Rotterdam 12 August 1998 (am)

 

In retrospect, I was perhaps a little harsh on last week’s show I listened to. It was a perfectly serviceable show from 1998, and it certainly had its merits, even if I didn’t fully appreciate it. Part of the problem of being a Prince fan and listening to these bootlegs is that I am constantly judging him, not against other artists, but his own high standards. Even if I consider a show to be ‘average’, it’s still far beyond what others were doing at the time, especially so with the aftershows. There is no other artist out there playing aftershows and these jams are just for the love of the music such as Prince does. I would take an average Prince aftershow over any other musician show any day. Today’s recording has my heart a flutter already as The War is on the setlist. I still remember the day that the cassette mysterious appeared in the mail, and although I consider the late ’90s to be a bit of a dry spell, “The War” is a definite highlight in my book. I know it appeared at other shows and recordings, but I don’t recall hearing it before, so this will be a good chance to sit back and recapture some of that magic. So I’m all set, let’s give it a spin.

 

12th August 1998 (am) Nighttown, Rotterdam

A whoop, a cheer, the crowd clapping a beat and chanting start this one, and they quickly fade out as the guitar is heard playing a subtle, delicate, and yet funky, riff. It's par for the course that these recordings contain some audience chit-chat, although thankfully in this case it isn’t too intrusive. The riff isn’t too strong, but it is a real earworm of a hook, and I can hear the band and the audience playing around it for some time. It is a slow-burning, slow-building take of “Talkin’ Loud And Sayin’ Nothing,” and the band does play various parts on top of the foundation that has been set, without ever exploding out of the blocks. I wait for things to cut loose and get wild, but that moment never comes, instead, Prince and the band are happy to play as long as it takes with their slow build. The release does finally come with some funk-infused keyboards, and a loud cheer as Prince begins to sing. It's music to dance to as much as listening to, and I wistfully dream I was there as the keyboards battle it out in my headphones. This feeling is made stronger by the chanting and singing as the band, and the party begins to heat up. Things burst into flames as Prince has firstly Mike Scott and then Morris Hayes play solos, both bring an intensity to the performance that has me wanting more. I laugh as Prince admonishes the sound guy with “Was that feedback, who’s adding that to the mix, who thinks that is necessary?”. He has a point, and it’s well delivered.

“Let’s Work” throws me right back to the 1980s, in both its freshness and its clean funk sound. Mr. Hayes adds his warmth to it, but asides from that it’s the bass sound of the original that I cling onto. It bumps and funks along, with plenty of fat swells around the chorus. We don’t get too comfortable with this nostalgic trip, however, the three minutes we get is plenty, and it’s guaranteed to bring a smile to most people’s faces.

 

I am not so enamored by “Delirious,” yet again I can’t deny it’s a nod to his past, as well as being just downright fun to listen to at a show like this. The thing I like most about hearing this tonight is Morris Hayes, his fat sound adds more serious weight to the song, and I do feel for it more as his organ pushes the sound forward. Things take a turn towards the rock sound as a lead guitar appears and we have a coda of Rock N Roll Is Alive. They are strange bedfellows, but as always it works, and I feel much better for hearing this new sharpness added to the sound.

As we move to “That’ll Work” Prince takes a few moments to thank the crowd for attending the concerts, before the music begins to sing, literally, with a wonderful cameo from Marva King. Larry Graham makes an appearance at this stage, as the crowd chants him in, it’s surprisingly funky and enjoyable as the crowd chant over the music for some time like this. Larry has his thumb working overtime, and encouraged by the crowd he serves up a fantastically fat-sounding solo.

The sound of his bass carries us easily to the next song, which is logically enough ”Hair.” The deepness of his bass is amply matched by the deepness of his vocals, and my head moves gently to the sound of it as he sings. I can’t tell you who is doing what on stage, but I do know that some fine keyboard sounds are matching Larry, and the addition of Jerry Martini on the saxophone changes the sound of the band again. There is time for everyone to play, and it’s not only Larry front and center. The guitar and organ both shine in their respective moments, and there is the feeling that this is very much a band performance rather than one or two people dominating.

 

Things slow down next as the blues take hold in the form of “Sex Machine.” It is low and slow, with plenty of guitar work from Prince to wallow in. He plays tight and restrained, and I do enjoy hearing another style of his playing. The blues sound that he stakes out is kept with by both Morris Hayes on the organ, and Larry Graham on the bass. They play in the same manner and keep us firmly rooted. The sax work of Jerry Martini adds brightness to proceedings, but Prince buries us in the blues when he returns for a stronger, heavier guitar break. It’s still smoky and bluesy and even when the notes come in a flurry it still sounds dark and tightly in the groove.

The moment I have been waiting for arrives, and at first, I fail to recognize it. It starts with a simple bass loop, and for me, it sounds a lot like the start of Miles Davis's “So What.” There is no mistaking “The War” as the keyboards begin to emerge from the background and Prince intones his “One, two”.  This song interests me in so many ways, and it is very Prince-sounding in lyrical content. In many ways, it points to the direction he will take with the Rainbow Children in a few years both with the music and the different slant on lyric writing. The lyrics have a weirdness to them which only makes me listen more carefully, and even if the music doesn’t always have me fully engaged, Prince and his lyrics certainly do. The sax of Jerry Martini again lifts us, but it’s against the backdrop of the darker swirling sound, wah-wah guitar, and Prince's spoken manifesto.  Mike Scott soars with his guitar break and things loosen briefly and we come out of the darkness. Any hopes for a 26-minute, or even 45-minute version, are dashed as Prince wraps it up at 10 minutes, ending with an appropriate macabre laugh.

 

We end on a high with a furious take on the “Santana medley.” Although the recording isn’t great, Prince tears it up at this stage, and his guitar rips through the songs. I would have loved to see his face as he plays, he certainly sounds like he is playing with great abandonment and plenty of joy. The guitar sings in places, howls in others, and is undoubtedly the star of the show for the last ten minutes. Even as the song ebbs and flows, the intensity is maintained throughout by Prince and his playing, and I don’t tire of it for a single moment – it is essential listening throughout. The final stabs shoot out at me and end the show on a high that would be hard to top if they continued to play.

This show is redemption for the show I listened to last week. Last week I bemoaned the lack of intensity and fire, this show recorded a week earlier has plenty of both and delivers on all fronts. Hearing “The War” live was undeniably a real treat, and a highlight for me, but there was plenty more to this show to recommend it. Larry sounded great, as did Jerry Martini, Marva King, and the irrepressible Morris Hayes. It would be unfair to compare this to Prince shows from other eras, but on its own it stands as a worthy listen.

Paisley Park 7 February 1998 (am)

 

1998 is a black hole in the world of Prince, a year that sits in darkness while the rest of his career shimmers and glitters. No light escapes this year. There are no outstanding shows or concerts that are openly discussed. The only show that gets some coverage is his performance at Cafe de Paris in London later in the year, a show that has grown in stature over time – helped in no small part by the fact it was filmed and released on Beautiful Strange. The rest of the year remains a blank to many people. A cursory glance at Prince’s performance history from the year reveals that he was busier than what might be expected from the general consensus. Most eye-catching is the regularity at which he played at Paisley Park. It was an almost weekly occurrence in the first half of the year. I don’t think there is any need for me to take an extended look at this run, but I will dip my toe into the paisley waters to get a taster of what Prince was producing at the time. The best place to start any journey like this is of course at the beginning, so with that in mind, I’m jumping in with his first home concert of the year, a late-night show from February 7th.

 

7th February 1998 (am), Paisley Park

We get a good representation of the era with the opening “Mad” groove. There is very little of the original song present, instead, it is the beat that carries the day. It is funky, yet lacks direction and comes across as soulless. We can find many more grooves such as this throughout the year, and although there is no doubting Prince’s musical prowess, one can’t help but feel he has lost his way here with these endlessly repetitive jams. It’s not an entirely lost cause, there is some startling guitar work from Prince that briefly brings the concert to sharp focus. However, there are not enough moments like this to sustain the ten minutes given over to the jam.

It is a stripped-back band appearing on stage with Prince. With Larry Graham on bass, Kirk Johnson on drums, Morris Hayes on keyboards, and Walter Chancellor Jr providing color on sax, one would expect a stripped-back sound to match. However, they all create a full, well-rounded sound. Morris Hayes in particular gives a great depth to the music and with Larry Graham on bass it is a deep-rooted sound that permeates throughout their cover of Erykah Badu’s “Tyrone.” It is a dark, dense excursion, and as Prince brings the song around to his own “Good Life” it continues to drip with a swampy voodoo sound. The guitar swarms the song at one point but is the craftsmanship of the atmosphere that continues to hold sway, the groove unwavering in the face of Prince’s blistering guitar.

 

Built on the back of the same relentless groove is “Come On.” The lyrics are a mere brush stroke on the canvas that Morris Hayes and Larry Graham stretch across Kirk’s drums. The vocals come and go, but the music stays on its steady journey, immune to such trifles as mere words. The organ solo emphasizes this and says far more than Prince ever could with his vocals. Prince draws attention back to himself with his chant of “twin cities” and the man who had been temporarily buried beneath his own music re-emerges. Walter Chancellor Jr brings a blaze of color late in the song, his playing made all the brighter by the gloom of the groove that swirls around him.

Larry Graham and his music are familiar to all those who have listened to Prince’s concerts over the last twenty years, and seeing “Hair” on the setlist offers very little surprise. However, surprise it does, with the opening lines coming across the most barren of music. Larry’s baritone is an instrument unto itself, and this lifts the curtain and a loose jam. The song continues to rise on the back of the band with funk to the fore. The jam itself is a low-key affair, the music staying low in the groove, and eventually proves to be little more than a seven-minute introduction to Larry Graham’s “Hair” proper.

Again, it is Larry Graham and Morris Hayes who prove to be the cornerstones of the song, both hold their end at each extreme of the spectrum, and the song shifts beneath the weight of their respective instruments. One can hear Prince on the keyboards, playing with lightness while Morris Hayes continues with his serious study of finding the depths of his organ. It makes for tension and contrast that holds my interest throughout a song that I have heard often and lifts it far beyond what is expected.

“Groove On” feels pointless. As much as I enjoy the various contributions to the song, it just doesn’t jump out as much as some other performances of the evening. Paired with “Joy And Pain,” it does get almost fifteen minutes to marinate and evolve, however, it never reaches any of the heights that the band promise and proves to be a flat spot of the show.

 

The brevity of “Forever In My Life” undoes my initial excitement of hearing it. My excitement wanes further as it becomes apparent that this is a poor version, the drums overpowering the song as it becomes a shell to carry forth “Everyday People.”

The performance of “Everyday People” brings joy to the concert not previously heard. My thoughts of “Forever In My Life” are washed away as the groove uplifts and revitalizes. The beat is a steady build, rather than a pounding sound it sometimes has, and one can feel this version has a soft edge that serves it well. It’s a nuanced version of a well-traveled song and I am surprised by the freshness that the band brings to it. Where “Forever In My Life” sounded flat and tired, this song has a spark of energy that has me listening carefully to see where we will go next.

We stay on the Larry Graham trip with his song “Free” building from the foundation laid by the previous song. The circular bass line is enjoyable enough, but there’s not much hanging off it. There is no payoff in the chorus, and it sounds like a groove searching for a song. Morris Hayes provides a calm sense of clarity and direction, but it isn’t quite enough for me to form a long-lasting relationship with the song.

“Mad Sex” isn’t the unbridled jam I had hoped it would be, although it does have its moments. The saxophone work lifts it above the Kirk Johnson beat that it otherwise remains enslaved to and Prince’s vocal chant does give the audience something to participate in. For a song titled “Mad Sex,” it is a restrained and buttoned-up affair. There is very little oxygen in the song and no sense of impending spark of ignition. In many ways, it captures my feelings about this era in general. The musicianship is just as good as ever, but there is no danger or excitement, no feeling that anything might happen. It’s all too safe and stable.

 

Prince’s guitar cuts sharply across the introduction of “The Jam,” before it dissolves into its familiar shape and form. It settles into a raw riff, the song at once familiar, yet re-powered by Prince’s turbocharged guitar work. Although long, it is a far tighter rendition than some of the sprawling versions heard through 1995-1996. The band keeps the song moving swiftly along through its various changes, maintaining the groove but never settling into repetition or bland self-indulgence. Each band member stands strong in their contribution, and just as I find myself favoring one over another the response comes that has me reconsidering my stance. The music continues to come in waves, each cresting bigger than the one before, before the concert is finally awash in the squall of guitar and organ, washing and tumbling over the top of Larry Graham’s bass in one final wash of sound.

Perhaps 1998 wasn’t quite the black hole I envisaged. This show, taken with the ones I have covered earlier, points to a year in which Prince was retrenching. Burying himself deep in his own music, and drawing inspiration from Larry Graham (and Mavis Staples), he is looking the past in the eye and holding his own. After shining as one of the brightest stars of the 1980’s he is now placing himself in the wider context of the music he grew up with. Larry Graham gives him a sense of legitimacy and these concerts are steeped in Larry’s sound, given a Prince twist of course. While not as vital as some other eras, it is nevertheless an essential part of Prince and who he is, and is an era not to be overlooked. It remains a black hole only while we don’t shine a light on it, and under closer investigation, there is plenty of celestial moments here that are required listening for any fan.

Mobile 31 October 1997

 “Pssstt, over here”

“Who, me?”
“Yeah you – I hear you didn’t like the first show of 1997”
“Well, I must admit, it wasn’t exactly my cup of tea”
“Yeah, well try this one, you might find it more to your taste”
“Hey man, thanks. I’ll try it now”
“No problem”

31st October 1997, Mobile, Alabama

A forceful and focused “Jam Of The Year” is everything that the song wasn’t in the January 7th concert I listened to previously. With its elastic bass and deep groove, Rhonda Smith reveals herself to be one of the most important members of this iteration of the NPG, and her contribution is mighty in this opening number. Prince doesn’t linger too long on the other members of the band, and it is Rhonda who makes the greatest contribution beneath Prince’s vocals, her bass work is just as essential as what Prince is singing. A shorter and tighter version than what was heard at the start of the year and the concert is all the better for it.

Funk is the foremost driver of the opening salvo of this concert, and “Talkin’ Loud And Sayin nothin'” is in its rightful place here. Paired with an “I like funky music” chant the concert heaves and groans under the weight of the funk, only lightened by some quicksilver keyboard by Prince. This light and dark give the music a tension that holds it tightly together and keeps my ear interested throughout. An equally fast guitar solo spins the music in a new direction before it all spirals into “Let’s Work.”

I rarely mention Kirk Johnson in this blog, but it is his drum that leads the band into “Let’s Work.” Built on the back of this drum, Rhonda Smith’s bass and Morris Hayes's keyboard pull the song deep back into Prince territory. His funk of the early ’80s holds up well almost twenty years later, and this particular version could look any rendition from the 1980s in the eye. The “Rock N Roll” instrumental is a clever coda and serves well as a transition from funk to the guitar rock that will follow.

The guitar rock song in question is “Purple Rain” and the version Prince plays here is arid in the vocal delivery. However, the guitar solo is distinctly Prince. His guitar tone is unmistakable, it is pure Prince throughout. Prince’s mastery is a double-edged sword- he has the guitar tightly reined through the solo and there is no sense of danger and thrill despite the guitar soaring and falling at his will.

 

Far more emotive is “Little Red Corvette.” Prince manages to hang just a hint of youth in his delivery, and for a minute the years roll back as he sings the opening verse. The guitar break also manages to plug into this sense of youthfulness. Brisk and unhinged, it is the final flourish before the Prince swings us back into the Nineties.

I have plenty of love for the Emancipation album, and “Get Yo Groove On” manages to capture the feel of the album nicely in this live setting, making me wish we could have more of these songs appearing in concert over the years. The diversion through “Six’ is a reminder that Prince hasn’t moved as far away from his Eighties material as we might think, and is yet another clever addition to the set.

There is plenty of time to dwell on the pop magnificence of “The Most Beautiful Girl In The World” It shines brilliantly at the heart of this concert, a gem that still retains its sincerity and purity after all these years. Rhonda Smith manages to rise from the mix later in the song, her bass pulling the song into deeper sonic territory. A previously unknown seam of funk is mined and I am once again enthralled by Rhonda’s contribution.

The celebration of the bass continues through “Facedown.” With Prince’s long introduction, there is plenty of time to indulge in this low-end glory. Even with the arrival of Prince’s vocals, it continues to be the bass that holds center stage, a fact accentuated by Prince’s call of “bass!” through the backend of the song. The final minutes see total capitulation to this bass groove, the bass strangling the song in its dense and furious tone.

The opening drizzle of guitar from Prince is a sleight of hand and as the “The Ride” opens up Prince slides into a deeper and more solid tone. Prince squeezes and teases the blues for the first minutes before the levee final breaks and a heavy blues solo engulfs the recording. It washes over the audience for the next few minutes, swirling ever deeper into this pool of blues, the guitar flowing easily beneath Prince’s hand.

“When You Were Mine” is another chance for Prince to indulge in guitar heroics, this time alone. The song is a demonstration of his pure songwriting ability, and his ability to lift styles from others and make them his own. As a solo performance, it is one of the most central moments of the concert and provides a minute of mindfulness amidst a concert jammed with ideas and styles.

The concert gains momentum again as a weighty version of “The Cross” lumbers into view. The lightness of “When You Were Mine” is trampled beneath the overwhelming crush and intense guitar snort that drives “The Cross” as it obliterates all that has come before. It is not as elegant or spiritual as I’ve heard elsewhere, the sheer heft of the band and performance crushing the nuance from it, leaving a solid wall of sound.

 

Also guitar-driven, “One Of Us’ is a subtle performance that carries off Prince’s spiritual convictions better than the song that precedes it. Prince’s opening speech sketches out his spirituality at the time, but the music that carries his message is more convincing. In a well-balanced performance, the music allows far more room for the message to breathe. There is a calm to the moment that was missing in “The Cross,” allowing the crowd to digest his message of love and God. Just as actions speak louder than words, so too does Prince’s music.

Prince dips into his grab bag of ballads for the “Do Me, Baby,” medley. The gold standard of this medley is “Do Me, Baby,” which is afforded an extended guitar intro from Mike Scott. Louder than the usual soft-lit sound of other introductions, it is nevertheless a fine demonstration of his abilities. In a similar vein, Rhonda Smith indulges us with a sensuous bass run that while highlighting her playing, also remains subservient to the vibe of the song. Kat Dyson is not to be forgotten, although by the time she finishes, I am itching to enter into the song proper. Prince delivers his lines as expected, each one loaded with sex and lust, but never dipping into pure caricature. He maintains this tone as he touches on the sexy part of his catalog, each song becoming sweatier in the live setting as Prince works them, and the audience, into a climax.

“Sexy M.F” doesn’t sound particularly sexy after this, and Prince enters a cartoon world for this rendition with exaggerated horn lines and vocal inflections throughout. It is a low after the previous high, although it is short.

A vital “If I Was Your Girlfriend” restores the concert. Listening to it here, one could easily forget it was 1997, so studiously does the band play the 1987 versions. “Sexy M.F.” was appreciatively brief, unfortunately so too is “If I Was Your Girlfriend.” It keeps the concert moving at a good pace, but this is one song that could have done with more airtime.

Prince slips the band for a solo jam on the piano. Riffing on “Mobile,” he slides easily into “Purple House,” a song normally associated with the guitar. This new spin on it sees a gospel sound emanating from Prince’s piano, a fact highlighted as he segues into “It’s No Secret (What God Can Do).” Prince lingers on the song, allowing his vocals to carry the load as his piano fades beneath his fingertips.

The piano medley unfurls for the next few minutes, the crowd-pleasing “The Beautiful Ones” inviting the audience into this world of piano and microphone. There is too little of the song for it to make an impact outside of this, the two minutes are just enough to lure the listener in without making it a highlight.

“Girls And Boys” adds funk to this mix. Prince stops and starts it to allow the audience to further participate, but again it’s slight and leaves one hungry for more. However, Prince does retain this piano tone for “Delirious,” and things remain upbeat and funky for the next few minutes.

 

At an almost crawl, “Darlin Nikki” slips in, leaving the crowd in raptures of delight as Prince pauses and teases like a coy schoolgirl. The song takes a long time to emerge from behind the screen of the piano hook, and when it finally does Prince teases the crowd in a moment that has to be heard. Trust me, it’ll be worth it.

After the tease of “Darlin Nikki,” the crowd never fully settles for “Diamonds And Pearls.” Prince gives us the first verse and chorus, but it isn’t as effective as other songs in the setlist.

“How Come U Don’t Call Me Anymore?” anchors the piano set. It also serves to reintroduce the band, and it is pleasing to see it fully fleshed out like this. The fullness of sound doesn’t dilute Prince’s tale, and the guitar break bestowed upon it late in the piece brings a sense of urgency to an otherwise ambling piece of music

The “Take Me With U” and “Raspberry Beret” combination lifts the energy of the concert after the piano set. It also drops a large slice of pop into the show, the earlier rock, and funk forgotten as the band swing upwards. It is a combined effort, no one voice or instrument is singled out. Even Prince on the microphone is no more important than any other component in the song, and this is truly a moment that belongs to the band.

A percussive introduction to “Kiss” heralds the arrival of the encores. With the crowd heavily involved in chanting from the start it is a uniquely live moment and one that translates well to the recording. The guitar riff is not revealed for some time, and when it does arrive it continues to remain secondary to the rhythm section. However, it is not the rhythm guitar that I am listening for, but the brief flame of a lead guitar that excites me as it scorches the tail end of the song.

“Gett Off” becomes the soundtrack to a dance contest, something that doesn’t translate well to an audio recording. The guitar solo by Mike Scott goes some way to appease those not at the concert. It is sharp and loud, providing a jolt to an otherwise steady groove. The house-style mix that the song finishes with is a lot of fun, although twenty years later it does feel somewhat generic.

The electrifying guitar static that opens “When Doves Cry” has aged better, and the jolt it delivers now is just as strong as it was in 1984. However, the piano riff is lost in the mix, the strength of the band overwhelming the nuances of the song as they power through it. It is a powerful version that takes the template of the original as a jumping-off point to push the full sound of it in every direction. Perhaps not one for the purists, but a fine way to wrap up the first encore.

 

The recording becomes smeared in the grease of a funk guitar that establishes the foundation of the second encore. Atop this slippery guitar, Prince balances a chant that flares momentarily before the Purpleaxxe sound settles into a groove that will eventually become “FlashLight” and “Stomp”

Prince has toyed with “Flash Light” many times over the years, and this iteration that incorporates “Stomp” works well. Prince is giving the audience funk from the past, as well as something from the present with “Stomp” being of the time. Nowadays we would call it a mash-up, and it was not unique for Prince to do this throughout his career. We could pull examples from after-shows, but he was equally adept at doing it at main shows such as this.

“Johnny” is a reminder of Prince’s lyrical range. While not as poetic as some of his other works, it does have cleverness and humor that not many other artists capture. The song itself remains true to its groove, and as always my only complaint is it’s all too short.

There is no surprise in the “Baby I’m A Star” and “1999” double punch that closes the show. Long-time party favorites of Prince, many a concert has closed with them over the years. There is no faulting Prince and his intentions here, but with the application of Nineties gloss the charm of the originals is lost. The sense of adventure is gone, replaced with a too-cool-for-school party vibe that serves the concert well even if it doesn’t serve the song. The tone of it does capture the late Nineties sound Prince was working with, and it is a neat snapshot of the time.

Lesson learned. Don’t judge a book by its cover, and don’t judge 1997 by the first concert of the year. Prince was an ever-evolving artist, both in the studio and in concert. Concerts even a few months apart can be quite different, Prince shifting songs and sound in a lifelong pursuit of excellence. I found the first concert of 1997 to be uneven and off-kilter. This concert later in the year had a natural flow and overall consistent sound. Even as Prince switched genres and instruments, the concert held together and felt as a whole. I often play the Emancipation album, but rarely the concerts of the era. This concert is a clear demonstration to me that I should be more patient and dig further into the era. I might just have to go back to my source and see what else they can recommend to me.

Mountain View 10 October 1997

 

I can’t even remember the last time I listened to a Jam Of The Year concert, let alone wrote about one. I can’t offer a good excuse, looking at this show now I can’t see any reason not to listen to it, or even dislike it. Yes, it does have some weak moments, but these are offset by a run of classic hits, party grooves, and a Carlos Santana guest appearance that brought me here in the first place. This show was recommended by someone whose opinion I value highly, so I do expect it to exceed any expectations I might have.

10th October 1997, Shoreline Amphitheater, Mountain View, California

The opening intro leaves me cold, I don’t need to hear snippets of his hits to hype me up. I have always had a soft spot for “Jam of the Year”, and this performance is everything I could ask for. It is stronger than on the album, giving the concert a great push from the start. The performance and concert tour hinge on this song and, although Prince does hype the crowd in the midsection,  it sets the tone for all that will follow.

The jams keep on flowing, with the band grooving on “Talkin Loud and Sayin Nothin” It is as one might expect, a solid groove that has the crowd on their feet as Prince encourages them to dance and clap. The highlight for me though comes when Mike Scott makes an appearance with a sizzling guitar solo that catches me off guard yet has me enraptured as he plays. I’m not so fussed about Prince and the crowd chanting which comes next, but the song does its job of enthusing the audience. A Prince piano solo ends the song on a high for me, and I find that all in all it is an enjoyable few minutes.

“Let’s Work” initially has me on a nostalgic trip, but interest wanes later in the song as it begins to take on a plastic sound. The outro of “Rock ‘n’ Roll is Alive” is where the real fun is, especially as Prince provides a ferocious guitar upon it that cuts through all the grooves and jams that have been heard thus far on the recording.

This loud and heavy guitar tone is maintained through the following “Purple Rain” which begins with a snort and a grunt and ends on the most epic of howls. With Carlos Santana in the building, Prince is putting on a show worthy of his influence, and although it's not overlong it does give one a taste of Prince's guitar abilities.

Things stay in the early ’80 s as the warm swells of “Little Red Corvette” introduces the next section of the concert. Personally, I think it’s a letdown. After a great introduction that had me raising my expectations through the roof, the next couple of minutes sees Prince racing through the song leaving me feeling that it was a lost opportunity.

  

I am caught off guard by how good, and downright fun, “Get Yo Groove On” is. It has a lively pop to it and would sit completely at ease on any radio station in the late ’90 s. As much as I love it from the outset, it does lose its way after a couple of minutes, but the guitar solo from Kat Dyson snaps me out of this thought, and the rest of the song is an easy groove that I would happily dance to when I’m home alone.

As much as I enjoy “The Most Beautiful Girl In The World” (especially singing along) I always find that in the live performance I am drawn to the sudden stop in the song when Prince sings “How can I get through days when I can’t get through hours” The ticking clock and the way the band jump in and out of the song always has me sitting in admiration of their professionalism and abilities. As for the rest of the song, I sing boisterously along to what is proving to be a very good audience recording.

“Face Down” is one of the pillars that the concert is built around, and it monsters the recording for the next ten minutes. With its big beat and infectious vocal hook, I am completely drawn in, the following few minutes I am in another world. Prince knows what he is about to unleash upon the crowd, the first few minutes particularly interesting as he warns those with children that they should cover their ears or take them out before he hits us with the full force of his agenda and power of the groove.  The bass comes like a tank, rolling across the land, for the final few moments, and this emphatically seals the deal for me – this is just what I want to hear.

 

Contrast, contrast. The following two songs not only come from a different time but also from a completely different place musically. “A Case Of U” gently grounds the performance and brings intimacy to the arena not previously heard. The bump and grind of the opening half-hour are replaced by an emotional pull and thoughtful lyrics. “When You Were Mine” is equally compelling, this time the emotion replace with simple energy that is completely natural and can’t be replicated. With Prince playing alone for these two songs, his natural abilities are spotlighted and he draws attention to this with his final comment of “I would like to apply for the position of King” – a sly reference and dig at Michael Jackson.

The arena is again filled with sound as the band rejoins Prince for “The Cross” It lacks some seriousness of earlier tours, here it is a joyful stomp through a song that has become a celebration. This is underlined by the guitar solo that Prince brings to it, all shrieks of joy and howls of passion.

“The Cross” is more than matched in the spiritual stakes by “One Of Us”, a song that takes the celebration of God to yet another joyful stomp. These two songs are the backbone of the evening's performance and Prince gives plenty of time to the introduction, the vocals, and the guitar solo. Each part of the arrangement is worthy of the time invested, but it is the final minute of the guitar break where the rewards are greatest, with Prince playing with finesse and power.

The band all has a chance to play as “Do Me Baby” begins, the opening minutes are given over to the band introducing themselves and each playing a solo. I found this most enjoyable, but once Prince comes to the microphone the band is forgotten as he sings a timeless rendition of this seduction classic. The previous two songs may be the spiritual highlight, but “Do Me, Baby” is the sexy highlight and a song I could happily listen to again and again.

 

The concert speeds up considerably at this point, and the next 15 minutes see a quick romp through Prince’s back catalog.  “Sexy M.F.” starts this off in fine style. It is uptempo and fun early on before a surprising upswing occurs midsong that carries it away from its initial funk. “If I Was Your Girlfriend” likewise has an element of fun to it and although it lacks the intensity of the album version, it is still a rewarding listen here.

It’s with the piano set that Prince brings an air of intimacy to the recording. Although he plays a run of truncated songs, it still brings a smile to my face. “Diamonds and Pearls” begins this set, but it's “The Beautiful Ones” that follows where the real heart of the performance lies. However, the largest cheer comes for “Darlin Nikki”, and one can hear why. Prince teases the opening minute on his piano, picking out the hook as the crowd cheers him on at every pause. When he does sing, he only gives the first few lines, letting the audience loudly sing the risque lines.

As much as I love “Condition Of The Heart”, the rendition here is too short for me to get much enjoyment out of. “Girls and Boys” has my head nodding in approval, and even with only the piano for accompaniment Prince gives it the required funk and swing. Again it is short, but a nice moment.

“How Come You Don’t Call Me Anymore” begins with Prince, but sees the reintroduction of the band. It is much longer than the previous few songs and sees the concert pull back to a more traditional format. I think the song sounds great, but there is nothing for me to latch onto emotionally and I find it drifts by me rather quickly.

I am far more engaged with “Take Me With You” which comes quickly after. Only a minute, but it is a joyful rendition that warms the cockles of my heart.

My cockles are less warmed by “Raspberry Beret” that comes paired with it. I don’t have a problem with the song, but the performance at this show is luck warm and it fails to build into the explosion of pop that it promises. It is the end of the main show, however, before a lengthy break before the first encore.

 

The song that opens the encore is the reason this bootleg was recommended to be, a 10-minute jam on “Soul Sacrifice” with Carlos Santana. After a slow build, the song kicks off at the two-minute mark as the guitars rise to the occasion and blaze across the recording. Insert any superlative you want at this point, the following minutes are beyond description and make this recording indispensable. Prince introduces Carlos as his hero, and he delivers a performance to match expectations. Forget everything else I have said about the performance up to this stage, this song is all you ever need to hear and it lays waste to all that has come before it.

“Soul Sacrifice” is the pinnacle of the show and the following “Sleep Around” feels quite a letdown. It does play as a party jam, albeit a very ’90’s inspired party. I like to party just as much as the next man, but following after “Soul Sacrifice” it comes across as weak and almost throw-away.

There is plenty of audience interaction for “I Like Funky Music”, but very little for us to enjoy here at home. The groove works, but without seeing the dancers on stage or being involved, it does seem like a flat spot in the concert. No doubt a great concert experience, but it does play as a poor bootleg experience.

There is no surprise at all as the final songs of the recording are “Baby I’m A Star” and “1999”. “Baby I’m A Star” serves as an introduction, its energy giving the show one final boost. “1999” plays as an almost full version, with plenty of “Party!” chanting and funky groove playing us out for the final minutes. It doesn’t reach the heights that were previously hit by other songs in the evening, but it does close out the show on the right note.

Ignore the flat ending, and a couple of weak spots mid-setlist, there is no doubt that this show is worth listening to. “Soul Sacrifice” with Santana was what brought me to this bootleg, and it delivered far more than I could have imagined. Along with “Do Me, Baby” and “One Of Us”, it formed the backbone of the show. Despite some cliched ’90 s sound in places, the show was far better than I expected for a Jam Of The Year concert. It might be some time before I get back around to listening to this one again, but I would have no hesitation in listening to it again in the future.

Denver 6 October 1997(am)

 

The Prince of 1997 is not the Prince that I grew up with. At this time a lot of the magic and excitement of being a Prince fan had dissipated for me. There is no doubting that Prince was still playing as well as ever, but for me, the songs, the very heart of the matter, were missing. Aftershows still retained some thrill, a measure of excitement provided by guest appearances and cover versions. The gig I am listening to today has both and is all the better for it. The guest is Chaka Khan, both vocally and playing drums(!) and the setlist is chock full of cover versions, only the odd Prince song breaking up the run. It is an audience recording, and a scratchy one at that, but there is no distortion which is about all I ask for out of a recording nowadays.

6th October 1997(am), The Church, Denver

Ignore the opening introduction as the announcer tries to flog off some t-shirts to the crowd, the real fun begins immediately as Chaka Khan emerges from the crackle of the recording playing the drums through the opening “Instrumental.” It isn’t a song that kicks sand in your face and laughs, with a kindlier gentler sound it is a gentle stroll into the show rather than an aggressive rampage. I would love to see footage of this moment, and this audio recording is a poor representation of what must have been a cool introduction.

It is Marva King who provides the entertainment for the next number, with a deep rendition of “Playtime.” Marva brings plenty of firepower to the performance, and she is ably matched by some equally insistent horn lines and a dark organ swirl. The thin recording doesn’t do the song justice and it is up to the listener to fill out the sound in their mind. However, it does sound like a stonking version and we can only listen in envy of those that were there.

 

I’m not so fussed by “Thank You (Falettinme Be Mice Elf Agin).” It’s not this performance that I have a problem with, it's just that I have heard it so many times from Prince and this rendition doesn’t add anything new that I haven’t heard before. Coupled with the quality of the recording,  it becomes a flat spot on the bootleg. Prince can be heard defiantly working his guitar and to his credit, it does sound like it’s building to something, but we never get to fully appreciate the fruit of his labors as the recording saps the energy from his performance.

I am far more interested in “777-9311” and “Ain’t No Fun To Me” that comes next. It is the bass line of “777-9311” that serves as the introduction, before “Ain’t No Fun To Me” comes snapping hard on its heels. It is only short, but Prince manages to evoke the spirit of the song with his impassioned delivery and the heavy wheeze of the organ that anchors the song. There is one point of the song where an audience member can be heard saying “He’s a genius, man, a genius!” and sitting here at home 20 years later, I am inclined to agree with him.

 

There is a “Colorado” chant that carries the first minutes of “Days Of Wild” before its crushing groove arrives proper and suffocates the recording with its thick funk. Even the thin recording is no match for “Days Of Wild,” it is just as wild as always, and even if it doesn’t stretch out for days it still sprawls itself across the recording for seven unequaled minutes. This wildness is personified by the hectic Tony Morris saxophone solo that bursts into flame in the final minutes of the song, making for a fitting end to what is a highlight of the recording.

Tony Morris is again present for the following Chaka Khan “Tell Me Something Good,” sung by the legendary Chaka herself. My feelings are mixed, I love the song and the performance, but I find the quality of the recording to be intrusive and several times I am taken out of the moment. However, it is a fantastic song, and on a soundboard recording I would be positively raving about it.

The show has a warmth to it as Marva King displays her considerable chops on a cover of the Staples Singers' “I’ll Take You There.” Even though Prince is barely noticeable, he doesn’t sing and there is no blinding guitar break, the song still has its place in the setlist, with its nostalgic charm and warm glow. This isn’t the first song I gravitated towards in the setlist, but I find it just as rewarding as anything else played.

 

“I Got The Feelin” is a cover of a James Brown song, but it lacks the drive and power that we would normally expect from a James Brown cover. The horns can be heard with their vigorous turn around’s, and after hearing them I can say that again it is the recording that is sucking the life from the song. There is no doubt that the band is playing an authoritative rendition, and their hard work is only undone by the shallow recording.

Prince goes even further back for a cover of “The Way You Do The Things You Do” This has me re-enthused for the bootleg, mostly because this is one of my favorite songs, and I am transported away as Prince and the band play the song with plenty of sunshine and energy. It’s only a few minutes, but they cram a lot into the song, with the organ, the vocals, and the horns all vying for attention.

Prince goes even further back in time for an even bigger surprise – a short, sharp rendition of “Shout.” Forget the quality of the recording for a minute, if this doesn’t bring a smile to your face, then I don’t know what will. It has the crowd engrossed, and it’s easy to see why with its upbeat call and response and the undercurrent of swirling energy that never quite settles.

Ignore the next minutes as the announcer again reminds the crowd to buy T-shirts. The music returns with a slow-building jam built around a lone drum sound provided by Chaka Khan. It doesn’t do much, it stays low and never gains any real intensity or intent, but it does pave the way for the next few songs.

 

The band is running at full power for an energized performance of “(Eye Like) Funky Music.” One of the few Prince songs to be played at this show, it gains even more respect in my book by being a song that was very rarely played live. Hearing it here, it sounds fresh and bright to my ears, and the chanting of the chorus is fun even if it is me alone a home. This is not a song I would play someone to demonstrate the genius of Prince, but as a fun song to hear on a bootleg it is right on the money.

We have another call and response jam next with “Denver Rock The Party”. As a horn lead instrumental it has the temperature rising on the recording, and this is made even better with Prince’s guitar break that he bestows upon it. It never blows out to a guitar jam though, and it is the horns and chanting that make up most of the song. I would like to say more about the guitar, but it is a little low in the mix, no doubt at the show itself it was louder, stronger, and altogether better.

There comes a slow down with the steady swagger of “Johnny” filling the air with its roguish grin. The lyrics make me smile, a smile made even bigger as Prince tells the audience that he and Chaka had said a prayer before the show, a prayer that the show would be funky. Well, that prayer has been answered, and the show is funky throughout, even if the recording can’t match the concert. “Johnny” may be slower, but it is just as funky as anything else played, and is another highlight as the music curls and bends around the listener.

“I’m A Woman (I’m A Backbone) is a song with purpose and direction. It may be Chaka’s name and vocals that give the song early impetus, but later it is the saxophone of Tony Morris that drives the song into the ground. The saxophone stabs the carcass of the song with incisive cuts and wild slashes, leaving the music twitching and foaming with every attack, making for a wild and unhinged performance that tears through the skin of soft funk that has so far covered most of the evening.

I have often thought, and indeed written, that Prince and Hendrix aren’t the great mix that many imagine. The performance of “Little Wing” at this concert has me not just eating my words, but positively choking on them, the lump in my throat palpable from the opening seconds as Prince serves up a delicious treat of chords stacked on top of each other. It’s not just about Prince though, Chaka and the saxophone of Tony Morris bring their flavors and tastes to the song, making for a balanced and well-rounded dish.  Chaka is out in front, while Tony garnishes her performance with soft touches and a drizzle of sax as required. Prince displays another side of his playing, while known for playing the type of solos that would raze a forest, here his playing scatters seedlings that bloom and grow into a varied fruit as the song progresses. It is a thoughtful performance, with a trace of wistfulness that is never quite resolved. The song isn’t perfect though, the recording is too poor for that and as effusive as I have been so far I must admit it is a song that requires close listening as for the most part it is distant and exists on the fringe of listenable.

Putting aside the sound quality for a second, this performance is a 10/10. I don’t say that lightly. The setlist gives no hint to how great the actual performance is, and having Chaka on board makes for a real treat. The songs swallow the room in their immersive brooding, punctuated by the electric fury of the guitar or the relentlessly vivid saxophone. Unfortunately, the bootleg is not a 10/10, the sound is too poor, and it took a close listen on headphones to unearth the treasures buried in this release. For die-hard fans this is another must listen, casual fans I would say approach with caution.

Houston 11 August 1997(am)

 

Last week I listened to an aftershow from 1997 released by Sabotage records. This was part of a two-disc set that presented me with some problems. The first disc has the Denver show, while the second disc covers the Roxy show, and two extra tracks. These two extra tracks caused me to scratch my head, the databank listed them as from an unknown concert, while Prince vault had the listed as part of the Denver aftershow. I chose to run with the good folks at prince vault and listened to these two tracks as part of the first disc.

The show covered on the second disc also presents some unknowns. This concert is also heavy on cover versions, there are only four Prince songs – two of them unreleased, which leads us into unfamiliar territory and offers a unique listen. With Marva King and Doug E. Fresh taking on the bulk of the vocal duties, Prince's main contribution is his playing, meaning I have to at times listen carefully to hear his input – especially given that it is an audience recording.

11th August 1997(am) Roxy, Houston, Texas

Marva King sings the first three songs starting with the Prince penned, and unreleased, “Playtime.” It has a firmness to it, a solid warmth, that despite the audience recording still manages to sound weighty and carries an inner intensity. The band dwells on the song as an opener and, as long as it is, I still feel like I could listen to it longer. It is a good introduction to the quality of the recording, the audience is vocal, but the bass is well rounded and without distortion.

The audience is heard more on the following “Sweet Thing.” Marva King does a commendable job of the vocals, although the song is well known and the audience adds their own vocal flourishes. A bootleg snob would be disappointed at this point, but as a fan, I simply wallow in the live feeling of it all.

 

“Lovin’ You” is so short that by the time I realized it has started, it is already half over. It’s too quiet, and the recording does it no favors at all, it disappears into the crowd and general background noise. It is disappointing to me because when I do listen carefully I can hear that Marva is singing beautifully.

Databank wrote disparagingly of Doug E. Fresh, and in the first minutes of “Flash Light” I can perhaps understand why as he engages the audience in chanting. I do find myself warming to it, however, and Doug E. Fresh comes across as a perfectly likable bloke – before I know it I am chanting along with him here at home. What sounds best on the recording though, and what I dig most, is the bassline. It has a life of its own as it bounces and runs up and down the funky stairs, I find myself moving to it and temporarily forgetting Mr. Fresh and his enthusiastic calls to get things moving.

Prince can be heard playing some lead guitar as the song morphs into “Jam Of The Year’ and for the first time in the recording I can safely assert “yes, that is Prince.” The song is an instrumental jam, barely distinguishable from “Flash Light” that preceded it, and as Prince chants “Turn This Mother Out” it becomes apparent that this is just a long medley of funk tunes and chants. The bass stays with its hypnotic loop, but with Prince on the microphone, there is much more to pay attention to as Prince shifts and shapes the music into different forms.

 

The recording suffers somewhat as Prince carves into “Johnny.” The mix is murky and Prince isn’t as prominent as one might expect. However, the rest of the band is sounding excellent, in particular Kat Dyson who delivers a weeping solo that stretches across the latter part of the song. Doug E. Fresh and his “Do It On Film” can’t match her, and the contrast between his overworked rap and Kat’s light guitar break is like night and day.

Morris Hayes opens “Cissy Strut” with plenty of power, but it is the Mike Scott guitar break that grabs all the headlines here. The rest of the band becomes yesterday's news as Mike weeps and wails, dips and dives, writing an array of emotions with his fingertips. It is only short, but it is a fitting digest of all he does well.

“Hotel Blues” is another unreleased song written by Prince and sung by Marva King. As its only live appearance, it should command attention. However, it doesn’t initially grab me, there is no rush of intensity and it is a laid-back jam that offers no deep groove or fiery statement of intent. It isn’t unpleasant on the ear though, and I do find Prince’s piano playing worthy of a closer listen – if only the mix was slightly better and more balanced.

 

There are no surprises with “Kiss,” it could have been lifted from any show in the 1990s. The performance is mostly positive, but there are a couple of negatives. There is rather too much shouting and chanting for my liking, and in the moments in between when the song is playing the audience is again very vocal on the recording. They aren’t negatives, indeed they are a big part of the live experience, so I can’t complain about them being on the bootleg. These shows are after all for those in the room at the time, not us listening on a bootleg years later. The concert ends in this way, with Doug E. Fresh chanting and singing with the crowd, entirely representative of the show in general.

A very short concert and I can understand why Sabotage chose to pair it with the Denver gig. Of the two shows, the first disc easily outshines this one. This recording is of poorer quality, Prince is largely absent from vocal duties, and while I greatly enjoy Marva King, I can’ say the same about Doug E. Fresh. If it wasn’t part of a two-concert set I wouldn’t listen to this at all, but as a completest, I am pleased it exists, especially for the performance of the two unreleased songs. A curiosity, but far from a good listen.

Detroit 13 January 1997

 

The year is 1997, and four years on from his last concert in 1993 and things have changed. Prince has changed, his music has changed, and recording technology for bootleggers has evolved. This week's bootleg is again an audience recording, but it sounds considerably better than what we have heard in the last few weeks. It has more depth than what we have previously heard, and even if we still have heard some rumblings from the audience, it is still a much more pleasant and satisfying experience. The music Prince is presenting is a happy medium between crowd-pleasing favorites of his colorful past and his current studio output at the time. I haven’t visited this period for quite some time, but I can see from the setlist that I will be listening to some material that doesn’t perhaps get as much praise as it should, and a few of my personal favorites that I haven’t heard for a while.

13th January 1997. The State Theatre, Detroit

The first screams we hear on the tape suggest we may be in for a crowd-heavy recording as per the Detroit show of 1993, but things quickly quieten as we settle into “Jam Of The Year.” The depth of the recording pays immediate dividends with the jam nature and pure groove of the song highlighted in the solid bass and some sparkling keyboard work. The live performance sizzles far more than what we hear on the album version, and this is a good opening number to get the Detroit cooking, and the bootleg off to a fine start.

There is an organic transition to  “Talkin’ Loud And Saying Nothin’,” the song a natural pairing to the previous “Jam Of The Year.” The band continues to stew in this type of jam, and although the crowd never boils over, they are warming up. The tape remains an easy listen, giving this recording an immediate edge over the other Detroit concerts I have listened to.

“Purple Rain” comes as a melancholy postcard from the past, its previous glory faded and tatty against the smooth sheen of the opening numbers. Even with its revamped and muscular guitar solo, it still feels like a song that is too weak to scratch the surface, and rather than digging deep under my skin and injecting some raw-edged emotion it instead leaves me feeling a sense of loss for a more emotional and engaging Prince.

 

All is forgiven with “17 Days.” It’s not the Revolution, and it’s not 1984, but it’s a close enough facsimile of the beloved funk classic for me to buy it. Some choppy guitar and swirly organ lift it to a late 90’s sound, while the rhythm section keeps us firmly in the Purple Rain era. It’s kept short enough that I don’t dwell on nostalgia, and that’s a good thing as it keeps the concert moving forward and focused on his newer material.

Although the opening of “Get Yo Groove On” initially has me interested, there is not enough meat on the bones to hold my attention, and despite the appearance of “Six,” the rest of the song remains devoid of anything to latch onto and enjoy. I could get my groove on listening to it, but it isn’t a demanding dish and slides by without making a lasting impression on me.

“The Most Beautiful Girl In The World,” loses some of its beauty in this recording. Listening to it is like seeing a beautiful woman without makeup, recognizable enough as a beauty, but not as striking as we have become accustomed to. I usually derive pleasure in the sharpness of the band for the mid-song break and re-entry, on this bootleg I find it tiresome and breaks the flow. Maybe I am particularly grumpy and tired tonight, but this time it just doesn’t work for me.

The extended treatment is bestowed upon “Face Down,” and this gives us plenty of time to indulge ourselves in the pure pleasure of Rhonda Smith’s bass. Rumbling angrily beneath for most of the song, the final minutes see her break cover to “play that motherfucking bass,” in one of my favorite moments of the concert. It’s undone a little by the recording, but there is enough fleshed out there for me to put myself in the moment and the arena.

 

“The Cross” retains its fierce intensity despite its somewhat pared-down sound on the recording. I do hear a storming version, but due to the tape, it does sound one step removed and not quite as upfront as I would like. There is no doubt that it is the final guitar frenzy that holds the most interest, and several whoops from the crowd suggest that this may be one to watch as well as to listen to. However, we only have this audio recording, so that is merely surmising.

The inclusion of “One Of Us” is timely, and a nice companion for the previous song. It comes neatly packaged, Prince’s forceful guitar line the hook that adds a sense of drama and show to the moment. Without that it remains firmly Joan Osbourne’s song, but as Prince lets loose later in the song he makes a strong claim for the song as he briefly turns it into one of his.

The seduction suite is next on the setlist, a medley that contains “Do Me, Baby,” “Adore,” “Insatiable,” and “Scandalous.” The opening line of “Do Me, Baby” brings a roar from the crowd, this is what the Detroit crowd is here to see. Prince gives a surprising rendition of “Do Me, Baby” opening with a couple of minutes of intense and lusty guitar that sets the mood just as much as Prince’s lights-down vocal performance. The vocals arrive long past the five-minute mark, by which time I am wondering why I don’t play this a lot more than I do, it is a performance to speaks to me in the raw language of love and music. The other songs in the set don’t get long in the sun, “Adore” rolls quickly into “Insatiable,” “Scandalous,” and a single line from “How Come You Don’t Call Me Anymore” before Prince bookends it all with another verse of “Do Me, Baby.” Just when I think it can’t get any better Prince unleashes several of his screams of passion that mark this out as the best song on the recording.

“Sexy M.F.” is loud and proud, especially the guitar that greases it in the first minute. I’m not totally convinced by Prince’s rapping, but the funk and sing-a-long chorus is more than satisfying and this is just the song to bring the concert back to full speed after Prince’s dip into velvety seduction in the previous song.

The wheeze of the organ at the start of “If I Was Your Girlfriend” has me hoping the rest of the song will go the same way, but the recording undoes this heavy oppressive curtain of keyboard with its mix that brings the bass to the fore, leaving Prince’s vocals and Morris Hayes keyboard too far back for my tastes. Not that it matters too much, after all this is still “If I Was Your Girlfriend” we are talking about, and the song still stands strong as its own man in the setlist.

 

Prince teased earlier with a single line from “How Come You Don’t Call Me Anymore,” and here he returns to the moment. He may be alone at the piano, but he certainly isn’t alone with his vocal performance as the Detroit crowd out-muscle him on almost every line. Prince rides the song and the audience throughout, the song never quite settling as it passes back and forth between Prince and the audience.

The double pop punch of “Take Me With U,” and “Raspberry Beret,” hit the right notes with the audience again, and they are more vocal here than at any other point of the concert.  As jaded as I am by this combination, I can’t help but be energized by the Detroit crowd's embracement of the songs, and a youthful glow descends upon me as I listen.

I want to get on board with “Mr. Happy,” but on this recording, I just can’t. There is a power in the bass that I am drawn to, but the bulk of the song remains beyond my reach with the recording negating some of the power. The Detroit crowd does save the moment for me, their chanting of “If you’re 18 and over, I wanna bone ya” has me laughing out loud and enjoying it for what it is.

“Somebody’s Somebody” was only ever played occasionally in concert, and that s a shame as listening to it here brings delicate beauty to the concert after the brutal “Mr. Happy,” “18 And Over” combination. It does sound very much of its era though and roots the concert firmly in 1997. It has an easy glide to it, only gleaming at the last minute as Prince burnishes it with a light guitar solo.

“The Ride” rolls in with an easy gait, the first minutes merely a deception before Prince brings it to a climax with his guitar flickering before bursting into a scorching solo. It doesn’t contain any surprises but is a good demonstration of Prince building solo up from nothing into epic proportions, and I am more than happy to wallow in his indulgence.

 

The tempo increases with “Sleep Around,” a song that runs on a groove and very little else. Whatever else there is to the song is lost as Prince strips it down mid-song, providing the Detroit crowd another chance to fill the void. I want to like it more than I do, but there just isn’t enough there for me, and even as it runs to five minutes I find it leaves no impression upon me.

The final song of the night is “Johnny,” a song that sounds neutered in this context, especially in comparison to some of the renditions in previous years. I do warm to the piano lines, but overall the final two songs make for a weak ending to what has otherwise been a good concert. There is no doubt that “Johnny” is a great song, but to my ears, it works better at one of Prince’s late-night after-shows, rather than a closer to a main show. The one good thing about it is that it ends the concert with the crowd chanting “N.P.G. in the motherfuckin house,” something guaranteed to always get a smile from me.

A highly enjoyable concert, this one did lose me in the final minutes. As with previous bootlegs coming out of Detroit, the crowd certainly brings the best out of Prince as he provides another show full of vim and vigor. It is easy to overlook 1997 when there are so many bootleg gems from the 1980s, but I recommend this as a solid audience recording that provides a tidy snapshot of where Prince was at that time.