Tag Archives: parade

Prince: Syracuse, New York, 30 March 1985

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In these crazy times, it’s always good to hear music that ‘washes away the dust of everyday life’, to paraphrase Art Blakey.

Rewatching Prince’s 30 March 1985 Syracuse gig this week did just that. The brilliant 1984-1989 period of albums is one thing but it’s somewhat of a shock to be reminded of how fantastic the live shows were during this time, and musically streets ahead of pretty much everything 2026 can offer.

Even though by all accounts he was already tired of the Purple Rain tour by early 1985 (during the tour he had put the finishing touches to The Family’s self-titled debut, Sheila E’s Romance 1600 and Around The World In A Day), he gave nothing less than his all.

The Syracuse gig was reportedly attended by 49,000 people but wasn’t sold out. A heavily edited 78-minute cut is currently on iPlayer for UK viewers, commemorating 10 years since Prince’s death, with a lot of the weirder sexual stuff edited out.

Joni Mitchell once said Prince was not a pioneer but instead a brilliant assimilator, and here we see James Brown, Little Richard, Sly Stone, Jimi Hendrix and Carlos Santana rolled into one. The show is built for pure entertainment. There are so many notable moments:

– Prince taking off his Telecaster and chucking it 25 yards into the arms of a roadie during ‘Computer Blue’

– Wendy and Prince’s twin rhythm guitars on ‘1999’ (Wendy acquits herself superbly throughout, often playing Prince’s recorded solos note for note with some aplomb. According to Prince’s engineer Susan Rogers, he acted as a guitar mentor to Wendy, his frequent advice to her being: ‘Learn to solo, learn to solo…’)

– Mark Brown’s excellent bass throughout, absurdly trebly and showing serious funk chops

– The use of silence. This band could turn on a dime. In fact, Prince insisted on it!

– The small stage, and how close the band members are to each other. Check out the remarkable shot where the camera zooms out to show the entirety of the stadium, with a tiny stage in the background

– Bobby Z’s control of the Linn Drum machine: some serious pressure there. There’s a particularly quick sleight of hand between ‘Let’s Go Crazy’ and ‘Delirious’. But he plays ‘live’ on ‘Take Me With U’ and ‘Purple Rain’ with the Linn trigger on his snare. You’d hope Lisa Coleman and Dr Fink were wearing ear plugs during this gig though – he NEVER lays off the cymbals

– The ‘Baby I’m A Star’ finale featuring Sheila E, Eric Leeds et al is pretty remarkable, complete with audience members doing the conga around the stage

The Purple Rain tour ended on 7 April 1985. He began work on Parade just ten days later! He sat down at the drums and recorded the first four songs at Sunset Sound on 17 April 1985. Then Around The World In A Day was released on 22 April. This guy was always thinking two albums ahead.

Rolling Stone from 40 years ago this week, the 26 April 1986 edition

But reportedly it was a big shock to Prince’s management and band that he refused to tour Purple Rain outside of the USA. They wanted to milk it for all it was worth, but Prince was moving on.

And his bandmates were less than thrilled to receive a tour bonus of just $10,000 each (meanwhile Prince’s accountants informed Sheila, who had acted as the opening act on the tour, that she owed Warner Bros. $1 million…).

Perhaps the most remarkable thing of all though is that Prince would go on to make better music during the 1980s, and arguably do better live shows too…

Book Review: Prince And The Parade & Sign ‘O’ The Times Studio Sessions by Duane Tudahl

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Could Prince have thrived in this current age of the ‘bedroom’ musician?

On the evidence of Duane Tudahl’s superb new book – documenting every single studio session that produced the classic albums Parade and Sign ‘O’ The Times, plus countless others too – the answer would be a resounding ‘no’.

As Tudahl points out in his wonderful follow-up to ‘The Purple Rain Studio Sessions’, Prince’s genius very much depended on a coterie of talented, fiercely committed back-room staff, particularly Susan Rogers, Peggy ‘Mac’ Leonard, Coke Johnson and David Rivkin (brother of Revolution drummer Bobby), not to mention the constantly-on-call band mainstays Eric Leeds, Matt Blistan, Wendy Melvoin and Lisa Coleman, all of whom are interviewed at great length.

But there’s absolutely no doubt who’s the boss and the book doesn’t shy away from uncomfortable truths about Prince’s methods and manners. However, it’s an embarrassment of riches for the fan and valuable historical document, not to mention a great, gossipy read.

We join the book at the beginning of 1985, smack bang in the middle of the Purple Rain tour. We learn how he quickly tired of its routine and looked ever forward, taking particular inspiration from Sheila E and other collaborators, ducking into studios around the country often straight after a gig, usually recording between 2am and 6am (Sheila’s album Romance 1600 was almost exclusively put together in this fashion).

We also learn that there were three huge equipment trucks on the tour – one that contained reels of tape, one with the stage gear and one that contained only Prince’s instruments, so that he could record anywhere, anytime.

Tudahl tells the whole story of the fascinating Los Angeles night of 28 January 1985, when Prince won three awards at the American Music Awards but then failed to repair to A&M Studios for the ‘We Are The World’ session (he offered a guitar solo to Quincy Jones but was turned down!), instead going out to party at Carlos ‘N Charlie’s Mexican restaurant.

The evening had huge repercussions and began a period of press barracking – he was even lampooned on ‘Saturday Night Live’, with Billy Crystal blacking up and singing ‘I Am The World’. Tudahl has access to a huge number of candid interviewees who provide a kind of making-of guide to other key side projects from the period: St Paul Peterson talks in detail about the recording of The Family and his subsequent fall-out with Prince; Jill Jones describes the painful, hugely drawn-out period working on her underrated 1987 solo record; Eric Leeds describes how the Madhouse albums came about.

Then there are the fascinating details: we learn the full story of how ‘Kiss’ came together, with Prince getting inspiration while playing basketball on the Sunset Sound court; how the expansion of The Revolution in February 1986 was somewhat of a result of Prince’s fascination with ‘twins’, probably inspired by his fiancée Susannah Melvoin’s relationship with her sister Wendy.

We get a real sense of Prince’s incredible progression as a musician, especially through the early days of 1986, and learn all of the relevant details about his collaboration with Miles Davis. We read how the US bombing of Libya on 14 April 1986 affected Prince, inspiring a talk with Jill Jones, the viewing of a film about Nostradamus called ‘The Man Who Saw Tomorrow’ and subsequent removal of some of the more frivolous material on Jill’s album. We also learn how the LA earthquake of 12 July 1986 inspired the classic song ‘The Cross’.

And there are fascinating nuggets about how he saw his own work – he reportedly told Eric Leeds and Susan Rogers on 29 July 1986 that he thought his lyrics to ‘Adonis And Bathsheba’ were possibly his best, though Leeds and Rogers certainly didn’t agree… Both reasoned that Prince protested too much only when he was unsure of himself.

There are also the fascinating machinations of how the Sign ‘O’ The Times album finally came together, after numerous false starts, tracklist changes and the Warner Bros. top brass – led by Lenny Waronker – refusing him a triple album. No detail is spared in the section on the ‘sacking’ of Wendy and Lisa, subsequent hiring of Cat Glover and reformatting of Prince’s live unit.

The period is an absolute whirlwind, and the mind boggles how much all of this studio time cost Prince and Warners. But finally the impression we are left with is that this book gets as close to the ‘real’ Prince as we are ever going to get – it’s not for the faint-hearted fan, but a fascinating, rewarding journey if you can take it.

As someone who regularly worked on a completely one-to-one basis with him, Susan Rogers often had the best seat in the house, and she offers rich insights into his family background and psychology. The section on Prince’s lonely recording session of Christmas Day 1985 will linger long in the memory.

But all of this is only scratching the surface. We haven’t even mentioned the making of ‘Under The Cherry Moon’. It’s another wonderful book and enormous achievement by Tudahl. We await ‘The Lovesexy/Batman Studio Sessions’ with baited breath.

‘Prince And The Parade/Sign ‘O’ The Times Era Studio Sessions’ is published by Rowman & Littlefield.

Author Duane Tudahl discusses the writing of the book in this podcast.

‘Wendy & Lisa’: 30 Years Old Today

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Los Angeles, October 1986, just after the Japanese leg of the ‘Parade’ tour.

Prince invites his bandmates Wendy Melvoin and Lisa Coleman to dinner (Lisa will later report in her excellent liner notes for the Wendy & Lisa 2013 reissue that she ‘knew something was up’ as soon as they arrived).

To cut a long story short, they are out. The Revolution is no more.

Lisa: ‘We were like Fleetwood Mac and Sly & The Family Stone rolled into one… I thought we were going to make records together for the rest of our lives.’

But Prince wants to take back his freedom and sex up his act again. Struggling for the right words, apparently he says to Wendy and Lisa: ‘I can’t ask you to wear crotchless panties or nippleless bras…’

After a period of introspection, the ladies get together with other former Revolution member Bobby Z to write a few songs. At this stage, they have no intention of releasing the new material as ‘Wendy & Lisa’.

But once they agree to front the band, a record company bidding war ensues. Huge advances are mentioned. They settle on a ‘big but sensible deal’ with Virgin.

Predictably, the suits are less than turned on by the more musicianly moments on the album, but the ladies are unapologetic, saying that they ‘wanted to show off all the colours in our crayon box’.

So much for the history. How does Wendy & Lisa stack up these days? Apart from some fairly unsavoury drum sounds, pretty well.

The singles ‘Sideshow’ and ‘Waterfall’ are probably the weakest tracks, though the latter has a cracking chorus and was apparently deemed a surefire hit by the record company and musician friends.

But it didn’t much business, not helped by its rather humdrum video. The ladies were not particularly keen to start dancing in videos at this stage of their careers – they wanted to be seen as musicians. As Lisa says in the liner notes: ‘I had paid my showbiz dues with The Revolution.’

But the album works brilliantly when it sticks to the ‘cool chord changes over good beats’ remit, when they genuinely do sound like a mashup of ’80s Joni Mitchell and Prince.

‘Honeymoon Express’ exemplifies this approach, nicking Sly Dunbar’s ‘My Jamaican Guy’ beat and adding a sumptuous melody. The vocal harmony in the chorus is sublime.

‘Light’, ‘Everything But You’ and ‘Chance To Grow’ also succeed in a similar vein. Wendy’s multi-instrumental skills (vocals, guitar, bass, sometimes drums) and Lisa’s impressionistic synth parts mesh perfectly.

‘Song About’ sounds eerily like The Carpenters. Ballads ‘The Life’ and ‘Stay’ have become fan favourites, the former also turning up in an improved Trevor Horn-produced reworking on the soundtrack of Michelle Pfeiffer movie ‘Dangerous Minds’.

The instrumental ‘White’, featuring Tom Scott on soprano and a killer bit of drum machine programming by Wendy, is possibly the standout. Test your speakers out with this one, kids.

Wendy & Lisa – perhaps surprisingly – was not a hit. Lacking a breakout single, it didn’t dent the US top 100 and only scraped to #84 in the UK.

Better Wendy & Lisa albums would follow, but this is an ambitious, arresting debut. All the colours in the crayon box indeed.