Minneapolis 8 July 2007 (am)

 In 2007 Prince played three shows in a day in his hometown of Minneapolis. I have already taken a listen to the matinee show at Macy's and the main show at the Target Center, so to round out the trifecta today I will have a look at the aftershow at First Ave. It’s notable in that it was the first time Prince had played there in 20 years, and anticipation was at an all-time high with queues snaking around the block with fans desperate to see their hometown hero. The show doesn’t disappoint. There are some uneven moments, but it is beautifully recorded (the bootleg sounds great) and the opening “3121” is so enormous in its heavy funk that any other weaker moments are immediately forgiven. I have listened to this show a couple of times this week, and I can’t wait to tell you about it. 

8th July 2007(am) First Avenue, Minneapolis 

“3121” has a steamroller of a groove that rolls heavily over everything from the first moments.  It’s hard and heavy and reminds me of “Days Of Wild” on a good day. With an insistent bass and horns early on, it puts me in mind of the performance of “Days Of Wild” from Belgium in 2002, dark, heavy, and feeling like it might roll on for days. “3121” builds with cheers from the crowd before some chopping guitar heralds the arrival of Prince. His vocals emerge from the fog of the music, ghost-like yet full and with a darkness of their own.  It’s as hard as nails, with Prince’s guitar adding plenty of venom later in the song, it too emerging from the morass of music with a piercing whine. The song rolls on for ten minutes, I could happily put it back on repeat and listen to it all day long, the show is worth listening to just for this song alone. It encapsulates all that is great about the aftershow experience and puts me right in the moment. 

 

We go from dark to light, with a bright and sharp “Girls And Boys” following immediately after. With plenty of honks from the horns and keyboards, it keeps the show moving at a clip, each stab adding to the momentum. Prince himself is sounding great, and I must again point out that this is a great-sounding recording. It may be an audience recording but it is full and rich sounding, with the crowd audible but not the least bit intrusive. 

“I Feel 4 U” is sprightly, with Shelby adding her infectious energy to the show. She is reasonably restrained and nicely focused. The song itself is short, and as Shelby begins to call “Put your hands up” things quickly move on to “Controversy.” 

In recent times “Controversy” has been played with and thrown into crowd-pleasing medleys, and I am happy to say that the rendition here is faithful to the original. It may not be the bare funk of the album, the band is bigger and fuller, but the song is the same arrangement, at least until the final minutes as Prince calls for the audience to jump up and down. It’s not my favorite part of the song, but there are plenty more positives I enjoy listening to, especially the frenetic horn solo that adds a sense of urgency to the song. The closing guitar break from Prince is equally fine, it takes a while to get to it but it is well worth the wait. 

Things slow for “Beggin Woman Blues.”  The groove is the steady sound of “Satisfied,” as Prince sings “Beggin Woman Blues.” The lyrics are hilarious, and the crowd is quiet as they listen carefully to catch the jokes. The real surprise is Prince’s vocals, they sound fantastic, especially in the first few minutes. There is plenty to enjoy on the keyboard front too, with both Morris Hayes and Renato Neto taking solos before things cut loose with a wild sax solo from Mike Phillips. Prince brings us back as he returns the song to its roots with his vocal delivery of “Satisfied.” Morris Hayes does a great job of filling the sound out behind him, and it highlights Prince's vocals further, his high squeals contrasting with Morris Hayes's deep organ swirls. 

I can’t say I am overly impressed by “Down By The Riverside.” It’s a breather and a chance for me to grab another drink (this is thirsty work). 

“Gotta Broken Heart Again” is a standout moment. It has a stillness to it, with Prince's vocals being the backbone of the song. I can’t speak highly enough of his vocals, they are outstanding and listening is a reminder of how much of a pure singer Prince was. He even matches the horns for shrillness and intensity as the song reaches its climax, an impressive feat. 

Shelby takes on “Love Is A Losing Game,” a tough job as it is a song that in my mind is indelibly associated with Amy Winehouse. I’m not sold on the performance, although Prince provides several guitar breaks that do elevate it, but not quite enough. The guitar does sound sweet and has a zesty sound to it, on another song it would be a whole lot more. 

I enjoy Shelby’s performance of “Love Changes” a whole lot more. She is soft when she needs to be soft, and strong when she needs to be strong, and I think it is a great match for her vocals and personality. Prince adds his input with some more guitar work, and this hits all my sweet spots, they complement each other well and this is further highlighted as Prince sings alongside Shelby. It may not be a lot of peoples’ cup of tea, but for me, this is as good as anything else heard on this recording. Prince's guitar in the final minutes underlines the performance and seals the deal. 

We have all heard “Thank You (Falettinme  Be Mice Elf Again)” plenty of times, and this rendition contains no surprises. Larry Graham adds his deeper tones to the song, and it does have an energy that is sometimes missing in these performances. Things heat up near the end as Prince stops the band and we get some real rumble out of Larry and his bass. 

 

This rumble settles into “Hair,” and with the keyboard playing a retro sound we are cast back to the Seventies. Larry starts on vocal duties, but he gives way to Shelby who doesn’t do a bad effort of the song herself. It does become a medley with some funky guitar running things into “Sing A Simple Song” before things quickly change again, this time with “Everyday People.” “Everyday People” ends the medley on a high, it is feel-good through and through and one can almost hear Larry Graham smiling as he plays and sings. 

“Alphabet St” may start as expected, but soon enough it is spinning off into all sorts of weird and wonderful places. Greg Boyer is present for a trombone solo before Larry Graham's bass settles things back into a groove. Sheila E playing percussion is easily the highlight, she is the right person at the right time and her input is timely and welcome.  Unfortunately, things come to a sudden end (due to curfew restrictions), but it is a fine way to end the recording, as Prince thanks the crowd as he explains why they are stopping, demonstrating that he is a law-abiding citizen through and through. 

I had heard good things about this bootleg, but to be honest, I wasn’t expecting much from it. On the surface, it seemed to be the same old songs brought out again for the aftershow. I was caught off guard by the funk of “3121,” and the appearance of Larry Graham wasn’t what I had come to expect, the show had a lot of energy when Larry arrived on the scene and provided his input. Of the three shows from this day, I would easily rate this as the best of the three. A short, sharp show played with intensity and energy, and I can’t ask for better than that. 

Minneapolis 7 July 2007

 Several weeks ago I wrote of the Macy’s matinee show from 2007, and it’s only right that I now return to have a listen to the other shows from that day. The main show from the Target Center in retrospect can be seen as a precursor and warm-up show to the 21 nights in London that will come in the following month. The set list here is typical of these future shows, with Prince airing most of his hits in the show. The real drawcard of this show is the appearance of Wendy in several songs. I would like to say I recognized her sound immediately, although to be honest, I’m not sure I would have picked up on it without being told. However, I will be listening carefully to see if I can pick her style in the songs she appears on. 

7th July 2007, Target Center Minneapolis 

We don’t have to wait long to hear Wendy, she appears on “Purple Rain” that starts the show, and this is entirely appropriate as this is the period most fans know her from. Prince is up to the occasion: a hometown show, Wendy on guitar, and he gives a stirring performance from the first minutes. His vocals are punchy and carry some weight as he sings, he does sound invested in the moment and the song soars due to this. Normally it’s the guitar break that I find myself waiting for, on this occasion, I get just as much pleasure from the singing as anything else that might be going on. The guitar break however shouldn’t be overlooked, as Prince infuses this with spirit and feeling that gets the show off to a positive and highly enjoyable start. 

“Take Me With U” maintains this momentum and goodwill, the recording is clean sounding with enough of the crowd noise there to get the impression that they are all aboard from the very beginning, much as you’d expect from a show in Minneapolis. It’s upbeat, it’s fun, and it comes and goes in a flash, leaving me with a smile on my face. 

Prince keeps his foot on the accelerator as the segue into “Guitar” keeps the show moving quickly. I did enjoy it when it first came out, since then my interest has waned somewhat so I didn’t expect too much here. I was pleasantly surprised by how good it sounded, especially during the last few minutes. The verses and chorus I could take or leave, but the final few minutes is where Prince warms to his work and some great guitar work can be heard. 

 

My first “wow” moment comes with “Shhh,” a song I will never tire of hearing. Prince wraps me up in his warm vocal delivery before an avalanche of guitar pushes this song into greatness. The contrast between the vocals and the guitar gives it some dramatic tension and for me, that’s what makes this song what it is. I can’t tell you how this compares to the hundreds of other performances of it I have heard, what I can tell you is that at this moment it is the highlight of my week and it washes the worries of the world away for the next few minutes. 

“Musicology” snaps me back into the real world and, as enjoyable as it is, it can’t compare to Shhh. I do appreciate the sentiment behind “real music by real musicians”, but after listening to a great many shows I have found I have become tired of the phase. “Musicology” does provide some interest as Prince begins to sing “Prince And The Band.” It lacks some of the bite it had earlier on, but it’s cool to hear Prince trotting it out again. There are further highlights as Prince can be heard having fun with an audience member dancing before Mike Phillips brings his magic touch to the song. 

I have never enjoyed “Play That Funky Music” in Prince shows, and here is no different. The band sounds good, the crowd is lapping it up, and yet listening here at home leaves me cold. There is some fire in the guitar solo that has me regretting my words, and by the end of the song I too am won over – never underestimate the power of Prince and his guitar ability. 

The cover version of “Let’s Go” by the Cars adds a huge dash of fun to the show and, although it is short, it is eminently enjoyable. From its catchy sing-along beginnings to the scorching Prince guitar break it ticks all my boxes, and even at two and a half minutes, it is a performance that leaves me breathless. 

Mike Phillips certainly leaves his mark on “Satisfied.” I’m not feeling it early on, but then Mike Phillips arrives with his saxophone and plays up a storm. The intensity levels go through the roof, and I wonder why I don’t listen to this more often. The rest of “Satisfied” is as I have heard plenty of times before, but those few minutes of Mike Phillips elevate it in my estimation. 

Mike stays front and center as he and Renato Neto play an instrumental “What A Wonderful World.” This time I find I do mentally check out, I am here for Prince, and these moments he is not on stage the energy seems to drain out of the building, and the recording. “What A Wonderful World” is good in its own right, but it’s not Prince. 

I knew Wendy played on several songs, what I didn’t expect was her and Prince playing a solo guitar set together. This takes things to a whole other level and is easily the highlight of the show. If I had known what was coming I would have come to this recording much sooner than I have.  The opening “Little Red Corvette” is otherworldly, the guitars and vocals angelic as they interlace and weave their magic. Prince keeps it short, but it’s only the beginning of something special. 

“Raspberry Beret” is a song that I feel I never have to hear again – except for this version. Stripped back to the vocals and guitars it regains its youthfulness and spark. The years roll back as it plays and the sound of Wendy’s guitar is unmistakable. I am not normally one for nostalgia, but this has me back wallowing in my teenage years. 

We get some Prince humor as Prince and Wendy next tackle “The One U Wanna C.” It starts quickly before Prince stops – telling the crowd that they can’t play it as it's new and they might bootleg it. They then change tack and play a different version of it, slowed down and rolled with, which in my opinion makes it a lot more bootleg-able, it's these different arrangements and live performances that I collect bootlegs for.  There is a downside, as the recording, unfortunately, captures some people discussing what seat numbers they are, but the rest of the song passes without incidence, and it sounds fantastic. This guitar set is something else, and I’m loving every minute of it. 

The guitar set is rounded out by a tear-jerking performance of “Sometimes It Snows In April.” It is sharper and cleaner, and not as overwrought as I expect, and the performance is all the better for it. There is a purity to it that lifts the show, and the guitar flourishes are pitched just right to give it a touch of color. It brings the guitar set to a close in the best way possible and gives us a pause before the show pushes forward again. 

 

The band re-joins for “7,” and the show immediately becomes an up-tempo party again. “7” is an introduction for the following “Come Together,” and after two minutes it easily segues into Shelby singing the opening verses. “Come Together” doesn’t add anything special to the show, and it’s hard to fathom why it appeared in so many of Prince's shows. Prince and the band never quite put their only mark on it, and for the most part, it is a perfunctory run through the song. The saving grace comes in the form of Prince’s closing guitar break which lifts the song far above its plodding beat. If only the rest of the song sounded as good as the guitar break, it would be a different beast altogether. 

The piano set portion of the show begins with a lovely-sounding “Do Me, Baby.” Prince and piano start easily enough before the band does join to give the song a full, yet touching, sound. This is another moment that I find I gravitate to, and it sets the bar high for the next few piano songs. 

“I Wanna Be Your Lover” follows similarly, with Prince and the piano opening the song before the rest of the band joins in.  It sounds fresh, and even here at home, I am singing along with it as if it is a new song to me. The outro is played, which is a plus as far as I am concerned, and there is some funk under the pop veneer. 

“How Come You Don’t Call Me Anymore” is more in line with what we traditionally expect from the piano set. With just Prince and the piano, the next couple of minutes could have been recorded anytime over the previous thirty years. The band does join, but this signals the end of the song, rather than a fuller version. 

There is only a couple of lines played from “Diamonds and Pearls,” before Prince plays with the crowd as he calls for his guitar. He stays with the “Diamonds and Pearls” album, playing a lively version of “Cream.” This sometimes sounds dreary to me, but not tonight as Prince plays with extra sharpness and energy. Playing to the hometown audience is bringing out the best of him, and the recording sounds great. 

There is a cascade of noise and guitar work with the introduction of “U Got The Look.” Prince and the band romp through it, playing a boisterous, rough-and-tumble rendition. The guitar isn’t overworked, but it is strong, and the song is much more than the two-dimension versions heard elsewhere through 2007.  It comes as a surprise, and I am pleased to hear it in this form. 

The band is stronger than I expected, and they put their stamp well and truly on “If I Was Your Girlfriend.” Sound and power are coming from every corner as the song plays, normally it’s Prince's vocals that command attention in the song, in this case, all the band are vying for attention as the song plays. It gives it a fullness that is far from what is heard on Sign O The Times. 

 

The same could be said of “Black Sweat,” the band swamps it in sound as the stripped-back sound of the original becomes just a memory. It may not be my favorite version, but I commend the band for taking ownership and making it distinctly theirs. Renato Neto in particular has my attention with some keyboard sounds that sound alien in nature. 

The band is slightly more restrained for “Kiss,” although there is a low bass rumble that has me excited. The song starts well, but it’s the guitar break that has me sitting up and paying a lot more attention. It brings some sharpness to a song that has too much happening and at times sounds unfocused. 

“Let’s Go Crazy” on paper fails to excite me, but listening to it reveals a different arrangement, designed to engage the crowd to the full. The original opening is intact, then no verses, just a headlong rush into guitar work before Prince engages the audience in some chanting, all the while delivering guitar histrionics. The music snob in me would normally dismiss this, but like a moth to the flame, I can’t help but be attracted by the rush and thrill of it. 

That rush and thrill are maintained as Prince and the band cut into one of the funkiest versions of “A Love Bizarre” I have heard for a long time. With Sheila E on board, the song has an authentic sound, although it’s the funk of the guitar that gets my heart going. The band is giving their all, and the song is pushed out of the speakers at me with great energy and force. The trombone of Greg Boyer adds a taste of something different, and the song never once loses energy or the pure joy of simply being alive. The last searing guitar solo by Prince is the icing on the cake and leaves me feeling like I felt the first time I saw him live. 

“Crazy” is more like what I expected this show to be like, a gentle run-through of a familiar set list, with plenty of Shelby J sprinkled through the show. It’s much more in keeping with what would be heard later in the year during the 21 nights in London, and as such it doesn’t overly excite me hearing it here. I do enjoy the guitar riff of “One Nation Under A Groove” that is briefly alluded to, but for the most part, the song can’t compare to the highlights that came earlier. 

“Nothing Compares 2 U” is similar, it is an uninspired run-through of a song that deserves better. There isn’t the interaction between Prince and Shelby as we hear in other performances, he takes the song on himself, and the solo from Mike Phillips sounds bold but lacks any emotional pull. It is disappointing, but I can’t complain after all that has come before. 

Sheila E makes herself heard for the final song of the night, “A Glamorous Life.” Sheila and Prince can be heard having fun together, as they play with the song and the audience during a mid-song breakdown that features plenty of percussion from Sheila. I do start to lose interest, but I can’t deny it would have been great if I had been there. It is great to hear a performance of “A Glamorous Life,” and although the song doesn’t end with a bang, the show does with this performance of a live rarity. 

The show is a curious mix of the familiar and the not-so-familiar. Although the bulk of the show is similar to the London shows that will follow, there is enough in there for me to take a closer listen. The section with Wendy was outstanding, as was the closing with Sheila E.  Some of the other songs suffer in comparison to this, although there were moments where Prince draws from the home crowd and elevates some numbers to a higher level. This could have been a mundane show but is saved by the guest appearances and a lively performance from Prince. For too long I have ignored this one, dismissing it as another 2007 show by the numbers. Worth a second listen, and I may have to revisit it several more times in the coming weeks. 

Macy's Minneapolis 7 July 2007

 July 7th, 2007 was a busy day for Prince and a great day for Minneapolis. Prince treated his hometown to three shows – A matinee show at Macy's (3121 perfume launch), and a main show at the Target Centre before following with an aftershow at First Avenue. The last two shows get plenty of coverage while the first show is often overlooked in the wider scheme of things. It is a short show, 40 minutes, but at the same time, it is a very well-recorded show that provides a short sharp shock of entertainment. It’s not too demanding, and worth a second listen. 

7th July 2007, Macy’s 8th Floor Auditorium, Nicollet Mall – Minneapolis 

It is hard to guess that the opening “When The Saints Go In” is by Prince and the band, but a closer listen and you can recognize the sound of Greg Boyer on trombone as well as the rest of the horn section. They are enjoying their time to shine and the show is off to a lively start with their upbeat instrumental rendition of an old classic. 

Prince can be heard for the first time as his count-off introduces the steady groove of “3121.” It’s not as intense, or insistent, as I have heard elsewhere, and the horns add some lightness to it early on. The chorus has me sold on it, however, as Prince sings strongly and with obvious enjoyment. Shelby J can be heard on backing vocals, although she is oddly quiet. Prince's guitar break and the crowd both add a sense of urgency to the song and make it both enjoyable and serious. 

 

“Girls And Boys” has a smoothness to it that belies its age, as Prince and the band slide across the glass-like groove. The sharpness comes in the chorus, although the twins seem to be making up their own French words for the backing vocals. The saxophone solo is replaced with a trombone solo, something that adds an element of interest to a song I have heard many times in my life. The high point for me is the solo from Renato Neto, it beams in from outer space and has a beautiful alien quality that gives the song an edge. The coda of “3121” chants sounds like a plug for the perfume, and as such, I consider it unnecessary to the song. 

Sheila is low-key on percussion but makes herself heard in “A Love Bizarre.” This is a great version, and there is plenty of energy heard in the performance. Sheila and Prince sound excellent together, and the recording easily does justice to the song. Sheila sings with fierceness, I get the feeling that she is investing a lot of herself in the performance. Although only four minutes, it plays like a jam with a saxophone solo that is invested with a touch of fire, before Prince and Sheila provide some rhythm and percussion on their respective instruments. This is an excellent performance, and should not be slept on. 

 

“Get On The Boat” takes a twist, and although the horns still drive it, it's Prince's guitar that catches the ear early on. It has a Santana flavor to it, and it wouldn’t be much of a leap from this to the Santana medley that Prince was fond of a few years previous. This could be attributed to Sheila E, whose percussion is the bedrock on which the song is built. 

Sheila E. stays at the front of our minds as “The Glamorous Life” makes an appearance on the setlist. It is fitting in this setting, and it does sound glamorous as they sing it. Prince can be heard singing, but mostly it’s Sheila who is heard, both singing and playing percussion. Her final solo is the highlight of the song and underlines her talent as it finishes. 

How many times have we heard Prince say “So many hits, so little time”? Too many and he breaks it out here again. The following “Take Me With U” has also been heard many times, although it is a bright and fresh-sounding performance here. It's a standard run-through, and the song shines even as the band sounds like they are giving a perfunctory performance. 

 

“Guitar” was the song of the moment at this time, and Prince gives a performance that suggests he is feeling it. With the vocals coming with a rasp, the chorus comes and goes pleasantly enough before the song lives up to its name in the final minutes. The solo may start as expected, but soon enough it becomes more interesting and raises some pulses. The fireworks are all in the final couple of minutes as Prince and his guitar finally do take over. 

Things get crazy for the finish. First Shelby J does her thing on a cover of “Crazy.” The groove is irresistible, and Shelby sounds full and bright on the recording. She raises several cheers from the audience as she sings, a sure sign that she sounds as good at the show as she does on the recording. There is some “put your hands up” shouting, but I’m feeling generous today and I’ll give her a pass. 

Things become crazier as Prince introduces “Let’s Go Crazy.” It has the traditional spoken beginning, but the rest of the song is a wild ride as Prince solos, drawing influences from “Rock Lobster,” and gives Sheila E. another percussion break. It goes by with breakneck speed, and before I know it Prince is howling the last notes into the sky. It is a sharp ending to what has been a short and sweet show. 

Don’t be fooled by the length of the show, at 10 songs and 45 minutes, it is just as long as his shows earlier in his career. This recording contained a pleasing mix of old and new material and Prince played a lively show to match. It may have been a matinee but it still sounded like a rock show should. Another excellent aspect of the show was the appearance of Sheila E, she put her stamp on everything she played. This is a sweet little show and something I shouldn’t overlook again. 

Las Vegas 1 January 2007 (am)

 Last week I wrote of the New Year's Eve show from 2006/2007, played during Prince’s Las Vegas residency. The second part of that story is the concert Prince played in the early morning of January 1st, a jazz-inspired show that features very little Prince singing, instead, being a showcase for Mike Phillips and the rest of the band. Prince purists may not find anything too exciting about it, but Prince loved being part of the band, and even though it is often difficult for me to pinpoint Prince's contribution I still enjoy the wild ride as the band stretches across a range of styles, especially as the band digs deeper into jazz. Mike Phillips leads the way, and the other performer that catches my ear is Renato Neto. His performance may not be a powerhouse, but there is plenty of finesse to be heard, and his hands dancing across the keyboard has me spellbound at times. 

The first half of the show is similar in style to the show from the previous morning, a jazz fragranced romp that serves as an easy introduction for those that don’t normally listen to jazz. The stench of funk arrives in the second half of the concert as the band shows off their flexibility and they are just as adept at funk as they are at jazz. It is a show of long jams, a couple of songs in the first portion perhaps running a few minutes longer than is necessary, but there are no complaints at all as the standard of music is high, and the funk songs, later on, come thick and fast, keeping the listener guessing what might come next in an anything goes medley. 

1st January 2007 (am)  3121 Jazz Cuisine @ Rio Hotel & Casino 

“A Night In Tunisia” is well-known, and anyone even vaguely familiar with the original will find nothing new in this rendition. It is Renato Neto who throws down the gauntlet with his early solo, and Mike Phillips rises to the occasion with a dizzyingly fast solo that excites while paying homage to the original. Prince is only heard late in the song, his guitar arching slowly across the soundscape, but as with all music my first question is “Is it good?” to which my response would be “yes,” so I am more than satisfied with this first song as an indication of what will follow. 

 

The fifteen minutes opener was merely an appetizer, and the main dish comes with a twenty-minute rendition of “Mercy, Mercy, Mercy,” featuring the talents of Greg Boyer. It is the recording itself that shines just as bright as the band on stage, and as I listen I find myself thinking about how good it sounds just as much as the music I am hearing. In an audience recording, the band sounds sharp throughout, clear and bright, and with no distortion at all. I often get a sinking feeling in my stomach when I see the words audience recording, but in this case, it is one of the better ones I have heard. Complimenting the music perfectly, the recording elevates the concert to another level. My only caution is that there is excessive cowbell late in the song, but it is tempered by a furious guitar break by Prince that leaves an impression long after the cowbell has faded. 

I am very happy to hear Shelby J say” We going to let it marinade” at the beginning of “Crazy”, and that is exactly what they do, letting it cook in its own juices for the first minute on the back of Prince’s rhythmic guitar work. The previous half-hour of jazz is forgotten as the vocoder arrives, along with a timely chorus of “One Nation Under A Groove” The sonic landscape is transformed as Prince’s guitar rises from an earthy tone into a metallic tower of steel and power. He remains within the confines of the band and the song through, and it is Shelby J who leads us through this uplifting and inspiring performance. 

This pop music is put back in the box quickly after as we return to jazz with a long rendition of “Footprints.” I enjoy it immensely, unfortunately, some of the audience near the taper doesn’t share my love of the music, and there is quite a bit of audience chat to be heard in the first minutes of the song. As the band rise in intensity, some of this background noise is drowned out, and the recording sounds better the deeper we get into it. This isn’t the first song you would choose to hear on a bootleg, but it is a great representation of this band and Prince’s genre-hopping abilities. The funk that will follow is what we have all come to expect, and it’s somewhat of a shame that more jazz standard covers such as this don’t appear more frequently in Prince’s setlists as it gives the band a chance to demonstrate their grasp of another genre. 

The pop returns with Shelby and a sweet performance of “Sweet Thing.” It's effortlessly cool, and before I know it I am singing along with Shelby. I am no match for her vocal power though, and she gives us a perfectly pitched performance here, building from the glittering verses to a luminescent chorus that will brighten the rest of my day. The concert hasn’t reached its peak yet, but with Prince’s final guitar break we are lifted several notches closer. 

 

We stay with the cover versions for a short but fierce version of Bill Wither’s “Who Is He (And What Is He To You?).” With its pulsating bass, there is tension in the air and the feeling that the band is just about to cut loose, a sense that at any moment the concert will erupt into something a whole lot funkier. 

That something a whole lot funkier is “More Bounce To The Ounce” incorporating a range of funk tunes and chants. It doesn’t come all at once though, instead, it builds from the foundation of the previous song and steadily rises into a storm cloud of a groove. It does cover a lot of ground, Maceo fundamental to all that is going on, and although I have fun picking out the songs that are in the mix I am constantly mindful of Maceo’s contribution and endorsement of this band. I sometimes weary of these funk medleys, but in this case, they are so smoothly integrated that it comes as a steady smorgasbord of funk, all of which I greedy eat up. It’s all rounded off by a cocktail of vocoder and Prince guitar licks, all of which leaves me lightheaded not quite sure if I want more or just a glass of water. 

The final song of the show is another funk jam, this time centered around “Thank You (Falettinme Be Mice Elf Agin).” A regular in Prince’s setlists, in this case, is made all the more interesting by the appearance of the vocal group   MO5AIC. They add a different element to the song, and their addition of Janet Jackson's “Rhythm Nation” to the chorus adds a sense of fun, as well as neatly tying the song back to some of Prince’s former colleagues. It brings several elements of the night together, the horns switching from jazz to funk and adding firepower to back up Shelby’s vocals that as always stand proud, front and center. It is very much about the band, and no one performance stands out, in this case, it is the band that is the star. 

Without being outstanding, this is a nice little bootleg that I can see myself listening to plenty more in the future. It is not supercharged Prince, instead, it's an understated performance of comfortably tunes that would sit easily on any playlist, and it contains something for all seasons. It may be a little too light on Prince for many people's tastes, but as part of the wider eye records release (6 CDs), it gives us a breather and a chance to sit back and just appreciate the music. My recommendation would be to take a listen on Sunday afternoon, a glass of wine in hand. 

Las Vegas 31 December 2006

 All apologies about missing last week. I had intended to post about a Christmas show but unfortunately, I was swept away by Christmas and my summer holiday. Christmas was chaos, but thankfully I have had a few days in the countryside since then with no internet, cell phone, or laptop, and I feel fully restored as I sit here today. I am a week late, so the Christmas concert I was going to write about has become a New Year's Eve concert. Prince played several New Year's Eve concerts, the most famous being his Paisley Park show of 1987 with an appearance by Miles Davies. Sadly, none of his other New Year's Eve concerts live up to the high standard set by that one, and I did struggle to find one that I felt motivated to write about. I have gone with the New Year's Eve show in Las Vegas in 2006, from the Eye records 6CD set. It is no by no means an outstanding show, but it does cover some quality material and is a decent enough show. Prince also plays an aftershow in the early morning of January the 1st 2007, a recording I shall cover in next week's blog. 

The New Year's Eve show is unsurprising and contains a fairly typical setlist of the time. Although Prince was mixing up his setlists constantly, we do see the same songs appearing in different combinations, and there is nothing desperately unusual to be heard here. The recording itself is clean, and that is always a big bonus, making even the most mundane of shows a pleasant listen. 

31st December 2006. 3121 @ Rio Hotel and Casino, Las Vegas 

Any reservations I may have had about the setlist or recording are swept away by the opening onslaught of “3121.” The bass is well-rounded, and Prince gives a forceful performance that is matched by the quality of the recording. I may be too invested in the moment, and for a second I think that this would be one to play to those who remain unconverted to Prince. The flurry of horns that appear out of the mix adds to my sense of thrill and excitement, and even though the song runs its full length I still feel disappointed that it ends. Even Prince’s typically dubious opening comment of “There’s no such thing as time – we count down nothing, except the funk” fails to dampen my enthusiasm. 

 

The recording doesn’t let up on this opening funk assault, and “3121” is matched by an equally thrilling “Girls And Boys.” It is the horns that bring the drama to the song, every time they are heard it is with something new and unexpected while maintaining the funk and momentum. 

And then comes the dip. There is no denying that “Satisfied” is a fine song, but I do question its position in the setlist here. The initial blast of funk and energy dissipates in an instant as “Satisfied” begins, and the show feels like someone has suddenly jammed the brakes on, sending the concert into a slow-motion slide into a ditch. Maceo does charm me with his contribution, but I am still left wondering if one more uptempo jam would have been better before this languid stroll through a ballad. 

“Down By The Riverside” is busy but it’s not Prince, and as such, it leaves me just as unsatisfied as “Satisfied.” I wanted an uptempo song, and this certainly is, but it feels out of place and is bereft of the funk that I so desperately crave. 

There is very little funk in “Purple Rain,” but at least it is Prince, and the crowd sounds happy to have their man back on the mic. The recording is very good indeed at this stage, and “Purple Rain”  has the full majestic sound that we have come to expect. There are no twists, turns, or surprises to be heard, but once again Prince gives an impassioned rendition of his signature song. I usually find a hidden gem in the tail of the guitar solo, but in this case, it comes straight as heard on record, there is nothing to complain about there as Prince plays it powerfully and with purpose. 

I have mixed feelings about “Lolita.” Sometimes it’s just on the wrong side of pop for me, the sweetness of the song leaving me cold. However, the balance of this recording is much better, and the stabs of the keyboard give the song much more impetus and drive. Prince’s final coda is far more aggressive and strong than on record, and overall I find this a rewarding moment in the recording. 

The final minutes of “Lolita” lay the heavier foundation for “Black Sweat.” With its heavier groove and darker keyboard lines it would have been a good match for the opening “3121,” and coming after “Lolita” it brings some shade and contrast to the concert. Prince draws it out nicely, letting the music build naturally into yet another very good performance on this recording. 

 

It is “Kiss” that follows, and it feels light against the darker “Black Sweat.” It does get a bonus point for its familiarity, but it is not the best song on the recording, and even as I sing along I find I am not as fully engaged as I was with some of the earlier songs. 

“Shhh” has me fully engaged. It's not a perfect recording or performance, but that matters little as the music envelops me and for the next five minutes I am transported into Prince’s world. It’s a strange, beautiful, violent sea that Prince paints with his guitar, every note carrying a mood and tone that builds the song into a storm of a finish. It’s sickeningly good, and as it finishes I feel I should turn off the recording and sit in contemplation for the next few minutes and reflect on what I have just experienced. 

I don’t, and the next song that follows quickly is “Musicology.” It brings the concert back into the here and now, the music a statement of what Prince wanted to achieve at that time.  The waves of horns are contemporary, but the Prince comment of “not bad for a girl” is a throwback to an earlier time. The song is relativity short and gives way to a fun rendition of “Prince And The Band” It is Maceo who elevates the song above a mere run-through, and his final solo is a genuine music moment that makes the whole exercise worthwhile. 

With Maceo at the forefront, there is very little surprise to “Pass The Peas.” As much as I like it, again I find it detracts from the Prince concert, and coupled with the previous two songs, there is the general sense that the show is meandering without delivering us Prince at the eye of the storm. It is Renato Neto who provides the most electrifying moment, his keyboard solo a lightning rod for all the preceding funk and energy. 

Renato Neto is also my unlikely hero for “Joy In Repetition.” His opening gives new color to the familiar opening strains, and the song has an extra depth from the start. Prince and the rest of the band live up to expectations, but it is this opening minute that sets the scene for all that will follow, and Renato Neto deserves all the credit he gets for his contribution. Even the Twin's vocals can’t break the spell that is cast, and the magic is woven to the last, with Prince’s final guitar solo both beguiling and blustery. 

 

There is another enchanting moment with a tender rendition of “Gotta Broken Heart Again.” The keyboards are fragile, and Prince is almost broken as he sings. It’s a unique performance, but it doesn’t live up to its potential, if not for its rarity value I wouldn’t rate it at all. The audience chatter certainly doesn’t improve my opinion, and overall I am left feeling deflated by its appearance. 

I am much more on board for “If I Was Your Girlfriend.” It is loud and proud, the nuance of the Sign O The Times version sacrificed in the name of funk and a live performance that is strident and bold. The recording is unbalanced, but that doesn’t alter my enjoyment of the song, and as uneven as it is I would still recommend it to most fans. 

“Cream” keeps with this bold outlook, and it too is much stronger than what is heard on record. It comes at a quick pace, some of its sheen of coolness gone in a windswept performance. Prince’s guitar solo emphasizes this point with its brief fury, a flash that is quickly reined in by Prince before it blow-torches the rest of the song into the past. “Cream” is often too creamy for me, but I warm to this bold new vision and as it finishes I make a note to return to it at a later date. 

There is a natural fit with “U Got The Look.” This time Prince does let his guitar off the leash, and we are rewarded as the sparks begin to fly later in the song. It doesn’t offer up any surprises, but it is a cocky performance that carries the energy of the show. 

It is Shelby J who tackles Aretha Franklin’s “I Never Loved A Man (The Way I Love You).” She is no Aretha Franklin or even Rosie Gaines, but she is undoubtedly a powerful singer, and she has never sounded better than she does here. Her performance is breathtaking, Prince’s powerful guitar break still managing to sound limp next to the awesome power of Shelby’s vocals. Normally my interest wanes when Prince isn’t on the microphone, in this case, I am enthralled by Shelby J and I am more than happy as we stay with her for the next song. 

“Love Changes” features more Prince on guitar duties, but it is again Shelby J that I enjoy the most. She dominates the soundscape with her scorching vocals sweeping back and forth across the song with heat and intensity that is unparalleled elsewhere on the recording. It is rare for me to say this, but these two songs with Shelby’s vocals, and Prince's guitar work, are easily the highlight of the concert for me, there is nothing else on the recording that comes close to this raw untamed power that creates a firestorm of passion and emotion. 

 

The last five minutes of the concert see Prince playing a quickfire medley of funk tunes. He elects not to sing “Play That Funky Music,” instead, providing the funky guitar lines that morph easily enough into a truncated “Love Rollercoaster” Nothing is given long enough to marinate, “What Have You Done For Me lately” is equally brief before the concert ends with “Partyman” There isn’t much to these final songs, it is only Prince’s funky guitar that is worth hearing, and the real climax of the show was the previous Shelby J songs. However, it’s not a disappointing end, Prince is going out with a funky blast and the crowd is no doubt dancing their feet off. “It’s Alright” ends this medley, its lyrics neatly summing up exactly what these last five minutes have been about. 

I was enthusiastic in my praise for several of the songs on this recording, however, I can’t deny it is just a standard performance of a fairly mundane setlist. It can’t be considered a classic, but there are enough moments there to make it worth a listen. There are better recordings of better Las Vegas shows circulating, and this is a younger sibling to those stronger recordings. However, it should not be forgotten, and I thoroughly recommend listening to Shelby J’s performance at this concert, she certainly delivered the most memorable moment. Next week I will take a listen to hopefully one of those better Las Vegas concerts, the early morning show from January 1st, recorded just hours after this concert. I don’t remember much about the recording, so it will be with fresh ears that I take a listen. 

Malahide 30 July 2011

 For the last few months, I have been immersing myself in Prince’s 1990s catalog. This is my favorite era of Prince, as he unveiled masses of new music and played with a variety of genres and styles, all the while digging further into a funk sound. Of this era, the song “Gold” isn’t particularly representative, one could easily enough imagine it slotting onto one of his mid to late-80s albums, but it does live up to its name and shines brightly at the center of this period. While following the song through his career, I couldn’t help but notice that it was shelved in 1996 and only resurfaced in a live performance in 2011, a mere fifteen years later. The bootleg I am listening to today opens with “Gold,” only its second live performance since 1996, the other performance being four days previous in Rotterdam, as Prince pulls this jewel from his vault and gives it another polish. It would continue to occasionally pop up in concerts through 2011 and 2012, before disappearing again back into the ether. The rest of today’s concert is typical of Prince’s 2011 European tour, a greatest hits package aimed at mostly 1980’s material, with the occasional surprise thrown in just to keep the hardest of hardcore fans satisfied. Expect no real surprises from this recording, but enjoy Prince playing his hits to an adoring audience who relive their youth in this sprightly performance. 

30th July 2011 Malahide Castle, Malahide, Ireland 

The first strains of “Gold” are almost lost on me as I am trying to remember if I have been to Malahide or not (I decided that I have been there) and when I do register what I am hearing it is with an air of disappointment. There is a thinness to the sound, and not just because of the audience recording. The keyboard chips in with a childlike quality, a children’s toy that has somehow managed to find its way onto the stage, and its tinny and fragile sound detract from the power of hearing “Gold” again in this context. Prince’s lyrics stir up the feelings of old, but without a muscular and well-polished sound behind him, it amounts to very little. The song itself still rises, its uplifting spirit still present, but sonically it stays firmly rooted to the ground, its wings clipped of the soaring quality by the overall sound that is damp and heavy. 

 

The first strains of “Let’s Go Crazy” have the sound that I had hoped for in the previous “Gold,” there is a tautness, and tension, as the guitar pulls hard at the music before the song lifts its skirts and swirls into Prince’s upbeat Las Vegas version of the song, all chants and pounding keyboards, the guitar becoming a mere adornment to the chaos of sound emerging from the stage. Sure enough, it does reappear, but only as a facsimile of itself, as if someone is playing it from another room, its sound ghosting through the recording. “Delirious”  is far more satisfying, the band and its loud brash sound suddenly focusing on a song that carries these gifts with a lightness.  It's far from perfect though, and at times even the keyboard disappears behind the beat, in this case, due to the audience recording rather than the performance. 

“1999” is overplayed, but today it hits me just right, the opening guitar singeing the recording with a touch of fiery guitar that has a quiet intensity that hasn’t been heard thus far on the recording. As it settles into its groove, it is Shelby J that comes to the fore, her personality so large that she temporarily threatens to overwhelm the song with her vocals, and a huge smile that one can hear captured on the bootleg. It never settles on the song “1999” proper, instead, Prince and the band prefer to hand it off to the crowd for chanting, and their chance to become part of the performance. I can’t complain too much, although it does pull a little shine off this old favorite. 

 

The extended slow-down version of “Little Red Corvette” isn’t quite as extended as I anticipated, the opening howls giving way all too quickly to the verse, surrendering some of the power of the song before it has had a chance to properly marinate in the emotional cry that Prince is providing it his guitar whine. However, the rest of the song is a well-paced rendition, and there is enough meat on its bones to satisfy both old and new fans alike. It’s hard not to be caught up in the gravitational pull of Prince’s guitar playing in the breakdown section, and his black-hole sound pulls every strand of emotion from the song to this one point, creating a stellar sound that rings out for the next few minutes, providing a moment that rewards both your ears and your heart. 

Andy Allo is sadly buried by Prince’s vocal throughout “Take Me With U.” Visually striking on stage, sadly I just don’t hear enough of her on this recording. There are moments where she burst out of the recording, but for the most part, it is Prince booming out the lyrics, making for an uneven and unsatisfying moment. 

There is an element of pop missing from “Raspberry Beret,” and this campfire singalong version, although great at the live show, is light on the recording as the pure pop sound is substituted for enthusiastic audience noise. This is how Prince wants it, and one can’t fault him for delivering to his audience exactly what they want. 

The smooth pop returns for “Cream.” It's a strong-sounding rendition, the band adding inner steel to its buttery sound, crafting the song into life with every aspect strengthened by the performance and this iteration of the NPG’s take on it. All play with strength, so much so that Shelby J is matched by the rest of the bold players on stage. 

 

The keyboards propel “Cool” constantly forward, but it is the lyrics that keep us in the moment as Shelby temporarily distracts us with “Don’t Stop Till You Get Enough,” before Prince claims the spotlight with his own “Cool.” It is impossible to stay seated for a song such as this, and even on the bootleg, you can feel the groove reaching out through the speakers for you, lifting you from your seat and forcing you to move to the rhythm of Prince’s boasts. 

The introduction to “Purple Rain” creeps slowly across the recording, the opening strains barely perceivable, before building gently into an audience singalong. The recording becomes drenched in this purple sound and Prince’s performance connects both him and the audience directly back to his 1980s peak. The song is played with due respect, nothing is tampered with and every piece is still sitting in place as in 1984, barely diminished by time and place. Prince has barely aged in the years since, and his guitar solo even less so as it rises out of the heart of “Purple Rain,” as the same hurricane force that it always has been. It may not be as loud on this audience recording, but it plays with the same demand that you listen to it that it always has, and remains the linchpin of Prince’s greatest hits package. 

 

With Prince absent from the stage, it falls to Shelby J to carry the following cover of Bob Dylan’s “Make You Feel My Love.” Since its release in 1997, it has been covered by numerous artists, including Billy Joel,  Adele, Kelly Clarkson, and Garth Brookes. Shelby J’s cover could look anyone of them in the eye as she elevates the lyrics on the wings of her soulful voice, and even though Prince is no longer on stage, I remain riveted to the recording by this searing performance. 

All that is forgotten though as Prince returns for “If I Was Your Girlfriend,” its bare funk revealed in these performances later in his career. The bass slips and slides behind the beat and swirling keyboard that adds smoke to an otherwise icy sound. The audience input is a little too much for me, distracting from the purity of the music, but with Casandra on the keyboards, there is plenty to revel in from the onstage performance. 

The party starts with a greasy version of “Kiss,” the scratch guitar usurped by a rubbery keyboard and elastic bassline.  It plays on shaky ground, there is nothing firm to clutch onto as the song shifts and shakes throughout, the only dependable feature being Prince’s clever lyrics that remain at the heart of the song. 

The pacing of the concert is uneven, and “Musicology” feels shoehorned into this part of the show. As much as I enjoyed Shelby’s earlier performance of “Make You Feel My Love” it did temporarily derail the show, and although we hear the audience singing along to “Musicology” it does have the same effect on the show after the crowd-pleasing “Kiss” and “If I Was Your Girlfriend.” As a showcase for the band, it works well enough, but on this particular bootleg I can’t warm to it, instead, I much prefer the versions heard on the Musicology tour. 

 

Over half of “The Bird” is given over to the introduction, and as much as I like the rest of the song, it fails to live up to all the promises made in those first two minutes. There is a renewed energy at this point of the show, and a quick check of the setlist reveals that from here on in the songs will come faster than ever as Prince rips through his back catalog, strip mining it of hits. 

More bass for “Jungle Love” would have been nice, and as hard as I strain to listen, I can’t decide if it’s the live mix or the audience recording that is depriving me of its chest-thumping bass groove. Thoughts of the bass disappear as Prince tears up the guitar break, leaving the breakdown a scorched earth chance to regain some composure before the segue into “Play That Funky Music” 

The funk of “Play That Funky Music” can’t compare to the previous two songs, and as much as Prince injects into the song it is no match for his own Minneapolis funk.  However, the crowd is all on board for the moment, and perhaps at this point, the bootleg isn’t as good as the live show, especially as Prince again ups it a notch with further guitar heroics that elevate the song to a previously unheard intensity. 

I hadn’t expected to hear “Sometimes It Snows In April” at this stage of the show, and it does sound a little lost in this larger concert. The introduction is so light it almost disappears into the audience chatter, and it is not until Prince’s vocals that the song truly reveals itself. The chatter remains strong, and the intimacy of the song is lost as it floats easily over the heads of the audience. Even as the audience joins softly for the chorus, there remains the feeling that Prince has lost most of the crowd with a song that is just too delicate for a crowd this size. 

 

From the same era, “Nothing Compares 2 U” goes over much better. With Shelby J adding her passionate vocals, the song has a power that connects much better with the audience, and with the recording. It certainly helps that the song has an Irish connection through Sinead O’Conner, and Prince and Shelby deliver a stirring version that pays homage to Sinead and this Irish audience. This is one of the best-recorded songs of the bootleg, and a strong way to enter the final phase of the concert. 

“Sign O The Times” is a fine start to the sampler set, its bare-boned funk matching the empty electronic sound of Prince at the sampler. It is the longest of the songs appearing in the sampler set, the following “Alphabet St,” barely a head nod to the original, and its minute run time is mostly given over to the excellent Ida Neilson on bass. 

There is the briefest of teases for “Nasty Girl,” before “Doves Cry” teases in its initial appearance before Prince drags a longer rendition further into the setlist. Stripping the song of most of its treasures, it gets a verse and chorus here before Prince switches gears with “Hot Thing,” – another song shorn of most of its charms by this heavily abridged version. The bouncing bass is worthy, but there is little else to recommend it. 

The concert returns to its roots with a lively rendition of “A Love Bizarre.” Andy’s contribution is again lost in the noise of the band, but the song has always firmly remained Prince’s and this performance is true to form with his vocals bold and to the front. Perhaps the most enjoyable aspect for me is the quirky keyboard solo that can barely be heard in the din. It adds a new sound to the mix and would have changed the song on a better recording. 

I wait with anticipation to see if “Controversy” will be the standard 2011 take, with  “Housquake” and its “jump up and down” refrain making an appearance. Sure enough, it does revert to this, and Shelby imploring us to clap our hands and stomp our feet, always great in concert and always terrible on bootlegs. Still, the first minutes of “Controversy” are excellent and good enough for me to put up with the latter part of the song. 

We stay in the era with a great version of “Let’s Work” that has the rubbery bassline matched by Prince’s classic falsetto. There is plenty of shake in the keyboard lines as the song works the dance floor to its groove, the concert again becoming a purely musical moment as the music becomes paramount. 

The final song of the show is a basic take on “U Got The Look.” Sadly it becomes lost in the moment and the frenzy of the crowd, the song disappearing in its sound and the pure thrill of the concert. Prince’s guitar break is always worth mentioning, but this performance isn’t essential, the thought of the song closing the concert is far more thrilling than what is heard on the bootleg. 

The concert tours of 2011 often serve up this uneven mix of songs and sounds, and although the hits are played in all their glory it can be an unsatisfying experience. It was the song “Gold” that brought me here, and the performance didn’t live up to expectations. It was weak sounding, and pale in comparison to its mid-90s glory. However the rest of the concert was enjoyable enough, and although unevenly paced provided plenty of fun. As a representation of a 2011 show, this is par for the course. It may not be everyone’s cup of tea all the time, but it does deliver as expected and on the right day can be a great experience. 2011 is a placeholder in Prince’s live canon, and this bootleg reflects that. It’s good enough, but never reaches the thrilling highs of other concert tours in circulation. 

Las Vegas 31 December 2006 (am)

 I finally got around to watching Don Cheadle’s “Miles Ahead” film on the weekend and while it may not be everyone’s cup of tea I found I enjoyed it a lot. The show I listen to this week neatly dovetails into this, as it opens with a lengthy “Tutu.” “Tutu” may be only five minutes on Miles Davis’s album, yet here the band does it more than justice with a seventeen-minute version that has plenty of time to breathe. The 3121 album saw Prince take a six-month residency in Las Vegas rather than touring the world, which is disappointing from my perspective as I loved 3121 and would have liked to see it reach a wider concert audience. To my ears, it was stronger and fuller than Musicology and could have gone even further than it did with a full tour riding on the back of the momentum created by Musicology. The Vegas shows do however offer a variety of listening experiences and this show from early morning 31 December is interesting not only for the “Tutu” that starts things off but also an outstanding instrumental of “Te Amo Corazón.” With these two pieces in place, the show is looking very appealing indeed, and although I am no great fan of Eye records I do appreciate having this release to listen to. 

31 December (am) 2006. 3121 Jazz Cuisine at Rio Hotel & Casino, Las Vegas 

As I mentioned above the show does begin with the lengthy “Tutu,” and although there is some audience chat early on it does settle down to an excellent-sounding audience recording. Beginning with the Mike Phillips Jazz Trio, the opening minutes feature some easy piano playing and a bass. There are the slightest crackles as the bass plays, but it’s nothing worth worrying about as later other players are added to the mix, and the bass sound slides to the background. As the horns play any thoughts of the quality of recording slip from my mind as they begin to weave their magic. From a slow start, the horns build up in intensity as does the song with the steady pace of the bass and drums locked in while the horns swirl and eddy in an excited flight. The second half of the song is given over to some clean guitar playing, and it's every bit as good as the horns that come before it. Then to top it all off the piano comes back with a final flourish before a final downswing ends the song.  All in all, an excellent start to the show and the recording. 

  

Shelby comes to the microphone to belt out Aretha Franklin’s “I Never Loved A Man (The Way I Loved You).” With the band swelling and rolling beneath her, Shelby rides the wave and brings it home with a soulful rendition that does the song justice. I am listening to these shows first and foremost for Prince, so cover versions sung by his backing singers aren’t normally something I gravitate towards. However, I do find I enjoy this immensely, as I do the next song, and for the next few minutes, I don’t mind at all that I can’t hear Prince. 

“I Never Loved A Man” was good, the following cover of Mother Finest’s “Love Changes” is even better with Shelby playing her part well with the bonus of a couple of very Prince-sounding solos in the song. The band has covered a lot of ground since the opening “Tutu,” and here they are rocking out with Shelby’s voice leading from the front. Prince’s solos are noteworthy and a highlight of the song, he is sounding strong and in complete control as he plays his solos, they aren’t fast but they are very bold. 

 

Maceo is to the front for his excellent “Shake Everything You’ve Got” which does indeed have me shaking everything I got. I ignore the audience chatter that is audible mid-song and instead wallow in the sound of Maceo’s horn and the fat sound of Greg Boyer’s trombone. There is a richness to the sound, and again I can’t stress enough how good this all sounds for an audience recording, despite what I have just said about the audience chat. Some clean guitar and drums play off each other in a mesmerizing few minutes which lures me into a false sense of security before the band all come in with a renewed enthusiasm that carries the guitar solo and the song through the next few minutes before we quieten to keyboards and the eventual conclusion. 

Only two Prince songs are played at the show, the first being an instrumental “Te Amo Corazón.” It starts seductively and low with Prince playing a very melodic guitar. The opening minutes of Prince's guitar set the stage for what will follow, with the horns picking up where he left off with some playing in a similar vein. The band takes their turns to shine in the song, and Renato Neto is well and truly in his element with a piano solo that carries the mood and feel of the song. The song is a delight to listen to, and before I know it has passed by as light as a breeze on a summer's day. 

 

Shelby returns, as does the cover versions, as the steady rumble of “Crazy” begins. It's enjoyable enough, it’s hard to dislike this song, and the band does a fine rendition of it. Shelby does her thing, but it’s the guitar solo of Prince that has my ears pricking up, it's guttural and primeval which adds some bite to the song. The rest of the song is as you might expect, although you can still hear Prince’s guitar chugging underneath threatening to bust out at any moment, which makes it all the more disappointing when he sticks with only one brief moment before the song ends. 

Some proper Prince funk makes a welcome return with “Get On The Boat,” and Maceo sets things off in fine style with a burst on his horn. Along with Greg Boyer, it’s the sound of the horn section that nails down the song early on, while the band does their funky best in the background. This is a fantastic way to end the show, and the band is at its best throughout, mostly led by the horn assault, although Prince adds some guitar flavor late in the song. Like everything at this show, it’s over before I know it, and I am left with a smile on my face as the recording ends. 

 

This recording is short – barely 70 minutes (although it is part of a massive Eye Records six-CD set), yet it is one of the most enjoyable shows I have heard for a while. There is plenty of funk and jazz in the mix, and the band plays to their strengths with a short sharp show. Some may quibble about the lack of Prince songs played, but that is irrelevant with a performance as polished as this, and things are even better when we take into consideration the quality of the audience recording. 3121 is a great album, and while this recording only has a couple of songs from that album, it is a nice document of the era.