Prince/MI,USA 4.9.2015 Soundboard Edition

I was shocked to see the 15-year tour on a soundboard. Even audience recordings hadn’t been released for a while. The sound source that Prince sends out is good, but this leaked soundboard is of such high quality that it would be no surprise to release it officially as a live album! Detroit Fox Theatre 2015.4.9 (2CD). The sound level seems a little low, but it’s still a crisp soundboard. From the DAT Intro to Let’s Go Crazy, Liv’s professional duet skills are played carefully, and Take Me With U is wonderful. Although Raspberry Beret is included in the set, U Got The Look is a typical Hit And Run 2015 set. However, when you listen to Musicology on the soundboard, the bass is groovy, and there are horns, so it’s a heavy funk and very powerful performance. Saida’s sophisticated vocals on Mama Feelgood are also moving. And the sampler set appears quite early on. When Doves Cry has a call and response with a unique phrase, and Sign O’ The Time has a very forward-thinking bass sound, so it sounds funky. Hot Thing has a wonderful keyboard orchestration that appears in the second half. Housequake has a chopper bass solo that can be described as spectacular, that’s all there is to it. The mashup of Cool and Don’t Stop ‘Til You Get Enough has a thrilling version with horns. The horn phrases of Ffun from Confunkshan also appear in the second half, making it more lustrous. Prince plays the rhythm guitar of Cool by himself, saying that it is funk school, and then the cutting of Thank You begins, and the band and horns come in and the performance begins in earnest. The funk school continues and changes to Play That Funky Music. Here, the solid guitar solo is excellent. However, the ending is not very tight. Controversy, which starts with an electro intro, is a hyper version with Liv and others singing the chorus and horns. Therefore, there are few cuttings. 1999 is also hyper, starting with the fanfare-like opening horn. However, it does not lead to Little Red Corvettte, and the ending is again weak. Then How Come U Don’t Call Me Anymore is played, but perhaps he deliberately stopped the band and played it in this position because he wanted to sing. You can certainly enjoy the wonderful piano and vocals with emotion. Then Little Red Corvette, which starts with the drums, is played in this position. Nothing Compares 2 U is very calm and you can enjoy the dignified Prince’s vocals. Kiss also has Prince in full swing. He shouts “what’s my name?” and Prince! The audience is probably shouting, but there are no cheers, so it feels quite empty. I’m too used to soundboard sound sources. It’s a luxurious problem. It’s not the time to say such things, it’s finally rare play Clouds. Liv Warfield takes over the part that Lianne La Havas sings, and the groovy bass and, above all, the piano melody slides in lightly, making this the best live version. However, it’s a shame that it ends in just over two minutes as one of the medley songs. Liv is introduced and the Pointer Sisters’ Yes ​​We Can Can is covered for the first time. Ida is also introduced and her singing comes in as if they’re harmonizing, but this is wonderful, and I want you to see that Ida has a talent for singing in this performance. The medley continues with Thankful N’ Thoughtful, which also includes the horn phrase from In Time. Prince sings the A-melody and the chorus, and the horns come in at the right time, making it very funky. Liv and others sing Little Sister’s You’re The One, produced by Sly, with a fairly faithful backing (the horn riff familiar to the Drifters also appears), and Prince chimes in, saying you’re the one now. And Larura Mvula’s Green Garden is a long-awaited appearance, and you can enjoy Judith Hill’s soulful vocals. The backing has a bell-like effect, and it is an up-tempo funk with horns, probably played by Prince, with impressive rhythmic cutting and a rockish guitar solo (is this Donna?). Prince also joins in the chorus in the second half. It ends abruptly, but this medley is simply wonderful, and the joy of suddenly enjoying it on the soundboard is even more intense. She’s Always In My Hair is a mix with the bass in front, but the guitar is also roaring and the play is more than powerful, but at just under 5 minutes, it is about half as immature as usual for this song. And Purple Rain, which feels quite rushed, has Liv and others’ chorus, so you can enjoy its soulfulness. Prince’s vocals are in top form, so there is plenty of emotion, and although the performance is short for this song at just under 8 minutes, it is probably very satisfying. This medley can also be heard on the soundboard. Act Of God has a horn section that goes wild from the beginning, and Prince also gives a great vocal. Previously, Shelby was the prominent image, but here Liv and the chorus sing moderately, Prince becomes more central, and Liv’s part where she roars at the right time makes the division of roles clearer. The same goes for What Have You Done for Me Lately, where Prince’s vocals blend in well with the chorus. Northside is also great, but the following Theme Song From Which Way Is Up, coupled with the horns, makes Liv’s soulful and lively vocal work feel reliable. Partyman, where Prince’s powerful vocals are numb from Dancing Machine, where the chorus is united, is also the best. Prince sings It’s Alright lightly, and Ida’s chopper bass also plays a good sound. And Prince’s piano set, which is in good condition, is the best, and when he safely sings Diamonds And Pearls, he seems to be progressing with The Beautiful Ones while being impatient with a sense of time, but then he plays Darling Nikki as a sample, and there is an exquisite development that cleverly betrays and rushes into a sampler set. Forever In My Life is sung, but it is cut short, and the backing of Alphabet St. is overlaid. It is a newly made version, not a sample from the studio version, and it is very funky. The X’s Face is so short (13 seconds) that it is almost indistinguishable, and U Know can be heard saying “Aha Ahan”. Pop Life is sung for a little over a minute, and 777-9311 has Prince’s brilliance bass around the 1 minute mark, and you can spend a wonderful time (about 2 minutes) with a break and changing into another phrase. And the last is The Love We Make. The piano sounds as if it is waiting to be played, and it plays a magnificent performance that is comparable to none. Donna’s guitar solo is perfect, and Prince voices her praise. The female chorus also comes in just in time for the second half, and Prince finishes off the show with a relaxed vocal, thanking her for her words. Detroit Fox Theater 2015.4.9 CD1 1.Intro 2.Let’s Go Crazy 3.Take Me With U 4.Raspberry Beret 5.U Got the Look 6.Musicology – Mama Feelgood 7.When Doves Cry 8.Sign O’ the Times 9.Hot Thing 10.Nasty Girl 11.Housequake 12.I Would Die 4 U 13.Cool – Don’t Stop ‘Til You Get Enough 14.Thank You (Falettinme Be Mice Elf Agin) 15.Play That Funky Music 16.Controversy 17.1999 18.How Come U Don’t Call Me Anymore 19.Little Red Corvette 20.Nothing Compares 2 U 21.Kiss CD2 1.Clouds 2.Yes We Can Can – Thankful N’ Thoughtful – You’re The One – Green Garden 3.She’s Always in My Hair 4.Purple Rain 5.Act of God 6.What Have You Done for Me Lately – Northside – Theme Song From Which Way Is Up – Partyman – Dancing Machine 7.Diamonds and Pearls 8.The Beautiful Ones 9.Darling Nikki 10.If I Was Your Girlfriend 11.Forever in My Life 12.Alphabet St. 13.The Most Beautiful Girl in the World 14.A Love Bizarre 15.The X’s Face 16.U Know 17.Pop Life 18.777-9311 19.The Love We Make