London 2 August 2007 (am)

 2007 was quite a year for Prince. A variety of showcases around the world saw Prince concentrating his efforts and delivering memorable runs wherever he went. The year started with his Las Vegas residency, then his three Minneapolis shows in a day, a couple of nights at Montreux, and finally his 21 nights in London. I have previously cherry-picked concerts from throughout the year, but I feel that his after-shows during his London deserve a closer listen. The guest appearance of Amy Winehouse at one show grabs headlines, as does the power trio concert, but there is much more to indulge ourselves in over the weeks. With that in mind, this week I want to dive a little deeper into his first aftershow at the indigo, a show that ties back to his Las Vegas residency, yet sketches out the sonic territory he will cover in the following days and nights. 

2 August 2007 (a.m.) 3121 at The IndigO2 

Many of the songs of the night are already familiar to us from the shows earlier in the year, and the cover of “Can I Kick It” would be recognizable to most who have already heard the Las Vegas concerts. The rendition performed here is slinky and slippery, the rap secondary to the chant of the crowd and the rhythmic pulsation of the band. Greg Boyer adds a spray of color with his trombone, the music cracking and splintering in two beneath the weight of his purposeful playing. The rhythm remains, but now the horns flood the recording, my mind, and ears torn between the robust low end of the rhythm section and the vivid brightness of the horns. A sudden attack from the keyboards temporarily floors me in its ribboned cohesiveness before I am thrust into the future by the vocoder, an instrument that straddles the past from which it came and the future into which it stretches. It is an urgent opening number, a jam that plucks each instrument from the lineup with adventure while remaining faithful to the groove and its steadfast march forward. A scurrying horn and keyboard flurry finish the song in the only way possible, a breathless finish to a song that promised little but delivered beyond expectation. 

The band introductions are quickly dispensed with, Maceo Parker and Candy Dulfer pencil out their own version of “Addictive Love.” It remains a rough sketch, with both players coming in and out of the mix while the song remains elusive. It quickly runs out of steam, much to my disappointment, and the band picks up a new thread. 

The music soon pivots back to Maceo Parker, his own “Shake Everything You’ve Got” emerging from the light mists of drum and bass. The song spirals and delights, Maceo and Candy casually lifting the show ever higher on the backs of their talents. Prince has yet to make an appearance, yet the concert demands attention to the quality of musicians and music. Even without Prince on stage, this band generates a heat by which I warm my weary soul. 

 

In a similar vein “Footprints” covers the same sonic territory, and is another song we heard earlier in the year. It is faithful to the rendition heard at Las Vegas concerts, and gives us more time to marinate in the cool sound of Maceo and Candy. There is a gentle timelessness to the piece, and if I heard this in the wild I would be hard placed to pick what year it is from. It continues to flow with tranquil ease, enveloping the room in an all-consuming Jazz sound that harks back to the very best of the One Night Alone era. Prince introduces himself to the stage on the back of some incisive guitar work that cuts through the introspection of the earlier music, bringing the attention firmly to the stage as his instrument demands the limelight. 

“Stratus” brings the concert into focus after the fuzzy-edged jazz heard earlier, Prince’s guitar work bringing a sharp edge to the music, a grunt and sweat that eclipses the delicacy of the previous horn work. His guitar spins steel cobwebs across the song, fine yet sharp to the ear, and all ensnaring. I had previously grown tired of “Stratus” but I am reinvigorated by this version. Mike Phillips and his vocoder bring a lot of fun to the otherwise monumental sound, and as a package it works well, Prince’s heavy hand balanced by Mike and his instrument. 

 

The big guitar sheen remains and drives through the heart of “Anotherloverholenyohead” It is a muscular version, Prince ripping through the opening gear changes with authority before setting course for a powerful instrumental version. With the lyrics shed, Prince is free to let the guitar express the lyrical content, and although wordless it plays with an emotionally crushing ache that evaporates any need for lyrics. Its plaintive ache is there for all to hear, and right now this is one of the best versions I have heard. The funk is temporarily put to one side as Prince lets the guitar bare its teeth and savage the song before the audience in a brutal version of the twenty-year-old song. 

The carcass of “Anotherloverholenyohead” is left behind and the band easily slides into a gentle “Mind In 7.” It is light and skittery in the face of the previous rock assault, and the concert breathes anew with its appearance. Lead by the horns and keyboards, it plays over an undemanding beat that feels like a cool balm after the fire of Prince’s guitar in the previous song. It becomes an undemanding stroll, the horns all contributing, keeping the song moving while never requiring us to stop and dig deeper. It is all surface, not a slight in this case, but a song that shows us it’s all in one glance. 

 

“Pass The Peas” suffers from overexposure, although one cannot help but be drawn in by Maceo’s enthusiastic rendition. The song continues to tremble throughout, threatening to become something grand, but instead, it remains a loyal friend rather than a fiery lover. That is until Prince bestows upon it a tempestuous guitar solo that undoes its locks, the true nature of the song revealed as Prince’s guitar unshackles its inner petulance. 

There comes a seismic shift with an uptempo “3121” rattling into view. Like all great earthquakes it didn’t just happen, the increased pressure leading to this moment had been building ever since Prince appeared on stage. It remains coy in the first minutes, couched in a sheen of the horns before the vocoder draws the tectonic tensions to the surface. I am normally distracted by the mention of “chocolate handles,” but in this rendition, Prince’s vocal tones say more than his words, and I am enthralled by his performance. I’m not quite as enthralled by the “funky London” chants. It is unswerving in its heavy groove, and while not the best version I have heard it is always a live favorite. 

“Down By The Riverside” is a weak ending to what has been a splendid concert. Fittingly the horns have the last song, but this isn’t anywhere near as good as the songs they had in the first half of the concert, and while I admire their skill I just don’t feel it like I did earlier. “3121” might have been a better option to finish the concert, but one can’t complain after an hour and a half of top-notch musicianship and songcraft. As the swing of “Down By The Riverside” fades I am left to reflect on an electrifying opening to the 21 nights' after-shows. 

This concert leaves me with one overwhelming feeling. That feeling is anger – anger directed at me. I went to the opening concert of the O2 run but elected not to go to the aftershow (some feeble excuse about work in the morning). It was a mistake, a mistake I’ll have to live with. This show, while rooted in the earlier Las Vegas concerts, is a fine balance between the talents of the band, and the burning supernova that is Prince. Even when Prince isn’t present, this band is strong enough to hold my attention through unfamiliar material. With the appearance of Prince the concert changes and he draws all the light from the room with every note he plays. 2007 is a rich year for Prince fans and sometimes shows like this can be overlooked in the wealth of other material. However, even in brief appearances, Prince gives enough to feed the most hungry of fans, and this is certainly a tasty appetizer for the rest of his London concerts. 

London 1 August 2007

 Today’s entry is going to be a little different from anything else I have written. I have written about some great recordings previously, and some significant gigs in the world of Prince, but this one is special to me for another reason. Today I will be writing about the first night of the 21 nights at the O2 London. Not only is it the first night of that series of concerts, but it is also the first time that I ever saw Prince playing live. For me, it is impossible to detach the recording from being at the event itself. I normally try to be fairly objective in my writing, but today any semblance of objectivity will go out the window. A lot of my memories and feelings are tied into this recording, I can’t listen to it without all these coming to the surface. So with that in mind, let’s take a listen- the CD is in the player, my cup of tea beside me, but in my mind, I am coming up the escalator at North Greenwich station, and the excitement in the air is electric. 

1 August 2007 O2 London 

Opening the show is a video of the UK Hall of fame introduction. Prince is marketing himself as an Icon/legacy act at this stage, and the video serves as a useful reminder to the fans there that he has had an outstanding career. I find it a little ho-hum, but it very much sets the scene for what comes next and gets the excitement levels rising in the crowd. 

 

I am not convinced that “Purple Rain” is a great song to open a show with. Although, once again, I have to concede I do understand exactly why it is here at the beginning of the show. Prince is making a statement, opening his 21-night stand with the song that is most closely associated with him, and from the most stellar part of his career. On a personal note- this is not one of my favorite Prince songs, it has been played at 100’s of concerts over the years, and has long since lost its sparkle for me. But, this was my first time to see Prince after being a fan for 25 years, and as he rose out of the dry ice, singing his signature song, I have to say it was pretty emotional. There may well have been a tear in my eye (I am sure it was just from the dry ice). On listening to the recording now I find that away from the hype and excitement, it is a good rendition of the song. Instead of the hanging guitar chords at the beginning, we get a nice little piano intro. It’s not drawn out at all, and Prince starts singing without too much intro. The drum beat isn’t as strong as it used to be, and the music sounds very much in the background, this is all about Prince’s vocal delivery, and it is nice and strong right from the start. To his credit, he does play a full version, every verse is there as it should be. I am always pleased when it gets the full treatment, and the crowd is in fine voice for every chorus. The guitar solo has a fine sound to it, it’s not muscular as it sometimes sounds on the symbol guitar. There is nothing extra or unheard of in the guitar break, but it is very decent sounding. It is a little strange to hear the crowd singing “oww, owww, owww” and knowing that this is still the first song, and we have a long way to go yet. I found it enjoyable, but perhaps a much better measure would be what a more casual fan thought of it- immediately after the song finished my friend, who had rather reluctantly come along to the gig, turned to me with a massive grin on his face and said: “That was brilliant- I got my money worth right there with that song”. 

 

“Girls and Boys” ups the tempo, and for me the gig begins now. Although the recording isn’t soundboard, it still is good, and “Girls and Boys” sounds great. Prince has a great funky-sounding vocal delivery and the keyboards and horns propel it along in a non-stop fashion. This is the funky Prince I enjoy most, and it is an early highlight. The best part of it is when Maceo takes over and delivers a killer solo. It just takes off and has a life of its own. There is also a trombone solo, which although not as good as Maceo's solo is still a different addition that I enjoy. Prince does break down the song at one stage for some audience singing of Dance, Music, Sex, Romance- it does break the momentum, but things ramp again with some more great horns and singing straight after. This song has lost nothing of its funk after all these years. It finishes with Prince yelling “Somebody scream!” It’s an excellent start to show after the slow start. 

The third song in and things pull back with a smoky version of “Satisfied.” It’s quite a change after the stomping “Girl and Boys,” but as Prince says- he’s got two sides and they’re both friends. There are plenty of roars from the crowd as Prince performs this one in typical seduction mode. It sounds like the ladies in the crowd are hanging on every word as there are screams and yells after almost every suggestive line. Maceo gets a nice lead break, and he shows another side of his playing- completely different from the previous song. He is a master, and I love listening to this one too. Maceo finishes up and we return to the seductive sounds of Prince. It sounds like he could deliver this easily all night, but he winds it up after just another minute. 

Normally I would readily dismiss “Cream,” but this one is more up-tempo, and the drums and horns are more to the fore. It strengthens the song a lot, and I find I enjoy it much more than I have in years. Prince reminds the audience midsong that he wrote this one looking in the mirror, and the crowd gives an approving cheer. The guitar break is worth mentioning, the sound is not as weak and thin as the album version, and although it’s very short, it is an improvement in my opinion. I also find the horns add a lot to it, they aren’t playing anything extra, but they do fatten out the sound. 

We segue easily into a rock number next as “U Got The Look” gets an outing. With only Prince playing guitar it’s less rocky than usual, but he makes it for it with some extra oomph in his vocals and the drummer does give it plenty too. His lead break is good but does sit low in the mix. We can perhaps blame limitations in the recording for this, but his guitar sound does sound a little lost amongst the other instruments. It’s a shame, as I have often felt that this song hinges on the sound of his guitar breaks in it, and here it comes across as much lighter. 

I don’t think I have ever heard a version of “Shhh” that I didn’t like. This one is no exception. Again I am somewhat limited by the quality of the recording, but Prince sounds just as good as ever. This song dates from my favorite era of Prince, and I only wish that more songs from this period were played live now. Of course, he delivers the verses with plenty of passion, but it's the guitar playing where the emotion comes through in this song. His guitar says what his voice can’t, and sitting here today listening to it I find it brings all sorts of emotions out of me. A fine performance of one of his greatest songs, this one is only let down by it being an audience recording. The song ends with half a minute of furious guitar work, and I am already reaching for the repeat button. 

 

“Musicology” sounds like a song that was purpose-written for shows like this. A throwback nostalgic song in both sound and lyrical content, it’s very much tailored for audiences like this, as well as serving as an introduction to the band. It’s a party song, and you can hear the audience responding to it, it very much lightens the mood. Again, Maceo is very much a highlight in this for me, his playing is exceptional. The other band members all play well too, no slight against any of them, but Maceo is the one I enjoy most. There is some chanting of ‘Funky London’ and the audience does seem to get behind this a lot. It does perhaps go on a little long for my liking, but I always prefer that rather than having songs cut short. 

Prince takes the time to talk to the crowd between songs at this point. It’s a nice couple of minutes, he asks about his stage, and how’s the band, and then mentions his excitement about playing in London again. 

The up-tempo beat of “I Feel For You” has me back on board. Prince doesn’t have to try too hard with this one, it has a nice inner energy to it, and pushes all the nostalgia buttons to me. This isn’t the greatest version I have heard, Shelby (love her) is just a little too strong on it, and although she doesn’t drown out Prince, I hear her voice more than his. If anything, it feels like there is a little too much on this one. It doesn’t have the cleanness that I like about it. I can’t quite put my finger on it, but it’s not as great as it could have been. 

Staying in the era, Prince calls for “Controversy” next. It’s got that great pounding beat, and what I like most about it, is the beat doesn’t overwhelm everything, as per other recent versions I have heard. The bass is nice and prominent, and it’s a great throwback to his early years. The horns are another nice touch and give it some color. The only problem I have with it is when Prince calls for people to jump up before the main groove. It seems to derail the song somewhat. But more than making up for that is another appearance of Maceo. His sax is sharp sounding against the neat, and it works very well. Later in the song, the rest of the horn section joins for a horn break, but it doesn’t seem to work quite as well. But I do like that they played around with it. And there is a nice break when just the trombone plays that I enjoy. 

 

Things slow down as Prince leaves the stage and Renato Neto and Mike Phillips play an instrumental “What A Wonderful World.” I have been effusive in my praise of the horns so far on this recording, but here is a bridge too far for me. With Prince not on the song at all, I find my attention quickly waning. Although it all sounds pretty, I find this one bland and am bored with it before we even get halfway. 

“Somewhere Here On Earth,” although sounding good, barely gets my pulse going again. I am not going to dismiss it though, Prince's vocal delivery on it is excellent. I would like to hear more ballads in this vein as he ages. It’s got an easy listening sound to it, with a nice gentle horn playing in the background. Prince has a nice croon in his delivery and I could well imagine him singing like this in a piano bar well into old age. And that is the reason I don’t like it. The quality is excellent, there is no denying that, but it’s too safe, too middle of the road for my tastes. It’s a nice deviation in the gig, but in the end, I find it to be a side dish, rather than the main course. 

“Lolita” has questionable lyrics, but an upbeat pop sound. I have seen a variety of opinions on this song, it’s very much a song you either love or hate. I enjoyed it on record, but here it doesn’t match that. Prince’s vocals are easily heard, but not easily understood. I can’t make out the words, and this time I’m not sure I can blame the recording. The O2 does have some sound issues, and I am putting it down to this. The song is OK, but it does finish before I can form a strong opinion one way or another. 

Prince then engages the audience with “I got more hits than Madonna got kids” I have heard it plenty since then, but at the time it was still quaint and funny. I am expecting him to then play one of these hits he is alluding to, but instead, we get a reprise of the last chorus of Lolita. 

 

We are back on track when the steamy groove of “Black Sweat” begins. It doesn’t have the dark sound of the album, but it still sounds good to my ears. It could have been much funkier and heavier, but the crowd seems pretty happy with this arrangement, and so am I. The only things that count against it are Prince shouting “I got too many hits” midsong and the fact that it barely reaches the three-minute mark before it ends. After the last few songs dragging us down, it would have been good to hear this one worked up more and injecting a bit more funk into the evening. 

There is another interlude as Prince name-checks possible songs he play next. This elicits a predictable response from the audience before the strum of “Kiss” brings us to the next song. Prince gives the audience a few chances to sing along with this one, and they respond with a loud call. The best part of the song is very much the guitar solo, his guitar has a nice tone to it, and as I say so many times, it sounds great. Prince does have another couple of crowd-pleasing moments- the lyric change “You don’t have to watch desperate housewives, or big brother” and then lets the audience finish out the song singing themselves. It’s very very short, but it is crowd-pleasing. 

There is some more of Prince name-checking possible songs he could do next before he decides to go old school with “If I Was Your Girlfriend.” Again, to leave the recording for a moment, this was the point at the gig where ‘I lost my stuff’ so to speak. This song is a top 5 favorite for me, and to hear it live was sensational. And today as I listen back to it, I realize it’s not a great version, but every gig will be someone’s once-in-a-lifetime chance to see Prince, and sometimes the quality of the song doesn’t matter, the fact it’s played is enough. Back to the recording itself, it’s a light version of the song that is played. It’s very much played as an upbeat party-type song. There are calls from Prince for the crowd to wave their arms side to side, and Prince addresses the audience informally several times, which takes me out of the song. There is a very nice deep organ groove under it, and that is what makes the song for me on this one. Prince asks the crowd if they are having a good time, and he gets a rousing cheer in response. 

The song segues easily into “Pink Cashmere.” I often overlook “Pink Cashmere,” but it is a very good song. It got a little lost in everything else that was happening in Prince world at the time it came out, which is a shame, as it has the sound of a hit to my ears. The rendition here is smooth enough, and Mike Phillips plays an upbeat Sax solo on it, which does lift it a lot. As he finishes Prince says “Careful Mike, you might get someone pregnant” His easy humor always makes me smile, and it’s a fitting comment for a nice solo. There is some nice Prince talk near the end of the song, and surprisingly it’s not corny at all. I would have enjoyed it much more if he hadn’t then started singing “Oh funky London” again. Mercifully it’s only for a couple of bars before the band jumps back in and brings the song to a close. 

I hadn’t expected to hear “7” next. It’s played very straight and doesn’t seem to deviate at all from the original recording. At this point I am reminded of why I dislike audience recording, there is a loud hand clap on the recording, and for the duration of the song, I find it hard to listen beyond this. The song is played well, but as I said before there’s not too much about it that stands out. 

The band then moves directly on to the next song, “Come Together.” There was a time when I would have loved to hear a cover such as this, but in this case, it was mostly disappointing. It’s played with the UK audience in mind, but it’s mostly Shelby that I can hear. In the first half of the song I mostly concentrate on her voice, and the annoying audience hand clap. The second part of the song through picks up immensely and Prince plays the best guitar solo of the night. It’s a shame the whole song wasn’t as good as that solo, but at least the solo does redeem the rest of the song. The song finishes, predictably enough with the audience clapping and singing “Come together” 

Every week I write that I don’t like “Take Me with U,” but that whatever particular version I am listening to at the time is great. Maybe I should just face facts, and admit that I probably do love this song. The drums aren’t the strongest on this, but the keyboards are sounding very bold. They have a nice full sound to them, especially during the chorus. Prince’s voice has a slight echo to it, and that is not due to any of his doing, it’s the sound in the venue that is at fault. The song gets the energy levels back up and this continues as the next song starts quickly after. 

“Guitar” is one of those songs that always sounds ‘up’. It’s hard to imagine Prince playing this without a big smile on his face. The sound isn’t great during the song, his first break does sound a bit muddy and lost, but the second break is much more clear and crisp. I always think of this as being a very short and sweet song, but it does seem to go on for a while here, there are more verses than I remember! But the playing on it is good, and I always enjoy anything that showcases Prince's guitar playing. The end of the song is when he goes deep into it, and there are some nice moments during his playing. 

Another 360 next as Prince puts down his guitar to sing a beautiful rendition of “Planet Earth.” Yes, it’s beautiful, but it fails to engage me emotionally. I think this song could sound better and he could do more with it. This sounds good to me, but I just can’t connect to it. There is almost too much band in it, and I do wonder if it would be better served with a stripped-back arrangement. I should point out that the song does also suffer from being a less-than-ideal recording. Listening to this I am reminded of my teachers' comments at school “Shows potential, could do better” 

A longer break ensues before we get an encore. Shelby J leads the band through a fairly robust version of Gnarls Barkly’s “Crazy.” It’s redundant and doesn’t add anything to show, asides from giving Prince a break and showing off Shelby’s vocals. There is no denying she’s got talent, but like many people, I do tire of her extolling the crowd to ‘Put your hands up. I do like the funky break when they start to sing “One Nation Under a Groove” and I would have preferred to hear a full-blown cover of that rather than “Crazy.” It is however of its time and place, and in 2007 that was THE song, so there is no doubt that the audience at the time enjoyed it. 

Prince is back in form with a fantastic “Nothing Compares 2 U.” Asides from letting the audience sing a line here and there, it is great to hear him perform on this. Like a lot of songs on this recording, it does have its positives and negatives. He does only sing the first verse, but then he hands it over to Mike Phillips who plays a very decent sax break. Prince returns after the sax break and sounds much more impassioned. If anything he sounds too passionate, and the song loses some of its emotional clout. The audience is left to sing the last few lines before it fades out. 

“Dearly beloved” followed by a long pause and organ into leaves me hanging for what seems an age. After a long tease, Prince eventually follows up with “we are gathered here today, to get through this thing called life” and “Let's Go Crazy” follows proper. There isn’t much left of the song, Prince skips all the verses and plays the first guitar break straight off, before encouraging the crowd with “let's go crazy, go go go”. There is another brief guitar break and some more singing along with the audience. As I said before there are no verses and no choruses sung, it’s all guitar and sing-along. It ends, predictable enough, after a couple of minutes with Prince’s guitar howling ending. “Thank you and good night” ends the main part of the show. 

Pausing for a minute, I would like to explain what happened next at the show. All the house lights came up, there was a minute or two of cheering, a few technicians appeared on stage and the crowd began streaming out of the exits. Not being in any hurry to leave, me and my friend stood for a few minutes discussing what a great time we had, and comparing highlights. After a couple more minutes there was a shout and Prince came running across the floor of the arena and hauled himself back on stage, sending the technicians diving to get out of the way. Immediately there was a rush as people clambered to get as close to the stage as possible, and people came running back into the arena. Prince picked up his guitar and began to play solo (it should be noted, that this was the best moment of my life). The lights dim and the show resumes. And on that note, we return to the recording. 

With just his Horner guitar for accompaniment Prince now plays a solo version of “Little Red Corvette.” In a mark of just how great this song is, it more than stands up in just this simple arrangement. The lyrics and basic melody are all that are required for this one. It seems to gain something more from its simplicity. Although he doesn’t play the whole song, these couple of minutes are more than enough, and this song stands out as a highlight of the recording. 

Prince then calls for all the lights to be turned up and again with just him and his guitar he plays a very simple, yet beautiful version of “Raspberry Beret.” Having been there, I would have to say it was amazing how he made a 17000 seat arena feel incredibly intimate. It was more like a campfire sing-along than a rock concert. Prince only sings the first verse and a chorus before letting the crowd sing “I think I love her” and replying with “and I love you too. 

Keeping in character he then plays “Sometimes It Snows In April.” This is one of the better versions I have heard, the audience doesn’t drown it out, and with only Prince, it shows off his playing and vocal skills much better. He isn’t unaccompanied, there is a keyboard playing softly along with him, but it still does have a lovely solo sound to it. I thought it may have had that overplayed sound about it as many of his songs from the 1980s do, but it still sounds like it's fresh and has legs. It’s a great way to finish this mini solo set. 

Next, the band rejoins the stage and after a couple of “Oh funky London” from Prince (enough already) we get a nice brassy rendition of “Get on the Boat.” With all the horns on board, this one jumps. This works much better live than it does on record and it’s a shame that it is cut short in its prime. It sounds great here, and it needed to be played in full. 

Thankfully another one of my favorite songs follows, with “A Love Bizarre.” This recording is finishing on a high, the last few songs are all top-notch. “A Love Bizarre” sounds good, with the girl’s vocals fitting in very well behind Prince, it harks back to the Sheila E days (although I don’t want to be accused of wallowing in nostalgia). The horns again shine out, they go all sorts of places I didn’t expect during their break. Unfortunately, and it is hard to be critical about something so small, Prince does begin to chant “oh funky London” again, and it’s at this point I inwardly groan. But it’s only briefly and does lead us into the next song. 

I didn’t expect to hear the music of “Sexy Dancer” again, but here it is in all its glory. On the downside, the lyrics are dispensed with, and instead, Shelby sings “Le Freak” over the top of it. It’s not such a big deal, they are a good fit and the song is enjoyable enough. There is not enough Prince there for my liking, I can only hear Shelby, and then a brief but enthusiastic sax solo. The song has the vibe of a party or disco, and when Prince is heard again it is to get the crowd chanting “oh funky London”. Insert sad face here. And it is on this note the show ends properly. 

There is plenty of interesting moments in this show. Opening with “Purple Rain,” the mini solo encore, and of course, it is the first of his 21 nights and Prince is trying to make a splash in London. Asides from being there, this show was enjoyable for me to go back and listen to. I was amazed at how many of the moments and songs I had forgotten already (I had no idea he played “Black Sweat,” I don’t remember it at all). A pleasant recording, it was a good listen asides from nostalgia value. 

Montreux 16 July 2007

 Superficially the recording of Prince playing the Montreux Jazz festival in 2007 seems to be something unique, a chance for Prince to display another side of his catalog and his more jazzy orientated oeuvre. However, when we look at the other shows of 2007 we can see that this show is much more of a stepping stone between the two halves of 2007, as Prince comes off his run at Las Vegas and heads to his residence at the O2 for 21 nights. Many of the songs heard at Montreux are familiar to us from his concerts in the previous months, and later in the set Prince moves to a performance that is much more in tune with what is heard during his 21 nights concerts. The real magic with this bootleg is that it is the Montreux Jazz festival, one of the gold standard festivals in the world, and this occasion is matched with a soundboard recording, giving us an intimate ear on a luxurious sounding performance. It’s been a heck of a week, I look forward to losing myself in the music and magic for a couple of hours as I disappear into Prince’s world and the Montreux festival. 

16th July 2007, Auditorium Stravinski, Montreux, Switzerland 

A jazz festival needs horns, and here they are right at the start of Prince’s performance as Greg Boyer, Mike Phillips and Lee Hogans play a bombastic take on “When The Saints Go Marching In,” a song I haven’t always enjoyed in Prince’s live canon, although in this case it is entirely appropriate and provides an enthusiastic start to the concert. 

 

The concert settles and quietens, a sense of intimacy embracing the recording as the “Footsteps” emerges from the speakers. It is thoughtful in its delivery, the band washing it around the auditorium, building power and momentum not just from themselves, but the audience as well as they provide a handclap for the beat. The music comes as waves, washing in and out on the back of some skillful horn work that has me in admiration for the band who seamlessly brings a fresh sound to a style and song that is all too familiar. It is the final appearance of Prince and his bold guitar sound that brings this all to a sharp focus, the music once again accelerating and burning up under the guidance of this master craftsman. 

“The World Is A Ghetto” was covered by Prince only through 2007, and this version is skittery and unsettling, completely suiting the title. It is the keyboards that sketch out the bones of the song, the other instruments secondary to this landscape of unease created. The contribution of Mike Phillips and his vocoder is completely representative of the era, and there is very little surprise registered as he crops up midsong to provide a detached vocal. 

The horns and bass come together in a potent brew for a furious “Mind In 7” that picks up the jazz theme of the evening and pushes it further than anywhere else heard on the recording. This is the pinnacle of this first section of the show, with no vocals, the music itself dominates, as does Prince’s forceful guitar that overwhelms the second part of the song. It is briefly out of balance, but Prince does pull back and the equilibrium is restored with further horn solos. After this, the show will take on a more traditional form with Prince's compositions being the mainstay of the concert, and this song is one last chance to indulge in a less familiar sound. 

 

There is plenty of light and breeze to the impulsive sounding “Down By The Riverside.” I have always heard this as filler in Prince’s main shows, in this context though it takes on a new life, and although lighter in touch than the previous songs it still insists you listen, especially Greg Boyer’s trombone that serves as a call-to-arms midsong. It is not just the horns that catch my ear, Renato Neto once again flashes across the keys, delivering up a solo that, although not memorable, is a lot of fun. 

The first real vocal performance of the evening is a sultry “Satisfied,” even if it is undone initially by the appreciative audience. Prince’s opening “Awww” immediately sets the tenor of the song, he is going to be loud and in your ear throughout. That thought stays with me for the first minute of the song, Prince is considerably louder than the rest of the band, and it’s not until the mix is corrected later in the song that I can properly sit back and indulge in its smoking late-night sound. Prince’s vocals aren’t the standout for me, it is Morris Hayes and his organ that grab all the headlines with his break, his organ adding a sense of depth and sexiness that Prince’s clever lyrics don’t quite capture. Prince is almost too smug and aloof, while Morris Hayes grounds the song and adds the organic feel that it is otherwise lacking. With “Beggin Woman Blues” drawing from the same well, Prince neatly wraps up the song in a satisfying package. 

 

The concert takes wings and flies with a fiery rendition of “Girls And Boys,” the wheeze of the keyboards giving it a sense of urgency and here and now. Prince and Shelby do the stomp, and that is what this song sounds like, a gleeful stomp through a song I thought I knew well. Renato adds a new dimension with his intergalactic keyboard beaming in, updating the song while acknowledging its 1980s roots. 

We stay firmly in the 1980s with an abridged rendition of “Purple Rain,” Prince acknowledging his most famous song without being beholden by it. Prince crams a lot into its six minutes run time, we get all the verses and choruses and a guitar solo that hits all the right spots. It’s not the dragged-out epic we often hear, but it is close enough to appease most fans and its appearance in the show nods to his past without ever detracting from what has come in the half-hour previous. 

“What A Wonderful World” serves the same purpose as “Down By The Riverside,” giving Prince a break from the stage, and as a standard, it is almost invisible to me. I do enjoy parts of it, but it suffers from over-familiarity and without the focus of Prince there is nothing really to hold my attention here. 

 

I am brought back to the concert with “Gotta Broken Heart Again,” Prince still suffering for his art twenty-five years after he wrote the song. It comes as a downbeat lament, Prince’s melancholy long-distance call tortured through the empathetic music and tearful horn solo. It may not be the standout of the evening, but it is a poignant moment that shines brightly in this new context and surroundings. 

With Shelby J at the helm, “Love Is A Losing Game,” takes “Gotta Broken Heart Again” and raises the stakes, the melancholy turned upon itself, the protagonist no longer wallowing in his loss, but now recognizing it for what it is, a game that can never be won. Prince’s guitar adds to this sense of drama and hopelessness, it doesn’t shine out of the darkness, but rather spirals and turns within it, never quite making sense of the loss and heartbreak. It can’t come close to the rendition that Prince plays with Amy Winehouse later in the year, but it is a stepping stone towards that concert and that final heartbreaking duet with Amy before she passed. 

There is recovery and the sweet balm of “Sweet Thing” to lift us from the previous songs, Shelby’s voice singing us out of the gloom on the back of some shining guitar cascading through the song. It is Prince’s final guitar break that tips the song right over the edge, it sings out in hope and positivity, his music lifting us far beyond the reach of Shelby and the lyrics of the song. 

 

Very few surprises lurk in the creases of “Musicology,” it is a song that had been stretched as far as it could go since 2004, and the emergence of different instruments and players throughout the song doesn’t offer the same sense of purpose as it did in 2004. There is no need for Prince’s mantra of “real music by real musicians,” in fact, he doesn’t resort to that here at all, it is all apparent by the quality heard onstage, and indeed on the bootleg. Prince on the bass is what my ears are listening out for here, his moment cool enough, but not as earth-shattering as one would have hoped. There is a sting in the tail, “Prince And The Band” blindsiding me with a sharp ending. 

The snarl of Prince’s guitar buries the funk of “Play That Funky Music,” the groove merely the vehicle for Prince to show off his guitar prowess. It is a venomous solo that vanishes any other thoughts I may have about the song, even the music bowing down before his immense talent and guitar fury. 

With just the beat, Prince builds a quickfire “I Feel For You,” a song that he rips through like a twenty-year-old man with places to go. It’s poppy, bright, and youthful, giving the concert another lift as we head into the final third. 

Following this kick start, the concert is again reinvigorated by a lively “Controversy,” bursting forth into the arena. Its stark funk is sacrificed for an all-inclusive sprawling arrangement, one that is guaranteed to get the party started, as well as providing Shelby plenty of time to extol the crowd to clap their hands and stomp their feet. It’s covering old ground, but I care little as its inner energy energizes me and for a few minutes the worries of the world are forgotten as I clap my hands and stomp my feet here at home. 

 

The cover of “Crazy” is pure 2007, and immediately takes me to that year. Although the song was released in 2006, Prince’s cover came to prominence in concert throughout 2007, and as such, I cannot disassociate the two. Shelby doesn’t quite make the song her own, but she gives it a good shot, and it is more than a karaoke rendition that it may have been in lesser hands. The reappearance of the vocoder for “One Nation Under A Groove” adds to the moment, giving it funk credentials buried deeper in the mix. Another song that is light on Prince, it nonetheless has its moments and deserves its place in the set. 

Prince reclaims the microphone for a “Nothing Compares 2 U,” the partnership with Shelby is still in the making so what we get here is Prince singing alone, while it is Mike Phillips who provides an anguished counterpoint on his saxophone. It’s not the most striking version in his canon, but he hits enough of the emotional marks in the song to make an impact, even if it is not long-lasting. 

“Take Me With U,” starts brightly, but after the first chorus it is abruptly brought to a halt, for reasons unclear, and Prince instead delivers a driving version of “Guitar.” While the opening of the song fails to inspire any sort of strong feeling within me, Prince’s later guitar solo grabs me by the shoulders and gives me a damn good shaking as he delivers fast and furious. It’s great to listen to, but it does lack the heart and soul that so often give Prince’s breaks a killer edge, and as such I must relegate it to an “also-ran” of Prince guitar solos. 

 

A strong bassline dominates “7,” the song out of balance on the bootleg with Prince’s vocals equally loud. However, it is only short and soon enough it segues naturally into “Come Together,” a song we heard plenty of times through 2007. There is the spirit of coming together in the song’s coda as the music disappears and leaves the audience singing the main refrain for the final three minutes. It is perhaps the best way to finish the show and leaves the main part of the concert with the feeling of togetherness that live concerts often give us. 

The sound of the acoustic guitar sets the scene for the final two songs of the night, first “Little Red Corvette” crawls slowly from its garage as Prince delivers a carefully pitched solo version. It isn’t as quite as effective as it was on the Musicology tour, but on this soundboard recording, there is enough nuance and delicacy for me to appreciate not just his songwriting, but also the intricacy of his guitar playing. 

Ending the concert strongly is an equally delicate “Sometimes It Snows In April,” a song that has taken on a deeper meaning since Prince’s passing. Prince’s vocals sit stark at the center of the recording, so clear that I almost feel I could reach out and touch them. The song is temporarily forgotten as I indulge myself in Prince’s vocals, and I can think of no better way to end the concert than this gently crafted moment of emotion. 

Asides from the name “Montreux” being attached, this concert is no different from many of the others we heard in 2007. The key thing that makes this bootleg what it is, is the fact that it is a soundboard. With a more jazz-influenced sound coming to the fore, a soundboard recording is the best way to catch the more intricate and subtle sounds that the band brings to the music. 2007 isn’t the year I go to first when I want to hear a bootleg, but this concert would be one of the first I would choose from that era, based on the quality of the recording and the performance. 

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.