Rotterdam 28 May 1992

 

Today’s post comes via a rather random route. I was just thinking that I hadn’t written about anything from the Diamonds and Pearls tour when I happened upon a comment on prince.org stating that the best performance of Purple Rain was at Rotterdam 1992. The person posting then went on to say the whole gig was very good, and well worth a listen. “Well, why not?” I thought. If I am going to listen to something from about then, this sounds like the place to start. So today, a random gig recommended by a random person. The headphones are on, my laptop is humming, so let’s see just how good this is.

28 May, 1992, Rotterdam

The start isn’t terrible. I didn’t know what to expect as the recording begins, but I wasn’t surprised to hear that it is an audience recording. The show opens with some electronic noise, and a voice intoning a digital countdown. It sounds somewhat dated now, but I am sure that at the time it was pretty cool. The crowd cheers as you might expect, but they quickly quieten down as some keyboard intro music plays. There is then a woman’s voice singing “Take My Hand, Precious Lord.” I am convinced it is Rosie, and here she sounds strong and soulful. It’s only a few lines, but I would gladly pay good money to hear much more like this.

 

The show begins properly in the next minute as we hear Prince singing the start of “Thunder.” I can’t remember the last time I heard this song, it’s been many years since I last listened to Diamonds and Pearls album, but as this song gets going I am thinking I should listen to it more often. The sound is muted due to recording limitations, but asides from that it's relatively clean, there is crowd noise, but Prince's voice and the drums come out nice and strong. The other instruments are a little lost, it’s a shame, as I can hear some great guitar playing, but it’s not right out front like I would want. I very rarely mention Michael B, but he is a star here. His drumming is so strong, that it sounds like he is pounding away. I am pleased that Prince is concentrating on his singing, and only a couple of times does he yell encouragement at the crowd- a pet hate of mine as you well know. The guitars go up a notch in the latter part of the song, and I can only close my eyes and imagine what it must have been like to be there at that time. I find Princes look at this time to be thin and delicate, but his music here is very big and strong- a pleasant surprise to me.

Tony M shouting out an introduction to the crowd begins us into a long jammed rendition of “Daddy Pop.” Again, I had forgotten this song even existed until now. It begins well, the organ has me nodding in enjoyment, and Prince's vocals too have me on side. However things slide as we reach the chorus, and we have Prince and the band enthusiastically singing “Pop Daddy, Daddy Pop”. I’m just not feeling it. I thought for a second maybe the music in-between would be enough to satisfy, but sadly Tony M's appearance again derails even that for me. There is a nice little breakdown, with some cool bass runs, and as much as I enjoy them, it only highlights further the unevenness of the song. Prince and the band persevere with the song, long past the point where I would have normally listened to it. I keep hoping for some musical magic to save it, and Tony M keeps popping up his head and killing my moment. The final straw comes when he finally delivers a shouted rap, and I concede and hit the skip button. Sorry, but I just couldn’t take anymore.

 

I am so used to hearing abridged versions of “Diamonds and Pearls” nowadays, that to hear the full version here is like hearing a new song for the first time. Normally I would dismiss this song as being too syrupy and sweet for my tastes, but since it’s more than 10 years since I last heard it in full I’m going to give it a pass. Rosie nicely complements Prince throughout, and I had forgotten how well they sounded together on this. Her deep power nicely offsets Prince's delicate vocal delivery. Some of the subtleties of the song are missing in the recording, but the chorus shines and is the strongest part of the song. Michael B makes an immediate impact midsong, and some nice deep-sounding rolls come from him. Overall the second part of the song sounds much better to my ears, and Rosie is easily the star of the show. That is until the unmistakable sound of Prince's guitar begins, and then for the last minute of the song he dominates.

“Lets Go Crazy” gets the shortest of intros before the riff begins. It's an overall short version here, and the drumbeat is prominent and up-tempo. As you might expect Prince dumps most of the verses and concentrates on the guitar playing. But it is by no means a festival of guitar love, and after only a minute of guitar fireworks, Prince takes us into the next song.

 

As you might expect, the arrangement of “Kiss” is different from that heard on other tours. This one concentrates more on the rhythm guitar underneath and the horns, and all in all it comes across as some sort of “Sexy MF” bastard child. And that’s not too bad at all, I find myself listening carefully to it and enjoying the groove. The horns add a lot of brassiness to it, and it’s far from the barebones skeletal song we hear on the record. It’s never going to be my favorite arrangement, but it is good. There is even time for some call and response near the end of the song “let me hear you scream!”

I tried not to judge “Jughead” before it started, but as soon as Tony M picks up the mic and starts extolling the crowd to party it was over as far as an objective review goes. Of interest, after a minute of playing with the crowd, he does rap the first few lines of “Dead On It,” which I find interesting in itself. You can even hear some of the crowd respond with “On it” when he says “the only good rapper is one that’s dead”. Oh, if only. I feel especially sorry for Rosie when she begins to get involved in this mess. The music can barely be heard under the relentless shouting and it doesn’t leave us much to listen to and enjoy. I did like it more when Prince was rapping, and the onslaught of noise dissipated a little, but it was only a brief moment in what is a dire song.

Next, the reason why I chose this gig. “Purple Rain” begins very well, the soft guitar sounds amazing after the previous song. The difference between the two is like night and day. The crowd has been waiting for this one and commenced with the “ow ow ows” right from the start. The gentle strum gives way to a much harder lead guitar and the guitar break played is better than I could have anticipated. It’s not fast, but it does have a good loud crunch to it. A couple of howls from Prince, and he begins singing the verses properly. As with the guitar playing, the difference between this and the last song is light-years. Prince is note-perfect and is in peak form. There is just a twinkle of a piano in the background, and it nicely adds a sparkle to the verses. When the chorus rolls around, Rosie nicely adds her voice in behind Prince and gives it a little extra kick. The release when Prince opens up the guitar solo is fantastic, and a definite highlight in the song to me. He plays the start of the solo the way he always does, but when he starts it here it sounds like someone popping the cork off a bottle of bubbly, there is such a release and rush. The crowd is in fine voice and especially towards the end they sound great while the guitar goes in a few directions I haven’t heard before. Nothing too much out of the ordinary, but a couple of bars where I thought “oh, that’s cool”. I’m not sure the song reaches the heights that were promised, but I will say that it’s a very good performance.

“Live 4 Love” maintains Prince on the guitar and the opening minute of it has some more crunching guitar tone from Prince. The playing is strong, and I do like this lead guitar sound. The crowd sings along with the song, and it’s obviously well known to a lot of them. The verses don’t quite have the flow as they do on the album, but then again Prince does let the crowd do most of the singing. Sonny T gets an introduction from Prince, and plays an excellent bass line, he is one of my favorite bass players with Prince. Unfortunately, things nosedive immediately after with another rap by Tony M. I wouldn’t want to be labeled a hater, but this show would be so much better without him. Prince returns with some hot guitar work that has me pacified again, and by the end of the song, I am even prepared to concede that it’s pretty good. Except for that 40 seconds midsong, it was very strong.

 

This arrangement of “Willing and Able” is just the type of thing I like to hear from Prince. I have always found it light on the album, but I have always rated the version on the video very highly. What we get here is closer to the latter, Rosie is an excellent counterbalance to Prince. The horns are nicely in the background, filling the spots they need to fill, and overall the NPG are sounding very tight. I could give each of them a shout-out on this one, Michael B sounds great, the bass is rumbling along nicely and there are loads of different instrumentation to listen to. I hold my breath waiting for the inevitable appearance of Tony M, but even he can’t ruin the smooth groove the band is laying down. This is the surprise highlight of the gig so far, and it gets even better with some great horn runs near the end of the song to carry us out.

“Damn U” surprises and delights me even more. Still six months before its release on record, it gets a nice reception from the audience here, and once again it’s the nice horn work that draws me in. Princes vocals are seductive, but it’s the horn swells that draw me in and have me leaning in to hear more. The horn solo is delightful, without being over the top. There is something about the live version that I enjoy more than the album version, but I can’t quite put my finger on what it is. It seems to have slightly more passion and realness to it. It closes to a hearty cheer from the crowd, and here at home, I want to applaud too.

Prince tells the audience that they want to do one more new one for them, then dedicates it to “All the sexy motherfuckers” Although a new song, the crowd unsurprisingly quickly learns the chorus and is soon yelling the appropriate line back to Prince. It’s not as smooth sounding as on the album, and it loses some of its appeal to me because of this. Some songs I enjoy a little more rawness, while others like this it’s the smoothness I like. I do like the solos played by the band, Tommy Barbarella is good, and Levis's part has always been a favorite for me, he really does fly. The only dark cloud is Tony M, but mercifully he doesn’t get too long on this track. The horn that finishes the song is nice and sharp, and its shrillness stands up well next to the heavy organ. The song comes to an abrupt stop that catches me off guard.

The opening notes of “Thieves in the Temple” sound, before a suitably long atmospheric introduction featuring the beautiful sound of Rosie, and some gentle piano work. The intro has me salivating, I am hoping that we get a great version of “Thieves In The Temple.” My prayers are answered, when the song does start as we hear on the album it is nice and full sounding with a good crisp piano sound. After a low-key start, things accelerate when the full band joins, it’s played a shade faster than I am used to hearing. I don’t have a problem with it, but I feel it does detract from Prince's vocals as he goes through the verses faster to keep up with the beat. The breakdown after a couple of minutes is the best part of the whole thing, the guitar plays a sweet little loop, and the crowd begins with an “ow we ow” chant. Prince then begins to sing over the bare music, and the overall effect is very cool. He then does a couple of lines of It, as well as some lewd talk. The audience is back on board with some chants and singing and Prince reverts to “It.” At this point, it has a real concert feel, and I feel what it might have been like to be there. While the crowd chants “all right” there are some Princely runs on an acoustic guitar. He then gets a funky rhythm going on it, and I decide that this is the best song on the recording. Not perfect, but it’s the song that I feel the most.

 

The next part of the concert begins with a drum roll, and we have a short instrumental piece, led by the horn section. It’s neither here nor there, but it does give us a break and changes the pace of the concert nicely.

It morphs rather naturally into “Strolling.” Not “Strolling” sung by Prince, but “Strolling” sung by the crowd. It’s only half a minute, but the crowd knows every word.

Without missing a beat we move into “Insatiable.” I stopped writing for the first minute, it was just too good. I completely forgot it was an audience recording and just concentrated on the purity of Prince’s vocals. A cheer from the crowd brings me back, but nothing can diminish the beauty of this song, and this performance. With the stripped-back band sound, there is plenty of space for Prince's vocals. Levi places a soft, and equally beautiful solo, and for a few minutes, I am in heaven. The first half of this show was uneven, but we are into the good stuff now. There are some random cheers from the crowd, and I can only guess that Prince is giving some sort of performance on stage.

“23 positions in a one-night stand” kills the moment, as does the vocal styling’s of Tony M yelling “NPGs in the motherfucking house!” Talk about a buzz kill. Luckily “Gett Off” is strong, the guitar line and Prince’s singing have plenty of power behind it, as does the power drumming from Michael B. Prince isn’t the greatest of rappers, but he gets a pass on this one for me, mostly because there are other parts of the song that I musically enjoy. Especially the guitar line, and near the end where he plays a brief break. He does break out from the song, but it’s still good. The pace picks up as we run into “Gett Off (housestyle)”. It's fun, but not noteworthy. Prince runs through it again at a faster pace, and the horns and keyboard swing along with him. Once again Levi gets to play a quick solo before Prince gives us a selection of screams.

 

The next song is listed as “Turn This Mother Out,” but I believe it's “The Flow.” To be honest, Tony M is all over this one, and I find it very hard not to skip it. For the first minute or so he does indeed deliver his flow fast and furious, but he also yells it in such a way that I can’t make out what he’s saying. Now I am not some old guy who doesn’t appreciate rap, it’s just that Tony M’s delivery is such that he is hard to listen to.

“Cream” comes at us calmer and easier to listen to. It’s always nice to hear this one with some horns, and on this recording, it’s the guitar and horns I enjoy the most. Along with the backing vocals from Rosie, they add just a little more punch. I quite enjoyed this song, Prince sometimes sounds lazy with his delivery in cream, but on this recording, he sounds like he is giving it a little more. Just to get me more excited Prince throws in a touch of La La La he hee he. It's subtle, but it's there. Prince leading the audience into a chant of “Woof, meow” has me very amused, before a funky little guitar break from Levi.

Rosie finally gets her chance to do a full song with a rendition of “Dr. Feelgood.” Not too many surprises here, she has the right voice for the song and she sings it pretty much as you would expect her to. Musically the band is in the background except for one guitar break which has a heavy electric sound. I am going to guess it is Prince. It’s not played fast, but it does have a loud sound to it. It’s confirmed that it is Prince when Rosie says “oh Prince, you playing so good” and the guitar answers. The song ends not long after and the opening of “1999” sounds.

“1999” is up-tempo and brassy sounding. The funk guitar is buried in the mix, and it doesn’t sound as clean as I would like. But it’s not bad, it’s still sounding like a good time. It is very truncated though, and after only a minute the chant of “party” from the outro is sounding. It does go on for some time in this way, with plenty more horns and handclaps from the crowd. It sounds dated in this form, you could easily guess it's early 1990s Prince.

We segue into “Baby I’m a Star.” As another up-tempo fun song, it’s obvious now that Prince is pulling it all out for the end of the show. We get a rushed first verse and a chorus before they move on to Push.

 

“Push” seems like an odd choice to put into the show now. The band is good at melding it into the previous two songs, but the dreaded Tony M bursting onto the scene bursts my bubble somewhat. Prince does then get the crowd to sing along for a bit, before singing a new song at that time ‘My Name Is Prince’ over the music. He only sings one verse, buts it’s interesting to see it developing at this stage. The up-tempo party theme continues with a final burst of horns before it pulls back into a slow groove. Tony M thanks everyone and then we are left with the same electronic noise for an outro as what began the show. It’s a nice symmetry.

So what to make of this one? Well, there were plenty of negatives, that can’t be denied – audience recording, Tony M, setlist. But let’s be positive, there were also some great moments. I thought “Purple Rain” was very good (not great) and I was knocked out by “Insatiable.” “Damn U” and “Thieves in The Temple” were also well worth the listen. In the larger scheme of things I think I would take a couple of these for a playlist, rather than listen to the whole show. Prince was excellent, but I just couldn’t get past Tony M. This recording hasn’t dated well, but it did help put his whole career in perspective.

Melbourne 22 April 1992 (am)

 

I have had a fair number of down-under fans contacting me of late, so it’s only right that this week I listen to a show recorded in Melbourne, Australia 1992. This is a nice little aftershow from the Diamonds and Pearls tour and serves as a period piece of that era. With plenty of horns and the rapping of Tony M, it is instantly recognizable as being from the early 90s, a period that hasn’t always aged well. The recording itself is interesting, it is an audience recording, and there is certainly plenty of crowd noise, but the band itself is recorded very well, everything sounds as it should. The extra audience noise isn’t right next to the microphone, it gives the recording a lively sound, and it’s easy to listen to and picture yourself there.

22nd April 1992, The Palace, Melbourne

There are only so many ways you can start a show, and Prince’s “Australia…..1,2,3,4” is as good as any. Things are off to a hectic start as all the band jump in with Tony M and we get a breakneck “The Flow.” I don’t normally gravitate to this song, yet somehow I get swept up by this performance, and as the crowd screams and squeals, I find that I am just as into it as they are. The horns round out the sound with a full clean sound that is the opposite of Tony M’s rap which is deep and fast, although I hardly have time to register as the song zooms by.

“Call The Law” rolls over the crowd, and me here at home. The first minutes roll easily by with a fat groove before Prince is heard playing lead guitar for the first time in the evening. He is sounding great right from the start but keeps it short as Tony M raps some more. Upon his return with the guitar things heat up considerably, and the final minutes are filled with an intense guitar sound that has the crowd screaming. Prince makes it wail, and this is shaping up to be a great show, there is plenty of funk and guitar being brought to the fore already.

 

I can’t quite get used to Tony M doing the spoken word introduction for “Housequake,” although that is a minor quibble. Despite some crowd noise, this is an upbeat funk-infused version, with plenty of rhythm guitar and brassy horns for those of us that enjoy such things. Being an aftershow this gets the full treatment, firstly it is sometime before Prince sings, and then when he does he stretches and pulls the song in a few different funky directions. The horns are uplifting, while the main beat is almost a stomp, it is something that most people would find irresistible to dance to, and you can tell the crowd is feeling it as they chant loudly along with it. It deviates much more later in the song, as first a funky guitar then some great horn work takes us to the stratosphere. The world slips away as the band jam effortlessly for some time.

“When You Were Mine” seems to come from an entirely different place, and it’s hard to believe I am actually hearing it after the funkfest of “Housequake.” The band sounds smaller suddenly, although the horns play they are much quieter and Prince and his guitar are alone out front in the sound. There are some interesting adlibs (that my Mum might not appreciate) before we get the coolest moment of the song – a soulful horn solo that lifts the spirits and carries us to the end, it’s a wonderful moment, and a great finish to it.

They follow this up with an extremely laid-back jam, which serves as a backing tracking for some rapping by Tony M. He adjusts his style for this, and his deeper slower raps sound better in this context. It’s an easy groove that floats on by until the sound of Prince’s guitar cuts through the air. As with the other guitar he has played at the show he has a fantastic wail on it, and there are plenty of sustained notes as the crowd cheers after every burst.

 

As the crowd claps the beat the band slowly builds to the next song, first the beat, then a touch of guitar, topped with some horns before it all comes together and bursts out into “Gett Off (housestyle).” It is impressive how quickly Prince can get the lines out, as are the moments when the crowd sings the chorus with him as one. I love how tight it is despite the speed they are playing, this is a definite heart starter. The only respite we get is the solo from Levi, he plays quick but the music pulls back and makes room for him. The recording is full of sound next as the horns return to the fray, and they put their mark on it for a good few minutes. Prince returns but it’s the trumpet that gets the final say as it plays the last few minutes, competing with a keyboard solo for the highlight of the song.

“Purple House” takes a few minutes to warm up, or perhaps, if I’m being honest with myself, I am impatiently waiting for the guitar soloing to begin. The horns are the most noticeable instrument, they dominate whenever they play, and Prince’s vocals seem very quiet in comparison. The guitar that I am expecting never comes, there is some beautiful guitar played midsong, although it’s short and not nearly enough for my taste. The song however is a fine rendition and well recorded, and you can’t ask for more than that.

Things slow even further with the ever so gentle “Damn U.” It glitters softly in the background as Prince croons to the delight of the ladies in the audience. Prince sings so well that it’s easy to forget that this is a live show, except for the sound of the audience. The horns too play their part, and there is certainly some magic woven as Prince seduces the audience, and the microphone, with his vocal performance.

 

We change tack again next as Prince begins the self-aggrandizing “My Name Is Prince.”  As the “Prince” loops play over there is a very interesting opening with plenty of percussion and other loops in the mix. It’s all worked in extremely well, and even without Prince singing for the first minutes, it commands attention. The horn rises to build a sense of anticipation before Prince hits the microphone and punches out his opening lines. The song flies, not only do we have Prince and his lines, but there is also more Tony M (sounding good) and a great horn solo that leads to some scratching, something I had not expected to hear. As the crowd chants “do that, do that” I am with them every step of the way, the song is a jam and I never want it to stop.

With plenty of encouragement from the audience the band is finally persuaded back for an encore of “Sexy M.F.” Prince introduces it as a love song, although it’s anything but with a greasy guitar sliding us right into the Sexy MF chorus. There are plenty of whoops of delight from the crowd and they sing the chorus with plenty of enthusiasm. It is stronger and funkier than on record, it’s a shame that something is lost in the album version, that bit of extra fire and passion goes a long way. With plenty of horns, Tony M, and the crowd, it's everyone in for the final hurrah. It’s a great ending to what has been a great show, even I have been surprised by how much I enjoyed listening to it.

This show has been a revelation to me. It’s not an era I listen to often, and being an audience recording I had previously shied away from listening to it often. The performance however was fantastic, and I found I even enjoyed Tony M in places. A great show, a nice recording, this one deserves more love than it gets, and I have been just as guilty as anyone for not giving it more praise. All in all, another good bootleg experience.

Yokohama 6 April 1992

 I am currently in Tokyo for a month visiting my wife’s friends and family. To celebrate this fact (and to avoid going shopping), in the next few weeks I will take a listen to some of Prince’s live recordings from Japan. Today I will start with an unusual concert from Yokohama in 1992. It is a one-off show at the Glamslam club, but what makes it unusual is the setlist which is a standard run-through of songs that we would expect at an arena show. This is an audience recording, with a slight distortion just perceivable, yet I like it for the songs and the general vibe of the show. There is a great feel to the performance that lets me temporarily forget the sound quality.

6th April, 1992. Glam Slam, Yokohama, Japan

I didn’t expect much when I saw “Daddy Pop” listed on the packaging as the first song, and the feeling doesn’t change as the quality of the recording is revealed in the opening seconds. However, it is a bright and breezy performance that wins both me and the audience over. Rosie is monumental, but there is much more to this song than just her. The band is playing with an easy touch that has the song flying along, and with the crowd lending their infectious voices to the song it most definitely has a joyous vibe.

 

There is no cherry on top, but there is “Cream” and it envelops the club and bootleg, Prince at his very smoothest as the band flow through the performance. There is no sharpness, or jagged edges, just the constant forward movement provided by the buttery guitar line, and Prince’s sticky-sweet vocals. It is easy on the ear, and I am completely prepared to overlook Tony M’s barking that comes loud across the recording. It ends with the syrupy guitar line that has carried most of the song, and I am satisfied with this sweet treat coming so early in the performance.

Rosie puts her cards on the table with “Chain Of Fools,” and comes up trumps with an ace performance. I didn’t fully appreciate Rosie when I was young, but I do now and her vocals early in the song are the exact reason I rate her as highly as I do. Strong, yet warm and inviting, it is hard to resist her sumptuous voice, and I am drawn in from the start. She does step aside as the song becomes a jam, the horns and guitar providing lines that keep the song on track with their train-like rhythm. Taking this song with the previous “Cream,” the concert already rates highly in my opinion, and we are only three songs in.

 

There are only two minutes of “Let’s Go Crazy,” but it is two minutes too many for me. It is during this song that the limitations of the recording are readily apparent, the guitar distorting at times, and an incessant buzz.  It is equally jarring to hear “Let’s Go Crazy” in this company, after several smooth funk songs (and one straight after) it feels wedged in and detracts from the show rather than adding anything to it.

The smooth funk I alluded to returns with a greasy sounding “Kiss.” With the guitar line sounding almost like “Sexy M.F.” it has a classic funk sound and is all the better for it. It may not be one for the purists but there is no denying the funk of it, and with the horns adding just a tinge of brassiness I rate it highly.

 

I like “Jughead” (I never thought I would write that) because it opens with a verse from “Dead On It.” The rest of the song I could take or leave (mostly leave). Tony M is quite forceful in his delivery, which tends to drown out everyone else. However, Rosie holds her own with the moments she is given, and as always it is the slippery rhythm guitar that I am attracted to. I have to admit, I do enjoy Prince’s rap – for no reason other than I guess it’s one of those days.

The band is back in the groove for “I Got My Mind Made Up (You Can Get it Girl). Much like many of the other songs at this performance, it is a smooth funk jam. I have heard this song at several other concerts, and this one is different from those in its easy long groove. There is very little singing as the band rides the rhythm from start to finish, unswerving in their dedication to the funk. There may be a couple of solos, but never once does the attention waver from the underlying feel and rhythm.

 

I could say the same about “Call The Law,” if not for Tony M’s heavy delivery. Rosie matches him for power with her vocals, but it is the guitar that steals the show with a burst early on that makes any vocal work irrelevant. Again, the recording is less than stellar, only the guitar stands proud among the swampy sounds of the verses. I do like the funky intentions of the band, sadly let down by the recording, and shaded by a guitar player who stands head and shoulders above all those around him.

There is a lot of swing to be heard in “Kansas City.” I have heard Boni Boyer sing this plenty of times, but for my money, Rosie Gaines does just as good a job. The recording isn’t quite good enough to contain her, there is a slight distortion on her vocals as she is at her strongest, she is just too powerful for an audience recording.

 

The highlight of the bootleg for me isn’t all these funk tunes, but the divine “Do Me, Baby.” After listening to Prince's seduction ballads for thirty-plus years, I have come to the irrefutable conclusion that this is his finest. In my opinion, and it may well be an unpopular opinion, it eclipses even “Adore.” This recording is much more sympathetic to a softer song like this, and Levi’s guitar lines are just as emotive as the vocal performance by Prince. I find myself writing every week that “Do Me, Baby,” is the highlight of whatever show I am writing about, and I’m going to say it again about this concert. It towers over all the funk jams, making them lightweight in its solemn and earnest delivery. It is yet another outstanding rendition of one of Prince’s masterpieces.

I want “Gett Off” to finish the show like a punch to the face, and although all the key elements are in place it lacks the killer blow that I desire. Prince’s gutsy guitar line elicits squeals of delight from the crowd, but this is the only moment where the song sounds dangerous and edgy. The rest of the song drifts along, even the drum beat sounds half-hearted and weak. It is still likable, but it never threatens to reach the heights of the songs earlier in the evening.

So ends this curio from 1992. I wouldn’t recommend it based on the quality of the recording, but I would recommend it based on the songs and the performance. It is a great funk workout for most of the show, and I think it nicely captures what this band was about, and lays down some of the groundwork for what will follow in the next couple of years.  Avoid if you’re a soundboard snob, otherwise, I would say give it a listen.

Thanks for reading, I better go be a tourist for a couple of hours

Paris 6 May 1994 (am)

 Paris, nous vous aimons. 

  

6 May 1994, Le Bataclan, Paris 

This recording has a beautiful sounding beginning. Admittedly it’s an audience recording, and yet it’s got a real warmth to it. The audience is audible, and in this case, they add to the recording rather than detract from it. There is some cheering, and some fine-sounding lead guitar from Prince as he obviously prepares for the first song. After a minute of great guitar playing, the keyboard intro of “Gold” begins and as the crowd begins to clap I am transported back to another time and place- such is the power of music. “Gold” sounds distant on the recording, but it’s joyful to hear it in this setting, and with the noise of the crowd there is a celebratory feel to it that more than makes up for the recording. Although Prince sounds distant, the crowd rejoices in singing the chorus, and I sing and cheer with them all the way. Late in the song Prince and the band disappears in the crowd’s singing, but when he returns with the coda I can hear him just fine. It is apparent however that this song belongs just as much to the audience as to Prince. 

 

The intro of “The Jam” features some more lead guitar from Prince, and that’s always very listenable for me. I find myself writing about “The Jam” week after week, and seems to be a favorite of Prince. This one is par for the course, although the crowd noise and chanting do add an extra dimension. Again, I can’t speak highly enough of Morris Hayes, I always love his contribution and usually find myself tuning out when he isn’t to the fore. Tommy Barbarella also plays well, it’s a shame that I can’t get past the goodness that is Mr. Hayes. There is a treat later in the song with some sharp rhythm guitar from Prince himself, before he switches to more lead. I find his rhythm playing to be what I like most, and I would love to have him play much more like this. 

“I Believe In You” changes gears somewhat and has Prince singing in a tone that sounds more natural, and he has a lot of character in his voice. There is no doubt that Prince is a great singer, but what I think is best about his singing is the way he can put character and emotion into his vocal performance. Without vocal gymnastics here he sings with plenty of character and feeling. There are a couple of fun guitar moments, they don’t however overshadow the singing in the first part of the song that I enjoyed so much. 

I did a double-take when I heard “Interactive,” I didn’t read the tracklist before I started so it is a pleasant surprise to hear it on here. It does sound a little wishy-washy, I’m going to give Prince the benefit of the doubt here and put it down to the recording rather than him and the band. The guitar break is nice to hear, without ever scaling the guitar hero heights. 

“Days Of Wild” also sounds muted, again I put it down to the recording. The bass comes through well, as do Prince’s vocals. It’s the rest of the band that I don’t get booming through my speakers, and the song is weaker for it. However, that doesn’t stop me from singing boisterously throughout and bobbing my head like a grinning idiot. This song sums up my feeling about Prince at the time, both in sound and style, and it’s this new wild-sounding Prince that I couldn’t get enough of. He does pay tribute to Larry Graham, with a verse of “Hair” and not a bad impersonation of the man himself. 

After the heaviness of “Days Of Wild,” “Now” adds a lot of fun and energy to the show. Prince’s vocals sound fun as he spits his lines, and although they may not sound great on record, in the live setting it certainly has a party vibe.  I find that I am once again smiling through the whole song, and I really can’t ask for anything better than that. Now slows to a smooth groove and over the organ stabs Prince begins to sing Babies Makin’ Babies. I have heard it like this plenty of times, and I still get enjoyment out of it to this day, especially when the quirky-sounding solo begins. Oh yes, this is right up my alley. The song weaves in and out for the last couple of minutes, it may not be to everyone’s tastes, but I listened enraptured. 

There is plenty of guitar noodling to keep the guitar geeks happy before Prince finally settles on the steady beat of “The Ride.” This too is another great track and sounds lighter than I have heard elsewhere. Prince’s vocals are playful, and the beat doesn’t dominate the song as much as it sometimes does. The audience adds their touch with an upbeat clap through the song, and I think that this, as much as anything else, adds lightness to it. So too does their chanting which is surprisingly good, I know if it was me I would be drunkenly shouting. The chanting goes for a good few minutes, and I don’t mind it at all. I do at one stage wonder if Prince is going to play guitar at all, but he does oblige with some classic sounding solos, all of which I could rave about. The song ends with plenty more crowd interaction, and it sounds very celebratory. 

There is more guitar sound from Prince as things take a break at the beginning of “Acknowledge Me.” Prince does his spoken intro, and it has a delicious sound to it that sounds both inviting and scary at the same time. I turn it up to hear him better and I am caught off guard as the band jump in and the song begins. With my speakers cranked right up this song sounds great and I could easily see myself driving around town with this pumping out in my car. Even Prince’s spoken rap sounds good in these circumstances, and I give him full credit for managing to get it sounding so good in a live venue. Michael B drives the song along and this is especially apparent when the band drops out and we can hear his drums in full effect.  The last few minutes are great with the bass, drums, and audience claps pulling us through to the conclusion of the song.  As with some of the other songs, there is plenty of audience interaction that for me captures the beauty of going to a live show. 

There is again silence as Prince solemnly delivers up a spoken intro before the song opens up to “Dark.” The title may be “Dark,” but the song is anything but, and it’s a ray of pop sunshine to an already joyful-sounding show. Prince is in fine voice and he gets better as the song goes along, injecting more passion and fire as he goes, before pulling back into a deep laid back voice. The song is pitched just right and is perfect for this lazy Sunday afternoon. 

The Instrumental that follows is an up-tempo jam that flies along at a clip. Of course, Morris Hayes and his organ excel at this type of thing and his playing holds it all together. The crowd clap enthusiastically, so I have to listen carefully to hear the band, and I’m not complaining one bit- that’s what I love to do. The band is playing quickly, but the crowd still ably keeps up with them with their clapping and cheering. Sonny gets his time in the sun, and I can’t hear him very well (Is it the recording or is it my hearing that I have abused all these years?) but what I do hear, I like. In fact, I like it a lot, and it gets better for me as it progresses it gets louder and easier for me to hear. 

Prince returns to front and center next for a performance of “Solo.” There is some talking in the crowd early on, but Prince’s vocal performance silences them. I believe that this was Prince’s first live performance of the song, and he does it justice with a knockout rendition. There isn’t too much more to say about it, but I assure you, that despite the recording, it’s Prince doing what he does best. 

“Race” has the crowd singing loudly as Prince leads the band in a tight performance. Everyone is sounding good, but again I must mention Morris Hayes as a standout. He is the lynchpin of this band and the sound at the time. When I listen to these shows, it’s his sound under it all that binds it all together. Without him, this configuration of the band would have a different sound, and it’s richer for having him there. The latter part of the song is a keyboard jam that captures the spirit of the whole song. 

After a couple of minutes of the “oh way oh” chant the band returns with a noisy sounding “Peach,” as always dedicated to Mayte. There is some fiery-sounding guitar before the song kicks off properly and the party starts – guitar, band, and crowd all adding their sound to the mix. There is singing from Prince, some chanting from the crowd, and then the guitar takes over for the last couple of minutes, as you might well expect. It’s not rocket science, but it is exhilarating. Prince ends by encouraging the audience to show some appreciation for Michael B, who dutifully finishes the show with a cameo of a drum solo. 

This show is for me what live music is all about. Sure, the recording isn’t great, but that’s irrelevant. There is an x-factor to it and it captures the magic of a live show. I have used the words joyful and celebratory a couple of times already, these words are important to me and my feeling toward live music. Nothing can beat that joyful feeling as the band soar and everything drops away leaving you swimming in the music. The audience was just as much a part of the show as the band, and that sense of celebration and togetherness seep out of the recording all over the place. Listen to this and revel in that feeling that only the magic of a live show can give you.   

Tokyo 3 April 1992

 

I owe you all a large apology. I take Prince and his music far too seriously and for this I’m sorry. Yes, his music is worthy of such an investment of time and energy, but one thing that I have had to remind myself recently is that music is about emotion, feeling, and above all, fun. For all the hours I have sat and considered his music and where it fits in the cultural matrix, both my own set of cultural experiences and the wider world, at the heart of it all Prince’s music is fun and brings me pure joy when I listen to it. Sometimes I have lost sight of this fact as I listen too deeply for clues and signposts to both the past and the future, but I am constantly brought back to earth as I bang on the roof of my car and sing lustily to “Endorphinmachine” while driving to work. So with that in mind, I’m going to take a step back from listening too closely and just enjoy it for what it is rather than listening at a microscopic level.

Today I intend on enjoying a Diamonds And Pearls show, something I have rather neglected in my selective snobbery. The concerts are glossy and bright, highlighting the pop sheen of the album, and as a purist, I have disdainfully ignored them. Yet for another generation of fans, Diamonds And Pearls represents their Purple Rain, their gateway to the world of Prince. The album was hugely successful, bringing a new wave of fans eight years after the initial hysteria of Purple Rain, and the tour was a spectacle-filled showcase for the new album as well as dipping into the back catalog. So with that in mind, let’s turn it up to eleven and take a listen.

3rd April 1992. Tokyo Dome, Tokyo

The introduction music is skippable, without the visuals to back it up it is confusing and adds little to the concert. However, near the end of the introduction, Rosie Gaines is heard for the first time, and even though it’s only for a couple of lines it is worth checking out.

The first song proper is “Thunder,” a fine way to open with Prince playing new music off his new album. There is very little to be heard in the way of embellishments or enhancements, the song remaining a faithful rendition of what’s heard on record, but that’s more than good enough as the band plays with a vigor and energy that brings a smile to my face. I would have liked just a touch more punch, but I certainly can’t complain about the energy levels.

 

The school-yard pop sound of “Daddy Pop” follows a song that feels firmly rooted in the era it emerged. Just listening to it now, I am filled with nostalgic thoughts of the bright colors and endless summer days of the early 1990s, a feeling that the song seems to plug directly into. Prince loses me mid-song as it briefly pauses for his singing of “grooves and grooves,” and I am only all too happy when the groove returns and fulfills his promise. I would like to sing along with Tony M, but he’s all too fast for me, and there’s little chance of me matching his masculine bravado, so I am left merely listening as he wraps up the song.

The title track of the album and tour slows the pace of the concert, “Diamonds and Pearls” drawing Rosie Gaines into the light, her voice glistening in its surroundings, a heavenly light that lays easy on the feather bed grooves laid on by the band. Prince is still the star of the show, but at this stage, he has some serious competition beside him for my aural affections.

Six months ago I would have rolled my eyes and sighed at the appearance of “Let’s Go Crazy,” but with my new attitude, I find myself filled with excitement for its appearance. Not quite the same excitement as 1985 of course, but enough to remind me why I love this guy and his music. Previously I have been drawn to the guitar, but in this case, it is the bass guitar that has my ear, I can’t think of anything else as it walks up and down through the song. There is a tinge of funk near the end of the song, and it is a signpost of what will follow.

The funk of “Kiss” picks up the funk baton, and runs hard through its funky lines for the next four minutes. My inhibitions slip away as the song slithers into my body, and soon enough I am up and dancing, playing my computer keyboard like it’s a synthesizer – a sight you don’t want to see. If a song moves you physically it’s doing its job, and this one is working some fine magic as I listen.

 

The much-maligned “Jughead” is a lot of fun in this context, Tony M’s brief rap from “Dead On It” adding a touch of self-awareness to what could otherwise be a self-indulgent few minutes. He is neatly balanced by Rosie who once again adds some vocals that wash away some of the more shouty aspects of Tony M. I am all too happy to hear Prince’s vocal contribution to this gumbo of sounds, and his verses lead us to a bridge that straddles delicate guitar and more forceful horns. For all the different vocals and instruments, it does come across as bare-boned and one could see this getting the full treatment under different circumstances.

“Purple Rain” is out of place surrounded by these more horn-inspired and rap-filled songs, and is a throwback to a different era. Although the song is miscast, I do enjoy the opening guitar strains, however, weighed down they are by the more steady beat, as they pull and lift at the song, willing it every higher. Prince’s vocals maintain this rising tone, and the final redemption of the guitar break splits the song wide open leaving us temporarily spirited away from 1992 and back to 1985 as the song and crowd sways back and forth across its bow.

It’s tough to follow “Purple Rain,” but “Live 4 Love” is an inspired choice as it takes the loving feel of the previous few minutes and amplifies them through this crushingly intense new song. Prince introduces it with his soft “live for love” chant picking up the strands of Purple Rain’s ”oowwww, owwww” but the following beat and crackling guitar are peak 90’s in sound, and the lyrical content sees the here and now firmly in Prince’s sights. In the live context, a lot of Tony M’s lyrics are lost in the cacophony and steely sound of the music, but somehow Prince’s guitar cuts through this sound with its fury and incandescent rage. The song ends with one more angry squall of guitar before the concert collapses into a completely different genre.

From this electrifying noise comes the warm, organic sound of “Willing and Able.” It simmers quickly along on the back of some itchy and scratchy drum work. The horns and backing vocals make it the most timeless song of the concert, and of all the songs here this is the only one that has not dated and aged if we overlook Tony M’s brief appearance. His appearance adds some welcome color to the song, but he isn’t entirely necessary and the song would still be a work of art without his appearance.

There is a sweet moment as Prince offers love to Tokyo before we are swept up into the warm arms of “Nothing Compares 2 U.” Time may have aged me, but it has not aged my love of this song, and this performance is spot on in terms of the feelings it elicits. I am right back with my teenage heartbreaks as Prince and Rosie mine my pain for musical gain. I have long thought that Shelby J and Prince’s renditions were the gold standards, but I realize how wrong I am as Prince and Rosie pair up for a version that burns bright in my mind long after the last notes fade. Rosie deserves all the praise Prince gives her at the end of the song, and a whole lot more, she is truly one of a kind.

 

I have waited all night for some funk to grease my wheels, and Prince gives me plenty with his “Sexy M.F.” I would like to sing along, but my wife is in the other room, so I content myself with vigorous head nods and quickly mouthing the words. Tokyo doesn’t get into the whole singing along thing as much as I do, perhaps as the song was unreleased at this stage, but with the various solos the crowd can be heard voicing their appreciation- they haven’t been rendered totally mute by the moment.

I cannot express my joy at hearing the opening of “Thieves In The Temple,” the live version kicking just as hard as the lyrics. The darkness of the opening moments is matched by the kinetic energy of the harmonica, and the extra funk that the bass brings to it in this live arena. It isn’t quite what is heard on record, but it has its own energy and forwards propulsion that more than makes up for the unfamiliarity. Of course, the real treasure of the song lies buried in the heart of it as the music quietens for Prince’s vocal scat. With Rosie adding her talent, it becomes a moment where every word is worth hanging on to, and the moment is amplified as Prince breaks into an inflammatory few verses of “It.” All in all, it is a glorious live moment and although the song runs to six minutes it still feels all too short.

Again the pace slows with a brief instrumental of “Strollin'” serving as an introduction to the much weightier “Insatiable.” It is aptly named as I am insatiable throughout the song, no matter how much Prince gives I want more and more, each morsel leaving me hungry for more of this sexy syrup he pours over the music. With an all-enveloping warmth to his vocals, Prince draws us to the very center of his world, the music drowning us in its loving arms and the song disappearing as we sink under its spell.

The concert is up and running again with a pounding version of “Gett Off,” the drum threatening to burst the seams of the song with its relentless drive and focus. The band circles the song at first, never quite surrendering to its groove, until Prince’s scream brings everything into sharp focus and gives the song a very human heart. It doesn’t reach the same vocal heights as the preceding “Insatiable,” but it does bring sharpness back to the concert, and Prince’s shrieking guitar work is not to be denied. As the song breaks into “Gett Off (Housestyle)” new life is breathed into the concert and the fast and furious rendition gets just as much time in the sun as the album version. It’s a breakneck five minutes and is almost too much for a man of my age, but I can’t deny that is a lot of fun, a younger me would be up and dancing – if only my knees could still handle it.

 

On record “Cream” comes as a neat four-minute package, but live in concert Prince stretches it put, adding in “Chain Of Fools” as the song breaks the eight-minute mark. The opening verse and chorus are merely the jumping-off point, it is the second half of the song where all the action is, and it is notable for Prince’s patented dog bark leading into some delicious guitar work from Levi, as well as some exquisite vocals provided by Rosie. One can’t help by smile at the warmth in her voice that conceals the raw power she provides across the concert. There is light against this heavy backdrop, the horns fluttering across the music as big bumps and grinds beneath.

There is no better way to end this Prince party than with the king of all party songs -“1999.” Prince’s shout of “are you ready” reaches welcoming ears, and I am more than ready for what unfurls. Uptempo, the song soon vanishes under a dazzling string of party-infused bass, horns, and vocalizations. With the lyrics of “Baby, I’m A Star” appearing in the mix, there is no doubt that this is very much the same style as the extended jam that particular song had at the end of the Purple Rain shows. It is pleasing that Prince keeps it in the current era with “Push” driving the song forward. This medley, a mad rush to the end of the concert, isn’t quite up to the standard of other concert tours, although there is plenty here that isn’t heard elsewhere. It’s all a lot of fun, but it never amounts to much.

And so ends the first concert of the Diamonds And Pearls tour. It is far from a perfect concert, but it does bring a sense of fun and delivers the current album and a string of previous hits to a crowd that is hungry for all Prince can give, I included. It is rooted firmly in the era, and never more so than when Tony M is on the microphone. Although some of the songs have aged well, the overall feeling and production of the show have not. However, I’m not here to place the concert in context with Prince’s career, or the culture of the time, I’m just here to enjoy the music, and there is no doubt that it delivers on that front with every song brimming with fun and enthusiasm. I enjoyed it, and right now that’s all I want.

Buenos Aires 21 January 1991

 

Anyone who regularly follows this blog will know that I like things to have symmetry, and I am a completest. So with that in mind, this week I will take a listen to this festival performance from 1991. I have previously covered the Rio concert a few days previous, and Sabotage has paired that concert with this show from the Rock & Pop Festival, Buenos Aires, Argentina. This concert is for the most part the same run-through of material, the only difference being that this show is fifteen minutes shorter and is missing a couple of songs from the setlist. I feel that this works in its favor as Prince and the band rushes headlong through a setlist that I would otherwise find uninspiring.

21 January 1991. Buenos Aires, Argentina

I would like to hear a lot more of “Something Funky (This House Comes).”  It’s fun, funky, and is an energizing opening for the concert. It is also a good chance for the band to be introduced to the audience as each of their talents is highlighted. Prince often used long jams to introduce his bands, especially in later after-shows, and here it is most refreshing to see him use one of his own, upbeat and short songs to achieve the same thing. It doesn’t matter that he is hardly on the mic, Tony M and Rosie Gaines sound strong and enthused, even if the recording is less than pristine.

 

It is entirely predictable to hear “Let’s Go Crazy” next. It is one of his most well-known hits, and not only does it bring the crowd on board, but it also maintains the momentum created by the previous “Something Funky (This House Comes). That momentum is temporarily lost for the breakdown, and the show derails for a moment with this misstep. However “Kiss” restores the balance,  Prince and the band to the fore as the funk of “Kiss” puts the stamp of authority on the concert, this is now beginning to sound a lot more like a Prince show.

One of the problems I have with shows from this period is the pacing and unevenness of the setlists. “Kiss” was everything you could want from a Prince concert, but again the show hits a brick wall with the “Pink Panther” interlude and Tony M sucking all the energy out of the recording. I like Prince in that he challenges me and my expectations, but sometimes he seems to shoot himself in the foot with these oddities thrown in, and in this case, the show almost loses me during these couple of minutes

“Purple Rain” moves this further from a festival show and closer to a Prince concert with its appearance. With the audience joining from the beginning, it has the classic slow build, before Prince cuts through the emotion and music hanging in the air with some highly focused and powerful lead guitar. It stops the song from wallowing in self-indulgence and adds purpose and direction to the opening minutes that threaten to meander. It is his guitar wail that closes out the song, this time coming in an unbridled frenzy that contrasts with the highly structured show, the highlight for me being when the notes come so fast and furious that they bleed into each other, creating a torrent of noise and raw passion.

 

“Take Me With U” is a nostalgic opening to what will become a medley of Prince’s upbeat, crowd-pleasing songs. The sound isn’t great, to be honest, but the song can be heard driving along in the background, still doing what it always does. “Alphabet St.” sounds better on the recording, perhaps because it is sparser, with just Michael B and his drum and Prince’s guitar propelling the song forward. With less clutter, the song is better captured by the recording, however that can’t be said for the rest of the medley. Prince’s rap is fun, but it becomes hard to catch his words as the music speeds up. Likewise, Rosie sounds good, but who knows exactly what words she is singing as she burns through “It Takes 2.” The chanting can be heard fine, but that isn’t why I listen to bootlegs.  What saves the moment for me is some very sharp guitar work midsong. It's not intense, or loud, but a fast and intricate sound that highlights the guitar itself as much as the music that is playing.

There is a thinness to “Shake” that is the complete opposite of how I expect it to sound. On record it is full and plumb, here it is malnourished and only a shadow of its former self. I presume the performance itself isn’t to blame and it is the recording that is to blame.  Prince himself sounds enthusiastic as he encourages the crowd, and one can only assume that the crowd is fully engaged with the performance.

The concert again slows as Rosie sings “Dr. Feelgood” and it's hard not to fall in love with her a small bit as she sings. Like a flower in bloom, she opens up as the song progresses, becoming more radiant by the minute. Prince adds some spiciness to the performance with his guitar, but the moment belongs to Rosie as she seizes the microphone and the spotlight. This is the song where I temporarily forget the sound quality as I lose myself in Rosie’s voice.

 

The piano medley is brief, and again the thinness of the recording is to the fore as the piano sounds tinny and distant. This should be one of the best moments on the bootleg as Prince plays “Venus De Milo,” “Condition Of The Heart,” and “The Question Of U,” but instead it falls in step with what has been previously been heard at the concert.

The fullness returns for “Nothing Compares 2 U,” and the next few minutes are glorious as Prince delivers an inspiring performance. He draws me in with his heartfelt lyrics before the punch of the band hits me at the end of every stanza, making for a memorable rendition that delivers lingers for some minutes afterward.

There is doubt that the end of the concert is near as “Baby I’m A Star,” struts into view, pimped out and arrogant from the start. Beneath the veneer of cockiness, the song has a youthful and naive energy that makes it the perfect song for this portion of the show. The song does spiral away from the original as the Gamboyz take center stage and the original song slips further to the fringes as Rosie sings “Respect.” As good as it is, it isn’t quite what I signed up for, and I wait for something familiar from the Prince canon to cling onto.

The music slips easily into a laid-back version of “We Can Funk” that is so low-key it practically disappears into the carpet as it sinks lower and lower in the mix. “Thieves In The Temple” stays with the funk, but rises out of the floor as Prince delivers a hard-hitting and incisive version that drives the show for the next few minutes, giving an added impetus that will carry us through to the end of the concert.

 

The show ends with “Jughead,” and “Rock The House,” but it isn’t the anti-climatic finish that it sounds like. The band is in fine form as it becomes an easy jam that carries the crowd for some time. I am no great fan of either song, but there is no denying their energy, and they do serve the purpose of ending the concert with the crowd on their feet and dancing. It may not be the greatest bootleg moment, but it is a good record of what Prince and the band were doing at the time.

This is not one of the great bootlegs. The only reason I took the time to give it a listen is because of its pairing with the Rio recording, making for a nice “South American Festivals” package. The concert has no great faults, but it never once reaches any great heights. The recording is average but not bad, the setlist is OK, the performance fine, and each part of the release dong just enough to keep me listening to the end. As a completest, I am extremely happy to have this, but as a music fan, I could happily pass on it. This is Prince treading water, and the average bootleg does nothing to help that feeling. It's listenable, but there’s not a lot of fun to be found here.