholenyohead
Soul Power
Controversy
A Love Bizarre
Jazz Jam
Do Me, Baby
17 Days
Susannah’s Blues

Looks great, doesn’t it? And played by the Parade era Revolution. Oh, and did I mention that Prince’s father plays piano in the jazz jam? It’s beginning to look like one of the greats. There’s just one thing- it’s not a great recording. In fact, it’s decidedly average- plenty of distortion through the whole show. So, where do I stand on the quality of the show versus the quality of the recording? Is the trade-off worth it? For me it’s a definite “Yes”, but this one isn’t for the faint of heart.

24 August 1986 Le New Morning, Paris

Right off, the recording is distorting. The bass has an annoying buzz to it that I just can’t shake. It is an audience recording, and I certainly have heard a lot worse, but the constant distortion on the bass is a distraction. Prince and the rest of the band can be heard quite clearly, so it’s not all bad. The recording begins with the band playing a cover of “I Can’t Get Next To You.” It has a hypnotic beat and bass line, but I have to listen carefully past the bass and its buzz to catch the nuances of the song. Prince is sounding relaxed and playful and has the crowd with him early on. The verses sound fine with Prince and the girls backing him, and the choruses have him and the male voices which have a nice strong sound. Prince calls for Miko to play a lead break, and he plays a break that I enjoy. On a better recording, I would be raving about this, but it is what it is. Miko always has a great tone to his guitar, and here it’s a clean sound which I like. For I long time I underestimated Miko, but now I have come to admire his sound. The song returns to its steady blues sound, and Prince and the rest of the band blend in well together. I had expected this song to go on and on, so I’m caught off guard as it finishes at this point.

“♥ Or $” next and any reservations I had about the quality of the recording are forgotten. The band hits their straps on this one, and I get swept up along with it. They settle into the steady groove, and even with the distortion, they sound sharp. There is plenty of horns and sax, and I can hear the crowd cheer, as I am doing here at home. The band sounds tight, and yet Prince and the horns sound nice and loose, and there is an air of anticipation that is heightened when Prince threatens “we about to get funky in here”. He is as good as his word as he unleashes Eric Leeds, and as a lifelong fan of Eric, I am deliriously happy. There is a funky little guitar line too, you have to listen hard to hear it, and it adds a little more funk to Eric’s horn. There is very little in the way of singing, just plenty of Eric and groove. The song ends with the girls giving a sharp “love” as the crowd shows its appreciation.

 

 

The first live performance of Jimi Hendrix’s “Red House” (appropriately re-titled as Purple House) follows next as we swing back to the blues. Prince claims the song in the first line as he sings “There’s a Purple house yonder” The distortion isn’t too bad, it’s unfortunate that it does hide some of Prince's vocals. The song isn’t as guitar-heavy as I thought it may have been, Prince gives the singing plenty of attention before he begins his guitar playing about mid-song. There are some horn swells that round out Prince's guitar playing, and he doesn’t linger too long with his playing. I am two minds about this, I do love it when he plays, however, the song has a nice balanced sound as it’s played here, so I am more than happy with what I am hearing. Again it’s not stretched out or jammed on, and the band is still pretty uptight.

What attracted me most to this recording is the setlist, and what we have next is another treat with Prince playing “An Honest Man.” With just him and the piano, he catches just the right side of vulnerable. I love hearing tracks like this, and this one is made even better by the fact that the distortion is absent now that the bass isn’t playing. Prince gives it some flourishes on the piano before he calls Eric and the two of them play together. I close my eyes and enjoy the moment. The recording isn’t perfect, but this is the reason I listen to bootlegs, rare moments that only happen once. The song ends with Prince crooning and a gentle twinkle on the piano before another special moment begins.

Next up is a steady beat that sounds very familiar, yet not quite as I know it. This is the first airing of one of my most beloved songs – “Strange Relationship.” It’s played slower, and is missing some of the energy of the finished product, and yet is fully formed pretty much as we know it. The intro is long and elastic before Prince starts singing the “do do do do” lines. Unfortunately, the distortion also makes a return, but I refuse to let that ruin this moment for me. At the slower pace, it lacks the funky dancing vibe, however, my head still bobs along with it as it plays. This is very much a highlight for me, I love hearing this version and the horn lines give it an extra touch of class. There is a piano break that I am guessing is Prince, and at this point, I am cranking the volume way past 11, it’s just the sort of thing I want to hear, and it’s a real treat for me. Prince calls to Miko, but I can’t make out what he is saying, and I don’t hear Miko contributing anything sonically either. I give up trying the pick all the pieces and instead focus on Prince's piano and singing before Eric Leeds plays again and demands my attention. His solo here adds a lot to the song, and it does give it a completely different feel. The song stretches out past the seven-minute mark, and Prince begins to sing “Last Heart.” Oh boy, what a treat this is. The piano is prominent and after a few lines, Prince jams on it some more. As the song ends I am in heaven, despite the distortion this is amazing to listen to, I don’t know why I haven’t had this on constant rotation.

 

“Head” starts very quietly and builds to a steady groove.  There is no synth early on as the bass and the guitar build-up, the bass bobbing along while the guitar picks out a string of funky lines. The horns finally hit a stab and the snare cracks as the song suddenly comes into focus. There is a loud shout from the crowd, especially in my left ear, which both excites and irritates me. There is an interesting mix on this one, it's normal, bare the guitar which is playing a funky line that is very clear throughout. I enjoy it in this way and appreciate the different sound it brings. This is a favorite with the crowd, there is a lot of yelling and cheering as the song progresses. Prince asks if the crowd is having a good time as Atlanta Bliss plays a trumpet break, thus adding a further interesting dimension to the song. The song takes its usual twists and turns, and it’s the horns and the piano lines that I get the most satisfaction from. Prince has the crowd doing soul clap as Bobby puts a harder beat on it and the piano gets funkier and funkier. The song ends here with a final horn flourish and an appreciative audience.

The opening sound of “Anotherloveholeinyohead” has a very thin shaky sound, and the song picks up when the band comes on board. The distortion is again a distraction, and I am grateful that I can hear Prince and the band singing loudly which takes my attention from it. The crowd sings loudly and the funky levels certainly go up a notch, and that’s saying something coming on the heels of Head. The horn solos punch over the top of the distortion, and I am more pleased as just after this things briefly quieten and I can for a short time hear the band clearly. The recording fades out at this point, which is almost a relief after the distortion.

Next, we hear Price say “and for my next trick” as the band strikes up “Soul Power.”  This band is well suited to this James Brown groove, and the song is led by the guitar and an organ groove. I love grooving along to it here at home, and I am dangerously close to getting off my seat and dancing along to it. It’s given even more of a James Brown sound as Eric Leeds puts his trademark horn to it. His playing is quite frenetic, and it’s a shame that it’s kept relatively short. It’s not so bad as Prince leads the band through some chanting of ‘soul power’ before encouraging them to play faster. Later in the song, the bass becomes more loose and wild, and it’s something I would love to sing the praises of, if not for the distortion that comes with it. I start to grin as Prince gets the crowd singing “oohhhhhhh, shit!” I guess there is still a bit of a teenager in me. Prince plays with the crowd further by having them bark and meow for the last minute of the song. A lot of fun is had, and even though not much is happening musically it’s still good to listen to.

 

A very Parade era sounding “Controversy” follows next. There is that great pounding beat that starts it, while a funky rhythm guitar plays. The horns blast in, and I am immediately transported back. Prince runs through his lines easily enough, but as always it’s the music that I am listening closely to here. The song is kept short as per the Parade tour before a natural segue into “Love Bizarre.”

“A, B, A B C D!” is followed by a fantastic horn riff and a massive shout from the crowd. Excitement and energy levels are very high in the room, and this song goes over very well. The distortion levels also rise, which is disappointing. It’s not too bad in the choruses, but it does ruin the verses somewhat. The horns are nice and airy, and they come across well in the recording. Prince’s vocals are deep in the sound of the song, and I have to listen pretty hard to hear them. There is a respite from the extra noise when the band drops out as Prince and the ladies sing “Love Bizarre” before a glorious-sounding Eric Leeds plays with the organ behind him. Wendy also gets some shine next as Prince sings “whose house, Wendy’s house” over her rhythm. There is a break for Brown Mark to play, unfortunately, as it’s the bass that’s causing the distortion it’s not an easy listen. The band rumble at this point, the bass, and the drum hit that beautiful groove, and the band all fall in. This gives Prince a chance to do his best James Brown, and he gives plenty of screams, before working the band through a series of stops and starts.

When the song ends there is a loud cheer from the crowd before the recording takes a sudden cut to the middle of another song. It’s listed as “Jazzy Jam,” and that is a very apt title. It is only half a minute here, we are only catching the end of a song, but it is heavy on the sax and trumpet and does indeed have a Jazz sound to it.

“Do Me, Baby” is far more recognizable, and the arrangement played here is gorgeous. Prince elects not to sing, instead choosing to play the vocal melody on his guitar. It’s just as good as you might imagine, even with the quality of the recording. The melody is only the start point as Prince stretches it more and more out, before beginning to branch out on the guitar. The horns come in and ground it, and everything seems to click together just right. There is a breakdown mid-song when everything strips back, and it’s a nice opportunity to catch our breath. The horns again play a nice fat sound and fill the song out nicely. I rate this version highly, there is plenty here that I haven’t heard before. It is not until the six-minute mark do we finally hear Prince's voice, as he sings a series of “Do me baby, all night long”, before again playing some delicate guitar.

 

The tempo and mood are again uplifted as the band play “17 Days.”  Prince plays with the song a little, calling “bass and drums” only early on and just letting the rhythm carry it. A funky guitar is thrown into the mix, and the band plays this bare stripped sound for quite some time. Brown Mark is prominent, the song is grounded on his bass, and there is also a minute where we get to hear him play with a more loose sound. Prince does sing, later in the song, and it doesn’t sound quite as catchy as it did on record. He only sings a verse and a chorus before the horns play a delicious break that leaves me wishing I could have been there. Prince does call out to the band, again due to the recording I am unable to make out what he says. However the song does strip back for the guitar, and I love hearing that.

There is one final surprise as Prince calls a change and the band segues into “Susannah’s Blues.” It’s very loose, with Prince chatting to the crowd and introducing Miko. It’s just a gentle riff, and Prince scats a little before the piano plays a jazzy-sounding break. At this point, the recording fades and leaves me to consider what I have just heard.

This show is something extraordinary. I can’t state enough how brilliant the setlist is, so many interesting arrangements and rarities in there. Likewise, I can’t dismiss the fact that the recording itself is far from ideal, and something that the average fan would generally avoid. My overall thoughts are that the good points about this show are so brilliant that they do overshadow the poor-quality recording. In even slightly better sound this would be one that all Prince fans would be talking about, and even as it is it’s still a worthy boot.