Minneapolis 18 January 2013 (show 2)

 It’s taken me a long time to reach this final show in the Dakota series, much longer than I originally planned. I got sidetracked a couple of times by the piano and microphone shows, but today I finally get to the final show. Another one billed as a surprise, it again features 3rdeyegirl. It’s very similar to the first show of the evening, and I don’t expect too many surprises at all. Although similar I will give it a listen, I haven’t listened to any Prince this week and it sure beats watching “The Bachelor” with my partner! 

18th January 2013 (show 2)  Dakota Jazz Club Minneapolis 

It’s raining, I haven’t had a great day at work, but all that is forgotten, and I feel much better as the recording starts with Oasis's “Champagne Supernova” played over the PA, now there’s a band I would never associate with Prince. The scene is set as Prince adjusts his guitar, asking for it to be turned up several times before the band kick into “Endorphinmachine.” I feel energized just hearing it, although it’s not the greatest version out there it still gets the pulse racing with that crunching guitar. Prince’s vocals are not forward enough to my ears, luckily it’s all about the guitar for this one and he certainly gives us plenty of that- especially in the latter part of the song where he unleashes. 

The same as the first show we next get “Screwdriver” in the mix. It debuted at the earlier show, here it gets a second outing.  Of the two I prefer this one, the band is tighter and I can hear the bass much better. Just like “Endorphinmachine,” it’s as the song progresses that we get much more guitar fireworks. As I mentioned in the early show, it has a lot of life to it, and rumbles along at a great rate and bounces out of the speakers at me. The crowd interaction near the end is also a lot of fun, even with Prince’s ramblings. The song leaves me on a high, and I am surprised to find myself enjoying a relatively new song so much. 

I am very pleased to hear “Beautiful Strange” gets another outing after the early show. I thought it was the best part of the early show, and I am delighted to find that this time it’s even better. Prince’s vocals are fantastic, I was going to mention that I can hear people talking during the recording, but Prince silences them when he tells those talking to be quiet and the music and singing intensify. Fantastic stuff, I never want the song to end. Unfortunately, I can still hear the audience chat during the song, and that detracts greatly from the moment. Asides from that, it’s a total knockout. 

The audience talk and chat is still quite prominent as “Purple Rain” begins. It starts with a bare piano before the guitar quietly begins to play. I would normally be raving about this type of thing, but sadly I am constantly distracted by the audience's conversation. The long intro is beautiful, if I could just block out that inane chatter I would be a happy man. It’s almost five minutes before Prince sings, and it’s at this point I finally enjoy it more as he drowns out the chatter, for a short time at least. The guitar break has a high tone to it and lacks some of the depth and power that I expect, the one good thing is it is nice and loud. 

With plenty of howling guitar as an intro, it is fitting that the next song is “Guitar” itself. The recording for these louder rock songs is much better, and although I may not like the songs as much, they sound better. I thought “Guitar” might have been squeezed much more, Prince plays plenty of guitar and I was expecting it to go much longer than what we get. I can’t complain at all, the guitar is the hero, and just like the first couple of songs, it’s just the tonic I need this evening. 

Things stay on track with “I Like It There,” and the band sounds nicely in their groove by now. In this case, they do play the heck out of, and there is plenty of enjoyment for the audience to have as well. Prince’s guitar has a great howl to it, like wind on a stormy night. I like it as the band breaks it down and there is plenty of space for some rhythm guitar and singing along with the crowd. Inoffensive, and easy to listen to, it has a great live vibe to it. 

As the opening riff of “She’s Always In My Hair” begins I have an involuntary surge of excitement. That guitar line is like a drug to me, and I can feel a physical reaction as it begins. Prince sounds good and drops to a lower register a couple of lines in the song which sounds cool. As always it’s the second part of the song where it begins to fly and the soaring guitars have me giddy like a teenager. Don’t be fooled, this isn’t one of the great performances, it’s just a song that I get a lot of enjoyment out of today. The bass especially hits me and I wish I could turn it up to eleven. There is an unexpected appearance of Liv Warfield, and she contributes something a bit different with her addition, and I am pleased to hear her. Equally the call and response work surprisingly well, and upon reconsideration, I think will be a recording I will come back to especially as it stretches out to the 13-minute mark. 

Prince closed the early show with “Dreamer,” this time it shows up in the middle of the set. As much as I want to like it, it is a come-down after “She’s Always In My Hair.” I feel it much more as it takes an upswing mid-song, and Liv comes on board again. It lightens it, and I have a bounce in my step as I listen along. There’s a shot of funk in it, and the show sounds quite lively at this point. It does end with a scorching guitar from Prince and at this point I am well and truly sold on it. 

The audience chat is again heard as the gentle “Liathach” is heard. This is one song that I have grown to love, and it’s an absolute pleasure to listen to it here. Slow building to the guitar crunch, I am slowly drawn in before that guitar hits me. Most of the song I sit swaying from side to side, I don’t care what anyone thinks, I am completely lost in the song. 

The spell is broken as “Bambi” roars into life next. Prince introduces it with “We’d like to do another ballad right here” -always good for a laugh is our Prince.  How good is the bass? -it’s very good! If there was ever a song for this band, this would be it. It’s loud when it needs to be, sharp when it needs to be, and all in all, it’s a good time. There comes that moment when Prince just leans back and plays and it’s so natural and pure sounding, well that is the moment I live for. And then to top it all off, there’s a drum solo that I like. 

“Check The Record” is short and doesn’t stand out from anything else in the evening. It's fairly generic sounding, and I find it to be a space filler until the next song begins. 

“Cause And Effect” is a fun-filled crowd-pleasing song. When I reflect on it I don’t find much, but sitting back and taking it in, it’s a good old time. Prince’s vocals are easy to listen to, and there is plenty of guitar action for those who like that sort of thing, and it’s never over the top.  It could never be considered a classic, although it has its charms. There is a looseness and feeling that the show is coming to an end as Prince and the band mellows into a groove that drifts along. 

The best is saved for last as Prince and the band plays a version of “I Could Never Take The Place Of Your Man” that floors me. The smoky, bluesy, dark version here is a show stopper. Prince’s vocals are heavy sounding, but in my opinion, it’s the guitar tone that captures the emotion and mood of the song. Sure, the vocals are good, but my word, it’s that guitar that steals the show, especially as the vocals drop out and it begins to howl. The next few minutes are raw emotional guitar, and even if the recording isn’t great I still love every moment of it. The call and response are great, as is the spoken word by Prince to the crowd. It’s a real rock and roll moment that connects with me, even if it is too short. The song suddenly stops at this point, just as I was hungry for much more. 

With that, the show is finished and I am left to reflect on not just this show, but this series of shows. I want to say this show was the pick of them, but honestly, I am someone who is always of the time, and whatever I am listening to or doing is “the best”. This show certainly had some high points, and when I break it down, this was the one where I enjoyed more songs, so on a pure number games, yes, it is the best. This series of six shows promised a lot, and yet by the end of it, I felt like they had never quite reached the heights I had hoped. What I did like was that they showcased different aspects of Prince's musical persona and at different times I was heavily into each recording. However, they were inconsistent and ultimately unsatisfying. That said, I will always give credit to something different and challenging and from that point of view, these shows gave me a variety of experiences that were fun to listen to. I think in the future I will come back to these again, but to nibble at rather than consume whole. 

Minneapolis 18 January 2013 (show 1)

 I must admit, I had been going through the motions when it came to writing this blog recently, but after seeing Prince live last week I feel completely reinvigorated, and a lot more passionate about what I am listening to. Prince, if there was ever a good reason for touring this is it, it keeps people passionate about your music and reminds us that music is a connection between performer and audience. Nothing can beat a live show, and the reason we collect bootlegs is often as a reminder of a great show or performance we have seen. I have been too long just listening to these shows, so last week was a timely reminder of why I am such a fan. 

This week I continue with my rumble through the series of Dakota recordings. They have been interesting, yet uneven, so far. This week I will be listening to the early show of the final night, a night that was billed as a surprise. It is of course 3rdEyeGirl, not so much of a surprise now although at the time it did cause a stir. I have listened to a lot of Prince and the piano recently, so a good rock-out is just what I need. 

18th January 2013 (show 1)  Dakota Jazz Club Minneapolis 

Things get off to a great start with “Endorphinmachine,” and although the recording sounds tame I am still enthralled by the performance. Plenty of rock sound, it’s full of infectious energy that has been missing from the previous shows. Prince throws the lyrics out at a fantastic rate, and I can already tell that this is going to be one energetic show. As the guitars howl and intertwine I am already in rockers' heaven. 

The recording next features the debut performance of “Screwdriver,” and I always like to hear debuts like this. It’s in keeping with the opening song, that is it’s full of energy and Prince sounds in fine form. I wish I could see his face, he sounds like he is having fun, and this shows through with his guitar playing which has a life of its own. It's a very lively performance, and this comes across well in the recording. 

I try to be all mature and cool, but every time I hear “When You Were Mine,” I immediately revert to being a wide-eyed teenager. There is some sort of magic in the song because Prince always sounds younger too as he sings it. The pop of the drums, the sound of the guitar, it all sounds so youthful and optimistic. Always glad to hear this in the setlist, it keeps with the positive vibe of the show so far. 

Staying true to form next we have “Guitar” which is the perfect fit for this setlist, and indeed this band. I do like the energy, and the solos, even if the main riff isn’t my cup of tea. A great plus on this is hearing Donna play. Having been in the band for barely a month at this stage, it is great to hear her play with brash confidence. I also like that Prince has the confidence in her to play like this, he steps back and lets her go, and that’s to his credit. Like I often say, Prince is great at being in a band. 

This setlist almost writes itself, and I am not the least bit surprised as “I Like It There” starts with a nice crunch in my ears. I have been concentrating on the guitar the last few songs, so it is great that I am reminded here that it's a band playing, and the drums have a good crash to them, even if I have to turn it right up to get their full effect. Prince’s voice is just as strong as his guitar playing, and they compliment each other well as the song progresses. 

What can I say about “She’s Always In My Hair” that I haven’t said a hundred times before? Oh, that bass, even before the guitar starts, I am feeling it and when that riff sounds I am in heaven. I have been impressed in the last few years about how well 3rdEyeGirl play this song, they do own it and it plays to their strengths. Donna plays a solo which sounds like she looks, all tough and angular and I feel myself change as I listen to it. The breakdown is always the part I anticipate the most and it never disappoints as Prince sings “Don’t stop the groove” The emotional guitar playing in the last minute carries me out on a high, I had forgotten just how good this sounds live. 

Another debut follows with a cover of “Liathach,” an aching instrumental that hints at something I can’t quite put my finger on. It’s so full of memory and nostalgia and yet I can’t pin it down. The song slowly raises my spirits and the guitar breaks come from a completely different place to the piano, and yet together they work off each other so well and give the sense of flying. I would love to hear this one so much more, I guess I will have to give this some more love in the future. 

Whoa, I get a shock as “Bambi” bursts from the speakers, and suddenly the stakes have been raised. The band plays as a tight unit, the song sounding tight and muscular. The song gets the full treatment, the guitars working themselves into a frenzy that whips me along with them. There is a nice natural moment as the song eases and Prince has the crowd sing “All your lovers” with him. It grounds the song after the howling attack earlier and gives it that human touch. It lasts a good few minutes, before the return of the guitars and a furious finish that belies the age of the song. 

Any song that starts with a “one, two” count in is OK by me. “Check The Record” might not be familiar to many people, and that’s understandable as this is the only live performance of the unreleased song. After a good start, it quickly loses momentum and I begin to lose interest in the bass solo, and that’s not something I normally do. The song is similar in tone to a lot of other songs of this period, but it doesn’t have a distinctive shape and sound to it, and I guess that is why it remains unreleased. Still, I am happy to hear it in this forum, I always welcome new or rare music. 

This is a night for debuts, and the next song to get an airing is “Cause And Effect.” A staple of the Live Out Loud tour, this performance still has a freshness to it that I enjoy. The song isn’t strong in any way, but it is perfectly enjoyable in its own way. I find myself smiling as I listen, asides from that it glides by and I find in a few minutes I have forgotten most of it. There is a nice moment as Prince has the crowd singing for a few minutes before closing the song with an instrumental. I feel I am there as the crowd sing, and it’s a reminder that the audience is an active participant at most Prince shows. 

The opening of “Beautiful Strange” is one of those moments where I can feel goose bumps as song as the low-key groove begins. The late-night smokey sound resonates with me, times I have spent in darkened rooms listening to and feeling things that this song so beautifully encapsulates. I feel this song as much as I hear it, and Prince's vocals and music roll together and swirl around stirring up a mixture of emotions. It’s a show stopper in my book, and easily eclipses everything else we have heard this evening. 

I am totally surprised when I next hear “How Come U Don’t Call Me Anymore.” Sure, I had seen it on the setlist, but I thought it must have been some sort of mistake. It works well, and lightens the tone after the previous “Beautiful Strange.” Prince is in a tongue-in-cheek mood, teasing the crowd a couple of times as the song swings in and out. In such a small venue it must have been a great moment, and the recording captures the joy and cheers of the crowd as they lap it up. 

“Purple Rain” has a raw sound to it that I just adore. The guitar buzzes and squeaks as it plays the intro, and the piano has a loud sharpness to it that makes you feel like you are right there. Prince’s vocals are solid as a rock, totally dependable and there are no surprises at all as he sings. It’s the rest of the band that I delight in listening to, and what I enjoy most is that they give “Purple Rain” a smaller sound, its not epic and grandiose sounding, rather it sounds like what it is, a small band playing it in a small venue. Just fantastic, Prince lets the song breathe and there is a long instrumental section that ebbs and flows, sometimes the soft guitar carrying it, sometimes the piano. Prince gentle encourages the audience to sing as the song continues on this gentle path, and this may be the best rendition I have heard of Purple Rain in a long time. 

The spell is broken as the next song begins. I don’t recognize “Elephant And Flowers” immediately, it’s looser sounding than I remember. I would normally love to hear something like this on a bootleg, but straight after that divine-sounding “Purple Rain” I find it jarring and I have to concentrate hard to stop myself from skipping back to the previous song. On the plus side, Prince is his usual humorous self as the song finishes, asking the crowd to “tell all your friends about us, so we can get another job” 

We close with another full rock song as the band gets their teeth stuck into “Dreamer.” Donna gets one last chance to rock out, and after a quiet start, she is eventually head. Again I am not a big fan of this particular performance, the band sounds like they peaked earlier in the show, and this doesn’t match some of the earlier highs they hit. Despite that, it’s still a rousing finish and does leave me feeling very happy. 

This show is much more focused and tighter than the previous shows in this Dakota series. What I found particularly interesting is this band played some great versions of Prince's earlier material, but couldn’t get the new songs to sing in the same way. I must say, I thought the performance of “Beautiful Strange” and Purple Rain was outstanding, and this show was well worth hearing for those two alone. They didn’t sell me the whole show, but 75% of it I found to be very good, and that’s good enough for it to be a worthy inclusion in my collection. 

Thanks for taking the time to read, it always looks like a lot of words, but the couple of hours I spend listening to each show seems to fly by very quickly and leaves me looking forward to the next week. 

Minneapolis 17 January 2013 (show 2)

 These Dakota Jazz Club recordings are proving to be an interesting diversion. They are not easily categorized with his other main shows, nor do they seem to fit with the after-show mentality. They are something of an ugly duckling, not easily categorized, and I can understand why Prince simply called them an open rehearsal. The previous three shows, although very good, have failed to ignite any true excitement within me. The band is serviceable and plays well without pushing me into any real emotion. Today I take a listen to the fourth show, a late show in the ‘Jam’ section. It is shorter than last week, and looking at the tracks I see a couple of things that I would like to hear. There are also some similarities, so please bear with me if I cover some of the same territory as last week. 

17th January 2013 (show 2)  Dakota Jazz Club Minneapolis 

One thing about these Dakota shows is that they all have a very interesting opening. This time we have the horn section playing the “Days Of Wild” riff, and it’s every bit as interesting as you might imagine. I enjoy the brightness of it, and the bass line that is next heard is truly awesome. It’s very well recorded and has a deep pop and groove to it that I can almost feel the vibrations of. The song is a different variation, being instrumental throughout, with Prince speaking to the audience instead of singing. The horns battle it out with the synth and bass, both have their moments and are nicely in front of the sound. 

I am surprised to see four minutes have already passed as the band slide into “Ain’t Nobody.” That heavy groove stays with us as the ladies sing, and the ante is upped as Marcus plays a sax solo that is skittery and quick. I realize that the song hasn’t really changed at all, and they are just jamming on “Days Of Wild.” 

 

As with the first show, the drummer gets plenty of love and an early solo. It’s not spectacular, instead, it’s low-key and keeps with the low-end feel of the song. Prince asks the crowd what they think as the groove of “Days Of Wild” returns. The trumpet solo is a throwback to the first evening's show, and he gets plenty of time to do his thing here in this song. I do like the jam, but for me, something is missing, again I think it’s lacking in a dirty funk feel. At times they sound like they are impersonating a funk band rather than being a proper funk band themselves. Prince does sing a couple of verses but even the main refrain lacks conviction. Usually, I find myself chanting along at home, however this time I am not. 

The band sticks with the groove as they twist “Wild And Loose” out of it. Seeing this on the set list had me raising my eyebrows, it turns out to be different from how I expected. It’s great to hear Prince singing the lyrics, even if the music isn’t true to the original. I give it a solid thumbs up for novelty value. 

The “Days Of Wild” groove goes on for days (as Prince would say) and I get a lot of enjoyment out of hearing the band jam it and throwing various songs into the mix. The horns are right at the center of the whole song, so it’s only fitting that it’s those horns that carry the last few minutes. I am not normally a horn guy, so it’s high praise from me here when I say how much I liked them. The sax solo that finishes the song goes in a completely different way, and I like that it’s not tied into all that has come before it. 

Something very different and interesting next as the band performs a one-off titled “Chapter & Verse.” It was created on the spot as a one-off, and it does have a feeling of everything being layered on top as we go. The walking bass has a classic feel to it and is a good base for the other sounds laid over the top of it- which I guess is the whole purpose of a bass. It’s a smooth easy groove and is easy on the ear without ever being challenging. Prince’s lyrics are left field and do raise a smile here and there. Prince unleashes the guitar later in the song, the first time it’s heard this evening, and that gets my pulse racing. The horn solo after also keeps the flow going and as Prince calls ‘blow’ I am well and truly hooked. 

Things slow, and the long jams end as Liv, Shelby, and Elisa guide us through a soft rendition of Lost & Found. It is delicate sounding and the music is very soft, almost as an afterthought as the three ladies do what they do best. It’s a nice breather, and I can feel myself relaxing as they sing. It sounds short after the previous songs, but its inclusion is timely. 

Prince is back on the mic next as “Nothing Compares 2 U” begins. As always Shelby J accompanies him wonderfully, and the only downside to the performance is I have heard them sing together like this so many times that he doesn’t have that special feel anymore. As the song heats up I do begin to feel it more, and the song still holds its own after all these years. The sax solo by Marcus increases the drama of it and is a fine addition. 

 

I enjoyed hearing “Act Of God” at the earlier show, and here I find it equally good. For the next few songs, this show closely follows the early show with the same sequence. “Act Of God” sounds great with the horns in full effect early on, and then gets better and better as Prince sings. I prefer this version to the earlier show, there is more Prince, and the band sounds a lot tighter. Prince even gives a couple of gravelly howls, something I always like for its animalistic feel. 

“What Have You Done For Me Lately” works well over the groove, unfortunately as with the previous show I find it does nothing for me. The bits that I do like are the piano that comes in and out, it’s free sounding and marks it as something different. 

There is no let-up as “Northside” is sung. The groove doesn’t change in the slightest, Prince and the band just spit the lyrics over the same groove. It’s only half a minute, and then the groove does change into what comes next. 

It is “(Theme Song From) Which Way Is Up” that follows, exactly as in the early show. I like it, but with having heard the early show the element of surprises and excitement is gone. There is not enough in the song itself for me to grab onto and it passes by quickly. Even having “Dancing Machine” thrown into the mix doesn’t generate any response from me. (Am I too jaded?) 

The “Partyman” horn riff begins, and I hope for something substantial. It is fun sounding, I can hear the audience cheer in places which reminds me that this is a live show. The song is short, and a great crowd pleaser. “It's Alright” slots easily into the mix, and Prince keeps up the lead line as the song plays. It plays round and round for some time with the horn refrain and the chorus, before Prince breaks it into a bass groove. The band gets very loose by now, and I become much more interested as Prince calls changes and the band plays to his commands. As the song pulls back we get some more horns playing around on “When The Saints Go Marching In,” and they play in this style for the rest of the song, much to my great enjoyment. I think Prince sums it best when he says “It ain’t always what you want, but sometimes it’s what you need” a point emphasized when he finishes playing the Beverly Hillbillies riff. 

 

We end the show with the classic funk of “Controversy.” It gets a long intro which I enjoy immensely. What lets it down is the recording seems to suffer at this point and Prince doesn’t sound as strong and full as earlier. There are some very tasty guitar licks mid-song, quick funky sounding runs that work for me. The guitar is highlighted as the band pulls back, and Prince plays that scratch guitar that I have loved since day one. It’s a great way to finish the show, and even though some parts I have found uneven, all is forgiven in these final minutes. 

As with the other shows so far, this one is enjoyable despite being uneven. I like the songs, and the band plays well, my problem is that the band doesn’t play like a Prince band. That hard funk sound is lacking, even though I know he has some very talented musicians in there. I know the outcome, this band won’t go much further with him, and this show and sound is a stopgap measure. When this show got funky it was great, there just wasn’t enough of those moments for me. Another one to file under “Interesting, but not great” 

Minneapolis 17 January 2013 (show 1)

 The second of Prince's three nights at the Dakota Jazz Club was advertised as “Jam” and it is completely different from the previous “Jazz“. The set list is heavy on funk, and this is a larger band giving it a fuller sound. Prince was the guy who introduced me to funk, and I hope from this set list that he will give me plenty of it. 

17th January 2013 (show 1)  Dakota Jazz Club Minneapolis 

The show gets off to a great start, it has a fantastic deep sound to the recording, and Prince’s first words are “Dancing is allowed”. “Act Of God” is the first song, and it sounds very strong in this smaller setting.  Prince’s vocals are deep and full, and the recording captures them excellently. The solo by Marcus Anderson gets my attention, and it sounds especially good over the thick bass. This isn’t classic Prince, but the band put up a fine show, and they have their unique funky sound. I like that after the first verse it does indeed become just an up-tempo jam with lots of horns. The bass and groove sound good in my headphones, and the song continues to jam with Prince singing again and having the crowd clap along with him before settling on a long groove. There are a lot of little moments to enjoy and I listen carefully to hear all of them. 

The intro to the next song is equally cool, with Prince asking for the kick drum then commanding “a little quicker, a little quicker” until he has it right and can overlay some funky guitar. The girls start singing “What Have You Done For Me Lately.” It’s not as tight as I would like, and I don’t get into it. They sing well of course, but there isn’t any intensity in the performance, at least to my ears. It’s a let-down after the first song, although I regain some interest as the keyboard plays a solo that gets the crowd clapping along. It gets stronger, the next keyboard solo is even sharper and very much the type of thing I like to hear. I wasn’t too happy with it earlier on, but once the girls stop singing and the band takes over and jams it heats up. 

 

“Northside” gets thrown into the mix and the jam becomes a Prince-led medley. The music is great, although the singing doesn’t do anything for me. It’s the music that I am listening for most at this stage, and Northside only gets a minute or so before we quickly move on. 

The segue into “(The Theme from) Which Way Is Up” is nice, and I am beginning to warm to Shelby J again. As much as I like her, it always takes me a couple of minutes to adjust to her style. She is a dynamic performer and hearing only her does detract from the stage presence which I know she has. The song quietens as some nice bass work appears, much to the delight of the crowd who whoop in appreciation. I must say I am a very happy man listening to this, a nice recording of a fun solo. 

As is the way of Prince with this, “Dancing Machine” merges seamlessly in. It has a certain novelty value with Prince singing a Jackson 5 song, asides from that it isn’t long enough for me to have a strong feeling for it. 

“Partyman” has had a few different incarnations over the years and this one, although not true to the original, is pretty cool. The horn refrain sounds good with this band, and Prince plays on that, having them repeat the main riff several times as the song segues into the “It’s Alright.” There isn’t too much difference as the horns play something pretty close to “Partyman” throughout. The horns take a back seat as we get some more keyboards, before returning for the big finish. 

After a frenetic last few minutes, “We’re A Winner” is a nice comedown. It has a warm, round sound and is almost like comfort food. Shelby sounds good and is nicely retrained. It’s somewhat of a shame that it is short, it had a gentle feel to it that I could easily listen to for much longer. 

Shelby stays on lead vocals with a brief rendition of “I Never Loved A Man (The Way I Loved You)” It is again very short, only the verse and chorus, and I think that is to its favor. I enjoyed what I heard, but it’s always best to leave us wanting more. 

The horns lead us finally into something a little more substantial, and considerably more Prince-like when they begin to play “Satisfied.” After the initial sax, we get a piano break, and when Prince begins to sing it’s well worth the wait. His vocal performance is top shelf, and his inflections as he sings make me feel as if I am right there with him. He is nice and loud in my ears, and the whole show is recorded very well, I can hear everything clearly and loud, and there is a nice fat bass sound at the bottom. 

We get back to the upbeat sound with “I Don’t Want Nobody To Give Me Nothing (I’ll Get It Myself)” and this is a song that seems to have popped up a lot on bootlegs I have listened to recently. The band isn’t overly tight, and lacks the hard funky groove which I normally enjoy so much. Their playing is very good, just not as funky as I like. Prince’s vocal performance is again the highlight, as well as being the funkiest part of the song. 

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I like that “Housequake” has a nice long intro, with plenty of interaction between Prince and the audience. The beat isn’t as prominent, which is to the detriment of the song, I can hear the drum, but not the beat that intertwines with the bass. The song quickly becomes a jam, and at this stage, I am mostly digging the spacey-sounding keyboards. There is no singing, and that suits me just fine as the groove continues.  Prince calls for just the beat, and finally, I can hear that kicking beat that underpins it all. The horns dominate late in the song, and to be honest I am in love with this arrangement. It’s free sounding, and I forget that the beat isn’t what I am used to. 

Brownskin I haven’t listened to for a while, and I immediately have a warm feeling as it begins to play. Shelby sounds mellow and sings in a relaxed tone that is silky to listen to. The song builds well, and the release of the saxophone solo is a nice moment. The overall feel of the song is a hot sweaty day, and Shelby deserves credit for making the song sound as great as it is. 

With just Cassandra for accompaniment on the keys Prince next plays what I consider to be the highlight of the show, “Something In The Water (Does Not Compute).” The barren sound and Prince's vocals set the tone, and yet it swings a little as Prince sings the chorus. The piano plays a break, and it is a thing of beauty, to hear just the piano is wonderful. Prince plays the character in the song well, as his vocals come in and out full of emotion. The song ends on an absolute high with Prince singing the final note as the piano finishes. 

“Lost & Found” starts in a similar vein, with the piano playing softly as Shelby, Liv, and Elisa sing. It’s a diversion, but a very nice one. There’s not one thing that I could highlight in this song, the girls singing together was seamless and something I could listen to all night and all day. 

It’s time for another long jam, and this time it’s “Let’s Work” that gets the full treatment. The bass plays us in as there are some very groovy keyboards played over the top. I find this to be much more interesting, and my interest is piqued further as the horns begin to play. Still no vocals, just the groove, and funky horns. Prince finally sings after three minutes, but he isn’t needed as this song is already well and truly sounding funky. I think he knows it too, as from here on in it’s all about the horns, and they deliver right through until the end. 

“One more, one more?” gets a rousing cheer from the crowd as a beat begins and Prince gets the sound just right. “Cool” takes a couple of minutes to start properly, and this is mostly due to Prince getting the sound adjusted right. The keyboard hook still plays though, and the girls start singing “Don’t Stop ‘Til You Get Enough” which doesn’t always work for me, but does on this occasion. Immediately after their singing, the jam starts with some more quirky keyboard which I seem to enjoy far too much. The song “Cool” reappears suddenly as Prince begins to sing, and the last half of the song is “Cool” sung straight. All these years, it’s still a great party song and a fantastic way to round off the show. The crowd is well and truly involved with lots of clapping and cheers and the song comes to a crescendo with overlaying keyboards playing, before the “Las Vegas” is called and the recording ends. 

I was hoping for a funky gig, and although it wasn’t quite what I expected this one was good. It was well titled, and there were plenty of jams, but what surprised me most was how much fun it sounded. There were only 260 people and they partied more like 500. There was a prevailing sense of joy and the music was uplifting throughout the whole show. The Dakota shows give us plenty to listen to, this one is the current favorite with three more left to go. 

Minneapolis 16 January 2013 (show 2)

 Last week I wrote about the jazz show played at the Dakota Jazz Club. It was a nice little show, and this week I thought it only fair that I listen to the second show played that night at the same venue. I was apprehensive when I read the set list and saw it looked very similar, however upon giving it a preliminary listen I found that I prefer this second show and it wasn’t as similar as I had anticipated. This second show has a lot of great stuff going for it, and I can’t wait to give it another listen right now. 

16th January 2013 (show 2) Dakota Jazz Club, Minneapolis 

The first thing I hear is the DJ playing “Atomic Dog” which slowly fades down as the drums begin. As per the previous show the gig opens with the drums, and this time it’s a very cool-sounding rhythm right from the go, and we very quickly get the first appearance of the horns. I thought the horns were great in the previous show, here they are even better, immediately all playing and intertwining together fantastically. After that initial burst of enthusiasm (I never knew I could be so excited about horns) things settle into a groove with a rhythmic keyboard playing as the horns come and go. I am underselling it here, but trust me – it’s all excellent. Normally I take a while to warm up to shows like this, in this case, I am on board from the get-go. 

 

The opening few songs are the same as the earlier show, so next comes “Xpectation.” The horns get a chance to play alone and they all sound unique and interesting. After the open flourish of a few minutes things settle down and we are carried by an easy groove over which Prince plays some guitar. I like the sound and Prince keeps it brief as the band plays on and the drummer takes a solo. I am impressed so far by how close-knit the band sound, and how Prince can play close in the band rather than over it. He is very good at being part of the band and playing with no ego. The music comes to me easily, and I find I am flowing with it and just taking it all in. 

“Muse 2 The Pharaoh” sounds very good, I am very happy with the sound quality of this audience recording, it’s very good indeed. What I like most about “Muse 2 The Pharaoh” is the keyboards, it’s instrumental with some piano work happening that is very easy on the ear. After the previous horn-heavy tracks it’s an interesting change, and some interesting keyboard sounds are coming at me as it plays. It seems to stop suddenly, and even though it had been played for some time I am still hungry to hear more. 

I enjoyed “Stratus” despite myself last time, and here I am ready for it and I do like it a lot. Prince’s guitar is low in the mix at the beginning, but it gets louder in the second break. He draws the notes out of it for a while, before he plays more quickly, and I like that contrast in his sound. Prince isn’t the only one to solo, and the bass guitar gets a bit of shine next as the song continues. The whole band gets a chance to solo, starting with Prince on the keyboards followed by a sax solo, and another bass solo before we finish with a drum solo. This is a Prince blog so you would expect me to enjoy Prince's solo the most, but the solo I find I get the most out of is Marcus Anderson’s sax solo. It buzzes like a bee with a flurry of notes in the middle and runs up and down leaving me nodding in appreciation. In fact by the time the song winds down I am well and truly satisfied with everything I have heard and am very impressed with this band and this show. 

Things take an unexpected turn as Prince plays the opening notes from “When You Were Mine,” but it’s just a crowd-pleasing tease before the show returns to its jazz sound. 

The long instrumental jam that comes next is interesting with the shiny guitar sound playing over a keyboard groove. It’s not brash, instead sounding light and summery. The guitar then gives way to the keyboard that keeps this feeling going, and I am thinking to myself that I should be sitting in the sun drinking a glass of wine as I listen to this, it would be a perfect match. The guitar sounds stronger later in the song, not louder, but it is more prominent. 

 

“We’re A Winner” follows, with the horns again to the center. They do sound good and fresh, and the song sounds lively with their playing. They only play a minute or so before the segue into “I Never Loved A Man (The Way I Loved You).” The horns pull back as one takes the lead, but they all pull together tightly as the song again closes after a minute and moves on to the next selection, which is Prince’s “Satisfied.” Keeping in the tone of the evening Prince doesn’t sing, instead, a guitar plays the main melody, and I have to say it sounds fantastic. It’s a cool take on a song that I am not always so fond of. I could happily listen to this version over and over, and I like the lightness of the guitar and the sound of the horns as they come in on the chorus. It’s an excellent addition to the set list and I get a buzz hearing it in this form. 

I have heard Prince cover “I Don’t Want Nobody To Give Me Nothing (Open Up The Door, I’ll Get It Myself)” before, most notable at Bataclan 2002, and I think this performance pips that. The opening horn salvo nails it, and even though it's not a deep groove underneath it’s still tight. For the first and only time of the night, Prince sings, choosing to sing the chorus a couple of times in an attempt to encourage the audience to sing along. He steps back and instead opts for the guitar and we get an impressive guitar break which is the best of the evening. 

The show ends as it began, with the horns playing over the top of a simple repetitive rhythm. I find that although there is not much Prince in there that it is still immensely enjoyable, the horns have been outstanding all show and they are definitively finishing on a high with this one. There is also a funky little guitar in there too, and you all know how much I love that. The song ends rather suddenly and I find myself at the end of the show. 

As far as Prince goes, this show was low-key. He didn’t sing at all, and most of the work was done by the horns. Yet, I still found it to be the type of show that I will come back to and listen to repeatedly. I like that it has a different sound to a lot of his other shows, and it’s a showcase for this particular band. It may not be everyone’s cup of tea, but I highly recommend this show. 

Minneapolis 16 January 2013 (show 1)

 I have been planning to write about the 2013 Dakota Jazz club shows for quite some time now, especially the jazz shows Prince played there. After rocking out for the last few weeks it will be a great change of pace and a little more interesting. I have a surprising amount of jazz albums at home, although jazz music is something I rarely talk about with other people or indeed write about. I hope I can find the words and vocab to do this show justice, I can write about a guitar solo in twenty different ways, but I might struggle to express what I am hearing on a more jazz-infused recording. The recordings from the Dakota Jazz club over three nights offer up Prince's whole oeuvre- starting with a jazz night followed by a funk night and a rock night, Prince gives us plenty of everything. I will in time listen to the other nights, but right now I am hungry to hear this first show. People often speak of Prince's jazz leanings and he has many jazz-infused songs, although it’s rare to have a whole show dedicated to just this one genre. For that reason, I think it's well worth a closer listen. 

16 January 2013 (show 1), Dakota Jazz Club 

Although there is plenty of audience talk at the beginning of the recording it doesn’t matter too much as the show opens with a thumping drum solo by Ronald Bruner Jr. I aren’t normally one for drum solos, but this one captures my attention however as it’s very crisp and loud. I soon forget that this is an audience recording as the drummer shimmers and pops over all other noise. Heavy on rolls and cymbals I find it to be less straightforward than other solos I have heard, and from my point of view, it is immensely enjoyable and starts the show with a bang.  

 

It becomes a Prince show soon after as Prince calls “one, two” and I realize the reason the drum solo was so loud isn’t because of the playing, but rather due to the fact I had the volume turned up too loud. I pull it back to a more pleasant level in time to catch a keyboard break that hops and bops along over the top of some very cool bass. It’s all rather jazzy sounding, and I notice that it is “Xpectation” I listening to, a song I would claim I am familiar with even though I didn’t recognize it here. The song drifts in and out and flows well with the band all being heard and I can hear Prince offering soft direction although I can’t catch exactly what he is saying. The horns are also on board at this stage and they lift the sound a lot, but they do seem to fade into the background on the recording and I am not sure why I can’t hear them well, although they are playing strongly. I prefer the second half of the song when the piano comes much more to the fore, it has a wonderful melancholy sound to it and I could happily listen to this playing all day long. The whole song quietens in the second half and this I like as I can concentrate and enjoy the instruments and players.  Things pick up again as the last few minutes of the song play, especially with the horns getting plenty of shine. After this first song, there is absolutely no doubt about what we can expect from this show. 

The Rainbow Children is perhaps the most divisive album Prince has released, and I have generally found that most fans fall into two camps, those that love it, and those that hate it -for this album there seems to be no middle ground. For the record, I am a big fan of The Rainbow Children, and when I hear the instrumental of “Muse To The Pharaoh” played here, I am in heaven. This is exactly what I like to hear, and I appreciate every note of it. It is instrumental as well as stretching for ten minutes, and it makes me realize how much I have grown with Prince as he has grown as an artist. I started listening to his three-minute pop songs when I was a teenager, and as he has stretched out and challenged himself he has also challenged me and I have grown with him. Prince has greatly broadened my music horizons and as I soak up this song I find it hard to imagine the teenage me listening to this.  It is superb, the changes softly moving us through the song, and the keyboard holding my attention throughout. I was drooling at the Power Trio gig last week, this one is completely different but has me feeling the same way.  

“Stratus” I have heard plenty of times at various shows. I wonder if this one will offer anything new, and I am slightly discouraged as it begins the same as I have heard before. I wait patiently to see what will develop. I do like the guitar without ever falling in love with the sound of it, yet I am still waiting to see if this band will twist anything new out of it. Things look up for me as the keyboard plays and I am lifted above the song for a time. It gets better yet with the bass solo, and by now I am beginning to get right into the song. The bass is the high point of the song, and as it closes I realize that my fears were unfounded, this was a great version. 

 

The bass is the thing that kicks off the next song for me too, as some quick playing leads us into an instrumental jam. There is a horn solo that gets the crowd excited too, and I am feeling them as they clap along, even here at home I am swept up by it. The keyboard break has a great tone to it and is reminiscent of the sound of The Commodores “Machine Gun.” My only wish is that there could have been more of it. There is also some back and forth between the horns and the bass which I find myself grooving along to. Things take a downturn in tempo and mood, yet the quality of music is still outstanding, and even as it slows I find myself listening carefully. I can easily say that these 15 minutes are the best part of the show for me. 

The piano solo from Cassandra O’Neal brings us quietly back to earth. It’s a gentle sort of piano break as if one was eavesdropping on someone playing in another room. Overall I like it, although I must admit there were a couple of passages I wasn’t overly fussed with. It does have an intimate sound to it, which I guess is only to be expected in a venue that holds 260 people. 

There is an abrupt change at this point as the music of “Sign Of The Times” sounds, and it becomes apparent that Prince is playing on the sampler. It still stays instrumental, as has everything else this evening, and the loop plays some cool keyboards, which is the most interesting part of the song. The more I listen to it the more I like it and even though the song is only three minutes, most of it I am listening to that keyboard sound. 

We move without pause onto the opening loop of “Alphabet St.” I don’t find the loop particularly appealing but some bass work and keyboards are playing which I get a lot of satisfaction out of. They do play off the sampler, and it becomes a much more instrument at this point. Normally I wouldn’t have much time for the sampler and “Alphabet St,” but to their credit, this is one of the more interesting renditions I have heard. 

 

“When Stars Collide” is begun by the bass, before the horns brighten it up with their refrain. For this band, the song seems to work well, and I find that I easily enjoy it without having to concentrate too hard. It’s an up-sounding instrumental, and I do like the horns every time I hear them. This feeling is reinforced with a perky-sounding solo that has me smiling and nodding along.  

The last song of the evening is another instrumental jam. There is some choppy guitar that has a clean sound and some more horns that I am falling more and more in love with. The horns are great, and something of a Trojan horse as a heavy guitar solo briefly appears. I expect this to go for some time, but the guitar slips quietly back into the mix and lets the horns do what they do best – that is to make me happy! I am on a high as the band pulls right back and it’s the horns that play us out for the last couple of minutes.  

This show was different from anything else I have written about in that not once did Prince sing. Maybe twenty years ago this would have been a problem for me, but not now. I enjoyed it just as much as any other recording, I don’t need to hear Prince's voice for me to enjoy it, I just need good quality music and that is something this show had plenty of. It wasn’t as jazz-sounding as I expected, although I was impressed that Prince had the ability and courage to play a show like this. Prince is definitely on a journey, and I am glad he is taking me with him. 

Chicago 26 September 2012 (am)

 The main show from 25th September 2012 in Chicago was entirely enjoyable, and the aftershow from the early morning of the 26th looks every bit its match. With an eclectic setlist and a band primed for the funk, this show rides easy on the back of the previous performance and offers the bootleg collector and unique companion piece to the main concert. I have listened to it several times over the previous few days, and it is a concert that offers plenty of surprises and rewards to the listener. 

26th (am) September 2012, House Of Blues, Chicago 

I was not familiar with “Shop Talk” by Cold Blood, and I can’t say if what Prince plays here is true to the original or not. What I do know is it twists and turns down several funky avenues as the horn section gets an early workout. It is a bright start to the concert, with a high energy level and a quality audience recording, that although it contains crowd noise still captures the music and the euphoric feeling of the event. 

The easy seventies funk continues to bubble and simmer with Shelby leading us through  a rendition of “It’s Ecstasy When You Lay Down Next To Me.”  Shelby’s vocals are a fine match for the music and the song works as a mash-up with “Be Happy” Again the horns remain prominent, giving the song an extra spark and providing a foil to the all-conquering vocals of Shelby J. I would be quite happy with the song as it is in this state, but Prince's muscular guitar appears later in the mix and claims the song back in his name, even if Shelby was the real star of the performance. 

 

The horns take a back seat as it is the synth that colors the following “Outstanding” They flow thickly across the song, allowing little room for the rest of the band to make an impression. This changes with a Shelby-led chant and a surprisingly nuanced vocal performance that culminates in a feel-good chorus and sing-along. I can help but feel uplifted by it, even with little Prince the song still shines from within with its sunny feel. This ends as the dark clouds of a John Blackwell drum solo gather, and he unleashes a thunderstorm of a drum break to round out a song that has touched me in unexpected ways. 

“Jam Of The Year” is unexpected, yet warped to fit easily with the sound of the setlist thus far. With its synth lead line bleeding into the creamy horn section, the song is updated and Princes rides it out as he takes his turn to whip the crowd up into a chant. It is lighter than expected, and carries a lot more soul than heard on record, making for a pleasant and surprising experience, 

The same spirit is present for the short medley of “$” “Boogie Woogie Bugle Boy,” and “Song Of The Heart.” However, it doesn’t burn as brightly as the preceding number and despite its easy feel, it is an unchallenging and slightly boring listen. 

“Days Of Wild” comes from the complete opposite end of the spectrum and challengers from the first moments as Prince spits and growls the beat into the microphone. From here the song pummels the listener across thirteen intense minutes as Prince and the NPG capture the spirit and aggressive funk sound of Prince in the 1990s.  The song isn’t as thick as back then, but the intent is there, although balanced with a lighter touch that sees less doing more. It is all well presented on a recording that captures every level of the performance, the spiderweb of sound lay bare across the bootleg. 

 

“Mountains” starts with an unhurried climb to the top, it is a couple of minutes before the horns add any color to the ever-increasing rhythmic spirals. It is the women’s vocals that stay strong out front, Prince merely providing context during the chorus. The latter half of the song is an unfocused and easy jam, Prince's guitar the train tracks that the rest of the music skitters and slides across. 

There is an air of predictability about “Everyday People,” that prejudices my listening experience from the start. The phrase “familiarity breeds contempt” becomes a truism as I mentally play the song in my head absentmindedly as I listen. A song that I have heard often, hearing it at this time makes me crave the original as Prince and the band fail to give me anything I haven’t heard before. 

I embrace the recording once again for an electrifying “The Dance Electric.” It’s not as incendiary as I have heard elsewhere, but it still smolders and burns with its unique intensity that makes the previous songs sound flaccid and weak in comparison. Prince’s guitar emphasizes this intensity, with its smokey sound turning into a blaze in the hands of Prince, the song inflamed as Prince brings it to a climax. 

Prince slips into the background as Shelby once again tears up “Brown Skin” Ably assisted by the horn section, she showers the audience with her sound and sense of drama and intensity. It’s not Prince, but it is a classy performance that matches other renditions of the song I have heard on boots. 

Prince is again heard for “Stratus,” – an instrumental, his influence can be heard across the range of instruments. It is the bass where he makes the greatest impression, popping and thumping his way through the heart of the song with an innate sense of funk and drawing a melodramatic quality out of the music. It feels much shorter than the ten minutes it is, perhaps attributable to the evolving sound that keeps the listener discovering new musical territories. 

 

The last song of the concert is “Get On The Boat.” After some of the longer jams of the evening, it is a much punchier and more focused performance, but even at five minutes, there is still time for the band to push at the edges and draw something extra from the song. Although pitched at the dance floor, it doesn’t quite get us there, the band is caught up in their private adventures and leaving the song just short of the required funk. It is an uplifting end to the performance, however, and does end the concert with some pizzazz. 

This is an interesting bootleg presenting a more modern after-show from later in Prince’s career. It may not have the mystic and sense of wonder as his after-shows of the 1980s, but it does contain the key elements to a great after-show and presents some quality material matched with a confident band. The setlist is what attracts me, there are some unusual song choices there (along with a few familiar faces) and this keeps me listening from start to finish. There is little to fault here, any reservations about this bootleg come from my idiosyncrasies rather than the music itself. Check it out.