Saint Paul 6 May 1990

 

My own bias is showing. Anyone familiar with this blog can see that I am enamored with Prince’s mid-80s concerts, and his mid-90s rebirth as the Symbol. I was a gangly, awkward teenager through the ’80s, Prince was the brightest star in a constellation of pop stars. By the mid-90’s I was in my twenties and able to fully appreciate Prince’s metamorphosis at that time as he moved beyond the pop realm and claimed his own previously unexplored sonic territory. I was now a serious music fan, and Prince was a serious musician. Other eras hold their charms, but these two points of Prince’s career coincided with major landmarks in my own life and as such hold a special place in my heart. I have always appreciated other years in Prince’s career, but perhaps I have never given them the attention they fully deserved. I have made an effort recently to visit some of these concerts, A couple of weeks ago I took a listen to a greatest hits show from 2010, and this week I will be digging deep into a concert that serves as a warm-up for the Nude tour, a tour that I have previously glossed over. Looking at the setlists, I can see no real reason why I don’t enjoy these concerts more, perhaps it’s Prince's own antipathy, while he is fully invested in the shows they aren’t geared around a major album push at the time (these aren’t really Batman shows and Graffiti Bridge was released just a two weeks before the end of the tour), and as such for me they appear as a hotchpotch of material. However, in his defense, the material does sound good live, and as always Prince is at his very best live on stage.

6th May 1990 – Saint Paul, Minnesota

“I could tell you things to get you excited, things you never heard”
What I could tell you is that this audience recording is excellent, it is crystal clear, and if not for the audience cheering in between the songs there are moments where it is almost as good as any soundboard. I could also tell you that Prince only performed the Nude tour twice outside Europe, once at this concert and once at the Big Chick charity concert just a week previous. This recording is light years beyond that Big Chick bootleg, there is absolutely no comparison as this one shines and sparkles in a way that the Big Chick recording cannot come close to.

Forget the “DAT Intro,” there’s nothing there that hasn’t been heard before and at my age, I don’t have time to sit through a series of teases, the concert kick starts with a pounding “The Future.” It stands proud on this quality recording, Prince’s vocals flanked by towering synths and great slabs of pounding drum. It is minimalist, yet powerful, with its sense of purpose and direction building a path into the concert. It harks back to Prince’s 1999 electronic sound, all the while pointing to the future with its real drum sound that fits Prince’s “real music by real musicians” mantra.

 

There is a soft-focused warmth to “1999,” although it sounds pale in comparison to the previous song, and indeed to the album version itself. This band isn’t one to cause a revolution, and the song stays neatly tucked up in cotton wool, never threatening to break out into the party that Prince promises.

This iteration of the NPG continues to pull down the flag of the previous regime with their own version of “Housequake” that contains a lot more bounce but a little less greasy funk. It’s fun but has no hint of danger that Prince exudes in his best performances. The dip into “Sexy Dancer,” is a nice touch, but unnecessary in the face of what could be a funk monster under other circumstances.

The recording remains pristine and promises much as “Kiss” slides into view, slippery and groove-laden from the start. It’s not as busy as some arrangements that Prince has toyed with, yet Prince never strips it back as far as it is on record, there is the bass bobbing in the background on the sea swell of funk, and the extra vocals are just on the wrong side of intrusive. However it’s hard to fault on a recording as good as this, and the final coda takes me back to the 12-inch version, we are within a whisker of hearing “woman overboard,” before Rosie’s thunderous voice makes an appearance, stealing the song from the band and making the next few minutes all hers. The final minutes trickle away on the back of Prince’s cascading guitar, leaving us with a well-rounded and satisfying rendition.

As he did throughout the Nude tour, Prince gives us a heavily abridged version of “Purple Rain.” It still runs for seven minutes, but the excesses of the ’80s are trimmed from it, presenting a verse, chorus, and clipped guitar break that, although nods to all the right markers, doesn’t give the same sense of a thrilling ride that we hear elsewhere. It is bereft of the emotional core that so many cling to, and although it sounds right it leaves the arena in the same state as it found it in, as if it had never existed at all.

 

A great, jangling “Take Me With U,” rises from the arena, and immediately makes an impression with its youthful vitality. Light on record, I am constantly surprised by how much this lifts concerts when it is played, and here is no exception as the energy levels on the recording take a huge upswing. It is Prince who is mostly heard, a little disappointing as I would have loved to hear Rosie tear this up, but his final rhythmic guitar breakdown touches all my sweet spots and opens the door nicely for “Alphabet St.”

Now is the time for Rosie to shine, and although it’s Prince that leads us into the song, soon enough it is Rosie’s voice that arrives from the depths with her warm, all-encompassing timbre. It is a quick diversion as we stray further from the core of the song, but a pleasant distraction and one that I fully approve of. The to and fro with Prince and his rap only heightens the sense of power in her vocals, her voice seemingly towering over Prince’s more measured delivery.

Prince introduces “The Question Of U” and it emerges slowly from the darkness, revealing itself with its unmistakable beat and Prince’s off-kilter lyrics. It is a wispy solo that snakes from Prince’s guitar, almost scared of the light it stays low in the mix, not the least bit bold and strident as I expect. The recording has been good throughout and I can only attribute this anemic sound to the mix in the building rather than the taper. With a nod to the past, Prince gives us a gravelly rendition of Muddy Water’s “Electric Man,” turning the air electric with his own sexually charged version that while drawing from the past updates it to his own vision of the future.

 

Rather oddly “Controversy” fades in, leaving me wondering if the start of it was missed by the taper, but soon enough it is comfortably part of the concert. It is short but played as a passionate, grimy full version in comparison with some of the light and shiny renditions we hear later in Prince’s career. Rosie Gaines touches it, making it all the more interesting with her “do me baby” lines giving the song soulful ornamentation to hang off its raw-boned funk.

Rosie Gaines remains the center of the concert universe with her take on Aretha Franklin’s “Ain’t No Way.” It’s a brave cover to take on, but Rosie is worthy of the challenge and delivers a powerful rendition that fills every crack of the recording with her warmth. For a moment the concert becomes entirely Rosie’s as she temporarily has us forgetting all that has come before.

Prince covers a similar territory with his very own “Nothing Compares 2 U,” a soulful song that drips emotion from the first moment we hear Prince’s voice. Prince draws all he can from it, the song pumped up with a crying hurt at every opportunity, and Prince’s final hoarse cry seals the deal and sells the song. Not yet ready to share with others, it is only Prince on the vocals, Rosie is sidelined for now, although she will be unleashed at full power in later years.

“Batdance” is an oddball. It was unique upon its release, and live in concert it remains so. One can enjoy it well enough, but it lacks any sort of organic rawness, even the Gameboyz hype and flow fail to lift the song beyond its recorded state, although it does seem to go over with the crowd very well judging from the cheers on the recording. The funk guitar remains a highlight, the crowd singing less so.

Next on the recording is a rare surprise, the only live performance of “Scandalous” from the Nude tour. Miko’s guitar sings out, immediately marking it as a sensual performance, his playing just as emotive as Prince’s vocals, each note glistening like dew in the early morning sun. The rest of the song comes with a soft reach, Prince’s vocals rising and falling in front of a steady swell of synth. It could be too much, but the band keeps it on a finely balanced edge, the song never dipping into the synth-laden schmaltz that it could have. It’s sexy, but never once sweaty or overly romantic.

 

There is a fierce drumbeat that batters the eardrums for the opening of “Baby I’m A Star,” the recording for the first time not quite as perfect as it has been. However, the urgency of the music carries the day and buries this first beat in a collision of sound. The moment revolves around Prince, the man at the eye of the storm controlling the band with a multitude of calls and cues. There is a moment where Prince mentions the fourth-coming European tour – “We gotta get outta here, Europe is waiting,” which is greeted with howls from the crowd, adding to the easy nature Prince has between himself and his home audience. The swing and sass of the longer jam maintain this easy vibe, the groove providing a platform for Tony M’s gentle hyping of the crowd, a smooth vibe that attracts me throughout. Rosie adds some sense of gravity with her quickfire shot of “Respect,” the song giving a blistering finish as we head pall-mall to the last song.

There is no more appropriate song to finish this concert with than the eternally effervescent “Partyman.” The song dissolves rapidly into a typical Prince final jam, the beat merely a jumping-off point into a multitude of different directions, Prince offering up several different paths but never venturing down any as he keeps the song moving forward. The song ends abruptly, never building to the epic conclusion I had hoped for and the material promised, the final minute letting down what otherwise has been a superb concert, and an excellent recording.

I have regrets. I regret I didn’t listen to this recording earlier. I regret I didn’t give enough time to this era. I regret I didn’t appreciate any of this until later in life. Make no mistake, this is a sublime audience recording, and Prince playing to his home crowd only makes his performance all the more energized and heartfelt. I will not be overlooking this era again, and I guarantee that this concert will be playing more at our house in the next few weeks. I may have skipped over it in the past, but I will certainly make up for it now -you can take that as a high recommendation indeed.

St Paul 30 April 1990

 

This week was the 26th anniversary of the passing of Charles “Big Chick” Huntsberry. It is often commented on Prince’s lack of sympathy or empathy concerning former friends and employees, here we have an example of him doing something very generous for the family of Big Chick, a benefit concert just a few weeks after his passing. It’s not a remembrance show, although Prince does talk about his passing, it is a benefit show with all proceeds going to the Huntsberry family. Admittedly the recording is not of the greatest quality, but the main attraction for me is its significance as a benefit for Big Chick, as well as the live debut of songs from the Batman album, and then to top it all off the first live performance by Prince of “Nothing Compares 2 U.” Plenty there for me to enjoy, hopefully, I can overlook the rough audience recording.

 

30th April 1990, Rupert’s Nightclub, Minnesota

The recording opens with Prince speaking about Big Chick, this would be great but the recording is muffled early on and I don’t have the patience or ears to understand exactly what Prince is saying. With more time I could probably work it out better, but right now I am here for the music. It’s followed up with the “DAT intro,” which I feel ambivalent about in most circumstances. Tonight I find it quite enjoyable, and hearing all the snippets does fill me with anticipation of what might follow.

What follows is a recording dropout, and then a sharp rendition of “The Future.” “The Future” is one of those songs that I have come to gradually over the years, and even though there are a few more drops in the recording as the song plays, it does sound better as it goes. Prince's vocals are smooth sounding, and the keyboard swells fill me with warmth on this cold evening. I do have to turn it up loud to fully appreciate the music, and I do at struggle times as it crackles and pops in my ears. The show sounds good, even though it feels like I am listening through the wall, the crowd is loud and vocal and I can hear plenty of cheers.

“1999” is a crowd-pleaser, and I do like this version with it played over the same drumbeat as The Future. There is plenty of room for the band to make themselves heard, and I recognize Rosie’s voice through the noise of it all, and that always brings a smile to my face. It’s a pleasant change to hear “1999” early in the show, too often it is relegated to the party near the end of the show in recent memory.

I’m not a great fan of “Housequake” in this incarnation. It’s too plastic sounding to my ears, it has been neutered to fit in the beat of these opening songs. A lot of the smaller sounds and subtle pieces that I can hear in it are stripped out, and it’s the pounding beat and the vocals that I can hear most, although we could attribute that to the quality of the recording.

 

I knew that “Sexy Dancer” would follow, but I don’t derive any pleasure from being right. It’s very truncated, and a mere coda to the trilogy of songs that opened the show. The happy side effect of it being on this recording is now I want to dig back in the crates and give the original a spin. It’s a very good song that deserves a better airing than what it gets at this show.

My love/hate relationship with “Kiss” live follows next, and I decided to give it a good listen before I judge this one. The verdict is a solid pass, it retains the key elements of the album recording and Prince injects an element of fun into it. Another aspect that I like is that it isn’t overworked and it retains the simple charm of the original. So we are all good in the performance side of things, the downer again being the recording that drops a few seconds midsong. This is coupled with a muffled sound, so it neutralizes all the great aspects of this live performance. The magnificent Rosie Gaines is in fine voice later in the song and she delivers a big sounding “Let’s Jam,” well it would be big sounding if we were there, as once again we are let down by the recording.

“Purple Rain” has a slow sentimental sound that is purpose-built for a show like this. Prince talks about Big Chick, frustratingly I can’t make out what he is saying – but I do hear what the people near the taper are talking about- typically my luck. Prince gives us the Purple Rain ‘highlights’ version, which is an opening verse, a chorus, and then some of his trademark guitar work. I decide that I must be mellowing in my old age, a younger me would rail against this sort of thing and demand the full uncut masterpiece, but tonight I am quite content to sit and enjoy it as he plays. It’s very soothing as I sip my cup of tea and wallow in his guitar sound.

 

We stay on the Purple Rain trip as Prince breaks out “Take Me With U.” It’s all a lot of fun, and the crowd participation and energy are noticeable. It’s strange, for a song I often consider lightweight, it has something to it that people can’t help but respond to. Even here at home I am swaying and singing along.

“Alphabet St” comes next, fast and furious with the crowd becoming more enthused as the show progresses. I would have liked to hear the guitar better, on the other hand, the drums and bass are sounding better, and the recording does seem to pick them up the best.  This is the same as the live version played through the Nude tour, with the “It Takes Two” middle section with Rosie owning the microphone. Back in the early 90s I wasn’t exactly enamored by this arrangement, 25 years on and I find I get a lot of enjoyment out of it. Prince sounds energetic as he spits his lyrics, and I have nothing but good things to say about Rosie and her fantastic voice.

The live debut of “The Question Of U” is next, a song I seem to be listening to plenty of times in the last few months. This one has more guitar in the intro and I am more than happy to sit back and soak it up. There is a moment where I wonder if Prince will sing at all before he finally comes to the microphone and begins to sing his “Electric Man” lyrics. This works well for me, I liked hearing “The Question Of U” lyrics without lyrics, and the “Electric Man” lyrics, although slightly silly, have an intensity to them that works for me. I could have done with more of both songs, instead, it feels like I only get half of each which leaves me wanting more.

 

Rosie takes control next with a cover of “Ain’t No Way.” I would be deliriously happy if this was a soundboard, as it is in this form it’s still very good despite the distracting static and audience chatter. Rosie’s voice is so full and pure sounding that I can put aside these reservations and just focus on her, and for those couple of minutes, she sounds heavenly.

Prince follows this in the only way he can, with a live performance that reclaims “Nothing Compares 2 U” from Sinead O’Connor. It’s a special moment as he plays it live for the first time, and my recent memories of him singing it with Shelby J vanish as he puts his stamp on it. I close my eyes and cut out all other sounds and just focus on Prince's vocals, which are perfect. The piano break is great, and just what the song needs, it lifts it another notch and lights the leaden sound. This is the performance that brought me to this recording and it delivers.

“Batdance” sounds gloriously live, the guitar sounding particularly loud and funky. Like so many of these other songs, it is its live debut. It’s hard to know what to make of it, I would have liked to see it as much as listening to it. One thing I know for certain is I am no fan of the Gameboyz and the sound of them chanting for a short time in the middle of the song. Things get better as Prince gets the crowd to participate, I do like that until the Gameboyz reappear vocally.

After this, things change dramatically as “Scandalous” gets an airing. I am all in for this one, it sounds exactly as it should, and I am surprised by how much audience chatter there is during such a fantastic song. There is just a hint of guitar in all the keyboard swells, and that gives it a sharper sound that plays well with the lush sound and Prince's dripping vocals. Prince’s performance sounds great, sure there is a couple of dropouts in the recording, but Prince himself is marvelous throughout the whole song.

“Baby I’m A Star,” and we must be nearing the end of the show. Prince is well in his stride now, and I can feel the energy coming through the speakers at me, there is even a fantastic scream that has me excited on my side of things. The song degenerates into the jam often heard on the Nude tour with the Gameboyz providing rhythm and fun. The energy levels drop for some time in the middle of the song, and I find myself gazing into the distance for a few minutes before things swing up again later in the song. For large parts of it, I find it too ‘samey’ with not enough variation and individuality for my taste. The exception would be the piano break which I find pretty cool.

We slip into a slow jam next, which is little more than an opportunity for Tony M to encourage the crowd to “make some noise” over a quieter slow beat. Thankfully it’s only a minute before we launch back into the “Baby I’m A Star” jam.

The jam takes off at this stage, and with Rosie belting out “Respect” I am well back in my comfort zone. It's a shame she isn’t utilized more, as he does with his modern-day backing singers, she always delivers at this show, as she does with other shows from this time that I have listened to. The beat continues, and we can hear the band throwing more into the mix as the song is nearing an end.

There is a celebratory mood to the end of the show with plenty of clapping and cheering before we get a fun-filled sounding “Partyman,” complete with a long intro that sounds like it’s taken straight from the video. Despite the muffled sound, it’s hard not to enjoy this song, and I love listening to it here tonight. It starts off fun, then gets better from there with plenty of piano throughout the song giving it a jazzy sound. This jam works much better for me than the previous “Baby I’m A Star” jam, and it ends the show on a real high.

A benefit show for Big Chick, this was no morbid memorial, Prince played an enthusiastic and upbeat show, and even though it was a poor recording the performance shone through. Make no mistake, the recording was hard to listen to at times, I wouldn’t recommend this to the more casual listener, but if you have the time and inclination it’s an interesting show. The songs debuted are played with gusto, and as always they are well-rehearsed and betray no hint of being new to the band. I don’t know if I will be listening to this one again for a while, there are so many more recordings out there, but it was certainly an interesting diversion.

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.