London 22 March 1995 (am)

 This week’s bootleg has a special place in my heart. It may not be the greatest bootleg of all time, but it is the one that I have listened to most. When I was younger I lived in London for a few years, about the same time I bought my first iPod, and the music I had on it was severely limited. Today’s recording was one of the few Prince shows I had with me, and I listened to it many times as I shuttled back and forth from work.  It was quite some time before I was able to put more music on my iPod, and over the year I listened to it countless times. The show itself comes from 1995,  a couple of weeks after the Wembley show, but a few days before the Paradiso show and the Dublin show with Bono. What I find so good about these shows is that they are all extremely different from each other, and stand up to repeated listens. It’s at this time that Prince released Exodus with the NPG, and this show is an interesting mix of songs from that album and some other odd songs from that era that never really found a home. It looks like an unusual mix, but they all work well together. 

22nd March (am), 1995, The Emporium London 

Given the lay of the land at that time, it’s no surprise that Prince begins the show by heavily promoting the Exodus album. He gives the crowd some titles and they respond with a supporting cheer to every title. Then we get into things with a chugging drum sound, some swirling organ, and the song “Big Fun.” It is cooler than cool, and although Prince does sing early on, it’s the sound of the organ and bass playing over the drums that carry the day. The looping roll of it is broken by Eric Leeds sax playing, and listening to it now it’s easy to get carried away by the snaking sound of it, my head nods involuntary to it as it flows on. This is the first live performance of “Big Fun,” and it is a tremendous debut, at almost 10 minutes of mostly Eric Leeds and Morris Hayes things couldn’t get much better. 

 

A sharp change in tempo moves the show along briskly, and its “Race” that next gets an airing. In a lot of ways, things are very similar to “Big Fun,” with the song being another chance for Morris Hayes to strut his stuff, the first few minutes being a nice showcase of his sound. Things become more balanced as Prince sings, but I find I am enjoying the band performance just as much as Prince. The jam feel resumes, and we have a nice “Controversy” riff played on the keyboard, which in this context sounds very cool to my ears. We also get a “the roof, the roof, the roof is on fire” chant, which has appeared in Prince concerts and shows many times over the years. Just like the “Controversy” riff, the appearance of a few lines of “Girls And Boys” reminds us that Prince isn’t quite dead, even if the setlist would have you believe otherwise. I do like the Goldaxxe and the solo played before they segue to the next song and it is worth a listen. 

I have always liked “Superhero,” and I especially like this version. It’s not a great recording, what makes it so good for me is the band, and the energy they infused it with, both at the chorus and the keyboard riff. It swings and has a funk to it that makes me move. It has an uplifting keyboard riff, with somewhat of a funky Commodores feel to it, and I can’t help but think of “Machine Gun” when I hear it. 

“Dark” by name, the song itself lightens the show, and with Eric Leeds again playing it continues to follow the brightened sound of “Superhero.” The horns have plenty of long swells, and with the keyboard playing similar long chords it is very warm sounding. I thought the first half of the song was good, the second half was even better as Eric Leeds takes over. He doesn’t push anything too hard, instead, he flows in and out beautifully. As always I find Eric’s contribution just as important as Prince’s. 

 

“Sweet Thing” is a firm favorite of Prince’s and mine. The cascading guitar is beautiful, and even with this average-sounding recording, it is still sharp and clear. Stacy Francis does all the singing, I’m not taken by her, although she does win me over as she gets deeper into the song. I think she would be better served on a higher-quality recording, but her vocal abilities are demonstrated here. For me, the high point is near the end of the song as the guitar echoes her vocals, a touching moment that works well despite the cracks in the recording. 

“I Got My Mind Made Up (You Can Get It Girl)” was first covered in Vienna in 1987, here it makes a reappearance.  The robotic, automatic funk of the guitar is killer, as is Prince's vocal delivery. This time it's Barbarella who gets a shout-out for a solo, but he is no more than starting when we swiftly transition into “Skin Tight.” 

This is a song I always get a lot of mileage out of, the guitar, bass, and keyboard interplay slays me every time, as do Prince's vocals. It is kept minimal at this show, barely a couple of minutes, however, that is a great two minutes and I can hear the band are doing their thing with style through and through. 

The funk doesn’t let up for an instant, with the next song performed being “Funky Stuff.” I know the chant right away, but in this case, resist the urge to sing along as Eric Leeds again plays up a storm. When we reach the breakdown things heat up, with Prince calling on Eric to school the audience. Prince preaches about real instruments and his words are reinforced by some great sax work that is matched by the guitar. There is also the classic moment when Prince calls for the band to give him 25, something they do very well. 

 

When one is tired of the “Santana medley,” then one is tired of life. This is the moment when Prince engages in some of his lead guitar fireworks. It is a fitting tribute to his hero, and I can only imagine how full-blooded this would have sounded at the show. Prince is a great one for sharing the spotlight, so we get a Michael B moment as well as a solo from Tommy Barbarella. Both are good in their way, but it’s Prince and his guitar skills that we want to hear in this song, and he delivers that in spades in the final few minutes. He switches from a buzzing guitar sound one moment to a razor-sharp sound the next, and it is right now that I am lost in the show and forget that this is an audience recording. 

Prince tells us that Mayte says they can’t leave until they do “Get Wild,” I don’t believe him but I am thrilled to hear it. This song is very much of the time, and to me sounds like the sort of funk jam that Prince would write with ease in the mid-1990s. As you might expect there is plenty of chanting and a casualness on stage as the music raises and lowers in intensity. Eric gets a moment as does Tommy Barbarella again, and mostly it is Prince toying with the audience and the band. I only wish I could see it, especially as Prince calls Mayte to shake her moneymaker. There is a camaraderie you can hear between Prince and the band and do sound like a good bunch of friends together on stage. This is a jam that sounds as if it might last all night, and they do throw everything bar the kitchen sink into the song, making it an epic 15 minutes. 

The chant of “Let's get satisfied’ takes us into the next song which is “Funky Design.” It still retains a shout of “Get Wild” for the first minute before some lead guitar takes us to a different place. When Prince starts chanting “Blow your mind, blow your mind”, that's when the song starts properly for me. The song is full of strut and swagger, and it's always empowering to hear Prince sing it. I would bust out a couple of verses myself, but it ends after a verse and chorus. 

Prince tells the crowd that they’ll be back the next night (next week's blog post) and a laid back dripping “Johnny” brings us towards the end of the show. It's an excuse to have the crowd chanting “NPG, in the M***f*** house, before we have some tasty keyboard playing. I was expecting this to be stretched out as well, although it stops abruptly with Prince calling “On the one” and the show is over. 

They say familiarity breeds contempt, but listening to this show again I find my feelings for it are just as warm as the day I first heard it. An audience recording, that’s true, but it covers a show from the most fascinating few months of Prince's career. There are other shows from 1995 that I enjoy more, but this has its place in the canon, and its part is an essential piece of the story. In my life, I have heard this recording hundred of times, and I think I’ll be giving it a few more listens in the future too. 

London 9 March 1995 (am)

 Recently I took a good listen to the Emporium set from London 1995. Viv Canal kindly got in touch to let me know that he had seen his first aftershow about this time at another London venue – The Astoria. This got me thinking that I should give this one a listen to as well, and I did wonder about it as I couldn’t immediately recall hearing it before. Some digging revealed that I do have it, and it was a bootleg I remember very well as I paid far too much for it back in the 1990s. It has sat unloved on the shelf for too long and is well overdue for another listen. It’s immediately made more appealing by the fact that both George Benson and Chaka Khan play with Prince and the band, and I do wonder why I haven’t played it more. The reason being, perhaps, that the recording isn’t great? I don’t recall, and there’s only one way to find out, let’s give it a spin. 

9th March (am) 1995, The Astoria London 

George Benson makes his appearance on the first song of the set – “Glam Slam Boogie.” Without hearing it and just seeing the name on the case it seems like a match made in heaven, one can almost hear the guitar sound of George Benson working very well with the lighter guitar playing that Prince sometimes indulges in. The reality is not quite what I expect, but still well worth the listen. Prince tells the crowd that George Benson is one of his heroes, and I fully believe him, you can hear it in the way Prince plays- there certainly is some influence there. The song is a fine introduction for the band as they each play their solo as the groove carries us along just right. The sound of the recording is much better than I remember, and I am finding it to be a very easy listen. Each instrument can be heard clearly, and the drum sounds full without ever taking over. It takes some time to reach George Benson and his playing, and he is well hyped up by Prince’s introduction. His solo is worth the wait, and as he plays I can hear how Prince has been influenced by him.  The solo is shorter than I hoped, and Prince resumes his dialogue with the crowd, this time having them singing “ooww, weee, oooww”. They sound great, and for a minute I am a touch envious and wish I was there. 

 

We go from one hero to another as the soft introduction of “Sweet Thing” brings Chaka Khan to the fore. It’s ethereal sounding, the sound of the keyboard wash while the guitar cascades, I am lost in the music as it plays. The crowd recognizes Chaka as she comes onto the stage, and there is appreciative applause before she begins her vocal delivery. I thought the intro was beautiful, things get even better as she sings. It's glorious in every way, and already I am regretting I haven’t been playing this bootleg more often, things are off to a wonderful start. The vocals are the centerpiece as they intertwine, rise and fall, and I feel myself falling in love as I listen to it. 

Things become more upbeat as the guitar begins a wah-wah sound and “You Got The Love” begins. A song from Chaka’s back catalog, it’s not something I am overly familiar with, but I do like the band's performance, and Chaka always gives a great vocal performance. As the song plays on I find I am swept up by it, and I find I am turning it up louder and louder as it goes- always a good sign. There is some silky guitar work near the end by Prince, he sounds good but it’s not enough to upstage Chaka or the band especially as they up the groove for the climax of the song. 

 

“Love Thy Will Be Done” initially sounds distant, but soon enough it becomes stronger as the audience claps along. It’s got a sound that is right to be played with, and sure enough, it is played out with a suitable long introduction before Prince speaks. As he counts off again the sound suddenly opens right up and he plays some punchy guitar that serves as a wake-up call. It’s probably wrong to say this, but I prefer Martika’s singing to his, at least based on this performance, however, the guitar playing amply compensates as I find the performance again to be top-notch. I have to give special mention to the last lead guitar break, it had just enough fire to ignite the song for me. 

Following straight after is “Funky.” I loved the version that he played at Emporium, this one tonight doesn’t reach the same heights for me, although the chorus has me sitting up and taking notice, especially as Prince hits us with a blast of lead guitar every time. Things get seriously intense after the last chorus, and at this point, the guitar is deep and rough sounding, it’s just the sort of naked raw sound I like to hear. 

 

I salivate as “18 And Over” begins. I have always had a soft spot for it on the album, and in the last few years, I have warmed to the live versions, to the point now where it is something I look forward to in the set. The music is enchanting, and I find Prince’s vocals to be just on the right side of clever, I listen with a big sloppy grin on my face as he sings. People get different things out of different shows, and for me, this is the highlight. I don’t care if there are no guitar solos, or a soaring vocal performance, the mood and groove of the song are just right for me. Despite the smutty lyrics the music retains a sense of elegance, it is beautifully balanced. 

Prince next plays homage to another one of his heroes with an enthusiastic cover of Graham Central Stations “I Believe In You.” The first couple of minutes is very much a band performance until Prince begins to play his guitar with a loud solo that claims the song as his own. There’s still plenty of funk there, but Prince certainly puts his stamp on it with his crisp and crunchy guitar sound. 

As “The Ride” begins I know we are about to get a whole lot more guitar yet in a completely different style. Sure enough, after a slow steady start Prince begins to weave his magic on his guitar. It’s got an easy swagger to it, and as Prince is so fond of saying, they do indeed sound as if they have days to play. He plays his solo for quite some time, and I find it interesting to listen to without ever feeling it punching me in the face with intensity. In particular, I like the way he gets the guitar to whinny and rear up like a horse. 

 

The last song played by the band for the evening is an extended “Get Wild,” I say extended but in reality, it’s always this way, played out to the max. The popping bass solo is cool, all “up” sounding and bright. The smile stays on my face Prince has the crowd singing “play that motherfuckin bass” -oh to be there! Mr. Hayes comes to the party with a trademark solo, very playful and heartfelt. Tommy matches him with a more electrifying break, it's shorter and much sharper.  As it becomes a jam and groove with Mayte dancing, it needs to be seen as much as it needs to be heard, all the calls for her to shake her moneymaker have all sorts of images playing in my mind. I hope for much more music to follow but the song ends at this stage, as does the show. 

As a final exclamation point, “Gold” is played over the P.A. It is on the recording, nice and clear and, although it’s good to hear, it doesn’t add anything else in terms of the show, especially since it was later released and now familiar to us all. 

I think Viv was lucky to see this as his first after-show. The centerpiece of the show was the band themselves, and at this stage of his career, Prince was very trusting of his band, as I have written of other shows from this era the band sound like they are a gang, bonded together against the world. This isn’t a setlist to set the world on fire, but it was all played well and passionately and with the bonus of George Benson and Chaka, it all adds up to make this a show worth listening to. Thanks for the recommendation Viv, I will be putting this one in the car for the next road trip. 

London 5 March 1995

 I promised that this week I would look at something a little funkier. I pulled the tape that had Chicken Grease written on it, but on closer inspection, it was a compilation tape of various concerts, so I selected something else. I pulled a CD called 2 Funky, I assume with a title like that it would live up to its name. Turns out it was a great choice, a Gold Experience concert from 1995. An audience recording- let’s take a listen and see what we have got. 

March 5th, 1995, Wembley Arena London. 

First off, Wembley Arena is notorious for having dreadful sound. It’s just another echo-filled box. The performance here doesn’t seem to suffer from this too much; the overall sound is quite good, the only limitation being that it is an audience recording. I am going to treat myself next week and we will take a look at a nice soundboard recording. 

The gig opens with Prince’s voice “Prince is dead. Long live the New Power Generation” The crowd cheers in approval and we are into the first song, “Endorphinmachine.” Like a lot of people, I am a fan of this song, and I hope that one day I can see it live. It has all the elements of a great opener. It has a big riff and get-up-and-go energy to it. Prince and his guitar make an instant impression with this song. The band sounds into it, although I can barely hear Tommy Barbarella through the first song. The song is played as it appears on the album, and the crowd is hyped by it. 

After Prince's screams and guitar howl have faded from the song the NPG moves into a cover version, “The Jam.” It is exactly as the title says, it’s a nice funky jam. It’s hard to tell from the recording, but it sounds like one of the songs that if you were there would have a great groove to move to. It is one of those “Introduce the band” type songs, so each member of the band gets a chance to shine and a name check. Mr. Hayes provides a very tasty organ solo – in fact, all the keyboards on this recording are outstanding from both players. Tommy Barbarella follows up with an equally good piano solo. The piano and organ drive this jam while Prince plays some funky guitar underneath. There is a brief drum break for Mr. B to have his moment (no over-the-top drum solo, just a drum break) then Sonny T is introduced on the bass. There is no second guitarist to support Prince, so any guitar sound is him and him alone. Listening to this I suddenly realized what a great band these guys were. I feel they are slightly underrated- too many people get caught up in the hype about the Revolution. But this NPG configuration was an outstanding group as well and needs more recognition. 

Next, the very distinctive intro for “Shhh.” There is absolutely no mistaking it. Already I feel anticipation for it to slow down and settle into the song. And it doesn’t fail to deliver, Prince's vocals are spot on. By now the sound has improved from the opening couple of songs, and Prince’s vocals are clear and strong. A lot of the distortion on the instruments has improved by now too, and this song is sounding great. A good thing too, considering it's one of my favorites. Prince’s guitar solo has a very nice tone to it, and this song is an early highlight for me. 

This recording was labeled Funky, and it is just about to live up to its name. The band hits their straps and delivers up “Days Of Wild.” It doesn’t quite have the punch I had expected, but I put this down to the recording itself rather than the band, or the venue. The bass is outstanding, and it is just a shame I can’t hear it better here. It is all there, I just can’t hear enough of it! Prince’s flow when he raps isn’t as good as I have heard on other recordings of this song, there are better versions out there. I still get a thrill when Prince delivers the line “Oh, by the way, I play bass guitar” and the bass kicks off. A piece of musical magic. The crowd gets right behind the sing-along section “Na, na ,na” (Is it Na na na? I am not sure how to type it) 

Another thing that struck me about Prince at this stage of his career was he threw around a lot of MF’s etc. There was a lot more profanity at this point in his career. Obviously, he has renounced all that later, but even early in his career, he wasn’t cursing as much as he did mid-nineties. I wonder if it was part of his dispute with WB, was he trying to make a point? 

The band pauses and gives the crowd a chance to continue chanting a bit more.

Then we are into “Now.” Again I find myself thinking about the bass on this song. It’s killer again and I am enjoying it. Prince’s vocals are Ok, but when the band chimes it for the chorus they are very quiet, and hard to hear above the noise of the instruments. This sounds like a fun part of the concert, the crowd can be heard whooping and yelling throughout the song. It seems everyone is having a real good time. Prince says “I want somebody to scream” and the crowd is more than willing to oblige. There is a breakdown, and Prince leads the crowd through a chant of “This about the Freaks”. There is then a small chant of “go Mayte”, I can only assume she is dancing center stage at this point. The guitar drums and bass are playing quietly, with organ stabs. Prince sings a line of Sly Stones ‘Babies Makin babies’, and the groove continues. Prince calls for just the kick drum and over the solitary beat leads the crowd chanting “clap your hands somebody, somebody clap your hands” It does sound like the crowd is having a great time. Prince starts singing It takes Two. This is a classic long funky Prince jam. 

It then kicks straight into “Sex Machine.” It's a quicker tempo than the previous song and the bass is really cooking, although to be fair, so is the whole band. I said it before and I will say it again, THIS BAND IS HOT! The bass leads the song, with Prince playing some very clean crisp solos over the top. And he is playing so quickly and cleanly. My ears love this stuff. There are no vocals, just the guitar, and the tone of it for this song is just perfect. The crowd starts to cheer at something, although I couldn’t begin to guess what might be happening. It is something visual rather than audible. The crowd starts the chant “Oh we Oh” and then there is some call and response with Prince with “Get up” “Get on up” This gig is a party! But at this stage I had completely forgotten that it was just a poor audience recording, I am just loving the music. I am completely in that world. 

We change direction with the next song and move back to a pop concert when Prince plays “The Most Beautiful Girl In The World.” It sounds different to me because he doesn’t sing it in the usual falsetto. It’s his more natural-sounding voice, and it changes the whole song for me. I enjoy it more, it’s a cool version. Of course, Prince leaves the chorus for the crowd to sing, he has them in the palm of his hand by this stage. There is one very nice section when he sings “How can I get through days when I can’t get through hours” and everything stops except the ticking clock at that section. Nothing happens for about a minute, then the band picks up right where they left off. Sounds great, I have heard it done at several gigs, and the band is always right on point. They do it again later in the song, this time the stop isn’t for quite so long. Prince is just showing off, this band is something else. 

The spoken introduction to “Pussy Control” by Prince has me crying with laughter. His opening lines are “This song is about part of the female anatomy, part of the anatomy that is used to control us” Hilarious. The crowd is then instructed to please sing along with “Ahhhhh, Pussy control” He then follows up by saying “Some might not subscribe to such nastiness, but I don’t give a fuck” it is all in the delivery, but trust me, it’s funny. He also comments on his trouble with Warner Bros, he can play what he chooses at concert, but cannot choose about his albums. The song finally begins, and it’s played pretty much exactly as it sounds on the record. Again it sounds like a lot of fun at the gig. 

“Letitgo” has a very nice groove to it. It is slower and brings the party down a little. But still very danceable. I am sure if I was there I would have danced the whole night. “Letitgo” slips past very fast, but it had a good groove. 

Now things ease off as “Pink Cashmere” makes an appearance. I was somewhat surprised to hear it at this gig, it seemed like a change in direction from what had come before, but then again that is exactly what a Prince gig is about. Although I like this song, there isn’t too much interesting about it, it’s pretty inoffensive. There is a nice swing to the organ after the first verse, then it is back to standard. Actually, the organ is very prominent throughout the gig, and that’s no bad thing. It adds to the sound and fills it out. Prince addresses the crowd a lot at this gig, and he does so again here. I can’t think of a tour before or since where he has spoken directly to the crowd so much. I like to see him engage the audience directly like this, a more human side of him on display. 

“Loose” is loose and fast. It’s as you expect it would be at a gig like this. The bass bubbles along just nicely, I just wish it was more prominent, it does get overwhelmed by the other instruments in this song. This song is dominated by the keyboards, both in the verses as well as the chorus. 

After this there is a considerable break, I assume the band takes a minute to catch their breath and maybe a costume change.

We start slowly after this with Prince delivering a delicate version of “A Case Of You.” It's mostly vocal, his guitar is barely distinguishable. It’s a beautiful performance, and I would love to hear this in a pristine recording. There is not too much more to say about this, except it's great! 

“I Love You In Me” follows this, in keeping with the quiet mood. The band enters gently, again Prince’s vocals are very much the centerpiece. He sounds great; it’s just a shame about the lyrics. I like the song, but the lyrics always make me cringe. The crowd is slowly clapping along throughout, and when Prince says “I love you, do you love me?” it elicits a loud cheer from the crowd. There is some sweet guitar near the end of the song, and it fits perfectly with the music. 

I am not sure about “Proud Mary.” Obviously it’s a Prince favorite; I have several recordings of him playing it. I like the playing on it, but the sampled horns are too much for me, and I think maybe it would be better without them. The straight piano and organ sound great, and the band moves away from a straight performance and into a jam with it, and it sounds better than when he plays it straight. 

Keeping with the Mary theme, the next song is “Mary Don’t You Weep.” Phew, a blues jam, Prince is giving us a little bit of everything at this gig! It’s not the greatest version of this I have heard, but I am very glad it made an appearance. This gig is eventful. I want to say the guitar playing is very good, but I find myself thinking that at every gig I listen to! So, suffice to say, the guitar playing is up to his usual standard. And as it is for this whole recording, he gets the crowd to sing along with “Mary don’t you weep” One of the things I have enjoyed most about this gig, and it came as a surprise to me, is how good Tommy Barbarella's piano playing is. Again, in this song, it shines. Prince plays guitar around the piano, and again it sounds very tight. The song ends with Prince talking more about his war with Warners, and saying he trying to work it out as he goes. 

“Get Wild” is introduced, but there is a long pause before it starts. Prince speaks to the crowd about the song for some time. Then he kicks it off with “In England tonight we are going to Get Wild” Halfway through the song Mayte speaks/sings a little. It doesn’t add much, but it’s a nice touch. The audience gets another opportunity to join in, and again it sounds like a party. There is a sax solo played on the keyboard by Tommy Barbarella, and it had my jaw hitting the floor. It sounded awesome. I had to check twice to see if it was really him or not. Definitely, it is worth checking out. The song is broken down again and the crowd chants “Get wild, play the M-Fing bass. Each band member is given another chance to shine before the song ends. 

“Billy Jack Bitch” is played straight. The bass is a little more swinging, but overall it sounds exactly as it does on record. The audience is again in on it right through. I wouldn’t be surprised if they all went home with no voice left. 

The gig closes with Prince thanking the crowd and playing “Gold.” There is no denying that “Gold” is a great song, but it’s just not for me. It sounds good here, but there is something too polished about it for my taste. There is a very loud explosion to be heard at the end of the first verse, I can only assume that it was some sort of explosion to shower gold confetti over everyone. It sounded loud on the recording, it must have been massive at the gig! At this point, “Gold” is the perfect way to close the gig. I am sure that everyone at the gig was buzzing as the final notes faded away. 

I was wondering about this gig as I pulled it out to listen to. The setlist looked very intriguing, but I was slightly put off by it being an audience recording. I needn’t have worried, it more than delivered. It wasn’t until later that I realized that he played none of his 80’s hits at this gig, and yet it was a real pleasure to listen to. And I was only listening at home, to my mind, the people at the concert sounded like they were having a great party. This one was buried at the back of my vault, unloved, and barely listened to, but now I think I will keep it out for a while and give it a few more listens. Overall a lot of fun. 

London 3 March 1995

 I feel that a visit to The Ultimate Live Experience is long overdue. I have listened to several after-shows from 1995, but the main shows from 1995 have been largely neglected by me. So to right this wrong, today I will take a listen to the first concert of the tour, the first of five nights at the Wembley Arena in London. It is the perfect place to begin, not only is it the first concert of the tour, but it is also the longest performance of the tour, clocking in at just over two hours fifteen. A lengthy listen, we get the full gamut of Prince’s oeuvre at the time, drawing from all the genres he was experimenting with as he strove to find a new direction after symbolically killing off “Prince”. 

3rd March 1995, Wembley Arena, London 

The opening “Endorphinmachine” could be taken as a statement of intent, although nothing else in the setlist comes close to the introductory razor guitar lines and impassioned howls from Prince in this opening number. A vibrant performance, it fails to fully fire as Prince’s sharp guitar is later lost as he solos, sounding like a loose rubber band than an inflamed rock guitar. I like the performance far more than the recording in this case, and this song gains a lot from my nostalgic memory rather than the bootleg itself. 

 

The bootleg takes on a fat sound as Prince and the NPG tackle a cover of  Graham Central Station’s “The Jam.” The funk hangs and drips from the bass lines of Sonny T. and although this song is a staple of the time, to the point of almost being stale, at this first concert of the tour it still has a freshness and the band hangs plenty of their own style of funk on the song. The song is further galvanized by the guitar line that Prince brings to the party, an inner steel that provides strength to the otherwise slippery greasy sound. 

The recording picks up the lower end very well, and thus the opening drum rolls of “Shhh” carry an extra depth and the sense of an impending storm. Prince’s opening verse betrays no trace of what is to come, it is the quiet before the storm that blows up in the following few minutes. It is a satin and steel performance, Prince’s vocals glistening with a pop sheen before the guitar muscles its way into the song, firstly intertwining with the soundscape Prince is painting, and then forcefully bringing a quiet fury of its own into the music, the guitar seemingly taking on a life of its own as it pulls down the pillars of the song upon itself it a Samsonesque performance. 

The quality of the recording overshadows the performance of “Days Of Wild” that follows. On the bootleg, there is some distortion on Prince’s vocals, and although it is slight, it is enough to break the previously woven spell. The song would in normal circumstances be a tour de force of Prince's reinvented funk, and the hard-nosed performance style of this iteration of the NPG, unfortunately, all that is lost as the recording fails to truly capture the all-crushing power of the performance. It’s enjoyable enough, but after hearing many other versions in circulation I know that it could be a whole lot better. 

 

“Now” brings a lightness to the concert following the skull-crushing “Days Of Wild.” There is a sense of fun to Prince’s performance, and the humor of the lyrics is reflected in his vocal delivery. The true power behind the throne though is Morris Hayes and Tommy Barbarella, their twin keyboard assault carrying both rhythm and melody in a combination that fills out the otherwise thin sound. The coda with Mayte dancing only highlights this further as the keyboard wheezes over the sparse drum beat. 

The NPG becomes a well-drilled funk machine for ”Get Up (I Feel Like Being A) Sex Machine,” Prince drawing obvious inspiration from James Brown both in song selection and in the performance he draws from his band. It’s a faultless performance (at least to my ears) and it doesn’t outstay its welcome, coming after the previous four blockbusters it is instead a mere pop song length of three minutes thirty seconds. 

“Johnny” was only played at a handful of shows throughout this 1995 tour, and its appearance on this bootleg is most welcome. A song that has appeared at countless after shows, and it is refreshing to hear it in this case getting a wider audience at an arena show. The NPG effortlessly morphs from a funk band to a blues band, filling the arena with a purposeful groove that lets Prince do whatever he wants over the top of, in this case having the crowd chant and sing him through the final minute. 

It had been barely two weeks since the release of “The Most Beautiful Girl In The World,” yet the crowd welcome the song with a warm cheer that suggests it had already planted itself in their collection consciousness.  Prince breaks the song up, undermining some of the sweet pop it is normally dusted in, and instead takes it firmly into his realm as he draws an extra level of musicality and an element of fun from it. It stands on its own two feet as a solid performance that fits in well with the surrounding songs of gravitas and unfettered emotion. 

 

There is no gravitas at all about “Pussy Control,” it is raw and unadulterated, Prince saying and playing exactly how he wants as he makes a statement about feminism in a way that only Prince could. There is an innate power in Prince's performance, his vocals have panache and the story he spins could be understood even if you didn’t catch every word. On the downside, the recording is a touch on the thin side, Prince sounds well enough, but there is no knockout punch as one might expect from such a song. 

I rejoice in hearing “Letitgo,” although in truth the performance isn’t as exciting as the thought of the song itself.  Prince’s pop hooks lure me in, but it is Tommy Barbarella who provides the most nourishing moment with a keyboard solo that is the understated core of the song. 

A coolness breezes through the recording with a frictionless performance of “Pink Cashmere.” It’s all silk as Prince provides a scented candle vocal performance to match the luxurious sound of the NPG. In a setlist full of heavy hitters, this comes as the most surprising moment, a delicate rose surrounded by denser and more demanding material. 

The following  “(Lemme See Your Body) Get Loose!” comes in a hurried frenzy, there is no time to find your feet or feel your way into the song, everything is upfront and in your face from the opening barrage of music and lyrics until the last notes fade from the keyboard. It is breathtaking, and even more so again the backdrop of the previous “Pink Cashmere,” although I find it doesn’t have the same bite and sense of importance as some of the earlier songs. Despite its fast pace, the concert lags at this point, and there is a definite lull as there comes a long pause between songs. 

Prince pushes the right buttons as he introduces “I Love U In Me” with lacy guitar work, before giving a vocal performance that matches it for delicate intricacy. The song stays with this low-lit feel, even as the band adds the occasion blow, it's all about Prince’s soft vocals and feather-light guitar. This is easily the most tender moment on the bootleg, and even my stone heart softens a little as I listen. 

 

The sound of Vegas is in the air for “Proud Mary,” this is the sound of Prince the showman as he gives a lively performance of the much-loved classic. It is a great burst of energy, although I find it rather empty and it doesn’t add a lot to the show. A more prolonged performance may have delivered more nuances, but this is a short sharp shock that quickly burns out. 

The oriental introduction of “7” is the only part of the show that pulls directly from Prince and some of his material from 1992. It is grating to see it shoulder to shoulder with his current material, I do appreciate its appearance but it does highlight the divide between Prince’s old work and his current state of mind. “7” plays with an easy shuffle, the quality of the bootleg adding to its loose and easy way. For a few minutes, it feels as if we are listening to another show entirely as Prince takes us down the wormhole to his former self, a few minutes where the crowd has a chance to celebrate his history as a musical artist. 

I was prepared to give all of my love to “Dolphin,” and despite a bright start, I find the shrill guitar sound too much for my tastes. My ear isn’t good enough to say what is wrong, but the guitar is too much for the song, and in this case, it derails what would otherwise be a warm performance. The sound gets worse as the song goes on, the mix is not even and leaves the song unpleasant and a disappointment. There is redemption in the final singing of the chorus and coda that brings it to an end, but overall it leaves me feeling flat. 

“Get Wild” spins and revolutions, but there is almost too much going on, despite the best intentions of the band it sounds like a collection of performances that have little cohesion. Listening to each individual is revealing, but never once does it sound like a song with an overarching theme or message. I digest it piece by piece, but I never fully engage with the core of the song that lays tantalizingly out of reach. 

 

The recording changes with “Race,” it immediately sounds distant and the quality is a lot lower than what has been previously heard. As the second song of the encore, it displays an extra push towards the finish line, which makes the downgraded sound all the more disappointing. The horn sound does cut through with their polished brightness, and as always the keyboards steam on with a battleship sound that rides over all the rest of the band. The keyboard remains the hero, and in the proceeding “Super Hero” it remains the mainstay. “Super Hero” stays with the upbeat sound, adding an extra sense of adventure as Prince and the band draw on a classic 70’s funk sound for the song. The lively performance makes up for the disappointing “Race” and this portion of the show ends on a high as the NPG swing and funk into the night, the final appearance of Billy Preston’s “Outta Space” sounding like the future itself. 

Prince’s vocals are the best thing about “Billy Jack Bitch,” the rest of the song is lost to the quality of the tape. It’s not recorded badly, it is just that the band is barely heard behind Prince’s vocals. With the horn lines sun-bleached and distant, the song loses some of its incisiveness, and although I enjoy Prince’s lyrics, the song remains just as elusive as some of the previous few numbers. 

“Eye Hate U” promises much, but actually delivers little. The start flatters to deceive, Prince’s crisp opening verse and first sparkling chorus rapidly disappear from view as the song vanishes with the recording cutting out and “319” emerging as the next song. 

After the snippet of “Eye Hate U” I had hoped for more from “319,” but Prince keeps it brief with a one-inch punch performance that gives us one verse and one chorus before we head into the glory of the final song of the bootleg. 

“Gold” sounds every inch like the triumphant finale that it is, uplifting, warm, and building to a powerful climax that has Prince striking guitar-god poses while the sound from his instrument gives credence to the pose. The mix is slightly out, but there is no denying the performance, this is Prince emerging from the wideness and reclaiming his spot at the top of the pop pantheon with a spirited rendition that plays to all his strengths, a spiritual vocal delivered paired with a guitar solo delivered from heaven itself. If only the recording could match the moment, instead I mentally remix it as I listen, restoring Prince's guitar sound from a shrill whine to a full-blooded roar, while mentally beefing up the band's sound. As so often seems to be the way, we have a great performance with a less-than-average recording. 

And so ends the longest concert of this brief tour. The bootleg is in places very good, but mostly it is average, there is only so much you can do with the source material after all. The concert itself though is a knockout. The crowd is muted throughout most of the show, most of this material was unreleased and unfamiliar at the time, but Prince and the NPG give an all-encompassing show that takes in all their talents and genre-expanding music they were dabbling in at the time. This is one of the classic Prince shows, as he for the first time unveils his new sound and look to a wider audience, and although uncomfortable at the time, it has become one of the highly regarded eras of his career. Much like his One Night Alone Tour, it gives us not what we want, but rather what we need. Not perfect, but highly recommended. 

New York 12 December 1994

 Following on from last week’s blog, this week I will be listening to another show from 1994 -the soundboard recording from the Roseland Ballroom New York. On the surface, it seems to be similar to the show from the Palladium earlier in the year, but a preliminary listen the other day reveals that this one has raised the bar higher, and with some additional songs in the setlist it offers a different listening experience. I know I spoke highly of the show last week, and I somewhat regret that now that I have heard this one and it’s even better.  There is a lot to be said for this one, so I guess I had better get on and say it. 

12th December 1994, Roseland Ballroom New York 

The recording opens with an incomplete “Endorphinmachine.” The first portion of the song is missing and the recording picks up just as Prince's guitar solo is in full flight before he slips into the spoken-word breakdown. It's wonderfully clear, and even incomplete it is well worth the listen. Prince isn’t setting the world on fire here, but he is sounding strong and clear, something that bodes well for the rest of the recording. 

I have previously often written of my ambivalent feelings toward “The Jam,” the version played here leaves no doubt in my mind, it sounds fresh and light and is a great introduction to the band leaving me completely sold on it. The keyboard solos are lighter, they lift the song, and the guitar line underneath is well served by the recording, every nuance is recorded and easy to hear. Normally I enjoy the first organ solo, then drift off as the rest of the song plays, today is different and I listen enraptured to every moment. I enjoy all the different elements, as each member plays, I listen to them with enthusiasm, and never once do I lose interest. 

 

Last week I wrote that “Shhh” was the highlight of the show. This week’s performance trumps that, it is hands down one of the best versions I have heard. A lot of this has to do with the recording, it's silky smooth, and I can feel the song as much as I can hear it. Prince’s performance sounds steamy and the recording is so good I can almost hear the sweat dripping off him as he sings. There are two aspects to the song, firstly the vocal performance which is sensual and full of desire, and then the guitar breaks which start with a smoky stutter before becoming full-blooded and soaked in passion. Both parts of the song are beyond compare, and as Prince wraps it up with the guitar crying I decide that this is my new favorite version. 

“Days Of Wild” also benefits from this soundboard recording, it has a lightness and clarity as it squelches across the soundscape. Without the heaviness Prince’s vocals can be heard clearly, and every syllable enunciated has been captured by this fantastic recording. The groove continues its roll, and even as Prince sings “Hair,” the underlying “Days Of Wild” rumbles along before we return to the chorus. The song has a couple of twists and turns which keep it interesting, as well as the heavy funk there is a lighter guitar break that drops out of nowhere before it closes with the crowd chanting. 

 

We have another long funk workout next with “Now.” It’s the latter part of the song where things get interesting, the band goes into a long extended groove before Ninety-9 joins them and begins to rap. It may not be everyone’s cup of tea but it is interesting to hear something different, personally, I’m not overly enamored by it although it does keep me listening. However there is no denying the pulse of the organ groove under it, and this is what keeps the song and me moving forward. 

With the quality of the recording and a slight echo, Prince sounds ethereal as he sings “The Most Beautiful Girl In The World.” The music is fine, but it does sound of this earth while Prince’s vocals seem to come from someplace else entirely. This is the hit song of the year and was played constantly, yet here it is as fresh as ever, its pure pop sound undiminished by constant rotation. With the keyboards showering the song in their colorful runs, it ends on a high that has me smiling for several minutes after. 

Prince's vocals sound somewhat detached from “P.Control,” although it is held together by the music. The vocals are clear but not as loud as I expect, maybe the recording is too clean for its own good. The band is very tight throughout the song, and there is not a loose moment in the whole thing, it is played as straight as can be. It’s a good moment in the show, without exploding into anything more. 

“Letitgo” has Prince talking about his contract for the first minute before the band slips into the easy groove. It has a seductive slide to it which gets my head bobbing from the start. The song lacks any real punch; it stays on the gentle side of a groove with the wheeze of the organ carrying the verses before the song opens up for the chorus. It’s an enjoyable few minutes although like the previous song it doesn’t punch things to the next level. 

 

We get a treat next as the band plays the first live performance of “Pink Cashmere.” The stabs at the beginning add some sharpness to it, although to be honest, it is Prince’s singing that is the main attraction of the song. There is added interest in way of a jazzy interlude which briefly takes the song to a different plane. Overall Prince keeps it relatively straight and this song is the biggest benefactor of the soundboard recording, Prince's vocals sound great as do the keyboards and drums throughout the whole song. 

A minute of guitar noodling leads us into a version of “The Ride” that seems to be slightly faster. Prince doesn’t dwell on it as is his usual way, instead, the song moves along at a steady pace allowing him to quickly cut into this work on the guitar. The normal slow-burning guitar is replaced by something quicker and sharper, there is still a buzz to it but the notes come in flurries rather than being drawn out. The song is shorter than normal, the final minutes dominated by Prince talking to the crowd as he plays. 

“Race” has things moving, and like other songs on this recording it gains a lot from the soundboard recording – Prince sounds cleaner than I have previously heard in live versions of this, and the song gains an extra level of energy. It rattles and rolls without settling down, and Tommy’s solo keeps it off balance, it never feels like it settles into a groove. That is until Morris plays on his organ, and it is at this point that the song and the band hit their straps and drive it home. There are some excellent keyboard sounds from all involved in the final minutes of the song, and at that point, it becomes looser and more of a jam. 

 

I was looking forward to hearing “Superhero,” it is a great NPG song that deserves more coverage. The up-tempo beat and quick groove get the energy levels up, especially midsong when the drums begin to pound with the “Superhero” refrain. Things get wild from this point on as the keyboards go off-piste with some very cool solos that lead naturally into “Outa-space.” We are fully into the jam at this point, with plenty of different sounds coming at us thick and fast. The groove however remains constant, and I find that I have to resist the urge to get up and dance to it. The final few minutes bring the greatest surprise, with Morris indulging in some playing that has come straight out of the church while the rest of the band falls silent. It’s an interesting moment, and although I am used to the God and religion in Prince’s music it is still a surprise to hear such a church moment at this stage. 

The organ sound makes a return as the final song of the evening begins, and the first couple of minutes are all Morris Hayes before “Get Wild” kicks off properly. It's bright and shiny, with the keyboard playing horn parts and giving it some extra sparkle. Things become much more serious as Prince unleashes some heavy guitar. It’s brief as it ushers in the next part of the song, with plenty of loose solos provided by all. Prince's vocals are again sounding detached in the mix, luckily it’s all about the band and the music for this final hoorah. The highlight is certainly the bass, as the song plays this is the moment I look forward to and it doesn’t disappoint at all with some thick yet sharp bass playing.  The disappointment comes from the fact that this is the final song, and as it wraps up I am still hungry for more. 

It’s refreshing to hear a show such as this on soundboard, and in years to come, I am confident it will be highly regarded. Prince and the band are lively and play a tight and enjoyable show. I have only listened to this a couple of times, and I will be listening to it plenty more times in the years to come. A great show, with a quality recording and a beautiful cover, you really couldn’t ask for anything more, this recording deserves all the coverage it gets. 

New York 14 July 1994

 Here I was thinking I was running out of quality shows to write about when not one, but five new soundboards from 1994 dropped upon us. With these newfound jewels, I am spoilt for choice, and for this week’s blog, I am having a listen to the one that immediately appeals to me, the Palladium show. Featuring guest appearances from two of my other heroes – Vernon Reid and Lenny Kravitz, I am sure you can already see the attraction of such a line-up. Vernon and Lenny only play two songs in the show, but those two songs are guitar-heavy and my mouth is already watering in anticipation. So, enough of the words, give me the music. 

14th July 1994, The Palladium New York 

Firstly, this is a beautiful soundboard recording, it’s all I can do to refrain from writing “soundboard, soundboard, soundboard!”  The whole thing sounds great right from the first moments, and the fact that the first song is “Gold” only heightens the experience. The song shines and shimmers like its name, and although Prince's vocals do sound quiet, the rest of the song is bold and full. The guitar that plays later in the piece is easily the strongest moment, and it adds some muscle to the performance which is lacking early on – I am in no way saying that earlier in the song didn’t sound good, but the extra push that the guitar adds gives it that little bit extra that is required to take it to the next level. 

 

Prince sounds more forward as he introduces “The Jam,” but after the initial shout-out to New York, he takes a back seat as the music takes center stage. There is a guitar that slips in and around the keyboard, and this gives it a sharper sound, and as previously mentioned the recording catches every nuance of it. Asides from that, the rest of the song follows as we have heard plenty of times before with each band member adding their piece. As always Michael B’s drum solo gets the crowd briefly excited and involved with the show. I do find that as the song progresses I get a lot more out of it as it’s a soundboard, and it’s very easy to hear the quality of the band members. 

“I Believe In You” is a stable of these 1994 performances, so I register zero surprises when I hear it next. It does have more life to it than other performances I have heard, the keyboards are again strong although Prince's vocals are still quieter than everything else on stage. He does make up for it with some wailing on the guitar which is noteworthy and the final minute of the song has some interplay between the bass and keyboards which is also a pleasure to listen to. 

There is no scream at the beginning of “Endorphinmachine,” but there is the shriek of the guitar which amply compensates. Things don’t stray too far from this, it’s the guitar that is all over this that I listen to, while Prince's vocals remain low. The guitar has plenty of momentum and drive to it, and it carries the song along. The song remains fun throughout, and every time Prince touches the guitar everything lights up.  It’s never heavy, but it is energetic and lively. 

“Space” is spacey sounding and lowers the energy levels with its easy shuffle. Prince’s vocals float across the music and it propels itself along nicely. It’s hard not to like it, and Prince performs it effortlessly with a summertime groove to it. The song makes such an impression that I want to go back and listen to the original which is always a good thing. There is yet more to get excited about with some guitar work coming through for the last minute which is subtle yet fast. The song ends much too soon, and it’s the surprise of the recording so far. 

There is a sense of urgency to “Days Of Wild,” it is lacking the heavy swell of other performances, but Prince performs it as if it was the most important song in the world, you simply cannot fault his passion. He has me completely sold on the performance, and although the guitar solo is thin, Prince's vocals are the strongest they have been so far in the recording, and just in time too. The song bounces, rather than steamrollering over everything, and it has plenty of energy to it.  “Hair” is thrown in for good measure, which doesn’t excite me, before the appearance of the “777-9311” bassline has me getting my hopes up, only for Prince to dash them again with “We don’t play that shit, Prince is dead” The bassline only played for half a minute, and it is easily one of the best parts of the first half of the show. “Days Of Wild” continues its unstoppable groove, and it hammers home the heavy funk of Prince at this time. 

I am not normally a big fan of “Now,” but this version has me flip-flopping and reconsidering my opinion. It must be the quality of the recording, I am enjoying every single moment of the show. “Now” starts on the straight and narrow, before taking off into outer space with a bare beat and then a long interesting jam. Some space-age sounding keyboards lead the way and things become even funkier as Prince addresses the crowd and the keyboards become even more extreme in their sound. It’s one of the longer jams on the recording and not a minute of it is wasted. 

 

“The Most Beautiful Girl In The World” is the complete opposite, it is short and full of pop and sparkle as it plays. It shines brightly in contrast to the previous two songs, and even with Prince's vocals remaining low, it highlights his lyrics and singing. The audience becomes much more audible near the end of the song as the recording changes to an audience recording for the next four songs. It’s not a bad audience recording, but it is noticeable after listening to the clean soundboard for the first part of the show. 

I always enjoy “Billy Jack Bitch,” and here is no different as Prince delivers up an impassioned rendition, backed all the way by the audience. Prince’s vocals are stronger sounding on the audience recording, it may not be as clean, but he is certainly a lot louder. Prince gives a great performance and his blazing guitar adds to the venom of the song. Morris Hayes gives the song some depth, and along with the audience singing the show takes on a different feel. 

“Papa” is faster than on record, and sounds more disturbing than the album version. Prince sounds deeper and darker and injects something extra into the performance, and nowhere it’s an intense and interesting performance. The guitar adds fuel to the fire as the song ends on a high. One of the shorter songs at the show, it nevertheless delivers a punch. 

We slide back to the soundboard recording with “Love Sign,” which is notable for its smooth sound and the appearance of Nona Gaye. It also signals the return to Prince's vocals being quiet in the mix. The song itself is smooth as velvet and is faithful to the recorded version. If not for the moment when Prince calls “New York” I wouldn’t have noticed a difference. 

“Shhh” comes from another world, it is so glorious-sounding. Prince is in complete control as he works the song and the audience. With lyrics that positively drip in sweat and lust, he works his way up towards the searing guitar break that closes the song. It is, without doubt, the high point of the show, and the recording.  A masterful song, it takes on new life in the live setting, and hearing it on this pristine soundboard is truly a joy. Clocking in at ten minutes it is unmatched by anything else on the recording. 

 

I finally get to the moment I have been waiting for as Prince is joined on stage by Lenny Kravitz and Vernon Reid. For such a line-up of guitar heroes, it’s surprising that the first moments are all about the heaving keyboard. That wrong is soon righted as the band groove on “Mary Don’t You Weep” and Prince encourages Vernon to solo, before turning it over to Lenny. Both are recognizable in their unique styles, and Prince is correct as he sings “I don’t have to introduce my friends”. As good as the guitars are, there is plenty of space for everyone, and Prince takes the time to let the keyboards play extended solos as well. They all add layers to the music, giving it a timeless sound that will stand up to repeated listens. I am surprised by how little guitar there is for most of the song, but Vernon more than makes up for it in the final minutes as he adds his crunching guitar sound. 

“No Of Your Business” sounds sharp and crisp, with plenty more organ and keys at the beginning. Of course, the guitars enter the fray, they know their place and stay low key early on before adding more sparkle later in the song. Vernon Reid and his guitar are front and center, and the song is just a stepping-off point for plenty of funk and roll. The guitars don’t solo, but they do drive the song in their own ways, and I get a kick out of hearing Vernon Reid adding his sound to Prince. It is the party jam that you would expect at this point of the show, and it’s got a celebratory feel throughout the entire song. It is not a song full of guitar solos as I expected, but Vernon Reid’s sound is present in the whole song, and a real highlight. 

“Get Wild” is a fitting song to end the show with, and once again we have an upbeat funky jam. Morris Hayes adds his weight to the song, and with Tommy contributing, there are plenty of keyboards underpinning the song. Tommy plays almost like a horn player, and his playing gives brightness to the song. With drums coming like gunshots, and the keyboard of Tommy Barbarella adding a sharpness, the song is a funky weapon, and then a weapon of mass destruction as Prince layers some furious guitar over it. With a screech and howl amidst the feedback of the guitar, the song ends in the only way possible, and with the ringing in my ears, the recording ends. 

I am pleased to look back and see that I haven’t just written “soundboard” over and over for this blog post. Trust me, it was very tempting to do so. This is a most welcome addition to the collection, and I am most pleased to see it appear. Although the setlist was routine, the performance and guests were not. Every song was played with plenty of heart, and with the soundboard recording, there were plenty of new things to pick up on. Lenny and Vernon appearing was a definite bonus, Lenny was disappointing and quiet in the mix, while Vernon was unmistakable and his sound was all over the songs he played. With some top-notch performances of the songs of the era and the great sound, this is a great addition to the collection. Hopefully, we will get plenty more of the same in the coming months. 

Glam Slam Los Angeles 27 June 1994

 The years 1994 and 1995 are already well covered in this blog, some might go so far as to say they are over-represented. With many of the setlists being similar, one may question why these concerts get so much coverage. The same music is indeed heard again and again, but Prince and the band are discovering new sounds and textures, and with each song played as an extended version there is plenty of scope for surprising jams to be heard. A couple of weeks ago I wrote about the performance on June 26th, 1994. While researching the concert I read the Databank’s assessment that the show on the 27th was even better, and one of the best bootlegs of the era circulating. This brings me to where I am today, headphones on, 4DF’s ‘Acknowledge Me’ in the player and I am all set to take a closer listen to what the Databank calls “one of the best of 1994” 

27th June 1994. Glam Slam Los Angeles 

“The Star-Spangled Banner” is the first song of the night, with its strong and forceful guitar tone Prince is making a clear signal of intent, the guitar will dominate early on. “The Ride” backs this up as it goes from its steady opening into a blazing solo that captures the listeners' imagination even 20 years after the fact. Sometimes I find “The Ride” to be a plod, here it is anything but as the band turns it into a stonking celebration of Prince and his guitar abilities. As an opening number, it slaps the faces of the audience, immediately snapping them into life. 

Likewise, “The Jam” has an extra sense of energy and thrill to it. The recording is good at this stage, and the audience noise that is heard adds to the sense of the moment rather than detracts from it. It all adds up to a version that I find I enjoy immensely, often I find I am waiting for “The Jam” to finish so we can get on to the other music, in this case, I enjoy it just as much as anything else on the bootleg. 

 

The first few songs have been good, but it is the following “Shhh” that makes this bootleg what it is. It is a sublime performance of one of Prince's most intense songs, the following minutes transport me to another world altogether. Prince's vocals are spellbinding, and the guitar break is both haunting and incessantly angry at the same time. These eight minutes are the best of the recording and enough for me to recommend it to anyone. 

I don’t think I have ever heard a bad version of “Days Of Wild”, and the performance here doesn’t break that winning streak. It is in its full head bobbing, heavy funk glory. However, it is the guitar break from Prince that has me grinning from ear to ear – it is sharp and forceful, cutting through the wild jungle of “Days Of Wild” like a flashing machete. The appendage of “Hair” is unnecessary in this performance, Prince has plenty of his own funk without having to dip his pen in someone else’s ink well. This is further highlighted when the bassline of “777-9311” suddenly appears, Prince's own funk obliterating any memory of “Hair” 

“Now” runs at a lengthy 13 minutes, turning into a long easy groove and jam. The second half is much more enjoyable, the band has a smooth way to them and the song flows easily from the speakers. It is an easy groove that could go for hours, and even though not a lot seems to be happening it is still worth the listen. Especially catching is the chant of “Clap your hands somebody, somebody clap your hands”, which will be rattling around in my head for the rest of the day. 

The next song is a live rarity. “Ripopgodazippa” was only played twice live, this performance is the second and last time. It doesn’t do anything more than is heard on the studio version, but it doesn’t have to as its seductive groove makes it another outstanding moment at this concert. Smoky and sexy, the late-night groove fits perfectly in the setlist, and I can only wish that Prince had played it more often. Again, it heightens the desirability of this bootleg and is another must-listen. 

 

Equally of the era is “Acknowledge Me”, from the opening notes it takes us directly back to 1994. The is a lively performance that stands up well to the other songs that have already appeared at the show, it doesn’t outshine anything else, but neither does it fade into the background. It’s a highly enjoyable moment that sets the baseline standard for the concert. 

The following two songs are from the “Come” album and work as a nice pairing together. “Papa” is noisier than expected, it loses some of its message, but the music is undeniably good and carries the day. “Race” is a steady performance of a steady song.  It never catches fire at the concert, or on the recording, and although these run of songs are very good, this part of the show plateaus. 

“The Most Beautiful Girl In The World” restores the crowd’s enthusiasm and Prince’s performance gets a welcome cheer. The song is faultless and injects pop into a show that is otherwise a succession of funk jams. Its appearance is bright and the recording becomes energized again. 

I would love to see the band get wild for “Get Wild”. It does sound like they are going all out, and even listening at home I can visualize what is happening on stage. The long jam keeps me interested, and the bass and guitar parts hold me enraptured between chanting and singing. My favorite moment though belongs to Tommy Barbarella who plays a fast and furious solo that bucks like a wild horse under his command. Every member makes an impression, and this is one of my favorite versions of “Get Wild” in circulation. This bootleg is rapidly approaching a 10/10. 

 

That sentiment carries over to “Santana Medley” which comes next. I thought everything else so far had been great, but Prince finds a way to take the concert through the stratosphere with an epic rendition of the “Santana Medley” This is the moment where the recording almost spontaneously bursts into flames as Prince plays a soulful, yet furious guitar break. It continues to evolve and a couple of times Prince slips back into the shadows before reemerging with another solo that could strip paint from the walls. I listen intently as it spirals and turns, the world rotating around Prince for the minutes that he plays. 

“Billy Jack Bitch” is a direct statement and one of the least veiled songs Prince has ever written. Prince takes on the media head-on in a none-too-subtle attack on those that write about him. The live performance is not as venomous as the studio recording and some of Prince’s anger is dissipated by the music, in particular the swirling keyboards that provide a depth and backdrop to Prince’s sharp lyrics. It lives up to some of the other funkier moments in the concert and the final horn stabs drive the point home with a timeless funk sound. 

The last song of the show is “Johnny”. Prince's rap is much more relaxed, perhaps due to the recording, or perhaps reflecting his mood at this concert. The lyrics may be dated and nowhere as funny as they were at the time, yet the song still stands on its own two feet – especially as Prince’s guitar emerges from the groove with a snake-charming solo that has me hanging on every note. The keyboard solo later in the song is every bit its equal and it is easy to disappear into the groove and music at this point.  It is entirely fitting that the show ends with the crowd chanting “NPG” – this is very much a band performance and this final song sees them at their very finest. 

This is a great release, in a year that is well covered by bootlegs, this one stands out. The quality of the recording is outstanding for an audience recording, but it is the show itself that garners the most praise. These songs are familiar to all Prince fans and have been heard plenty of times over the years, yet here they are infused with extra sparkle and energy. I can’t account for why that might be, all I know is that the show sounds fantastic and this is exactly the sort of bootleg that ignites my passion. 10/10