Paisley Park 24 October 2009

 What a curious year 2009 was. No concert tour, but a variety of one-off concerts including an Oscars aftershow party, the Nokia gigs, Montreux, and shows in Monaco and Paris, before rounding out with this particular show- a performance back at Paisley Park. It is a long, sprawling show, but unfortunately the recording we have off it is mostly incomplete. The recorder has done a good job with what they have recorded, we could wish for more, but it is what it is – the opening song, and then thirty-five minutes of the encore. On the positive side, this is where the real funk lies and Prince buries us in his funk grooves throughout the recording, as we used to say “All killer, no filler.” So, short and sweet – let us dive on in. 

24th October 2009, Paisley Park 

There is some grime and a sense of danger in the opening “No More Candy 4 U,” Prince howls along with his guitar line in the opening seconds before the song comes fast on the heels of this shotgun blast of a beginning. The recording sounds a little shallow to my ears, it is clean enough, but with some distance with takes us half a step out of the performance. I don’t have time to get a firm grasp on the song itself, it runs for barely a minute and a half before we are abruptly cut and find ourselves surprisingly dumped into the encore. 

The crowd wasn’t present on the recording for the first song, but they are here now and the first thing I hear is the sound of someone near at hand with a tambourine – the bane of my existence on many a recording. It’s only brief though and soon enough the audience is content with hand-clapping, much to my relief. The song itself could have been plucked straight from the 1980s, it still has every element we expect, but with one key addition – the vocals of Shelby J. The bass is still the king of the house, but Shelby brings the slightest hint of modern sheen, enough to polish the song without bringing it right into the present era. 

 

With the appearance of “Cool”, I expect to hear more from Shelby, but the first minutes belong to Prince and the groove of Morris on the keyboards, ably assisted by the deeper groove of Josh and Cora. The scratch of the guitar satisfies my itch for further funk, the bass remaining just close enough to the surface of the recording to give it some contrast and depth. It’s funky, but not quite with a capital F. 

I am very hard to please when it comes to live renditions of “Kiss,” but the arrangement on this recording hits my sweet spot and is one of my favorites of recent times. It’s well balanced, with a firm nod to its 1980s roots, while updated without losing the skeletal sound that left so much room for the magic to seep in. I’m not fussed by the audience participation (when am I ever?) but it’s a well-rounded version that sees Prince dipping it deep into the funk trough in the final minutes, the guitar scratch reaching new heights while he takes it down low and lets the recording marinade in its stench. 

 

From the other end of the spectrum, Prince draws the sweetest of “Sometimes It Snows In April” from the ether, the song suddenly shimmering and appearing amidst the chaos and the funk. It’s stronger than I first give it credit for, and it stands starkly bold, resting up hard against the other songs of the evening, blowing gently with the breeze but never breaking as it remains true to itself. The contrast to the other material sees it appearing more beautiful than it might otherwise be, and it sits proudly as a cool oasis in an otherwise hot desert of funk. 

Prince digs deeper into his catalog for his by now familiar run-through of “The Bird,” Jungle Love,” and “The Glamorous Life.” “The Bird” opens the door on this trio, introduced as a ballad, Prince immediately tears off his own version that takes Morris’s cool and rips it to shreds with a burning intensity that carries through “Jungle Love.” The verses and chorus matter little in this song, it is all about the guitar fury that Prince injects with a furious venom later in the song. It’s shorter than what I have heard elsewhere but still worth the price of admission. 

The final of this trio is “The Glamorous Life.” It gets a fuller performance than the other two songs, and with the female voices being heard it lifts the song beyond the raw-boned funk sound of the previous two songs. I like it for what it is, a modern update of a song that Prince was reclaiming from his back catalog, and the four minutes it plays it sparkles and shines in a way that it hadn’t for years, glistening as it is at the rear of the concert. 

Prince gently croons a vocal melody across the opening of “Purple Rain.” It sounds a lot like what I would expect him to noodle through the introduction on his guitar, and to hear him vocalizing instead adds a nice touch and a point of interest in this otherwise all too familiar song. The song retains this uniqueness throughout, Prince sometimes toying with lines, or rolling them in ways unheard before, that I find myself completely engrossed. They aren’t huge changes by any means, but after listening to thousands of versions of “Purple Rain,” I do appreciate anything new or different, and this rendition feels looser and more personal than anything else I have heard for a while. This carries through to the guitar solo, and Prince riffing before the final reprise of the singing is joyous indeed. 

What I have heard here makes me all the more disappointed that the recording isn’t complete. The shows of 2008 and 2009 all have a certain sameness and sound about them, and yet I find myself enjoying them immensely, far more than I should perhaps, and this one sounds just as good as any other I have heard. The audience recording is not as good as some of the other shows circulating, but it is of the modern era and far beyond the scratchy audience recordings we had in the 1980s and 1990s. All in all, another good addition to the collection, it won’t ever make one of my greatest lists, but it is far from skippable. I usually rate these recordings by how long would I listen to them in the car, and this one would certainly last three or four days in the car before I changed it. Is that a recommendation? – you decide. 

Paris 12 October 2009

 Prince didn’t play a great number of shows in 2009, there was no tour, only a selection of one-offs scattered throughout the year and throughout the world. The shows he did play are smooth and streamlined, and surprisingly interesting. Of the twenty or so shows played that year I have already covered almost a quarter of them in this blog. Notable shows of 2009 include his  Nokia trio of shows, his appearance at Montreux, as well as the Oscars afterparty. He also played a string of shows in Paris in October, and that is where today’s recording hails from. The show at La Cigale is fairly typical of shows of 2009/2010, a setlist peppered with hits and some not too challenging covers. The newish songs that feature are of the greatest interest, and any show that features Shhh is a show that I want to hear.  The show also runs for more than two and a half hours, so I am looking forward to losing myself in the music for the next few hours 

12th October 2009, La Cigale, Paris 

The show begins with the misleading introduction of “Purple Rain.” It does sound rich and luxurious, but there is only half a minute of intro before Prince and the band kick the show off proper with Old Skool Company. With a solid groove, the song is a better representation of what will follow, and as I listen I can feel my feet begin to shuffle and move with the music, always a good sign. Frédéric Yonnet is present, and it is his harmonica sound that elevates the song early on before, after an extended introduction, Prince begins to sing. The groove isn’t heavy, but it is insistent and keeps the song moving for the eight minutes it runs. 

 

The following “Crimson And Clover” could have been lifted from any show during this time. With the rise and fall of the music, the band pushes forward and back,  never demanding even as Prince injects his Wild Thing lyrics into the song. I find I enjoy it greatly, without being able to explain why. It doesn’t rock, it lacks any sort of sharpness or vitality, yet I find I listen to it easily and enjoy the performance of Prince and the band. Perhaps it is the clean guitar break that Prince plays that makes it all worthwhile. 

“Stand!” is uplifting, and with the band playing clean and smooth it's a feel-good song that the audience responds to, especially as they sing the chorus. The song changes towards something more interesting in the final minute, the pop subverted by some extra funk from Prince which in turn brings “Turn Me Loose” to the set-list. Prince gives a funky guitar break that underlines his funk credentials before it takes a u-turn into the pop realm again with a surprising cover of the Jackson Fives’s “I Want You Back.” The only time Prince played this, it immediately elevates the show to a more interesting status, and even more so as Shelby scats over the back half of the song. The dry sound of Prince’s horner guitar is what I focus on most, bringing more of his sound to someone else’s song. 

The following two songs are also notable for being rarities. “Dance 4 Me” has only been played once in concert in its full form, and here it is. It becomes even more interesting as Prince plays with it and stretches it out. His first guitar break is Santana-esque, while his second guitar break is full-blooded and more of his own. Naturally, I love both of them. With Shelby singing “(Not Just) Knee Deep” and Frédéric Yonnet adding harmonica, there is a feeling that anything goes, and the song has plenty of satisfying twists and turns before Prince finishes with a neatly manicured solo. 

We stay with rarities as the band play “No More Candy 4 U.” It’s a joyful romp, the band plays with a bounce and a grin, something summed up as you can hear Prince laughing on the microphone. It’s not taxing, and although light I find myself listening carefully due to its novelty value. 

 

Things change with some smoldering guitar work by Prince eventually giving way to a high-powered performance of “Shhh.” The crowd enjoys it as much as I do, they sing the verse from the first moment, leaving Prince silent for the first minute. When he does sing, it’s with a glassy smooth sound, before the crowd joins him again, singing word for word. As much as I enjoy Prince, I do find the audience singing enjoyable, they agree with me and it’s hard not to sing along with them. Prince’s initial guitar break stutters and falters, but he returns with a jagged, electrifying solo that puts his mark all over this song. 

 Like “The Jam,” “Stratus” is often used by Prince to introduce the band and allow them to solo. Here is no different, as Prince runs through the band as he has plenty of times before. I have heard this done plenty of times over his career, with Stratus and The Jam, that I don’t get the pleasure from it that I once did, and although it’s a fine performance, there is a part of me that wishes it would be over so we can move onto something sharper. 

The following jazz-infused rendition of “Girl” is much more my thing and I find it to be a lot of fun. So too does the audience and Prince, as he engages them with some encouragement to sing along. It is a quiet acoustic performance, with just a bare accompaniment of a guitar Prince sings this somewhat lost B-side. The mood of the recording changes as Prince sings and I wonder what direction the show will come next. 

“Forever In My Life” is fabulous in every way. With the stripped-back beat, Prince performs this beloved song, again accompanied every step of the way by the crowd. The guitar arrives for later verses, adding some richness to the performance and the sound. Even with the audience singing it is a showstopping performance, this is easily the highlight of the show thus far. The late twist of Shelby singing a furious “Single Ladies” is completely left field, as well as the best thing I have ever heard from her. 

Shelby J continues to rock the mic, with an equally furious “Baby Love” that has me reaching to turn it up louder. I’m not a big fan of her calls to “put your hands up”, but I am completely on board for everything else she does, and even as Prince blazes out another guitar break it is still Shelby that holds the spotlight. A beautifully strong and independent voice, she adds a harder edge to a show that is sometimes just a little too polished. 

 

There seems to be extra energy and life in “Peach,” perhaps the bonus of so few shows in the year is Prince playing with extra enthusiasm and energy. Peach certain bounces along, and the guitar breaks rocket by just as quickly. It’s not as long as other renditions in circulation, but it does provide an extra shot of adrenaline into the show. 

“Sexy Dancer” has a similar energy, it comes at a quicker pace and has plenty of singing and dancing in the mix. The audience is again singing under Prince’s command, and Frédéric Yonnet can again be heard adding his contribution to the song. The band is relaxed and having fun, something that translates into the recording, it feels just as relaxed and fun on the recording years later. The “All Day, All Night,” chants that end the song underline this and end the first part of the show on a high. 

The “All Day, All Night” chants continue for a couple of minutes until Prince returns to the stage for a slower and enchanting rendition of “I Want To Be Free.” Prince’s opening sprinkle of guitar sets the tone, before singing an impassioned take on the lyrics, suitably accompanied by Shelby, Liv, and Elisa all the way. The guitar solos come from another place altogether, a completely different feel from the lyrics and verses, nevertheless they are enjoyable and add an extra element of interest to the song. 

The next section of the show is the usual run of Sly and The Family Stone songs. “Sing A Simple Song” has an extra brightness to it that the crowd responds to. The following “Thank You (Falettinme Be Mice Elf Again)” is equally popular with the audience, especially one woman who is close to the recording device and gives several earsplitting shrieks as the song begins. I can forgive her however as the song is indeed a great rendition that has the speakers pumping here at home. 

 

“Be Happy” is all about the band and the audience, with Prince taking a back seat on vocals the girls lead the way before the audience picks up the “All day, all night’ refrain again with great gusto. Things are shaping up to go on for some time, so it comes as a complete surprise as Prince wraps it up with his “Vegas” call. 

I wasn’t expecting too much from “7,” so I am pleasantly surprised by what we have here, a couple of minutes that are faithful to an old hit. It does segue into “Come Together,” another song that got more than its share of concert time in the late 2000s. This version is much as it is usually heard, although the speech by Prince mid-song is interesting and revealing. Talking about America he mentions that his music is no longer on the radio, and says America wants to make him a slave. I’m not sure exactly what to make of it, but it is interesting to hear. 

“Dreamer” follows on, and it is similar in style to the preceding “Come Together.”  It does gain from some louder guitar and more harmonica, but asides from that it doesn’t make much of an impression and ends before I can get a feel for it. 

I am re-enthused with hearing “The Bird,” not only does it push my nostalgic buttons, but it also sounds like a lot of fun. The crowd is feeling it as much as I am, and the guitar has plenty of funk. The final minute has me smiling as Prince speaks with a repeat effect on the microphone, which has him saying “turn this repeat off, what are you doing?” 

 

“Jungle Love” has him asking “Who wrote that” before playing a version that makes it quite clear. A short, sharp version it has plenty of punch to it, and I am surprised by how strong the guitar solo is. It may be short, but it is efficient and conveys plenty in the time it plays. 

The performance of “Glamorous Life” is one of the most satisfying parts of the show. After first taking some time to get the sound right, Prince tells the audience that he wants to live in France because it rhymes with his favorite word “dance”. The band lives up to the moment, and once again I am turning them up louder. It sounds classic, live, and fun all at the same time, and although Sheila E is missing it still manages to capture some of her sound and influence. 

“3121” returns with a steamroller of a  heavy groove that is mind-crushingly good. Ten minutes of heavy, and heavenly, funk follows- only lightened by the reappearance of the harmonica. “All Day, All Night” chants, soul claps, lyrics that hint at something dangerous, and unhinged harmonica all add to this behemoth of a song, all killer grooves, and funky rhythms. The audience does become intrusive on the recording, but I am prepared to overlook this as the song rolls on in its own unstoppable way. This is the moment where I am finally swept away by the music and I truly lose myself in the moment. 

And suddenly we are back to where it all started with the soft drizzle of an introduction to “Purple Rain.” The recording has been good until this point, but it’s now that it finally loses some of its polish with some mild distortion and crowd noise. Maybe it’s the crowd noise that ruins the levels, it is as the crowd sings that the distortion is most noticeable. As for the song itself, it’s a humdinger, with Prince electing to go with the guitar-saturated version rather than drawing out the verses he cuts straight to the chase early on. This makes the distortion of the crowd singing all the more frustrating, especially as Prince revisits the verses and sings with a whole-hearted fullness.  With the vocals and the guitar being top-notch it is a shame the recording lets it all down at this stage. Still, it is what it is, and the show ends just as good as it began. 

Another excellent show from 2009 and what is proving to be a very fruitful year for bootlegs. All the shows I have heard from 2009 are clean sounding and offer plenty to the careful listener. This one had plenty of high points, and even at two and a half hours it never let up, giving plenty until the very end. The Paris crowds are always knowledgeable and fun, and Prince acknowledges that with another outstanding show. I had doubts before I listened, I thought it may be too clean-cut, but it has proved otherwise and is a great listen. With a cold beer in hand, it has been the perfect way to end the week. 

Montreux 18 July 2009

 Prince’s performance of Montreux in 2007 opened the door for several more performances over the next few years. These all differ wildly from each other, and while his final three appearances in 2013 touch firmly on his three bases of funk, pop, and rock, the shows of 2009 are a stripped-back and clinical presentation that while light in sound delivers some heavy-hitting classics, along with some guitar work that ranks with his very best. It is not fast and furious, but it is a mature performance that draws heavily from his fearsome guitar talent and genre-jumping vocals. While heavily guitar infused, it never tips over into a full-blown rock show and remains a suitable fit for Montreux as it titles itself a jazz festival. 

 

18th July 2009, Auditorium Stravinski, Montreux 

It is Renato Neto’s keyboard that first caresses the crowd as from the darkness emerges “When I lay My Hands On U.” This is merely setting the scene and it is Prince with his guitar that bends the song into shape. Prince dapples the music with his guitar work somewhat like a Monet painting, listening closely one can discern all his flourishes and nods, but it’s not until we sit back and take it as a whole do we begin to properly see the sonic picture that Prince is painting. It is a picture of textures, darkness, and light, powerful chords sharpened with howling notes, the song taking on a murderous tone as Prince warms to his work. It is a controlled fury, where previously I may have been drawn to Prince’s wild antics, especially in the early ’80s, here his intense Santanaesque tone speaks far more to the quiet rage I harbor as an adult. 

Prince reinvents “Little Red Corvette” in the performance that makes this bootleg essential. Prince slows the song, his guitar squall adding anguish and hurt to this previously familiar pop song. It becomes a lament that cries out as the guitar voices its haunting refrain, its notes tortured and bleeding through the song, the lyrics becoming realized in the music the band is brewing before our very eyes. This is the first appearance of this slow downed “Little Red Corvette,” in the next few years it will become his rendition of choice, but this bootleg always remains that cut above the rest in that this is the first time. 

 

A sultry “Somewhere Here On Earth” comes with its summer breeze sound to clear some of these dark clouds of the previous emotional intensity. Renato shines brightly as the music becomes a light jazz showcase. On the album the song sometimes slips through the gaps, one could argue the whole album slips through the gaps, but the live performance reinvigorates and resurrects the song to my ears, Prince’s silky vocals glistening in the darkness while the band moves smoothly beneath him. It’s not a song that grabs me, but the performance is slow seduction that gets serves the music and the show well. 

 

“When The Lights Go Down” is in a similar vein, only tempered by some guitar playing by Prince that adds a jagged edge. One can feel the energy lift, and it is Prince’s distinctive guitar tone that stands out most to the ear. One can again clearly hear the Santana influence, Prince’s guitar, again and again, drawing from the same well. It is no mere imitation, Prince takes his influence, adds his own flavor, and elevates the guitar work to new heights. Ably matched by the band, he again gives us a clinical performance that belies the inner intensity that this music carries. 

With a barely perceptible change, “Willing and Able” arrives and immediately becomes a call and response moment, the crowd finally pulled into the concert with their chants. It is perhaps a little short for my tastes, although to be honest, I am often the first to complain when these crowd moments go on too long. 

Renato draws tears with a divine “I Love U But I Don’t Trust U Anymore,” his piano bringing the hall to silence for Prince to deliver this showstopper. Prince’s vocals contain all the emotion ever needed for this song, no matter what the music it does, we always find ourselves back to the same place, hanging on Prince’s every word as he carves out his story of distrust and lost love. Renato softly color’s this tale with his nuanced and gently tailored contribution, his playing underpinning Prince’s silky vocals with a polished sheen that becomes the backbone of the song. I am completely enraptured by the moment and seeing one of my favorite songs breathed to life by Prince. 

 

I have already mentioned Santana several times and again Prince returns to this bedrock of his sound for a seventies soul smooth “She Spoke 2 Me” – a song that takes up the vibe, garnishes it with some of Prince’s guitar work, throws in an extended Renato solo and becomes an immediate highlight. It is an interesting diversion, but little did I realize the real fireworks are still to come. 

“Love Like Jazz” and “All This Love” picks up these strands of funk, soul, and jazz, and twist them together in a ten-minute highlights package that is the beating heart of the show. It is a slow burn, the initial “Love Like Jazz,” setting the tone, yet not quite combusting into the conflagration that Prince’s guitar solos hint at. It is only once all of the band adds their weighty contributions to “All This Love” that the song ignites, Renato’s piano solo giving way to a ferocious Rhonda bass solo comes that encourages the crowd to further ecstasy. It is perfectly placed, and paced, at this point in the concert, adding some impetus just when it needed it with a slippery funk feel underpinning it all and adding fluid energy to the song. 

“Empty Room,” is exceptional from the first note, its sense of drama permeating through the concert hall and recording. Prince paces this nicely, the song building slowly to a climax before he blows it through the stratosphere with an emotive guitar break that takes the lyrical narrative and turns it into a firestorm of guitar, Prince twisting and torturing the notes as they spew forth. This intensity burns through the recording, the song reaching new heights through Prince’s craft and surgical guitar work that cuts the song to ribbons on the back of his solo. There is no need to listen to anything beyond this point, this is Prince at his very best, taking the song far beyond what has previously been heard on the back of his fiery guitar playing. 

 

We have a chance to catch our collective breaths with a wispy “Elixir” next blowing through the bootleg. It becomes an intangible moment, the song remaining smoky and unreachable, and following “Empty Room” there is no comparison, the previous song demanded you listen with its forceful intensity, while “Elixir” blows away on the breeze, leaving almost no impression on the listener. 

There is a surprise with the appearance of “In A Large Room With No Light.” It had already debuted in March 2009, yet to hear it again in these circumstances still elicits that same sense of excitement and the feeling that we are privy to something special. It is not every day that Prince pulls something from so deep in the vault, and the biggest surprise is perhaps the way it fits so easily into the setlist and sits comfortably with the more contemporary songs. It is a song that has finally come of age after waiting in the vault for twenty-three years, and this is just the right band for such a moment, its jazz flavors enhanced by the playing of Prince and Renato in particular. This is a band that can take on anything Prince throws at them, and the way they take this buried gem and make it their own is impressive indeed. Prince adds a touch of weirdness and other-worldliness to the song with his final guitar break and makes its appearance all the more special and unusual. 

 

There are an instant warmth and alluring sound to “Insatiable” that invites me right in with its crushed velvet sound. Prince sings with a light touch, not overburdening the song before he gives way to Renato Neto and his luxurious piano work. It may not be the longest song of the evening, but it leaves an aftertaste and I can still feel its yearning long after it’s finished. 

With Morris Haynes joining the band, it transitions into a lush “Scandalous,” the band playing with criminal ease. Prince matches with them with a vocal delivery that carries a chocolate and champagne sound, gradually upping the performance as he goes. It is a fine match for the previous “Insatiable,” the two coming as a silky seduction one-two punch. 

I am not too surprised to see another ballad appear in the setlist – “The Beautiful Ones” rounding out this trio of what some might call “panty droppers”. It never blows into the storm that I hope for, Prince delivering the lyrics with a refinement that belies the emotion the words carry. It is only in the final minute that this raw bloodied emotion appears, Prince finally tearing down the wall between himself and the listener with the throaty howl we have all been waiting for. 

It is “Nothing Compares To U” that is chosen to close the show, and as much as I like the song, I feel that it is an unsatisfying conclusion to what has otherwise been a stellar concert. The song lacks any real punch, either sonically or emotionally, and even the contrasting styles of Morris Hayes and Renato Neto can’t quite rescue it for me, the song floating away from all that Prince has built up in the previous 90 minutes, leaving us to consider the earlier moments of passion and panache as the most fitting way to remember this show. 

This is an interesting concert, with its varied setlist, highly skilled band, and polished to the point of perfection performance by Prince and those around him. This concert has been circulating for ten years now, and I am sure that most people have seen it, yet that doesn’t lessen the impact of seeing it again with fresh eyes. This is not the young firebrand I fell in love with in the 1980s, this is a mature man with a mature and professional performance to match. As I have grown so too has Prince, and this show resonates with me just as much as a concert from 1981 did with the fifteen-year-old me. I know that I will be watching this one many more times over the years to come, this is a concert I could happily get old with.

Los Angeles 28 March 2009

 Last week I listened to Prince playing in a trio and I enjoyed it so much I needed to hear more, so this week I am going with a recording of the so-called New Power Trio playing at the Conga room in 2009. There are similarities between this show and the one I listened to last week, although I know with Sonny T and Michael B this one is going to hit a lot harder. Looking at I’m Yours on the setlist immediately gets my attention and I see a couple of other songs there that I am very interested to hear. This recording has me enthused, so let us take a listen. 

**Please note – the images here are from the performance on The Tonight Show, a couple of days earlier on the 26th March 2009. 

28th March 2009 The Conga Room, Los Angeles 

The recording opens in a very interesting way, the first five minutes is Prince setting up the sound and speaking. I love these little peeps behind the scenes, and it gives it a more intimate feel as if you are right there with the band. I particularly like that there is a real human element to it, and Prince is gently playful as he asks who is smoking the funny cigarettes before asking for a fan. He sounds light-hearted as he politely asks them not to smoke, he’s firm but you can hear the smile on his face. The tone is set, and he continues in this vein as he talks about Sonny T when he was a teenager. I could easily sit listening to this stage patter for longer, but when “I’m Yours” begins all this lightness is washed away and forgotten as they play a storming version of the song. I rate this opening song very highly, I don’t know the last time I listened to “I’m Yours,” it would have been many years ago, and if I hadn’t read the cover I would have struggled to recognize it.  The band sounds great with a nice powerful sound to all of them, especially Prince’s vocals which are very strong and loud. The rocker inside of me loves this stuff, and the crunching guitar and drums hit all my sweet spots. In the last half of the song Prince solos, and what I like about this is he doesn’t take over the song, he sounds powerful, but the band matches him and creates a great old racket. 

 

“Colonized Mind” is a song of the period, and it slots easily into the set. It’s much stronger than on the album, something that can be said about a great many of Prince’s songs, and its vocals that I am drawn to much more than the guitar. It’s not so much the lyrics that I like, it’s Prince’s passionate delivery. The guitar snakes in and out, and although Prince is playing furiously he is playing with a lot of emotion in the guitar. The recording is a good audience recording, but I do wonder if it’s a little unbalanced, as Prince's vocals sound a lot louder than everything else. Not that I’m complaining, the music is loud and strong and Prince needs to be loud to be heard. The song itself is slightly faster than on the album to my ears, but I find that is often the case in the live setting. 

This band owns “Chaos And Disorder.” They tear into it with great gusto, and even with the music sounding energetic Prince still manages to sound relaxed, even when he is delivering his lines quickly. They make it sound too easy, which I guess is the trick, although it’s no trick –rather the result of hours upon hours of practice. The guitar break is suitable fierce, although I would have liked it to be louder and more in my face. 

This was my first time hearing Prince cover “With A Little Help From My Friends.” I was very impressed at how he took it and changed the style to make it something different. He doesn’t give it a big vocal push like Joe Cocker, nor does he make it throw away like Ringo. Instead, he pitches it differently again, giving it a lighter feel and he sings it rather than belting it out. The guitars come up in the chorus, and they complement the singing well, filling in the gaps and giving it an extra push. The solos work very well in the context of the song, and I enjoy them a lot. This song was a great surprise, I am very happy that we have such a good recording of it. 

There is a nice pause in the action as Prince takes time to tell a story about Michael B. For the first time in the show I notice how much audience chat there is, and it gets better as someone calls out for “I Like It There.” Prince asks him “What you wanna hear” as he calls out again. Prince obliges and begins to play and you can hear the guy shout “thank you, Prince, oh yeeeaaaah, oh my God!” I love that unbridled enthusiasm from that guy, I only wish I could have seen his face, I know I would react in the same way. The rest of the song is rocking with plenty of singing from the crowd and some tidy guitar work from Prince (OK, that’s a slight understatement) I was getting more and more excited and turning it up louder and louder, as Prince branches out further in his solos later in the song.  Whoa, this concert is good, I don’t know why I don’t listen to it every day. 

 

The band follows this with a rendition of “All Shook Up” which is played with a nice crunch. Prince calls that it’s time for audience participation, which is normally a sign that it’s not going to be a great listen here at home.  I am pleasantly surprised earlier in the song when Prince strongly delivers his lines and matches them with some bold guitar work. Even as he starts the crowd clapping some raw guitar riffs demand that I listen to them. Even when the crowd starts to sing on Prince’s command, I still stick with it. Normally I skip over “I’m All Shook Up,” but this one is pretty good. 

This is a great setlist and that is exemplified by the appearance of “Empty Room” next. It starts suitably slow and emotional, and when Michael B and Sonny T join the fray it kicks up a notch, in fact, several notches. The recording isn’t perfect by any means, and as I listen closely to this brilliant song I can hear its limitations. However, that doesn’t detract for an instant from the brilliance of the performance of this song. Prince delivers impassioned vocals and then matches them with equally emotive guitar. I think is the secret to Prince and what I listen for most – the soul and passion that he injects into his guitar. I have listened to a lot of playing over the years, but I have never heard anyone who was able to get as much emotion out of a guitar as Prince. 

“Peach” is obligatory for a show like this, and the band plays it with great gusto. It is only a few minutes, but they sure do manage to cram a lot in there. Princes tears through his vocals the proceeds to tear it up on the guitar. I wouldn’t call it spectacular, but it is definitely rock n roll. They could have milked this one for much more, but there are still plenty more good things to come. 

I’m not a great fan of Prince doing Jimi Hendrix covers. “Spanish Castle Magic” is very good, don’t get me wrong, maybe it’s just that Jimi did everything so well in his own way, that it’s hard for even someone of Prince's stature (figuratively) to match up. Hendrix is uniquely Hendrix and as much as I enjoy Princes playing, I would rather hear the Hendrix version. The band is ripping it up on the recording, Michael B and Prince make a glorious noise. They are on top of their game, and you can hear how much time they have spent playing together. 

“When You Were Mine” has a fantastic raw sound, and Prince has me and the crowd eating out of the palm of his hand with an easy singalong. Prince (and me) sing our way enthusiastically through the vocals before the inevitable guitar break comes with the crowd chanting ‘hey’. It has that basic rock sound that sounds so pure and innocent, even if the lyrics aren’t so innocent. It’s a great throwback to a simpler sound and it works well. 

 

With guitar featuring some prominently at this show, there is no surprise at all as the band next break into “Guitar.” The lyrics are empty and Prince plays his guitar well in compensation. The guitar early on is by the numbers, and it’s not until later in the song do I find myself finally hooked. The sound of the recording varies a little here and seems to come in and out. It’s no big deal, although it does take me out of the song for a minute. 

Last song of the night and Morris Hayes and Frederic Yonnet join the band for a boisterous rendition of “Dreamer.” Frederic is very prominent with his harmonica, and his sound, although not loud, is easily heard over everyone else. It adds plenty of color to the sound, and he plays a break that cements his moment in the song. The song becomes a jam with Prince's guitar riffing against the harmonica while the crowd begins to clap. As you might expect it's Prince soloing on the guitar that takes us through the last couple of minutes of the song, and he is playing with a lot of freedom at this stage, and it takes off. 

This recording is a must-have, there is no doubt about it. It’s not on the genius level of some other recordings, nor is it as historically interesting as others, but it is a great band of musicians doing what they do best. It’s by no means funky, it is very much a rock and guitar-driven show, and it is a good balance that shows another side to Prince's talents. I found the audience recording to be fine, although if a soundboard recording of this ever surfaces I will be a very happy man indeed. I might just have to play it a couple more times before I start considering what show to listen to next. 

Hollywood 23 February 2009 (am)

 This week I am listening to another release that recently came to light, an aftershow played after the Oscars in 2009. I am unsure about this release, looking at the band and the setlist it all seems bland. The band is a thin version of the NPG, with only Prince on guitar and Morris Hayes holding the keyboards, the Dunham backline combination, and Liv and Shelby on vocals. The band lacks firepower, at least on paper, and the setlist reads like a cross between a hits package and the usual aftershow suspects. However, it is new to my ears, so I appreciate that aspect of it. And of course, I love bootlegs, so I am itching to give this one a listen. 

23rd February (am) 2009,  Avalon, Hollywood California 

It sounds like a party right from the go, there is the hum and hubbub of a party before the opening strains of “Purple Rain” cut right through. It’s a Trojan horse of a beginning as Frederic Yonnet as his harmonica is heard and we cut into a very interesting take of “Ol’ School Company.” It gets the full aftershow treatment, and there is plenty of time for Frederic to play over the extended intro. Normally I wouldn’t give much time to this song, this one has me sitting up and taking notice as Prince claims the song and the stage. There are times when I find the harmonica piercing, Prince makes these feelings disappear with a ‘take no prisoners’ vocal performance. The challenge is thrown down from the start, and I am beginning to think I was too quick to judge a book by its cover (by the way, the cover is very cool). Shelby joins the fray as the song climaxes and we have a couple of lines from other songs tossed in for good measure. 

“Frankenstein” has Prince warming up his guitar licks, before things kick off properly with a sharp cover of The Cars – “Let's Go.” I do like Prince’s cover of this song, it harkens back to his sound in the early Eighties, especially with the synth and clean guitar sound. I am surprised by how clean and fresh it sounds, and I am impressed that Prince chose to cover it for a few years. 

We stay on this nostalgic trip as Prince looks back with another cover, this time “Crimson And Clover.” I find it reminds me of my Father, he used to play the original on the record player when I was a child, but it never sounded as guitar-heavy as what Prince delivers up. Don’t be fooled by the soft-sounding intro, when Prince hits the chorus and cranks the guitar it turns into another beast altogether. He does of course do his “Wild Thing” cover at the chorus and he does a fine job of channeling both the Animals and Hendrix. The guitar solo for the last couple of minutes is however all his, and it is undeniably the sound of Prince doing what he does best. 

 

As good as “7” is, the recording doesn’t do it justice, and I get the feeling that something is missing. Prince's vocals are good, it’s the rest of the band that seems to be lacking, and I can’t quite pinpoint if it’s the band, the mix, or the recording. That said, I do enjoy hearing it, as it is a song I would rarely listen to otherwise. 

The segue into “Come Together” is predictable, and the recording is less than perfect for the first minute. On the positive side, we do have more harmonica, and the band gets a chance to get loose and jam. It plods for a while, but things look up as Prince calls for his guitar to be turned up on stage and we hear some nice rhythm work from him. Asides from that I find it overly long, although I can see it has its place as the crowd sing and enjoy the party. We are rewarded with some guitar work from Prince that threatens to burst out but stays neatly in its box. 

I was beginning to drift, “Shhh” has me well and truly back in the moment. It does miss the powerhouse drumming of Michael B, but Prince’s vocals remove any other negative thoughts from my mind. Prince owns every aspect of this song, when it’s not his vocals commanding my attention it is his exquisite guitar playing. He does call for the drums, but they are nowhere near as powerful as his guitar playing. The band is good, but it’s not one of his great bands, and that becomes very apparent through this song where Prince is on another level to everyone else on the stage. 

His guitar sound holds center stage as we build into the next song. First a guitar groove into Mother’s Finest “Baby Love.” Mother’s Finest is a fantastic band that doesn’t get nearly as much credit as they deserve, and it’s great that Prince pays respect to them with a cover of this song. It’s fierce but criminally short as he slows things down into “Brown Skin.” 

  

“Brown Skin” is, as always, Shelby’s moment to shine. She seizes the opportunity and does a fine job, even though Frederic almost upstages her with a harmonica solo, and I never thought I would be writing about a harmonica solo, but there you go. 

And oddly enough it’s the harmonica that leads the band into “Stratus” before inevitably Prince takes control with his guitar. The song swirls and shakes without ever hitting great heights. Prince's guitar playing is nice, although that’s not a very strong word, and Frederic’s harmonica is interesting, if not somewhat grating by the end of the song. Of interest to me are the keyboard break and a drum solo that plays out more on the side of interesting than powerful, and all the better for it. 

Things stay interesting for us with a cover of “Miss You.” I do always like Prince's vocals on this song, and having Frederic on harmonica adds another layer to the song. It’s not as funky as perhaps I like, but I find it irresistible. Asides from Prince's vocals it’s his funky guitar playing that I am drawn to, and the last minute is a treat as he plays. 

Normally dismissive of “Cream,” tonight it gets a pass from me. It’s shorter, and it seems to have an extra push to it. The band is sounding lighter on this song and yet gives it a stronger sound. It’s at this stage that there is a real fun sound to it, and the mood in the music is much brighter. 

Back with another Stones cover, Prince and the band lurch into the herky-jerky groove of “Honky Tonk Woman.” Shelby’s vocals feel like a good fit for this song, as do Prince's guitar and the ever-present harmonica. The spirit of the Stones is definitely in the music and the band seems to capture the swagger and strut well. 

I have always enjoyed “When Will We B Paid,” and tonight is no different with another fine performance. Prince dials it back for this performance, with only his guitar, Liv’s vocals, and the harmonica. It does the song justice, and the lyrics are all the more powerful in this setting. 

I don’t recall ever hearing Prince cover “The Middle” before, and hearing it now has me scrambling for more information. I am of course familiar with the original, I just never expected to hear Prince covering it, and after the last few songs, it comes out of the left field. You got to love Prince and his setlists, you never know what might come next. As for the song itself, well it sounds fresh and bright and I happily sing along as Prince and the band belt it out. There is an opportunity for Prince to solo near the end of the song, and he dishes up a short and sweet guitar break. 

Again we get another stylist jump as the band strikes up “The Bird.” The opening synth riff is irrepressible and when the main groove hits I am well and truly sold on it. As you might expect Prince does a mighty Morris day, and the vocals are sparkling throughout. You can hear the band warm to their work here, and over the next three songs, Prince reclaims compositions that he gave to others in the 1980s. The sound levels are uneven through “The Bird,” but despite that, I can hear an uplifting performance. 

 

Naturally enough “The Bird” turns into “Jungle Love,” a song that sounds like it is filling the dance floor. I had been hard on the band earlier, they seem a lot more on top of this music and the performance is lively. The song sounds classic 80s with all the synth happening in the right places. It follows the original blueprint until midsong when there is a breakdown and some audience participation. Prince does take a minute before he plays his guitar break, a break that should be a highlight but instead sounds a little quiet in the mix, or perhaps I need new speakers. 

Prince telegraphs “The Glamorous Life” long before he sings it. He teases with the title for a minute before we get the familiar riff. I like the performance, though if I am honest with myself it’s not a patch on the original. That said, there is a charm to it, and it does only go for a couple of minutes before we spin into the next song. 

“Play That Funky Music” has the crowd whooping, but when the singing begins it’s a let-down. I am not sure who is initially singing, it sounds like some people out of the crowd. Prince saves the day with a guitar solo that has a lot more focus than anything else that is heard in the song. 

The next song is rather appropriately “Hollywood Swinging.” It doesn’t grab me and shake me by the collar, and I don’t know if I’m losing enthusiasm or the band is. The song warms up later in the piece and the harmonica gives it a warmer feeling. Asides from that I can take it or leave it. 

There is a false ending to the show, it sounds as if it is finishing up, only to return with the classic “I Feel For You.” The harmonica plays the lead line, and that’s a cool sound. The rest of the band also jump on board, and having it sung by the girls is a nice touch. I am enjoying it until the Shelby “put your hands up”. I was loving her until then. She gets away with it though, because at this point the band segues into “Controversy.” 

“Controversy” is the final song of the evening, and it leaves me with a good taste in my mouth. Prince's vocals are playful, yet funky. He does plenty of squawks and yells, and especially good is his “people call me rude” talk in the middle. Normally I am not for the jump-up and down calls, this time it doesn’t seem as grating and for a few minutes the cynical, jaded me takes a backseat and I enjoy it for what it is. This is a party, and this is the song to get them moving. As the show finished I feel it has gone by very fast, and it didn’t feel like two hours at all. 

My first impressions of it being bland never came to fruition. Sure, it’s not the strongest of his bands, but what they did, they did well. The recording was uneven, I can’t deny, and there were moments when I wasn’t as fully engaged as I might otherwise be. The good moments were good, and there was enough of them to make a worthwhile listen. This one will never be on a top 10 list, and maybe not even a top 100, but it is a decent recording of a decent show. It’s good enough for the car, but I don’t think I will be playing it for more than a few days. 

New York 11 October 2008 (am)

 Several weeks ago I started writing about the 21 nights book launch and subsequent bootleg covering the event. It’s taken me longer than I thought to return to this bootleg, but the second half of the recording covers the almost three-hour aftershow and is well worth the wait. This is another Eye records release, it’s only by chance that they have had so much coverage on this blog recently, and although it is an audience recording it still holds my attention as Prince plays with a lighthearted touch across the sprawling set. 

11th October 2008 (am) Hotel Gansevoort, New York 

The pairing of “Crimson And Clover” and “Wild Thing” has grown on me over the last ten years. The fact that Prince dirties up the sound at this performance and gives the song some grit is all the more appealing, as is the hurdy-gurdy guitar break that serves as an improvised opening. Prince leads us through delicate verses and well-crafted choruses, but the real action occurs between these moments as he spits fire with several flights of fancy on the guitar that inflames the audience and the casual listener at home alike. The audience is loud in their appreciation, the only negative of this audience recording. 

Prince’s cover of “Let’s Go” was in vogue at this stage of his career, and the performance of it here is true to form. It is punctuated by shouts and bursts of guitar heroics, but for the most part, it stays neatly boxed, and all Prince’s guitar work is nothing more than pretty packaging with no real gift to be revealed. 

The a capella introduction of “7” suffers on this recording, the fully engaged crowd drowns out anything happening on stage with their singing. The song itself comes and goes quickly, there is no catch or hook to lure the listener in. Prince doesn’t give it time to work its magic, and it eventually decays into “Come Together” 

The “7,” “Come Together” combination doesn’t initially excite me, although I must admit I do find myself singing the chorus with Shelby J before I know it. The recording perks up, and so do I, with Prince’s stabbing guitar solo, but interest wanes for the singalong. As always, great at the concert, not so great here at home. 

The wheeze of the keyboard heralds the arrival of “1999.” This band may not be The Revolution, but they do hold their own with a version that could have been lifted from any time in the 1980s. The distinctive voice of Shelby keeps us in the present, even as the crowd indulges in the chant of “Party” over Prince’s scratch guitar. It is these final minutes that stand out for me, and with Princes high pitched singing and funk guitar 2008 disappears from view in a fog of electro-funk. 

 

Prince continues with his musical time machine, “Controversy” just as firmly rooted in the past as “1999.” I am surprised to hear Prince himself comment on this with his quote “they say where you from? I tell ’em the 80s” He lives up to this comment with a synth-heavy, funk-driven rendition of this classic slice of Prince's 80s output. Shelby can be heard (imploring folks to clap their hands and stomp their feet), but the song firmly remains in Prince's hands with his vocals and guitar the key sonic signature of the song. Even the bass break doesn’t derail this feeling, and it is almost with sadness that the song comes to an end after five minutes, bringing the curtain down on this diversion into nostalgia. 

The comment “You ain’t ready for this” sums up my ambivalence towards “Sexy Dancer/Le Freak,” – I’m not ready for it.  “Sexy Dancer” gets a thumbs up from me, “Le Freak,” however, leaves me less than cold. It lacks a distinctness, the music sounding watered down from the preceding songs. 

It was P-funk who belittled The Doobie Brothers with their “It was cool, but can you imagine Doobie-in’ your funk?” line. As is his way, Prince goes against the grain, instead celebrating the Doobies with an infectious, and surprisingly likable, cover of “Long Train Runnin’.” There is an added energy to the performance, Frédéric Yonnet providing some harmonica that is a celebration in itself and lifts the song beyond the diesel locomotive sound of the original. Prince's train isn’t as driven as the Doobies, but it does carry more sounds and textures lying deep in the grooves, making for a well-rounded listen that delivers on several levels. 

All these other songs are mere children in the presence of “Shhh,” a song that is steeped in maturity and strength. The lyrics are light and can’t compare to the power of the music that is the bedrock of this song. The guitar blows at storm force across the recording, while the drums crash like waves on a breakwater as the song reaches its hurricane peak. Even on this audience recording, it has a radiating power that can’t be ignored, and it blows the doors off any doubts I might have about this bootleg. 

There is audience noise marring the beginning of “Musicology,” as well as a touch of feedback. It is airy against the concrete of “Shhh,” and this is further emphasized by the appearance of “Prince And The Band.” As much as I like “Prince And The Band,” it is a guilty pleasure and not comparable to “Shhh,” or even “1999” that came earlier. With such a spread of material, some of Prince’s later songs suffer in comparison, and “Prince And The Band” are certainly one of those. 

Things become harder and heavier as “3121” marches into view. Like most of the other songs, the audience detracts from the moment, but one can’t blame them for enjoying one of Prince’s strongest songs in the latter part of his career. The guitar break he laces it with adds just enough venom to make it a dangerous moment. I temporarily forget the audience noise and focus on the dark clouds that swirl around Prince’s guitar solo. 

There is a slightly deranged sound to “Girls And Boys.” To my ears it is unbalanced, and the fact that Prince lets the crowd do all the singing counts against it. He does pick up the baton for the second verse, but the sound remains out of kilter, the song not quite meshing into the killer performance that Prince’s guitar break hints at. 

“Honky Tonk Woman” comes in waves, the initial crunch of the guitar riff, Shelby’s soulful voice, and then the incisive guitar solo by Prince. As a Stones man, I fully approve, even if this slice of retro rock doesn’t reach the heights of some of the other performances of the evening. 

There is a lack of bite to “Stratus” and although I usually love the meandering way that Prince takes us down various rabbit holes, this time it just doesn’t spin my wheels. It continues to grow and evolve, but there is not enough change for my liking, and for the most part, I feel we are stuck in the same place. There are other bootlegs where this song is outstanding, unfortunately, this concert doesn’t live up to those high standards. 

 

The moment is saved as Prince rasps his way through a light-headed-sing-along-at-home rendition of The Rolling Stones “Miss You.” The recording isn’t quite good enough to catch the nuances as Prince invokes the spirit of Mick Jagger, but it does capture the busy harmonica work by Frédéric Yonnet. Prince shines a different light on the song with his guitar work, it is a delight on the ear, but hidden behind the not-so-soft veil of the audience recording. 

Prince stays on this classic rock trip as he sashays into “Red House.” Without ever becoming challenging, it manages to tread the fine line between a smooth listen and something that slips into the background. It is one of the least demanding parts of the show yet at the same time the one part that rewards a closer listen. 

“Purple Rain” is a smoldering, slow burn that never ignites into life. The delicate introduction sets the standard for the song, and it stays with this low-slung sound for the duration, even Prince’s final guitar break fails to fly as is its wont. Thin and sickly, this “Purple Rain” can’t match the performance captured on the first disc of the earlier concert. 

The bootleg derails with a brief set by Dave Chapelle. Although it makes the show complete, it does break the flow of the music, and to be honest, I would have been forgiving of Eye records if they had left it off. Normally a completest, in this case, it is unnecessary and adds nothing. 

The music resumes with Shelby J and “Brown Skin.” It has a sense of purpose and brings fullness back to the concert after the anorexic “Purple Rain.” Forceful and proud, Shelby gives the song the respect it deserves in one of the stronger songs in the set. 

An audience member's comment “Do you think he’ll play Raspberry Beret?” suggests that this audience isn’t as cool as Prince and the band. No doubt this commentator was disappointed as in the next twenty minutes Prince takes on a series of well-considered and mature cover versions. “Summer Madness,” “In The Morning,” “Can’t Hide Love,” and “Free” all have an easy way to them and a vibe that hints at Sunday mornings relaxing in the Sun. The music flows easily, transporting me far downstream from the Prince hits we heard earlier on. On a raft of gentle keyboards and soulful vocals, Prince drifts a long way from the “Raspberry Beret” wanted by the audience and offers something far more refreshing and cool. 

Equally relaxed is “Cream,” in this case the music is well behind Prince and his vocals. This isn’t served well by the recording, for the most part, it sounds distant and is a lot harder to listen to than the previous few songs. 

It is “U Got The Look” that gets the crowd screaming, again messing with the recording. Prince’s guitar is forceful, yet weakened by the quality of the recording. It is an enjoyable enough performance, but with the recording as it is, it is another moment that could have been more. 

I am pleased when the funk arrives back in the form of “What Have You Done For Me Lately,” although I could do with a lot more bottom in the recording. The bass is hot, but it deserves a better recording, and one can only imagine how it would sound with a heavy sound. The segue into “Partyman” is unnecessary as far as I’m concerned, but I understand that this is the way Prince chooses to present it. As much as I love Prince’s original material, it was “What Have You Done For Me” that caught my attention. 

The show continues to accelerate in this way as the band quickly swarms over “It’s Alright” It is similar to the previous songs in both sound and intent, a seamless part of the setlist where all the jigsaw pieces come together. After a weak start to the concert, this half-hour is where the treasures lie, and it is worth the wait. 

An equally brisk “Alphabet St.” has the crowd on board with hand claps, to the detriment of the bootleg. Prince is crisp and sharp with his guitar, and it keeps the tempo of the show up as we approach the end of the concert. 

Prince rounds out the show with a string of songs he gave away to others. “The Bird” opens this feeding frenzy, before giving way to “Jungle Love.” I prefer “Jungle Love” for its fierceness and the blowtorch guitar solo that Prince ends the song with. It is worthwhile for that moment alone, the guitar shining out in the audience noise. 

There is a long introduction to “The Glamorous Life,” but the song is little more than this. The song vanishes soon after the introduction, it is fleetingly pleasurable but ultimately unsatisfying. 

However, there is a satisfaction to be found in the last song of the concert – “A Love Bizarre.” Prince loads it at the front end with a guitar line that has a fierceness and fire unheard elsewhere on the recording. For the first time, the music rises above the quality of the recording, giving the show a punch and direction that is lacking elsewhere. It is a shame that the rest of the show doesn’t sound as purposeful, but I am more than happy to have this to cling to. It is an ending that is unrepresentative of the concert, giving the show perhaps more gloss than it deserves. 

After listening to the earlier show in this set I was looking forward to hearing this later aftershow. It did not live up to expectations. The biggest problem was the quality of the recording. While nowhere near as bad as some I have heard, the audience was still far too prominent and detracted from several key moments throughout. As always I found some positives to enjoy, but the show did leave a bad aftertaste in my mouth. I would happily listen to the first concert in the set again; this one I’d take a pass on. 

Thanks again

Hamish 

NOTE: The Eye package has Prince’s guest appearance with Q-tip as a bonus track. It doesn’t sound like much on the CD and is a waste. But the guest appearance is one of my favorite videos. The reaction of the crowd when Prince appears on stage is priceless, and Prince himself has never looked so cool. You can check out the video below, it’s well worth a look. 

New York 10 October 2008

 2007 was a big year for live concerts for Prince, 2008 not so much. Whereas 2007 saw him play a long residency at Vegas followed later in the year with a 21-night stand in London (coupled with a string of great after shows), in 2008 Prince played only a handful of shows and a few guest appearances. Coachella is the most well-known of these concerts, but as far as bootlegs go, it is his 21 Night book release and charity concert that generates the better bootleg. The show sees Prince triumphantly celebrating his 21 nights in London with a show that brings a satisfying mix of new songs, covers, and some old friends. It’s a balanced mix and Prince plays with a freshness that infuses the music with inner energy – all of which can be heard on a great, yet underrated, bootleg. 

10th October 2008, Hotel Gansevoort, New York. 

The bootleg starts in the best way possible with the inspiring debut of “Colonized Mind”. It may be its live debut, but it sounds faultless on the bootleg. Prince has the balance just right, with the song sounding both thoughtful and a powerful statement at the same time. This is emphasized by Prince’s solos which are all brute strength. He may pause and linger over the lyrics, letting their meaning hang in the air, but it is when he unleashes his guitar that he is at his euphoric mind-bending best.  It is hard not to be caught up in the fervor of the moment, and as I stated earlier, this is the perfect beginning of the bootleg. 

It may be only an audience recording, but it is a very good one and this is highlighted with “1999” which has a freshness I don’t usually associate with performances later in Prince’s career. It’s a sweaty, frenetic rendition, the band breaking loose of their restraints to set up the party early on. The recording is fantastic, not only do Prince and the band sound great, the crowd is equally involved. But for me, the best feature of the recording is Prince’s rhythm guitar which adds vibrancy and a sense of urgency. 

The storm quietens for a more relaxed “I Feel For You.” It is still upbeat and fun, but not quite as frantic as the previous “1999”. With scratchy guitar and quirky keyboard, it is of its era, and the following “Controversy” reinforces this as it comes quickly after as a euphoric celebration of Prince's early 1980s sound. It is a sizzling rendition, the band tearing through the song as if it was brand new. The attack doesn’t let up with Prince engaging in some guitar foreplay that doesn’t ever reach a climax but keeps me hanging on and crying for more. 

 

Prince is content to stay with his back catalog, “Sexy Dancer” feeling like a natural selection to follow. The “Sexy Dancer” – “Le Freak” combination was heard many times over 21 nights in London, and the later 20TEN tour, making it feel rather overplayed to my ears. This rendition differs in that it retains its freshness and is livened up by a Frédéric Yonnet harmonica solo that adds novelty without silliness. It may not look much when reading about it on the set list, but it is another important piece of the show. 

The cover of the Rolling Stones “Miss You” is always going to be a standout for me. I don’t care if Prince plays it on a ukulele recorded underwater and reaches me on an 8th-generation tape -I wanna hear it.  In this case, things couldn’t get much better for me, it is another storming version, with Prince doing his best to channel Mink Jagger -something he does supremely well. Equally of note is the color that Frédéric Yonnet brings to the song, his harmonica grounding the song with a classic sound. However, this moment is all about Prince, with his vocals that whine and rasp through the lyrics, then his guitar playing which goes to battle with Frédéric Yonnet before the inevitable victory that sees him ending the song amidst cheers from the crowd. The song is six minutes long, but that is nowhere long enough for me, I could quite happily listen to it three or four times in a row. (Blame my Dad, he was a Stones man) 

The mood of the concert changes immensely as Prince drapes the stage in the blues -“Satisfied” easing the crowd into a hush. With the keyboard swells coming like deep breaths, it is Frédéric Yonnet that provides the rush and impetus that moves the song forward. Most of the song belongs to Frédéric, and I must admit he certainly gets the best out of the instrument as he wraps me up in the sound of his harmonica. 

“Beggin Woman Blues” comes straight out of the same box, the groove so slow and steady that it is barely alive. I love the humorous aspects of the song, although the music itself hardly holds my attention. In the stillness of the music Prince’s lyrics stand as an oasis, and his words wash over me as he croons some of his funniest lines. The drama comes in the final minutes as the swirls and washes of organ emerge from the groove and crash like waves until we are washed ashore at the end of the song. 

It is a sleek rendition of “Purple Rain” that follows easily on, smooth and shiny, there is no jagged edge in the music at all. Even Prince's emotive cry fails to bring emotion to the song, the ingredients are in place yet it fails to draw me into the music. Prince’s guitar bristles to begin with, but then fails to build to anything more than a whitewashed version of something we have heard many times before. It’s a bit much to expect “Purple Rain” to deliver every time, and this is one of the rare occasions when the song doesn’t meet expectations. 

The most exciting part of the bootleg comes next as Prince plays a freewheelin’ version of “A Love Bizarre”. The funk on it is immense, and nowhere more so than in the opening stanza as Prince opens the song with some raw scratch guitar. It is a synth-pop masterpiece with Prince’s guitar serving as the exclamation point on each jolt of funk/pop. He takes to a finely woven solo that spreads a spider web of sound across the recording, the funky roots still visible beneath it all. 

 

In complete contrast is “What Is Hip?”, which is stuffed full of sounds and instruments. As good as they sound they don’ have the cohesive power of the previous number. On any other recording, this would be good, yet on this recording next to “A Love Bizarre” it is a letdown. Less is more, and with no sharp edge the song overwhelms me with noise, the only standout being the chant of “what is hip!” 

I’m not always the biggest fan of “Stratus,” but this is one version I can get behind with its unflinching sonic weight that fills all corners of the room, leaving no space for anything else bar the dense music. Sure, there is Prince's guitar work in there, but for me, the keyboards sit at the heart of the matter, with a heavy-handed sense of drama that drags the music into murky waters. 

It is “Cream” that has to follow this sonic tornado, and it is a light breeze in comparison. It is “U Got The Look” that brings a heavy crunch back into the show, as Prince excels at turning his guitar into a battering ramp, striking the audience again and again with heavy blows from his instrument. It is a short yet intense performance and one that rings in my head for several minutes afterward. 

I want to like “Angel,” I really do. But in this case, I can’t find it in me to like it. The vocals are good, the recording is fine, and the band plays well. I guess I just have to face facts and say this type of music just isn’t me. Don’t let that discourage you, it is a nice moment on the bootleg and there is plenty to enjoy if this is the type of thing you like. 

The concert ends on a high with Prince giving a worthy rendition of “Nothing Compares 2 U.” He is not the star of the moment though, the highlight comes with a typical Morris Hayes solo that carries a powerful undercurrent to the feeling Prince is singing about. It may not put an exclamation point on the concert, but it is a strong finish. 

This is a great bootleg. The show is short yet punchy, and there are many songs here that shine brighter than they normally would in a longer show. I don’t always give credit to concerts from this point of Prince’s career, but this is one I can recommend. There is an aftershow from the same night on the bootleg, and I will cover that next week. If it’s even half as good as this, I am in for a real treat.