As I wrote before we had tickets for the concert of his Royal Highness in the Gelredome, the Netherlands.
All in all it was an excellent concert. Personally I would have liked not to hear any old hits songs but rather no old hits and only his newer work but for my wife this concert was an eye opener, she never went to a Prince concert before and found it near perfect. She especially mentioned the amazing guitar solo’s, the interaction with the public (the largest part of the Gelredome singing, waving (telephones) and doing background chores) and the professional performance compared to other concerts. According to her the concert gave her a whole other view on Prince.
I read before in the newspaper that this is the choice of Prince: he believes that audience nowadays comes to hear (his) greatest hits (or audiences in general) and is not interested in not-known-that-much newer work. And that is probably right although my favorite Prince concert would be to see him playing and performing for hours with a piano and a guitar and improvising whatever comes in his mind without any other extra’s. But don’t get me wrong: this was a really good concert and, as I read around all “professional” reviews are 5 star reviews.
Thinking back of the concert I think of it as a “mix” … Prince does covers, Soultrain (including on stage soultrain line dance), Jazz, Soul, Fusion, Love song, Covers and greatest hits (and yes of course a lot of other bits and pieces) and the complete stadium singing and waving along. Pretty magnificent sight from the field. (photo taken from http://prince.org/msg/12/346562?&pg=11 since our photo’s are not that clear).
note Hereunder I copied some parts from other reviews/forums/blogs and I have indicated where from:
“This was the 25th time that I have seen him live and this was one of his best performances” (Joost Melis)
“Prince maakt van stadion feestcafe” (Parool)
“Prince laat Gelredome ontploffen” (BN/de stem)
NPG Members @ the concert in GelreDome
Member since 1996 of the NPG. She had a prominent role during the concert. Sang “Love, thy will be done” and “what have you done for me lately” during the concert.
|Elisa FioRillo (wikipedia) (website)
(Sings Shake Your Body (Down To The Ground) during the show)
At the age of fifteen she won the 1983 Star Search talent show. In 1987, she was signed to Chrysalis Records. She first performed the song “Jackie” on the Summer School soundtrack and caught the eye of John “Jellybean” Benitez who asked her to be the lead vocalist on two songs on his 1987 album Just Visiting This Planet. One of the song, “Who Found Who”, was a hit worldwide reaching the Top 20 in many countries in addition to great club success. At the same time, Fiorillo released her self-titled debut album that she promoted with the help of the pop single “How Can I Forget You” but she did not manage to get the same success.
She released her second album I Am in 1990 recorded at Prince‘s Paisley Park recording studio after she had contributed, as a backing vocalist, to the soundtracks of Graffiti Bridge and Batman. Several songs from the album were produced and written by Prince. The album scored a Top 30 hit in the U.S. and Top 20 in Australia with “On The Way Up”. Fiorillo also appeared on Prince‘s album Diamonds And Pearls being the backing vocalist on two songs.
She then mainly did back-up singing. Fiorillo sang back-up for Savage Garden on the Superstars and Cannonballs tour and for Billie Myers among others. As a lead singer, she has appeared on Metal Gear Solid 3: Snake Eater, singing “Don’t Be Afraid”. She also did a duet with Darren Hayes titled “Right Dead Back On It”.
As well as singing she has also directed a few TV series, such as the 2001 Mahô shôjo neko Taruto as well as the 2002 TV series Mao Dante. Fiorillo also voiced the (English) parts of Ayamo Nakamura in the 2003 TV series Stratos 4. She voiced a part in Stella Deus: The Gate of Eternity.
Fiorillo’s 2007 album entitled Labour Of Love is available at her website. She turned to her musical direction towards jazz in the 2000s.
Prince performed for three consecutive nights, March 25–27, 2009 on the Tonight Show With Jay Leno, and Fiorillo performed as one of Prince’s backing vocalists on the 25th, and 27th shows. Fiorillo became a member of Prince’s band in 2009. In 2010 she is currently on a world tour with Prince playing in sold out shows across Europe.
|Rhonda Smith (wikipedia) (website)
1996–2004,2009 (Took a break in 1999 while Larry Graham performed with Prince.)
Voordat ze bekend werd als de bassist van Prince was ze succesvol als studiomuzikant in en rond haar geboorteplaats Montréal. Ze werkte onder andere samen met de Frans-Canadese artiest Claude Dubois. In 1995 won ze de Juno Award voor haar aandeel op het eigentijdse jazzalbum The Merlin Factor vanJim Hillman.
Van 1996 t/m 2004 was ze de bassist in de New Power Generation, de begeleidingsband van Prince. In 2009 keerde ze tijdelijk terug in zijn band.
Naast haar werk met Prince, heeft ze in 2000 een soloplaat gemaakt onder de titel Intellipop. Daarnaast heeft ze mee gewerkt aan materiaal van Chaka Khan,Sheila E. en Larry Graham.
In 2006 bracht ze haar tweede album, RS2 uit en vormde ze een nieuwe band, genaamd C.O.E.D. (Chronicles Of Every Diva), die verder bestaat uit Sheila E., Kat Dyson en Cassandra O’Neal. Met deze band en Candy Dulfer maakte ze in 2007 een korte tournee door Europa.
see also: youtube.com/watch?v=lmdMuk7bflg
|Ida Nielsen (wikipedia)
Ida Kristine Nielsen, also known as Bassida and Ida Funkhouser, is a Danish bassplayer, composer and vocalist.
Nielsen started playing bass at age 16. From 1993-1998 she studied at The Royal Danish Academy of Music and finished her diploma with e-bass as her major instrument.
She is known for being a member of several bands, such as Zap Mama, MLTR, and The New Power Generation (backing band for Prince).
In 2007 she released her only solo album called Marmelade.
|John BlackWell (wikipedia)
John grew up in Columbia, South Carolina and started playing drums at age 3, learning from his father John Blackwell Sr, a drummer himself, who played with artists such as Mary Wells, King Curtis, Joe Simon, J.J. Jackson, The Drifters and many others.
As a teenager, John played in high school marching and jazz bands. He played in jazz clubs from age 13 until he graduated from high school. At 17, he played his first big high profile show with singer and swing bandleader Billy Eckstine. After high school, he attended Berklee College of Music, graduating in 1995.
From 1995 until present, John has played with many successful pop, funk, hip-hop, jazz and fusion stars, including Prince, Justin Timberlake, Cameo, Patti Labelle, Utada Hikaru, Crystal Kay, P Diddy and Charlie Singleton. He played at the 2008 Buddy Rich Memorial Concert.
John is currently with Maze, featuring Frankie Beverly. He released his debut album in December 2009, called The John Blackwell Project. He has two educational drum DVDs. The first is two-disc set entitled “John Blackwell-Technique, Grooving and Showmanship” the second is self-titled “John Blackwell” and is part of the Hudson Music Masters Series.
He has endorsements from Tama drums and Zildjian cymbals and sticks. After a long co-operation with Sabian and Vater, he moved to Zildjian.
See: http://drummerworld.com/Videos/johnblackwellfunky.html (and also YouTube)
|Renato Neto (2002–2008, 2009) (Took a break for most of 2006. No longer in the regular line-up.)
||Mr. Morris Hayes
setting and tickets
On the field there was no golden circle, which seemed to be a problem for some before the concert. But in this case, seeing the audience in general this was not a big problem (I think). As far as I could see the hardcore fans had no problem being in the front while all the way in the back of the field (where the coffee and snacks were sold) the general audience could stand. I read that some people were pulled off to the medical emergency but I did not see any of this, we were standing somewhere in the middle of it but more to the back (where there was enough room to move and dance). From the complete back of the field it was difficult to see the band but there were screens at the top with close-ups.
The concert was not sold out although the taxi driver driving us back to the parking lot did say it was sold out. I was almost sure that the day before there were some tickets for the seats in the back and I heard that tickets were being sold before the concert started (although the “buy ticket” beggars in front of the stadium were also present) (as well as the “buy prince poster” vendor after the concert).
Technically I read that there were some fears for the audio in the GelreDome (did not notice it) and at one stage the video screens frooze where we saw a menu appear on the large screens and someone interacting with the gui to repair things with the video which was only for about a minute or so but it was funny.
Lighting was not something I would have chosen to do it like this, in this setting. But maybe there is some deeper reason to use this technology in this way. It was too light many times and sometimes not in sync. This was remarked in some reviews.
Total Audience: 30.000
There were some large rumors around Paradiso where the aftershow would be performed (because Prince also would sleep in Amsterdam on thursday night). Some fans went there instead of the concert but they waited for nothing since nothing appeared there. I read that the father of John BlackWell, died so that could have been the reason / also read that he was to tired. When our bus was leaving Gelredome we saw a white extended cadillac leaving and driving to the crossroad and the bus went crazy. The bus yelled to follow the cadillac but… ofcourse it did not (p.s. we were in the wrong bus, it only drove us to the station and we had to take a cab to the parking zone, it was chaos after the concert with hundreds of people around the busses). (i doubt it was prince in it because on another place I read about an array of cars and minivans).
There was great interaction with the audience. At one point I said to my wife “nou… we moeten wel heel veel dingetjes doen he?” (as a joke).
- during the concert he accepted some flowers and placed them on the piano
- after the first part the band went off stage, maybe because of some technical issues
- Angelique Renard (Angel25071974) was picked from the audience during Shhhh after she gave a rose to Prince and placed on Renate’s piano (see under), audience went wild, Prince dedicated the love song to her sitting there also big on screen, found the photo to the right. It took some while before she realized she was chosen by Prince I think, at least it looked that way from my distance.
- some 30 people were picked from the audience during Controvery to dance on stage and soul show line dance audience went even wilder some of the persons did some wild dancing “During Controversy he let about 20 people on stage. Everyone started dancing and enjoying that moment. Prince playing guitar at his stand. One guy starting dancing on the front edge of the stage, crowd applauding. Prince moved swiftly to Renato’s spot and one long guy with a white shirt and grey waistcoat started followed him, dancing. Prince rather jumped quickly through the people back to the front and his mic. That same guy danced his feet of together with another boy in his sleeveless top. They even danced like Jerome Benton & Wally Safford did during the Purple Rain concert finals. He asked the audience to all show their cell phones. House lights turned down. The whole bunch continued funkin’ and dancing on stage”
- at some stage he indeed said ‘Rotterdam’ I saw some people around me laughing but I did not hear the complete sentence around it so I don’t know if it was a joke or if he made a mistake
- He threw guitars in the audience. I only saw it once. But in the bus a girl said he threw 3 guitars in the audience. In other reviews I read 2. Some people must be very lucky.
- he asked the audience to show their phones while everyone was waving lighted phones before and at the start of Purple Rain. Apparently he said “I will find you” (if you record something and make it public) (and indeed on youTube you see all movies taken off as soon as they appear)
- Prince made many requests to “turn on lights” and “turn off lights” , I think as part of the performance
- During one song (Kiss) he said to the audience “no you are not up to it” and then stopped after starting again and again
- At many moments there was an “ending the show” moment where people were thinking “hey is this it?” which led to the moment it REALLY ended and basically the whole audience thinking if the show really ended.
- shouts “I got too many hits”
- begins concert with “Hello, my name is Prince.”
playlist (2hr 40 minutes)
The concert started with a 45 minutes mix of (some) non Prince songs and in full light and I was thinking: funny we are in a ‘Prince does a-lot-of-non-prince-songs concert’. But then I realized I was wrong. There was no “warming up band” for the show because Prince has his own band do the concert-starter . Pretty good idea! At one point he played guitar together with Sheila which was pretty fun to see. Also brilliant was to end with covers, but then his own.
Note: I completed this playlist with information from: http://http//www.itaintover.org/ and http://prince.org/msg/12/346562?&pg=12 and http://frontpage.fok.nl/review/415831/1/1/50/concert-prince-in-gelredome.html since I did not remember everything:
[BEFORE THE SHOW]
- “a few Camille songs Semi-a-colia / Good Love / Shockadelica / Le Grind / Love (from 3121). Also Screams of passion (The Family) / I like it there / Hot with U”
[THE SHOW STARTS (20:20 my wife was just in and I just found the smoking room… so… was finishing my cig.)]
- “Stratus” from the jazz/fusion drummer Billy Cobham (video). In which almost every band member did a solo. `and from his guitar he went to Sheila’s percussion set and next he took over bass. They even played bass together on that one instrument, she played the groovy melody and he pumped some two or three licks through it.`
Stratus is a great fusion hit. And it set the mood for the evening. Cobham branched out to jazz fusion, which blended elements of jazz, rock and roll and funk, playing and recording with the Brecker Brothers (notably on their 1970-founded group Dreams), and guitarist John Abercrombie, before recording and touring extensively with trumpeter Miles Davis. Cobham’s work with Davis appears on A Tribute to Jack Johnson, among other recordings. Cobham is also one of the first drummers to play open handed lead: a drummer that can lead (or ride) with either hand and begin or end a beat or fill with either hand (most drummers lead with 1 hand). He was also one of the first drummers to play with 3 or more snare and/or bass drums and multiple hi-hats. (see also: http://prince.org/msg/8/345497)
- “We Party Hearty“ from L.T.D. (video). L.T.D. was a R&B, disco and funk band that had a string of hits in the 1970s. L.T.D. (which stood for Love, Togetherness and Devotion) was formed in Greensboro, North Carolina in 1968 by keyboardist Jimmie “J.D.” Davis and saxophonist Abraham “Onion” Miller. Both were former backing musicians for soul duo Sam and Dave. The band was originally named Love Men, Ltd. This is not the greatest hit single from L.T.D. so it is peculiar on why this version was taken.
- “Which way is up” from StarGard (video) (theme song from RP movie). Stargard was a three person female funk band and consisted of Rochelle Runnells, Debra Anderson, and Janice Williams. The 1977 song “which way is up” was their greatest hit and also used as the theme song in the same named movie of Richard Pryor. They also appeared as ‘Diamonds‘ in the 1978 movie sgt. Pepper’s Lonely Hearts. See also http://prince.org/msg/8/315196?pr (where you can see large parts of the movie). Also see: http://www.youtube.com/watch?v=fhuOYG_mbU8&feature=player_embedded#! for extended version.
- “What Have You Done For Me Lately?” (Janet Jackson). (sung by Shelby J.) Janet Damita Jo Jackson (born May 16, 1966) is the youngest child of the Jackson family of musicians. She first performed on stage with her family at the age of seven, and started her career as an actress with the series The Jacksons in 1976. She went on to appear in other television shows throughout the 1970s and early 1980s, including Good Times and Fame. See also http://prince.org/msg/8/345895.
- “Partyman” (1989) [album: Batman] (wikipedia) – “Partyman” is a song by Prince from his 1989 Batman album, and the follow-up to his number one hit, “Batdance“. The song is one of the few on the album that is prominently featured in the film, accompanying the scene where the Joker and his minions gleefully desecrate the Gotham City Art Museum before meeting Vicki Vale.The song became the only Batman single to perform better in the UK charts, where it peaked at number 14, as opposed to the U.S. (where it peaked at number 18). The upbeat and humorous number features horn samples and Prince’s sped-up “Camille” vocals, as well as a vocal performance by Anna Fantastic. The 12″ single extends the song to about six minutes in length (labeled as the “Video Mix”), and features the B-side “Feel U Up”, a previously unreleased Camille track which would later be available on The Hits/The B-Sides compilation.
- It’s allright
- “Mountains” (1986) [album: parade] (wikipedia) by Prince and The Revolution, from the album Parade, the soundtrack to the film Under the Cherry Moon. It was written by The Revolution members Wendy & Lisa, together with Prince, and was one of Prince’s relatively unsuccessful singles of the 1980s. The extended 12″ single version of the song runs ten minutes. It’s the only track on the Parade album featuring the entire Revolution.It reached #23 in the U.S. but only #48 in the UK. The B-side was the instrumental “Alexa de Paris“, one of the few tracks from this project featuring a guitar solo, and is one of a handful of instrumental tracks that Prince recorded in the ’80s. Both songs appear in the film Under the Cherry Moon, with the video for “Mountains” playing as the credits roll. The version shown on MTV to promote the single was in color as opposed to the film’s black and white version. Like many Prince songs, “Mountains” focuses on Christian motifs. The lyrics most obviously reference Jesus‘ speech on the general theological theme of God’s omnipotence: “In answer Jesus said to them: ‘Truly I say to you, if only you have faith and do not doubt, not only will you do what I did to the fig tree, but also if you say to this mountain, ‘Be lifted up and cast into the sea,’ it will happen.” (Matthew 21:21)
- Shake Your Body (Down to the Ground)” (1978) (The Jacksons) (wikipedia) (now I really thought I was entering a Jackson Memorial concert WOT Prince sings Michael Jackson ???) this was mainly sung by Elisa Dease - “Shake Your Body (Down to the Ground)“, released December 9, 1978, is a hit single recorded by The Jacksons for the CBS/Epic Records album Destiny. The most successful of the Jacksons’ disco/funk-era recordings for Epic, “Shake Your Body” (originally demoed as “Shake a Body”) was produced by the Jackson brothers, written by Randy and Michael, and featured Michael on lead vocals. Released to radio in a single edit of three minutes and forty-five seconds and played in its full eight-minute album version by clubs, the single charted at number seven on the Billboard Hot 100 and at number three on the Billboard R&B Singles chart. The ensuing 12″ Disco Single Remix featured a more focused drum and rhythm track, as well as the new synthesizer-voiced 3 octave climbing glissando that was not heard on the album version. “Shake Your Body” sold over two million copies, attaining double-platinum status from the Recording Industry Association of America. The single was later sampled by reggae artist Shaggy for his 2000 single “Dance & Shout”. It was also sampled by rapper Rob Base and DJ E-Z Rock on their song “Get on the Dance Floor“. The B-side on the 7″ was “That’s What You Get (for Being Polite)”. Performed during the Michael Jackson 30th Anniversary concert at Madison Square Garden in September 2001, it would be the last song performed live by the Jacksons.
- Everyday People” (1968) (Sly and the Family Stone) (wikipedia) – “Everyday People” is a 1968 song by Sly & the Family Stone. It was the first single by the band to go to number one on the Soul singles chart and the U.S. Billboard Hot 100 chart. It held that position, on the Hot 100, for four weeks from February 15, 1969, until March 14, 1969, and is remembered as a popular song of the 1960s. Like nearly all of Sly & the Family Stone’s songs, Sly Stone was credited as the sole songwriter. The song is one of Sly Stone‘s pleas for peace and equality between differing races and social groups, a major theme and focus for the band. The Family Stone featured caucasians Greg Errico and Jerry Martini in its lineup, as well as females Rose Stone and Cynthia Robinson; making it the first major integrated band in rock history. Sly & the Family Stone’s message was about peace and equality through music, and this song reflects the same. Unlike the band’s more typically funky and psychedelic records, “Everyday People” is a mid-tempo number with a more mainstream pop feel. Sly, singing the main verses for the song, explains that he is “no better / and neither are you / we are the same / whatever we do.”
- I Wanna Take You Higher (1969) (Sly and the Family Stone) (wikipedia) – “I Want to Take You Higher” is a 1969 song by the soul/rock/funk band Sly & the Family Stone, the B-side to their Top 30 hit Stand!“. Unlike most of the other tracks on the Stand! album, “I Want to Take You Higher” is not a message song; instead, it is simply dedicated to music and the feeling one gets from music. Like nearly all of Sly & the Family Stone’s songs, Sylvester “Sly Stone” Stewart was credited as the sole songwriter. The song, one of the most upbeat recordings in the Family Stone canon, is a remake of sorts of “Higher”, a song from the band’s 1968 Dance to the Music LP. “Higher” itself has its origins in “Advice”, a song Sly Stone co-wrote and arranged for Billy Preston‘s album The Wildest Organ In Town in 1966. “Higher” made the setlist for the band’s performance at Woodstock alongside “Dance to the Music” and “Music Lover”; Sly Stone used the song during a memorable interlude, during which he had the entire Woodstock crowd repeating, at three in the morning, the song’s frantic cry of “higher!” Even though it was a b-side, “I Want to Take You Higher” become a Top 40 hit of its own in 1970. That same year, Ike & Tina Turner released a cover of the song that became a hit as well, peaking 4 spots above the original Family Stone recording on the US pop charts (at #34), and one position below the original on the R&B singles chart.
- Keyboard interlude
[UHM PRINCE CONCERT STARTS AFTER WARMING UP ] [KAMASTURA]
- Uptown (1980) [album: Dirty Mind] (wikipedia) – was the lead single in the U.S. to Prince‘s third album, Dirty Mind. Beginning with a lone drum intro, the track explodes into the keyboards of the chorus. The verses feature a more prominent funk guitar. The song breaks down to a more instrumental section toward the end that is mainly guitar, bass and drums with an occasional keyboard riff. The minimalist style of the song is representative of most of the Dirty Mind album. The song addresses the Uptown neighborhood of Minneapolis that is the city’s hang-out spot for artists. Prince uses the concept of Uptown to address racism and hatred in the song. Prince sings in the first person, and the song opens with him describing a chance meeting with an attractive woman who then asks him in an offensive way if he is gay. Prince then addresses the reasons for racism and sings about a place, Uptown, where racism and hatred do not exist. The song is one of Prince’s earliest efforts to blend political statements into his art. Uptown is described as an area where one can be free to express oneself, and Prince was very fond of the concept. The song opened the Controversy Tour and made a few live appearances after that, notably in Prince’s 2001 Hit + Run Tour. The single was backed with “Crazy You“, from his debut album, For You.
- Raspberry Beret (1985) [album: Around the World in a day] (wikipedia) – It was the first U.S. (and second UK) single from their 1985 album, Around the World in a Day. The sound was different from any previous Prince track, incorporating Middle Eastern finger cymbals, stringed instruments, and even a harmonica on the extended version. The song was also more in the pop vein than ever before, though the 12-inch single and video of the song feature a funky intro. Although the song was originally recorded in 1982, Prince drastically reworked it with The Revolution to give it more of an international sound. The string section was: Novi Novog on violin, Suzi Katayama and David Coleman on cello. Wendy & Lisa provided backing vocals, and the rest of the song was performed by Prince. The song tells of a teenage romance and first sexual experience with a girl who wears the titular hat. The video for the song was Prince’s first since his short-lived “ban” on music videos. The song quickly became a fan favorite, and a staple in nearly every Prince tour. The extended version was included on Ultimate in 2006. While this song reached #2 on the Billboard Hot 100 in the US, it only reached #25 on the UK Singles Chart. The US B-side, “She’s Always In My Hair“, is a rock and roll number, with guitar and organs and emotional lyrics screamed toward the end. Years later, the song would finally be performed live. This song is also said to be about Susan Moonsie of Vanity 6, but a glimpse of Prince’s feelings towards the end of their relationship. “She’s Always in My Hair” is actually about background singer and protege Jill Jones, while “Private Joy” from Controversy is about Moonsie. The UK B-side was “Hello“, which was included on the US release of “Pop Life“. The 12″ version has an incorrect time listing on the label. It is listed as 7:28, when the actual length of the song is 6:30.
- Cream (1991) [album: Diamonds and Pearls] (wikipedia) – Prince states that he wrote the song while standing in front of a mirror. The single’s B-side, “Horny Pony“, a rap-pop song which was replaced on Diamonds and Pearls at the last minute by “Gett Off”, was re-used from the “Gett Off” single. “Cream” was also released as a maxi-single EP with remixes and songs/raps loosely based on “Cream”. The EP was notable for including several prank telephone conversations. In the UK, “Gangster Glam” was an additional B-side on the 12″/CD maxi single. In Japan, an EP was released with the tracks from the U.S. maxi single, and four tracks from the U.S. “Gett Off” maxi single.
- Cool (1981) (wikipedia) (words accompanying it one the screen, where audience interacts by repeating the lines) - “Cool” is a song by The Time, released as the second single from their eponymous debut album. Like most of the album, the song was recorded in Prince‘s home studio in April 1981, and was produced, arranged, and performed by Prince with Morris Day later adding his lead vocals. The song was co-written with Revolution guitarist Dez Dickerson and contains background vocals by keyboardist Lisa Coleman, however both were uncredited. The funk-pop relies heavily on sythesizers to provide both the bass and melody for the upbeat song. A guitar solo is present and a relatively simple drumbeat drives the song along. “Cool” sets up the persona created for Day as a wealthy playboy, one who is also popular, and of course, “cool”. Day built a career around the persona. Prince’s backing vocals are very apparent in the song, especially in the chorus. The classic video for the song is directed by Chuck Statler,who is best known for directing the early Devo videos. “Cool” was only issued as a 7″ single with an edit of the song and a continuation as the B-side. The full version was only released on the album and on a promo release. One of The Time’s more popular numbers, “Cool” is a staple in concert and a live version of the song recorded at the House of Blues in 1998 was included on Morris Day’s 2004 album, It’s About Time.
- Let’s Work (1981) [album: controversy] (wikipedia) – the second single from the 1981 album, Controversy, by Prince. The song originates from a dance called “the Rock” that local kids were doing at the time in Minneapolis. Prince responded quickly with a track called “Let’s Rock”, and wished to quickly release it as a single. Warner Bros. refused, and a disappointed Prince did not include the song on Controversy, saying the phase had passed. The song was updated with new lyrics and possibly new music and became “Let’s Work” — one of his most popular dance numbers to date. The song is based on a funky bass line and features a shouted title throughout the song and relies heavily on keyboards to create a sexy groove in the verses and quick solos for the choruses. The lyrics are a tease, equating “working” with having sex. The song was backed with “Ronnie, Talk to Russia“, which precedes it on the Controversy album. The extended remix features instrumental solos, samples from “Controversy” and “Annie Christian”, two other songs from the same album, and extra, more insistent lyrics. Prince performed the extended version in concert during the Controversy and 1999 tours. This is the first U.S. Prince single to include a non-album B-side (although it was previously released as a single in the UK). “Gotta Stop (Messin’ About)” was written on the Dirty Mind tour, and is consistent with the minimalist demo-like quality of that album.
- U Got The Look (1987) [album: Sign o the Times] (wikipedia) – “U Got the Look” is a song by Prince. It opens the second disc of Prince’s 1987 double album Sign “☮” the Times, and became the album’s highest charting single. Musically, the song is standard 12-bar blues number with emphasis on live drumming by Sheila E., and a crunchy guitar sound. Although not credited on the single release, the song also features Sheena Easton, who sings co-lead with Prince. Prince sings in his sped-up “Camille” voice, although the song was not intended for the Camille album. The lyrics recite the familiar “boy versus girl in the World Series of love.” The music video for the song was included in the Sign “☮” the Times film, and features the intro from the extended version of the song. The entire video is portrayed to be as a dream sequence by Prince, dozing off in his dressing room. In the U.S., the single went to the #2 position on the Billboard Hot 100 singles tally, the week of October 17, 1987. The single stayed in the Top 10 of the charts for six weeks. The single was Grammy nominated for best duo or group during the 1987 grammy awards. The extended version of the song (called the “Long Look”) is similar to the video but has an additional musical section in the middle of the song with Sheena Easton’s vocal, and continues for a few more seconds instead of fading out at the end. The “Long Look” was included on the Ultimate compilation album in 2006. The B-side of the single was the P-Funk-influenced album track, “Housequake“. The song was considered for release as the first single from the unreleased “Camille” album, and therefore, arguably holds a place of importance in Prince’s album history, considering the events that followed the creation of the track. The 12″ also included an extension of the song called “7 Minutes Mo’Quake“, which was a mostly instrumental version with the end of the album version tacked on. The remix is noteworthy for some of Atlanta Bliss‘s trumpet solos, which often were included in live versions of the song. Leaked versions of an unedited “original version” (often called “Camille’s Mix”) are attainable on the internet. Upon listening to them it is clear that the track required significant changes in the composition before arriving at the album version, which is now a fan favorite, and was often considered one of the standout tracks on the album. Both songs are occasionally still performed in concert by Prince.
- Shhh (1995) [album: the Gold Experience] (wikipedia): Piano girl gets on stage after giving flowers to Prince ( see above story)
this is what she posted as comment on it:
“Piano Girl” is finally in…still floating at these big purple clouds which I never ever want to leave…
What an amazing unforgettable night! First of all I really want to thank Prince giving me this awesome opportunity sharing his stage with me for a while!
Yes, I definitely was stunned! First of all, I thought Prince was saying something about the purple rose he throwed back towards me and my fiends. Didn’t noticed at all the whole story about dancing on stage, what I heard afterwards, he was talking about…lol…
For a second, I realised he was asking me on stage and at the same time people were pushing me to get over the gates to His Royal Prince…
Wow, the 1st moment already was unforgettable. I walked to this stairs who will leading me to this big show area of The Artist. Get there down these stairs, Prince already was waiting for me, holding his hand up attending me up on stage. Like, probably most of the people of course already know, we walked closely together crossing the stage to end up next to the piano. Here he asked me to get on to it, trying to sit down as feminine as I could…NOT…haha…
I can tell you it’s a such an exiting experience noticing your on stage, thousands of people are watching you and most important, sharing this whole indescribable feeling with, in my opinion, the biggest artist ever.
Can remember it so well, my second concert ever in my life, many, many years ago in my youth…to young to stay in the crowd in front of the stage. Prince in Rotterdam, Holland. I felt so bad the show had to stop early because of all the rain. More than twenty years already Prince is leading this red line in my life. And then this year first Antwerp, Belgium, front row, amazing concert, couldn’t think this could be better. Not knowing that moment ,about ten days later, I would join this great man on stage in front of 30.000 people at my own country Holland!
So crazy, seeing all the people I was camping with outside the stadium and had such a cosy time with, when in the meanwhile my favourite was playing and singing that close to me. This piano moment was fantastic, although I first not realised Prince was looking at me with his “only-Prince-can-look-with-that-expression-in-his-eyes”… Stupid girl…haha. Luckily, on time, I looked at the RIGHT direction… Enjoying the moment, but also thinking I was dreaming getting awake every moment and had to finish me to get ready going to the Prince Concert. Shortly…so unreal! Absolutely because after our “goodbye-moment” I walked back to the exact spot I came from!
Like it was all an imagination…
This morning, after a night with…no sleep (to full of adrenaline and excitement), I noticed above picture and I realize more and more yesterday something has happened what is personally indescribable, unforgettable and will always have a big big place in my heart.
Really, the most wonderful time of my life!
Thank you so much Prince and hope to see you back soon!
- Controversy (1981) /Volare/ Housequake (1987)/ (eye like) funky music (wikipedia) : people on stage “I wish we were all nude“. People from the audience can come up to stage (see pics) and go dancing like wild. They do not get nude but they dance a lot to the enjoyment of the audience. There is at some stage a SoulTrain alike line dance in which each person on stage can perform a wild dance. Audience becomes crazy. “Controversy” is the title track and lead single to the 1981 album by Prince. One of his most respected classic funk songs, “Controversy” addresses certain speculation about Prince at the time such as his sexuality, religion and racial background, and how he could not understand the curiosity about him. The song has two main verses, a few choruses, with the title repeated throughout the track. Towards the middle he recites the Lord’s Prayer in full, which fueled the fire for some to say the song was blasphemous. Toward the end is a repeating chant of “People call me rude / I wish we all were nude / I wish there was no black and white / I wish there were no rules.” The song is straight funk with a steady drumbeat, synthesized bass, “chicken grease” guitar and keyboards. The song was backed with “When You Were Mine“, from his previous album, Dirty Mind. HouseQuake is from the 1987 album Sign of The Times. In 1989, Time Out magazine ranked it as the greatest album of all time. It was ranked #16 on the New Musical Express list of the All Time Top 100 Albums, 3rd in Hot Press magazine’s list of the 100 Best Albums of All Time, and #35 on VH1‘s 100 Greatest Albums. The album was also placed 8th on Nieuwe Revu’s Top 100 Albums of All Time. The Times listed Sign “☮” the Times as the 29th greatest album of all time. In 2003, the album was ranked number 93 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time. In 2006, Q magazine placed the album at #12 in its list of “40 Best Albums of the ’80s”.
- Sexy Dancer vs le freak (1980) (Chiq) (wikipedia) - “Sexy Dancer” was the follow-up single to Prince‘s self-titled second album in the UK. It was the first Prince single released outside of the United States that was not released as a single stateside. The funky disco number has few lyrics but is not short on funk, using prominent bass guitar, grunts and screams to excite the listener. The 12″ single was Prince’s first non-album extended version to be released. It includes extended bass and guitar solos, as well as more repeats of the refrain. “Sexy Dancer” was a popular number performed live, often giving other band members the opportunity to perform instrumental solos. The song has been modified over the years during live performances, often segueing into or out of other tracks, most recently during Prince’s 2007 Earth Tour, where the music to the song is accompanied by completely different lyrics, including parts of the disco classic “Le Freak“. The B-side of the track was the album track rocker, “Bambi” in the UK and “Why You Wanna Treat Me So Bad?” in Japan.
- Controversy Reprise
- A Love Bizarre (1985) (Sheila E.) (wikipedia) “A Love Bizarre” is a song written by Prince and Sheila E.. The song is a duet between both singers and it appears on Sheila E.’s 1985 album Romance 1600. It clocks in at 12:16, but the single version is 3:46 in duration. The song was Sheila E.’s last major hit and her second biggest behind her debut single “The Glamorous Life“. The song was performed in the film Krush Groove which Sheila E. also had a major supporting role in. The song was a major hit and reached #1 in Urban radio airplay & Dance/Club play, #2 on the U.S. R&B charts and #11 on the Billboard Hot 100 & Pop radio airplay. The German 12″ single release is backed by the B-Side “Save The People” that also served as the B-Side for her previous single “Sister Fate“.
- Love, thy will be done (1990) (Martika) (wikipedia) (Shelby J singing during concert, powerful experience) (cellphones in the air in the audience) “Love… Thy Will Be Done” was the first single released from Martika‘s second album, Martika’s Kitchen. The single, written and produced by Prince, reached the top ten of the pop charts in the U.S., UK, France and Australia. The single was released on July 25, 1991. This song introduced Martika to a more adult contemporary sound than her previous efforts. The song is particularly remarkable for its constant backline, played by the drums and the bass, without any variation throughout the song, neither as far as rhythm or intensity are concerned, independently of other effects in the song (climax, forte, piano, backing vocals, etc.). Similarly, the melody insists particularly on monochord lines and repeats the “love thy will be done” notes as a leitmotiv. The distinctive black-and-white music video was directed by Michael Haussman. Prince has performed this song during his tours in the later 1990s. Prince also used a sample of this song for his cover of “One of Us” on his triple album Emancipation.
- Purple Rain (1984) [album: Purple Rain] (wikipedia) : complete audience hums and sings along. Beautiful moment as it should me. On the oehohohhoe oehohohooo(?) Prince also hums it out of tone in to contrast the audience choir. On the guitar solo “Should I play my guitar?” he asks to tease the audience, brilliant solo’s. Song takes a 7 briliant minutes during the concert. Movie here (if it is still up). - “Purple Rain” is a power ballad by Prince and The Revolution. It is the title track from the 1984 album of the same name, which in turn is the soundtrack album for the 1984 film of the same name, and was released as the third single from that album. The song is a combination of rock and roll, pop and gospel music. It reached #2 in the U.S., and is widely considered one of his signature songs. The song was recorded live at the Minneapolis club First Avenue in 1983. The performance was the live debut of Wendy Melvoin, and also netted the final three songs of the Purple Rain album, although the songs would undergo studio overdubs later. “Purple Rain”‘s original lyrics contained an extra verse about money, which was edited out, as it diluted the emotional impact of the song.
- Kiss (1986) [album: Parade] (wikipedia) Prince stops a after a few lines to ask the audience “Y’all aint ready!” (I though he was talking to me…). Very funny typical Prince moment. He then starts again and repeats this 2 more times. Audience is engaged. “Kiss” started as a short acoustic demo, about a minute in length, with one verse and the chorus. Prince gave the song to the funk band Mazarati for their debut album. Mazarati and producer David Z. drastically reworked the song, giving it its stripped-down minimalist sound. When Mazarati delivered the song to Prince, he was amazed at their work and decided to take back the song for himself. He replaced their lead vocal, added the guitar break in the chorus and edited the song to its present form. Mazarati were credited for their backing vocals, which Prince left intact. Prince added the song at the last minute to Parade. Despite Warner Bros. not wanting to release it as a single, “Kiss” became Prince’s third number-one U.S. hit following 1984′s highly successful “When Doves Cry” and “Let’s Go Crazy“. It was also a big hit across the Atlantic, reaching #6 on the UK Singles Chart. The song won Prince another Grammy Award for Best R&B Vocal Performance by a Duo or Group, and was nominated for Best R&B Song. The song has become a staple at Prince’s concerts and is usually sung partially by the audience. The 12″ single of the song is an extension of the album track. The extended section is based on the funky guitar line and contains much fuller instrumentation than the main track, including bass guitar, organ and horns. New lyrics are present from Prince, along with Jill Jones, that end with a humorous dialogue between a wife and her husband watching Prince on television. The B-side of “Kiss” was “♥ or $” (“Love or Money”), sung in a processed, higher-pitched vocal, which Prince would later use for his Camille material. The song relates to the theme in Under the Cherry Moon, and a bit of the song was heard in the film, as was a bit of the extended version of “Kiss”. The extended “Kiss” was included on 2006′s Ultimate; “♥ or $” was recently re-released as a digital B-side on iTunes. New Musical Express ranked the song #4 in their list of The 150 Greatest Singles of All Time. “Kiss” was also included in Rolling Stones “500 Greatest Songs Of All Time” at #461.
- Let’s Go Crazy (1984) [album: Purple Rain] (wikipedia) – It was the opening track on both the album, and the film Purple Rain. “Let’s Go Crazy” is one of Prince’s most popular songs, and is almost always a staple for concert performances, often segueing into other hits. When released as a single, the song became Prince’s second number-one hit on the Billboard Hot 100, and also topped the two component charts, the Hot R&B/Hip-Hop Songs and Hot Dance Club Play charts, as well as becoming a UK Top 10 hit. The B-side was the lyrically controversial “Erotic City“. In the UK, the song was released as a double A-side with “Take Me with U“. Common to much of Prince’s writing the song is thought to be exhortation to follow Christian ethics, with the “De-elevator” of the lyrics being a metaphor for the Devil. The extended “Special Dance Mix” of the song was performed in a slightly edited version in the film Purple Rain. It contains a longer instrumental section in the middle, including a solo on an apparently out-of-tune piano and some muddled lyrics, repeating the track’s introduction.
- Delirious (1982) [album: 1999] (wikipedia) – It was the album’s third single, and Prince’s second top-10 hit, reaching #8 in the U.S. during the fall of 1983. The success of the single was boosted by the runaway success of the previous single, “Little Red Corvette“, and also because DJs often played the first three album tracks in sequence, which just happened to be the order of the singles released from the album. “Delirious” is a standard 12-bar blues number that tells how Prince is being driven crazy by a beautiful woman. The song teases the listener with sexual metaphors, hidden enough to avoid being censored. The track begins with a trademark Linn drum machine loop and a bit of synth bass before the keyboard hook introduces the song. A rubbery bass guitar gives the track a rockabilly feel, which Prince had experimented earlier on “Jack U Off” from Controversy. The track ends suddenly with the sound effect of a baby cooing. In live performances over the years, Prince would later add live horns to the song, making it into more of a swing number. The 7″ single release of the song included a poster bag with a 1983 calendar and images of Prince. The B-side to the track is “Horny Toad“, which is very similar in rockabilly style and instrumentation. Some of the sexually charged lyrics were mistakenly interpreted as sadistic at the time and were the source of some controversy. The track was included on The Hits/The B-Sides in 1993.
- Let’s Go Crazy (reprise)
- 1999 (1982) [album: 1999] (wikipedia) – the title track from his 1982 album 1999. The song is one of Prince’s best-known, and a defining moment in his rise to superstar status. The apocalyptic yet upbeat party anthem saw chart success in 1983, however it did not make it into the Top 40 on the first attempt, but did upon re-release after “Little Red Corvette” hit the Top 10, peaking at #12 in the US and #25 in the UK (reaching #2 in the UK when re-released in 1985).  The album version of the song starts with a slowed-down voice, reassuring the listener “Don’t worry, I won’t hurt you. I only want you to have some fun.” Prince shares lead vocals on the track with members of his band The Revolution, namely Dez Dickerson, Lisa Coleman and Jill Jones. Originally conceived to be a three-part harmony, it was later decided to separate out the voices that started each verse. Prince created “1999″ around the central riff of the 1966 song, “Monday, Monday” by The Mamas & the Papas. Prince, writing under the pseudonym “Christopher”, reused the verse melody in the song “Manic Monday“, recorded by The Bangles. Some music critics have suggested Phil Collins‘ 1985 song “Sussudio” sounds very similar to “1999″. Collins confirmed this claim, and remembers listening to “1999″ frequently while he was on tour with Genesis. The B-side, the piano ballad “How Come U Don’t Call Me Anymore?“, became a fan favorite. It has been covered by many artists, including single releases by Stephanie Mills in 1983 and Alicia Keys in 2001. In 1985, “1999″ was released as a 12″ single in the U.S. with “Little Red Corvette” as the B-side, and “How Come U Don’t Call Me Anymore?”/”D.M.S.R.” in the UK. The song was re-recorded at the end of 1998 with The New Power Generation, reusing portions of the original recording, and was released the following year as 1999: The New Master. On New Year’s Eve 1999, Prince (his stage name at that time still being an unpronounceable symbol) held a concert entitled Rave Un2 the Year 2000 at his Paisley Park Studios Soundstage, and he later vowed never to play it again. However, in August 2007, as part of his Earth Tour, he reintroduced the song to his set after an absence of almost eight years. Rolling Stone ranked the song #212 on their list of the 500 Greatest Songs of All Time.
- Dance (1978) (disco heat) (Sylvester James cover) (wikipedia) – “Dance (Disco Heat)” is the title of a 1978 single by American disco singer Sylvester James, who performed using just his first name, Sylvester. The song became Sylvester’s first Top 40 hit in the US, where it peaked at #19 on the Billboard Hot 100 chart in the fall of 1978; it also reached #29 on the UK Singles Chart. The song appears on his 1978 album, Step II. A 12″ single was released in 1978, with “Dance (Disco Heat)” as the A-side and “You Make Me Feel (Mighty Real)” as the B-side, and these two extended dance mixes proved to be very popular in the dance clubs at the time. The two songs held down the top spot on the Billboard Dance/Disco chart for six weeks in August and September of that year. These two songs helped to establish Sylvester’s career as a noted disco and dance music performer, both in the U.S. and abroad. (Sylvester died of complications from AIDS in San Francisco on December 16, 1988. He was 41 years old. His good friend, Jeanie Tracy took care of him before he died. On September 20, 2004, Sylvester’s anthem record, “You Make Me Feel (Mighty Real)”, was inducted into the Dance Music Hall of Fame. A year later, on September 19, 2005, Sylvester himself was inducted into the Dance Music Hall of Fame for his achievement as an artist.)
- I’m A star (1982) [album: Purple Rain] (wikipedia) - It is also the B-side on the “Take Me with U” single. “Baby I’m a Star” was originally composed and recorded in 1982, a highly prolific period which yielded many songs which Prince released over the years. The version on Purple Rain was re-recorded with The Revolution during a live performance in 1983 (the debut performance of Wendy Melvoin). Prince later reworked the live recording in the studio, adding overdubs and other refinements. The upbeat song is about pop stardom, specifically a rising star as the chorus states “You might not know it now, baby, but I are — I’m a star. I don’t wanna stop, till I reach the top.” This would coincide with Prince’s status in 1982. Musically, it’s a dance number propelled by a drum machine pattern and an understated bass. The song makes heavy use of rapidly played synthesizers, often made to simulate a horn section (Prince would sometimes add a real horn section to the song in later performances). Revolution member Doctor Fink gets a call-out in the song to deliver a synth solo. The song also contains an unusual backmasking at the beginning and end of the song. “Baby I’m a Star” has been played live many times since its inception and was one of the songs Prince played during the Halftime Show of Super Bowl XLI. It was also in the original cut of Tim Burton‘s 1989 film Batman, used in the Joker’s parade scene. However, when Prince agreed to compose the Batman soundtrack, he opted for the song to be replaced by “200 Balloons” (of which when rejected, turned up as a B-side on “Batdance“) and later with “Trust”, the latter of which seemed the most musically similar to “Baby, I’m a Star”, for both songs are about the same length, have a similar drum loop and lyrical pace. “Baby I’m a Star” is often played in sequence with “I Would Die 4 U“, the track prior to it on Purple Rain. (see here for videoz)
- Sometimes It Snows In April (1986) [album: parade] (yes… beautiful moment, very good intro, people having tears in their eyes) (yes I was singing along as everybody) – from the album parade (1986) so from the Motion Picture Under the Cherry Moon. The album was, for the most part, a solo effort by Prince, aside for the full band’s input on “Mountains”. Wendy & Lisa are co-credited with writing the music for “Mountains” and “Sometimes It Snows in April”. But sometime, sometimes life ain’t always the way / Sometimes it snows in April / Sometimes I feel so bad, so bad / Sometimes I wish that life was never …
- Little Red Corvette (1982) [album: 1999] (new version as heard in Belgium, great to hear this!) (Prince puts the audience in two and lets them sing together) It was released as a single from the album 1999 in 1982, the song was his biggest hit at the time, and his first to reach top-10 status in the U.S., peaking at number six on the Billboard Hot 100 singles chart. It was also his first single to perform better on the pop chart than the R&B chart, due to the pop/rock format of the song.The song combines a drum machine beat and slow synth buildup for the verses and a full rock chorus. Backing vocals were done by Lisa Coleman and the classic guitar solo was played by Dez Dickerson. In the song, Prince narrates a one-night stand with a beautiful but promiscuous woman (the “Little Red Corvette” of the title); although he enjoys the experience, he urges her to “slow down” and “find a love that’s gonna last” before she destroys herself. In addition to the title, he uses several other automobile metaphors, for example comparing their lovemaking to a ride in a limousine. The term “Little Red Corvette” has also been suspected to refer to a woman’s vagina or clitoris, due mostly to the lyric, “I’m gonna try to tame your little red love machine.” A 12″ dance remix of the song was released to accompany the single, and it continues where the album version fades out. The U.S. single was originally released with the album track “All the Critics Love U in New York” as the B-side, while in the UK two separate single releases had it backed with “Lady Cab Driver” or “Horny Toad”. Separate UK 12″ releases had the song paired with “Automatic” and “International Lover”, or “Horny Toad” and “D.M.S.R.”. Later, it was released as a double A-side with “1999“. The single was released with another 1999 track, “Let’s Pretend We’re Married“. On Prince’s 2006 compilation album, Ultimate, the dance remix of “Little Red Corvette” was a featured track.
[Encore 4: Covers of songs he created]
In high school, Morris Day was in a band with Prince and André Cymone and the trio formed an early band managed by Day’s mother called “Grand Central,” later renamed “Champagne.” Later, Prince embarked on a solo career but retained Cymone for his backing band. The two began to plan a side-group that would focus more on R&B, while Prince would continue to explore various musical styles. The Time was composed of 4 members from an earlier funk group called “Flyte Tyme,” but the lead singer had not been chosen. Sue Ann Carwell was auditioned and Alexander O’Neal nearly became The Time’s lead singer, but dropped out due to payment negotiations. Day, who was now in a band called “Enterprise” allowed Prince to have a song called “Partyup” for his Dirty Mind album and Prince would soon return the favor by giving Day the job of lead singer. Day would suggest guitarist Jesse Johnson, who completed the band’s ensemble. The Time’s most prolific and visible period came in 1984, when Day played the antagonist to Prince in his feature film Purple Rain, which helped establish Day’s playboy stage presence. Typically escorted by his valet, “Jerome” (Jerome Benton), Day won fans with his exaggerated vanity (“Jerome bring me my mirror!”) and strutting bravado (“Ain’t nobody bad like me!”), acting as a comic foil to Prince’s romantic, sensitive lead. This persona was further exploited for comic effect on The Time’s records, on songs such as “Chili Sauce” and “If the Kid Can’t Make You Come” from the album Ice Cream Castle. That album, the group’s most popular, is best remembered for the infectious singles “Jungle Love” and the Rufus Thomas influenced, “The Bird.” With their palpable pop energy and catchy choruses, both songs were hits on both urban and pop radio.
- “The Bird” (1983) (the Time) (wikipedia) – a song from The Time‘s third album, Ice Cream Castle. The song was initially recorded in the studio in 1983 with all instruments by Prince, except guitar, which was performed by Jesse Johnson. This version was replaced by a live recording with the full band at the First Avenue on October 4, 1983. This is the first Time song to be released both live and featuring The Time as a band, rather than Prince. The title of the upbeat number refers to a dance in which the arms are flapped, mimicking a bird’s wings. Morris Day also squawks throughout the song. The song suggests that by “doing the bird”, one can overcome their troubles. “The Bird” is a funk-rock offering, using both a drum machine and live drumming by Jellybean Johnson. Guitar takes the background for a funk effect, while keyboards play a dominant role in the song. After the main lyrics, there is an extended instrumental section to allow the band to dance. A “Dance Remix” of the song was released as a 12″ single. The B-side to the single was the rocker, “My Drawers”. The song has become a signature number for the band and continues to be played in every Time concert to this day. In addition, two additional live versions have since been released: one on Prince’s Rave Un2 the Year 2000 DVD and one recorded at the House of Blues in 1998 for Morris Day’s 2004 album It’s About Time.
- “Jungle Love” (the Time) (1984) (wikipedia) – the song from The Time‘s third album, Ice Cream Castle. The track was one of the first songs recorded for the album, being cut in late March 1983 during Prince‘s 1999 tour. “Jungle Love” was also one of the first Time tracks to involve other members of the band in the creation of the song. Morris Day and Jesse Johnson both contributed to writing the song. Day provided lead vocals and Johnson played guitar on the recording. Prince played all the other instruments. “Jungle Love” is a funk-pop offering relying mainly on bass and drums (drum machines), although there are elements of New Wave keyboards and a rock guitar solo, allowing the song to cross musical boundaries. Added to this are animalistic sound effects by Day and good-humored sexual lyrics. All this, combined with the Purple Rain momentum, propelled the song to The Time’s highest position thus far on the pop charts (#20 on the Billboard Hot 100). The song is one of The Time’s signature numbers and is played at every concert to this day. Live versions of the song have been released on two DVDs, including one of the band performing the song on Jay and Silent Bob Strike Back. A live recording from 1998 was also included on the Morris Day release, It’s About Time (released in 2004). It can be heard in the movies “Bringing Down the House” (2003) and Forgetting Sarah Marshall. It is also featured in the movie Jay and Silent Bob Strike Back, where it is performed by the full band. A cover version can be heard in the Super Mario Bros Super Show episode ‘Jungle Fever” during the original run.
- “ The Glamorous Life” (1984) (Sheila E.) (wikipedia) (incl. Soul Sacrifice) (Santana) – “The Glamorous Life” is a song written by Prince in 1984 and first recorded by singer/percussionist Sheila E. The dance song has lyrics which reflect a cynicism for the decadence and materialism of the song’s protagonist, referred to in the third person, who “wants to lead a glamorous life”, although she is aware that “without love, it ain’t much”. “The Glamorous Life” was originally intended to be recorded by the short-lived replacement act for Vanity 6, girl group Apollonia 6. Prince allegedly had several tracks lined up for the trio to record for their 1984 debut album (and by some accounts, their follow up album as well), but abandoned the idea when he learned that lead singer Apollonia Kotero had no desire to stay in the group beyond her contractual obligations as designed for her movie role in Purple Rain. Prince decided to give the song to Sheila E. who was fresh off her duet on Prince’s “Erotic City“. “The Glamorous Life” would be recorded by Sheila E. and go on to launch her solo career. “The Glamorous Life” was the title track and closing song on Sheila E.’s debut solo album, and reached number 7 on the U.S. pop charts, as well as number 1 on the U.S. dance charts, and earned a Grammy Award nomination. Sheila E.’s live performances of the song became memorable events, most notably for her percussion solo towards the end of the song. Depending on the occasion, she would either spin around several times while drumming without missing a beat during the rigorous solo, place one highly elevated foot on a snare while standing on the other leg mid-solo, or perform with glow-in-the-dark drumsticks. While the solo featured in the song helped to bolster Sheila E.’s fame, all subsequent versions of this song have no drum solo.
23:15 : After the last song (where he threw his 2nd or 3rd guitar (telecaster) in the audience, the audience was unsure if it ended… so most people stayed and were looking with a question in their eyes. After a little while people began moving to the exits. While going to the exits more Prince songs were played and some were singing it while on their way out.
Absolutely everybody I saw was very satisfied with the concert.
Also see: http://www.setlist.fm/setlist/prince/2010/gelredome-arnhem-netherlands-4bd543d2.html
parking and planning
We got an e-mail before the concert started that it would be extremely busy around Arnhem on that day and the advise to leave at 15.30 by car… of course that would be impossible because I had to work and our babysit would only be there on 19.00. So my wife would take the train and I would drive directly from my job’s place. She would then arrive later. Although she left by car at 19.00 she was in the concert at 20.15…
I entered Arnhem and was directed to park at Burger’s zoo where there is a gigantic parking space. Only then I saw that I had to pay € 12 in cash for parking there and for the bus. Which of course I had not thought of… (I only have cards). So I parked, walked to ticket line and when I reached the desk and asked if I could pay with pin they said no, but luckily there was a cashing machine somewhat further. Would be nice if this would have been in an e-mail before the concert (it only mentioned €4 for the bus). The bus took of course somewhat longer because it had to go via the central station.
When I arrived there were still places around the GelreDome to park and I still saw cars coming in… grrr… but of course you not take the gamble if you entering the city and see the large signs “Prince concert parking”. I wish they would direct people to the GelreDome parking instead until that parking lot would be full that would have saved me quite some time. Then again: next time I know and drive directly to GelreDome.
Afterwards there were hundreds of people around the busses. So you stand in the middle of a crowd “pushed forward”. So we entered a bus with “Free bus” on top of it and … that drove us to the station but when we asked if it would go to the parking lot the driver said: ‘no sorry, there are no busses anymore that drive to Burgers Zoo please take a bus back to the GelreDome….’. So we just left the station and went in a random direction where luckily a cab driver came by and took us to the GelreDome which costed us another € 20. So I paid €32 for parking… It then took quite some time to get out a pretty crowded parking space and after that we picked up the car of my wife in Ede-Wageningen we were home around 2:00.
Learning lesson: (if there is a) next time: just take one car, leave at 19:00 and drive directly to the stadium.
from: http://prince.org/msg/12/346562?&pg=13 and http://frontpage.fok.nl/review/415831/1/1/50/concert-prince-in-gelredome.html