Copenhagen 20 October 2010 (am)

 This show appeals to me for several reasons. It’s available on several different bootlegs, which is always a good sign of the quality of the performance. It’s also in Copenhagen and I know Prince has had a couple of other concerts there that I greatly enjoyed. And finally, looking through the setlist I can see that even though it has a couple of songs mid-set that don’t thrill me, there is also a quality opening, and the appearance of “Sticky like glue” has me particularly intrigued. I have no doubt that I have listened to this bootleg several times over the years, but looking at it now I have no recollection, so the best way to remind myself is to have a listen now and break it down. 

20th October 2010, Copenhagen 

There is an enticing keyboard at the beginning of “Stratus” that paints it in a new light for me. As much as I enjoy the musicianship during “Stratus”, often it is a song I could take or leave. Maybe it is just my mood, but today I dig it. It does its job of bringing me into the show and opens the curtain on what sounds like a fantastic atmosphere in the room. I know plenty of people in Denmark read this blog, if anyone was there let me know – there are only 950 people present and it sounds like they are having a great time. Prince drops in and out with his guitar, but what holds my attention for the duration of the song is Renato Neto. Now I am no Renato Neto apologist, but I have to say on this particular recording he sounds sublime, and I enjoy his contribution the most. 

 

Ida on bass and Cassandra on the keyboard make “Sexy Dancer” an entirely different experience. Although Prince is singing, it is these two who make the greatest impression with their groove and funk. The song is only three minutes, but it certainly lifts the tempo of the evening and gets the blood flowing here at home. 

Prince stays in the background and it is Shelby who leads us through “Give it to me Baby”. There is something humorous in Prince covering a Rick James song, and it is a great moment in the gig. Shelby gives a great performance. I don’t say that lightly, I know just as much as anyone how one can tire of her hyping the crowd, but in this case, she sings and emotes just right, providing the song with good energy and bounce. If she was like this for every song I’m sure she would be valued much higher in the Prince community. “Give it to me Baby” is the longest of the medley that it opens, “What have you done for me lately” follows quickly after before that too becomes “Partyman”. The bass is the driving force throughout these songs, and its buoyancy can be clearly through “Partyman” and the following “It’s Alright”. With both songs barely a couple of minutes, there isn’t much to grab on to, and a brief “We party hearty” rounds out this quick-fire medley of firm aftershow favorites from this era. 

As good as this all is, I can’t say I’m too sad when it’s over. Shelia E provides one of her trademark drum breaks, cool and without the fire that I would normally expect. The song and the show meander at this point, but it’s about to get a whole lot better and the following songs are the real meat of the show. 

 

The guitar solo that Prince lavishes “D.M.S.R.” with is immediately headline-grabbing. For the first time in the show, I feel Prince grabbing me by the scruff of my neck and demanding I pay attention. With my attention grabbed, Prince and the band keep the groove going, without letting it become slow or stale. Renato Neto provides another electric solo, it certainly wins me over without ever reaching the same levels of intensity as Prince’s earlier solo. 

The singing contained within “I want to be free” is the sweetest moment of the concert. After Prince sings a beautiful rendition, he hands it over to his backing singers who take it to the heavens with their softness and delicacy.  I am not normally one for singing when it’s not Prince, but in this case, it is exceptional and I must admit I was carried off on the vocal harmonies. This is a song that accents the nuances of a Prince concert, and at 14 minutes it gets all the time it needs to be fully appreciated here at home. For my money, this song is reason enough to listen to this recording. 

I may have spoken too soon. “Sticky like glue” runs at an incredible 13 minutes and shines both in its appearance and its performance. It gets the extended introduction that it deserves and is all the better for it as the audience marinates in the groove for the first few minutes. The song does stick like glue, the beat and rhythm stuck in my head long after, at almost 15 minutes there is joy in the repetition of the beat and groove. Embellished by a light piano solo from Renato, and a bass solo from Ida, the song moves across several instruments, yet retains its core sound. Like the previous song, it is the vocalists I am finally drawn to, as they close out the song with several minutes of their own groove and sway. It serves as a fitting end to the main part of the performance and Prince and the band take a well-deserved break at this point. 

It is Prince’s guitar that introduces the band back to the stage for an instrumental performance of “Guitar”. As much as it is about the guitar, I find it is lacking a focus without the vocals and although Prince does embellish it with several solos before he eventually comes to the microphone, it still fails to fire as far as I’m concerned. 

 

The next few minutes come as a complete contrast as a more soulful performance follows. First, there is an instrumental version of “How come you don’t call me anymore” that is gentle on the ear, before the singers offer an equally soft rendition of James Brown’s “Please, please, please”. It is short but is a crowd-pleaser as they continue to sing and clap the song for several minutes after it has finished. I have already praised the vocal performances at this gig, but here again, they are at the fore and a real high point. 

I can hardly contain myself as the band play “Which way is up”. I am normally quite restrained, but this has a serious groove to it, both Shelby’s vocals and Prince’s guitar give it some meat and it comes on hard and funky. It does become nothing more than chanting and guitar, but that’s fine with me as the groove is the important thing, and it never once lets up as the band rides it until the very end. 

The concert is finished with “Dreamer” – all guitar and heavy groove. Prince signals his intent from the start with his guitar tone set to “ominous” and the song lives up to this with the guitar appearing with a murderous howl throughout. When not soloing, Prince has it riff-heavy underneath, giving the song some rock credentials to match his flash on the breaks. The song does lose momentum as Prince has the crowd sing along, but I can’t fault it for that, after all, it is all about the live performance rather than what I am listening to here at home. The song and the show come to a fitting end with the audience chanting for the last four minutes, which very much puts me in mind of another great bootleg in Copenhagen. Listening to shows like this I think that they are the best fans, and I admire them for their input and love of the music. 

Overall, this recording wasn’t quite what I expected, but like most Prince concerts I was won over in the end. The crowd was exceptional, and apart from a couple of songs early on that suffered from over-familiarity, I found the remainder of the show arresting. A nice little bootleg and probably something I would listen to a lot more if not for the 100’s others circulating. The one fact that became apparent as I listened to this, I definitely need to get over to Copenhagen sometime! 

Vienna 13 July 2010

 I remember 2010 well. I separated from my ex-wife, changed jobs, moved house, and came back to my own country after living abroad for six years. It was a year of upheaval, change, and uncertainty.  Stability was a stranger to me. So when Prince toured through Europe in summer, playing another greatest hits package, I found myself devouring the shows as soon as they become available. There was a satisfaction in hearing the comforting songs I knew so well, and it was reassuring to know that those songs still existed as they were when my life was on steady ground. I often dismiss these hit shows, but these songs tie us back to a time when Prince was on top of the world, and his songs were the soundtrack for every aspect of our lives. Thirty years on they remind me where I came from and who I am as the world swirls around me in constant change. Sometimes it is good to have that rock in our past that we can anchor ourselves.  I have rarely listened to the 2010 concerts since then, they are just on the wrong side of vanilla for me, but as a live package presenting some of Prince’s most well-known material, they serve their purpose well. 

13th July 2010, Vienna, Austria 

Of the summer tour of 2010, this was the only concert to be played indoors. The assumption is that ticket sales weren’t as strong as expected, and from that, we can further infer that Prince isn’t playing to a strong fan base here, more fans fall closer to the casual end of the scale rather than the hardcore end of the spectrum. If that is indeed the case, then “Purple Rain”  is the ideal choice to open the concert with. A song that appeals to the most casual of casual fans, it immediately sets up the greatest hits show as it unfurls it's away across the first minutes. The introduction itself is almost seven minutes, the tide slowly rising with the trickle of keyboards that slowly rise to a river. The first fingers of Prince’s guitar wrap themselves around the song, crushing the delicate and intricate lace of the keyboards and giving the song extra power and emphasis. In this case, however, the song doesn’t belong to Prince, but rather to the crowd who are involved throughout. Prince knows he is onto a good thing and doesn’t give them any more than they need – his final guitar solo plays within the flow of the song, and instead of an emphatic exclamation mark, it is little more than a pleasant outro that equals the introduction of the keyboards several minutes previous. 

 

  

“Let’s Go Crazy” is little more than a thin veneer over the insistent beat. With chants, the scantest of guitar riffs, and a quick verse and chorus, there is no real meat to the song. It is recognizable but is an anorexic version of the Rocky-Balboa-punch of a song we know so well from the 1980s 

I prefer “Delirious” in this case, it is longer with punchy drumming and some added harmonica which brings a different flavor to a familiar tune. It is hardly a pulsating performance, but it keeps the show bouncing forward and provides me a chance to sing along. 

The “Let’s Go Crazy” coda with its “Oh no, let's go” chant isn’t worth mentioning, but “1999” certainly is. I often underrate “1999,” and I have been dismissive of its live performance more than once on this blog. If “1999” was a person I would apologize to it right now. Prince and the band play a lean and cohesive rendition of it at this concert, and to my ears, it has never sounded better. With a sense of purpose, it brings the concert onto an even keel, as well as satisfying the old-school fan inside me that wants to hear these songs as they should be heard. It’s an exhilarating few minutes, and if it is nostalgia you want to hear then this is the place to start. 

 

The opening stabs of “Shhh” contain far more keyboard than drums, and it doesn’t come as the intoxicating rush we so often hear. The vocals though are far more noteworthy, Prince is in his element as he weaves his vocal magic through the song before topping it with the beguiling guitar work I have been waiting for. I am almost sick as he plays a head-spinning few minutes, the sound and the emotion perfectly enmeshed making for the alchemy that can be only found on live recordings. 

“Cream” comes from the other end of the scale. Where “Shhh” had depth and emotional weight, “Cream” is shallow and narcissistic. That doesn’t make it any less enjoyable though, and with Prince’s guitar still adding body to the song, it does come across better than I expect. A lightweight and creamy-sounding song, here it has a bolder sound that Prince will carry forth for the next few numbers. 

 

That punchy guitar sound stays front and center for “Dreamer.” No real surprises there, but it is an arresting few minutes as Prince and the band up the intensity and assault of sound from the stage. The only time this assault eases is when the harmonica makes an appearance and Prince eases the band back to allow the crowd to clap. This merely signals things are about to get a whole lot better, as Prince takes up his axe to deliver several killer blows that close the song on a murderous high. 

“Stratus” is forceful and makes its mark with plenty of purse and direction. Sometimes I find it meanders, but not at this concert, Prince and the band play a tight version that contains several key elements – Prince’s guitar, the harmonica of Frederic Yonnet, and the drumming of Cora. Taken as a while they become a feast, and I dine on each of them individually as they have their moment on stage. 

Sheila E. is on board for “The Glamorous Life” and although I love the song, I find this rendition just a little too thin sounding. It may or may not be the recording, but other songs have sounded strong, so in this case, I’m going to assume it is indeed the performance. Prince isn’t on stage, leaving plenty of space for Sheila to get some shine. The singing is good, but it is the final percussion that makes the song valid and real, bringing something to the show that only Sheila can bring. 

The natural pairing of “The One” and “The Question Of U” stands alone as the towering landmark at the center of this concert. Building from Prince’s quiet lyrics it becomes an intricate maze of delicate vocal performances before the strident guitar builds architecture around these more organic moments. It doesn’t have to be loud to be the most captivating part of the concert, I am completely enthralled throughout as the music continues to intrigue and swirl. Forget the rest of the recording, skip straight to this song and stay there. 

I feel completely deflated as “Musicology” plays, the preceding song has sucked everything out of me. It doesn’t help that the recording sounds distant at this point, and a lot of the emotional tension that Prince has built up dissipates as the band rumble through the song. Sheila on percussion is a positive, but overall the song feels hollow and empty, leaving e hoping that the following numbers will raise the ante. 

The hits arrive in the form of “Take Me With U.” Confident from the start, it sounds like a different concert entirely as Prince does his best to recreate his 1980s sound. He’s not quite there, it harks back to the sound of his 2007 concerts more than his 1984 concerts, but it still retains energy that gets the crowd moving. I think it sounds good until I do compare it to a rendition from 1984. It’s at that point that I realize that it is missing a spark that lifts it from an energetic performance to an exhilarating ride. 

 

From the same place comes “Kiss.” All the key components are in place, yet it remains flat when compared to its younger self. It’s dangerous to always look back and compare ourselves to the people we were 20 or 30 years ago, but when I hear “Kiss” on the radio I have no choice but to compare it to the more recent versions. It's still a great song to sing along with, and this performance has plenty to recommend it, but it's not what it once was. 

With Shelby J. singing with him, Prince plays a version of “Nothing Compares 2 U” which again consigns Sinead O’Connor’s version to the dustbin of history. With Rosie Gaines in the 90s and Shelby J in the 2000s, Prince’s live version has consistently eclipsed the more well-known version, and he has stamped it as one of his great songs. At this particular concert we get a solid rendition that still stands head and shoulders above Sinead's rendition, Prince and Shelby invest themselves in the song making it much more than just a greatest hit. 

 

Prince continues to reclaim his songs from other artists with a feisty performance of both “The Bird” and “Jungle Love.” They are watered down from what we have come to expect from The Time, nevertheless, they fit well with the set Prince is presenting, giving the show a push towards the all-dancing, all-singing last half hour that Prince was doing at the time. With a couple of funk tunes thrown into the mix, (“Play That Funky Music”, and “(I like) Funky Music”) Prince makes it quite clear where he is coming from. Neither excites me, but the blowtorch of a guitar break does have me raising my head with a smile. 

I am fully on board for “Controversy.” It is another exercise in nostalgia and one I happily buy into as Prince plies us with lashings of a scratch guitar. The performance is tightly focused, and even with the audience interaction and harmonica solo, it remains insistently on course and funky. It may not be as dry as some early performances, but it works well in its updated form. 

 

It is Prince's guitar that introduces “A Love Bizarre,” and if there was a song that was going to get me on my feet, this would be it. The crowd feels the same, there is a noticeable increase in crowd enthusiasm as the song begins and this is maintained throughout. At only three minutes, it comes as a short, sharp shock, a feeling that is only heightened by the high voltage guitar break that short-circuits the song and introduces the next number. 

Ah yes, “Dance (disco heat),” I had forgotten that this was a regular on the setlists through 2010. At the time I found it unappealing, and as I listen to it now, I find that that feeling hasn’t changed. The clapping and guitar are relentless, but they never build to anything rewarding and I feel shortchanged by the performance. I want to like it, I do, but this just isn’t for me. 

 

The inevitable come down from this mad party follows, and that comes in the form of “How Come U Don’t Call Me Anymore?” The concert is transformed again as Prince takes us from the stomping dance numbers to a revealing piano confessional. I revel in the contrast and am rewarded by the backing singers joining Prince in the final minutes to lift it into the realm of spiritual music. A surprise package this late in the concert, it was well worth the wait. 

An out-of-kilter lilt to “Mountains”  leaves me off balance as the band begins. It isn’t helped by the left turn late in the song as they veer into “Shake Your Body” Much like “Let’s Go Crazy” earlier in the concert, it is shorn of its cohesive sound as Prince breaks it down to a collection of ear-grabbing soundbites, none of which work as well as the song as a whole. 

There is something entirely predictable about “Everyday People” and “I Want To Take You Higher” Neither are show-stopping in their intensity, they keep the show simmering rather than bringing it to a boil-over. The show still sounds as if it has more to give, but these songs don’t bring us to the climax I crave. 

I was looking forward to hearing “Ol Skool Company” again, and I am more than happy with the feisty performance on this recording. It has sass and attitude that elevates it beyond a mere recap of all that has come before. Even the “funky” chants in this climate sound better, and to my ears, this is better than the funky songs that Prince played in quick succession earlier. Prince is indisputably better when he sticks to his full renditions of his songs, rather than watered-down covers, or abridged arrangements of past glories. 

The last song on the recording is “Peach.” A late encore, we miss the first minutes, but it matters not as the joy lies in the unbridled guitar flurry that makes up the back end of the song. Prince doesn’t dominate though, as he has throughout the concert he lets Fredric Yonnet have time to come center stage with his harmonica. The final burst though is pure Prince, and just as regal a guitar solo as we have ever heard. The final slash from the guitar is only fleeting, but a timely reminder of who Prince is and what he could do. 

All in all, an enjoyable show. As you can see, I wasn’t enamored by every song in the performance, but at two and a half hours, there was plenty of something for everyone. Three songs stood out above all others for me, “The One,” “A Love Bizarre” and “How Come U Don’t Call Me Anymore.” All three had an emotion to them that appealed to me, and played on my feelings of nostalgia. Prince was often at his best when he was looking forward, in that aspect these concerts from 2010 don’t serve him well. But they are a fitting time capsule of how far he had come, and as a look back these concerts do serve a purpose. 2010 is a year I would prefer to forget, and these concerts will probably go back in the vault now for some time. They served their purpose and got me through at that time, but like Prince, I too am at my best when looking forward. Sometimes it’s good to glance back, but it’s dangerous to spend too long there. 

Brussels 11 July 2010 (am)

 Last week’s show was almost too much for me. I loved listening to the show, and three hours of Prince was just brilliant, it’s just that writing about a three-hour show isn’t as much fun as listening to a three-hour show. This week I have reined things in a little, and I have gone for a shorter show played at the same venue a few months previous. Today I am listening to the Viage show from July 2010. It’s got a different vibe from the November show, and the set list is quite different. It’s also much shorter, which suits me just fine this week. I can’t remember if it’s good or not, so I’m looking forward to taking a listen and finding out. 

11th July 2010. Viage, Brussels 

The first half of the show is very Larry Graham heavy, and when I look closer I see that indeed Prince is guesting with Larry Graham and GSC initially. The start of the show is a nice change from what we normally hear, and I like hearing Larry Graham on the microphone singing his songs. The first song of the recording is “People,” we are missing the songs played before that at the show. “People” has a nice fat sound to it, and with Larry Graham singing in his deep voice it does feel like I am being smothered in a warm comfortable sound. The sound of it takes me right back to when I was a child and hearing this type of music, and listening to it now I feel very at ease and relaxed. Larry does talk to the crowd for some time midsong, and it’s hard not to hang on his every word- his voice commands your attention. It’s a very good song to ease into the recording. 

 

I am not the least bit surprised to hear “Dance To The Music” next. After a slow start, the band suddenly begins to bounce as the horns sharpen things up. I enjoy the version on this recording, the band is sounding sharper, and having the song earlier in the show gets things moving. On other recordings, it seems to appear near the end of the shows and is a throw-away. In this show it’s played much more carefully, and passionately. The singing is lively, but it’s the horns that steal the show. They are so bright sounding and lift the sound of the song right up. Prince is still deep in the band, playing guitar, and as yet I haven’t heard him make his mark on the show. It’s very much Larry Graham for the next few songs. 

“The Jam” follows up nicely to “Dance To The Music,” and I can hear more of Prince's guitar playing now. He is still playing in the band, but I do hear his guitar sound early in the song. “The Jam” follows its usual template, and every member of the band is heard. As I say every week, it’s the organ I like the most, and this one is no exception. It’s a nice moment, and the only thing that counts against it is Prince takes a short guitar break straight after which makes me forget it immediately. It’s not an outstanding break, and it’s not turned up to 11, but it’s still an enjoyable moment. There is also the usual call and response with the crowd, and the crowd sing Larry Graham as well as GCS. As much as I enjoy it all I do begin to lose interest after about five minutes, and just as I think nothing more interesting might happen Prince gives a very cool, sharp guitar break. The song rolls by easily after this another couple of keyboard solos. 

The bass of “Thank You (Falletinme Be Mice Elf Again)” starts and again this is a very tidy rendition. The bass is nice and sharp in my left ear, and the horns again sound sharp and lively. The horns do disappear for periods, and that’s a shame as the song sounds like a different beast altogether when they are in there. There is a funky guitar break provided by Prince, it's understated and doesn’t rate too highly on my funkometer©. The song swirls and shimmers later as it goes on, and it does work itself into my head for some time afterward. The second guitar break is sharper and shorter, and this time I find more to recommend it. I am just beginning to sing along when the song segues straight into “I Want To Take You Higher.” 

This is the high point of the Larry Graham set. Everything I have enjoyed and commented on in the earlier songs is present in this finale. Larry is in good voice, and the organ is loud and swirling, there are lots of horns, and funky guitar licks from Prince. The recording has a fuller, party sound to it, and this feeling is emphasized when Frédéric Yonnet plays a very lively harmonica solo. I am in no way a fan of the harmonica, but it does have its charms on this recording and is played with a fierceness and passion that is infectious. I would even go so far as to say I would like to hear more of it. Predictably the song builds to a crowd-pleasing climax with horns, keyboards, and chants before it closes with a minute of the crowd alone singing “higher”. It’s a fitting end to a great set from Larry Graham. 

 

“When Will We B Paid” has a brilliant start. The piano and keyboard play stabs at each other, each getting louder and louder as other instruments join the mix. The harmonica joins the fray, as Shelby and Liv begin to sing “When will we be paid, for the work we have done” The band quietens initially as Shelby begins to sing, but they build back up to the previous levels soon enough. The drums join halfway through, and the song gains a second wind. Shelby sounds very good, and she’s right in the song and not over the top at all. It’s a classy performance and a song I rate very highly on this recording. 

Next up is a drum break. It doesn’t amount to much, it’s listed as a drum solo, but I have heard much better in my life. This one lacks direction, and never really takes off. In its favor, it’s only a couple of minutes, and the show isn’t derailed too much. 

“You Bring Me Joy/Be Happy” is all Shelby. It’s very smooth sounding, and Shelby is well suited to it. The first half is her singing while the band grooves smoothly behind her. There is a short guitar break from Prince before Shelby sings the next verse. The song continues in this way verse/guitar/verse, and it’s sweet to listen to. It’s very polished, and later in the song, we hear Prince on the mic for the first time as he encourages the audience to show their love for Larry Graham. I should also make mention of the guitar and piano tickling underneath the groove, a nice line to listen along to. The bass also draws my attention later in the song, and I am right into it as it finishes. 

There is a wild card entry next as the band plays an unexpected version of “Cream.” It seems a lot of the crowd don’t immediately pick it, and it’s only after Prince’s first line that they cheer. The song is a nice fit for the after-show, it’s not as pop sounding, and some of the different elements are stronger, giving me more to listen to. The keys have a good shimmer to them, and the guitar sound is louder in the mix throughout the song. Prince plays his customary guitar break before there is some nice interplay between the organ, guitar, and harmonica. I like the extra dimensions added, and it moves further away from the recorded version as the band plays off each other for the latter part of the song. Prince doesn’t sing much after his guitar break, its instrumental with Shelby singing the refrain over and over. The guitar and harmonica both get stronger, as well as the piano, and it maintains my interest through to the end of the song.  The song draws out to near the ten-minute mark, and it's a very nice surprise, I got a lot out of this song. 

 

We get another treat next as Prince plays a song off the 20TEN album. “Future Soul Song” gets the full treatment from Prince as he requests for the lights to be turned down. There is a cascade of guitar sounds before the girls start singing with some great harmonies, and I am reminded of just how good they sound together. The girls sing the title a few times while the music keeps on the beat behind. Prince himself doesn’t sing, but he does speak to the crowd a lot, eventually having them sing along with the girls. And then just after this he does sing, but he doesn’t croon, instead, he sings directly to the crowd, ad-libbing words to include them. There is another very tidy harmonica solo, and I am warming to this guy.  The song then retreats a little, and it’s mostly the crowd singing and clapping along while the girls sing the refrain. It comes to a soft landing, and although very pleasant there wasn’t anything that I could latch on to. 

There isn’t any time to reflect on what I have just heard as the band picks up the beat of “All The Critics Love U In Belgium” immediately. The crowd picks up the clapping as the bass rolls over and over. This is another song I enjoy, and although it’s not as fierce as it used to be, it still pushes me along at a good rate. Some of the sharpness of the 80’s sound is missing, but I can hear the quality of the band. As you might expect Prince sings it as “All the critics love U in Belgium”. The instrument I hear most is the harmonica, it’s playing in the groove, and it stands out just a little bit more than everything else. Prince calls to Shelby to bring some people up as the band sings “dance, dance”. The song takes on a very bare laid back sound, nothing leaps out of the speakers at me, and it rolls along in its own time. There is a solo from Renato, but it lacks any real intensity or fire, and pretty much sums up my feeling for most of this song on this recording. There is a very fun part as Prince has the men and women in the crowd doing ‘Meows’. He has them eating out the palm of his hand, and it does make me smile as I listen here at home. 

“Sexy Dancer” sounds much more intense right from the start. I am temporarily thrown as the girls sing Le Freak over it, in retrospect, it was entirely predictable and I should have seen it coming. I listen carefully but eventually decide that I don’t like it. I would prefer to hear one or the other, but not both songs. The ever-dependable harmonica makes a return, and my mood lifts considerably. Things get even better as for the first time in the show Prince plugs in and turns up with a soaring guitar solo. He returns to earth to get down and dirty with it, and the song takes a turn. With the girls singing ‘I know you got soul’ the band strips back to a beat, the bass, and a series of stabs. 

 

I don’t recognize the bass line, but it’s listed as “Partyman,” and as soon as I read that I think, ‘oh yes, of course.’ The girls sing “Northside” as the band moves into groove territory. There are a few songs thrown into the mix, and we hear snatches of “Water,” “I Wish” and “What Have You Done For Me Lately.” It’s a party jam, and even sitting at home I find myself grooving along. Prince is deep in the band, and we don’t hear too much of him in this song. We do however hear the harmonica again, and I wonder if Prince secretly aspires to play it himself. The harmonica gets a good long solo before the band stops leaving just the drum beat playing. The drum plays in and out with the crowd chanting ‘party’ before it eventually stops leaving just the crowd chanting. 

There is a break as the crowd chants and claps before Prince returns to play “How Come U Don’t Call Me Anymore.” A solo piano plays and with the crowd accompanying him Prince plays a gentle version of the song. It’s devoid of any intensity or passion, and although it sounds good, I feel Prince isn’t truly invested in the song. For all that though, this is the most Prince-orientated moment of the show, and for the first and only time, we get to hear him sing and play. There is a great moment as he begins to sing Please Please Please with the backing singers behind him, and it’s got a classic feel to it. The harmonica also chimes in at this point, adding its unique sound to the mix. With a final “please, please, please, don’t go” Prince does indeed go, thus ending the show. 

This recording differs from most that I listen to, in that Prince himself does very little singing, and his sound isn’t all over every track. It is however very good, and the fact that Prince isn’t front and center for the show doesn’t detract from my enjoyment of it. This wouldn’t be the first thing I would listen to if I wanted to hear an aftershow, but it was a nice listen on a relaxing afternoon. 

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.