veronikka said:

Too bad I wasn't a fan yet i hope he gets the performing bug again and does more than a few sporatic shows here and there. I would put myself in dept to see him perform live. It would be damn well worth it.

OldFriends4Sale said:

Last night’s show at the Nokia Theater wasn’t a Prince concert, but it was Prince’s concert. Had Prince not been involved, the room wouldn’t have been packed, the lines outside wouldn’t have started forming more than three hours early, the ticket price wouldn’t have been set at such an irregular number ($31.21 – not so much a currency curiosity as a clever bit of pocketbook promotion: It’s the name of his forthcoming album (a shame it’s not called, oh, 1750). If Prince weren’t involved, if his presence weren’t guaranteed, it would have been totally unacceptable when the guy in the box office defined the starting time as “between 11 and 12:30 – whenever HE feels like it.”

But it wasn’t a Prince concert. Had it been, at the 2100-capacity theater, the price would have been steeper (and tickets certainly would not have slipped by on eBay for six cents (!)), fans would have gathered earlier, question marks would have been left at home.

The show was billed as “Tamar – with special guest PRINCE!” – Tamar being a new female singer-slash-“protégé” – and all anyone came armed with were some accounts from a similar show in San Francisco describing His Purple Mountin’ Majesty’s role as a secondary one. Rhythm guitar? Hassle and hustle into some candy-coated Times Square room to see a man whose best work came twenty years ago play rhythm guitar? Why?


Because it’s Prince. Duh.


I’d never seen Prince, live, and have wanted to for, like, ever; I remember reading concert reviews during my teen years that described entrances made in royal-hued bathtubs, and other bizarre extravagances. But he’s too popular, and no matter how big his tub, arena shows aren’t for me; in the end, all of Prince’s music is about sex, and I prefer a more intimate orgy. While Nokia’s a larger venue than the ones I’ve been frequenting lately, it’s probably the smallest he’s ever going to play in New York City.

And the man’s an exceptional guitarist. Perhaps the image obscures the music, or the fusion distracts from the musicianship, but that aspect of his work is too often overlooked. And this made the Prince-as-sideman role almost ideal.

Still, what could I hope for? How many Prince songs? Any Prince songs? Would he be in the background, on the side, or would he just sprint through? And who is this Tamar person, anyway? There was a long wait – doors to the theater opened at 11:15, performers took the stage at 12:20 – during which hopes were dashed (Prince songs were included in the pre-show PA music, so they were obviously not going into the setlist) and anticipation was built: Make all this trouble worth it.

The spare supporting band – a keyboardist, bass and drums – were pushed all the way to the back of a fairly deep stage; images flashed on a video screen behind them (along with, occasionally, STOP/PLAY DVD commands). Four mics were set up, one right up front, the others in a row a few steps behind it.

Prince entered. He did so without fanfare, walking briskly from stage left to a door on the other side where someone had been holding his guitar. His hair was tied up from back to front with some sort of black scarf/kerchief; under the stage lights it looked like he was wearing an orange suit over a black shirt, the shirt open a few more buttons than a 47-year-old man might normally dare. He took his place at the mic to the far right and started to play. This was the band. No second guitarist. The other mics were left empty, and for a solid minute or so there were thoughts that, maybejustmaybe, it was only going to be Prince. At least for a little while.

But then three women came sashaying out, backside-to-the-crowd, their one-piece pinstripe minis short enough to afford views of several major European countries. They turned around. One stormed forward, took the mic and took the crowd.



Tamar (it’s pronounced TAY-mar, which makes a lousy stage name, sounds like a bargain-basement magician or a sideshow strongman, everyone, please, put your hands together for the aMAYzing TAYmarrrr as she delights and astounds you... besides, it’s taken) may be new to all this attention – “I know you don’t know me from Eve or Adam” she said – but she’s not lacking in confidence. Bookended by taught, tiny twin back-up singers and sitting half a stage away from a mentor-slash-superstar, she never seemed to be looking over her shoulder. If anything, she charged forward, ignoring where the spotlight fell if it meant putting too much space between her and the crowd. Occasionally she was too enthusiastic, trying to corner a savvy crowd into back-and-forths while forgetting to establish the chants and improperly wielding the mic. But she certainly wasn’t timid.

Or disappointing. Having waited for so long for Prince, it’s amazing how quickly the crowd was won over by the Other Woman. The set was smartly designed to showcase a wide variety of songs, the first section moving from soul to funk to smoov R&B, the material mostly unknown – presumably from her forthcoming CD, Beautiful, Loved and Blessed – but sprinkled with classics like “When a Man Loves a Woman.”

Her voice was solid; the higher-pitched stuff had a touch of nasalish vibrato – like something’s loose, up there – but it was warm, never off-key, and left you kind of stunned when it cleared out in the lower registers. Hyperactive vocal noodling and arpeggioverdosing was kept to a minimum, always refreshing in this day of American Idolatry. But I’m not sure – it’ s Not My Department – what makes for a solid R&B diva, these days. As far as I can tell, such women have shorter shelf lives than Hot British Bands; they’re allowed to drop a CD, do a duet with a rapper, then disappear. Tamar was certainly capable and had a decent amount of stage presence, but her voice never left me floored.

One bit of her performance was unforgettable, though: During one loved-and-lost torch song, she stormed offstage in a bit of playacting. She returned, dabbing her eyes with a huge white terrycloth towel, the twins pretending at consolation. Tamar grabbed the mic and, her wide eyes staring out from under a frazzle of Diana Rossy hair, started barking, “Do you think I’m crazy? You think I’m crazy, when I’m outside your window with a can of gasoline?” She went on to mention an axe, a pair of rollerblades, and the urge to make a sequel to Fatal Attraction. Great stuff.

Her voice didn’t have to carry the show: She had Prince over there dropping perfect little fills, sometimes taking a couple solos per song. He’s unquestionably amazing, squeezing out an incredible range of sounds. It wasn’t rhythm guitar, even though the keyboards did the bulk of the melodic weightlifting. It was textural. At one point, late in the show, he waved the band to a halt and ordered, “Kick drum only!” While his drummer stomped her beat, he held a chord and shaped it with his pedal. Fantastic.

His relationship with his instrument was fascinating; when he was done with it, there was no love lost: During a rocking single-song (“Red-Headed Stepchild”?) second set he took a baby blue guitar and dragged the drrrtiest stuff imaginable from it; at the end of the number he unplugged it and handed it to the audience (A stagehand retrieved it). At the end of the show (or one of the other sets), he casually chucked another guitar towards the back of the stage.

He didn’t interact with the crowd much, except to praise his singer. “Now y’all understand?” he asked once, and thanked us for “being so kind to [his] ‘baby sister.’” But he never became that mysterious, aloof “Prince” character; the man onstage was emotionally involved with the performance, laughing, shaking his head and just generally having a blast. He sat out one song, drinking water in the shadows; wowed when Tamar hit and held a note, he grabbed a towel and started exuberantly whipping the floor with it.



A lot of effort was made to close gaps with the crowd. Early in the show – too early, in fact, as it made for a weird distraction – Tamar singled out a man in the audience she claimed had hit on her and both twins that evening. “John,” who was “an accountant.” They brought him up out of the crowd, sat him down, and taunted him with a song whose refrain was “No, no, no.” Later, the band started into Wild Cherry’s “Play that Funky Music (White Boy)” and Tamar called for someone who could sing it “from top to bottom;” the volunteer – who seemed an obvious plant – not only knew all the words, but had a professional-sounding singing voice. He actually grabbed for the mic while Tamar was still giving an intro, and when he kept singing after the first chorus, Prince laughed into his mic and said something along the lines of, “We have to do more than one verse?” And towards the end of the show – perhaps at the end, I can’t remember the order – Tamar picked more than twenty people out of the crowd to dance on stage; I think this was during Sly Stone’s “I Want to Take You Higher.” Though Prince retreated to the back and the twins scooted dancers away from the mics when they tried to sing, it made the show feel even more intimate than it was. I knew Prince invited Eddie Murphy’s brother to play basketball; I didn’t know he was okay having audience members on stage with him.

And how much Prince was there? Technically, very little: There was only one Prince song, I think – “Partyman,” of all things, from the Batman soundtrack – and Tamar sang it. Several times the leading lady left the stage, and each time you could feel the audience ready itself for Prince Material... but it never happened. A break at the forty minute mark led only to a costume change; ten minutes later, another brief break signaled a switch to funkier stuff. Before the final encore, we were encouraged to start chanting “It Ain’t Over;” the chant died out, then re-emerged... as did Tamar. There were enough goings on-and-off stage I lost track of where sets ended and encores began; the backing band, functionally, stayed on between breaks (and a second guitarist joined them for the final encore). The show lasted an hour and forty minutes, swelled by covers of Aretha Franklin (“Rock Steady”), both Jacksons (Michael’s “Don’t Stop ‘Til U Get Enough” and (because “you can’t have the brother without the sister”) Janet’s “What Have U Done 4 Me Lately”), and others I’m sure I didn’t recognize.

And didn’t need to. Because while there were songs I wanted to hear – that I may never hear, live – I got to see something more important: Prince, playing stuff he wanted to play while surrounded by people with whom he enjoys playing. As it was, the energy was infectious, the band was tight as Tupperware. Unencumbered by massive set-pieces or audience expectations, he got to put aside his crown for a few small gigs. Instead of royalty, Prince functioned as Dr. EverythingBalright – and seriously, if you weren’t having fun, there was something wrong with you.

Good Morning Show June 16, 2006pt1

with Sheila E. on percussion & Maceo Parker on sax

Bryant Park for Good Morning America on Friday Morning June 16, 2006

1. GET ON THE BOAT 2. REDHEAD STEPCHILD 3. LET'S GO CRAZY

3121 is Located At Rio

Back to Rio All-Suites Hotel & Casino .

Named after Prince's hit 2005 album, PrinceÂ’s new Club 3121 located in Rio All-Suite Hotel & Casino Las Vegas is an intimate venue for Las Vegas visitors and Las Vegas locals alike, where Prince will put on unforgettable live-performances every Friday and Saturday. Every one of Prince's shows at Club 3121 at Rio All-Suite Hotel & Casino Las Vegas is sure to sell out!

During the rest of the week, Prince will reign over 3121. Wednesdays will feature the Prince Presents concert series, where friends of Prince and special guests will perform. Watch the Rio All-Suite Hotel & Casino Hotel Las Vegas' Club 3121 events calendar for announcements about the specific musicians Prince wants you to see!

3121 Schedule
Wednesdays: Special guest performances by friends of Prince
Thursdays: 3121 Club Azucar Night featuring the 3121 Salsa Dancers and Groupo
Fantasma

Fridays & Saturdays:Live performances by world-renowned artist Prince

BUSINESS NAME 3121
ADDRESS 3700 W. Flamingo Road
Las Vegas, NV 89103-4043
PHONE 1 (702) 777-7776
CITY Las Vegas
STATE NV
ZIP 89103-4043



Rumors have been circulating for a month now that Prince would end his much-hyped Club 3121 at The Rio to free himself up for touring. Well, it appears that even though no official statement has been made, the end of the club might be coming soon.

The venue currently has shows through April, with Prince himself scheduled to appear on a few dates this weekend. After that, there is a good chance the venue will be shuttered.

It’s rumored that popular Latin American nightclub Coco Bongo will be taking over the space. Its Cancun, Mexico, hotspot is one of the most popular Spring Break destinations and is often described as a “Latin Studio 54 meets Cirque du Soliel.” In addition to dancefloors and DJs, the club incorporates acrobats, aerial acts, impersonators and bar-top conga lines to add to the entertainment.

If that’s true, it should fit in nicely with the Latin themes already present at The Rio.

Want to see Prince one last time at Club 3121? He is scheduled to appear March 30 and 31, 2007

****

Looks like he will be performing through the end of April. The last show is scheduled for April 28th, but Harrah's had no official comment, yet. Next up for Prince? A rumored world tour this summer.


[Edited 3/17/10 8:12am]

NOVEMBER 2006
Rock-pop legend Prince Nightclub 3121 in Las Vegas opens to much fan fare with DJ Rashida as the resident DJ

Prince & The New Power Generation
Prince
The Twinz ( Background Vocals, Dance)
Morris Hayes ( Keyboards)
Joshua Dunham ( Bass)
Cora Coleman Dunham ( Drums)
Mike Phillips (Saxophone)
Greg Boyer (Trombone)
Maceo Parker (Saxophone)
Renato Nato( Keyboards)
DJ Rashida



[Edited 3/17/10 8:52am]

December 13. 2005
New Video "Te Amo Crazon"



Hornz: Maceo, Candy, Greg, & Ray
Bass: Josh Dunham
Drums: Cora Coleman Dunham
Timbales,Bongo,Percussion: Ricky Salas
Congas,,Percussion: Herbert Urena
String Arrangement: Clare Fischer
All Other Instruments & Vox : Prince



For the release of his next album, "3121", Prince has dealed with Universal. The first single is "Te Amo Corazon", the Argentine actress Mia Maestro ("Frida," "The Motorcycle Diaries") stars in the video shot in Marrakesh, and is directed by actress Salma Hayek, réalisatrice, Scénariste, Productrice, Actrice américaine d'origines libanaises et mexicaines .

Club 3121
3121 @ Rio All-Suite Hotel & Casino, Las Vegas 9th December 2006 (am)

Disc 1
1. 3121
2. GIRLS AND BOYS
3. THE SUN'S GONNA SHINE AGAIN
4. DOWN BY THE RIVERSIDE
5. LOLITA
6. BLACK SWEAT
7. KISS
8. SHHH
9. MUSICOLOGY
10. TIGHTEN UP
11. PASS THE PEAS
12. SHAKE EVERYTHING YOU GOT
13. PLAY THAT FUNKY MUSIC
14. PARTYMAN
15. LOVE ROLLERCOASTER (INTRO)
16. CONTROVERSY
17. JOY IN REPETITION

Disc 2
1. 17 DAYS (INSTRUMENTAL INTERLUDE INTRO)
2. PURPLE RAIN
3. WHAT A WONDERFUL WORLD
4. A CASE OF U
5. FOREVER IN MY LIFE
6. ELEPHANTS AND FLOWERS
7. ANOTHERLOVERHOLENYOHEAD
8. ROCK LOBSTER
9. I LIKE IT THERE
10. CRAZY
11. NOTHING COMPARES 2 U

Riot At The Rio - Larry Graham - Club 3121, Las Vegas :
13th December 2006 (EX-)
12. THANK YOU (FALETTINME BE MICE ELF AGAIN) (W/ PRINCE)

Riot At The Rio - Larry Graham - Club 3121, Las Vegas :
20th December 2006 (EX-)
13. THE JAM (W/ PRINCE)

Riot At The Rio - Maceo Parker - Club 3121, Las Vegas :
21st December 2006 (am) (EX-)
14. UPTOWN UP (W/ PRINCE)

Club 3121 - 3121 @ Rio All-Suite Hotel & Casino, Las Vegas :
25th November 2006 (am)
1. SPEECH
2. GET ON THE BOAT
3. LOVE ROLLERCOASTER
4. THE PAYBACK
5. PASS THE PEAS
6. MORE BOUNCE TO THE OUNCE (Including MISS YOU)

Club 3121 Aftershow - 3121 Jazz Cuisine : Rio All-Suite Hotel & Casino, Las Vegas : 9th December 2006 (am)
7. MIKE PHILLIPS INTRO
8. FOOTPRINTS
9. STRATUS
10. ALL BLUES
11. GET ON THE BOAT (INSTRUMENTAL)
12. LOVE ROLLERCOASTER (Including GIVE IT UP OR TURN IT LOOSE)
13. OUTA SPACE (Including AIN'T IT FUNKY NOW)

Great work. Feels like it was just going on. The Rio was quite a gig, went to, 2. Saw Tamar with Prince in Chicago. Fortunately Prince was a bigger part of the gig. Musta been nice for him to take to the side, play his guitar and not have to be the ringmaster. Though it seems that what he does, naturally. Costumes on up, the guy knows what he wants!

Great job u do with these threads.

OldFriends4Sale said:

This song is very dear 2 me. I love this thread. Keep up the great work.

OldFriends4Sale said:

This looks yummy! To bad I never got to go. I heard it was very nice. Who knows maybe he'll do something like this again and I will be the first one in..... . Keep up the great threads. It is really nice to look at it the way u put it down.

That album is weak in so many ways. Black Sweat was his failed attempt at doing another Kiss.

"lolita, you're sweeta." Give me a break.

3121 is good but what do the lyrics mean?

The Dance is great but that's an old song.

Overall a middling album. 3 stars

i wish every Music thread was as loaded as this one

OldFriends4Sale said:

I was at this concert. I was the one he handed the Tele to and the end.

I think about this time Musicology was over and he was heading in2 his 3121 stage... not really connected with an album but the cd look is similar 2 NEWS from the One Night Alone era

September 4. 2005
S.S.T.

1.S.S.T.
2.Brand New Orleans ( Instrumental Jam)

I've been jamming Bran New Orleans lately, love it. just a touch of linn, this feels like Prince channelling Stevie

S.S.T." is a song by Prince which was recorded and released directly after the impact of 2005's Hurricane Katrina. It was officially released as a digital download by the NPG Music Club on September 3, 2005 and reached number one on the iTunes R&B chart. It was later made available as a CD single through commercial outlets. All proceeds from the recording went to hurricane relief.

The song's title alludes to Sade's 1985 song "The Sweetest Taboo", which is namechecked more than once in the lyrics. "S.S.T." also refers to sea surface temperature, which is used to monitor the threat of hurricanes.



Amazon.com review:
It is striking how easily composing, songwriting, and producing comes to Prince. With these two songs he shows he still has got the magic that characterised his most inspired recordings. Moved by the Katrina tragedy Prince immediately recorded S.S.T. and Brand New Orleans to help raise funds for the victims of the hurricane. The songs were allegedly recorded over one night. Prince played all instruments on both cuts, which in his case may not seem too spectacular but nonetheless it is still impressive in the light of the current popular musicianship. S.S.T. is a well-crafted pop joint with a memorable melody, grabbing hook, and astounding vocal harmonies. It sounds fresh and honest, and definitely nothing like half-hearted, attention-attracting efforts of other "stars" who wanted to benefit the victims of Katrina with their art. Brand New Orleans is an instrumental groove based on the upbeat finale of S.S.T., which leaves you completely awestruck with its vigour, tightness, energy, and musical structure.



Who will be a guest in your tent?
Certainly not the ones who don't wanna repent
And keep giving guns 2 the poorest of our nation's sons

Who is gonna call U by name
With no confusion, trinity or preacher's vain?
Who says it every time (Every time)
And opens up the eyes of the blind?

Who will be the one in his bed?
Certainly not the one who put the thorns on his head
And wished him dead while they took his daily bread

Which one is of value 2 U? (2 U )
The one depletin' the oil supply
Or the one that renews it
And keeps the peace (Keep the peace)
Like the groove in Sade's "Sweetest Taboo"?

CHORUS:
Give it 2 me, give it 2 me
The Sweetest (the sweetest {first chorus only})
Give it 2 me, give it 2 me
Give it 2 me, give it 2 me
The Sweetest

Can I groove a little bit?
Let me groove a little bit

Who will be a guest in your tent? (Who dat...?)
Are U gonna be happy with how your life is spent?
Did U have open arms 4 each and everybody U met?

Did U let them die in the rain, (In the rain)
Endless war, poverty or hurricane?
It's time 4 another groove
Like Sade's "Sweetest Taboo"

CHORUS

Come on, come on

CHORUS

Oh, yeah

Turn it right down
Be cool, everybody
New Orleans

would U connect the Superbowl show with 3121 or Planet Earth?

the 1 thing that distinguished the times for me was the sign stage set-up which I don't believe he used for 3121 shows but only 4 Planet Earth

OldFriends4Sale said:

Planet Earth

missjay23 said:

thanks pretty good opening for that era huh?

OldFriends4Sale said:

You bet !

October 28. 2006
House Of Blues Mandalay Bay Las Vegas
Maceo Parker Live

June 12. 2006
"Cipriani Wall Street"New York
"The Webby Awards"











"Don't Play Me"

Prince performing on stage before accepting a lifetime achievement award at the 10th Annual Webby Awards held at Cipriani Wall Street. New York City, USA - 12.06.06

An email was sent to website subscribers after NPGMusicClub.com had shut down, stating it was decided to "put the club on hiatus until further notice".

The announcement went on to say, "In its current (form) there is a feeling that NPGMC has gone as far as it can go."

The email ended with, "The future holds nothing but endless opportunity and we plan on seizing it wholeheartedly. Don't u want to come?"

According to website TMZ.com, the site's closure could be related to a copyright dispute.

Prince filed for a trademark on the name NPG Music Club last year (05).

An opposition was filed against the claim by HM Publishers Holding Limited, which owns the Nature Publishing Group, also known as NPG.

The opposition was filed the same day the PURPLE RAIN singer's website was shut down.

An attorney for Prince's company, Paisley Park Enterprises, insists that the two incidents are not related, and that the "opposition will be resolved shortly".

The pop star was the first major artist to release an entire album - 1997's CRYSTAL BALL - exclusively on the web.

He was honoured last month (JUN06) with a Webby Lifetime Achievement Award for his innovative use of the internet.






[Edited 12/16/10 11:06am]

May 27. 2006
Empire Ballroom Las Vegas
Soundcheck 45mins
1.Drum noodling...
2.Every Little Step
3.Not Gon'Cry-(Mary J, Blige)
4.Thank You
5.Elephants And Flowers
6.Don't Paly Me
7.Calhoun Square
8.Peach
9.Piano noodling...
10.Under The Cherry Moon
11.Love 2 The 9's
12.Diamonds & Pearls



3121 Live
Támar Set 30mins
1.Every Little Step
2.All Night Long--(Mary J, Blige)
3.Milk & Honey
4.I NeverLovedAMan(ArethaFranklin)
5.Love Changes-- (Melissa Morgan)
6.When A Man Loves A Woman


Prince performing in concert at the Empire Ballroom. Las Vegas, Nevada - 27.05.06

Prince Set
1.3121
2.Lolita
3.Satisfied
4.Black Sweat
5.Kiss
6.Joy In Repetition
7.Anotherloverholenyohead
8.Rock Steady
9.Love Rollercoaster
10.Play That Funky Music
11.It's Ecstacy WhenYouLayDown Next To Me
12.Be Happy
13.What Have You Done For Me Lately?
14.Partyman
15.Red Headed Stepchild
16.How Come U Don't Call Me Anymore
17.If I Was Your Girlfriend
18.Some Funky jam
19.Fury
20.Purple Rain
21.Let's Go Crazy


[Edited 4/3/10 21:51pm]

November 11. 2006
"3121 "Rio Hotel, Las Vegas
1.Spirituality ( Sexuality)
2.Johnny Be Good
3.Around The World In A Day
4.Lolita
5.Black Sweat (Key solo - Prince)
6.Kiss
7.Shhh
8.Musicology/Tighten Up
9.Cream
10.U Got The Look
11.Joy In Repetition
12.17 Days ( without Prince)
13.7/Song Of The Heart ( chant)
14.Anotherloveholenyohead
/Rock Lobster ( TheB-52's)(inst)
15.If I Was Your Girlfriend
16.Pink Cashmere
/One Kiss At A Time
/Heaven Must Be Like This
17.Get On The Boat/Jam
18.Love Rollercoaster

hot ladies all over the place

OldFriends4Sale said:

U found it , Thank u!!!!!