Paisley Park 9 September 1995

 The final show I want to cover from 1995 is the second show from September 9th at Paisley Park. After playing an early morning concert, Prince returned in the evening to play a completely different set and one that closely resembles what is heard during the Japan tour just a few months later in early 1996. This is a concert that presents the bulk of the Gold album, only a couple of Come songs make the setlist along with two NPG songs. Serving as a nice run-through of what will be a main concert setlist, this is Prince and the band playing a much more structured show than the previous two I have written of and is a good introduction to what we will hear in Japan in 1996. 

9th September 1995, Paisley Park 

I have never been completely sold on “Purple Medley,” but as an opening, it does give us a good feel of the quality of this audience recording. The recording is full-blooded, with the bass coming through solid without ever overwhelming everything else or distorting. Despite any reservations I have about the medley, I do find it does move along quickly and it is a simple gift to those that have followed Prince throughout his career. 

With the shout of “Prince is dead, long live the New Power Generation,” the concert is awash in guitar grind and bathed in the sound of the Gold album as “Endorphinmachine” cleanses the bootleg of any nostalgic mists. The song is heavily abridged, after being battered by the guitar, and phasing keyboard, the song collapses under its own furious weight, leaving the blitzkreiging guitar of Prince as the abiding memory. 

The fire and fury quickly vanish, but Prince gives us something every bit as titanic and intense with a poisonous version of “Shhh.” Laced with the most venomous guitar break, it too quickly dies but not before leaving an indelible mark on the concert and this listener. 

 

The show settles with “Now,” a six-minute funk battering that only suffers from a small microphone glitch from Prince early in the number. It’s easy to get caught up on the lyrics, the singing along, and jumping, but for me, the most enjoyable parts of the song belong to the NPG themselves, Michael B.’s powerhouse drumming, the twin keyboard attack, and the rubber-ball bounce of Sonny T. on bass. I often consider “Now” to be lightweight in more esteemed company, but in this case, there is plenty to admire and respect, the only disappointing aspect is that I can’t see Mayte shake her money maker. 

Morris Hayes owns “Funky Stuff.” Prince may call for various other band members to play throughout the song, but Morris Hayes's contribution is outstanding, both in his electric wonder solo piece and later in the song where his keyboard is the glue that holds it all together. The song follows a similar line to the previous “Now,” becoming an extended workout where once again I miss seeing Mayte shake her thing. The song runs out of steam later in the piece, becoming just a groove, and I find I do begin to lose interest by the end of it. 

“The Most Beautiful Girl In The World,” becomes all the more interesting as Prince breaks it down from the beginning, turning the song into an elongated speech about what they were playing and his struggles with Warner Bros. and the system. His speech about the Gold Experience is revealing and for me strikes at the crux of his problems with record labels. It is a fascinating insight and essential listening. 

 

Something is missing in “Days Of Wild,” it doesn’t have the fierceness that I have come to expect from it. The recording doesn’t sound thin, so perhaps in this case it is the performance that is lacking. I shrug it off as the pulsating bass solo unfurls, improving the moment substantially and setting off a chain reaction through the rest of the song. The bass becomes an exhilarating ride that snakes in and out of the music, giving the song a slipperiness that was previously missing, an empathetic punch of funk that elevates these few minutes above all else. 

I have heard better versions of “Pussy Control” in circulation. Princes’ vocals have the slightest distortion on them, and for me, it detracts from the song. However, the other key players are all in the place and the music hurtles forward without ever gaining any sense of intensity. There is no magic here, just a romp through a joyous celebration of feminism, albeit with a wink. 

“Letitgo” is a far gentler ride, the music is set to cruise control from the start, and with Prince’s suede vocals the song reeks of unfulfilled luxury. It is a gentle ride from start to finish, only Prince’s exclamations to the crowd break this downhill flow. The song itself is the best moment, the band rarely sticks their heads above the parapet, and the performance is faceless as the song glides by in its own way. 

 

The soft and luxurious sound is retained for the creamy “Pink Cashmere” that follows, a song that sounds far better live than on record, especially as the band dust it with the slightest sprinkling of jazz making it a far more demanding beast than the recorded version. With the soft duvet of keyboards wrapping the song up it becomes a moment of warm comfort, and is one of the least challenging moments of the concert, especially in comparison to the raw funk of Prince’s more current material. 

“Return Of The Bump Squad” emphasizes this point, although it takes a minute or two to show its true colors, Prince spends the first minutes talking with the crowd while the band, and audience, wait in anticipation. When it does kick-off, it comes as a punch to the face, the music strident and turbulent from the start with a collision of sound and funk all making for an explosive mix. The bass strikes blows throughout, while the rest of the band batter the song into submission with a relentless barrage of funky grooves and rhythms. Prince’s bass can’t be denied though, he is the star attraction throughout, and the final minute sees him giving us a brief burst of both “Hair” and “777-9311,” something that has my inner fanboy weeping with joy. 

I don’t expect too much from “Get Wild,” and I am pleasantly surprised when Prince gives a performance that keeps me engaged from start to finish. I feel a warm flush with Tommy Barbarella’s first solo that mimics the sound of a saxophone, while the long break down mid-song is kept interesting with Prince’s comments to Lenny Kravitz about rock being dead, before giving us several minutes of chanting and singing “Rock ‘n’ Roll is alive and lives in Minneapolis”  This is the first live appearance of the song, and although it nothing more than a chant, it does point to the future when the song will soon appear as a b-side to “Gold” This alone makes “Get Wild” one of the stand-out tracks of the evening, and with the NPG evolving the song through a series of wild improvisations it makes for a fascinating listen. 

 

Equally unhinged is “Race,” swinging from a long funky intro into a sample laden finale, with the Prince era “Girls And Boys” making an unscheduled appearance halfway. Again, I hadn’t expected too much from this song but found myself enjoying it just as much as anything else heard at the show. It may not but a definite full-stop on the show, but it offers a rich finish to a show that gives far more than first appearances might suggest. 

This may be the most straightforward of the Paisley Park concerts of 1995, but it offers several insights into Prince’s position at the time, and some of his best jams. Although I have heard these songs many times before, in this case, they were played with vitality and enthusiasm that remains undiminished. The audience recording is very good, and all in all, this makes for yet another great listening experience. This is another gem that not everyone is familiar with, but like all shows of the 1995 era, it is an essential part of the Prince bootleg canon. 

Paisley Park 9 September 1995 (am)

 After the glory of listening to Prince’s outstanding show of 30th August 1995 at Paisley Park, this week I return to hopefully more of the same. On September 9th, 1995 Prince played two concerts at Paisley Park, one in the early morning, and then another late night of the same day. To avoid any confusion I will write about both, one this week, and one next week. Prince played a string of concerts through August and September of 1995, but all have different setlists and offer a scope of different listening experiences. This particular performance is short but well worth a close listen as Prince and the NPG continue to strip mine a rich vein of funk throughout this year. 

9th September 1995 (am), Paisley Park 

The concert doesn’t burst into life, instead, the music strolls easily on, swaying back and forth on the easy guitar line from Prince. With a strong bass line appearing, the song blooms, revealing itself to be “Shy” in full techno color. It’s an easy glide, Prince and the band proving to be a well-oiled machine with barely a hint of friction throughout these opening minutes. It is a soft opening, and the feeling that the band is still holding their cards close to their chest, not wishing to reveal too much of the heavy funk they are renowned for. 

 

With “People Get Ready” as the following song, there is the sense that this concert is different from many of the others throughout 1995. These opening two songs come as warm comfort food, nothing is challenging or threatening as the band groove easily through the music, just a hint of soul in the air as they play. “People Get ready” is short, but it does give a nod to Prince’s soulful roots. 

“The Jam” ups the tempo considerably, while providing the band a chance to stretch out for the first time in the evening.  And stretch out they do, with every member providing a new or different idea. Even with my jaded ears, I find something to enjoy, and “The Jam” is the perfect vehicle for the band to demonstrate their unique abilities in a song that sprawls across the next few minutes. 

 

The concert is punctuated by a dark chocolate rendition of Chaka Khan's “U Got The Love” With Morris Hayes adding plenty of heavy swirl, the song is rich in sound, Prince's vocals being the sharpness that brings it all together. His guitar final guitar break cleaves through this sound and ends the song on a high note. 

The instrumental jam that follows is a slow-building structure, assembled atop a foundation of Prince's guitar work. It takes some time to rise out of the ground, but it is an architecturally designed song, with every note carefully placed and all contributing to the essence of the song. It is the most straight-sounding rock song of the evening and sketches a simple blueprint of how a rock song should be. 

 

Several songs of the evening foretell Prince’s future, the covers of Larry Graham and Chaka Khan both predict a time in the next few years when Prince will work and tour with both artists. The second Chaka Khan song of the evening is “Sweet Thing,” and although I have heard this in various guises over the years, this is one of the earliest renditions by Prince, and it veils the concert in an emotional softness once again as Prince dwells on a gentle beauty from days gone by. 

The change to Ohio Players “Heaven Must Be Like This” is barely perceptible, and never has a song title been so apt. It is gorgeous sounding, and nowhere more so than the opening keyboard runs, claimed by Prince with his comment “Don’t mind me, I’m just jamming.”  As a companion piece to “Sweet Thing,” it is a match made in heaven, and this combination is the heart and soul of the gig. 

 

“Hide The Bone” is a far better representation of where Prince and the band were at this time, although I do initially mishear it as “Ride the bone”. Michael B stakes out his territory with an unmistakable pound, while Prince contributes his usual shotgun blast of smutty lyrics, all of which brings a huge smile to my face.  Walter Chancellor Jr gives the song extra gloss with his saxophone contribution, it is just the fresh blast that the song needs and it tightens up my enjoyment immeasurable. The final minutes meander, but it provides plenty of sparkling treasures before this and is another key part of this show. 

The crushing version of “Funky Design” blows the roof of the concert and signals what to expect in the next half hour. With its suffocating groove sucking all the oxygen out of the room, there is very little room for Prince to spark up and ignite the concert, instead, he remains buried under the incessant groove and all-consuming rhythm. He does briefly flare up for a verse, but the song remains firmly in possession of the band, and again  Walter Chancellor Jr proves mighty in his contribution with his saxophone riding this wild music to the finish. 

 

The band is in full force for the “Santana Medley,” at first it is the bass and keyboards that capture my imagination with their shades and color, but eventually they give way to Prince and his forceful guitar playing that stomps all over the rest of the song. It plays to Prince's strengths, with its changing feel and swing from moments of intense guitar ecstasy, to more nuanced and soulful playing. A cover version, it still remains a treat in Prince’s setlist and is just as important to understanding the man and his music as anything else that is heard at this show. 

“The Undertaker” simmers and bubbles for the longest time before the inner heat of the song boils over with Prince’s scolding guitar break. As much as I like this relentless groove and unforgiving bass line, it is Prince’s guitar that is key, and even as  Walter Chancellor, Jr again puts his brand on it, thoughts and feelings conjured up by Prince’s guitar linger. It matches “Funky Design” for pure intensity, and is the dark heart of the performance with its depths of emotion and musicality. 

There is the sweetest of instrumental introductions appended to the beginning of “Sometimes It Snows In April” It doesn’t add anything to the moment and is nothing more than empty window dressing to a song that is already loaded with its own emotional weight. The rest of the song belongs to the audience as much as Prince, and it is they that carry the chorus while the music rises and falls, cascades and splashes behind them on the waves' keyboards that fill the tape. It’s not quite all that I had hoped it would be, but it is interesting to see a pure Prince song keeping company with a setlist of Gold-era songs. 

The concert ends as gently as it started, and it leaves me scratching my head. It is not typical of other shows of the era, the setlist is far more balanced and there is a Prince song, but it is undoubtedly just as enjoyable as the other shows I have listened to in the last few weeks. These Paisley Park concerts from 1995 are proving to be a treasure trove of different experiences, songs, and concerts. This is merely one of that run, but is just as essential as any other, and is a unique listening experience. Check it out of you can. 

Paisley Park 30 August 1995 (am)

 The 1995 Ultimate Live Tour was relatively short, and the rest of the year saw Prince play several one-off shows, in fact far more than main concerts. The last half of the year he was firmly ensconced in Paisley Park where he played most of these shows, and a good number of them have been bootlegged. This week I am listening to a short but excellent show from August of that year. It differs from the main concert I listened to last week in that there is no material here from the Gold Experience as Prince gives a performance that draws heavily from Exodus and some well-chosen cover versions. The cover versions heard at this performance are not his usual choices of “The Jam” and “Hair” and it is refreshing to hear a show from this era without those two selections. The real highlights though come from the Exodus songs, in particular, a rare performance of “Count The Days” and an incendiary performance of “Return Of The Bump Squad” that is the key to understanding what Prince and the NPG were achieving at this time 

 30th August 1995 (am) Paisley Park 

The influence of Sly and The Family Stone on Prince at this time cannot be understated. Sly’s music is regularly covered through 1995, along with a healthy selection of tunes from Larry Graham. We know that in the future Larry Graham will feature heavily in Prince’s personal life, but 1995 is the first year where we see Prince drawing overtly from Sly and Larry’s musical heritage.  The opening cover of Sly’s “M’lady” comes then as no surprise at all, but what does surprise me is how good this audience recording is. The quality is high, and although there is audience noise on the recording it is negligible. The music itself has a brightness to it, and one can sense Prince’s energy and enthusiasm bubbling away on the tape as he plays. It is the NPG who take the center court with a vibrant and buoyant rhythm section, and the spiraling uplifting keyboard work that is distinctly theirs. 

“Glam Slam Boogie” is Prince’s musical equivalent of Graham Central Station's “The Jam.” It takes on the same form as the baton is handed from player to player, each having a moment to solo and propel the song further forward. I prefer it to the “The Jam,” it is sunnier and faster moving, my feet tapping and head nodding throughout the song suggests the band has hit just the right groove for me. Prince's guitar rises twice in the performance, first with a light skipping burst, and then later with a smolder that sits lower in the mix but is no less relevant. 

 

The first real highlight of the show is the rare appearance of “Count The Days.” Performed only during 1995, this becomes a sensitive moment as Prince’s guitar plays a dainty opening before the vocal performance takes over and carries the song in rising harmonies and impassioned choruses. Prince’s voice doesn’t stand alone in this number, he is ably supported by the NPG, and for me, this is where the real treasure lies as the closeness of the band becomes the alchemy for a divine vocal performance. 

“Get freaky, let your head bob” could well be Prince’s credo at the time, and it is hard not to obey this command as “Big Fun” booms out of my speakers. It is based on the big bottom end foundation that Prince was so fond of at the time, Michael B and Sonny T rock-solid in their furrow as they lay the groundwork for the rest of the band to build the song upon. The song is pure groove, and it matters little that the vocals are inconsequential, it truly is a song where one should get freaky and let their head bob. 

 

The highlight of “Good Life” is undoubtedly Prince’s first rap. I have heard it described as lazy, it is so laid back that Prince sounds almost comatose, but it serves the song well, and this rap alone makes the whole concert worth hearing. His later raps in the song are just as fun, and I must admit I listened to this whole song with a smile on my face throughout. His comment “I got a white man on the piano” brings another smile to my lips, but again it is his rapping at the time that makes this song what it is, he may be unfairly maligned for bringing rap into his music, but it does give another color to his palette and that is what makes 1995 so interesting and essential to understanding his music. 

A triplet of cover versions keeps the concert moving quickly forward as Prince ticks several musical boxes as he shifts gears through music genres. Good old fashioned Rock N Roll gets a nod with a perky rendition of Little Richard's “The Girl Can’t Help It,” before a more thoughtful and melancholy tone descends on the concert with Prince’s finger-picked opening to “Que Sera Sera.” There is no time to let this atmospheric dust settle upon the show though as we quickly swing into an instrumental take of Aretha Franklin’s “Think.” It is an uninhibited moment of vitality that changes the complexion of the concert completely after the previous “Que Sera Sera,” but Prince has one more stylistic change to come. 

 

“I Love U In Me” has Prince crunching down through the gears to low, the band all but disappearing for the opening stanzas of the song. They emerge slowly through the gloom, adding a bright note to Prince’s delicate and low-hung vocals. The precise guitar break that Prince layers the song with comes as a real treat, it conveys far more than his vocals could express and becomes a shining moment at the heart of the song. The audience can be heard, but it adds to the moment of poignancy, and I temporarily forget that this is an audience recording as the song becomes all-enveloping. 

The jewel in the crown is a sample-heavy, infectious performance of “Return Of The Bump Squad.” It is rambunctious and incisive, the heavy funk of the NPG neatly popped with humorous and political samples. The band bulldozer through the performance, and just like “Days Of Wild” on the best nights, it crushes all in its path with a groove that overloads the system and leaves one spinning and grinning with enjoyment. This performance would make any one of my numerous “Greatest” compilations, it is one of the greatest when it comes to funk songs of the 1990s. 

 

Although it doesn’t climb the same heady heights as “Return Of The Bump Squad,” “Get Wild,” does stay with the heavy funk of the evening. To my ears, the quality of the recording drops ever so slightly at this point, but it doesn’t in any detract from the enjoyment of the performance as the band ends the concert with the type of loose jam they excelled at. It isn’t the most challenging part of the show, but there is no denying the sheer enjoyment factor that can be heard in the recording, and as a record of the NPG at the time it is the perfect summation of all their skills and abilities, and the style of music that they produced at will. 

All in all, an outstanding gig. Don’t be fooled by its length, the performance of “Return Of The Bump Squad” is absolutely devastating, and coupled with the other treats in the setlist, along with the pristine and crystalline recording, this is a show that is worthy of lavish praise and attention. There is a couple of bootlegs in the ether that cover this particular show, my recommendation would be the 4DF release -they have gone to some lengths to clean up the sound. This show was so good that I feel completely enthused for all things 1995, and in the next few weeks I will be taking a listen to other shows of the era and will hopefully unearth other similar lost treasures. 

Join me again next week as Prince continues to shower us in Gold.

Dublin 31 March 1995 (am)

 In many ways, I and my brother are complete opposites. Like most boys, when growing up we would fight constantly, sometimes coming to blows. Nowadays it is the complete opposite and I consider him to be my best friend. During our teenage years, we are different tastes in music, and we would often make mixtapes for each other trying to promote ‘our’ type of music respectively. I would often get tapes from him full of Metallica and AC/DC and in return, I would give him tapes with bands like The Cure, The Pixies, and Sonic Youth. Sometimes I would throw a Prince song on there, but it would have to be a heavy guitar-driven song to have him listen. The only music we agreed on when we were 15 years old was U2. The only time we wouldn’t squabble about who’s turn it was to use the stereo would be when one of us would play U2, it’s something we could both agree was good. This brings me to today’s show, a Prince after show from 1995 which has Bono himself singing the opening song. My brother sometimes admitted liking “The Cross,” you would think having Bono singing it as the first song would be enough for him to give the show a try. Unfortunately, the quality isn’t fantastic, and I’m not sure I could convince him to give it a try. On the other hand, I am very interested to give this a close listen, it does have some great songs from this period and it will be a nice change from a lot of the shows I have listened to recently. So I will be listening to this one with my teenage ears for me and my brother. 

31 March 1995 (am)  The Pod, Dublin 

“The Cross” is the first song we hear at the show, straight out of the box. I like it despite the rough recording. The music is delicate and alluring, and I quite like the audience noise, it lends it a certain ambiance. It is a novelty to hear Bono singing the song, but to be honest novelty value isn’t enough. Sure his singing is fine, and the song is appropriate for his style, but he doesn’t have the same depth of feeling in it as Prince does. Bono does make up some lyrics, as is his way, and as much as I admire his ability to do so I find it doesn’t add any extra value to the song. Much more noteworthy is Prince's guitar playing, and as the song increases in intensity Prince can be heard playing. It is unfortunate that as the song is increasing in intensity the recording is going the other way and becomes thin and muddy. I find myself turning it up loudly to try and catch the sound of Prince and even that is not enough. 

 

Bono departs and we get the Prince show we have been waiting for. Firstly, the briefest of “People Get Ready” (a couple of lines) and then “The Jam.” I sometimes lose interest in “The Jam,” I have heard it too often, but this time is different as it is much shorter, and the band doesn’t overplay their parts. Michael B gets a chant, and a few moments, and then Prince engages in some fretwork that quickly brings us to the next song. It’s brief, I don’t know why, but it works for me. 

We stay on a Larry Graham trip as the band groove on “I Believe In You.” That nice steady bass line and keyboard wheeze give plenty for Prince to play over. I’m not overly fond of the singing, the playing is what it is all about for me, especially the bass and guitar. Like the previous song, it’s kept relatively short (by after-show standards) and is a good song to get the crowd moving. 

“Glam Slam Boogie” ups the stakes, and over the up-tempo groove Prince plays the best guitar of the night so far. Not scorching searing solos, but a fast loose guitar that gets me excited to hear what comes next. What does come next is some crowd singing as the band swings into their work. I get a lot of pleasure out of the keyboard as it plays and I know for certain that had I been there I would be dancing my ass off. My brother would have been looking for the nearest exit. Prince tries to reclaim the song late in the piece, firstly calling to the crowd “What you singing for, I didn’t give you the cue” and then laying down some guitar work. 

The recording, although far from perfect, has improved considerably by this point, and “Get Up (I Feel Like Being A) Sex Machine” sounds nice and funky to my ears (well, my right ear anyway) The song doesn’t contain any surprises, I don’t need them as it’s always a pleasure to hear Prince sing “get on up” as the band gets tighter and tighter behind him. This is a great band, the more I hear them the more I appreciate them. I have been listening to them for years now, and I never get tired of this group of musicians, they are one of the best Prince bands. 

 

The bass that starts “Funky Design” has that feel to it that I love so much, it’s a shame the recording is below par. The introduction has me hooked from the start, and it’s even better as I know what’s coming. Prince spits and spins the lyrics in fine style, he sounds as if he is in the moment, and the band slithers and swirls around him. The keyboard in particular has a wonderful nasty sound, and again I don’t want to belabor the point, but it is let down by the quality of the recording. All is forgiven as Prince lifts the intensity levels and his vocals in the latter part of the song are particularly impassioned. This band always does keyboards well, and there is plenty to love in the last few minutes, and after ten minutes I am still wanting more. 

Things slow down for the first time in the evening as “Johnny” is the next song played. I always enjoy “Johnny,” the feeling is casual and it has an easy groove to it. The keyboard is once again to the fore and the hero of the song, along with my enthusiastic singing. Prince doesn’t sing much, it’s mostly a band groove, and I more than makeup for him. 

“Feel Good” is a close relative of “Johnny” and it slips easily into its groove straight after. The song isn’t too taxing, a verse, then the crowd chants the chorus and before I know it, it’s over and Prince delivers a pop hit. 

I am slightly surprised to hear “The Most Beautiful Girl In The World” next, I would not have thought of it as after-show fodder. That said, I do like it in this context and it does feel on another level from everything else in the evening. It has a brighter sound and I can feel it lifting my spirits as the band play. It’s not as bass and groove-heavy as the other songs, yet I notice the keyboards still have a strong and most welcome presence. A surprising inclusion, it shows another side of Prince that I sometimes forget as I immerse myself in after shows from this era. 

 

“18 And Over” is the one song of the night that I fall in love with right from the start. It should be a guilty pleasure, but I don’t care who knows it, this is the one. Dodgy lyrics aside, it has a seductive groove, and some snaky keyboards that swirl like smoke rings and leave me with that late-night feel. I don’t feel the least bit self-conscious singing “18 and over, I want to bone ya” even though as I type it I realize how ridiculous it sounds. Prince makes a point of highlighting his “bone-ranger” line, on another night I might cringe, but today I am just enjoying it too much. 

I am happy to say that “(Lemme See Your Body) Get Loose!” maintains this funky standard, and features extra percussion from James ‘McGoo’ Gregor. It doesn’t start great, things pick up as the song goes on, and the band gets funkier sounding to me, especially that ever-present keyboard. Bustin Loose is a nice fit as a coda, there is lots of keyboard and bass to get me grooving along. This part of the show feels like a proper after-show with plenty of band and audience having a good time, no longer a series of songs but rather a great groove to move to. 

The best is yet to come, as we get a “Santana medley.” I always like these and this one is no exception. Prince's guitar sounds just right and one can hear how much he has studied Santana. The recording is too quiet for my ears, but I can still hear Prince playing with great gusto. He does pull back and let the keyboards add some lightness to the proceedings, the guitar groove is never from away though and you can hear Prince chugging away in the background before he comes to the fore again for a further solo. The next solo is the show stopper for me, I have heard it before and I find it timeless. 

 

Typically, Prince finishes the show “with a ballad” – “Get Wild.” Normally I highly rate “Get Wild,” in this case I think it’s lacking due to the recording levels, it never reaches the brain-crushing intensity that I anticipate. The song has a feeling of finality as Prince plays with the crowd and the groove for the last night. There is the expected call and response, and plenty of jumping as the band hit their straps. Fittingly it’s the keyboard riff I can hear most as the song plays, the keyboards have been outstanding all night long. The show ends with a last hurrah from the drummer and an enthusiastic “thank you” from Prince. 

This show in the scheme of things hangs in the balance. It was a good show, a great performance, and the novelty factor of having Bono guest on the first song. On the negative side, the recording didn’t do it justice. That is no slight against the taper, I am eternally grateful to anyone who dares to record a show like this for all of us to enjoy, however, the sound doesn’t serve the band well, and there are key moments and performances that I don’t hear in their full glory. This is one show that I know as a super fan I will come back to again, especially as 1994/1995 always fascinates me, I just don’t think this is the one to convince my brother though. 

Amsterdam 26 March 1995 (am)

 I don’t know what it is in the water in the Netherlands, but to me, it seems the Dutch are the maddest music fans in the world. And I am not just talking Prince here, almost any band or musician I follow, there seems to be a legion of Dutch fans following. They are all very knowledgeable and passionate, and that is further emphasized in the gig that I am listening to today. An after-show at Paradiso, Amsterdam from 1995, this is one show I would have loved to have been at. Sure, I feel that about many shows I listen to, but this one, in particular, strikes a chord with me. The crowd is very much part of the show, and listening to it I get the sense that the audience understands exactly what Prince is about at this time, and supports him all the way. The setlist, crowd, and performance are all excellent, the only item missing from my checklist is that sadly this is an audience recording- I would have loved for this to be a soundboard, but I am grateful that it even exists. As soon as I finish the time machine in the garage this is where I am heading, but until then listening to this recording is as good as it gets. 

March 26, 1995, Paradiso Amsterdam 

I did warn you the crowd is very much part of this one, and right from the start, we have them singing the “ow we ow” chant. It ends soon enough as the gentle chords of “People Get Ready” begin the show. It’s a smooth seductive sound and the soft “owww owwww” of Prince draws me right in. There is just a touch of organ underneath, and an audience-led handclap for accompaniment. It’s delicate, with the simple chords of the guitar over top, before Prince sings an opening couple of lines. And this is where it all comes to a sudden noisy stop, and the entire band jump in, and everything is turned to 11. 

 

First up we get “The Jam.” I have heard so many of these over the years, and I know exactly what to expect – Prince introducing the band and them each playing a part. Normally I have no feeling for it one way or another, but this one is excellent and has me very enthused. Although the recording is less than perfect, there is a nice squelching sound and some crisp guitar. Prince immediately gets the audience chanting “Prince is dead” and the agenda for the rest of the show is set. Mr. Hayes plays a full-sounding organ solo, predictably I think it’s much too short. Tommy Barbarella gets introduced on the piano and he also plays a nice funky electric break. Prince sounds very happy and confident, you can hear it in his voice. He introduces Mayte, I can’t hear much musically, but there is plenty of crowd noise. And speaking of the crowd, next we have them clapping a slightly more complicated beat than you might expect, but they do add to the fun of the evening. The audience is very passionate and loudly chants “Go Michael” as Michael B plays his break. There is very much a party and family feeling to this one. Last, but not least Prince gets to Sonny T, and his bass solo is even more electric sounding. The band melds together very tightly after this, and already I am ranking them as one of Prince's best bands. 

“Get Wild” follows close behind and has some nice chunky piano as it starts. The recording lets us down a little here, Prince’s voice sounds somewhat distant, but the organ and drum still sound strong. Mayte sings her piece, but to be honest I can’t make out what she is saying. There is a large cheer soon after, and I can’t even begin to guess what is happening. Things ease back somewhat after the chorus, and Prince leads the audience in “play that motherfucking bass” Again another chorus, and more cheering from the crowd. They are all over this recording like another band member. Mr. Hayes plays an organ break that swirls but still sounds as strong as could be. The song follows a similar format to the previous number, with each band member being called on to play a break. Prince encourages the audience with “We just come from London, are you as wild as them?” and then there is a brief short guitar shot from the man himself. There is a humorous moment as there is a chant of “Go Mayte, go Mayte” before Prince says “oh, you’ll just gonna run the show huh? I ain’t got nothing to do?” before he calls for Mayte to do her thing. It’s a cool moment and well received. Sonny T then proceeds to get wild himself, playing something that sounds like a whining animal. I promise it would have sounded great on a soundboard recording. The song ends with an “on the one”, before a short reprise with Michael B and the band closing it out. 

 

I find Prince’s choice to cover “Jailhouse Rock” an interesting one. After Elvis was dismissed by Public Enemy a few years earlier with “Elvis was a hero to most, but he didn’t mean shit to me” Prince’s cover seems oddly out of step with the mood of the times. Maybe he was staking a claim for the music and song himself, but it does place him outside the feelings on the street at that time. His cover itself is pretty decent, Prince does a nice rasp in his voice, and the guitars and band swing along behind, giving it a slight rockabilly edge that harkens back to some of his material in the early 80s. It’s not as much of a stretch as a cover as I may have first thought. It is only a couple of minutes long, so I don’t get too long to overthink it before a flurry of guitar leads us into the next song. 

“Zannalee” also has a swing to it, and this time the guitars are even louder with a buzz saw sound. I am not sure if the distortion is the guitar or the recording, but it doesn’t affect it too much. Again Prince’s vocal is lost a shade in the music, but the music is so good that that is irrelevant. As you might expect there is plenty of guitar work from Prince, and the band knows how to play with him, all in all, it’s a tight performance. 

This band is all about “The Undertaker.” Listening to this I understand what Prince and the NPG are trying to achieve. The song starts, but Prince delivers a speech about gun control, and then we get the song proper. The song begins with a quiet, but heavy sounding groove. The bass is sounding great, and some funky but light guitar brightens it. As Prince sings he has the audience tracking along with a sweet-sounding “Mercy” The song rumbles along in this way for some time, but it's never boring sounding. When Prince returns to sing about the undertaker I wonder which way the song will go, but very quickly it begins a long guitar solo. I can’t describe it here, but it's one I love. It’s not too fast, it’s long, and it’s got an excellent tone. I am caught off guard when the guitar solo ends and then the song a few seconds later. This is a great song that needs to be heard more often. 

 

The funk goes up several notches next when Prince hits us with “Funky Design.” This is one of Prince's heavy funk periods, and this song just oozes it. Prince does rap, but it’s not terrible. The bass and the keys create a great funk sound and it's this that I enjoy most. I get the feeling that this recording doesn’t do the song justice. The recording is average at best, but the song still manages to sound great. There is a great false end midsong, just as I was thinking it was over Prince comes back with an enthusiastic and passionate response. There is even a sizzling guitar break which never quite boils over but always hints at more. All in all, there is a lot of noise and fury, but sadly the sound is all mixed up on the recording, and I can’t quite hear all the pieces as clearly as I would like. The organ sounds strong as does the guitar, but Prince's vocals are a little distorted. 

The next song starts innocuously enough with the drumbeat and the crowd clapping along while chanting “Go Mayte” before Prince gets on the microphone with an “ooooowww pussy control” It's more laid back than on record and the intro is drawn out with some nice organ and rubbery sounding bass. Prince then stops to tell the crowd that the song is too nasty, before once again beginning the song again. As he raps his way through the verses he stays with the laid-back vibe, he is quite casual in his delivery. Even the chorus fails to raise any pulses. And this is in no way a criticism of the song, despite the recording limitations of the recording it’s still very enjoyable. The fun levels increase as the song goes along, and near the end of the song there is some great instrumentation and the crowd comes onboard with plenty of claps and singing. There is plenty of room for the organ to play a piece before Prince pulls it back with a call of “kick drum” and we get an excellent rhythm guitar break- just the sort of thing that I lap up. 

The kick drum comes at us again and Prince drives us into a brief instrumental, lead by the chant of “can’t get enough, of that funky stuff”. The action is once again up-tempo and funky as hell for this one. The piano comes to the fore with some great runs. I thought it was going to race through at this pace, but after a minute the band stops to give the crowd and few moments of chanting “can’t get enough of that funky stuff”. They come back to the song, this time with the guitar getting minute to play. It has a similar sound and style to the piano's break, and I am impressed with the band and its tightness. The instrumental runs for another couple of minutes, it’s fast-paced and has great playing. 

I hadn’t heard “Johnny” for a long time when I pulled out this recording. It’s better than I remember, the band plays slow but still has a nice swing to their sound. Once again there is no keeping the audience out of this one and there is a chant at the beginning of “N…P….G in the mother-fing house.” I love Prince's vocals, he sounds cheeky as he sings this, and it adds to the overall feeling of fun. There is a lot of personality throughout this show, and as I said before it gives me a good sense of what it would have been like to be there. The song takes in a nice organ break, followed by a mellow smoky guitar break before we return for some more keyboards. Nothing is hurried and the band sounds like they could play for days. Prince’s guitar playing is soulful and has just as much character as his singing in this song. The song ends with another keyboard solo, but it feels like it could have grooved along for hours like this. 

 

There is a pause in the music next as Prince takes his time to talk to the audience. He reminds them the new album Exodus is coming-out next week, then tells them Prince is dead, and the only ones who think he is alive are the record company. This leads to a very funny moment when the crowd breaks into a loud chant of “Fuck Warner bros”. It’s made even funnier to me by the fact that they chant it like this, rather than ‘Warner brothers’. Prince seems to take great delight in it too and asks the crowd if he could bring the president of Warner Bros next time so they can do that for him. 

“Endorphin Machine” begins with a rush, and there is no denying the energy of the guitar playing as Prince launches into it. The band plays behind with plenty of power and passion, and for the first time in the recording, I forget the quality of sound and lose myself completely in the song. I don’t often think of this band as being a rock outfit, but rock they certainly do here. After Tommy Barbarella's solo, we get a short guitar break from Prince, before the song drops a notch for his spoken break. The guitar and band are right on the money when they come back in and its intensity level carries us through the last minute of the song. An excellent performance of a keystone song of that period. 

There is plenty of guitar sound and noodling next before the Prince says “I’m hungry, is there any peaches in the house?’ There is another minute or so of talking as Prince brings a couple of audience members up on stage to dance. There is plenty of anticipation before the roar of Peach finally begins. As is expected this one is all Prince and his guitar. The opening verse is quickly dealt with and the guitar takes over. It sounds like a lot of fun, but again I am frustrated by the quality of the recording. Normally audience recordings don’t bother me too much, but this gig sounds so good I would love to hear it in better quality. The playing is fast and furious, but still, the crowd gets a moment to sing along. It’s not the funkiest of songs, but it does spectacularly close the show. The show ends, naturally enough, with the crowd chanting “ow we ow” 

As far as recordings go, this one isn’t the greatest. But if ever there was an after-show I wanted to be at, it would be this one. You can keep your Small Clubs and Le New Mornings, this is the one show from the last 30 years that I’d most want to be at. The setlist and playing are everything I could ask for, and I do get the sense that everyone in the building was on the same wavelength as Prince. Like I said at the start, as soon as my time machine is finished, this is where I’m heading. 

Amsterdam 25 March 1995 (am)

 Some time ago I wrote that if I ever got a time machine I would immediately head back to 1995 and the March 26th show a Paradiso. Mr. Herman Hagen very kindly contacted me and said that if this whole crazy time machine notion ever played out I should say hello to him on the 26th. He would be easy to find- having a black eye from one of Mayte’s boots from the show on the 25th.  So here I am with a recording of the 25th in my hand, all ready to give it a listen. Obviously, I will not hear the moment when Mayte stage dives and catches Mr. Hagen in the eye, but at least I can hear the show and be with Herman in spirit if not in body, after all, I am still some way off from completing my time machine. 

25th March 1995, Paradiso Amsterdam 

“Go Michael, Go Michael” is a great way to start the show, and Michael B does come to the party with a solid pound to introduce the band and the music. The recording isn’t too bad, and you can pick up the party atmosphere of the show right away. Prince has the crowd on his side right from the get-go, having them sing along with him throughout “Funky”. It’s hard not to like it, and I do feel as if I am there as the crowd cheers and chants their way through the song. It’s no surprise that there is something for everyone in this first song, Mr. Hayes adds his depth to it, and Prince throws in some funky guitar mid-song before indulging in some fast solos near the end. We are off to a fine start, and the band is feeling hot right from the first note. 

 

For the last few months I have written of my growing appreciation of “18 And Over,” and here is no different. Prince dwells on the chorus this time and obviously is getting a lot of enjoyment from having the crowd sing it back to him. The house is empty so I happily sing along, safe in the knowledge that my partner is going to walk in and quiz me on the questionable lyrics. Tommy plays a light-sounding piano solo, unfortunately, the recording is quiet at this moment, so I don’t enjoy it as much as I should. The long guitar break from Prince has me closing my eyes in enjoyment, not a loud rock solo, but a more measured and beautiful sounding break that well suits the late-night vibe of the song. The song ends on a crowd-pleasing high and they happily sing the chorus under Prince’s guidance. 

“Now” is much deeper sounding, and more chaotic to boot. It’s not as fast as it is on record, and for me it at times lacks a spark. The best moments for me are the chorus and the ever-present Morris Hayes. For the longest time, I don’t feel it, but eventually, Prince and the band do get to me, and there is some hand clapping and a passionate howl from Prince that has me completely sold on it. The song becomes the inevitable jam with a chant of “go Michael, go Michael” leading us into new territory. There is some popping bass to enjoy as the song slows and spins. There is a jam to the end with that is OK to me, although I feel I’m not getting the full experience listening to the audience recording. It’s something that needs to be heard live rather than a recording. 

“I Believe In You” was a staple in the setlist at the time, and although I do like the squelchy bass I am not feeling the rest of the song tonight. There is a guitar break by Prince, rather pedestrian by his standards, and even as it shimmers and shakes I still don’t get that spark of energy. It’s the second shortest song of the evening however and as it finishes I look forward to returning to the jams. 

But first, we get hi-tempo “Proud Mary,” with plenty of guitar runs from Prince. It is kept to the point, with an introductory verse and chorus, then a minute of Prince’s soloing before a return to the chorus as the song finishes with a final burst from Prince. It’s all very sharp and not a note is wasted. It wraps up this burst of shorter songs and now we do indeed return to the longer jam. 

 

And when I say longer jams “The Ride” is one of the first ones I think of.  The rendition here is exactly as you might expect, after a smoky start Prince and his guitar ramp up, and as he finishes his solo the crowd gives a very appreciative cheer. I can hear why too, Prince plays expressively and passionately, while all the time there is the feeling that he is steadily in control. Everything is in its place, and as it should be. A great late-night burner, Prince once again delivers with “The Ride.” 

“Glam Slam Boogie” comes up next, and for the first time, I think of the word groove. It does have a groove to it, and I easily bob along to it, as well as sing along with the crowd and their “ow we oh”. The guitar takes a back seat for a while and we have a couple of cool sounding keyboard breaks, something a bit different to break it up. It’s so easy sounding and is a delight to listen to, I find it very uplifting as it plays. It could have been another 10-minute jam, but Prince and the band wrap it up in half that time, a shame as I was quite happy chilling out to this one, Mayte’s tambourine solo being a definite highlight. 

“Days Of Wild” has a different sound to it, it’s not as aggressive-sounding, although it is more in tune with what we have heard already, and more laid back in the sound. I still like Prince's lyrics, even if he’s not spitting them hard. Even the singing of the crowd of “these are the days, these are the days” sounds somewhat muted. The bass starts rolling fast as we get a segue into “Hair” for a verse before the hook of “Days Of Wild” returns with new enthusiasm. The crowd is much more into at this stage, and the singing returns with more vim and vigor. A final burst from Prince and the band finishes the song on a high after a slow start. 

 

From one wild song to another as Prince next kicks off “Get Wild.” It is a great performance, and to be honest I forget to write for the first couple of minutes as I listen intently. The vocals are catchy and infectious, and Mayte’s input is equally fun. The party sounds full in effect now, and I could easily see myself bouncing along to this song. The crowd adds a fast soul clap to the proceedings as Prince introduces us to the “play the motherfuckin bass” chant. I want to chant along as the band is on fire at this stage and there is plenty of intensity to the song and performance. The band does sound as if they are getting wild, and I love that the performance and music match the lyrics. Each band member takes their turn to get wild, and all of them add something to the song- I can hear the wildness coming out of the speakers at me. The soul clap comes down like rain, the crowd staying involved to the end with their singing and chanting, especially as Prince begins to sing “The roof is on fire” It becomes a jam that sounds as if it might go forever, guitar comes and goes, as does singing and chanting, the occasional chorus and some cool sounding keyboards. Things sharpen near the end of the song with a guitar break from Prince before the groove tightens right up for the end. It’s only fitting that the “ow we oh” chant carries us through to a final roll from Michael B and the finish of the show. 

I have listened to a lot of shows from 1995 in the last six months, and I think I may have reached saturation point. This show was funky, and the band was exceptionally tight. For all that though, I never quite warmed to it, even though it ticked many boxes of what I look for. As I said, I have listened to plenty of shows like this in the last six months, and I think I am ready for something new. Sorry Herman, if I do ever finish that time machine I will buy you a beer at the show on the 26th but don’t expect to see me on the 25th. 

London 23 March 1995 (am)

 The bootleg I listened to last week covers two nights that Prince played at The Emporium London in March of 1995. Last week we listened to the first show from March 22nd, and today I will be listening to the second part of the recording covering the show on the 23rd. This bootleg is hugely popular, and I know many people hold it dear. The 3 CD pack covers two nights, and on those two nights, Prince gave us a fantastic mix of styles and songs. Last week’s show I had a great time listening to, and I expect more of the same this time around. 

23rd March (am), 1995, The Emporium London 

The opening drum solo has me excited right from the beginning. Drum solos aren’t my thing, but I listen carefully as Michael B rolls around the kit, and already I have a good feeling about this show. The drum solo is achingly short but starts the gig with an exclamation point. 

We roll into “The Ride,” and the band has me hooked as they groove on it. Prince sings with swagger and drawls over some lines which give it a nice bluesy sound. The sound of the recording gets much better after a weak start and when Prince calls “dirty up” as he begins to howl on the guitar it sounds much warmer on the ears. This recording is feeling different from the previous night already, there seems to be much more of Prince and his guitar right from the start, and as is usual he plays for some time over “The Ride,” effortlessly in his cool. That good feeling I had at the start of the show is proving to be well-founded. 

 

This is further emphasized as “Poorgoo” begins and the crowd takes up a chant right from the start. Prince draws a smile as he asks how they are doing, then replies “Bullshit” before asking again. He’s cheeky and funny, and it sounds relaxed on the recording. The guitar is the center of attention and this time it’s darker and stronger, and much more in the mix. I liked the guitar in “The Ride” previously, here he takes it up and notch, and there is the feeling that both he and the crowd are beginning to warm up. 

The crunching start of “Honky Tonk Woman” is electrifying, and it’s at this point that I realize we are essentially getting a performance of The Undertaker project, but with the addition of Morris Hayes. There is a moment of heavy distortion on the recording that has me nervous for a second, but it resolves itself as Mr. Hayes gives us another classic-sounding solo. As the song closes out Prince delivers a great line “One time I opened for the Rolling Stones, I got booed off. Perhaps I should have played that shit” 

“Bambi” adds a bit more fire to the evening, and the intensity rises as Prince plays some blistering guitar. The only negative is, at this stage the recording becomes a little thin. Still, Prince sounds great and I can look past the quality of the recording and enjoy it for what it is. After a good start, things become even better as it does become just about Prince and his guitar playing. The song builds until we are left with a final flurry from Prince that ends in a furious howl. 

I was listening to the album version of “Zannalee” only earlier today, and I am happy to hear it again here in the live context. It’s much more lively, and sounds nice and gritty with some of the polish rubbed off for the show. It’s still uplifting in spirit, and at first, I find I am listening to Morris Hayes on the keyboard, but once Prince begins to solo it's game over. The singing is joyful sounding, and the overall vibe of the performance and recording is fun. It’s another gear change in the show and takes us to another level. 

 

Prince speaks as the groove of “The Undertaker” begins, with a speech about guns and troubles in America. I have high hopes for the song, especially as Prince introduces Eric Leeds to the mix. First though we have a great lead break on the keyboards. I am unsure as to exactly who is playing, but my word it’s good, nice full organ sound swirling around. I know for a fact it’s Tommy Barbarella who plays the next solo, Prince has the crowd chanting his name as he plays. It’s more piano-sounding, and although it doesn’t reach the heights of the previous solo, it’s still very good. I could go on and on about this song, this performance is very groovy, and the only thing that could make it better would be a little less chat from the crowd. Eric Leeds playing the last minute is just the icing on the cake. 

We cut into something much more up-tempo next as the band takes on “Funky Stuff.” It’s infectious, with its quick sound, and Eric playing some runs over the first minute before the swirling organ returns, with the swing of it driving us forward all the time. Part of me wants to move, and part of me wants to listen and catch every note that Eric blows our way. Eric is at the center of it, and I could sit for hours listening to him play over this sort of music. It’s brilliant stuff, and I am pleased I chose this particular recording to listen to this week. 

Things slow again as Prince is heard again when “Johnny” begins. I can’t decide if the lyrics are silly, or brilliant, all I know is that this is a great performance of the song. Prince is obviously in good humor, and his call of “Tommy, tickle me” that starts Barbarella’s solo again has me smiling. This is very much a band performance, no one person dominates, and this is highlighted as Prince calls for everyone to solo at once. NPG in the M***F**ing house indeed. 

We spin back into “Funky Stuff,” which to my ears sounds faster than before. The playing is looser than previously and it becomes fantastically funky as Prince sings “Get Up (I Feel Like Being A) Sex Machine.” I can speak highly enough of this particular performance and again Eric Leeds is on hand to add that little bit extra. This is perhaps my favorite version of Prince covering this song, it’s mind-blowingly cool. 

 

Prince keeps Eric close by as the next song in the setlist is “Asswoop.” Again it’s fabulous to have a rarity like this in the show, and I like that Eric receives the praise and credit from Prince. We feel a million miles away from the guitar-heavy first half hour, this is very light sounding, and a chance for Eric to show us a different side of his playing compared to what we have heard so far at this show. The band stays in the background as Eric solos, and yet again I have to praise this band for being so versatile, and just downright badass. They truly were one of his greatest bands. 

“17” is a natural fit to follow straight after, and keeps Eric Leeds front and center. As much as I enjoy the song, I can hear the intensity of the show drop off, and things do feel like they are going in slow motion for a while. That doesn’t detract from my enjoyment here at home though, and I get a kick out of hearing another rarity. 

The next song also features Eric Leeds, an instrumental of “The Most Beautiful Girl in the World” led by the saxophone. Anyone who has heard the remixes of The Most Beautiful Girl In The World won’t be surprised by this, and it is a nice arrangement. There is also delicate guitar work by Prince which holds my attention. Prince does come to the microphone for the chorus, but it’s the crowd that does the bulk of the singing, and that is a cool live moment which is what these shows are all about. 

I recognize “I Believe In You” right away, it is another song I have heard countless times. This band is tailor-made for songs such as this, and I have to mention Morris Hayes again who is all over this one. He does eventually give way to Eric Leeds, who has another moment that carries us to the end of the song. 

Things get seriously funky at this point as the hard, heavy grooves of “Days Of Wild” takes up. This is one for the ages, with plenty of audience chanting, the deep groove, and Eric Leeds carrying the first few minutes, before Prince sings- not spitting the lyrics as strongly as usual, instead sounding more relaxed and groove-focused. Likewise, the first bass solo isn’t as strong, similarly sounding more relaxed and groovy. The song is not brain-crushingly heavy as it sometimes as, instead it seems to be more colorful, but all the same, it’s locked into that fantastic groove. Prince is certainly getting his money’s worth out of Eric as he gives us another withering solo before Prince comes back singing “Hair.” There is no mistaking, this is a proper aftershow, especially when the audience takes up the “Days Of Wild” chants. Now, this is the sort of funk I love. 

 

We stay in that funky place as next Prince introduces the song “Funky.” It’s another chance for the crowd to sing and be part of the show, and they take to it with great gusto. The audience chatting we had at the start of the recording is now a distant memory, and they are well and truly engaged in the show at this point. Prince has the perfect response with several quick guitar breaks that serve as a counterpoint to the crowd chanting. There is a brief rap from an audience member that, although not musically great, still very much keeps in the spirit of the evening, and I love that Prince includes it. 

“Glam Slam Boogie” is a chance for the band to stretch out and take a turn to solo. It has an easy way about it, and it feels as if it might go all night long. Eric’s solo is more in the background than previously, and I can hear the guitar lines much clearer as the band plays. With the crowd chanting their lines I feel like I am almost there myself. Barbarella plays a piano solo with some seriousness about it, although it does get faster and lighter as it goes. Prince calls for a “Five in the morning solo” from Eric, and I think everyone in the crowd and I know exactly the sort of thing he means. Mr. Hayes gets the same call, and he ably delivers something that I would call a “five in the morning solo” 

The crowd is right into “Sexy MF,” and sings every line perfectly, much better than I could ever do. It’s impressive to hear, and another cool aftershow moment to hear them singing the verses to Prince. We get a well-rounded performance with a solo from Eric before Prince picks out an equally sharp solo on his guitar. As Morris plays another solo I can see that this show has been heavy on solos from everyone and has been a showcase for this band, and it highlights again how good they were. 

“Clap your hands, clap your hands” and I wonder what will follow. Prince answers soon enough with some funky guitar and “Pussy Control”. It’s an interesting start, and he keeps it in this vein as the song kicks off. The groove is strong, and it has a much funkier and darker sound. Prince’s rap isn’t as fast as on record, and the band is much more prominent. The chorus is also much more laid back. I have to say, I love this arrangement, as much as I like the album version, this one tops it. I think it’s that extra element of funk that does it for me, and the sheer coolness of it. The obligatory sax solo and the swirling organ of Morris Hayes seal the deal for me. 

 

The segue into “Funky Design” is equally cool, with the sax and Prince’s call of “G” taking us through. Prince does chide an audience member “this ain’t a photo session motherfucker”, which makes me laugh even after all these years. Prince sings the first line of “Funky Design” and the crowd picks it up immediately with the chant. As Prince rails against DJs and praises the virtues of live music I am reminded of how much I must have played this over the years, I find I can match him word for word as he speaks. Strangely enough, I can’t remember his lyrics, but I remember little speeches like this. The song increases in speed a fraction and I can hear we are building to the finish. Sure enough, things increase in intensity before Prince brings things to a halt with “On the one” 

This is one of the great bootlegs. It may not be one of the great recordings, but as a package it is sublime. The show is phenomenal, and the recording does a serviceable job of picking up not just the music, but also the vibe of the show. I have listened to this plenty of times over the years and listening to it more closely now I think it will still be being played at my house for some years to come. There are other shows from this period I enjoy more, but if I am honest this one is just as good as anything else from 1995.