First Ave 1982 Revisited

Recently Mace2theO commented that this bootleg from 1982 was the equivalent to his first girlfriend. We all have a similar first girlfriend experience – she may have had braces and carried some puppy fat, but she will always be special by the fact she was the first and painted in nostalgic hues forever more because of this. It was our first proper relationship, and doomed to a crushing teenage ending, but always conjures up warm memories that do not fade as time passes.

I’m sorry Mace2theO, but  in this case your first girlfriend got around a bit. Not only was she your first girlfriend, she was my first girlfriend too. Mace2theO acquired this concert on cassette (and all the nostalgic currency that that carries), while for me I found this bootleg on CD hidden away at the back of the record store. It was far from perfect in sound quality but I can assure you that when I took a listen it shook me to my core, and the fact that 35 years on I am blogging about Prince bootlegs demonstrates how much of an influence it had over the rest of my life. Like that first girlfriend, it was a formative experience. I didn’t quite know what I was doing and I have had better relationships since, but retains a special place in my heart.

A couple of weeks ago the soundboard recording of this show became widely available. It’s not always comfortable when we meet ex-girlfriends later in life, a messy divorce behind them, a couple of kids under their arm, and the first signs of a drinking problem hiding behind their forced smile, but in this case my first girlfriend has grown up into somebody I want to spend a lot of time with. The roughness of the audience recording is gone, replaced with a shiny soundboard, all slender legs, short skirts and long luxurious hair. Oh yes, my first girlfriend is now the hottest chick on the block. She is has grown up in every way, while retaining all the charms that I first fell in love with all those years ago. I may have talked about this first girlfriend before, but now she is in full bloom and stirring up those old feelings in me. It’s not very often that I spend time with ex-girlfriends, but in this case I am going to roll back the clock and wine and dine this girl one more time.

So with my first bootleg love rekindled, lets douse ourselves in cheap cologne, grease up the hair, and head straight to the heart of 1982.

(all photos by Mike Reiter)

8th March 1982, First Avenue, Minneapolis

There is a heat between the thighs from the opening minute, a few quick words by Prince and then a rage of guitar pulled down by Dez. With a punk rock assault Prince and the band hang it all out in these first minutes with both power and panache. In a frenzy of guitar scuzz “Bambi” storms into the room. It’s a wild eyed performance that bounces of the walls in a maelstrom of fuzzed up guitar and shrieked lyrics, capturing the listeners attention from the start. It is much cleaner than the previous audience recording, and the soundboard brings the musicianship to the the fore while retaining the fierce sound of the more familiar recording. That first girlfriend has cleaned up her defiant punk-rock hair style, but still has a fiery intent in her eyes that hints at an underlying violence that could bubble over at any second.

“All The Critics Love U In New York” is the most Princely sui genius song of the evening, and clearly maps out the territory that he will roam in the next few years. It wears its uniqueness proudly, face melting guitar work grafted to the undeniable beat that appeals to both my gut and my feet. I am never quite sure if I should be dancing or punching the air, the music insisting that I move my body in any way possible as Prince gives us perhaps the greatest performance of this song ever recorded. The keyboard solo gains on this pristine recording, Fink’s solo standing out among the more forceful blazing guitar and holding his own calm centre at the eye of the storm. For a minute we are in another world, before the hurricane of guitar solos return and swallow up the all the sound.

There is a glimpse of the first girlfriend I used to know in the opening of “When You Were Mine,” both the title and the sound taking me back to youthful summers that were equally long and lost. It is easy to project these feelings back on a song that has been with us so long, but even at this show it has a nostalgic feel – although it was only recorded just two years previous. This is the most comfortable song of the concert, and captures the exact feelings that I first had when I heard it all those years ago.

There is a world of difference between the audience recording and this soundboard recording when it comes to “Sexy Dancer.” A far more nuanced performance emerges on this recording, and whereas before it was strident and bold, here it becomes much more of a sassy walk rather than a march into battle. Both the bass and the keyboard via for attention, each adding to a show that I am already eminently familiar with. While the bass remains holding the song together, Dr Fink spins off into an intergalactic sound with his keyboards, making me draw a sharp breath in the thrill of it all. It is Dez who gets to put an end to these flights of fancy, his solo serving as an exclamation mark on all that has come before.

Things slow, sex and lust temporarily forgotten as Prince dips into a song of love and yearning with “Still Waiting.” Prince is on lead vocals, but it is Sue Ann Carwell who is the star attraction with her contribution. At almost ten minutes long there is plenty of time for the candles of love to flicker and flame, and musically one can hear the lights being turned down as the song slows to a velvety and warm breakdown. In this circumstance it is grating to hear Prince saying “I got cause to celebrate, because my girlfriend died” but as Brown Marks bass rises up from this crushed velvet sea all is forgiven, and I am again transported away on the winds of Sue Ann Carwell’s voice.

The recording slaps me in the face and snaps me out of this reverie with a furious “Head.” On the previous recording it was nasty and slutty, on this recording it is far more sexy and erotic. While the audience recording sounded like a blowjob in the Walmart carpark, this one speaks in the language of fellatio and sex on the hood of a Porsche at a Beverly Hills party. The outcome is still the same, but it doesn’t threaten to be as dangerous, and despite some superlative bass work I am comfortable that when it is all over I won’t be visiting the clinic in the morning.

If there is a moment that demonstrates how much better this new recording is, it is the final minute of the “Head” when we can hear Prince preparing the band for “Sexuality.” We have heard his yell into the microphone before, but this time we can hear him say it a couple of times earlier to the audience. It’s not a big thing, but it does show just how good the sound is. “Sexuality” is relatively short, most of the song is given over to the audience sing-a-long that dominates. It does lose some of it’s impact on this soundboard recording, the audience recording obviously doing a far better job of capturing this moment with the audience. This is crying out for someone to combine the two recordings in a matrix mix that would better give us that electrifying live sound that makes this recording so vital.

Prince’s brief speech introducing The Time has been often discussed, and for good reason. His easy banter with Morris is refreshing, and its hilarious to hear him and Morris go back and forth, trading lines and barbs that belie the darker waters that swirl just under the surface. “Dance To The Beat” maintains this veneer of lightheartedness, and provides a pop twist to a show that has been thus far guitar heavy and drenched in intensity. There is a lift in the atmosphere and the recording shines bright for these minutes.

Prince continues to fire broadsides at the band between songs, this time with the comment “I didn’t like that, play something you know how to play.” The response from The Time is a taunt version of “The Stick” that would satisfy the most demanding of audiences. As much as I like The Time and this song, it does feel as if they have gate-crashed the date, and there is an awkward third wheel experience to hearing them on the bootleg. The real draw card though isn’t the music itself though, rather their dynamic tension with Prince, a tension that fuels his music and will provide some of his most dramatic work in the following years.

“Partyup” fuses these two elements together in a climatic finish that delivers all it promises. The opening talk between Prince and Morris sets the scene, the back and forth continues between them continues as Morris takes his place at the drum kit for this final stomp. Prince and his guitar lead from the front, but most fans will be focused on Morris and his drumming. He lives up to expectations, and the foreplay of the opening talk is forgotten as the the song becomes further arousing. Morris’s drum solo almost brings us to orgasm, but Prince pulls him back just in time with some great bass work from Brown Mark. The final climax comes with an inflamed guitar solo from Prince,but as with the audience recording there is coitus interruptus as the tape fades out, the rest of solo never realized and leaving us to only wonder what might  have been.

I have loved this concert for as long I can remember. I have grown older, but it has remained forever young, even with the imperfections of the long circulating audience recording. With this soundboard recording we have a chance to revisit our youth, and a chance to reconnect with that elusive first girlfriend. I have mixed feelings as I know that the first girlfriend is forever gone and never again will I listen to the audience recording. This new recording has created new memories and sparked a new love. It is time to move on and file the audience recording in my box of faded photos, yellowed love letters and yesterdays glories. I am firmly looking forward as with this soundboard recording I feel reinvigorated, my love burning with a new intensity. I have made up my mind, this is the recording that I want to spend the rest of my life with.


Bonus material:

Mace2theO messaged me this quickfire review when I told him I was covering this bootleg. It’s not written with public consumption in mind, but he has agreed that I could share it with you. I am in full agreement with everything he has written here, and he is far more succinct than me!

Re 82 – reasons the show is important to me, rediscovered with the SBDs

The First Ave show came the night after the main show at the Met Centre so going back to a small club, it has the feel of an aftershow. It is the first Revolution in all its glory, with Dez as a proper Keith Richards lead as the Black Rolling Stones, all pre-Purple Rain. Starting with a raw punk version of Bambi, it then goes into a monster version of All the Critics. While “Let ’em out of his cage” is great, my favourite is before Doc’s solo when Prince and Dez start soloing and Prince yell’s “Wait a minute, Dez” before ripping off a monster solo.

Sometimes audiences make the boot and I had been living with crowd singing at the end of Sexuality for so many years, it took me a minute to adjust to the soundboard. Same with All The Critics – without that kickdrum in your face, the SBD didn’t feel the power of the earlier version…although it sounds much better.

Most important – this is really the closest we will ever get the inspiration for the Purple Rain battle. Before all the controlling issues that came along in 83-84, you can feel the real affection between Morris and Prince (“We used to be friends”) – as trivia, it has the only time in bootleg history where someone gives Prince shit “You wanna borrow my comb?” Also history, as only time live Prince with Morris on drums.

I have fallen in love with my first girlfriend all over again – not looking forward to telling the wife

Detroit 1982

It has been two years since I listened to a recording from the 1999 tour. I know this because I wrote a blog post last time I listened to a concert from that tour. So, with that in mind, it is well overdue for me to revisit the tour. I have written disparagingly of the tour, and subsequent bootlegs, previously. Not that the shows themselves are bad, but when compared to the wider selection of bootlegs available they lack some of the sparkle of other eras. The 1999 tour doesn’t have the naked intensity of the previous Controversy tour where Prince and the band are playing with the blazing fury of underdogs. Neither do the shows have the unpredictability and rotating setlists that Prince will rely on later in his career. What we have instead in a neatly packaged show that runs just over an hour, Prince choosing to present the 1999 album in the most efficient form, rather surprising given that it is a sprawling double album. There is no extended guitar solos, no songs thrown into the setlist, and no chance for something spontaneous to happen. Yet, the shows do have their own charm, and when I first started to collect bootlegs I listened to them often. The concert I have chosen to listen to today comes from early in the tour and is slightly more interesting for the unusual appearance of “Head” and “Uptown”. It is also one of the longer shows of the tour, so while not entirely representative of the 1999 tour, it does present an unique listen. It has been a while since I dipped this far back, and I am looking forward to listening with fresh ears and reliving my youth.

30th November, 1982. Masonic Temple Auditorium, Detroit

From the very moment that the spoken intro of “1999” begins I  am swept up by the quality of the recording. The introduction is merely used for the beginning of “Controversy” and for the me the most thrilling aspect is the wonderfully crisp and clean scratchy guitar of Prince. The quality of the recording is astounding, after listening to so many audience recordings recently this really is bliss. The song is powered along by the rhythm guitar and the solid platform provided by the drums and bass, they really are rock solid. The lightness comes with the vocals of Prince and the women singing, it is a song of layered contrasts that simply works. It’s a great start to what promises to be an outstanding bootleg.

Things stay on the dance floor with “Let’s Work”. It isn’t as insistent as “Controversy”, but there is no denying the groove that it has and like the previous song it keeps the show moving briskly along. The synth squiggles provided by Dr Fink give it a lift and with the rest of the keyboards it floats much easier than “Controversy”. The brief guitar break by Prince reeks of his purple touch, and paired with another keyboard solo it lifts the song far beyond what is heard on album.

The hit of the moment comes with the synth rise and fall ushering in “Little Red Corvette”. I do enjoy this version, but to be honest it is played straight down the line and the difference between this live version and studio arrangement is barely perceivable. Sometimes a good song is a good song, and it doesn’t need anything extra to make it work in the live setting. That is exactly what we have here, and although there isn’t anything new it is still every bit as good as anything else in the concert.

“Do Me, Baby” has an innate richness to it, and that richness is emphasized with the long chocolaty introduction that Prince lavishes upon it. One can almost hear the sweat dripping off him as the opening music hangs, stretches and draws out, teasing the listener in the promises it holds. We talk of music being timeless, or classic, and never has it been more true than in this case. It has a smoothness and soulfulness to it that could have come from anytime, one can almost picture Sam Cooke or Marvin Gaye singing the same song. The rest of the song lives up to all that it promised and the following minutes are some of the finest seduction balladry that Prince has ever performed.

From seduction we need move on to something much more nasty – “Head”. It isn’t quite the barn burner I expect, Prince underplays the song and although the required funk is there it doesn’t get the time it needs to properly marinade into something substantial. Four minutes of “Head” is good, ten or eleven minutes would be better. It does,however, finish on a high with yet another outstanding solo from Dr Fink.

The second surprise comes with an rousing rendition of “Uptown”. This lifts the energy levels of the recording immensely and takes us back to the previous Controversy tour when Prince and the band where playing as if that had something to prove. It is short and vibrant, but it does herald in the second part of the show where the following five songs are played over an hour – giving you some idea of how much more of a jam the latter part of the show will be.

Things start slowly with a relaxed rendition of “How Come U Don’t Call Me Anymore?”. It has an easy sashay, and is in complete contrast to the previous “Uptown”. Prince’s piano playing is the centre of attention, but even better is how much the song spotlights his vocals. Naked out on their own, one can hear the not just the range of the vocals, but also the inflections and character he sings with. He is able to channel plenty of personality into his vocals and this carries the story just as much as the words he is singing.

The coolest song of the set is “Lady Cab Driver”. It is one of the key songs that attracted me to Prince, and this performance lives up to all my expectations. There is a driving groove that is sharpened by the rhythm guitar that brings it into sharp focus. Prince’s vocals sit in the background, it the the funk of the song that is important, and nothing gets in the way of that. Dez may provide one of his trademark rock solos, but the song is pure groove and continues on in its own way all the while he is playing. The second half of the song is sensational with Brown Mark coming to the fore with his bass warm and full, while the guitar continues with a chug – upping the intensity from the smooth first half into something that is forceful and demands attention. It is a firm pointer to the longer jams that Prince and the band will play in future, and couldn’t be further from the neatly packaged songs played earlier in the concert. I can’t emphasis enough, this is the strongest song of the set and I would happily pluck it out for any mix tape I was putting together.

“International Lover” is good, but I have an urge to return to “Lady Cab Driver” a few more times. It is played to the hilt as the seduction piece it is, although Prince does tend to go over board with the cheese in this case. I like the music, and the overall sound, but I can’t get past the nutty things Prince is saying. Tune out the words and it’s a masterpiece, with the words it is a giant piece of cringe worthy cheese. That would be fine if it was only a few minutes, but we we have here is ten minutes of Prince laying it on thick, almost (but not quite) ruining the moment.

The opening fanfare of “1999” washes away a lot of this and as soon as the vocals begin all is forgiven. After listening to so many abridged versions of late it is refreshing to hear a full unadulterated version, Prince playing it as it was meant to be heard. The synths have more time to fill out the sound with a dense curtain and there is plenty of vocals to be heard all over the track. They are easy to hear on the soundboard recording, and one can admire that every member contributes to the band and to the highest standard.  The final minutes the song descends into a guitarfest that has my inner rocker all a flutter and by the final flurry and howl I am completely in my element.

It is “D.M.S.R.” that finishes the show, and what a way to finish. There has plenty of dance and funk on display already in the show and once again Prince and band deliver a platter of funky treats. The bass that moves the feet, the rhythm guitar cutting through, synth stabs that punctuate and accent the beat, and lyrics that you can’t help but sing along with (rather loudly in my case, I’m afraid). It is the synths and guitar that take control of the song and they drive it strongly though the final minutes as the music spiral ever upwards. This brings us to the end of the concert and it ends as it begun – with the spoken “I don’t want to hurt you, I only want to have some fun”, before the sound of an explosion puts an exclamation mark on it all.

I find my feelings on these types of shows are often the same. I say that the show doesn’t really appeal to me and is rather staid, then once I start listening I find the thrill and excitement sweeps through me and I am just as enamored by it all as I have always been. This bootleg can’t be, and shouldn’t be, compared to the long freewheeling shows of the 90’s and beyond. It doesn’t come close to the quiet intensity of an after show, yet this concert was just as enjoyable as anything else I have heard recently. This is the Prince that I first fell in love with all those years ago, and these concert reassert those feelings. A short and sweet concert that barrels quickly through the essential songs of the time, this is always going to be a bootleg we can return to again and again.

Thanks for reading,

San Francisco 1982

There have been two new releases recently and both of them are covering the same show. It always gives me a warm feeling when new soundboards surface, and this week has been a very good week for me. I have not heard the Eye records release, it is more complete than the 4DF release, but I have to say the 4DF release has a great cover, even if the show itself is not complete. I was going to wait for the Eye records release before I blogged about it, but to be honest patience is not one of my virtues, so I am going to give the 4DF release a listen in meantime. The show itself is not new to me, I have heard an audience recording, but nothing can beat that pristine sound of a soundboard recording like we have here. I am looking forward to a heavy dose of nostalgia and plenty of energy from this show. It’s a beautiful summers evening here, all the doors and windows are open, a cold drink in my hand, and the stereo cranked up, I am definitely in the right mood for this one.

14 February 1982, San Francisco Auditorium

This particular recording is missing the opening with The Second Coming, but that doesn’t concern me too much as we get right down to it from the start. The set lists from the Controversy tour don’t vary too much, so there aren’t any surprises when the first song is Uptown. I was wondering if I would feel jaded listening to a recording from a tour I know so well, but any reservations are well and truly laid to rest when that glorious clean soundboard recording is heard.  The sound leaps out of the speakers, and Princes youthful enthusiasm is evident for all to hear. Uptown sounds great, and one of the things that strikes me most is the bass sound. It’s not deep and heavy, but it has a fantastic popping sound to it, and the recording captures it perfectly. I like that the sound is much more even on this recording, and no one instrument dominates as you often hear on audience recordings.

Prince Controversy 2

After a short Uptown Prince calls “Are you ready” in his full sounding, deeper speaking voice and we spin off into Why You Wanna Treat Me So Bad. The guitars seesaw behind him, and again I am struck by the balance of the recording, they are well behind his voice, and never too loud. I must say, Prince is sounding on top of his game, and his voice is playful and strong. As the guitars start their soloing there is some excellent bass pops that the recording picks up, and I am thankful I can hear this as it was meant to be heard. Prince calls “John!” right before the second section of the solos, I don’t know who it is directed at, or what it is about, but after listening to hundreds of bootlegs like this I sometimes find myself wondering about little moments like this. The song ends with a coda from Prince, and for me this is the real highlight. It’s not a howling guitar solo, just some fun licks on his guitar for a minute, but it adds to the sense of youth and playfulness.

When You Were Mine elicits no surprise from me, and again I rejoice in the quality of the recording, especially when I hear Prince’s vocals and every inflection in his voice. He sings, he speaks, he pouts, he emotes, and I can feel the whole performance through the recording. There is more playfulness near end of the song as Prince plays guitar runs and speaks during the breakdown. He draws it out, and I almost find myself screaming along with the ladies in the crowd. His voice is teasing and fun, and he backs it with guitar playing that sounds similar in nature. We are three songs in, and already I have decided that this is my ‘go to’ recording for the Controversy tour.

Prince Controversy

This thought continues as I Wanna Be Your Lover begins, it sparkles and shines, and it too has a youthfulness to it. The vocals of Prince and Lisa are bold and loud, the whole song sounding very strong throughout. I appreciate it for what it is, but being the fan I am, I am already anticipating the song that will follow.

Head is the centre piece of the concert, it runs for 13 minutes, and is everything you could possibly wish for.  The guitar is slippery, the keyboards heaving, and the bass and vocals are both dirty sounding. Like everything else on this recording, the balance is perfect, and there is many small details for me to enjoy as I listen close. I love the vocals of Lisa, as well as Prince. The energy of the show is very apparent, and as I said earlier, it really does jump out of the speakers at me. I don’t get the nostalgic feeling at all, it still sounds fresh and new to me, and I feel younger just for listening to it. I decide not to bother writing anything at all as the singing stops and the bass and guitar take over, it’s all too good and I want to wallow in the sound of it. Needless to say, it doesn’t disappoint at all.

The keyboards of Annie Christian gain a lot on this soundboard recording, they sound brighter and louder, while the guitar is more in the background. Prince’s vocal performance is energetic and the song itself gathers a lot of momentum as it goes, and there is a great release when Prince starts his guitar break. It’s only the last minute of the song when the guitar is more to the front than the keyboards, and I am enjoying the mix of this recording just as much as the performance itself.

I wonder how Dirty Mind is going to go, on some other Controversy shows it is the highlight for me, here we have had many highlights already and I wonder how it will compete. It gets off to a good start with a slightly longer intro, and Prince sounding more relaxed as he begins to sing. I don’t have to tell you, it’s energetic and lives up to my expectations. Prince’s “Somebody say yeah” shouts add a sense of urgency and energy to it all, and I really get a kick out of it when Prince asks “Does the groove feel alright?” I like that I can clearly hear Bobby Z play on this, and indeed I can everyone very well, it gives me a lot of new things to listen for.

It’s game over as Do Me Baby begins, seriously I am just about to turn off the lights and start some ‘night manoeuvres’ as it plays. It doesn’t have a long intro, but Princes vocals more than make up for it. It’s easy to forget that he is playing for 8000 people at the show, his vocals are dripping with lust and emotion, and the crowd is feeling it too as he stops and lets them sing a few lines for themselves. I would love to see this performance as well as hear it. Prince ad-libs mid-song, using his “Do you believe in love at first sight, do you believe in making love on the first night” -lines that I normally associate with Dirty Mind. The song runs for nigh on eight minutes, and I have already mentally filed it as a song I must revisit again soon.
Prince Controversy 1Controversy lacks the intensity of the previous half hour. The song is tight so I can’t fault it in any way, however it does feel like a step down from what we have just heard. I think it’s because I can’t hear the guitar as strongly as I like, and it’s very much a keyboard driven affair. I do hear the funky guitar later, and its sharpness adds some shape that I was missing earlier. It gets even better for me at the five minute mark when the guitars come right to the fore. Prince still sounds like he’s having a great time with his vocals, and the song ends on a high.

The 4DF recording ends with Let’s Work. Prince works the crowd, and there is lots of interaction between Prince and the band, as well as the audience. It’s a difficult song to sit and listen to, I feel music just as much as I hear it, and when I listen to this I have a strong urge to get up and dance. The bass and drum combination is tight as you might expect, and the wonderful thing is you can hear their interaction and togetherness clearly on this recording. There is a long breakdown in particular where they hold the groove down, and there is plenty of time to enjoy their talents. Listening to it here you can also hear how much of a horn line the keyboards are playing, it’s very easy to imagine those lines as horns playing, and you can see Prince is making the most of what he has available to him in terms of instruments and personnel.

Prince Controversy 4

My very first bootleg was a recording from the Controversy tour, and it’s still a favourite to this day. I never thought I would hear another show from that period that filled me with the same sense of enjoyment and energy, but this recording proved me wrong. This is an outstanding recording, the songs may not be new to my ears, but the quality of the show is very high, and a lot of things gain an extra dimension when I listen to them in soundboard quality. I have heard many shows, and now when I listen to bootlegs I find it’s the little things I notice and enjoy most, and having a show in this quality there is many little things that I pick up and enjoy. 33 years after the fact this recording is just as exciting as anything I heard when I was a teenager. I am hoping the full show on Eye records is every bit as good as what we have here.

Thanks for reading





First Avenue 1982

It blows my mind that this gig was recorded just five weeks after the Passaic gig that I listened to the other week. It’s got a completely different feel to it, show cases new material, resurrects some old material, but as always features some outstanding musicianship. Such is life in the world of Prince, things change pretty fast. This gig was recorded at First Avenue, between Controversy and 1999 tours, and yet it doesn’t really sound like either one of those tours. Most of the material played here does not appear on either tour, and the band has a chance to play out and really jam on some songs. As I seem to say every week, this is one of my favorites, and I can’t wait to write about it.

-Please note, none of these photos are connected to the gig. They are just a few nice ones to give you something to look at between all the words.

8th March 1982, First Avenue, Minneapolis

I have listened to this gig so many times that I can recite the opening lines from the top of my head. After a brief prelude Prince opens the gig by telling the crowd that “This is not a concert, this is a dance, if you can dance to stuff, you’re a better man to me. The only reason we’re here is that there is no place else to go”. Bambi starts and it’s heavy right from the go. I know Bambi is always a heavy guitar driven song, but here it is even more so. The guitars’ don’t let up at all, even during the verses, and Princes vocals struggle to get out above the din. You can hear him fine, but the guitar noise and band are very rowdy and wild. There is a great heavy guitar chugging underneath and some wild guitars over the top. It definitely has a garage band feel to it, but a very talented garage band! Dez’s playing is excellent, as is Princes solos over the top. I have heard plenty of great versions of Bambi, but this one tops them all. It’s a fantastic way to start the gig, and already I feel breathless by the end of the first song. Prince does some guitar noodling after the bulk of the song, before the band enters for a final onslaught to finish.

prince 2

A steady beat, then the now familiar keyboard run of All The Critics love You In New York begins. Prince intones “This is a new song, probably won’t be out for another year or six” The steady beat goes on for a very long time before Prince begins to sing, and in that time there is some grinding guitar flashes. The sound is, obviously, much more heavier than on record, and it has a darker feel to it. The guitar is much dirtier sounding, and much louder. Prince is not as restrained as he sounds on record, especially as he sings “look out all you hippies, you aren’t as sharp as me” But mostly the song isn’t about the vocals, it’s very much a guitar song, with plenty of guitar played over the beat. It sounds great, and I can only wish that I could have been there. The guitars pull back for a moments, and Prince asks Dr Fink if he wants to solo. He duly obliges while Dez calls for a drink. The keyboard solo is fast, yet delicate. Sounds very good and clean. Prince then asks Dez, “Did you get your drink?” Dez responds yes and Prince asks does he want to play, then with a yell “Let him outta of his cage!” Dez plays a fantastic solo. Completely different from what Prince would come up with, it has a heavy rock sound about it. Its short, but very rock orientated. The guitars stay low for a bit, and the song sounds much more like what it does on album. The song only lasts another minute or two after this before it ends with a synth howl.

Keeping in tone with the evening so far, the next song is a guitar heavy When You Were Mine. There is more lead guitar on this then we normally hear, and it’s an interesting arrangement. The rhythm guitar sound that normally drives it is absent, and instead some long mournful notes on the lead guitar replace it. It’s still as upbeat as ever, but it does have a more rock sound to it. Dr Finks solo is more familiar territory, and after this the more familiar rhythm guitar we are used to returns. There is a break, with just Prince on his guitar and the crowd clapping, and he stretches it out for a couple of minutes like this. I like it here, when he sings a few lines, then knocks out the rhythm for a bit while the crowd clap along. The band all jump in back in for the final verse before it all races to the finish.


After thanking the crowd “Give yourself a hand, that was some mean clapping” Prince and the band get funky with Sexy Dancer. It’s a welcome break from the guitar noise of the first few songs. I love guitar, but I also enjoy the variation that Prince gives us. Sexy dancer is full sounding, propelled along by the bass and drum, but there is plenty of playing over the top. Again Dr Fink plays a great solo, and it’s really stretched out, he plays for a couple of minutes on it. It’s very enjoyable, and as I so often do, I find myself in admiration of the skills of the good Doctor. Dez follows up with a restrained but loud solo. It’s in complete contrast to the solo that Dr Fink plays, and yet complements the song well. The song ends with a Dez solo, and there is a pause in the action.

Prince tells the crowd he wants to play a slow song if they want to go get a drink. He calls for Sue Ann, and then plays Still Waiting. The recording still has a garage band sound to it, which doesn’t really suit this song. However Princes vocals sound very good, especially harmonizing with Sue Ann on the chorus. It’s in the quieter more delicate moments of the gig that the limitations of recordings like this are exposed. The song itself is very good, as we have come to expect from Prince, but I would want to hear a better recording of it. There is some very nice vocal work from Prince here, and some great interplay between him and the backing singers, especially in the breakdown. There is one weird vocal ad-lib from Prince, when he tells the crowd ‘I got cause to celebrate, because my girlfriend died” I didn’t notice it for years, but I can’t help but to hear it this time. Sue Ann gets a moment to sing solo, and she is remarkable good. She’s not the most distinctive singer I have ever heard, but she is nice and strong. Prince responds with some of his shrieking and screaming before the song comes to an end.

Prince 4

There is a pause, and then the band plays a heavy and slightly quicker version of Head. It’s not as dirty or nasty as I have heard elsewhere, but the guitars are nice and strong, and I do enjoy the grittiness of this recording. Prince lets the crowd sing a lot of it, choosing to sing every other line himself. The recording doesn’t pick up the crowd singing very well, but if I had have been there you would definitely of heard me! After the first verse there isn’t much singing, mostly a lot of keyboard, solos and groove. It’s not a bad thing at all, and I like it very much in this way. Prince picks up the mic for some more singing, but again he only sings every other line, letting the crowd fill in the spaces. Dr Finks solo is excellent as always before the music pulls back for a breakdown. There is some very enthusiastic singing of head from the crowd, as always, and then some nice funk guitar from the band. It then descends into the usual guitar solo and keyboard sounds that we have heard so many times before.

A couple of beats and Prince calls “Read my lips, Sexuality”. Things really take off here, the beat jumps up, and after several screams from the man himself the bass and scratch guitar jump in. It’s played fast, and the drums and bass provided a great energy. This song is a favorite of mine, and it’s a shame there is not more live recordings of it out there. As with the other songs, the sound is very full, and all the instruments are battling to be heard. The six band members sure do make a big noise! The bulk of the song is over before I know it, it was fast and furious throughout. The band all pull out, except Bobby Z, and Prince sings Sexuality as the crowd claps along. The crowd then takes up the singing of sexuality, while Prince takes a break. This section goes for as long as the main song itself, and it sounds as if the crowd is having a great time. Prince finishes by singing “Never let it be said, white folk ain’t got no soul”.

Prince 1

Prince tells the crowd that they are going to take a break, and then the Time plays a couple of songs. The recording covers the bands changing over, and it takes some minutes, with plenty of banter while it happens. Especially funny to me is when Prince tell the crowd “We share the same management, and they say they gotta play too”

The first song they play is Dance to The Beat. It’s up tempo, and fun, but it comes and goes before I can properly register it. It does sound like it would have been good to be there, but on the recording it doesn’t do much for me.

Much better is The Stick. The bass and the keyboards have a deep groove and the over all sound is something I really enjoy. This is The Time that I like the most. Jimmy Jam and Jesse both solo, before Morris calls for a mirror. The classic Time that we all know and love is in full effect.

The song ends, and Prince asks Morris if he can still play the drums. Once again there is plenty of banter, as Morris moves to the drums and Prince is running things again. They then play an enthusiastic version of party up. The band sound nice and loose, as does Princes singing. Again, it’s a sense of fun that I get when I listen to this recording. Prince calls for a break down and the band find a nice groove while the crowd begins to clap along. Prince tells the crowd “Give the drummer some” and then Morris plays a drum break. It’s not overly cohesive, but it does fit with the fun of the gig. Brownmark brings things back with some nice bass playing, and then Lisa puts some nice rhythmic keyboard work over top. There is then some really fantastic sounding guitar solo played over the top but to my great disappointment the recording fades out here and ends.

Prince 3

This was one of the first recordings I ever brought, and I have listened to it many times over the years. In more recent years better releases of the same gig have appeared, and this has greatly added to my enjoyment of it. As I said earlier, I love the garage band sound of this, and the loose feel of the band. All The Critics Love You In New York is a standout for me, as is Sexuality. I was one very happy man at the end of listening to this.

Take care

Capitol Theatre, Passaic

I am very excited about today’s recording. I am going to be listening to Prince playing Passaic in 1982. What is really getting me excited though is I am watching this on a proshot DVD. Prince shows from this era are always very intense and enjoyable to listen to, but being able to see it as well as hear it adds so much more to the experience. I love the music, but I want to see the performance, see the dancing, see the funk face, see the band, see the moves, see the interaction on stage, see the audience reaction. Today I get all of that-let’s go!

30 January 1982, Capitol Theatre, Passaic

The show opens, as they did on this tour, with the sounds of Second Coming while the stage is in darkness. A soulful a capella number, it acts as a nice counterbalance for what is to follow.

Prince Capitol Theatre

The band explodes after this with a very fast drum roll from Bobby Z, and plenty of Prince “Awws”. The first song is Uptown, which I suppose could be taken as Princes agenda at the time. The band have a raw sound, and with Dez on guitar a real rock presence. Asides from Prince, Dez seems to be the focus of a lot of what is happening on stage, and it’s great to see the interaction between him and Prince.

Prince Capitol Theatre (2)

Why You Wanna Treat Me So bad has an introduction that seems to ramp up the energy levels in the building. The crowd can be seen hands in the air right from the go. The song pulls back, and Prince delivers the first verse, looking dead cool in his trench coat. The chorus sees Prince hamming it up with the crowd, pulling faces to the side of the stage. He seems to be putting a lot into this performance, puling faces, and eyes at the crowd one moment, then closing his eyes and singing passionately the next. The guitar break is the highlight of the song, and sees plenty of play back and forth with Prince and Dez. The playing is great, and as he starts playing Prince gives an expression that says he knows how good he, and he’s about to kill it. Prince dominates this song with his playing and its just as good as anything else I have heard on the tour, but Dez and Brownmark aren’t forgotten- they move plenty around the stage, and they make themselves heard on the recording. The song ends with Prince playing guitar and accompanying himself on the keyboard, it’s hard to describe but he does do it- playing his guitar one handed, before band come on board for a final crash and the finale of the song.

Prince Capitol Theatre (4)

The nice electronic sounds of the keyboards introduce the next song, I Wanna Be Your Lover. It’s always a favorite of mine, and here is a very good version, the crowd is clearly enjoying it too. Prince loses his trench coat and guitar for it, and gives a nice performance. The song only lasts a few minutes, but Prince works the stage very well, giving plenty of attention to everyone. I have heard heavier more energetic versions, but this one isn’t bad. I was expecting the latter part to be played out longer, but there is only a minute of groove before Prince picks up his guitar and the band segue into Head.

Head sounds suitably nasty right from the start. The drums seem a little quieter compared to other recordings from the tour, but the sound of the band playing this great. It’s particularly good to hear Lisa’s vocals are nice and clear on here. There are plenty of cheers from the crowd, they are obviously enjoying it as much as I am. Do I need to mention Dr Finks solo? You know I love it! It’s so good to be able to watch him bobbing and twitching as he plays. Right after the solo, there is break down and Prince encourages the crowd to sing a long. It doesn’t take much, they are more than happy to yell “head!” The best is yet to come, and there is another break down and some great bass sound from Brownmark. Then over just the bass and cymbals Prince indulges in some very good guitar work. Not fast at all, but very loud and clear. The song then lives up to its name, and Prince his reputation, when he engages in some very sexual acts with his guitar. It sounds crass, but I love it, and I know that this is why the teenage me became a fan. The guitar sound here is sometime whiny, sometime rhythmic, and yet always interesting. Although it goes for sometime, I just don’t have the words to describe it. But watching this was the highlight of the whole DVD for me. It ends with an orgasm, both visually and sonically.

Prince Capitol Theatre (5)

Dirty Mind is bounces along very nicely. I really like the sound of Dez’s guitar on this one, nice and rhythmic. Watching it, it’s apparently the Bobby Z is putting a lot into his playing, and really seems to be pounding the drums. Prince too is giving it plenty and can clearly be seen sweating. There is a lot of motion, but the music is always first, and it sounds just as good as it does on record. Prince plays a little keyboard himself, which is always great to see. There is an interlude mid song, but its not as long or drawn out as I like, nor does it have the intensity I have heard elsewhere.

Prince Capitol Theatre (6)

The more I write about these shows, the more I fall in love with some songs. Do Me Baby is one of those songs. It’s gone from being a song that I like, to being a song I love. There is a nice introduction to it on this recording, and Dez plays some very nice guitar with Prince looking over his shoulder. The song is a great show case for Prince, and his vocal delivery is fantastic. I love every minute on this recording. His shrieks and yells are what really make it for me, and they sound crystal clear. The spoken parts really get the ladies in the crowd excited, but it doesn’t do anything for me. The song ends with him shirtless and sweaty, and the crowds are lapping it up. It’s not really my sort of thing, but I must admit he’s in pretty good shape!

Prince Capitol Theatre (7)

Prince dons the trench coat again as the throb of Controversy begins. The band play faithfully to what is heard on record, but that’s no bad thing, the song is pretty well perfect to me already. Brownmark gets plenty of shine on this one, and it’s nice to see him get some spotlight and play. Prince is back on the guitar by now, and playing with plenty of vigor. Again his showmanship is outstanding, and the performance is mesmerizing. I have heard this song hundreds of times, but I find myself watching this performance transfixed. The crowd is apparently enjoying it just as much as I am, there is a lot of very energetic dancing to be seen, and people loosing themselves in the music. For a bit I think the song may turn into a long jam, but it finishes up in good time.

Prince Capitol Theatre (8)

Lets Works begins with Prince dancing on the raised section of the stage before sliding down his fireman’s pole to deliver the opening lines. The trench coat is gone now, and the gig seems to change gear somewhat. The song gives Prince plenty of opportunities to dance, and he dutifully obliges. At this stage he was no great dancer, and often he looks like he is doing calisthenics rather than dancing, but he is passionate about it, and the music does seem to genuinely move him. The song is played for fun, and the band seem to enjoy playing this one. The crowd obviously picks up on this vibe, and there is plenty of dancing and singing along from them also. There is a fun moment mid song when Dez sings lets work several times from the central microphone before Prince pushes him aside to take up the singing. The song ends in darkness as Prince says thank you and good night.

Prince Capitol Theatre (9)

Half a minute of chanting “we want Prince” and the lights come back on. Prince delivers a sly “Do you want some more” and the band career into Jack U Off. For me Jack U Off was a quirky little song, that didn’t quite seem to fit on Controversy, but here in the live setting, it is brilliant. Prince doesn’t play guitar, all the furious playing is coming from Dez. . Dez sounded impressive on the recording, but seeing him play – he is even more so. Prince himself seems to love singing this one, he has a big grin on his face throughout the song. The song is very short, as it is on the album, but there is a lot happening in those couple of minutes. I love seeing the interaction between the band, and the end of this is great, Prince gives five to a couple of people in the crowd, before heading over the Dez for some more skin. Then he is back to the mic for his “If anyone asks you, who you belong to?” He has such a big grin by now, and the crowd yells and screams his name. A final crescendo, Prince waves bye and the show comes to an end..

Prince Capitol Theatre (10)

My final thoughts on the recording are very short. I loved it from the first second until to last. Not very objective, I know, but that’s the truth. I have heard plenty Controversy recordings where the energy and intensity could be heard in the music, but in the show that energy and intensity can be seen in all aspects of the show. As far as Controversy shows go, this one is a must have.

Take care

The gig that made me the man I am today

After my last post, my good friend Viv suggested that rather than choosing a random gig from the collection, I should select something that I recommend, or one that is special to me.Great idea Viv, I have just the very thing. Today’s gig more than covers both those options. This recording is special to me in many ways, and is the most played in my collection. It was the first bootleg I ever bought, and is still played regularly in my house.

February 28 1982, New Orleans.

WOW! This is it for me, ground zero .It is is the point where I went from being a fan to a fanatic. This gig blew my mind when I first heard it, and I am not exaggerating when I say it changed my life (my music listening at least). I had been a fan of Prince since I first heard 1999, but I had never bothered to go back through his back catalog. One day when I was 16 I skipped school for the day and went into town to visit my favorite record store (I hope my mother doesn’t read this). It would have been 1989. I was looking through the Prince CD’s, not really expecting anything new, just from habit. And there with all the regular albums I knew so well was another CD, with a strange cover I had never seen before. I had heard of bootlegs, but I had never seen one before. I was a little shocked by the price, it was twice as much as the regular CD’s, but the song-list was full of early songs which I had never heard before. I went home and got all my money together, and the next day after school I rushed into town and bought it. Because I had never heard a bootleg before I was unaware that they vary in quality, but I really got lucky with this one, a excellent soundboard recording of an excellent gig.

We used to have one stereo in the house, it was in the lounge. I wasn’t allowed to play Prince, my parents thought I shouldn’t be listening to this sort of thing, so I had to wait until later that night when everyone was asleep, then put it on quietly and listen in the dark. The sound that came out the speakers that night was so energetic, so real, so raw, I couldn’t help but be transported away by it. I felt a million miles from small town New Zealand.

25 years on and I still love to play this one. I listened to it three times writing this, and will probably listen to it another couple of times before I finish.


The recording begins with a long drum roll. You cannot imagine the excitement that fills me every time I hear this. Prince hits us with a few good “Awwws” then BANG the guitars and keyboards jump into Uptown. The music is instantly lively and accessible. Looking at the Controversy tour schedule, Prince and the band were playing almost every single night. This gig falls near the end of the tour, but they don’t sound the least bit tired or jaded. The music just leaps out of the speakers at me. The guitars and keyboard propel the song forward, as with most of the songs on this recording the music has a real feeling of moving forward. Prince himself seems caught up in it all and yells out “Whats up New Orleans”. It adds an urgency when he yells out between his singing, I especially like when he sings “are you gay?” then a couple of lines later yells “NO, is yo mamma!” Its so raw compared to the recorded version. I have to give special mention to the drums, they have a great electronic crash to them, it livens every song when Bobby Z comes in with his crash.

Prince yells “Are you all ready!” and we are into Why You Wanna Treat Me So Bad. Again we have the crash drum from Bobby Z and grinding guitar. The riff repeats a few times, and its very uplifting. The guitars and keyboard pull back for the verses and give Prince room to sing. It seems so quiet after the first five minutes we have heard. Prince speaks rather than sings the line “Ain’t that enough” and you can hear that its a real person singing the song, it adds just enough touch of emotion to it. It was songs like this that made me choose Prince over other music that was available in the 1980’s. Prince sings like he means every single word. This is another song I would like to hear make a come back on his set-lists. I think it would still work really well today. The guitar solos begin at the three minute mark, and at four minutes there is a very nice piece where one phrase is repeated over and over then the second guitar joins in. My ears love this sort of thing. There is a brief bridge, bit of a drum roll then Prince screams “that’s right, I’m crazy”, “Why you wanna treat me so bad -bitch!” and lurches into another guitar solo, this time a litter lower, and less frenetic. The song ends with Prince singing a capella “If I really did it to you good, if I really did it to you good, why you wanna treat me so bad” before all the band jump in for a a squealing guitars and drum finish.

The next song starts of simply with a basic beat and Prince imploring the crowd with “Hey” “New Orleans” “Hey”, then the classic new wave guitar and keyboard sound takes over and When You Were Mine Begins. I have always been a fan of these lyrics, I think here Prince nailed the perfect pop song. There is a very nice contrast between this song and the previous two. There is a lot more keyboard in this song, and it feels like a nice rest. In-fact there is more keyboard here than in the modern version. which is strange, because nowadays this is played as one of his more guitar driven songs. The guitars and keyboard play in sync a lot during this song, and indeed through the whole gig It gives a nice strong sound, and is one of the distinctive sounds of his songs at this period. and for the the record- I love it! Its very hard for me to write anything about these songs, I keep putting my pen down and just sit listening to the music. The song winds down with Prince quietly singing with just his guitar “All I ever wanted to do”……pause…..”Now I spend my time”…pause….”Following him where ever he goes” then the band joins in while he yelps ” When you were my babe, my babe, my babe”. I feel his pain.

The next song begins with a long synthesizer twinkle, spacey type sound. Prince dedicates this one to all the ladies – I Wanna Be Your Lover. The keyboard hook comes in, and its just too damn catchy, its going to be rattling around my head for the rest of the day. The backing singers chime in on the chorus with “Lover” and it just sounds so joyful and uplifting. I can’t ever imagine being in a bad mood listening to this song. The crowd sing a few lines from the versus and Prince gives them space to sing the chorus with the backing singers. Lisa plays a very nice synth solo, it has got an electric feel to it as well as an electric sound. The song transitions here, and feels a little darker and slower, it begins to slip into a nice groove with more bass and some funky guitar playing. A sudden synth stab and we enter new territory with Head.

I knew the reputation of the song head before I actually heard it. Hearing it here on this recording was the first time for me, and its one of my ‘moments’ when growing up! The beat on this song is sublime, and the synth is deliciously sharp and electric. This song is F U N K Y! The keyboard is everywhere, over and under the music, and the funky guitar is prominent. The whole song just reeks of dirtiness, griminess, and filth, its so dark and slinky. Just everything locks into the overall sound of it. The guitar,bass, keyboard and drums all sound just as dirty as the lyrical content. Dr Finks work on this song is legendary, and rightly so. Nobody plays the solo quiet like that, and its one the distinctive sounds of this song. Here, as always, he is brilliant and frantic. Prince encourages the crowd to chant “Head” and it sounds like they don’t need much encouragement to join along. There is some amazing funky guitar, I just find myself shaking my head and saying “wow”. Now, that wouldn’t be much of a review would it!

There is absolutely filthy guitar break, its just so dirty. A then another great stabbing solo. In the background the cymbals keep ringing along, it all contributes to the atmosphere of the song. This song is the center piece of the gig. It runs for 12 minutes, and for me it is everything I love about Prince, the funkiness, the guitar playing and the naughtiness. The song cuts back to just bass and cymbals, the some more solo Prince work on the guitar. There is squealing and grinding guitar noise, and I guess at this point he is simulating masturbation with his guitar, The song ends with a long prolonged guitar howl.

With a steady sound of cymbals and synths Annie Christian takes half a minute before Dez and his chugging guitar are heard. Cymbals are very prominent in the whole gig, and no more so than here. I always associate Prince with the sharp snare drum, but this period, especially live, the cymbals are right at the front. The guitar is very raw, and rock sounding, however it doesn’t overwhelm the song, the mix is just the right balance. With a yell of “Turn it up!” there is the obligatory guitar solos. They seem to play back and forth between the two of them before it comes to an end of keyboard and guitar noise.

Catch your breath, there is a seconds silence before the drumbeat starts and the keyboard hits the pulsating groove that is Dirty Mind. Again the guitar plays along with the keyboard lines. It pushes it forward through the whole song, and gives it all a fantastic energy. The rhythm guitar on every track here is outstanding. Several times Prince strips the song back to just the beat for a few bars, then back into it. Each time it builds the song up and takes us back to the chorus. The chorus itself is great, with the female voices really backing Prince well. Again its all sung with a lot of energy.

When I was a teenager, Prince singing “I don’t want to hurt you baby, I only want to lay you down” really spoke to me. I still find myself singing this at inappropriate moments 25 years on! There is a quick rhythm guitar break, then that is matched by an equally impressive keyboard freak out. Five minutes and all the guitars drop out. The first five minutes passed by so quickly, it doesn’t feel like a long song at all, and I put that down to the sheer energy of it all. With just the keyboards and beat underneath Prince goes into a long spoken/quasi sung section. Its typical of one of his seduction scenes that frequently appear in his songs. He begins by singing “New Orleans, do you feel alright” a couple of time, before he changes to more smutty theme. He asks if she is wearing any underwear, and then comes back with “neither am I”

I said that Head was the center piece of this gig, but I take that all back. This is definitely the center piece of it all, and the standout highlight for me. Prince continues his seduction, telling us he has” a big ole bed, just me and you, tell you what I wanna do” But the best part of it all for me is when he says ” Excuse me baby, do you believe in love at first sight?’ “Excuse me baby, do you believe in making love on the first night?” , the at a call of “Turn it up!” all the guitars reenter the song, the keyboard returns to the main riff and the song is again driven forward. Unfortunately the song fades here, so I don’t know where they take it too next. But it was sounding pretty hot about the time the fade came.


Controversy begins with Dez calling “party in here tonight, everyone on your feet.” Its played faster than on the album, but is still very funky. There is some very fast and funky guitar and keyboards battling it out during the song. There is a breakdown with calls for people to raise their hands, and it turns into a call and response sing a long along the lines of “New Orleans, we know how to party” The guitar playing is very sharp here, it really gets me moving. There is a great scream by Prince after his “people call me rude” lines.The song itself lasts for seven minutes, but it seemed to go by in a flash. A great song, and it feels a little lighter after the extended dramas of the previous couple of songs. The song closes with another long synthesizer led crescendo.

A quick “Thank you and Good night” ends the set.

The band return with Lets Work. You know right away this is going to be a long dance work out, and it delivers. Dez affirms this when he calls out “Its officially party time, I want you to get up and party!” There is very little guitar in this one, its all bass and keyboard as you might expect. Its a long groove of a song, with plenty of time to dance to it. Several times Prince chants “Work it, alright, work it, all night” and I get the feeling that this is exactly what the crowd is doing.

Prince introduces the next song with “You know you can’t leave until I Jack U off”, a quick count of 1,2,3,4 and then a frenetic burst of guitar. I am not a fan of this on record, and only like it slightly more live. It does highlight some very fine and fast guitar work, but beyond that there is not much more. Its fast and furious and does sound like fun. The song has a false ending, then Prince asks “If you anyone ask you, who you belong to? Who?” then another burst of sound and it ends.


Phew, there it is. My most favorite live recording, although I do of course reserve the right to change my mind on any given day. I am not sure how I can best explain why I enjoy this one above all others. Maybe because the music on this one hasn’t been overplayed in a million different ways, like a Purple Rain or Raspberry Beret. Or maybe its because the whole thing is played with energy and a feeling and belief in the music. When I listen to this one I have no doubt that Prince means every word he sings, every note he plays. Or maybe, and perhaps most realistically, I enjoy this one the most because it takes me back to when I was young and this whole journey of Prince fandom begun.

This is one gig that shows of all the aspects of Prince I love so much- his guitar playing, his funkiness, some dirty songs, some throw away songs, all played with maximum power and pleasure. The only thing missing is one of his slower songs, but I think this is not the whole gig we have here- I find it hard to believe that Do Me baby wasn’t played at this time. That said,this recording is a MUST HAVE for any Prince fan

I have a few other favorites that I will be covering in the next few weeks, so I hope you find a thing or two you enjoy. As always I am open to ideas of what I should listen to.

Special thanks to Minako, who sent me a message pointing out all my grammatical errors in my last post. (Don’t go back and check them, I have already made the edits). I always assumed I used the very finest Queens English, but apparently not- thanks Minako, I am sure your English teacher must be very proud!   😛

Next time- something funky!

Take care