San Jose 1 June 2004

 I have for a long time now avoided the Musicology shows. To be honest, I haven’t been very open-minded about these shows, I only listened to them shallowly and for too long I have regarded them as nothing more than a crowd-pleasing package. In recent times I have come around, and I have been overdue in blogging about these shows. When looking for a good show to listen to from this tour, I found the concerts far more rewarding than I anticipated, and some great shows are circulating from this tour. The show I am listening to today is from San Jose, and the main reason I chose this one is due to the acoustic guitar set, which I believe is one of the longest- if not the longest, from the tour. There is plenty more to enjoy on this recording too, and with a running time of slightly over two hours, there is something for everyone. 

1st June 2004. San Jose, California 

I don’t know if I’m the only one, but I enjoy the Rock And Roll Hall Of Fame video introduction, the speech from Alicia Keys does a fine job of neatly summing up all the reasons I am a Prince fan. Whoever wrote that speech, be it Alicia or someone else, they certainly captured the passion that keeps me listening to this day. 

Musically the show opens with “Musicology,” and it’s a rousing rendition that makes the album cut sound rather tepid. The recording is outstanding, it’s an audience recording of the highest order- outstandingly clear and crisp sounding, every instrument and Prince is heard in perfect balance. The rhythm guitar is heard much better at this show, and it gives it just a little more of the oomph that I need. I often think of “Musicology” being a longer song, here I enjoy it so much that it seems to go by in the blink of an eye. Greg Boyer and his trombone end the song on a high, and I am very happy with what I have heard so far. 

“Let’s Go Crazy” has a Vegas sound about it, with the horns playing prominently and Prince's guitar a little more in with the band. His solo is clean and clear, and although it doesn’t have any real fire to it the crowd does cheer appreciatively. Candy playing a solo is a nice touch, I don’t find myself too enthusiastic about it although it’s not bad in any way. Prince closes the song in the manner to which we have become accustomed, and like everything else in the song, it’s nice but doesn’t raise any pulses. 

The pop of “I Would Die 4 U” is infectious, and as soon as it starts I feel myself warming to the show. I don’t know if it is nostalgic value or the performance, the song has a life of its own, and the show ups tempo. It’s barely a minute, and I was grinning through it the whole time. 

 

I am very surprised as we next get a fuller take on “When Doves Cry.” The earworm of a keyboard riff and a fantastic-sounding elastic bass keep me hooked, and although some verses are missing there is still plenty here to listen to and enjoy. It’s an interesting arrangement and one I could happily listen to again. 

The keyboard intro of “1999” leads us straight into a crowd-pleasing “Baby I’m A Star.” Crowd noise is minimal on the recording, but there are plenty of whoops and cheers as Prince rips through the song. With four songs straight from Purple Rain, Prince is playing to please the crowd. I am not enamored with “Baby I’m A Star,” it’s a shade too polished and clean for me. The horns get plenty of play, and it sounds to my ears a little too close to a Vegas revue. There is a piano interlude mid-song which I find far more enjoyable and it’s more than enough to keep me interested to the end. 

For me things the show goes up several notches as “Shhh” begins. That guitar and drum introduction gives me time to prepare myself for what I hope will be a highlight. I am rewarded with an excellent rendition of a long-time favorite. Prince’s vocals are brilliant and the recording does him justice, capturing every nuance of his performance. Prince’s guitar playing matches his vocal performance, the tone is just right and the sound is crisp and restrained with the emotion present but reined in. John Blackwell doesn’t sound as strong as we sometimes hear, but that may well be up to the recording as much as anything. The last-minute of guitar work from Prince is outstanding, and it transports me away from the glitz and glamour we heard earlier. 

I have always loved the “D.M.S.R.” performances from the Musicology tour, so as the music starts I am already looking forward to hearing what comes next. The vocals are strong, the music funky, and the horns sound great with their top-end sound. The song has a fantastic slide to it, and this is heightened with the bass sound under it all. Greg Boyer and his trombone appear for a solo that keeps the party groove going. I am not surprised to hear the “Crazy In Love” riff thrown in, its horn vamp working well with the “D.M.S.R.” groove. Prince has a swagger to his voice and he is running the show, with both the crowd and band responding to his calls. Candy’s solo is fun, but it's Mike’s break with the vocoder that I dig, I could have easily listened to much more like this. I had almost forgotten about Maceo Parker, and he does a fine job of playing us out to the end of the song with Prince chanting with the audience. 

The briefest of introductions from “Love Bizarre” and “Glamorous Life” sound before we swing into “I Feel For You.” Prince's vocals are a little lost in the sound of the band, but aside from that the song is just as good as it has ever been. The sound is warm, and there is a comforting feel to it. The bass pops out of my speakers and the crowd responds to Prince's calls adding to the familiar feel. 

The pulsating rhythm of “Controversy” keeps us firmly rooted in the 1980s. The bass and drums drive along while Prince's crystal vocals sound sharp over top.  The guitar does become stronger after the first verse, and anyone who follows this blog regularly knows this is what moves me most. I don’t truly feel the song until Candy plays a scorching solo, and the bass ramps up. It pulls me right into the song, and I stay there as some choppy guitar plays. Prince reminds us of some of his great catalog by singing several lines of “Love Bizarre” before Candy gets another moment followed by the rest of the band. It’s very much one of Prince's band leader’s jams, with the band stretching out and getting a chance to groove on it while he calls the changes. This is a band that is often overlooked, but on listening to this I realize that they are very versatile and they had been with Prince for some time by this point. Housequake is in the mix too, with the horns making themselves heard again. 

I find the piano interlude by Renato Neto to be a pleasant surprise. I am gobsmacked when I hear the “she’s crying, it’s backward’ from “Purple Rain” playing. There is no way in a million years I could have ever guessed that I would hear this in concert. It’s an interesting diversion before Renato begins to play “God.” His piano playing has a tender solo sound before Maceo joins him playing saxophone. I like the sound of the sax, although I preferred the solo piano that we started with. The saxophone sounds good with the piano and the final sustained notes he plays get the crowd cheering before the song closes gently with the solo piano again. 

 

The acoustic set begins with Prince playing a heartwarming rendition of “Little Red Corvette.” With the song stripped back like this, there seems to be much more room for Prince to inject emotion with his vocal performance and guitar playing. The crowd lends their voices to the chorus and there is a real warmth to the recording. 

I have never been a big fan of “Cream,” but hearing it like this I feel the roots of it and I get a lot out of it. Prince is in fine form with his humor and chastises the crowd for lip-synching as they sing along. It’s almost like a campfire sing-along in places, and it has a lot of heart to it. If it was played more often like this I would be a much bigger fan of the song. 

“Sometimes It Snows In April” is tailor-made for an intimate performance like this. The naked sound of Prince and his guitar has never sounded so good, and this is one of the best live recordings I have heard of this song. There are cheers and calls from the crowd, but the recording is perfect, and I can only hear them as background noise, Prince and his guitar are front and center the whole time. All in all, it’s an excellent recording of a beautiful song. 

I have always preferred the live versions of “Dear Mr. Man” over what was released on the album, like I have said in previous songs here there is much more warmth and humanity to it.  The crowd claps along and it’s very in tune with the feel and the soul of the song. Prince plays loose with his guitar to end the song, and for me, this song is the heart of the show. 

He follows up by playing a few lines of “The Most Beautiful Girl In the World.” I look forward to hearing the whole song, although we only get half a minute, and surprisingly I am not too bothered as the next song is a glorious-sounding “Adore.” 

“Adore” works very well in this setting, with only the acoustic guitar playing I find that Prince's vocals gain an extra emphasis, not that they need it – the crowd certainly knows every word, as do I. It’s abridged, and only runs a couple of minutes before Prince breaks the spell with “Remember that song from High School’ as an introduction to “Sweet Thing.” 

He does very little singing on “Sweet Thing,” instead it’s the crowd that does all the heavy lifting in providing vocals to his guitar playing. His playing is indeed sweet and the song sounds just like its title. It’s a lovely moment, and it takes me back to a time and place. 

Likewise, “Raspberry Beret” sounds equally as sweet and pop. In this format, it works even better as there is much more space for the crowd to sing along with Prince as he plays. Naturally enough he ends after a verse and chorus with the traditional “I think I love heeeerrrr” Short and sweet, but it has its place here. 

Things get more upbeat with Prince playing “I Could Never Take The Place Of Your Man.” It works well acoustically, and I like that I can hear what the key components are for me, Prince’s vocals and his guitar. I have always had an enormous soft spot for this song, and I am delighted to hear it in this context. Prince seems to be in a great mood, playing with the crowd as they sing the chorus, and I can’t help but hark back to that feeling of a campfire sing-along. 

There is more humor as Prince next plays the opening to “Jail House Rock” and sings the first lines.  He pauses and tells the crowd “We can be Princes, but we don’t want to be no Kings” It gets a cheer from the crowd and a big grin from me at home. 

“Telemarketers Blues” is equally humorous. There isn’t much happening musically but the lyrics are always a lot of fun, and the last minute of Prince crooning and playing the blues is worth hearing. It segues in “12:01” which is a good bookend to it, and as it is similar in sound and humor they work well as a pair. 

I begin to lose interest in the acoustic set as “On The Couch” plays. It doesn’t stand out in its vocal performance, and the guitar playing isn’t particularly strong or interesting, and for me, the enthusiasm for the acoustic set wanes about now. 

“7” signals the return of the band, and I enjoy hearing the bass line in particular. The backing vocals seem too strong for the song, and for a while, I hear them more than I hear Prince. It’s no bad thing, as the song is kept to barely two minutes, so it doesn’t get long enough to bother me. 

I hadn’t anticipated hearing “Sign O The Times” at this show, but I’m sure glad it’s in there. The horns add a nice little riff to it, and I like that there are a few other differences too that don’t for a moment detract from the song. It’s not the bare-bones sounding song we know from the 1980s but this re-imagining of it for the 2000s works much better than some of his other updates. There is even a howling guitar later in the song that pulls back to a Santana sound which works equally well. 

 

I play “The Question Of U” a lot here at home, so I am not too excited to hear it on this recording. It’s a good clean version, nice sounding, but not as intimate sounding as I have heard at some after-shows. The guitar break almost has me eating my words, as Prince shows us why he is so highly regarded as a guitar player. His guitar says plenty as it howls and whines with emotion. The last squeal in particular before it changes tone has me beside myself. The music slows and Prince plays a stabbing break that shudders and shakes me before he builds up to “The One.”  I have always felt an emotional connection to “The One,” and here it lives up to my expectations as Prince's vocals capture the emotion of the lyrics. There are the lyrics of Alicia Keys Fallin sung by the girls, but it's Prince's singing of “The One” that holds me. He releases a final emotional charge with a fierce guitar solo to finish. 

“Let’s Work” is completely different from what we have just heard, and it takes me half a minute to get into it. It’s a chance for Rhonda Smith to shine and shine she does. Her bass work is solid, and the solo she gives us is a lot of fun. It’s rather short before the horns come back in, but still worth hearing. 

“U Got The Look “has a very different sound to it, initially there is no guitar at all, and it’s unlike anything I’ve heard. The keyboard fills all the gaps, and Prince's guitar can be heard later in the song, without ever coming right to the fore and dominating. 

“Life O The Party” stays with this upbeat vibe, and it too sounds just as shiny and bright. The bass and drums lock in, while the brassiness of the horns keeps things moving up top. I enjoy the party atmosphere, and I know that this signals the end of the show is getting near. 

“Soul Man” is a welcome addition to the setlist. Prince doesn’t sing, but that doesn’t matter in the slightest as I am sure the crowd is on their feet already for this. It’s all part of the greater medley and a lot of fun. 

We segue right into “Kiss,” it’s not the strongest version I have ever heard, but in a show like this it serves a purpose and that is to keep the party going to the end. It’s a chance for the crowd to scream and shout, and, in places, sing along. It’s still part of the surge to the finish line, and after a couple of minutes we plow into “Take Me With U.” 

I don’t normally get a lot out of “Take Me With U,” but this one is an exception. I find the band gives a push to it, and it works well in this party-like finish. The crowd gets another chance to sing along and the horns once again take over, with Mike Phillips playing Meet The Flintstones, as well as Greg Boyer and Candy both playing solo lines. John Blackwell’s shout-out sees him playing “777-9311” before a sample of The Time saying “We don’t like new wave’ ends the medley with Morris’s inane laugh. 

The main show ends here, and we get a couple of minutes to catch our breath before Prince and the band return to play “Call My Name.” It’s the first proper seduction ballad of the show, without any competition in its category I find it’s great and a song I would often overlook gets the attention it deserves. The song is a welcome addition to the show, and I enjoy the horns and keyboards in it just as much as I enjoy Prince's vocals. 

 

“Purple Rain” opens without fuss, just a quick piano line from Renato before Prince's guitar plays a strong lead break that takes us to the opening lines. The rest of the song ebbs and flows as is its way until Prince unveils the guitar break that will carry us to the end of the show. The crowd of course has their final opportunity to add their voices to the show, and the whole thing concludes with an overall feeling of togetherness and positivity. 

It’s been a while since I listened to a proper main show like this, normally it would be something I eschew in favor of a good after-show, however, this one has shown me that I should be more open-minded. Not only was it a very good main show, but it was also something from a year I have shied away from for too long. The Musicology tour has a great many circulating shows, and now I see why so many people enjoy them- a good configuration of the NPG, an interesting acoustic set, and a lengthy performance make this a good listen for all occasions. I shall be digging through more of these Musicology shows in the next few months, and hopefully, I will have a few more gems to blog about. 

New York 16 March 2004 (am)

 If you fall off a horse the best thing to do is get back on it, and that’s exactly what this week’s post feels like after listening to last week’s recording from 2004. It was an assault on the eardrums, and I need to get back to listening to other shows from 2004 to reassure myself that not everything is so tough to listen to. This week’s show is just the tonic, recorded a month later it is a joy to listen to, both the recording and the performance. The show at Club Black is recorded at the aftershow coming on the heels of the Rock N Roll hall of fame induction and is well regarded in the fan community, and from my initial impression, I can see why. It’s got crowd noise, like all recordings, but the band is heard crystal clear through the whole show, and they are playing a great set. This one is a breath of fresh air, and I feel refreshed as soon as I begin to listen. 

16th March 2004 Club Black, New York 

The sharpness of the recording is apparent from the very first note that is heard. There is a considerable cheer from the crowd, but once they sit back and listen you can hear the band just fine. The opening song is a showcase for the horns and keyboard, and a full and clean “Footprints” is the first song of the evening. There is some sax work, be it Maceo or Candy, to begin with, and this is well worth the time it gets. Not to be outdone, Greg Boyer blows up a storm on his trombone, it’s got a big bounce to it and fills out the sound. The best is saved for last, however, with a piano solo dominating the final third of the song. A great moment early on, this is the cue to close your eyes, sit back and take it all in. Already the memories of last week’s blog are receding. 

 

Prince gives “Musicology” plenty of hype from the get-go, pausing the band early on to tell the crowd “you’ll ain’t ready”. After the obligatory applause the song starts properly, Prince has the band in his pocket, and everything is smooth and fits together perfectly. There’s no fire in the performance, the band is too cool, and they glide through the song with ease. The saxophones do raise the levels somewhat, but for the most part, it’s smooth as glass. 

Things do morph, and Maceo plays us into “Tighten Up.” Maceo never lets me down, and as the crowd chants “Don’t stop Maceo” he blows up a storm. As he steps back, Mike Scott steps forward with a guitar break that is distinctly his. With the guitar sounding so clean and funky, Mike is in his element. The consummate bandleader, Prince keeps everyone involved with firstly a piano break, and then another chance for the rest of the horns to play. As an easy jam this song works, and it’s a great chance to highlight the band early on. 

“Shhh” is introduced as “a quiet ballad” which greatly undersells what is in all honesty one of his greatest songs. The band keeps things low-key and the song belongs to Prince and Prince alone, firstly with his vocal performance, and then with his guitar break that starts with a lone whine and ends several minutes later in a howl. Normally it would be Prince’s guitar playing that would have me waxing lyrical, and although the guitar here is of his usual high standard (the second guitar break in particular), it’s the vocal performance that gets under my skin, Prince still sounds as if he means every word even after all these years. The final workout on the guitar leaves us on a high before we get funky with the next song. 

Mike Scott always sounds great playing “D.M.S.R,” his guitar tone has a sharpness and gives the song a new lease of life. Prince too seems to be sharper, he sings with a freshness that belies his age, and the age of the song. The horns add some sparkle, the song suddenly sounding brand new again. “I Like The Way You Move” is seamlessly brought into the mix, and Prince acknowledges OutKast as the crowd chants and sings. The band hit the groove as the crowd join them and the next few minutes are the perfect storm where the show becomes a party. With the horns and guitar all jamming and adding different lines it becomes an irresistible dance, time seems to slip away as I am caught in its funky web. 

“House Party” continues on right where “D.S.M.R.” left off, it’s down low steady funk keeping the band locked in tight to a groove. It's slower and heavier and keeps the heads bobbing as the band play. It’s for the most part a showcase for the horns, they play plenty over the steady groove, and they sound brighter against the low heavy beat. 

The flurry of “A Love Bizarre” and “Glamorous Life” run us into a sprightly sounding I Feel For You. Prince's vocals aren’t the sharpest, it’s up to the horns to inject the sunshine and brightness into the song. They are everywhere, their clean sound elevating the song wherever they riff. 

We stay firmly in the 80s with the appearance of “Controversy.” The guitar is initially low-key before it explodes out of the gate at the one-minute mark with some fabulously funky-sounding playing. Prince and the band play well, and it’s an enjoyable listen, but when the rhythm guitar plays it becomes something else altogether, the moments are short and easily the highlight of the song. 

The piano interlude by Renato is light and undemanding. It’s a tasty morsel between courses, and at a minute long it doesn’t outstay its welcome before we return to something special from Prince. 

That something special is a soulful rendition of “The Beautiful Ones.” The song flows easily, firstly with some piano, and then some sax playing that has wings. For a while, I forget that this is even “The Beautiful Ones,” with the sax playing for some time before we return to some cascading piano playing for a couple of minutes. All of it is classy, and it’s even better when I consider that Prince has yet to sing. And sing he does, when he does appear on the mic it’s with a gracefulness and measured performance. He sings beautifully, seemingly without pushing himself. There is emotion in his vocals, not overwrought, and this is a well-balanced performance that demonstrates his experience, showing us all that sometimes less is more. 

“Nothing Compares 2 U” is noteworthy for the contribution of the Candy Dulfer. Prince’s vocals are as to be expected, but it’s the sax solo that soars and lifts the song. With no female counterpoint to Prince's vocals, it’s this saxophone sound that provides color and contrast to the performance, and it’s only fitting that the sax is the last thing we hear as the song fades out. 

Prince pours it on for “Insatiable,” and gives a vocal performance that befits the subject matter. I have heard plenty of great performances of this song before, and I can safely add this one to that list. Prince’s vocals are smooth as butter and have a creamy thickness to them that washes over you as you listen. Prince does deliver a spoken thanks to a list of people midsong, he’s very gentle with it and it doesn’t interrupt the mood at all. The transition to “Call My Name” is equally smooth, he called for the lights to be turned down low early in the song, and it still retains that late-night dimly lit through the whole 7-8 minutes. “Call My Name” is softer than on record, and Prince’s lyrics are dripping with passion and lust as he sings. As Renato plays some piano I reflect on Prince's vocal performance in the last few songs, he has been sublime throughout, and this is a master class. 

 

The rhythm track of “Sign O The Times” has a heavy dose of funk in it, and the introduction takes on a more dance-able tone as Prince hypes up the crowd. His vocals come quick and clear before the horns again begin to raise the heat a little. In fact, with the horns and piano playing it becomes an entirely different beast altogether, the seriousness of the song washes away and we are left with a funky little jam. 

The balance is restored with a low-key “The Question Of U.” Prince gives us plenty with this one, his guitar early on sounds as good as it ever has, and there are some nice runs and fills that keep us engaged before the song strips back for some guitar noodling. Things get even better as he sings new lyrics over the quiet music. It’s refreshing and intriguing, I find myself listening closely as he sings these words. I can’t believe how fantastic the last 30 minutes have been, and Mike Phillips puts his spin on things with a solo that easily matches every else thus far, this band is on top of their game right here. His playing at the last minute is outstanding, it demands listening. 

“The One” and “Fallin’” come together, intertwining with each other, and fitting well. “The One” has always been a song I look for on the setlist, the version here is good, but it can’t compete with all we have just heard. Prince does come back strongly on the guitar, at first it doesn’t grab me, but it does get stronger and stronger and soon enough I am swept up by it and carried away. 

Things change direction as Prince calls for the house lights and the band groove into “Let’s Work.” The bass isn’t as loud as I would like, and it does sound brassy with all the horns playing. In some ways it loses its attraction for me because of this, it doesn’t have the sweaty sound that I normally look for. The band does give it plenty of energy though, and soon enough it becomes U Got The Look. 

“U Got The Look” has an electric sound to it, the guitar isn’t strong at all, and it has a more interesting sound because of this. That is until Prince calls “Turn me up Scotty” and begins to solo, crisp and clean in this case. The crowd comes to the party with some singing that doesn’t add much to it but does sound like fun. 

It’s at this point that it becomes a jam and a party as Prince begins to call people on stage and the band begins a medley of party songs. All the usual suspects are in the mix, “Talkin Loud And Sayin Nothing,” “Life O The Party,” and “Hot Pants” are prominent, as is Princes ‘Uptown up’ chant. Things move quickly, the beat and the dancing being the most important things. “Soul Man” adds some brightness and seems appropriate for the performance that Prince has thus far delivered. Chance Howard takes on the vocal duties, leaving Prince to party up and keep things moving. It all ends with a crisp and poppy-sounding “Kiss.” The horns and the guitar outdo each other to be heard, and the song is full and bright sounding. The guitar has a superb tone, and for me is the star of the song, I could have done with the song being a whole lot longer. Prince ends with a simple good night, and suddenly it’s all over. 

This recording was better than I could have ever imagined. I had heard others speak highly of it, and although I have heard it before I don’t remember it being as good as it was. The first third was great, but the second third was outstanding, and it’s this part of the show that I found mesmerizing, Prince was at his peak with the band doing a fantastic job of supporting him. The end was weaker, but still well worth the time. I rate this recording highly indeed, and I am almost tempted to call it essential. When I think of 2004, this is how I want to remember it, a great show and a brilliant recording. 

Las Vegas 1 February 2004 (am)

 The House of Blues show from early 2004 is an average recording of a great show. The sound may not be the best, but as compensation, we have a show packed with interesting moments, one of the highlights being the opening ten minutes of “Sign O The Times.” The rest of the show lives up to the opening salvo, which makes it all the more disappointing that it is recorded in bad quality. As always I am a devoted fan, and I am prepared to listen to any quality to hear Prince doing this type of show. It is recorded just six weeks before the Musicology tour, and you can hear that Prince is ready to go with the band well prepared, and enjoying a couple of one-off shows before the tour begins. 

1st February 2004 (am), House Of Blues, Las Vegas 

There are no surprises with this recording, right from the start you know what you are in for, with a scratchy distorted sound from the first moment. The band is playing “Sign O The Times,” somewhere behind the noise of the recording I can hear the band is sounding good, but it is hard work to listen to, and even at this early stage I am questioning my dedication to the cause, this will be one tough listen. “Sign O The Times” is played mostly as an instrumental, the beats and rhythms play for a good five minutes before any singing is heard. The sax attack of Candy Dulfer and Maceo Parker are in the house, they help break the cold electronic sound of the song early on before Prince starts singing. It’s impossible to comment too much on Prince’s singing, the recording breaks up badly, but things become more settled as the crowd begins to chant and Prince sings the later verses. The best sounding part of the song is the keyboard near the end, the recording doesn’t distort so much and as Renato Neto plays the piano it finally becomes more listenable. 

 

Although “The Question Of U” suffers the same problems I stick with it for Prince's guitar playing, and we are rewarded with a solo that has plenty of vitality to it, and lifts the recording.  The second half of the guitar break is where the real treasures lie, as the music eases back further so does Prince's playing and he segues into “The One” as his guitar cries. It’s always a song I look for, I find the lyrics and guitar playing to be an emotional match, and as per usual Prince plays an emotive rendition. He closes out the song with the as-expected wail on the guitar, and it’s a great way to bring it to an end. 

I am very happy to hear “Let’s Work” next, even if it is accompanied by more distortion in the recording. This is one for hardcore fans, even I am struggling with the quality. Prince sounds bright on “Let’s Work,” there is an extra bounce in his vocal, and he does add some liveliness to the show. 

“U Got The Look” has the bonus of the horns playing, and when Prince does begin to play his guitar it’s in a brighter sharper way that fits nicely with the horns. The riff is heavily distorted, so I find myself listening between the riff, and what can be heard is Prince and the band playing a funky version of a song that shines in this new rendition. 

 

The horns stay the center of attention as “Life O’ The Party” begins. The song lives up to its title and the party can be heard starting, led by Prince on stage. He injects a lot of himself into the song, and the overall effect is uplifting. Likewise, Greg Boyers solo on the trombone is full of life, it is hard not to smile as I listen to him play, he makes it seem like such fun. The song heats up at this point, and the rest of the song goes by in a blur, even here at home I feel I am part of the party. 

We do get a couple of minutes of “Soul Man” next, which is crowd-pleasing, but not heavy on Prince. Chance Howard takes the lead vocals, he sounds fine and is a good match for the song. As much I enjoy him, he’s no Prince, and I am happier when the song finishes and the opening of “Kiss” sounds out. 

This is one funky version of “Kiss,” and for the first time, the recording becomes almost listenable.  The guitars are sharp, the horns dazzling, and the keyboard is doing all it can to rival them, it’s great to digest all of it, and Prince himself gives a vocal performance to match. This is easily the best moment of the show so far. 

It’s hard to dislike “Take Me With U,” and Prince plays it with some sincerity. The audience responds well, they can be heard making noise all through it, the only negative being again the reappearance of distortion on the recording. Prince is frisky and good-natured in his delivery, and there is a lot of joy in the song. 

We get a long funk workout with the “Everlasting Now,” there is plenty of time for everyone to contribute and give it some sparkle. Prince's guitar solo leads the way, and against a backdrop of horn swells he plays economically before Candy comes to the party with a hot solo of her own. The song continues in this vein, Prince calls for Renato to solo, then the rest of the band, before getting the crowd involved too. 

 

“Shake Everything You’ve Got” sees Maceo become the focal point. He is worth listening to, with all the years of experience you know he’s not going to let you down. The other horns all get a part to play too, it’s hard to single any one of them out, they all sound good to my ear. There is plenty of time to lose yourself in the music, they play for ten minutes, with all the horns having a part to play, along with Renato Neto. Although Prince isn’t to the fore, this is still worth the time to listen to, and the band is well in the groove. 

Maceo is still the main attraction as “Down By The Riverside” begins. His playing is quick and lively, and I can hear him working hard on the recording. The rest of the band is in the background as he leads from the front with yet another excellent break. 

Prince ends with a “Thank you -goodnight” but soon enough he returns for another show-stopper, a luscious sounding “The Beautiful Ones.” The intro has an ethereal synth sound, as a piano plays for some time. The recording is certainly bad, yet the beauty of this performance still shines through. Asides from the keyboards, we also have a sax playing early on, adding its shine to the song. Prince doesn’t actually sing until well past the four-minute mark, and by that time the scene is truly set, the music has laid out an exquisite carpet for him to sing over. He sounds quiet, yet his voice is note-perfect, and on any other recording, I would be gushing about this version. However, it is what it is, even with a perfect performance the recording drags it down, his final howls lost in a wave of distortion and buzz. 

Prince continues to tug at the heartstrings with a warm rendition of “Nothing Compares 2 U.” The crowd sings the chorus appreciatively, although it’s Candy Dulfer that steals the limelight, and the show, with a blistering sax solo that has me nodding my head in acknowledgment. It’s hard to follow such a performance and after a quick chorus Prince wraps it up, but not before I am once again reminded of how good Candy is. 

 

Seeing “America” listed on the setlist was another reason that I chose this recording, and I’m not disappointed in the slightest as Prince begins the chant as the band hit the deep groove. It’s hard to make out the sound, being a heavier song the distortion again raises its ugly head, but I do catch Maceo setting the stage on fire with his playing, and there is definitely some funk in the house as they play. The bulk of the song is a long-drawn-out groove that is not served well by the recording, for long periods it is very hard to work out what is happening as the beat continues. 

“Purple Rain” sounds better, being quieter there is less distortion, and the balance of the instruments is again restored. There is an intro played on guitar that is achingly beautiful before Prince sings his opening lines, and for me, the highlight of the song is right here. Most of the vocals are lost in the grubbiness of the recording, although thankfully it briefly improves during the guitar solo. It’s hard to say the recording is going out on a high when you can hardly make out most of the song, and I actually feel relieved as it finishes. 

I made a big mistake choosing to listen to this show. I never wanted this to be a blog complaining about recordings, I wanted to celebrate the music and performances of Prince, however, this recording was so bad it completely detracted from the show I was listening to. I let myself be fooled by an inviting-looking track list and venue and forgot the most important thing, it’s all about the listening experience, not just what was played but how it sounds. Being hard-headed, even once I realized my mistake, I continued with the blog post – it’s a lesson learned the hard way. This isn’t even a show for the hardcore fan, be content to read the set list on the vault, and know that it was probably a good show if you were there. 

Honolulu 17 December 2003 (am)

 Today’s show is a rather random selection – I was thinking about what I was going to listen to next, and I chanced upon this recording from 2003. There doesn’t seem to be too much to it, but Stretchin’ Out (In A Rubber Band) seems to feature prominently, and that has me a little excited. I often play this song when I am driving, but I don’t recall ever hearing Prince’s take on it. So, it’s with anticipation that I take a listen to today’s show, I am sure I have listened to it in the past, but right now I have no recollection of it all. Right, it’s time to stretch out and get this thing started. 

17th December 2003 Volcanoes Night Club, Honolulu, Hawaii 

My excitement is tempered somewhat by the crowd noise, and sound of an audience recording. It’s not bad by such standards, it just takes my ears a minute or two to adjust to the sound of it. The first song in the set is “Mama Feelgood,” and it does indeed make me feel good, especially with the sounds of the horn section and a sharp-sounding keyboard. The horn section is particularly strong, and I impress myself when I recognize the sound of Maceo Parker in the mix – I must have listened to too many of these shows now. Rose Ann Dimalanta is singing, and it’s a shame that the recording doesn’t do her justice, she sounds secondary to the band, and her vocals aren’t picked up very well. As always, there is something positive to counterbalance this, and in this case, it is the horns, which increase in intensity as the song progresses. The keyboards too get plenty of time to play, and the song stretches out as it gives us a good idea of how the rest of the gig will play out. It’s topped off by some funky guitar licks that whet my appetite. 

 

The funk continues as the next song begins, and it grooves right from the start. The band locks in nice and tight and my head starts bobbing. They slide through “Yes We Can,” and then we hear Prince singing for the first time “Ain’t It Funky Now”. Rose Ann Dimalanta quickly pickups with singing “Yes We Can,” and the band stays in this groove for some time. I like how smooth and seamless it sounds and, if not for the quality of the recording, I could easily close my eyes and groove out to it. It feels light and summer-like and conjures up all sorts of imagines as I nod along to it. The song takes another up turn as Prince begins to sing “Yes We Can,” he sounds much stronger and louder on the microphone, and the show seems to pick up some momentum too. At the same time my ears prick up, and I listen for more of him. I am rewarded by a simmering guitar break that gains in intensity as it plays us through the last couple of minutes.  On a soundboard recording, this guitar break would be excellent, as it is, it’s just very good. 

Things don’t let up as next we get a great version of “1+1+1=3.” It’s got a great funky intro, with plenty of guitar and groove. The scene is set as Prince has the crowd chanting “we like to party” early on, and they are very enthusiastic about doing so. There aren’t any lyrics sung, but at an after-show like this, that is irrelevant, It’s all about the music and the groove. The energetic trombone solo from Greg Boyer sounds like a lot of fun. All the horn section is in on the party, and Maceo plays a brief solo too before there is a horn riff from all of them. It’s nicely counterbalanced by Prince and a laid-back guitar solo which I didn’t expect to hear at this point. It’s refined and only takes on a heavier tone when the band pause and we catch a breath. The band picks up right where they left off and now the party gets serious, I can hear it oozing out of my headphones. This song has a little bit of everything, there is “Life O The Party” in the mix, as well as “Stretching Out (In A Rubber Band)” as well as instrumental “Hot Pants.” Although he played parts of “Stretching Out” in the last two songs, it wasn’t quite the full-on version I had hoped for. Still, what I have heard so far from these first three songs has been very good, so I have no complaints at all. 

 

“No Diggity” is bass-heavy, with a fat squelching bass at the start. It’s not until a minute in does it become apparent what the song is, with the introduction of the keyboards and Chance Howard singing. It’s missing some of the sharpness that I like in the song, but I put this down to the recording rather than the performance. What I like about the song is the solo from Candy on sax. It’s bold when it needs to be, and adds a brighter sound to the recording. The song doesn’t do much else later, but that chorus is so catchy that I sing heartily along to the finish. 

I love the next moment as someone in the crowd yells “play some old school!” I can’t help but laugh as he calls it out. Prince then does the opposite and plays something current from the time. “Ooh!” is another chance for Rose Ann Dimalanta to sing, and this time she sounds better, especially in those moments when she is backed by Prince. I do like the song, but compared to everything else in the show it seems to fall through the cracks. There’s not much of a chance for the band to play, and Prince is minimal throughout. There is a guitar break late in the song, and this is about the only moment when I feel any interest in it. It’s not a scorching solo, instead, it’s a sweet little sharp sound that is very enjoyable. 

 

“All The Critics Love U” initially sounds shallow. It’s got a hollow electric sound to it, however, this improves immeasurable when the bass gets stronger. The beat is hypnotic rather than insistent, and it sounds soft to my ears. Maceo’s solo sharpens things up, there is no denying that he is a master at what he does. For all that though, it doesn’t reach the heights of some of the earlier songs, and it’s a disappointing ending to the show. The shallow sound of it reminds me of some of the Diamond and Pearls era mixes, and for a show in 2003, it has a definite 1990’s sound for this last song. There is some chanting with the crowd, which I guess is a fun way for them to finish, but I can’t get past that dated sound. Greg Boyer makes amends with a spirited trombone solo to finish, and the show closes on a high, I’m smiling here at home. 

This was an odd little show, I can see how I easily overlooked it. Although it didn’t feature “Stretched Out (In A Rubber Band)” as much as I had hoped, there was still plenty there to recommend it. I enjoyed hearing the horn section and Prince himself sounded very at ease. It may be some time before I play this one again, there are too many classics out there to listen to, but next time I won’t wait so long before I give it another spin. 

Melbourne 23 October 2003 (am)

 Last week's blog about the Melbourne show of 2003 left me unsatisfied. As much as I enjoyed it, it was an incomplete recording that left me wanting more. As luck would have it, I have in my hand the aftershow from the same evening. This is a complete recording, but it is short – clocking in at just under an hour. I don’t mind that too much at all as the contents within are interesting – an unusual arrangement of Musicology (still five months away from being released), a slowed-down “The Work Pt 1.” and a left-field cover version in the form of “When The Saints Go Marching In.” It’s a tidy setlist that keeps the listener engaged throughout as Prince leads us down various musical alleys and backstreets. It is in contrast to the greatest hits package served up at the main show, making it an even more intriguing listen for me. 

23rd October 2003 (am) Melbourne, Australia 

Prince emerges regally through the crowd noise, although the audience recording cannot match the moment and is not quite good enough to make out his introduction. It matters little as the music takes its rightful place at the center of the recording for the live debut of “Musicology.”  In the smaller and more intimate venue, it sounds soulful and full, the drums especially sounding huge in the opening stanza. The horns are still busy, and Prince delivers his vocals with panache, but it is less Vegas sounding than on the Musicology tour, and for my ears, it resonates with its soulful roots showing. Maceo and Greg Boyer are well into their work early here, and they are infusing plenty of kinetic energy into the song, Maceo with his furious saxophone solo, and Greg with his mighty trombone solo that for my money tops him. It’s early days and Prince is still playing with the arrangement for this song, in this case, it is broken into two with  “Brick House” making a cameo appearance between the two sections. As much as I love “Brick House,” on this recording, I am not too fussed. Prince is bold with his vocals, and, unfortunately, there is a slight distortion in the recording at his loudest moments. It is left to the horns to save the day, and they segue back into Musicology with aplomb and remain the main focus of my listening experience for the rest of the song. 

 

It is Rad that sings “Ooh,” but she is far from the center of attention as it is the rest of the band that grabs the song and shakes it up into a cocktail of horn and keyboard funk. Another shot of trombone action from Greg Boyer leaves me drunk in its wake, the music a powerful mix of 100-proof funk that is overpowering and intoxicating. There is little I can do but lose myself in the moment as Prince demonstrates exactly what after-shows are all about – purity of the musical experience. 

“Peach” is lost to me in the general noisiness of the recording, the vocals washed away in the waves of crowd noise and general thinness of the recording. However, the recording does a good job of capturing the horns (here, and throughout) and especially Prince’s guitar. It is a shame then that he doesn’t engage with his instrument as much as you might expect, and aside from a couple of storming runs, there is very little guitar to be heard. 

Rising on the back of the horn motif comes “The Work Pt.1” My soul sings as the horns play, but for me, the meat and potatoes of the song are the rhythm guitar that arrives later in the song. Even as the sound becomes busy and spreads out in several directions I can still hear the guitar, a style I have always gravitated towards and held dear. The rest of the song goes by in a blur and there is much to admire in the way the band all play so uniquely but blend their styles and sounds seamless. This may not be the best-recorded version, but there is still plenty there for those that listen close. 

It is Chance Howard’s time to claim some spotlight as he comes forward for his take on “No Diggity.” It's a relaxed cover version, the rhythm section, however, is flawless in their work, and although this isn’t the most energetic version in circulation it is still interesting enough in its way, especially when Maceo adds his talents to the mix. Truly a legend, he elevates every song as soon as his saxophone is heard on the recording. 

Prince leads hand-clapping into “When The Saints Go Marching In,” and this version isn’t just about the horn section as you might expect. There is some excellent keyboard to be heard, but in only a few minutes there is not enough time for anyone to show off their abilities. However, the crowd liked it and it is a neat way to bring us to the last song of the evening. 

 

That last song is an instrumental jam and a fast and furious one at that. The key elements are all in place, chants, whoops, and the various band members playing sharply throughout. It isn’t an elongated jam as we often hear at after-shows it's one of the shortest jams I think I have heard at barely a couple of minutes. That doesn’t count against it in this case, as the crowd sounds as though they have been whipped into a frenzy, and it is easy to understand why as the music vortexes and increases intensity. It isn’t what is expected, but it is a good way to finish the show, putting an exclamation mark on all that has come before. 

An interesting little bootleg this one, it doesn’t sound quite like other after shows in circulation, yet it has its irresistible style and feel. There are a few nuggets sprinkled throughout the set that keeps the listener engaged, and it does come as a nice palate cleanser on top of the main show I covered last week. The recording is far from perfect, but the contents of the bootleg more than makeup for it, making for an engaging listen from start to finish. 

Melbourne 22 October 2003

 Prince didn’t jump straight from the ONA era into Musicology. There was a year gap, featuring a world tour that took only Australia and Hawaii. I find these shows interesting as they are the stepping stone between the two, and we can see the crowd-pleasing hits played with a trace of the ONA concerts heard in the smooth and easy style in which this band plays. The concerts in Australia should have been a great chance for me to see Prince play live, Australia is only a four-hour flight away, unfortunately, I was out exploring the wider world and was living in London at that time. My opportunity to see Prince play would come later. 

There are several releases of the concert I am listening to today, I am listening to the Overfunk’d release as to my ears it sounds slightly better than the other versions. An audience recording, it is pretty good – with no distortion, the mix is about right and I can clearly hear and enjoy the music throughout. The only thing that counts against it is that it is an incomplete recording, we are missing the opening bracket of ten songs, but it is a long show, and what we have is plenty enough to cover two discs. 

22nd October 2003, Melbourne Australia 

The recording begins with “The Beautiful Ones,” and it immediately puts me in mind of the ONA tour from the previous year. With Maceo Parker on saxophone, the introduction lingers and Maceo does what he does best and fills the room with a steamy atmosphere. With the band draping their sultry veil across the soundscape it could have easily been lifted from any 2002 show, and I am more than happy with that as I am infused with the ghost of concerts past. It’s not all about the past however, this is not Purple Rain Prince, and as he sings he is very much Prince of the time. His voice doesn’t ache and bend as it had previously, and as much as I love his performance here, I must admit it is workman-like in the most professional way, with no bells or whistles here, just a straight delivery that serves his maturing sound well. 

I have similar feelings about “Nothing Compares 2 U.”  Prince is good, without ever flooring me, and it is Maceo Parker whose brief moment stirs up the passion with me, and within the song. The recording shines though, and even though I haven’t shown any real enthusiasm for the first couple of songs, I am greatly enjoying the bootleg. 

 

It is “Insatiable” that first has me swallowing hard and listening close. Now, this is what I came for, a delicious delivery that has the crowd swooning at the show, and me having all sorts of feelings here at home. The more Prince croons, the louder the crowd swoons, and I am giddy with fanboy love as Prince walks us through a vocal maze, following the trail of bread crumbs that Renato Neto lays. It is a lethal combination, the song sneaking up on me and drawing all the oxygen from the room. 

Although “Sign O The Times” moves in the opposite direction, it demands listening to just as much as the previous “Insatiable” and drives out an irresistible funk groove. I am disappointed that the crowd gets to sing along, while here at home I have to stay quiet as my wife sleeps in the other room. It matters little, I lip-sync along with them in a happy delirium, and I am happy to report that “Sign O The Times” gets a whole nine minutes to funk and roll across the recording. The real action begins after Prince finishes his lyrics, Rad (Rose Ann Dimalanta)  gives a brief and electric keyboard solo that leaves me wanting more, and it gets better as John Blackwell plays us through a turnaround that leads the music into a swirl and even more keyboard work that excites me in ways that I never knew a keyboard could. 

The combination of “The Question Of U” and “The One” reached its peak during the tour of 2002, for my money those performances will never be bettered, and although this version is sonically very similar, it lacks that magical quality that was heard the previous year. It is slightly more labored, and deadened in sound, there is a lightness of touch that is missing, and although the song is guitar-heavy, it is this finesse and delicacy that makes it what it is. The chunky guitar by Prince midsong does briefly have me breaking into a sweat, but that sweat turns cold as the band goes through the motions later in the song. 

 

“Let’s Work” has things jumping again, and it sounds nice and sharp on the recording. The horns in particular leap out at me in their energy and brightness. Prince doesn’t work the song too long, it is only a couple of minutes, but it does signal the next upbeat part of the performance. 

In the same vein, “U Got The Look” is a short, sharp shock of energy and pace that accelerates the concert further. The guitar sounds strangely quiet as Prince solos, and for me, this is one of the key reasons to listen to the song and its muted sound leaves me silently frustrated. 

The show is gathering pace rapidly at this point of the bootleg, as Prince tears through a series of covers and upbeat numbers. We first get an embryonic version of “Life Of The Party,” which is too busy for its own good until it settles for the chorus. It is in the following “Hot Pants” where the groove gets hot and heavy, one can almost feel its hot breath on their neck as the groove becomes dark and dangerous, hinting at unseen sexuality. Prince breaks the mood with  “Life Of The Party” rap, and before I can fully immerse myself in the bass end of the song it transitions to Chance Howard and his lively rendition of “Soulman.”   It’s hard not to like it, and I find a smile spreading across my face as it plays though. It sounds so summery and easy, that for a minute I consider tackling it next time I go to karaoke. 

It is a keyboard push that drives “Kiss,” its pulse beating just under Prince’s lyrics throughout. I like the sound of the keyboard, but I could take or leave the rest of the song. I appreciate the new arrangement, but “Kiss” is one song that I have heard far too often. 

Prince’s cackle introduces “Take Me With U” and one can appreciate why the band and the crowd respond with energy and love. Like the previous “Kiss,” this is one song I have heard too many times, yet I fully understand why it has been a constant in the setlist over the years. An uplifting song from Prince’s most successful album, it never fails to elicit a response from the crowd and re-energizes the concert. 

 

The main set is rounded out by a full rendition of “The Everlasting Now.” It encapsulates the full talents and scope of the band as it moves quickly across the musical territory, throwing up all sorts of sounds and styles. The funk grows and evolves through the song, the ground never quite solid beneath my feet as the band moves swiftly through this soundscape. It is a fitting end to the main show and a great reminder of how good this band is. 

The piano set encore opens with an understated “Adore.” As much as I love bootlegs, I have never enjoyed hearing “Adore” on bootlegs, mostly because the screams and shouts of the audience ruin the moment for me as Prince plays the one song that truly connects to my heart. Here is no different, each line is greeted with rapturous shouts and squeals of excitement, and as much as I share their enthusiasm it does take me out of the moment. The song does get its full five minutes, which for me is an exercise in frustration as the crowd stays prominent. 

Prince keeps with humor as he segues into “Sleep On The Couch.” He takes his time over the delivery, each line hanging in the air so it can be fully digested by those listening. I laugh a little early on, but soon enough I am cocooned in Prince’s vocal delivery and lose myself in a soft delirium. A song that didn’t promise much, I am surprised by the emotions it brings to the surface. 

Emotion is the name of the game as Prince has the crowd clap as he plays a soulful version of “Forever In My Life.” Head bobbing, and hand-clapping, it has a unique rhythm that is offset by Prince's lyrics and vocal delivery that speaks of love and honesty. It's only brief, but it is the perfect fit with the two previous songs. 

“One Kiss At A Time” gets a different arrangement, and is a fine match for “Forever In My Life” I am surprised that Prince sticks with some of the risque lyrics, but he is doesn’t engage with any curse words, so I guess in his head that makes it all alright. It is a surprising end to the piano set, a set that I have found most enjoyable, my feelings about “Adore” notwithstanding. 

 

As much as I enjoyed the piano set, I am more than happy when the funk returns with “All The Critics Love U In Melbourne.” I like the insistent funk drive of it, and the color that the keyboards and saxophone add. Maceo is at his very best at this point, the music and concert orbiting around him as he plays. The keyboard rhythm later in the song is a match for him, and it is a devastating few minutes of funk that has me applauding at home in appreciation.  “Phew, can’t nobody mess with this band” is my only thought as the song ends. 

The keyboards are equally to the fore as a frenetic “Alphabet St.” follows. It is derailed by Prince's interruption to talk himself up to the crowd, but as a performer at the top of his game, he has every right to brag and enjoy the spotlight. The song never regains momentum though, and I feel the constant stoppages would be better left out. 

There is an easy jam that leads into “Days Of Wild”, a jam that tidily takes a low-key funk groove and allows Prince to chant with the crowd. The serious business comes with “Days Of Wild” as it stomps across the landscape, bringing tension to the previously lighthearted concert. It is not as quite as dangerous as other performances I have heard, Prince is enjoying himself too much, but the music has a touch of malice that keeps it just on the right side of the ledger. 

The final song of the night is of course “Purple Rain.”  as befitting a greatest hits show, the moment is milked for all its worth, with the usual introduction sweeping across the arena before Prince begins to punctuate it with some lead guitar. It's a worthy rendition of a much-loved classic, but there is nothing new here for anyone who has followed Prince’s career. The final guitar break has me interested only for nostalgic sake, Prince isn’t breaking new ground, but he is playing his signature song to an appreciative audience at the climax of the concert. 

This is a bootleg that you don’t hear much about, yet I would happily recommend it to anyone wanting to hear a quality audience recording of what is a standard hits show. The band is coming off some fantastic 2002 shows, and although different in style, they are just as good here in 2003 as they were the previous year. it may not be a complete show, but it never drags either, making for a bright and easy listen. For those that were there, this is an excellent document of that experience. 

Tokyo 18 November 2002

 My Japanese odyssey continues, we are still in Tokyo where today I visited the Budokan. For me, it is a venue that I was always associated with the Cheap Trick album Cheap Trick at Budokan, an album that was played ad nauseam when I was a child. Prince has played at the venue during two tours, he did four nights there during his 1996 tour of Japan, and another two nights in 2002 during the One Night Alone tour. Perhaps in this case we should call it the two nights alone tour. I am going to take a look at one of the shows played during the ONA tour, as much as I like the 1996 concerts the shows from 2002 are more attuned to my current tastes. Not everyone is a fan of the One Night Alone tour, I find the tour is divisive between fans – it is either one you really love or one you really hate. I have yet to find many people in the middle ground. I am going to stake my claim early, it is a tour I am a big fan of, so expect the following write-up to be completely biased for the positive. 

18th November 2002, Nippon Bodukan, Tokyo 

The audience knows what to expect from the start as is the norm for the ONA shows Prince begins with a distorted voice and heavily distorted drum solo. I like it, although it has no flow to it and is little more than a minute of sound that builds anticipation for the opening “The Rainbow Children.” The unease that “The Rainbow Children” creates can be heard in the music, but as always it is kept in balance by the band and their light sound that counteracts some of Prince's unsettling vocal effects. By the time Prince sings “Tokyo!” I am fully on board and ready for this song to roll on and on. It may not be everyone’s cup of tea (and I’m aware of plenty of people who downright hate it) but I can’t deny, Prince’s guitar work is pretty sweet on the ear, and I would hope most people would listen past the lyrical delivery and instead gravitate to this mesmerizing guitar performance. I like that the song continues to strike new ground, and it keeps me fixated without ever repeating itself. 

 

If anyone in the audience was worried about what might come next, Prince reassures them with the more accessible, and eminently more pop, “Pop Life.” Prince’s voice may not be as crisp as we have come to expect, but the rest of the song shines like polished silver, the recording sparkling as Prince turns the music this way and that under the lights. Renato and his jazz touch late in the song speak to me, and I am filled with regret that I never saw this band live. 

Prince brings discomfort to the pop audience with his introduction to “Xenophobia,” and the following song challenges expectations. At the time it came across as something new and shocking, fifteen years on I know what to expect and I am more than happy with the way the music unfolds over the next ten minutes. With Maceo playing there is very little to dislike, and as the horns run back and forth Prince's message gets lost in the raw sound of the music itself. It is the last half of the song that is the most challenging, and it feels good to hear this again, something far removed from his 80’s pop sheen, here is something with grit and body, something that looks both backward and forwards at the same time, a song that contains something new every time I hear it. 

Prince can’t quite keep to his promise to challenge and test the audience. It is “Purple Rain” that follows quickly after and soon enough any questions raised by “Xenophobia” is quickly painted over in the shade of purple. The audience recording is remarkably clean, there is very little background noise aside from cheers at the appropriate moments. Should I thank the recorder or the restrained crowd, I don’t know,  but I do know it sounds very good indeed and I am more than happy with the performance of “Purple Rain” that matches it. It never ignites into the blazing wildfire it sometimes becomes, but it delivers everything that one would expect at a Prince concert, be it your first concert or your 100th. 

 

“The Work Pt 1” surprisingly fails to fire. I had such hopes. I was expecting funk by the bucket load, instead, I get a series of solos that never quite build into a much wished-for payoff. I like the music just fine, but it is a platonic relationship and never becomes an intense love affair. Prince is too fickle and the music comes and goes as it pleases without giving me the time I need. I do like the “To-k-yo, woo-hoo” chant, something I may have been guilty of singing under my breath for the last three weeks as I wander the streets of Tokyo. The inevitable dancers on stage are the last straw for me, the heart of the song belongs to the audience in the building, and not to us listening here at home. 

For me, “Mellow” is all about sound and vibe. I have very little idea what Prince is singing about, but I do love the feel of the song. This performance is cool, and “Mellow” lives up to its name, aside from the occasional burst of a horn. It is unlike anything heard thus far on the recording, and for me, it again highlights the scope of music Prince created. It wouldn’t be the first song I’d put on, but it is one that I always like when I hear it. 

The concert energy again surges with an engaging rendition of “1+1+1 is 3.” Of course, it can’t lose with Maceo adding his years of experience with an instantly funky solo. Prince may claim that he is funky, but in this case, it is Maceo who brings the funk to the party. There is a funky guitar underneath that is pure Prince, but for my money, it is the horns that make this worth hearing. Nothing is added by appending “Housequake” and “Love Rollercoaster” to the second half of the song, and they could have easily been left off in my opinion. 

The melancholy dip and swoop of Prince’s guitar bring the concert into a more traditional realm, and the performance here could have come from any show in the last twenty years. That’s no bad thing, the guitar wail calling most Prince fans to duty with its mournful call. There is a heavy influence from the band, and the flashes of jazz later in the song remind you just what configuration of the NPG this is. The final few minutes belong all to John Blackwell, and that makes this rendition well worth a listen as he kicks and stutters around the kit. 

I am pleased to find that “Strange Relationship” is just as funky as it has ever been, the band locking together in a solid squelching riff. If anything, it is aged even better, and like a fine wine, I find it strong and more flavorsome than its 1980’s incarnation. Prince in particular seems to get a real kick out of playing this song, and he pulls the audience with him with his unbridled enthusiasm. It stands far above anything else heard on the recording with its energy and pure Princeliness. 

“Pass The Peas” I am happy to take a pass on. I like Maceo, but Prince and the band don’t add anything to the song we haven’t heard before. It does give the horn section a chance to strut, but it pales compared to the previous “Strange Relationship.” Although to be fair, almost anything would pale compared to that. 

A torrent of guitar notes flies from Prince’s hands, and serves as a great introduction to “The Ride.” What is great about this show is that every song gets a full rendition and plenty of time to marinate in its own juices. Every song runs five to ten minutes, and after years of feeling short-changed by Prince medleys with these concerts, I finally feel Prince is letting us fully appreciate his music. His comment “Can I take my time” gets full approval from me. The song contains the unrestrained howl of his guitar as he finally lets it off the leash and it runs rampant for the next few minutes. It is a biting performance that snaps and chews in equal measure. 

 

As a Prince fan I fail miserably, not recognizing “Sign O’ The Times” immediately as Prince elicits to shroud the intro with his chugging guitar. The song never really settles on a style from here on in, sometimes the horns come to the fore, giving it a brighter sound, while the record scratching pulls it in another direction entirely. And then pulling in a third direction is Prince’s guitar. I would happily take any style, but to my ears, all three don’t quite gel. There is some lighter guitar later in the song, which with the horns would be a much better fit for this band. 

Ahh, the old “Take Me With U,” “Raspberry Beret” combination. Regular readers will be familiar with my feelings about this. I like sweet pop sugariness as much as anyone, but not so much now I am older and, ahem, more mature. I happily digest “Take Me With U,” but by the time Prince segues into “Raspberry Beret,” I have had my fill and am ready for something more substantial. 

“The Everlasting Now” wouldn’t be my first choice for something more substantial, but I do find it more rewarding than the previous couple of songs.  The first few minutes are a nice little appetizer as Prince gives us a taste of what’s to come with parcels of funk and chants. The main course comes with some Santanaesque guitar before the rest of the band adds their sauce of horn riffs and piano twinkle. It’s a flavorsome combination and one that I happily indulge myself in. It is Maceo who rounds out this feast of sounds, with his dessert of saxophone sprinkling chocolate sprinkles over all that has come previously. I am sold on it, and as it all comes to an end I feel well-nourished and satisfied. 

 

A short break lets me digest what we have heard so far, before the encores open with Prince at the piano. “Condition Of The Heart” is simply divine, I am beyond words as I sit and listen to it, letting Prince's music and lyrics wash over me. It does become a medley, “The Most Beautiful Girl In The World” getting a line before Prince indulges us with a slightly longer “Diamonds And Pearls.” It is “Adore” that gets the most time and attention, however, with John Blackwell ever so gently adding a heartbeat to the song. The crowd sits in an enraptured silence throughout, making this recording pristine and clean for the next few minutes. 

Prince piles on all his tender ballads at this part of the show, and “The Beautiful Ones” brings a further string of heart-tugging moments. It is almost too easy listening, some of the emotional strength of the song is sapped by its easy sheen and polish. I am engaged though, even if it is not the heart-stopper it used to be. 

It is very hard to clear my feelings about “Nothing Compares 2 U.” A song I heard countless times in the 80s from Sinead O’Connor, and then hundreds of times since from Prince, it is a song I am overly familiar with. Sometimes it breaks through and gets me in a soft moment, and sometimes it passes by making barely an impression. The rendition on this recording is good, but it fails to break my jaded exterior and I find I listen to it in an almost emotionless state. 

On the other hand, “The Ladder” shoots straight for my heart and does make the emotional impact I crave.  The drums are a little too much, but Prince’s vocals and delicate piano carry the moment. It is one of the shortest songs on the recording, barely a minute and a half, but it feels real to me and sincere. 

This pleasant stroll through Prince’s piano songs is rounded out by “Starfish And Coffee” It may not be on a par with the other ballads and emotional heavyweights in the setlist, but it does keep things light. 

The final song featuring the piano is “Sometimes It Snows In April,” a song that has taken on an extra significance since Prince’s passing. This rendition is a fitting tribute, his vocals alone out front in the recording, smooth and velvety and carrying a hint of emotion that makes it all the more powerful. A moment to sit back, listen and reflect. 

“Days Of Wild” isn’t as sinister and threatening as sometimes heard, but it is still a stone-cold classic. There are better versions on this tour (see Antwerp a month earlier where I swear Prince tears the roof of the place), but it is still eminently enjoyable, and as always I find my head bobbing and without even being aware of it I am singing along with Prince. The grind and churn of the song bring several different players to the surface, Dudley D can be heard on the turn tables midsong, and it is the horns that bring a different feel to the song. The song drops intensity halfway through though, and as the bass is pumped up for the first time the recording distorts. This mars the occasion as the final few minutes become a difficult listen. The rest of the recording sounded great, making this part sound all the worse. 

This show is fairly typical of the ONA tour but is very well recorded (asides from the final “Days Of Wild.”) There is a plethora of material available from the ONA tour, I would happily listen to any one of them, but I do enjoy this concert for the  quality of the performance and the recording. The setlist doesn’t throw up anything too much in the way of excitement, but this bootleg does a nice job of capturing the standard ONA show. Very good without being essential.