Prince/Paisley Park Jam MN,USA 2015 Studio Gigs

A wonderful Paisley Park gig has been unearthed that shows Prince trying to present a new sound. You can definitely tell that Prince’s progressiveness never dries up. First of all, Disc 1 contains the first half of Prince’s live performance on April 19, 2015, entitled Record Store Weekend Jam, where admission was free for record store personnel. This is a pretty good audience recording. The beginning begins with a fade in, but I think it’s missing just a little bit. The vocalist is the author Prince, not Liv Warfield! This is a magnificent live version. The following Funknroll is a performance with a lot of funk, and a Million $ Show style guitar cutting is played by Prince at the end. Let’s Go Crazy, which has a long rock opening and lasts for less than 10 minutes, and Take Me With U-level pop Rock N Roll Love Affair have a rare development unique to Paisley Park, and there is also a guitar solo in the middle. It’s irregular. Pretzelbodylogic is played well, each member of Stratus plays like an extended version, the drum solo includes interesting effects, and the hard jazz that mixes these together is wonderful. And the second half of Disc 1 is Judith Hill’s set. At this time, probably the three people who played keyboards were Chance Howard, Kip Blackshire, and Dominic Xavier Taplin (also a member of NPGQ), and Kirk Johnson was on drums. Jesse Larson is on guitar (he is a former member of the band #MPLS), and Mononeon is on bass. Judith’s set also begins with a fade-in, but I think there is not much lack of performance here either. Judith’s first album was produced and composed by Prince, and she expresses that Princey and funky sound in a powerful live performance. In fact, the level of funk is higher in the live performance, and Turn Up approaches the audience with a furious sense of excitement and speed. Chance Howard sings this cover of Ohio Players’ Fire, which has a heavy mono-neon perverted bass. Then, Kip Blackshire’s 18th song, Stevie Wonder’s Superstition was performed for the first time in a while, and the soulful Judith sang Cure from the first album, and then Kip Blackshire performed Hot Fun In The Summertime. This is a mashup version that incorporates the chorus of the song. Then there’s Judith’s own piano performance, which is a great version of Ben E. King’s Don’t Play That Sound, which is also sung by Aretha Franklin, and the arrangement of Judith’s close-up song Wild Tonight, which has a strong Prince feel. Continuing the atmosphere, Chance Howard sings No Diggity with Judith, followed by the dignified Cry Cry Cry, and finally the super funk My People, which becomes the strongest and heartwarming closing song with mono neon and vocoder. Disc 2 is the second half of the Record Store Weekend Jam, and Prince’s set begins again. Finally, the live version of Revelation has been discovered. There are no cool 7-minute jams or songs, but Prince’s lyrical guitar, as if watching the listener’s heart become pure little by little, is unique. Thank You is a terrifyingly thrilling song with an irregular guitar cutting that deviates from the original song, and includes Prince’s vocals and sharp horns. The saxophone solo that calls Marcus is also great. It suddenly becomes a downer, but Judith Hill sings the main song this time, with the irregularly cut phrase still, while Prince lets the audience sing along. And as if to prove that Prince wrote it, Prince sings a little bit of My People at the beginning, which is a continuation of the downer of Thank You For Talkin’ To Me, Africa, so it could be heard in Judith Hill’s set. The version is different. And it’s a different form from the usual 3rd Eye Girl, with Prince on bass and Ida Nielsen on guitar. And As Train Go By is an arrangement in which Prince’s guitar comes to the fore, and it approaches with a slightly relaxed groove including Judith’s vocals. This is a jam, you guys just dance, Prince tells the audience and performs a vocal duet with Judith. And a very thrilling guitar solo, probably by Prince. Even after the performance stops, it starts again, Judith also sings irregularly, and interesting guitar phrases pop out at a dizzying pace, making it a jam that clearly shows Prince’s tact. Gimme All Your, in which Prince performed as a guest, is from the audience sound source when Alabama Shakes, a great rock band that won the Grammy Award for Newcomer Award for the first song and three Grammy Awards for the second Sound & Color, performed at Prince’s Paisley Park. Includes Love. Originally, this song featured a lot of guitar, and gradually became a heavy rock song, and it was well-developed, but Prince was there! I’ve included some unusual phrases in this way. Then, a guitar solo by Prince, which can be seen by the excitement of the audience, appears around the 5 and a half minute mark. The second half of Disc 2 and Disc 3 are high-quality audience recordings of Judith Hill’s live performance at Paisley Park, which was held to celebrate her appearance on Stephen Colbert’s Late Show. Incidentally, Judith herself is not being celebrated. It was held on a small stage in the NPGMC room. However, it is a live performance that features NPG’s backing chorus, Ashley Jay, who came out almost completely different from Shelby. It starts with Rufus’ cover You Got The Love. Liv and Ashley sing the vocals alternately, adding choruses to complement each other. Ashley has a relaxed vocal that reminds me of Tamer, and it’s very pleasant. On the other hand, the band’s backing is jazz-funk, and the parts without singing are like jazzy instrumentals reminiscent of NPGQ. Still, the bass is mono-neon, and his bass is the key to this jam. Prince’s guitar is a clever mixture of elegance and aggressiveness. The atmosphere then continues with the heavy funk of Judith’s As Train Go By with a loose groove. Prince is adding the chorus in the background. Wah’s guitar also adds to the blackness. There is a light keyboard solo, but it is by Prince. Prince plays both guitar and keyboard. In the second half, You Got The Love is sung again, and it’s a fairly complex jam that is essentially a mashup of two songs. Paisley Park, which is a bit downer with Prince’s boogie keyboard backing, is a very fresh arrangement, and for the first time, Prince’s light but low voice singing and Ashley’s soulful moving two styles are mixed in a well-balanced manner. This is the version you listen to. While maintaining the groove, Prince adds a scratch sound and Paisley Park is sung again. There is a rockish guitar and rhythmic keyboard, but the guitar is played by Donna Grantis. Even after the break, it becomes another groove with another guitar in front, and Prince also sings in a broken manner as the main song, while Liv and Ashley’s chorus develops very darkly. Prince asks the audience how they liked Judith’s appearance, and this time the groove is slowed down a bit and a sound I’ve never heard before is developed. The sound of a cowbell pounding and a Stratus phrase appearing on the guitar makes it clear that it’s a Stratus, but as the performance progresses, you start to think it’s a new Stratus. In the second half, a mesmerizing guitar phrase enters, and the song progresses rapidly with rock music that sounds like Jimmy Hendrix has descended, and keyboards that sound like Chick Corea. Also features a mono neon burbling base. Prince is supposed to be the main performer, and the world unfolds as if it were a direct embodiment of the chaos inside his head. It sounds like Stratus, but it’s actually the birth of a new sound. The groove continues with the Rose-like keyboard and bass that can be heard on Ruff Enuff, and the timing of Kirk Johnson’s drums is accompanied by their banter, which even sounds like a sound effect. Then, Prince freely sings My People and whispers a funky message telling him to just dance, and Ashley and others add the chorus “keep on dancing.” Then it gradually became quiet and ended. Then Prince’s keyboard plays the phrase Sweet Thing, and Ashley sings. Her youthful voice and slightly distorted singing style are refreshing. Liv also sings harmoniously and sometimes as the main singer, and with Prince also involved, you can hear the very beautiful and soulful vocal work. Prince’s keyboard research is also beautiful. And the fresh jazzy Purple Rain with Prince’s keyboards and broken vocals is a treat to listen to, and the arrangement is more neo-soul, perhaps because it has a more Rose-like tone than what you hear on the Piano and a Microphone tour. Masu. It’s also refreshing to see Ashley and others adding the woo-woo chorus instead of Prince. Stare, which starts with a burst of funk, has a groove that silences even the most crying children, and is cooler and darker than the original. Prince’s singing style, including his breathing sounds, is very funky, creating a sound that only Prince could create. The horn phrase is probably a sampling, and Kiss’s cutting is also inserted from Prince’s shout. And once the performance is stopped, the chopper bass solo comes out, which gives me goosebumps. The drums and Prince’s breathing sound change rapidly, and the sound layered with horns, cutting, and various ideas overlap. He even hesitates to use his voice to make the audience laugh with the James Bond theme. And the performance continues. When will it end? It’s one of the pinnacles of funk created by Prince’s band, and you could even call it that. A Dreamer-style intro with Prince’s guitar comes in and ends. No, it’s still going on. Now to the rockish Let’s Go Crazy. This development is very thrilling, but it ends with an interesting guitar phrase. Prince praises Donna’s playing and plays Guitar. It’s a hyper arrangement, and this is a version that approaches with great tension. The live performance will not end with the destructive Plectrumelectrum. At the end, a black rock funk jam that I have never heard is played. Is Prince a guitar with a sharp main axis? It’s a very cool riff. In that case, Donna will also be involved with another guitar. Whether it’s Donna or Prince’s solo, they mix together to form one tremendous sound that silences the audience. The performance stops, then restarts with a more aggressive riff, and the way the performance changes with Prince’s tact is like magic. In fact, he even uses a keyboard to control it. Although it is Prince’s sole domain, the mononeon bass is also responsible for the groove that became the backbone of the song. It’s an instrumental performance whose title is unknown, but it’s so great that I wish it had a name. Disc 1 2015-04-19 “Record Store Weekend Jam” – Paisley Park 01. WOW 02. Funknroll incl. Art Official Age (Remix)/Million $ Show 03. Let’s Go Crazy incl. Frankenstein 04. Rocknroll Loveaffair 05. Pretzelbodylogic 06 . The Sailor’s Hornpipe 07. Stratus 2015-04-19 Judith Hill Live – Paisley Park 08. As Trains Go By 09. Turn Up 10. Fire (feat. Chance Howard) 11. Superstition (feat. Kip Blackshire) 12. Cure incl .Hot Fun In The Summertime 13. Don’t Play That Song (You Lied) 14. Wild Tonight 15. Cry, Cry, Cry 16. My People 17. No Diggity (feat. Chance Howard) Disc 2 2015-04-20 “Record Store Weekend Jam” – Paisley Park 01. Revelation 02. Thank You (Falettinme Be Mice Elf Agin) 03. Thank You For Talkin’ To Me, Africa 04. My People 05. As Trains Go By 2015-06-01 Guesting with Alabama Shakes – Paisley Park 06. Gimme All Your Love (feat. Prince On Guitar) 2015-10-16 “After Show – Dance Party – Rehearsal” – Paisley Park 07. You Got The Love 08. As Trains Go By 09. Paisley Park (feat. Ashley Jayy) Disc 3 01. Unknown Instrumental 02. Stratus 03. Ruff Enuff incl. My People 04. Sweet Thing (feat. Ashley Jayy) 05. Purple Rain 06. Stare incl. James Bond Theme 07. Dreamer (Instrumental Intro) 08. Let’s Go Crazy incl. Frankenstein 09. Guitar 10. Plectrumelectrum 11. Instrumental Guitar Jam