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Prince
#1
Prince @ Oracle 2/24/11

Following his surprise MSG run, the first two CA shows were announced last week.  They went on sale Friday and sold out immediately.  It was a minimum of $125 just to get into the nosebleeds.  Surrounding his symbol-shaped stage where small tables with high chairs, much like a lounge.  Those were $750 a seat.  He set up Monday, a holiday so that's extra to pay the union, and was in the hole for at least a mill, given that no one knew these shows were going to happen.  The stage had to be struck for a game on Tuesday and re-erected for show 2, where he broke even.  A 3rd show was added for last night and he cashed out.  No one knows where the tour goes next.  It's up to Prince's whim.  No one does this in this economy.  No one would have the balls to even attempt to pull this off.  

If you've never seen Prince live, you have no idea what he does.  He is one of rock and funk's greatest living guitarists.  Never mind the theatrics, the TAFKAP phase, the lingerie, Prince can really shred.  Different set lists each night - Santana dropped in for a song on Monday.  Sheila E, who is still an amazing percussionist, was there for the whole run.  

I wasn't going to go as the show opened and closed for RM while I was on vacation.  In fact, I only learned about it as we were driving home and Stacy saw the Oracle marquee.  I've seen Prince many times before, and was going to pass, but booked it on a last-minute whim.

Prince toys with his crowd.  He's learned a thing or two from his recent stay in Vegas and turned the Welcome 2 America tour into this massive high-end guerrilla-attack lounge act.  He dimmed the lights 3x and raised them again before a late start.  Wearing a muscle shirt, he's been working out and sports decent guns.  He's still got his licks - they seemed sharper then ever - and he's still got his dance moves.  He was constantly sampling and teasing his riffs and other pop riffs, baiting the audience to cheer again and again.  When he asked for cell phones to be alighted, the auditorium became a dancing nebula to the rhythm.  He got his audience to to some of the most complicated waves I've ever seen.  He did 4 encores, the last one came like 15 minutes after the house lights were on and a third of the audience had left.  

It was his funk that got me.  He did Sly's Everyday People and Thank you for letting me be myself again, and that was just incendiary, especially in the ancient funk capital that was Oakland.  

It was a sharply dressed, perfumed crowd - very diverse and well behaved.  DM was nipple molested at the end by a topless dancer.  Seriously.  It was a happy ending.
Shadow boxing the apocalypse
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#2
It was called PRINCE: a piano & a microphone. 

Tickets went on sale last Wednesday and sold out immediately.  An ol' Deadhead Rasta martial arts friend of mine scored some, and I jokingly mentioned on fb that it was my birthday.  On Saturday, he hooked me up.  Best birthday surprise ever. It's been years since I've been in the Paramount and it remains one of the most beautiful theaters in the Bay Area - it's golden art deco adds an elegance, an echo of when the theater experience was much classier.

I've seen Prince several times before.  I saw him at San Jose Events center and at BGC, many many years ago, before this forum so I can't really remember when that was.  I suppose I could work it out by cross-reffing tour dates on the net, but it's not that important to me.  He always satisfies.  This show made me completely rethink him.  I've always considered him as a guitarist.  Not sure why because he plays everything.  He played every instrument on 1999 (which I have in vinyl still).  Stripped down to just a grand piano, he wasn't as funky without percussion and horn attacks.  He was more jazzy, more R&B.  He could get so much sound out of that grand - just amazing.  And his vocals were as on point as I've ever seen him, switching effortlessly between his angelic castrati falsetto to his rocker eagle shriek to his reedy tenor - his vocal range was far beyond what I remember.  And in all fairness, it wasn't just Prince, a piano and a microphone. He also had this kaleidoscope backdrop that was totally beguiling. I've seen a lot of kaleidoscopic backdrops, but none so hypnotizing as this one.

Musically, he jammed through his standards and others with the cool confidence of a master.  Little Red Corvette>Peanuts theme>Little Red Corvette.  A sweet rendition of Marley's Waiting in Vain without the faintest hint of reggae, and yet so soulful and heartical. He held the audience in his purple palm, commanding us to clap with just two claps, getting tremendous call-response with the choruses. I don't think he played a single song all the way through. Instead, he just jammed back and forth through his massive catalog of tunes. Four encores. I haven't felt an audience that unified with his exiting "Free Yourself" chant since the days of the Grateful Dead's Not Fade Aways. Simply put, Prince is an unbelievable talent.

I got a free DVD on the way out - HITnRUN from last year - and listened to it on the ride home. It didn't do much for me. Prince's live experience just does not compare to his recorded work.
Shadow boxing the apocalypse
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#3
Last night, I was at my mom's.  I dug through my vinyl, looking for my copy of 1999, but there's so damn much crap hoarded in my old room that I couldn't get to it.  I couldn't find it.  It was upsetting because I know it's there somewhere, and a pic of my vinyl might have ruled my instagram for a few minutes.  I have some wacky vinyl in storage - Bonnie Tyler, soundtrack for Streets of Fire, also the original Star Wars soundtrack, Peter Gabriel's german versions, and several high-fidelity Wagner records.  It was also upsetting because I know I have to deal with all of that stored crap someday.  If I could get my act together, I'd start chipping at it now, maybe a box a week or something.  

Still mourning.
Shadow boxing the apocalypse
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