Which boot is the LA version on? What date, what show?

Not sure what version it is, but I love the version where he gets the audience to sing at the end (the oo-ooh's and hm-hmm's ). Then he says "Thank yoooo" at the end. Probably a european gig?

Dandroppedadime said:

Not sure what version it is, but I love the version where he gets the audience to sing at the end (the oo-ooh's and hm-hmm's ). Then he says "Thank yoooo" at the end. Probably a european gig?

I believe that was in Paris, Le New Morning, 1987. That boot was my first time hearing him do that song. The quality isn't great, but it's such a cool version.

thebanishedone said:

Version with Neon Randezvous included and it have long guitar solo

The L.A. version?

SchlomoThaHomo said:

Dandroppedadime said:

Not sure what version it is, but I love the version where he gets the audience to sing at the end (the oo-ooh's and hm-hmm's ). Then he says "Thank yoooo" at the end. Probably a european gig?

I believe that was in Paris, Le New Morning, 1987. That boot was my first time hearing him do that song. The quality isn't great, but it's such a cool version.

It's fantastic.
Girls laughing,
Doggies barking,
glasses clinging.

I love the quality.
Don't U touch nutt'!
All the atmosphere would be gone.
It's a bootleg, damn.

Don't you love the fact it's been recorded...
umm... from under a coat?

Good tape hissin' in my book.
Organic Prince can't be beaten. The crystal clear sound
he seemed to be obsessed with starting with Lovesexy
can sure gets on one's nerves sometimes.
Bless him for H'n'R part II.

At times it can truly sound like Thunder, this obsession for crystal.
Love Symbol on headphones can be incredible at times,
not to mention Exodus on a big P.A.

But "Just My Imagination", whatever the version,
spells cassettes, endless generation of them.

The Black Album, as in Black Market?
These were exciting times.

There's no match. It will be always the Trojan Horse.
I mean, the name of the club matters, folks. Bring it on, Ulysses!
The date as well. The European soil.
And yes, it's been the best sounding bootleg available for years, and for a bunch of us.
No doubt there's an emotional attachment.

There's also emotional attachment in the set list.
It contains the definitive takes on "Still Would Stand All Time" and "Rave" (sadly butchered, it goes on for 15 minutes).
Ditch the studio versions. OK, keep it for the Steeles, but still.
I don't need no extra arrangements or scissors trickery after this.

A bootleg is also about space and time...
If it wasn't the Blue Angel, it sure was Her Spirit, layered on tape for the ages.
It's Prince's definitive after-show club solo.
It hypnotized all the connoisseurs for years.
Still does.

The RNRHOF performance, for all its fabulous pyrotechnics,
doesn't stand a chance when compared. Nothing he did that night
that wasn't mastered two decades before. SNL's "Fury"
(look for the compressed-to-death "Road to 3121" bootleg)
is far more impressive in terms of pushing the envelope.

Don't get me wrong, some fierce shit happening everywhere.
There are many, many incredible after-shows ("Give Tattoo a guitar! U don't like that one?").

I couldn't be bothered less by the Estate's saga and failures
(let's be kind, and say "flawed successes").
The soundchecks, rehearsals and aftershows is where the party's at.


Small Club is odd: for its über-pristine sound,
that captures the crowd in a frightening, digital cold aural frame.
But what happens in it is White-hot Gospel.


Once in a year, Do Yourself A Favor, put it on
your big ol' ears and immerse yourself, be part of the crowd
witnessing this deluge at three AND eleven, for the very first time.

It runs all over your spine, and never stops. Splits your brain.
It's a woman's voice constantly morphing in a rollercoaster of emotions,
dirty or less so, only interrupted by the man's lows growling underneath.
Distorted guitar doesn't get more specific than this.


Technically, there's no mode he hasn't absorbed by the time he hits his thirties.
Intertwined, all his strokes form some luminous abstract painting,
something between the Wrath of God and The Queen of the Night's first Aria last two minutes.

Arpeggios, crescendos, sforzandos...
For some reason, I always think about Keith Jarrett's Köln Concert part I.
This is Jazz that doesn't pretend, it cuts through the heart and mind.

As usual, you have to fully surrender if you want to fully appreciate it.
There's a thin veil separating Beautiful and Pompuous, Honesty and Pose,
Courage and Routine. These are not meaningless acrobacies.
Don't judge them, let it flow, with no preconceived logic (especially because, you know, this is the "Infamous Small Club",
I mean, just this silly expectation may ruin it for the few happy first-time listeners still out there).

Those who know it by heart know by now.
Whatever he invents on the spot, in that club, that night,
at that hour, in those minutes and seconds, wherever he jumps, bopping from scale to scale,
mode to mode, exudes burning passion unfolding, and something darker.

Nice if you can get it, cuz it's sure an experience and it should be
in every Prince "8 minutes and over songs" playlist out there.


You can't place this one on the "Erotica" nor the "Spiritual" shelf,
without wondering if it doesn't belong, in truth, to the other genre.

The L.A. performance isn't of the same caliber.

Good for sure, but what Skipper's performance ain't?

[Edited 9/16/21 15:21pm]

thebanishedone said:

Version with Neon Randezvous included and it have long guitar solo

You already said that. Doesn't really help me pull up a boot and have a listen!

TheEnglishGent said:

Which boot is the LA version on? What date, what show?

Boot was Lovesexy USA CD3, date was 11/7/88, show was The Palace.

motherfunka said:

the Fine Line Cafe 1987, That version!!

Camden Palace version with Mica Paris by a long long way for me

Back in the day I had a tape with all know just my imagination versions. Epic listening back to back.

bonatoc said:

SchlomoThaHomo said:

I believe that was in Paris, Le New Morning, 1987. That boot was my first time hearing him do that song. The quality isn't great, but it's such a cool version.

It's fantastic.
Girls laughing,
Doggies barking,
glasses clinging.

I love the quality.
Don't U touch nutt'!
All the atmosphere would be gone.
It's a bootleg, damn.

Don't you love the fact it's been recorded...
umm... from under a coat?

Good tape hissin' in my book.
Organic Prince can't be beaten. The crystal clear sound
he seemed to be obsessed with starting with Lovesexy
can sure gets on one's nerves sometimes.
Bless him for H'n'R part II.

At times it can truly sound like Thunder, this obsession for crystal.
Love Symbol on headphones can be incredible at times,
not to mention Exodus on a big P.A.

But "Just My Imagination", whatever the version,
spells cassettes, endless generation of them.

The Black Album, as in Black Market?
These were exciting times.

There's no match. It will be always the Trojan Horse.
I mean, the name of the club matters, folks. Bring it on, Ulysses!
The date as well. The European soil.
And yes, it's been the best sounding bootleg available for years, and for a bunch of us.
No doubt there's an emotional attachment.

There's also emotional attachment in the set list.
It contains the definitive takes on "Still Would Stand All Time" and "Rave" (sadly butchered, it goes on for 15 minutes).
Ditch the studio versions. OK, keep it for the Steeles, but still.
I don't need no extra arrangements or scissors trickery after this.

A bootleg is also about space and time...
If it wasn't the Blue Angel, it sure was Her Spirit, layered on tape for the ages.
It's Prince's definitive after-show club solo.
It hypnotized all the connoisseurs for years.
Still does.

The RNRHOF performance, for all its fabulous pyrotechnics,
doesn't stand a chance when compared. Nothing he did that night
that wasn't mastered two decades before. SNL's "Fury"
(look for the compressed-to-death "Road to 3121" bootleg)
is far more impressive in terms of pushing the envelope.

Don't get me wrong, some fierce shit happening everywhere.
There are many, many incredible after-shows ("Give Tattoo a guitar! U don't like that one?").

I couldn't be bothered less by the Estate's saga and failures
(let's be kind, and say "flawed successes").
The soundchecks, rehearsals and aftershows is where the party's at.


Small Club is odd: for its über-pristine sound,
that captures the crowd in a frightening, digital cold aural frame.
But what happens in it is White-hot Gospel.


Once in a year, Do Yourself A Favor, put it on
your big ol' ears and immerse yourself, be part of the crowd
witnessing this deluge at three AND eleven, for the very first time.

It runs all over your spine, and never stops. Splits your brain.
It's a woman's voice constantly morphing in a rollercoaster of emotions,
dirty or less so, only interrupted by the man's lows growling underneath.
Distorted guitar doesn't get more specific than this.


Technically, there's no mode he hasn't absorbed by the time he hits his thirties.
Intertwined, all his strokes form some luminous abstract painting,
something between the Wrath of God and The Queen of the Night's first Aria last two minutes.

Arpeggios, crescendos, sforzandos...
For some reason, I always think about Keith Jarrett's Köln Concert part I.
This is Jazz that doesn't pretend, it cuts through the heart and mind.

As usual, you have to fully surrender if you want to fully appreciate it.
There's a thin veil separating Beautiful and Pompuous, Honesty and Pose,
Courage and Routine. These are not meaningless acrobacies.
Don't judge them, let it flow, with no preconceived logic (especially because, you know, this is the "Infamous Small Club",
I mean, just this silly expectation may ruin it for the few happy first-time listeners still out there).

Those who know it by heart know by now.
Whatever he invents on the spot, in that club, that night,
at that hour, in those minutes and seconds, wherever he jumps, bopping from scale to scale,
mode to mode, exudes burning passion unfolding, and something darker.

Nice if you can get it, cuz it's sure an experience and it should be
in every Prince "8 minutes and over songs" playlist out there.


You can't place this one on the "Erotica" nor the "Spiritual" shelf,
without wondering if it doesn't belong, in truth, to the other genre.

The L.A. performance isn't of the same caliber.

Good for sure, but what Skipper's performance ain't?

[Edited 9/16/21 15:21pm]

This! Thanks a lot. Best post in months!

bonatoc said:

SchlomoThaHomo said:

I believe that was in Paris, Le New Morning, 1987. That boot was my first time hearing him do that song. The quality isn't great, but it's such a cool version.

It's fantastic.
Girls laughing,
Doggies barking,
glasses clinging.

I love the quality.
Don't U touch nutt'!
All the atmosphere would be gone.
It's a bootleg, damn.

Don't you love the fact it's been recorded...
umm... from under a coat?

Good tape hissin' in my book.
Organic Prince can't be beaten. The crystal clear sound
he seemed to be obsessed with starting with Lovesexy
can sure gets on one's nerves sometimes.
Bless him for H'n'R part II.

At times it can truly sound like Thunder, this obsession for crystal.
Love Symbol on headphones can be incredible at times,
not to mention Exodus on a big P.A.

But "Just My Imagination", whatever the version,
spells cassettes, endless generation of them.

The Black Album, as in Black Market?
These were exciting times.

There's no match. It will be always the Trojan Horse.
I mean, the name of the club matters, folks. Bring it on, Ulysses!
The date as well. The European soil.
And yes, it's been the best sounding bootleg available for years, and for a bunch of us.
No doubt there's an emotional attachment.

There's also emotional attachment in the set list.
It contains the definitive takes on "Still Would Stand All Time" and "Rave" (sadly butchered, it goes on for 15 minutes).
Ditch the studio versions. OK, keep it for the Steeles, but still.
I don't need no extra arrangements or scissors trickery after this.

A bootleg is also about space and time...
If it wasn't the Blue Angel, it sure was Her Spirit, layered on tape for the ages.
It's Prince's definitive after-show club solo.
It hypnotized all the connoisseurs for years.
Still does.

The RNRHOF performance, for all its fabulous pyrotechnics,
doesn't stand a chance when compared. Nothing he did that night
that wasn't mastered two decades before. SNL's "Fury"
(look for the compressed-to-death "Road to 3121" bootleg)
is far more impressive in terms of pushing the envelope.

Don't get me wrong, some fierce shit happening everywhere.
There are many, many incredible after-shows ("Give Tattoo a guitar! U don't like that one?").

I couldn't be bothered less by the Estate's saga and failures
(let's be kind, and say "flawed successes").
The soundchecks, rehearsals and aftershows is where the party's at.


Small Club is odd: for its über-pristine sound,
that captures the crowd in a frightening, digital cold aural frame.
But what happens in it is White-hot Gospel.


Once in a year, Do Yourself A Favor, put it on
your big ol' ears and immerse yourself, be part of the crowd
witnessing this deluge at three AND eleven, for the very first time.

It runs all over your spine, and never stops. Splits your brain.
It's a woman's voice constantly morphing in a rollercoaster of emotions,
dirty or less so, only interrupted by the man's lows growling underneath.
Distorted guitar doesn't get more specific than this.


Technically, there's no mode he hasn't absorbed by the time he hits his thirties.
Intertwined, all his strokes form some luminous abstract painting,
something between the Wrath of God and The Queen of the Night's first Aria last two minutes.

Arpeggios, crescendos, sforzandos...
For some reason, I always think about Keith Jarrett's Köln Concert part I.
This is Jazz that doesn't pretend, it cuts through the heart and mind.

As usual, you have to fully surrender if you want to fully appreciate it.
There's a thin veil separating Beautiful and Pompuous, Honesty and Pose,
Courage and Routine. These are not meaningless acrobacies.
Don't judge them, let it flow, with no preconceived logic (especially because, you know, this is the "Infamous Small Club",
I mean, just this silly expectation may ruin it for the few happy first-time listeners still out there).

Those who know it by heart know by now.
Whatever he invents on the spot, in that club, that night,
at that hour, in those minutes and seconds, wherever he jumps, bopping from scale to scale,
mode to mode, exudes burning passion unfolding, and something darker.

Nice if you can get it, cuz it's sure an experience and it should be
in every Prince "8 minutes and over songs" playlist out there.


You can't place this one on the "Erotica" nor the "Spiritual" shelf,
without wondering if it doesn't belong, in truth, to the other genre.

The L.A. performance isn't of the same caliber.

Good for sure, but what Skipper's performance ain't?

[Edited 9/16/21 15:21pm]

I agree 100%. Merci mon ami

bonatoc said:

SchlomoThaHomo said:

I believe that was in Paris, Le New Morning, 1987. That boot was my first time hearing him do that song. The quality isn't great, but it's such a cool version.

It's fantastic.
Girls laughing,
Doggies barking,
glasses clinging.

I love the quality.
Don't U touch nutt'!
All the atmosphere would be gone.
It's a bootleg, damn.

Don't you love the fact it's been recorded...
umm... from under a coat?

Good tape hissin' in my book.
Organic Prince can't be beaten. The crystal clear sound
he seemed to be obsessed with starting with Lovesexy
can sure gets on one's nerves sometimes.
Bless him for H'n'R part II.

At times it can truly sound like Thunder, this obsession for crystal.
Love Symbol on headphones can be incredible at times,
not to mention Exodus on a big P.A.

But "Just My Imagination", whatever the version,
spells cassettes, endless generation of them.

The Black Album, as in Black Market?
These were exciting times.

There's no match. It will be always the Trojan Horse.
I mean, the name of the club matters, folks. Bring it on, Ulysses!
The date as well. The European soil.
And yes, it's been the best sounding bootleg available for years, and for a bunch of us.
No doubt there's an emotional attachment.

There's also emotional attachment in the set list.
It contains the definitive takes on "Still Would Stand All Time" and "Rave" (sadly butchered, it goes on for 15 minutes).
Ditch the studio versions. OK, keep it for the Steeles, but still.
I don't need no extra arrangements or scissors trickery after this.

A bootleg is also about space and time...
If it wasn't the Blue Angel, it sure was Her Spirit, layered on tape for the ages.
It's Prince's definitive after-show club solo.
It hypnotized all the connoisseurs for years.
Still does.

The RNRHOF performance, for all its fabulous pyrotechnics,
doesn't stand a chance when compared. Nothing he did that night
that wasn't mastered two decades before. SNL's "Fury"
(look for the compressed-to-death "Road to 3121" bootleg)
is far more impressive in terms of pushing the envelope.

Don't get me wrong, some fierce shit happening everywhere.
There are many, many incredible after-shows ("Give Tattoo a guitar! U don't like that one?").

I couldn't be bothered less by the Estate's saga and failures
(let's be kind, and say "flawed successes").
The soundchecks, rehearsals and aftershows is where the party's at.


Small Club is odd: for its über-pristine sound,
that captures the crowd in a frightening, digital cold aural frame.
But what happens in it is White-hot Gospel.


Once in a year, Do Yourself A Favor, put it on
your big ol' ears and immerse yourself, be part of the crowd
witnessing this deluge at three AND eleven, for the very first time.

It runs all over your spine, and never stops. Splits your brain.
It's a woman's voice constantly morphing in a rollercoaster of emotions,
dirty or less so, only interrupted by the man's lows growling underneath.
Distorted guitar doesn't get more specific than this.


Technically, there's no mode he hasn't absorbed by the time he hits his thirties.
Intertwined, all his strokes form some luminous abstract painting,
something between the Wrath of God and The Queen of the Night's first Aria last two minutes.

Arpeggios, crescendos, sforzandos...
For some reason, I always think about Keith Jarrett's Köln Concert part I.
This is Jazz that doesn't pretend, it cuts through the heart and mind.

As usual, you have to fully surrender if you want to fully appreciate it.
There's a thin veil separating Beautiful and Pompuous, Honesty and Pose,
Courage and Routine. These are not meaningless acrobacies.
Don't judge them, let it flow, with no preconceived logic (especially because, you know, this is the "Infamous Small Club",
I mean, just this silly expectation may ruin it for the few happy first-time listeners still out there).

Those who know it by heart know by now.
Whatever he invents on the spot, in that club, that night,
at that hour, in those minutes and seconds, wherever he jumps, bopping from scale to scale,
mode to mode, exudes burning passion unfolding, and something darker.

Nice if you can get it, cuz it's sure an experience and it should be
in every Prince "8 minutes and over songs" playlist out there.


You can't place this one on the "Erotica" nor the "Spiritual" shelf,
without wondering if it doesn't belong, in truth, to the other genre.

The L.A. performance isn't of the same caliber.

Good for sure, but what Skipper's performance ain't?

[Edited 9/16/21 15:21pm]

Yesss! Fantastic post, as always!

Wolfie87 said: