EAST – IF YOU FEEL LIKE DANCIN’

Far more sophisticated is ‘In a Large Room with No Light’. The darkness of this song’s lyric seems less personal than political or theological : it points backwards to ‘Annie Christian’ and ‘Ronnie, Talk to Russia’ and forwards to ‘Sign o’ the Times’ and Diamonds and Pearls’ ‘Live 4 Love’. Prince always seems to be spooked by threats of war, and the song was inspired by the geopolitical situation at the time. Of all Prince’s political songs, it’s the most nihilistic. It is less an exploration of theodicy than a statement of the darkness of life, and for once the response is not to party but to despair. The bleakness of the lyric is balanced by an upbeat and unusual jazz backing, which surprises as Prince usually does this sort of song alone with his synth and drum machines. I never imagined I would get to see Prince perform this long-lost track, but he exhumed it in 2009 for the third of three shows in one night in Los Angeles. Performed in the middle of a heavily jazz-influenced set, it was clear that the anguish that had originally driven the song was long gone.

05-05-1986 : Get On Up (Extended) - Eric Leeds / Matt Blistan overdubs
Jet

Vanity talks about love, Prince and new career in records, films

By Robert E. Johnson

When she shared show biz spotlights on concert and theater stages across the country with pop/rock star Prince in the early 1980’s, Vanity’s naughty lyrics caused her to be labelled “The Singing Sexpot.” As leader of a titillating trio called Vanity 6 (Brenda, Susan and Vanity), the brown-skinned beauty blazed her way into the recording limelight with her first album, Vanity 6, whose single, Nasty Girl, raised the temperature of males and the eyebrows of females who were not quite ready for such explicit sexuality in songs. Vanity was sweet sixteen when she cut the umbilical cord from her birthplace in Niagara Falls, Canada, because she said it was as boring as it was beautiful. After leaving behind her family place, she also shed her family name, Denise Matthews. But shortly after she met Prince, who was responsible for the formation of the all-female trio, she was given the name Vanity by the singer/songwriter. Vanity said Prince named her Vanity because she was a mirror in which he saw his reflections. She elaborated upon this in a revealing interview with Jet. The night that Vanity and Prince first laid eyes on each other proved to be memorable. “That was many years ago (1979) at the American Music Awards. He wanted me to take him to the bathroom,” she recalls. Sensing what she thought was disbelief by this writer, Vanity said : “You’re just looking at me. Listen, this is a true story. He wanted me to make him to the washroom. His manager came up to me and says this guy (Prince) wants to know if you could take him to the bathroom. I said ‘Ain’t that a line and a half.’ No, I will not. I said, ‘You can take that back to him.’ Then he followed me,” she continued. “He took off his jacket and asked me if I would take off mine. I asked ‘Why ?’ He said, ‘So I can try yours on and you can try on mine.’ So we tried each other’s clothes (jacket). I thought that was wonderful.” It was only a matter of time that she would have another opinion of the man that she thought was “a bit of a strange person.” The next recollection of Prince was accompanied by a beautiful smile – as if trying to recapture a rapture. “He’s the most romantic man that I’ve ever met in my life !” Prince ? “Yeah,” she gushed. “He’s the most romantic man ever. There’s no man that can touch him on romance. Nobody. He’s extremely romantic - you know what I mean.” Although their romance has since faded, their friendship remains, she allows. Vanity says that she didn’t envy singer/actress Apollonia, who came into Prince’s life and wound up as his film lover in Purple Rain, a role that she said had been offered to her. “I don’t think anybody really took my place. I was only 25 then and somebody was already playing me,” she mused. “I got a lot of publicity, but that wasn’t the point. I think that was her (Apollonia) fate.” Vanity said she handled the change with no difficulty. “I turned to Jesus Christ. I said, ‘Jesus, what shall I do.’ You know. And he led my feet this way – and somebody needed to be put in that place (Purple Rain movie). She’s got a career now because of it and I’ve got one, too.”
??-??-1986 : Anotherloverholenyohead (Extended) * - Anotherloverholeyohead Maxi single
Put your foot on the rock
Let the girls see ya
Put your foot down on the 1
Shake your body, have some fun
U know there ain't no other
U need another lover like U need a hole in yo' head (Sing)
U know there ain't no other
U need another lover like U need a hole in yo' head
Put your foot on the rock
Let the girls see ya
Put your foot down on the 1
Shake your body, have some fun (Hey)
U need another lover like U need a hole in yo' head {x4}
Hole in yo' head
06-05-1986 : Under The Cherry Moon incidental music

07-05-1986 : MOUNTAINS US Single Release

Mountains (3:58) / Alexa De Paris (3:20)

The second single from Parade, "Mountains" / “Alexa De Paris“ is released in the US. It will reach number 23 on the pop chart and number 15 on the black chart. A small part of the B-side song, a continental-tinged instrumental, can be heard in Under The Cherry Moon film.

10-05-1986 : Sunset Sound

If I Could Get Your Attention (1) (2:08) – Jill Jones – Taja Sevelle

Frustration
Billboard
Mazarati – 100 MPH

Prince songs have been known to launch acts to stardom; this one has a Revolution-ary arrangement that makes it almost indistinguishable from the Man Himself.

11-05-1986 : It * - Dream Factory

Boy You Bad

It was initially included as the fifth track on the first disc on the 3 June, 1986 and 18 July, 1986 configurations of Dream Factory. It was kept for inclusion as the fifth track on the first disc as the album developed into the triple-album Crystal Ball on the 30 November, 1986 configuration, which was eventually pared down and became Sign O' The Times. The title Boy You Bad comes from a phrase spoken by Jellybean Johnson when any of his friends did something amazing. It is unknown if this track is an instrumental or contains lyrics, or if it was intended for any project.

It

I think about IT baby all the time, all right

IT feels so good IT must be a crime, all right
I wanna do IT baby every day, all right
In a bed, on the stairs, anywhere, all right
I wanna do IT baby all the time, all right
Cuz when we do IT girl, IT's so divine, all right
I could be guilty 4 my honesty, all right
But I've got 2 tell U what U mean 2 me, all right (all right)
With U I swear, I'm a maniac, all right
U see IT ain't no joke, just a natural fact, all right
I wanna do IT baby all the time, all right
Cuz when we do IT girl, IT's so divine, all right
Doin' IT, doin' IT, doin' IT, doin' IT
(come on)
(come on)
I could be guilty 4 my honesty, all right
But I've got 2 tell U what U mean 2 me, all right
(yeah - I wanna)
I wanna do IT baby all the time, all right
Cuz when we do IT girl, IT's so divine, all right
I wanna do IT baby all the time, all right
Cuz when we do IT girl, IT's so divine, all right
I wanna do U baby all the time, all right
Cuz when we do IT girl, IT's so divine, all right
(U wanna) think about IT, (U wanna) think about IT

(baby, all the time)

Think about IT all the time (fuckin' on your mind)
Feels so good IT must be a crime
Doin' IT, doin' IT, doin' IT, doin' IT
(Come on, come on)
Not all the songs are lyrically ambiguous. Never performed live in full, and recorded by Prince alone, ‘It’ is a straightforward statement of sexual obsession. Prince is back having sex on the stairs (he finally sounds like he’s a perfect match for Darling Nikki), and the song is essentially a repeated insistence of how much he likes ‘it’. But it’s all about the delivery. In chorus with himself, taunting himself, whispering, standing up close to the microphone and sounding so far away he can barely be heard, this is one of his most complex performances.
??-05-1986 : Home Studio
Interlude (0:59) – Wendy – Dream Factory
Unknown studio
You’re My Love (3) – Clare Fisher overdubs – Prev. Sunset Sound 25-09-85 – They Don’t Make Them Like They Used To
14-05-1986 : ♫ Joins The Bangles @ San Francisco (0:09)
Whole Lotta Shakin’ Goin’ On / Manic Monday

Towards the end of the BangIes' concert, Prince bounced on stage to play guitar and sing along with the band on "Manic Monday" and “Whole Lotta Shakin' Goin' On." A few weeks earlier, the Prince-penned "Manic Monday" (credited to Christopher) peaked at number two ("Kiss" was number one) and become a big breakthrough for the group.

05-1986 : Spin (UK)
Prince & The Revolution – Parade

By Timothy White

From the voluptuous cascade of percussion, braying brass, and falsetto vocal flights that is the overture-like Christopher Tracy’s Parade to the breathy, saturnine code of Sometimes It Snows In April, Parade, the soundtrack for Prince’s forthcoming Under The Cherry Moon, is proof positive that Prince is the single most sagacious figure in all of modern R&B, funk, and soul, the worthy successor to the mantle tailored by James Brown, Chuck Berry, Sly Stone, and Stevie Wonder. Not since Brown has there been an artistic vision possessed of such a quirky, riveting mystique, the manchild turning out tracks one has to LEARN in order to fully hear. To Prince’s credit, he’s stuck by his dream of a world redeemed by the theopatic power of the libidinous spirit, even as the puritan forces of the PMRC gather at the gates. On New Position, with its Carribean soul of chiming steel pan and climbing bass giving the blissful female backing vocals a pristine sheen, Prince sows his wild new oats in perfect funk abandon. With an audible fingersnap and the purposeful tread ot tom-toms, the sensualisms intensify as the record slips (Parade has the best segues since Abbey Road) into I Wonder U, a dark and broody reverie paced by a tensible flute and some heaving rhythm guitar. As with the best of Prince, there is a sense of tingly exploration and innocence on the brink of overwhelming surprise in Under The Cherry Moon, a singsong lullaby that could have been cowritten with Van Dyke Parks for an erotic Disney feature. Girls & Boys, with its Take Me With U-styled tempo, explodes into deep-diving sax accents. A remarkable evocation of the nervous sweetness of pubescent enticement, Girls & Boys is one of the best dance tracks of the last 10 years and boasts a couplet that’s at the very core of the rock ethos : “Happiness in its uncut form/Is the feeling I get in your warm warm.” Life Can Be So Nice is another delirious jump-up ditty, but with an ominous undercurrent. When it abruptly shifts to the ethereal strings and keyboards of the Venus De Milo instrumental, bringing side one to a portentious close, the effect is that of a romantic cliff-hanger. Mountains is a lush, modulated funk turn worthy of Smokey Robinson, but its lilling mood masks nightmarish images of the coming reckoning in South Africa and the cultural decay that spawned international terrorism in the skies. As he does throughout Parade, Prince makes deft use of a newly controlled falsetto which parries with superbly peppy R&B horns. The early ‘70s juncture when the pop invention of the Beatles was eclipsed by the techno-mystical soul stirrings of the mature Stevie Wonder permeates both Mountains and Do U Lie ? which even weaves some McCartneyesque English music-hall ambiance around its taunting croon. The baroque richness of the preceding peaks fall away with an intentionally startling thud when Kiss kicks in, however, and we’re in a hyper-spare sphere of matting first surveyed by James Brown circa 1967’s I Can’t Stand Myself (When You Touch Me), but even Mr Dynamite never imagined a slow grind with this degree of percussive bite. After teaching the Godfather a new trick, Prince does the same for Stevie with Anotherloverholenyohead, a vibrant aural pastiche that knocks the high points of Fulfillingness’ First Finale into a cocked hat. With its exquisite melody, wonderfully tugging vocal, and brilliant clipped synthesized discordances that heighten the overall wonder of the track, Anotherlover is classic popcraft that will likely rank with anything to emerge in the ‘80s. In its self-absorbed sureness, its ingenious and humble homage to its forebears, and its stunning resolution of an uncommon agenda, Parade both ratifies and stands apart from all that Prince has attempted since he debuted in 1978 with For You. As a movie soundtrack, it sounds like the male equivalent of Smooth Talk; as a musical rite of passage, it’s as if the Rogers boy regained his rock ‘n’ roll virginity and then rationed his load like a first-rate roué’s one endlessly resourceful night. Prince is no longer making records for a potential audience or even for himself, he’s making them to express one genuinely inquisitive person’s possibilities – and that’s the beginning of truly torrid inspiration.

17-05-1986 : Sounds (UK)

20-05-1986 : e Mazarati @ Minnesota Music Awards (0:13) Player’s Ball / 100 MPH (Incl. Cool)

 Prince Receives Award (0:05)

♫ Bloomington Aftershow (0:35)

(A : Minnesota Music Awards 5-20-86 / Love Or $ - 9/10)
Raspberry Beret / Girls & Boys / Life Can Be So Nice / Controversy (Incl. All Day All Night)

Mutiny (Incl. Holly Rock – Dream Factory) / Kiss / Love Or $

Prince picked up the awards for Best Video (“Raspberry Beret”), Best Film / Video Score (Parade), and Best Cover Artwork (Around The World In A Day) at the sixth annual Minnesota Music Awards at the Carlton Celebrity Room, Bloomington. He closed the show with a 40-minute set comprising “Raspberry Beret," “Girls And Boys," “Life Can Be So Nice," a funk medley of "Mutiny" and “Controversy” (with at few lines from “Holly Rock" and “All Day, All Night" thrown in), "Kiss," and “♥ Or $."
Prince is constantly screaming at the audience for more participation and for them to get on their feet, and often makes reference to how unfunky they are. The performance and set list are similar to an abbreviated Hit & Run show, although there are a few unusual moments including a rather rare performance of 'All Day, All Night' (mainly instrumental) and an extended version of 'Kiss'.
With another Number One single in "Kiss", a hit album in "Parade", and his second motion picture opening in less than two months, Prince had good reason to be in high spirits in the first half of 1986. That seems to be captured in this short, but electric, near 40 minute performance at the Minnesota Music Awards, recorded May 20, 1986. Prince's confidence in the superiority of this expanded version of The Revolution, and their ability to funk up any challenger to their throne, is obvious as he exhibits a tongue in cheek arrogance mixed with genuine cockiness in their ability to kick serious ass. With the dissolution of The Family, Prince added Eric Leeds and Jerome Benton to The Revolution, along with new guitarist Miko Weaver, trumpet player Atlanta Bliss and back-up singers and dancers Greg Brooks and Wally Safford. The Revolution was now an all-out rock, soul, jazz and funk review at the peak of their powers. In addition to picking up three awards this night at the Carlton Celebrity Room in Bloomington, Prince And The Revolution closed the night with this set and Akashic Records has released the first soundboard recording of this show. Previously circulating in an audience recording, this soundboard tape is a vast improvement, but a few warnings need to be heeded. Despite being soundboard, the first half of the show has a noticeable buzz in the background deep in the mix as it seems a keyboard is pumping out feedback. It serves as an annoyance more than anything and is only really noticeable during quieter moments onstage. Also, the soundboard recording does not include the "extended portion" of "Kiss" so a good quality audience recording of that portion of the song has been edited in to give a complete record of the show. Overall, I'd give the sound quality a weak B, but it is still a nice release to get this show in a clear enough soundboard form. As for the show itself, after a brief intro Prince And The Revolution go into a shortened version of "Raspberry Beret", before full length versions of "Girls & Boys" and "Life Can Be So Nice" back to back just like on "Parade". "Girls & Boys" is a rousing version, but the stuffy, non-responsive audience gets under Prince's skin as he berates them from the stage in a hilarious tirade. "Man all you tired fools get yo ass up ! What the fuck you think this is, GET UP ! Shit ! Fuck it I'm goin' home. COME ON !" he shouts before singing the first verse. He gets flustered with the lack of audience interaction a few other times during the set, and it's damn funny. Next the band segues into "Controversy" incorporating a chant from the unreleased song "All Day, All Night" into the jam. By this point Prince now has the crowd in the palm of his hand, even if he has to implore them to "Clap your hands. CLAP YOUR HANDS ! Jesus Christ !" but even they can't resist when they kick into the highlight of the show, an over seven minute version of "Mutiny", one of the many Prince penned songs for The Family. Prince turns this into a massive jam with an Eric Leeds sax solo that he brings to an end with a cheerful "Eric, shut the fuck up", the male backing singers chanting "St. Paul, Punk of the Month !", directed at the former lead singer of The Family who left the band, while Wendy and Lisa sing "This is what it's like in the Dream Factory whoa-whoa" from the unreleased song "Dream Factory". A killer performance. The set ends with the extended version of "Kiss", performed much as it was recorded for the 12" maxi single, and that single's B-Side, "Love Or $". It's a short set, but incredibly loose and funky all the same. Prince's frustration with the crowd ("You people give me a bad attitude !") makes for highly amusing listening. "I thought Minneapolis was funky, I'm going home" he says at one point. Well, maybe this awards show audience wasn't funky, but Prince And The Revolution sure were on this night.
The show starts simply enough, with one of Princes trademarked “Awwwww !” There is a cheer from the crowd then after a drum roll and pause everyone is left waiting in anticipation, me included ! Another flurry of horns and guitars, then the familiar refrain of Raspberry Beret. Such an upbeat song, it’s hard not to feel uplifted. Nowadays Raspberry Beret is beginning to sound a little stale to my ears, but here in 1986 it’s still fresh as a daisy, and the crowd gleefully sings a long. The female vocals on this one are right out front and very strong. The song is abridged, somewhat surprising for a song that is already so short. Prince is very playful with the crowd, as he was throughout this era. He asks Jerome “can I tell you about this little nasty girl ?” And Eric Leeds sax makes its first appearance as the groove of Girls and Boys begins. Girls and Boys is my favorite song on the Parade album, and this live version certainly delivers the goods. So much I enjoy about this one, the guitar, the deep groove of the keys, Fink’s quirky sound, and the deep honk of Eric Leeds. Prince exhorts the crowd to get up, and I should think it would be pretty hard to stay seated as the band really grooves on this one. Girls and Boys always sounds so different live, but it never diminishes the sound of the song to me, often live it feels much more muscular to me, it really hit me like a punch. Prince calls Eric to solo, and it crosses my mind that this would be a great jam song if they decided to take it that way. But Prince keeps the band on a tight leash, and hammers us with the funk in the song. The song has a false ending, and then continues with Prince calling for everyone to get up again. I would love to see the visuals for this one, I am sure it looks as good as it sounds. I smiled when after a few “Vous etes tres belle, mama, girls an’ boys” , Prince tells the crowd “that’s French, you understand” There is no respite as the distinctive intro to Life Can Be So Nice plays. The band and crowd sound like they are having lots of fun, there is plenty of squeals and screams from the crowd. There is a deep refrain coming out the left speaker, I don’t know what it is, but it drives the song along for a minute or two. There is a nice change of tempo and the song winds down, the Revolution sounds as tight as ever, and even at the slower tempo it still sounds funky. The song continues in this vein, and then a steady beat and some very funky guitar take us into the next song. With the pounding beat and funky beat, at first I think it’s going to be Mutiny, but then Prince sings “all day, all night” and I think my heart is going to explode out of my chest. Unfortunately it’s just another Prince tease and the band continues with some great funky rhythm guitar. This recording is not the greatest quality, but it’s worth listening to just for these two minutes of funk guitar. I don’t mind admitting, that when I was writing this I listened to the first three minutes of this song five or six times in a row. It felt so good. And all the while Prince is encouraging the crowd to make a funk face. His humor is further displayed when he tells the band “Bring it way down fellas, and ladies, I’m sorry” I have listened to enough Parade shows that I should of realized what was coming, and this funky intro slams in Controversy. “Come on band, groove” and the band plays the horn infused intro that we are familiar with from the Parade shows. From the 1986 shows I have heard and seen this is always one of the highlights for me, when he plays Controversy and into Mutiny. Controversy has a massive groove to it, much more so than on album and energy levels are high, especially encouraged by Wally and his calls to the crowd. Things slow as Prince does his whole smoking a cigarette charade. I know what is coming next and I can’t wait. With a shout of “Get Up !’ the band storms into Mutiny. This one song that never got the release it deserved. I can’t help but move every time I hear it, it’s an absolute monster, and here the band plays a rousing version. Something about the organ and the horns just really gets me. I could listen to this all day long. Eric plays such a great role in this song, I love it when the band drop out and give him space to play his solo, especially when Prince cuts him short with “Eric, shut the fuck up” and the band explode back into action. “On the one” ends the song, but thankfully they enter back into the groove right where they left off for another couple of minutes. During this long groove Prince sings lines from ‘Holly Rock’ which always seems to go over well with the crowd. Prince teases me further when he has the girls singing the chorus of the Dream Factory. I wonder if those in the crowd knew what they were hearing. Some more funk guitar ends it, and there is a pause for the crowd to catch their collective breath. It doesn’t last long, as the instantly recognizable intro of Kiss is played. After the full on assault of Controversy/Mutiny it feels a little light. It is, never the less, still very good. I cringe when I hear Prince say the words “Wooden Leg” during the bridge, glad I don’t have to watch THAT dance again. I have always loved the guitar break in this song, and I was surprised when I saw Prince live how many other people really dig it too. As usual, here it sounds very good. It’s strange to hear the original “you don’t have to watch Dynasty” line still in it, I have become so used to the move recent versions with TV show of the moment inserted here. 1986, and the line is still fresh and humorous. There is s a long play out, and Brown Mark is sounding very good, he often gets overlooked when I am writing these. The show ends with a ♥ Or $. It’s refreshing to hear it, and its another chance for the band to show how good they really are. Especially the horns and Eric Leeds are very prominent throughout. I was surprised he finished with this one, but I did enjoy the horns on it. It very quickly settles on repetition with the girls singing “love or Money” while the horns play all over it. It comes to a sudden halt where I am expecting Prince to call them back in, but he never does. The recording itself goes for another minute, with Prince thanking the crowd for his award. He thanks the usual people, The Revolution, The fans, before finishing by thanking God. This recording was very short, and yet very enjoyable. It briefly presents the best of the Parade era tours. All the material played, with the exception of Controversy, is new, yet the crowd responds to it well, and everything is well received. Like I said earlier, this is many more recordings from this era I would grab before this one, but it would be a shame if this was overlooked.

21-05-1986 : MOUNTAINS US Maxi-Single Release

Mountains (9:51) / Alexa De Paris (4:54)
The second US Parade single was "Mountains." It reached number twenty-three. The extended ten-minute twelve-inch version starts with Prince's heavily echoed voice, yelling, “Hey you, get out on this dance floor !” Based around a repeated funky rhythm guitar part, the new version includes a lengthy instrumental vamp with solos by Matt Blistan and Eric Leeds, as well as some jazzy guitar riffs by Prince. Featured in Under The Cherry Moon, "Alexa De Paris" was the B-side of "Mountains." It is an ambitious medium-paced instrumental rock number that recalls the "symphonic rock" of Mike Oldfield or such groups as Genesis and Yes. Prince improvises on guitar around a basic theme which is played on synth. The music is calm and unhurried but intensity increases as the instrumentation expands and builds to a thunderous climax, with Clare Fischer's orchestra adding an element of danger. An arpeggiated synth and string part leads into a second section of the song. The tempo increases as the bass becomes more driving and the drumming more active. Prince rips into a guitar solo and Sheila E. plays a brief drum solo before everything returns to the main theme again. “Alexa De Paris“ is a complex and dramatic piece of music, quite unlike anything Prince had attempted before.
23-05-1986 : ♫ San Francisco Warfield Theater (2:15)

* Advert. Start : 8:00PM / Attendance : 2.175 / Sold Out / Duration : 2:30 / Tick. Price : $17.50

(A : San Francisco Live 1986 – 8/10 / Warfield Theatre, San Francisco – 8/10)

Around The World In A Day / Christopher Tracy’s Parade / New Positon / I Wonder U

Raspberry Beret / Alexa De Paris / Controversy (Incl. Holly Rock) / Mutny (aborted)

Controversy / Mutiny (Incl. Dream Factory) / How Much Is That Doggy In The Window ?

Lady Cab Driver / Automatic / DMSR / The Dance Electric (Andre Cymone)

Under The Cherry Moon / Anotherloverholenyohead / Soft And Wet

I Wanna Be Your Lover / Head / Pop Life / Girls & Boys / Life Can Be So Nice / Purple Rain

America (Incl. Holly Rock – Cold Sweat – Spanish Key)

Whole Lotta Shakin’ Goin’ On (Incl. Holly Rock) / A Love Bizarre / Kiss (extended)

Love Or $ (Incl. Ain’t It Funky Now)

Fans had only three hours’ notice via a local radio station to get tickets to the concert at San Francisco's 2.200-seat Warfield Theatre, promoted by Bill Graham. “Tickets flew over the counters," commented a representative for the ticket agency. “But it went so fast, there was no time for any problems." Scalpers were asking from $75 to $275 per ticket at showtime. Despite a somewhat apprehensive start, with a subdued audience, the concert was extraordinary. Lasting two and a half hours, it was one of the longest sets Prince had ever played. Prince talked to Jerome towards the end of “Raspberry Beret,“ which had been abbreviated since the last show, “Jerome, I wanna tell you about this girl. Well, she's kinda fine. Kinda funny pants on. She's kinda fine, but I think she's with somebody. Shall we whoop it ?" “Controversy” started with just the guitar and drums. "Frisco, tonight you're mine," Prince said. "If you want, we can play all night. But y'all gonna have to participate, alright." He did some “Holly Rock" chants before launching into "Controversy." However, when the band switched over to “Mutiny,” he suddenly stopped them. “On the one ! Miko, come here ! Miko's from here. When Prince got it, he's Uptown. Miko give them ‘Controversy' again, all alone." Miko started the funky rhythm guitar part while the backing singers urged the crowd to participate. “Alright, Miko, shut the fuck up," Prince said before instructing Wendy to do her “thang." "Frisco, is it funky ? Now, look, we play all night, but y'all gotta participate. When I say participate, I mean everybody." The second time around, "Mutiny" was played through without interruptions, incorporating the usual “Dream Factory" excerpts. In total, the medley centred around “Controversy" and "Mutiny" lasted nearly 10 minutes. Andre Cymone guested on “The Dance Electric" and Prince thanked him over the opening of "Under The Cherry Moon." He introduced "Soft And Wet" as a “blast from the past" and extended the instrumental vamp of "I Wanna Be Your Lover" longer than usual. “Head" was also stretched out, lasting 11 minutes. It included at demonstration of the wooden leg dance by Prince, who kept referring to the audience as Uptown. "I wish Morris was here so he could see this shit. Would he be mad or what ?" "Ain't nothing finer than y'all," Prince said over the closing sounds of "Purple Rain." By now the audience was in a frenzy, shouting and screaming as a drum beat and Prince's loud guitar lead into "America," which evolved into a playful jam. “Let's dance, let's shout, getting funky is what it's all about, " Prince and the backing singers repeated. Eric Leeds took a sax solo, while Prince continued with more chants, “If you didn't come to party, take your dead ass home" and "don't stop the groove," before it was time for his drum solo. “America" was followed by a fairly brief “Whole Lotta Shakin' Goin' On," after which Prince asked, “Wendy, what's so funny ?" "That was good," she replied. Then Prince decided it was time to create a new song on the spot. He got the backing singers to do a dog bark chant, before instructing, “Put at beat with that, Bob. We're gonna make up a song in C. You got some lyrics ? Put some bass on that, Mark, in C." The rest of the band joined in, playing a funky number. After doing some “Holly Rock" chants, Prince said, "Don't y'all laugh. We're just making this shit up as we go along. As a matter of fact, we ran out of songs." The backing singers then chanted "the roof, the roof, the roof is on fire," lifted from George Clinton's “Mix-Master Suite," before Prince took the lead for a chant of “ain't nobody fuck with us." “A Love Bizarre" was nothing special, but before continuing with the next song, Prince wanted to tell the audience a story about Wendy. "Wait, I gotta tell y'all a story. I was in France, right. I was doing a film, right. They gotta rehearse without me because I'm not there. I'm making a movie. So they sent me a tape. The funkiest band of all time, funkiest groove coming, ‘Kiss' or something. Then all of a sudden you hear this voice [imitating female voice], ‘Stop, stop, stop the groove. You guys sound like shit.' Go back to your neighbourhoods, brothers. So then it was quiet for a little bit and then you hear, ‘One, two, three, four,' a funky groove coming. Is this a white girl ? I think not. I think not." After requesting Bobby to “put a kick drum on that," Prince continued. “When I was growing up, going to school, they always told me, ‘Only black people funk.' Only black people. There are certain exceptions to the rule. You correct me if I'm wrong, I happen to know different." After asking the crowd, “What d'ya wanna hear ?," Prince started “Kiss.” He introduced the whole band before playing one final number, “♥ Or $."
At the Warfield Theater in San Francisco, Prince made space for Eric Leeds to take control of ‘Mutiny’ as he asked the girls in the audience for their phone numbers, before going into the unreleased ‘Dream Factory’. André Cymone appeared to sing ‘The Dance Electric’, but the song didn’t have the power it had when he wasn’t there, performed as a more straightforward rock song than it had been in Boston. The Revolution were most evident on ‘Anotherloverholenyohead’, Lisa’s pretty piano solo working its way up through the complicated arrangement. The show was one of the longest and loosest Prince had performed to date, the tightness of the first half giving way to extended jams (including fifteen minutes of ‘America’) towards the end.
This concert is available on a number of releases each with slight differences. All are sourced from the exact same audience recording, but the Persic version is certainly the best of the 3. The fan released 'The Dance Electric' contains the show however the quality is disappointing. The Sabotage release 'San Francisco 1986' contains the show however they have substituted parts of the show with a recording from the Hamburg 31st August 1986 show. This Persic release contains the most complete version and the quality is certainly a match for the Sabotage release. I'll discount the 'The Dance Electric' release straight away as the quality (in comparison) is a let-down. I personally found the Sabotage release a little thin and lacking any depth - never mind the fact they spliced in a recording from a completely different show (a big no-no for me). This Persic release is true to the original recording, is very impressive and enjoyable from start to finish. It can be a little bassy at times, but it does provide the show with the kick which was missing from the Sabotage release. One other minor complaint is there is a solitary dude who single-handedly ruins both 'Under The Cherry Moon' (by yelling "Yeah" constantly) and 'Anotherloverholenyohead' (by whistling from start to finish), however he makes up only a tiny fraction of the show. The concert itself is a very loose Hit & Run show with Prince interacting with the band and audience like it's an aftershow. Too many highlights to mention, but the 15 minute jam on 'America' which includes a drum solo by Prince, and the 12" extended version of 'Kiss' are worth pointing out. Without doubt this is my favourite release of this unusual, loose show both in terms of being the most complete and the best quality.

Joel Selvin, writing for San Francisco Chronicle, felt that Prince had shifted into a new, more mature stage persona. “He didn't exactly blow any startling new ground or shatter any precedents. He simply has grown and changed, with an increased eye toward subtlety and nuance greatly magnified by the intimate vantage point afforded by the Warfield. Like all the best pop musicians, Prince challenges his audience, never allows complacency, and starkly juxtaposes his own striking attitudes against the supposed conventional social order." Robert Hilburn, Los Angeles Times, also lauded the new show and described Prince as “sometimes playful, sometimes sexy and aggressive, but he was always trying to seduce," while David Armstrong, San Francisco Examiner, used the words “pandemonium" and "delirium" to describe the show, “Simply put, Prince tore it up."

At the time of Prince’s San Francisco appearances, it was reported that he would undertake a worldwide stadium tour starting in September. But the large-scale tour never materialized, and the American Parade tour was limited to a number of one-off shows. It has never been explained why the world tour was called off.
26 to 29-05-1986 : Sunset Sound
Pride And The Passion * - Sheila E

28-05-1986 : ASCAP Awards (LA)

Prince appears at the ASCAP Awards ceremony held at the Beverly Wilshire Hotel, Los Angeles. He was cited for his compositions "I Feel For You," “Raspberry Beret," "Purple Rain," and "When Doves Cry."
30-05-1986 : ♫ LA Wiltern Theater (1:45)

* Advert. Start : 8:00PM / Attendance : 2.300 / Sold Out / Duration : 1:45

Tick. Price : $20.00 / $17.50

(A : Caught In A Hit And Run – 6/10)

Around The World In A Day / Christopher Tracy’s Parade / New Position / I Wonder U

Raspberry Beret / Alexa De Paris / Controversy / Mutiny (Incl. Dream Factory)

How Much Is That Doggie In The Window ? / Lady Cab Driver / Automatic / DMSR

The Dance Electric / Under The Cherry Moon / Anotherloverholenyohead / Soft & Wet

I Wanna Be Your Lover / Head / Pop Life / Girls & Boys / Life Can Be So Nice

Purple Rain / Whole Lotta Shakin’ Goin’ On / Mountains

A Love Bizarre (Incl. Holly Rock) / Kiss

By now a pattern was beginning to set for what Steve Fargnoli publicly called the “Hit & Run tour" : a short notice over a local radio station and fans line up to buy out the whole show in minutes. The Wiltern Theatre concert was shorter and tighter than the three previous “Hit & Run" shows, Minneapolis, Boston, and San Francisco.

A week later, Prince brought the show to Los Angeles. Three of the best performances from this night – ‘Automatic’, ‘D.M.S.R.’ and ‘The Dance Electric’ – were released in soundboard quality by Prince’s NPG Music Club as part of the seventh Ahdio ( sic) show, and it’s these recordings that should be sought out as one of two official documents of the tour, the other being Prince’s birthday show in Detroit, which was recorded for a concert film,
A phenomenally tight and focused Hit & Run show which surfaced in August 2008. Unknown to exist for the past 22 years, the recording may not be on a par with today's standards (or the standards of many audience recordings from 1986, for that matter) but the show itself is so enjoyable that the quality can be overlooked. It's not a bad recording by any means, and whilst it has its share of problems, I've heard far, far worse from the time period (New York 1st or 2nd August, anyone ?). Throughout the audience are audible but only really overpower and detract from the recording in places - a prime example being the incessant screaming during the "seduction routine" towards the end of 'Head' - other than those few minutes, they are of a manageable level. The recording has a few small cuts/drop-outs, which again are rather minimal, but are obvious during 'The Dance Electric', ‘Pop Life' and 'A Love Bizarre'. Audience intrusion and minor drop-outs aside, the recording is still decent for its time, and it's perhaps due to the fact it wasn't known to exist until now that I am being slightly kind to it - it certainly won't be to everyone's tastes, but such is life. As for the show, oy, the show. It differs from the previous Hit & Run concerts due to the fact it's been condensed into a very tight, funky show, yet it's obviously still on its way to becoming the more focused European / Japanese Parade tour. Without dissecting it too much, stand-outs include a ferocious 'The Dance Electric', a welcome return for the 'Soft And Wet / I Wanna Be Your Lover' duo, and the closing extended 'Kiss'. As excellent as the previous weeks San Francisco show is, I'd rate this Hit & Run show higher simply because it has everything one could possibly hope for from Prince at this period in his career. One last point worth noting is that 15 minutes from this show was made available by the NPGMC on Ahdio Show #7 (August 2001),and until this show surfaced, it was unknown which venue they originated from, so it's great to clear up that little mystery too. Excellent release, in spite of the distinctly aged recording.
Jim Washburn complained about a lackluster audience response in his Orange County Register review, “The lack of support took its toll on stage. Prince was taking certain liberties with the stage floor, failed to build when he requested some audience participation, and he abruptly told the band, “Fade it out. I'm done,” dropped the microphone to the floor and walked off stage for a costume change. During "Purple Rain." he changed one verse to, "l’m only trying to reach out for something new, and that means LA too." Los Angeles Times’ Robert Hilburn compared the show to the much longer San Francisco set. “Prince has wisely cut a half-hour from the show. Besides reducing the number of solos, he eliminated most of the exaggerated horseplay that seemed aimed at demonstrating he's a nice guy. This was a far leaner and more effective concert."
Meets Troy Beyer  LA reports (CBS 2 / Channel 4) (0:06)

(Includes snippets of Raspberry Beret from the show)

Born in New York City to an African American mother and a Jewish father, Troy Beyer began her acting career with a role on the children's program Sesame Street when she was just four years old. She studied acting and psychobiology at City University of New York's School for the Arts. After landing a bit part in Francis Ford Coppola's The Cotton Club (1984), Byer moved to Los Angeles, where she became a regular on the ABC prime-time soap opera Dynasty in 1986, playing Jackie Deveraux, the daughter of Diahann Carroll's character Dominique Deveraux. Prince wrote Shockadelica about her in 1986 after or while he was seeing her due to her "witch-like" vibe. She was rumored to be pregnant with his child around the Diamonds and Pearls era and later appeared in the video for Sexy MF.

SHEILA E - HOLLY ROCK Dutch Single Release

Single : Holly Rock (Edit) (3:58) / Toy Box (5:32)

Jap Single : Holly Rock (Edit) (3:58) / Touch Me (5:32)

Maxi Single : Holly Rock (Extended) (6:35) / Edit (3:58) / Toy Box (5:32)

Holly Rock was the fifth single to be released from Krush Groove, the soundtrack album to the movie Krush Groove, starring Sheila E. It was released nine months after the album's release, and marked the first single release by Sheila E. not to have been taken from any of her own albums. The b-side, Toy Box, was taken from her second album Romance 1600. The 12" version also included an extended version of Holly Rock. Prince wrote and largely performed both songs, although his input on both tracks was uncredited. The single did not enter the charts.

31-05-1986 : Billboard

Surprise performance

Prince joins the Bangles on stage for a hot rendition of Manic Monday during the group’s recent performance at Warfield Theater in San Francisco. The Purple Wonder then watched from the sidelines, joining in again on the encore. Prince has been popping up unannounced at clubs across the country to warm up for his forthcoming tour.

Spring-Summer 1986 : You’re My Love (4) * - Prev. 05-86 – They Don’t Make Them Like They Used To
Kenny Rogers and his band re-recorded the song in Spring-Summer 1986 (at one of several studios - Garden Rakes, Sherman Oaks; Conway, Hollywood; Can/Am, Tarzana; Oceanway, Hollywood; House Of Gold, Nashville or The Garage, Nashville), and the released version contains no musical input by Prince. The released version contains background vocals by El DeBarge, who would later record and release another track by Prince, Tip O' My Tongue. (Kenny Rogers - lead vocals / El DeBarge - background vocals / Carlos Vega - drums (credited for album) / Michael Baird - drums (credited for album) / Jay Graydon - drums, synthesizer, guitar (credited for album) / Abraham Laboriel - bass guitar (credited for album) / Michael Landau - guitar)

Jun 86

Early 06-1986 : Nevaeh Ni Ecalp A (0:51) – Dream Factory

Dream Factory (2) (3:27) – Prev. Sunset Sound 12-85 – Dream Factory
Nevaeh Ni Ecalp A is an unreleased song (serving the purpose of a segue) created between April and early June, 1986 at Prince's Galpin Blvd Home Studio and was included as the eleventh track on the 3 June, 1986 configuration of Dream Factory. The segue was also included, this time as an uncredited segue, between the first and second tracks, Visions and Dream Factory, on the 18 July, 1986 configuration. It uses Lisa Coleman vocals for A Place In Heaven (Nevaeh Ni Ecalp A is the backwards spelling of A Place In Heaven), recorded between late March and April, 1986 played backwards, as well as an accompanying organ, also backwards, but missing from the mix that was made for A Place In Heaven. Furthermore it features a short dialog of Wendy and Lisa being carded at a club. The segue ends in a sampled Witness ! (taken from Witness 4 The Prosecution. And goes on into a spoken intro by Prince seemingly introducing Dream Factory. It is unclear whether this last spoken bit was part of the segue when it was placed on the 3 June, 1986 configuration of Dream Factory, when it preceded Sexual Suicide.
02-06-1986 : MOUNTAINS UK Single Release
The single reaches number 45.
LA Times

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