Yokohama, Final 1996 Japan concert

We have just had a lovely day at the Yokohama Triennale and I am currently overloaded by the art on display. Asides from Prince bootlegs my other great loves are traveling and art, so as you can imagine today has been a great day for me. I have enjoyed my time in Japan the last two weeks, even time with the in-laws hasn’t been as bad as I thought! We still have a couple more weeks here, we have been so busy I think I will need another holiday when I get home. In keeping with my Japanese theme, today I will be taking a listen to a concert recorded in Yokohama in 1996. It takes in the final concert of the Ultimate Live tour, and it’s a shock to me when I realise that it is more than twenty years ago now. It feels like only yesterday, and that pleases me as it must mean that the 18-year-old in me still lives on. There have been several releases of this concert over the years, but I have chosen the Zion release as it has particularly beautiful art work, and is in-depth in its coverage of the concert itself. Not only does the recording feature the concert, but also the entire 35 minutes of preshow music (in this case the Exodus album) that is played over the PA. It’s almost too much, I doubt I will ever listen to the preshow music again – not when I have the CD readily available, but it is a nice touch and makes for an immersive experience.

  20th January 1996, Yokohama Arena, Yokohama

Skipping over the preshow music, it is a video medley that begins the concert. An easy enough listen, it is merely a taster of Prince’s back catalog of music and not really representative of the show that will follow, nor of the live bootleg experience. At ten minutes long, it would be a nice mix for the car, but I am here for the live performance and as such I find I sit through it rather impatiently.

The introduction of “Prince…is dead, long live the New Power Generation” followed by a roar of music and scream that almost has me on feet here at home. An audience recording, it still captures the power and fervor of the moment, that rush as Prince and the band create the wall of sound that is “Endorphin Machine”. It is in itself an endorphin rush, and I feel washed away in its sound as soon  as I hear it.

The rush is short lived, but Prince gives us something even better with the power of “Shhh” masked behind his slow vocal. The guitar break is the iron fist in the velvet glove, and even though the song is criminally short it serves warning that the show will contain a multitude of styles all delivered straight from the heart.

Some of the power of “Days Of Wild” is dissipated in this setting. I can’t tell if its the Japanese audience, the size of the arena, or the mix, but what ever it is the song lacks the suffocating intensity I usually associate with it. The bass guitar solo is most welcome and for me it easily overshadows everything else heard in the song. The bass returns to finish the song, this time with a brief “777-9311,” something that briefly has me gasping for breath.  As much as I love the “Days Of Wild,” there are much better renditions out there, and I find this one a little ho-hum.

The introduction of “Now” has Mayte comparing it to “Irresistible Bitch,” “Housequake,” and “Sexy M.F.”, but as the song ignites I find it lacks the finesse of these and is about as subtle as a sledge hammer. The chorus is exciting and bold, but not the slinky dance number of the songs it was compared to. It is still fun, and I enjoy the performance even if just a little too punchy. I only wish we could see Mayte’s final dance during  “Babies Makin Babies” as the crowd chants her name, after all a Prince concert is as much a visual experience as an aural one.

The show opened with Prince declaring “Prince is dead,” and yet here we have a Prince song, the first verse of “Anotherloverholenyohead” jammed over the top of “Race.’ I like it. I like the groove of the song, I like the lyrics, but especially I like the sound of the keyboards. They are electrifying in both sound and style, and I am transfixed by the performance I am hearing. Other songs promised more, this is one surprise package that keeps me listening to bootlegs.

“The Most Beautiful Girl In The World” is a start stop affair that ably demonstrates how tight the band are, but as for overall enjoyment of the song it does detract a little. However, I have heard “the Most Beautiful Girl In The World” enough times in my life,and I am more than content to sit back and admire this configuration of the NPG.

One of most well known tracks from the Gold Experience follows, in the form of “Pussy Control.” It’s not as strong as it is on record, it’s a slightly different mix and the music is busy which does distract from Prince’s rapping. I expect it to come as a punch to the face, instead it is more like a slap in the face – it’s a challenge, but not quite the out and out threat that it should be.

I am much more attuned with “Letitgo.” With its low key groove it seduces me, and I fall in love with the interaction between Prince’s vocals and the music. Its all too easy, and I slip easy under it’s charms. Surrounded by some big songs, it holds its own with natural grace and beauty.

Although its short on the album, “Starfish And Coffee” in this context is given the royal treatment and Prince plays a regal five minutes with it. The twist comes in the tail and the song slips down a musical rabbit hole, its sound becoming suddenly darker as complexities steps out of the shadows. It is in complete contrast to the first minutes, and ends with a Michael B solo – completely unexpected for a song such as “Starfish And Coffee”

Compared to other renditions of the era, “The Cross” is almost delicate in its delivery. Prince’s guitar a gentle lace rather than the blanket of sound it sometimes is, and there is layers of complexities early in the song. A lot of this is unpicked however once the song reaches its apex and Prince tears up all that came before with plenty of rage and howl on his guitar. As a guitar aficionado I am in blue heaven, and as always my only complaint is that it is all too short.

I think I have heard “The Jam,” almost as much as I have heard “Purple Rain” over the years. It’s hard to get too excited by it here, it is the standard run through we have all heard before. Michael B is mighty in his contribution, although the rest of the song I could take or leave.

Prince proclaims his love for Joan Osbourne’s “One Of Us” before serving up his own take of her song. It is a great match for him, both in theme and style, and the final guitar saturated minutes is where it becomes purely Prince as he drenches the song in his trademark sound.

To my ears, “Do Me, Baby” has never got old, and the rendition on this bootleg is pretty standard, yet entirely mesmerizing as Prince works himself and the song up into a lather. It is not as an intense experience as I have heard on other bootlegs, but it still remains an unmissable part of the show.

The seduction and sexiness of “Do Me, Baby” becomes pure sex with the appearance of “Sexy M.F.”  Normally I am captivated by the grease of the guitar, but in this case it is Tommy Barbarella who has my full attention with an upstart of a solo that is a livewire in its delivery. The rest performance is smooth, the only jolt coming from this solo.

I am more than happy with “I Am Your Girlfriend” The recording is top notch, and I can hear every nuance of the song as the band walk us through it. It is a classic, and deservedly so, as Prince twists up a gender bending mix of personalities and musical styles into a drama underpinned opus. Beautifully recorded at this show, I could easily feast on this for days.

One of the great things about listening to concerts form this Japanese tour is the appearance of “Vicki Waiting” in the setlists. Rarely played, when we do hear it on bootlegs it always sounds fresh and exciting. That feeling is heightened here by the twin keyboard attack of Morris Hayes and Tommy Barbarella,  they both bring some heavy musicality to what otherwise would be a simple pop song.

I am tempted to skip over the “Purple Medley” as it is just as unnecessary in concert as it is on record. Hearing it only makes me yearn to go back and listen to the original songs, all of them having being done a disservice by this medley. It is dire, and a colossal waste of time. Redeeming features? None.

Prince immediately wins me back with a sweet version of “7”. There is nothing to demanding, it never once challenges, but it does sound easy on my ears and is a thousand times better than the preceding “Purple Medley.” The song comes and goes in its own easy way, and I am deceived by the track listing that has it at seven minutes, when in reality it is half that before it gives over to the break between encores.

Things kick off in grand style with a smoking rendition of “Billy Jack Bitch.” I might be biased at this point, as this is one of my go to songs on those days I need music as a prop. Princes vocals are a little weak against the wall of music, and it is the Fishbone sample that comes across loudest on the recording, something that will rattle around in my brain for the next few days now. I have a lot of fun listening to it, although before I know it, its over and we move quickly on.

The show stays in this uptempo groove with a quick fire rendition of “319.” There isn’t much to it, and just as I find myself singing along it ends.

It is entirely predictable that “Gold” is the last number of the night, yet it is just as uplifting and sweepingly epic as you could want for a show closer, or even a tour closer. I may not be able to see what is happening, but I can hear it in the music, and in the audiences response, and my heart quickens with every sweep of guitar and every homily spun by Prince. It may be cheesy but it does the trick, and I am converted to the message Prince is preaching. The final whine of the guitar adds one last golden sheen to all that has come before and although it does become rough in places it stays on message with its uplifting sound and soulful howl.

I recommend all concerts from the 1995/1996 time period. The music bristles with a revitalized energy and enthusiasm and it is hard not to be captivated by the sound of it as Prince begins his new journey, shedding his 1980s skin and persona as he strikes out in new directions. The final concert of the tour marks this as something special, and Prince delivers in concert, and on the recording, with a sparkling set delivered at maximum rock n roll velocity. There are a couple of weak moments in the concert, but the bootleg is good enough that I am more than happy to overlook the moments that drag. A worthy release of one of my favourite eras, this one can sit easily along side any other show of the era.

Thanks again
Hamish

Glam Slam, Yokohama 1992

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
-Hamish

Yokohama 9 September 1986- End of The Revolution

This week I am listening to one of the most important Prince bootlegs in circulation, the final show of the Parade tour that serves as the final performance of Prince and The Revolution. For historical significance alone it is a stand out, and the moment is well served with a performance and recording to match. People often deride audience recordings, but when done well they are a joy to listen to as in this case. The recording is surprisingly good for an audience recording, and the concert, although at Yokohama Stadium, has a small and warm sound – perfect for a moment like this. The recording has plenty to recommend it, and when we factor in the historical context, well then it becomes absolutely essential.

9th September 1986, Yokohama Japan

The couple of minutes of audience noise beforehand is a nice touch in my book, it adds to that sense of anticipation and expectation. There is some chat, a couple of cheers and if you close your eyes you can just about picture yourself there. With the benefit of hindsight, it’s difficult not to read too much into what is happening, and when the announcer introduces the band I hear some melancholy in his voice, or like I say I am projecting my own sense of history onto the moment. Once again Around The World In A Day is a great introduction for the band, with the horns making themselves heard early on, along with the fantastic Brown Mark bumping and buzzing along the bottom. He has a beautiful fat sound to his playing and I am very happy to say it comes over well on the recording.

Parade 1986 1

I can hear Prince and the band well as Christopher Tracey’s Parade begins, although at first the girls’ voices aren’t heard well, they do however come further forward as the song goes, and it’s one of those “moments” when you can hear them singing with Prince. Prince does call “Tokyo!”, which has me scratching my head- I am prepared to give him a pass though, Yokohama is closer to Tokyo than Narita airport, and is only 40 minutes from Tokyo centre. And it is the end of the tour, so we can forgive technicalities.

New Position sounds unbelievably smooth and easy, and is testament to how tight the band were at this stage, there is a lot of new sounds and instruments in the mix, and somehow they weld it all together and make it work. The horns are the what you hear most, but for me there is just enough rhythm guitar in there to get my blood flowing.

There is a particularly psychedelic and alluring sound to I Wonder U, the flute giving it a floating quality that is offset by Wendy’s guitar. The band knit it together wonderfully, and as I said at the Paris show a few weeks ago it doesn’t matter that Prince isn’t there, this band and this music is strong enough to stand on its own without his powerful stage presence.

The next few songs come in a flurry of sound and excitement. Raspberry Beret is first out of the gate, as always it’s a crowd pleasing singalong, although to be fair on this occasion the crowd is fairly muted. On a more positive note I find Brown Marks bass again firmly in my ears and that is never a bad thing. The energy levels are kept high as it only runs for a couple of minutes before an equally quick run though Delirious, complete with a 1,2,3 count off in Japanese. It comes and goes in a blink of an eye before we get a quick snippet of the “oww wee oww” the segues into Controversy.

Parade 1986 2

Controversy is just fine, my only complaint being the briefness of it, but that is amply compensated when the count of “A,B, A, B ,C” comes and Prince is joined on stage by Shelia E.

This is the first of those magical concert moments that I look for, and as Prince and Shelia vocals playfully dance around each other I am in fanboy heaven. Shelia sounds cool, Wendy and Brown Mark sound even better, and for a long time I just sit back and listen to them respectively. The break down with the vocals is sublime, and the recording is good enough that I can pick out each person’s voice and identify them. Eric Leeds sprinkles his magic dust over the performance with a solo that lives up to the high standards he sets show after show. The funk just gets stronger from here on in, firstly in Wendy’s playing, then in Prince and the bands scat and a capella performance. When the music comes back it’s with all the intensity you might expect and wave after wave of horn blasts and calls of “Ice Cream!” carry me to unexpected heights.

Even though I am funk heaven at this stage, I am more than happy as the sultry sound of Do Me Baby begins. The bass has a great pop to it as the horns add a touch of sass to the intro. All this becomes irrelevant however as Prince sings, and listening to the lyrics and his delivery becomes and experience in itself. As the music rocks back and forth Prince croons and emotes as he has never emoted and crooned before, and I am sold on it. Maybe I feel like this for every live performance of this song, but tonight it smacks me right between the eyes and I am dangerously close to switching off the computer, going into the other room and sweeping my girl off her feet. And at the end of the day there is no higher recommendation of a slow jam song than that, it’s sublime through and through.

Parade 1986 5

Next up is the trifecta of How Much Is That Doggie In The Window, Automatic and D.M.S.R. I would have liked to hear more of them, asides from How Much Is That Doggie, and it’s a giant tease from Prince to have two killer tracks from 1999 to be relegated to a two-minute medley like this. As you know I like to look on the positive side of things, so I give thanks that they are in the setlist at all.

The ship rights itself as When Doves Cry plays, and the opening keyboard riff still gives me chills even after all these years. It has a clinical delivery as it should, and over the cool electronic music Prince sings dispassionately which only heightens the sense of loneliness I feel when I listen to this song. It’s a cold world indeed, and it’s only in the Princes singing of the chorus do we feel the humanity and hurt. I have covered a few different shows from 1986 now, and I always speak highly of Wendy’s solo during this song. Today is no different, and even though the recording neuters her sound a little I still get a thrill from her playing.

Parade 1986

Little Red Corvette has Prince alone at the piano, and is an emotional highlight. I want to write that it tugs at the heart strings, but I know the following few songs are going to top it in the emotional stakes, so I enjoy I enjoy it for what it is, a nice soft rendition of one of his classic songs.

The band joins in for Do U Lie, and it has a swing and sway to it, it’s got a lovely lilt and sounds like it has come from a completely different concert. I don’t have too long to wallow in it as Prince moves on, but it is another cool moment.

The Ladder is one of the songs I have been waiting to hear, and Prince doesn’t disappoint in the slightest. The Ladder has the obligatory piano, but also a lot more. One of the things that strikes me most is the backing singers, and the way that the horns lift the song to the heavens. For a stadium show its wonderful how Prince makes it feel like he’s singing in the living room, there’s a lively intimacy in the recording and a classy touch by Prince at the end thanking the audience in Japanese.

Prince is alone again for Condition Of The Heart, and at this point it becomes very difficult for me to write objectively as this song has a special place in my heart. Prince delivers a performance that does the song credit and although short it gives me everything I could ever want.

Parade 1986 4

Under The Cherry Moon is breath-taking, and has some wonderful flourishes on the piano that give it that little bit extra. As much as I like Prince’s vocals, I find I tune out as I instead concentrate on the music. The music has a magical quality that is rarely heard, and as he Prince plays piano I sit mesmerized here at home, this is definitely a show for the ages.

The band and the funk returns with Anotherloverholenyohead. This show has been phenomenal thus far, and Anotherloverholenyohead maintains this high standard. It returns us to the heavier sound of the band, and the darker sound as Prince starts his “Another lover” talk midsong. The piano and the horns via for my attention, and for me it’s the piano that nails it, I don’t write about Lisa enough in this blog, but she is a treasure. She sounds magnificent as she plays her piece, and it is distinctly- and uniquely, her. And even better, she gets a good few minutes to play so there is plenty of time for me to lean back and swim in the music flowing from her fingers.

♥ Or $, now I didn’t expect that. Eric puts his mark on this one, but it’s again a complete band performance and I can’t single anyone out for praise, they all sound great singly and as a group.  From here on in the show becomes much more intense and focused, all medleys are dispensed with and we get some proper, heavy funk. Keeping with this direction the band funk up ♥ Or $ before turning their sights on Head.

I have always liked the slippery guitar sound in Head, in this case it has a sharper sound but nonetheless is still funky as all hell. There is some fun as Prince toys with the crowd, but the whole time it’s that guitar I am listening to, at least until Matt Fink sets things on fire with his synth solo. Electric Man gets an outing, with Prince surprisingly throwing some lyrics from Hot Thing, recorded barely a month previous. As Prince squeals and squirms I wish I could be there to see a performance that sounds electrifying. The guitar sounds ominous as the music rises near the end, and I find myself enjoying this just as much as Princes vocal performance.

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Pop Life banishes the darkness of Head in the opening moments as, after a twinkling opening, it bursts out of the speakers at me. For all the melody of it, I find its Brown Mark I listen to most, his bass adds an infectious bounce to the proceedings. Again Eric Leeds flute lends a different sound to the concert and with some beautiful backing vocals, the song stands up to repeated listens.

Prince sings “Do you want to dance with me” as Girls And Boys begins, much to the delight of the audience. Eric has traded his flute for the sax and adds the deep honk that I adore so much. Prince seems to get a second burst of energy around this point and I swear you can hear him singing and performing harder. He gives way to Eric and his solo and it’s about now that I sit up and take notice of Wendy and Lisa’s singing- soft yet beautiful.

The first minute of Life Can Be So Nice seems to come fast, and it’s at the chorus that I catch up and begin to get into it. It’s a game as Prince and the band play the crowded versus before pulling back for the chorus. Bobby Z does his thing, and he sounds great against the rhythm guitar. There seems to be a lot going on in my ears, and I have to listen closely to make sure I don’t miss a thing. The final fade out is my favourite part, not because its ending, but the way the band peels out and I can hear each of them.

Parade 1986 6

I am feeling jaded as 1999 plays, the song sounds fine, but is already dated against the colourful parade of music that Prince has played this evening. I do hear the crowd enjoying it, and there is some singing, so the song certainly has its place in the setlist despite my own personal tastes. It goes out with a bang as the horns and the rest of the band tear through the last minute, and the main show ends on a high.

There is an underwater sound as America starts, and I am my expectations are sky-high in anticipation as there is the dual guitar attack of Wendy and Miko getting all funky for the first few minutes. Prince joins the fray with his vocals and there is a fire to the performance that I feel the recording doesn’t quite capture. Eric is great, and Atlanta is even better as his trumpet scorches through the song as he plays. A lead guitar appears and the song is smoking hot by this stage. It’s almost unfair that Prince has Wendy, Miko and Eric on his team funking up the stage, as the solid bass of Brown Mark keeps us firmly on the dance floor. I was hoping for 20 minutes of this, but realistically the seven minutes we do get is amble, as I am sure those in the building had danced themselves into a frenzy in that time.

Kiss is nicely balanced, and I like that it has a stripped back sound with Prince and Wendy’s guitar taking the lead roles, nothing else bolted on or tampered with.  The lyrics sound a shade downbeat, I kind of like it that way, and the crowd come to the party with their boisterous “Kiss!” The ending is nice, with Prince thanking the crowd and a bare guitar playing for the last few moments that wraps it up in a bow before the next encore.

What comes next is, for me, the emotional and musical highlight of the show, a gut wrenching rendition of Sometimes It Snows In April. The opening with Wendy and Lisa playing is simply stunning, the delicate guitar sound and piano dancing a beautiful dance together, this is a special moment worth listening to again and again. As Prince sings things become even more emotional and his voice has a melancholy tone to it, and I think it is real rather than the performance. The three voices come together for the final lines and it’s hard to not think about the times these three had together. Prince ends the song thanking Wendy and Lisa, and thirty years on it sounds like a full stop.

Parade 1986 3

Purple Rain rises and falls as does the lump in my throat as I listen to it. Its plays as it does every time I hear it, a beautiful song that sounds so big and threatens to overwhelm all that has come before it. The guitars are warm, the piano clean, and Princes vocals heavy with emotion. The guitar solo starts with a quiver and a shake, before it becomes the howl we know so well. Having seen the video, I know how hard Prince was playing, and you can feel that on the recordings, he is pouring everything into to the guitar with a long sustained howl that ends with him throwing it to the floor before strapping on another guitar and giving us more of the same, before that too is thrown to the floor. As the crowd sing their part we do have half a minute of Prince playing the organ, and that is a real treat, it’s not high in the mix, but you can clearly hear it and it gives the song a final push before Prince thanks the crowd and leaves the stage, leaving the keyboards to play us out for the final minute.

As I have said throughout, it is impossible to divorce this recording from the context surrounding it, as great as the show and recording is, the historical significance of the moment looms large over it. I have heard people say that they cry listening to this, and I thought I was too far removed to have such feelings, but I must admit the last 15 minutes listening tonight I did have a tear in my eye. Having heard a fair number of fantastic recordings of The Revolution the last few years I found myself 30 years on listening to this thinking “why?”, they were beyond compare and seemed to still have more to give.
There are many words that spring to mind when considering this recording – essential, historical and emotional are at the front of the list. There is no two ways about it, this recording demands you listen to it. A fitting send off for The Revolution, this bootleg delivers on all counts and is an essential keystone of any collection.

Thanks for reading, I urge you to dig this one out and take a listen, celebrate The Revolution 30 years on, they were every bit as good as you remember.
Take care
Hamish