I am currently in Tokyo for a month visiting my wife’s friends and family. To celebrate this fact (and to avoid going shopping), the next few weeks I will take a listen to some of Prince’s live recordings from Japan. Today I will start with an unusual concert from Yokohama in 1992. It is an one off show at the Glamslam club, but what makes it unusual is the setlist that is a standard run through of songs that we would expect at an arena show. This is an audience recording, with a slight distortion just perceivable, yet I like it for the songs, and the general vibe of the show. There is a great feel to the performance that lets me temporarily forget the sound quality.
6th April, 1992. Glam Slam, Yokohama, Japan
I didn’t expect much when I saw “Daddy Pop” listed on the packaging as the first song, and the feeling doesn’t change as the quality of the recording is revealed in the opening seconds. However, it is a bright and breezy performance that wins both me and the audience over. Rosie is monumental, but there is much more to this song than just her. The band is playing with an easy touch that has the song flying along, and with the crowd lending their infectious voices to the song it most definitely has a joyous vibe.
There is no cherry on top, but there is “Cream” and it envelops the club and bootleg, Prince at his very smoothest as the band flow through the performance. There is no sharpness, or jagged edges, just the constant forward movement provided by the buttery guitar line, and Princes sticky-sweet vocals. It is easy on the ear, and I am completely prepared to over look Tony M’s barking that comes loud across the recording. It ends with the syrupy guitar line that has carried most of the song, and I am satisfied with this sweet treat coming so early in the performance.
Rosie puts her cards on the table with “Chain Of Fools,” and comes up trumps with an ace performance. I didn’t fully appreciate Rosie when I was young, but I do now and her vocals early in the song are the exact reason I rate her as highly as I do. Strong, yet warm and inviting, it is hard to resist her sumptuous voice, and I am drawn in from the start. She does step aside as the song becomes a jam, the horns and guitar providing lines that keep the song on track with their train-like rhythm. Taking this song with the previous “Cream,” the concert already rates highly in my opinion, and we are only three songs in.
There are only two minutes of “Let’s Go Crazy,” but it is two minutes too many for me. It is during this song that the limitations of the recording are readily apparent, the guitar distorting at times, and a incessant buzz. It is equally jarring to hear “Let’s Go Crazy” in this company, after several smooth funk songs (and one straight after) it feels wedged it and detracts from the show rather than adding anything to it.
The smooth funk I alluded to returns with a greasy sounding “Kiss.” With the guitar line sounding almost like “Sexy M.F.” it has a classic funk sound, and is all the better for it. It may not be one for the purists but there is no denying the funk of it, and with the horns adding just a tinge of brassiness I rate it highly.
I like “Jughead” (I never thought I would write that) because it opens with a verse from “Dead On It.” The rest of the song I could take or leave (mostly leave). Tony M is quite forceful in his delivery, which tends to drown out everyone else. However, Rosie holds her own with the moments she is given, and as always it is the slippery rhythm guitar that I am really attracted to. I have to admit, I do enjoy Prince’s rap – for no reason other than I guess it’s one of those days.
The band is back in the groove for “I Got My Mind Made Up (You Can Get it Girl). Much like many of the other songs at this performance, it is smooth funk jam. I have heard this song at several other concerts, and this one is different from those in it’s easy long groove. There is very little singing as the band ride the rhythm from start to finish, unswerving in their dedication to the funk. There may be a couple of solos, but never once does the attention waver from the underlying feel and rhythm.
I could say the same about “Call The Law,” if not for Tony M’s heavy delivery. Rosie matches him for power with her vocals, but it is the guitar that steals the show with an burst early on that makes any vocal work irrelevant. Again, the recording is less than stellar, only the guitar stands proud among the swampy sounds of the verses. I do like the funky intentions of the band, sadly let down by the recording, and shaded by a guitar player who stands head and shoulders above all those around him.
There is a lot of swing to be heard in “Kansas City.” I have heard Boni Boyer sing this plenty of times, but for my money Rosie Gaines does just as good a job. The recording isn’t quite good enough to contain her, there is a slight distortion on her vocals as she is at her strongest, she is just too powerful for an audience recording.
The highlight of the bootleg for me isn’t all these funk tunes, but the divine “Do Me, Baby.” After listening to Prince seduction ballads for thirty plus years, I have come to the irrefutable conclusion that this is his finest. In my opinion, and it may well be an unpopular opinion, it eclipses even “Adore.” This recording is much more sympathetic to a softer song like this, and Levi’s guitar lines are just as emotive as the vocal performance by Prince. I find myself writing every week that “Do Me, Baby,” is the highlight of whatever show I am writing about, and I’m going to say it again about this concert. It towers over all the funk jams, making them lightweight in its solemn and earnest delivery. It is yet another outstanding rendition of one of Prince’s masterpieces.
I want “Gett Off” to finish the show like a punch to face, and although all the key elements are in place it lacks the killer blow that I desire. Prince’s gutsy guitar line elicits squeals of delight from the crowd, but this is the only moment where the song sounds dangerous and edgy. The rest of the song drifts along, even the drum beat sounds half hearted and weak. It is still likable, but it never threatens to reach the heights of the songs earlier in the evening.
So ends this curio from 1992. I wouldn’t recommend it based on the quality of the recording, but I would definitely recommend it based on the songs and the performance. It is a great funk workout for most of the show, and I think it nicely captures what this band was about, and lays down some of the groundwork for what will follow in the next couple of years. Avoid if you’re a soundboard snob, otherwise I would say give it a listen.
Thanks for reading, I better go be a tourist for a couple of hours