Nagoya 7 February 1989

 

It is for good reason that the Lovesexy concerts are held in high regard. They offer the most complete package, conceptually and musically, that Prince ever put together. Other tours may offer more thrills in energy, or music, but none have the same overarching thematic cohesiveness that the Lovesexy tour does. This is Prince giving us some of his most personal, and challenging music, in a high concept performance that gives on every level. Never again would Prince be so “on message” as he was for this tour. I have previously dipped in and out of these concerts, but today I would like to go back to the Japanese leg and in particular the Nagoya concerts. Coming at the end of the tour these concerts are highly refined and Prince is playing like a well-oiled machine. The tour may be long, but it has given Prince a chance to master his craft, and these concerts appear effortless, a testament to the effort Prince put in to pull them off.

7th February 1989. Nagoya, Japan.

There is an obvious difference between the European and US legs of the tour as the concert begins not with “Erotic City” but with a propulsive “Housequake.” It is a snappy rendition, the hammering thrusts of the drums the most combative part of what is an otherwise swaggering introduction to the concert. Prince is brimming with showmanship from the start. His continual patter with the band holds the attention just as much as the buoyant groove they are creating. The music continues to clatter forward, the horns rising quickly to propel us beyond the minimalist beat before the song collapses into a sultry wash.

From this lush blanket of synth emerges “Slow Love.” It is a slow-burn introduction to what will follow. This is far from the longer version I listened to a few weeks ago from 1987. The song barely enters before Prince clips its wings. It is merely the start of a suite of songs that drives the first half of the concert, and the music continues to march forward. It has a soul mate in “Adore” that it comes paired with. The two songs are a chance to grab a breath before a helter-skelter of songs follows.

 

The first song to come tumbling from this uptempo blitz is “Delirious.” It is all kinetic energy and very little substance and Prince spins it into “Jack U Off.” Sadly both songs sound heavily dated in the few years since their release. But the horn section invigorates their energy and they are neatly slotted into the setlist.

“Sister” is drawn from the same predictable arsenal. With some ill-tempered guitar making an appearance there is a lot to listen for in the rush of sound. This final scramble of noise contains some nuggets of guitar gold, before Prince stakes another claim in the world of balladry.

The embers of “Do Me, Baby,” are fanned into a fire by some dazzling vocal work by Prince. Not just his croon, but every yelp and spoken word add fuel to the blazing sexuality of the song. The concert is saturated by the heat of the moment, and this is undoubtedly an early hotspot in the concert.

The introduction to “I Wanna Be Your Lover” is a mere feint before the drama of “Head” makes an appearance. The sweaty backing vocals lubricate the main chorus of Prince, slipping the song further into a decadent sense of raw sex. Brevity is the enemy. The song is five minutes, but one wishes it was much more. Some timely sax work towards the end from Eric Leeds steps us out of its dense sound and easily into the following number.

The horn stays with us for a quickfire “Girls And Boys.” There is very little for us to sink our teeth into here, and is a quick transition to a full-length “A Love Bizarre.” The song has a warmth that carries across the entire length of the song. It does sound fast, but it retains all its hooks, along with some horn flurries that color it beyond what is heard on record. The slippery funk of Miko’s guitar underpins most of the song, and remains the definitive sound of the song, as much as Eric Leeds tugs and pulls at the song with his own petulant sound.

“When U Were Mine” blazes like a comet across the concert, its youthful innocence (in sound at least) illuminating the otherwise dense material. There is a simplicity underlying the driving energy, and although many of these songs have come rapidly tumbling by, it is “When U Were Mine” that holds the most energy.

From this pop kaleidoscope emerges “Little Red Corvette” still sounding as fresh as it did the day it was released. Prince’s opening words place it into context for the Lovesexy concerts, but the opening verse and chorus are as familiar as ever. It is a mere taster, Prince has much more he wants to reveal, and the song doesn’t outlive the guitar solo.

 

There is much promise in “Controversy,” but it remains a slave to the needs of the concert, driving us quickly forward for a minute before disappearing into the rhythmic opening of “U Got The Look.” “U Got The Look” barely does any better, and this section of the concert rushes by all too quickly.

“Superfunkycalifragisexy” is the dark cloud that comes over the concert, and brings us to the darkest moment of the concert and we descend into the madness of “Bob George.” Thematically this sees Prince’s protagonist reach the lowest point of the concert, yet musically it is a high point as Prince pushes his funk into a challenge for the audience. The concert is reaching a turning point, but first, we must navigate Prince and his challenge as he draws the darkness out of his music and personalizes it in song.

The counterpoint to this is the timeless “Anna Stesia,” a song that draws its power from the confessional tone it takes as Prince offers lyrics that lay bare an honest truth from within. It is the very crux of these Lovesexy shows, the lynchpin that pulls together Prince’s themes and concepts in a single song that defines this era better than any other. As the guitar threads its way through the second half of the song the music draws in. The sparse and lonely opening is replaced by a cohesive overview of Prince and his belief as he clearly signposts the way to salvation. It is both spiritually and musically fulfilling, and immediately the entire Lovesexy concert makes sense.

“Cross The Line” uplifts, but it doesn’t carry the same weight as the previous “Anna Stesia.” However, it does bring light to the concert and heralds in the new beginning that is the second half of the show.

While the Lovesexy songs of this portion of the concert aren’t abridged as the songs in the first half, they are snappy, and Prince continues with his uptempo run through the set-list. “Eye No” is the first out of the gate, a hook-laden marvel with melody and instruments flowing from every groove. It is audio overload and speaks to the promiscuous creativity of Prince at the time. The song demands you hit repeat to catch every glistening note as it bursts from the speakers.

 

The titular “Lovesexy” continues in the same vein, with an endless flow of ideas and music coming from Prince and the band. It bubbles with polyrhythmic beats and glorious melodies, each competing with the other to catch the ear. The pace remains uncompromising. There is barely time to settle on one thought before another comes to bloom in the ear, each just as essential to the direction of the concert.

There is a swing to “Glam Slam,” and a lightness that isn’t immediately apparent on the record. With Prince calling to the audience to dance it is one last joyous celebration before the pious and hallowed following two songs.

“The Cross” sets the standard for this heavenly double shot, Prince building the song from the ashes of “Glam Slam”. The sound of salvation fills the air as Prince takes the pulpit with his guitar playing standing enthralled by his religious fervor. The Dortmund VHS releases give us some sense of this onstage rapture, and this concert sounds every bit as good as that as Prince loses himself in the music and his beliefs.

Atop the mountain, Prince faces down his own “I Wish U Heaven,’ a song that sounds as divine as its title. What it lacks in intensity it more than makes up for in pop sheen and purity of intent. Shelia E takes lead vocals, it is a timely counterpoint to Prince and the intensity of the last fifteen minutes. This is no extended version to my disappointment, and the song wraps up neatly after a few minutes.

“Kiss” sounds unbalanced and out of kilter, and as much as I want to like it, I don’t. That’s not to say there’s nothing to recommend here, but it is well-trodden ground and this arrangement doesn’t add anything fresh to the original.

There isn’t much to latch onto for “Dance On.” The jittery percussive drive remains, but it is chopped off and exists mostly as an introduction to Sheila E and her “Transmississippi Rap.” That naturally lends itself to a furious drum solo that demonstrates an uncompromising power and invention as she travels around the drum kit.

The piano set feels achingly short, and while the gravity of Prince’s a capella opening holds me enthralled, the rest of the set can’t compare. “When 2 R In Love” surrenders all too easily to “Venus De Milo,” a fine match but like a summer wine it slips away too easily, leaving only an aftertaste and warm memories. Against such company “Starfish And Coffee” sounds childish in comparison, and “Raspberry Beret” more so as each glides by beneath Prince’s fingertips. “Strange Relationship” brings a sense of occasion back to proceedings as Prince reveals a layer of funk beneath the piano’s veneer, a funk that can’t be denied in the darkness of the concert hall. However, the storm quickly passes as Prince rounds off the piano set with a lightning flash of “Chopsticks,” “Condition Of The Heart,” and “International Lover,” before circling back to the closing “When 2 R In Love.”

 

Prince returns the concert to a more conventional greatest hits extravaganza with “Let’s Go Crazy” There is a mischievous snarl in the opening riff, suggesting some bad-tempered guitar work might follow. It isn’t to be. Prince avoids any excess and presents a heavily neutered version. The final rush is exhilarating without any sense of dramatic tension or danger, undoing the opening that promised much.

Prince stays with his hits, and “When Doves Cry,” although familiar, is just as hollow as “Let’s Go Crazy,’ that proceeded it. It is curious to see Prince under-powering these hits from his largest album, but with the concert delivering so much earlier one can’t be too disappointed.

There is a release with “Purple Rain.” It is the most well-known song of the concert, and the Japanese crowd latch onto it immediately. It has an elegant swirl, and although not a weighty version, it still commands respect. Prince’s guitar solo comes early, a tempest that will not wait, and although it howls and squalls, it never hits with the hurricane-force intensity of some other circulating versions. It remains an essential part of any Prince concert, and even in a concept-heavy concert such as this, it finds its rightful place to fit. It’s not epic, but it blends in with the surrounding material and makes for a nice touchstone near the end of the concert.

One can hear that the end is near in the fanfare that brings forth “1999” It is not a respectful rendition of the song we know from the 1999 album, but rather an excuse to have the crowd involved for one last time. The flesh of the song is soon discarded, leaving just the bones of the music and the crowd chanting “party.” Retooled as a song that belongs to the audience it works remarkably well, and although there is disappointment in the fact the original song is gone, one can’t help but rejoice in these final minutes of the party. It’s not quite the ending to the concert we might have expected by halfway through the concert, but after a string of 1980’s hits, it sees the concert finish on a definitive high.

This concert is quite a journey. From the opening run through Prince’s back catalog to the uplifting spiritual component, the concert runs a gamut of emotion before the final triumphant blaze of Purple Rain era songs. There is a sense of purpose throughout, and every song is carefully placed in the setlist, making for a well-crafted, almost theatrical experience. Thirty years on I still find myself listening for clues, and experiencing the concert as if for the first time. Prince would revisit the spiritual aspects of his music later in his career, but he never did it as in-depth, or with such aplomb as he did here. This is Prince at the apex of his spirituality and musical creativity, and it all comes together in a heady mixture that will always be defined by the Lovesexy tour.

Tokyo 5 February 1989

 

We are into the final days of our Tokyo sojourn, I have loved every minute I have been here but I am ready to sleep in my own bed again. Before we fly back to New Zealand we have time to visit one more bootleg from Prince’s tours of Japan. This one comes from the Lovesexy tour and captures a performance at the Tokyo dome. Everyone knows some great soundboards are circulating from this tour, this recording comes from the other end of the spectrum and is an extremely poor audience recording. Its muffled, and thin, the audience is overly loud and Prince is overly quiet. I have chosen this one because it is the longest concert of the Japan leg, and although the recording is terrible, the show is great. I in no way recommend this one, it borders on unlistenable, but I am a die-hard and am quite prepared to listen to it so you don’t have to (and after a month of Japanese TV, this is a welcome relief).

February 5th, 1989 Tokyo Dome, Tokyo

You know what you’re in from the start as the recording captures several people chatting and clapping. At first, I treat it as a pleasant scene setter, that is until I realize later that there is music playing, and the crowd is drowning it out. They clap the beat, and in the distance and can hear the all too familiar opening to the Lovesexy concerts, almost ghost-like it is so faint.

 

I know the Lovesexy shows very well, so even though the music is distant I can easily make out the opening “Housequake.” It sounds typical of the rest of the tour, what I can hear of it. A lot of nuances are missing on the recording, but one can easily recognize Prince’s vocals and the distinctive beat. The final half of the song is frantic, and I find I listen closely to try and catch what crumbs I can.

“Slow Love” sounds better, bigger, and fuller and Prince’s vocals swell and fill the recording. This holds through the following “Adore,” and I briefly consider the recording might be as bad as I thought, especially the spoken part that segues into “Delirious”

“Delirious” again displays the recording limitations we have encountered so far. The crowd is far too much in the recording, and “Delirious” is buried under a layer of grime. The same can be said of “Jack U Off,” only the horns can be heard through the fray. I can hardly hear the lyrics of “Sister,” and for the first time, I think the quality of the recording might be a blessing. On a positive note, the final flurry of guitar can be clearly heard, and inspires me to listen further.

The first strains of “Do Me, Baby” has me light-headed, and as the bass pops, I am in seventh heaven. It slows the medley, and I begin to connect with the concert as Prince puts the crowd through their paces. A heavenly song, it rises above any other negativity that can be heard. The final spoken part from Prince has me feeling fifteen again, and visions of ex-girlfriends swim before my eyes as he seduces with mere words.

The opening riff of “I Wanna Be Your Lover” is a call to arms for truefunk soldiers, and Prince rewards with a grand rendition “Head.” “Head” has always been down and dirty, and here even more so as the recording matches it from griminess. The main riff rings out loud and clear, but again that is the only positive of the recording. Even Dr. Finks's solo, although brilliant kinetic, is lost in the general crowd noise. I do, however, enjoy the call and response, and Prince’s continual call of “this is now a discotheque.”

 

I want to like “Girls and Boys,” I really do, but on this recording, it is neither here nor there and leaves very little impression upon me. On the other hand, “A Love Bizarre” is fast, frantic, and utterly compelling. Prince airs it right out, and this is one of the longest songs on the recording.  The call and response briefly have me wishing I could be there, and I find this is one of the more passionate Lovesexy shows in circulation. Generally, I find them almost too well-staged and tight, this concert retains a looseness and a feeling that I can relate to and that makes it all the more appealing to me. The call and responses continue for some time, although they are never boring and the momentum of the song, and the concert, is retained. Oh, and Miko is brilliant!

Prince singing happy birthday to Mr. Udo (the promoter) is an interesting moment, but for me, the real treasure comes next with a rough and ready “When You Were Mine” jumping out of the blocks. As always it touches the inner rocker in me, and I am just excited to hear it as the overly vocal crowd is. At two minutes Prince seems to have a guitar fault, but the song and the band barrel on without him.

 

The arena is warmed with the first strains of “Little Red Corvette.” The rest of the song delivers on this promise of warm nostalgia, and the crowd is more than happy to sing along as required, as well as providing the necessary screams to herald in the guitar solo.

The show again accelerates from this point, with “Controversy” providing the first thrust that will carry the following numbers. It is short, and it is “U Got The Look” that continues this onward momentum. “U Got The Look,” sounds dreadful on this recording, the crowd far too loud, and the mix badly out of balance. Things don’t improve for “Superfunkycalifragisexy,” and I begin to regret that I am such a completest.

“Bob George” sounds cool, although in the Lovesexy concert it is a visual experience as much as an audio experience. It is easy to imagine what is unfolding on stage, and I find myself smiling at Prince’s dark humor.

Balanced is restored with “Anna Stesia” bringing closure to the first half of the show. It stirs up far more feelings of nostalgia than “Little Red Corvette” earlier in the setlist, I am right back in high school as I close my eyes and listen to Prince play. There is some echo, but Prince’s vocals ride over any such storms and in some ways it reminds me of the old chewed-up cassette tape of Lovesexy that I used to listen to over and over.

A light is shined into the darkness in the form of “Cross The Line,” the mood of the show already lifting as it welcomes the second half of the concert. The white noise that introduces “Eye Know” is hard to distinguish from the general noise heard on the recording, and I inwardly smile at myself as I hear Prince say “The reason my voice is so clear…”  “Eye Know” has the crowd well and truly involved and it is pleasing to hear that I’m not the only one who loves this song. One of the things I have found about attending Prince concerts is that you always find other like-minded people who seem to cheer and appreciate the same small things as you do. Prince fans really do feel like family sometimes.

The theme of the album is maintained through  “LoveSexy,” in this case giving me an urge to pull out the original album and give it a listen. Plenty is going on in this live rendition, we may not be able to hear it all, but I know it’s there.

“Glam Slam” features more audience singing, both at the venue and all over the recording. It is not as long as the previous two songs, but I still enjoy hearing it, and I especially enjoy hearing Prince fully engaged with the album he was promoting at that time.

It’s very hard to listen to “The Cross” without comparing it to the Dortmund show. That show created such a powerful visual image and sound that any recording would struggle against it, especially so this one. In this case, I like the rawness of Prince’s guitar sound, and for a while, I fool myself into thinking the echo is making Prince sound better. But who am I kidding, I would rather watch the Dortmund performance of this song anytime.

 

There is a lightness to “I Wish U Heaven,” not just on this recording but on all performances, that doesn’t quite work on bootlegs. As compensation, we get extra audience vocals, but they aren’t as delicate, or as beautiful, as Prince’s. It is only in the last half of the song where the guitar awakes that I become interested, it's too little too late, but it is a nice touch.

I love the bass of “Kiss” in these Lovesexy shows, and here is no different and it both anchors the song and propels it forward at the same time. Prince is barely audible, so it's just as well the bass and guitar are so divine, and I am more than happy with what little I can hear.

“Dance On” is merely the introduction for Sheila E and her rap and drum solo, something I whole-heatedly disapprove of. Not because of Sheila herself or her performance, but because I think “Dance On” should get much more time than it is allocated. That disappointment aside, it is always fun to hear Sheila as she hammers away, and for the next few minutes, I have a happy grin as she indulges me in her trademark drum style.

Finally, one of my favorite parts of the Lovesexy concerts – was the piano solo. “Venus De Milo” has me weepy-eyed from the opening moments, the following few minutes containing all you could want from Prince’s sweeping piano playing. “Starfish And Coffee” isn’t quite on the same plain, but it still retains the sweetness of the moment.

There is only a brief moment of “Raspberry Beret” before Prince settles into a tender “Condition Of The Heart.” I am disappointed that it is only fleeting, but there is a treat in the form of a rare appearance of “International Lover’ that more than makes up for it. Only thirty seconds, but it raises my pulse through the roof and for half a second a hear a teenage girl squeal of delight escape from my forty-year-old manly lips.

 

The piano version of “Strange Relationship” is now familiar to most people. As always, there is plenty of funk and feeling in Prince's fingertips, although the audience clapping takes me out of the moment.  However, the following “Free” again has me in fanboy heaven and delivers the second seismic shock of this piano set. A rarity buried in the setlist, this is one of the reasons I elected to listen to this recording, and the sound has improved by this stage that I can say it's an enjoyable moment.

An instrumental “With You” carries us through to the finale of the piano set – “When 2 R in Love.” I may not approve of his spelling, but I definitely approve of the song, even if it is barely a chorus and a slow fade.

I know what to expect with “Let’s Go Crazy,” and Prince gives it to me with the standard 1988/89 run-through. The “go, go, go” chants leave me cold, as does the rest of the song, and although it is a sacred cow I find I dislike it.

Prince makes short work of the Purple Rain album – “When Doves Cry” is truncated, and lacking some of the bite of other concerts (more specifically, the dog bark). The audience seems to like it though, true to the form they sing loudly throughout and they are stronger than anything else on the recording.

It is a thin “Purple Rain” that makes an appearance at this show. Prince’s vocals remain distant, and it is hard to know if this is a great performance or not. The guitar solo is equally lost on the recording, which surprises me as I expected the recording would pick it up much better. Of all the parts of “Purple Rain,” it is the audience's “oohhh oohh ohhh” that sounds closest to what is on record, and the song belongs to them as much as Prince on this occasion.

There is no “Alphabet St.” at this concert, and it is instead “1999” that closes out the show. It is a worthy rendition with Prince in full voice as he extols the crowd to party. It's a fitting end to the show, although my ears are pleased it's over. It is only in these last minutes that I let myself acknowledge just how bad this recording was.

I do not recommend this recording in the slightest. I do however wholeheartedly recommend this particular concert. It is coming near the end of the tour, and the band is razor sharp and deliver a great performance. Add in a couple of rarities and arresting moments and it makes for a curious listen. I would be far more effusive if the recording was even slightly better, but it is what it is. Not one to revisit, but it gives us an idea of the quality of some of Prince’s performances at the time.

Sendai 1 February 1989

 

I had several choices of recordings to listen to from the Lovesexy tour. The most famous, and widely available would is the show from Dortmund Germany. I have decided not to listen to that one today, instead, I am listening to Sendai, Japan. It’s almost as well known and is an excellent soundboard recording. I like this one, especially as the setlist is a little different from the Dortmund gig. Lovesexy shows were an experience in themselves. Prince presented his new material, in a way that let you know that it was very important to him personally. At the same time his old material was played, but it was tweaked in such a way that it could contribute to the overall arc he was performing at the show. The shows started with Prince running quickly through his back catalog. It’s a medley, yet he plays just enough of each song that I never feel cheated. It’s a clever way to get the weight of history off his back so he can concentrate his, and the audience, attention on the new material. I am looking forward to this one, so let’s take a listen.

1 February 1989, Sendai Japan

“Snare drum pound on two and four, all the party people get on the floor – bass!” A simple but effective intro to “Housequake.” The drums sound great, right from the start I know I am going to love this one. “Housequake” sounds a little thin on record, but here it’s nice and round, and the drums and horns have me bobbing my head right from the start. The song is genius and as I listen I try to break it down. I have no idea how he could even conceive it and put it together, but listening here, and can see it’s all built around the drums and horns. The other great thing about the live version is the bass is much stronger- which is always a great thing for me! “Housequake” is the longest song played in the first half of the show, and it gives the band a good five minutes to get into it. The song sounds like it is going to end with a brief drum roll, but then after a few words from Prince, we are back to one final chorus.

 

When the song does end, Prince slips easily into the smooth “Slow Love.” I loved this on the Sign O The Times tour, but like everything for the next 40 minutes, it is cut down early, just as I was getting in the mood for love too!

Adore seems like a natural progression, following straight on. Prince’s voice is spot on here, and it showcases just how strong his vocals are. After some brief vocal gymnastics, Boni intercedes and there is some interplay between the two of them.

A sudden shout and a blast and things speed up considerable with a break-neck “Delirious.” The song has always been up-tempo, but here seems even quicker, and the 30 seconds it gets seem to go by in a flash.

In a similar vein, “Jack U Off” follows, but it gets a longer outing. Prince seems to have got his setlist very well constructed here, the songs are grouped in a way where they all seem well suited to what comes before and what follows. The three songs in this group are Delirious, Jack U Off, and Sister, and they seem like a natural family together. Jack U Off is quite sprightly and the horns add a nice element in contrast to the guitar-heavy version from earlier tours. There is even time for an organ solo before the guitar takes a short solo.

The song rolls into “Sister,” and unbelievably it’s even faster. However it only gets a verse and a chorus, but that is enough. Some nice solo guitar work ends it, one can only assume it's Prince. The band jumps back into the fray and the guitar work goes up another level again. A quick dash to the finish line, and then a lovely and surprising segue into “Do Me, Baby.”

 

“Do Me, Baby” slows things down nicely, not only is it a slow song, but here it is played longer than most songs in the first half, so we all have a chance to catch our collective breaths. The beauty of this recording is that I can hear Prince so well, and his vocals are magnificent. A couple of excellent squeals and then in his deeper voice some very cool seduction talk. He’s done it thousands of times, but it always sounds so good. The song ends with a couple of lines from “Adore.”

The energy levels are restored with the intro of “I Wanna Be Your Lover.” Before I get too excited about hearing it, things turn nasty with “Head.” It sounds good, but I think it's missing the visual element, I need to see it as well as hear it. One of my keystone songs, it’s the dark dirty early recordings of it I prefer, this one is a little too clean and sharp for my liking. However, Fink is still here to play his solo and that is always a plus.

‘On the one” brings us to “Girls and Boys.” I adore this song on Parade era recordings, however here it’s a pale imitation of itself. It only gets a minute and seems a little too sterile.

However “A Love Bizarre” seems to come out great, the bass and drum seem thicker and the horns a little stronger. Having Shelia E. on tour is a bonus, and it’s great to have her vocals on it. The song takes a very funky turn when Miko plays a break and the band and Prince chant “Who’s house, Mikos house!” I only wish that it went for longer.

 

“When You Were Mine” sounds almost the same as the day it was recorded. Prince’s guitar sounds the same, and the only difference is the band when they sing along. Again, this song gains a lot on this soundboard recording. It gets more exciting when Prince encourages the crowd to sing “Hey, hey!” and even I feel myself getting more excited. The horns playing at the end is an excellent touch, and it’s a nice update of something from his back catalog.

The pounding start of “Controversy” brings a big smile to my face, but sadly after a minute, it switches to the mournful keyboard intro of “Little Red Corvette.” But it's no bad thing, it’s a well-needed change of pace, and I can’t stop thinking what a great setlist this is. As he did for many years, the song ends abruptly after the guitar solo, and we go straight into “U Got The Look.”

I have mixed feelings about “U Got the Look,” I love the funky rhythm guitar underneath, but hate the loud rock guitar over the top. I am at war with myself over it. Luckily I don’t have too long to overthink it, as it ends soon enough.

“Superfunkycalifragisexy” is a favorite of mine from the Black Album. Here it is very enjoyable to listen to and sounds just as fresh as it does on record. I was very surprised to see Black Album songs in the setlist, but at the same time very grateful. These were creative little songs that deserved to be heard by a wider audience.

The song ends back where we started with a “Controversy” and then things get interesting.

“Bob George” is a strange choice for the Lovesexy tour, and yet it makes perfect sense. It’s dark and funky, and the antagonist of the song is at his lowest point. It makes sense in the wider context of the setlist, and the rebirth and redemption that follows. I wouldn’t want Prince to write too many songs like “Bob George,” but I do like it very much and I love the creativity he shows with it. It ends with the Lord’s Prayer here, and a bang, literally.

After a few seconds of silence and dark noise, the show resumes with Prince on the piano, playing “Anna Stesia.” The first time I ever heard the Lovesexy album this was the song that grabbed me. This was the song I was most intrigued by and the song that seemed to speak to me. Even today as I listen to it, I find I am asking myself questions and listening to it on many levels. “Anna Stesia” marks the end of the first half of the show, with no more medleys and shortened versions, from here on it's all Lovesexy, positivity, and full-length versions. “Anna Stesia” sounds great, I can’t tell you enough what a great soundboard this is. The song ends with Prince singing “God is love, love is God” and that tells you pretty much where we are heading for the rest of the show.

There are then a few minutes of intermission, and “Cross The Line.” It sounds a little corny now, but in the context of the whole show, it definitely belongs and has its place. There are all sorts of samples and noises, and I think if I had been there it would have kept me guessing about what was coming next.

 

I have to admit I was lying on the couch with my eyes closed, trying to digest all the parts of the intermission, when Prince’s voice burst out of the speakers and scared the life out of me! An “Ewww” and Prince strongly begins “Eye Know.” This is another one of those songs from Lovesexy that I never get tired of listening to. I like this one, I can hear Prince very well, and the song isn’t as ‘busy’ as it sounds on the record. Prince tells Miko he likes the guitar, it sounds funky, and he is so right. All the different parts of the song work, and I find I am trying to listen to them all individually and pick out what they are playing. It all works together and I finally decide that only a mad genius could have written this song.

The opening beat to “Lovesexy” grabs my attention, it’s so loud and full. All the Lovesexy songs sound strong live, and I am pleasantly surprised. I remember when I first heard the album I could never imagine how they would work in a live situation, but work they certainly do. The rhythm section in this song is outstanding. Again, it’s another song with plenty of layers, so there is always something new to listen to or pick out.

“Glam Slam” seems like a logical choice to follow with. It's fresh sounding and my only problem with it is that it finishes after 2 minutes.

“The Cross” is a natural fit in this portion of the show. It’s sounding better here than it did on The Sign O Times tour, a little less reverent, and a little more uplifting. I don’t know how the music changes to reflect that, maybe it’s the songs surrounding it than give me that feeling. Again, a testament to Prince’s great setlist. As you might expect, Prince’s guitar playing is a highlight, an absolute joy to listen to. The tone of the whole song is uplifted and it’s hard not to smile as I listen to it.

I find the beat of “I Wish U Heaven” very soothing, and the moment it starts I feel better. Shelia E is all over this one, and she is in fine form. The quality of Prince’s bands has always been the best of the best, and Shelia E is just another example. A star in her own right, she contributes so much to this show, and this song. Miko is another favorite of mine and his guitar playing at the end of this is nice and crisp.

Prince begins the next with “Sendai, come here and give me a Kiss”. If you have read any of my other blogs you will know my feelings about Kiss. This one, in particular, I am not so fond of. The guitar is buried and there is too much horn. Prince says “I like it” but unfortunately I can’t agree. No fault of his, or the band, they play well, the problem is all mine.

“Dance On” is another personal favorite from the album, I was hoping for a full version, but instead I get an intro then Shelia E brings out the “Transmississippi Rap.” It then becomes a Shelia E drum solo. I love Shelia, but I have never been one for drum solos (perhaps bitterness over my own lack of rhythm?), nor have I ever enjoyed the “Transmississippi Rap.” It’s unfortunate and combined with “Kiss,” this portion of the show loses me. It is no big thing, I can’t be a fan of everything, it’s just a shame, I had such high hopes when I saw “Dance On” on the tracklisting.

 

The keyboard swell, so familiar from the 1988/1989 era, begins “Let’s Go Crazy.” Prince delivers an abridged version of the intro before the crunching guitar cuts in. There isn’t anything new or different played here, but Prince does get a good chance to show off his guitar skills, and as usual, he delivers. He forgoes further guitar heroics in the latter part of the song to instead encourage the crowd to sing “go go go”. I am sure it was great if you were there, sitting on my comfy bean bag listening to the recording it didn’t move me. You can’t beat being at a live gig, that’s for sure.

This is obviously the purple part of the show as the classic riff of “When Doves Cry” follows. Plenty of horns on the intro, to my ears, it sounds a little funkier. The shortened variation that gets played doesn’t do the song justice, but I did enjoy all the additions, the bass, the horns, and the samples on top.

There is a very short guitar intro to “Purple Rain.” It feels fleeting compared to some of the long-drawn-out versions we have had over the years. As I guess, Prince sings on the first verses, and chorus before he launches into his trademark solo. Is there anything else to say about “Purple Rain?” It’s played at almost every gig, I have hundreds of recordings of it. This one is no better or worse than any other I have heard.

“1999,” does it sound better with horns or not? The jury is still out, I can’t decide. There is still a nice strong keyboard presence on this recording, so I get the best of both worlds. Prince skips over the bulk of the song and heads straight for the fade-out where he can engage the audience. Even then, by the three-minute mark, it’s all over with a rumble and Prince thanking the crowd, and assuring them that God will take care of them.

There is a feeling that the show may be over, but after a minute Prince is back, and for a final encore we get “Alphabet St.” Every show has a highlight for me, in this show, it would have to be this, along with “Anna Stesia.” Prince sounds very playful as he sings, and the band weaves in and out around him. Things get more interesting after Cats rap, and although it’s played tight, I get the feeling the band could have happily jammed on this one. It’s interesting to me that this show is so rehearsed, choreographed, and note-perfect, and yet this is the same band we hear at after-shows, where they spread their wings and fly. They always sound tight and well-reined in here.

 

The show ends with the sound of water running, and I guess it’s the noise of baptism and purity.

A show from yet another interesting period of Prince’s career, I overall enjoyed it very much. You may think from some of my negative comments above that I didn’t rate this very highly. And looking at it on paper, highly choreographed, rehearsed, and tight, I don’t think I was going to enjoy it too much. But the show is so well played, and Prince believes absolutely in what he is playing, that I can’t help but enjoy it. I will always feel it when someone believes in what they are playing. And I can’t forget, the strength of the songs themselves shines through, and there are some of my favorite songs here. This wouldn’t be the first CD I would grab out, but I always enjoy it when I hear it. Overall rating: Solid.

San Francisco 11 November 1988 (am)

 I haven’t heard or read many people talking about this recording, but it is a gig and a recording I like. Aftershows throw up a wide variety of songs, and no two are ever alike. This one has several songs that appear on numerous other recordings, but also a couple of others that aren’t played as often, and these are the ones that make me excited about this recording. The recording is muted, but clear, but it is short- clocking in at just over an hour. But a very enjoyable hour it was indeed. 

11 November 1988  Warfield Theatre, San Francisco 

Like many other Prince gigs, this starts with a steady beat. Just the drums playing a relatively simple beat. There is just a touch of bass, but I don’t recognize it at first until there is a loud cheer from the crowd and Prince starts to sing “Positivity.” The keys enter at the same time, and even though it’s somewhat quiet, it’s an excellent start to the gig. It’s hard for me to give an unbiased opinion about this song. Lovesexy is regarded as the highest creative peak, in terms of albums, that Prince ever reached. And I know that for many people, their favorite song on the album is “Anna Stesia.” I love “Anna Stesia” too, but I also have an equal amount of love for “Positivity.” Its tone and mood capture my imagination, and there is all sort of interesting moments in it that excite me. So for me, to have it open this show is fantastic, and I am all in right from the start. The song gets better and better as it progresses. The keyboard gets louder and more clunky. After a quiet first verse, Prince sings the second verse much more full-throated, and it has a nice full sound to it. It’s more human and not as mechanical as it sounds on the record. There are plenty of cheers (some of them might be from me on the couch) as a long sax solo begins. Ah yes, Eric Leeds, no need to tell you again how much I love his playing. He finishes one solo, there is a brief pause by Prince, and then he calls for another solo from Eric. Not a word of complaint from me, I could listen to this stuff all day. The song then moves into a form more in line with the album, with plenty of Princes singing. He’s not as cool and laid back as you might expect, and the song is so much stronger. The bass too is not so buried in the mix, and it is well heard in the last couple of minutes. With a “Hold on to your soul” the song comes to an end. What a brilliant opening to the show. 

The muted chord progression of “Dorothy Parker” begins. I am only listening to the show, but already in my mind, I picture it as a dark smoky type of gig. Both these songs have that sound to them. “Dorothy Parker” sounds good, there is some nice horn and piano playing, and a great moment when Prince ad-libs “Mind if I turn on the radio, Madhouse was on!” This is followed by a piano break, which has a cool jazzy feel to it, as you might imagine. The horns and piano are what this one is about, the horns never dominate, but they do add a lot of colors. The song drops down a bit, and over a repetitive couple of chords, the sax plays for a while. It’s a very cool couple of minutes.

 

Prince sounds pretty relaxed as he thanks the crowd for coming out, and tells them “this beats hanging out at the hotel watching Letterman” He immediately begins “Housequake,” and this is again a very strong version. He sounds like his heart is really in it on this night, and his vocals are quite impassioned. The band is very cohesive on this one, and there is nothing loose or wild about it. The horn solo is brief and tight, and it is played as heard on Sign O Times. It’s no bad thing at all, and this is one of my favorite renditions of this song. Not that there’s anything special about it, just it's played with a lot of heart. Later in the song things become a little more exciting, there is a couple of ad-libs from Prince, and the band begins to swing off a shade more. It has a funky false ending before Prince calls the band back for a final couple of lines. 

Prince then says “I think I want to play guitar” and we are treated to some beautiful lead guitar. He’s warming up and playing some nice lead lines. With a hushed “one, two” the familiar sound of “Just My Imagination” begins. The first couple of minutes of guitar set the bar high, and it’s almost disappointing when the song begins properly. Princes’ singing is warm and inviting, and I find myself falling under his spell as I listen to this. The guitar break is equally alluring, and it draws me in slowly before Prince begins to crank up the pressure. This is one of my favorite renditions of “Just My Imagination;” the guitar break is passionate, but not too fast or furious. Prince sounds like he is holding back but it sounds great. I especially like what comes next- some very impassioned singing of “Noon Rendezvous” by Prince. It takes me a few seconds to register what I am hearing, but when I realize what it is I am blown away. I love it when he sings “I don’t care what you got on your feet baby, I just want to meet you, I just want to greet you, I just want to take off all your clothes and eat you”. Oh yes, we miss you a lot ‘Dirty Prince’. There is a loud cheer as the song ends, but I don’t think the audience realizes just how great that was! 

 

There is the sound of some lead guitar next, before the more relaxed sound of “I’ll Take You” There begins. The crowd sounds as if they are enjoying it, there is plenty of handclapping, and a couple of whoops as Boni sings. I like the little guitar I can hear, but what I enjoy most is the singing of Boni. Usually, I find it hard to get into a song that Prince himself isn’t singing, but today I find myself enjoying this one a lot. There are a few minutes of the singers repeating “I’ll take you there” while some nice guitar is played underneath by Miko. Nothing too heavy or in your face, just some nice funky rhythm. Things pick up after this and Boni and the music both start pushing much harder. The song ends abruptly, but I think it’s my recording rather than the band itself. 

‘Take this beat, I don’t mind’ starts us into “I Wish U Heaven part 3 (Take this beat).” Another favorite of mine from this period, it’s played nice and upbeat, with plenty of funk. Prince is sounding like he is enjoying it a lot, and sings “I gave you Levi, you don’t want him” a few times before there is a great break for the bass. It gets better and faster as it goes, and it shows off some of Levis's talents nicely. Now the band begins to jam. Boni sings and we move into “Cold Sweat.” It’s played as we have heard before, pretty much the same as The Small Club gig. The band and Boni more than do it justice here, and it's part of a much longer medley. 

Next “Ladies and Gentlemen, on the drums, Prince!” He plays an enjoyable drum break, nothing too spectacular but it shows off plenty of his skills. The bass joins in after a bit, and there is a brief jam. Again, it all sounds very good, but there is nothing spectacular. A sharp “on the two” ends Prince's time on the drum before the very Shelia E percussive sound begins. 

Sheila E’s solo here is one of the more enjoyable ones I have heard from her. It’s much more colorful, and percussive sounding rather than just a basic rock solo. She plays some cool-sounding fast rhythms, and it’s a head bobber for me. As much as I love Shelia, I don’t always enjoy her solos, but this one plays to all her strengths, and it’s great. For the first time, I find myself thinking “I wish that went for longer”. The recording is worth listening to for this alone. 

 

There is a long pause after this, and then Prince instructs Boni to “Hit an F chord”. A moment of twinkling on the piano as Prince sings the first lines of “Lovesexy,” and then the beat comes in and we get a proper full-on rendition of Lovesexy. It sounds great live, the guitars can be heard much more, as can the bass. A lot is happening to listen to, but it still keeps a groove about it. The crowd starts singing “hey hey” with Prince's encouragement, and for a few seconds, I can close my eyes and imagine myself there. The music swirls around, and Prince sounds like he is having a great time. He sings ‘Hollyrock’ for a bit, and I get the feeling that this song is going to be stretched out. The bass and drums are right in front (mostly due to the recording I think) and it gives the song a much harder sound. There is a false ending, and then Prince starts pushing the band in different directions. All sorts of sounds and lines are thrown into the song. I hear a snatch of “Glamorous Life,” as well as “A Love Bizarre” before somewhat bizarrely Prince sings a line from ‘Born in the USA’. This is followed half a minute later by a line from ‘The Way You Make Me Feel’. The band starts smoking after this, there is a definite upturn in intensity, and then Boni starts singing “Chain Of Fools.” Unfortunately the recording isn’t great, and I don’t hear her as well as I might, but she sounds good. At this point the saxophone makes a very welcome return, this time playing fast and furious. The band is chugging along at great speed now, and moves effortlessly into a “It’s Gonna Be A Beautiful Night.” I often underestimate this band, but when I hear shows like this I am in total awe. They are awesome in every sense of the word. With a shout of “Vegas” Prince brings it all to a halt and the recording ends. 

 

I am very surprised that this recording doesn’t get more love. I have heard very few people mention it, but I thought it was outstanding. True, it’s an audience recording, and that does detract from it a lot. But the performance is hot, the setlist has enough in there to make it interesting, and the band is very tight. If this was a better recording it would be magnificent, but even as an audience recording I still find it absorbing. 

Hollywood 7 November 1988 (am)

 When it comes to bootlegs of after-shows in 1988, the Trojan Horse stands above all others. It is the most beloved and well-known of the after-shows, but there are several others from the same year that deserve attention. The Warfield aftershow from November is highly regarded, as is Große Freiheit ’36 (especially by me). There is also the aftershow from the Camden Palace in London (sadly incomplete) and then the bootleg I will be listening to today, the early morning performance from The Palace, Hollywood. Superficially all these concerts appear to be similar, but I find that when I listen to them each has its own character and feel, and so it is with The Palace. It appears to be a standard aftershow set of the time, but it is played with a heavy dose of swing that is missing in the other shows. There is an element of fun, and the intensity that smothers the other concerts is instead replaced with a bright and breezy performance. The audience recording isn’t too bad, considering the era in which it was recorded, and even if the sound is thin in places, the performance can always be heard without distortion. It can probably be best compared to the Warfield show, recorded just four days later, the setlists are almost identical, and although two different recordings of that later show are in circulation, I prefer the sound of this concert. 

 7th November 1988 (a.m.), The Palace, Hollywood.

It is the keyboards that roll out the red carpet and lead us into the show. The slow build into “Positivity” gives the song the solemnly that the lyric content demands, and as the rest of the band joins there is the feeling that something special is in the air. Without becoming too intense, the song lets the individual players feel their way into the music, along with the audience, and the song envelops the recording in its timeless mist.

 

A brightness enters the recording as Prince plays a sharp version of “Eye Know.” It is at this point that the recording briefly flickers, but the band and Prince remain upfront and loud, and there is extra energy as the song and concert bloom into something a whole lot more colorful and celebratory. Despite the wobble in the recording, it is apparent that Prince is giving another star performance, and he burns with supernova power even this early into the show. The song isn’t as complex as it is heard on record, but the band adds a baroque sound that melds well on top of Prince's bare funk that can be heard churning away beneath the song.

“Wade In The Water” gives the recording an extra depth, as Prince pulls us back to his roots while delivering some feathery guitar that sounds as if it has been handed down from God himself. Prince stays on this route, “God Is Alive” bringing spirituality and funk together in a mix that is Prince at his very best, bringing these two disparate strands together to create something unique that bestrides both sides of this religious gulf. There is the feeling of God in the air, while the bottom end of the music suggests all sorts of other sins, this unresolved tension creates a piece of music that never gets tiresome or stale.

 

The piano introduction to “The Ballard Of Dorothy Parker” shines in the darkness in this recording, and the rest of the song is equally well served by the quality of the tape.  The nuance of the song is captured well, and as it segues into “Four” the piano and horns can both be heard, without either taking precedence over the other, making for another colorful and three-dimensional moment caught on tape.

Boni Boyer does not disappoint as she comes forward for “Down Home Blues.” I prefer her performance here over what is heard at the Small Club gig (incidentally, the first live performance they did of the song), she is more subtle here and rather than belting it out she instead gives it to us piece by piece, making for easy digesting before Prince makes his first major guitar move of the show with some surgical playing that neatly dissects the song. Boni Boyer returns for a final “Rock Me, Baby,” but it is Prince who burns the house down with one last fiery burst from his guitar.

 

It takes some time for the band to build into “Cold Sweat,” but even these opening minutes are funk-fueled and one can almost hear the sweat dripping through the tape and the recording. Boni Boyer and Eric Leeds dominate the overall sound, and although the song is grounded in its forceful rhythm, it is these two that can be heard adding the most to the overall feel of it. For all that though, it is a Sheila E. solo that brings the song to a close with a simple and effective break, only to be outdone by the moment when Prince briefly sings the “Bad” bassline. Well worth checking out!

Some interlacing guitar work introduces “Just My Imagination (Running Away With Me),” draping a soft lace of rhythm guitar across the sparse opening. At first, Prince is swallowed up by the song, but he does emerge from this aching sound with an emphatic plea from the heart as the song builds to its emotional core.  It is the first pillars of the guitar solo that are the gateway into the heart of the song, and as the guitar cries in the darkness the song slips away, only to be replaced by the raw emotion and the purity of music itself. It’s hard to know where to place this solo on the Pantheon of Prince guitar solos, but as it claws its way across the raw bloodied heart at the centre of the music, it speaks not to the ear, but the very soul, making for one of Prince’s most powerful performances.

 

It is a frantic “Supercalifragisexy” that banishes any such sentimentality from the show, and Prince gives a furious and mesmerizing performance. With guitar in hand, he ladles on great dollops of funk, all at a breakneck speed that never lets up through the ten minutes the song twists and turns in various shades of funk. It is Eric Leeds who is the foil to Prince’s kinetic sound, he matches him blow for blow through the song, both matching Prince and pushing him further. It is only in Prince’s final hurricane of a solo that he bests Eric, and after such a blitzkrieg it is hard to envisage what might come next.

What comes next is  “I Wish U Heaven (part 3).” With a heavy beat, the drums overwhelm the previous all-conquering guitar, a heavy march compared to the guitar’s earlier wild night flight. The song smolders with the appearance of the horns, and as Prince hits his lines the song heats up, but it never quite bursts into flame as it promises. The rhythm though is undeniable, and it never once lets up in its drive and momentum as it powers towards the end of the show. The music glowers and growls, there is no bite, only the threat of imminent danger and darkness. It is a decisive finish to the concert, and the band unfurls their strident brand of funk in these final minutes, making a lasting impression that lingers on long after the concert has finished.

 

It has been quite some time since I listened to this entire show, and I have to wonder why it doesn’t get more play at my place. An excellent show with Prince and the band at the height of their powers, there is a lot to love about this bootleg.  There is very little rock or pop to be heard here, it is all about the funk, and Prince gives us plenty of his unique style of funk as each song is brushed by his sound and sonic flavor. This bootleg is easy to overlook next to the highly esteemed Small Club, but it holds its own in comparison, and should not be discounted. As a record of Prince’s funk style at the time this recording is outstanding and is not to be missed