30 great things about Sign O’ The Times, 30 years on

There are other articles (indeed some I’ve written here and here) and books about Sign O’ The Times, the masterpiece released on March 31st, 2017.
There are other, too many, listicles. But how else to celebrate 30 years since it was released in a concise, punchy way? Here goes….

1 The title track. What’s Going On, A Change Is Gonna Come, I Shall Be Released, Everybody Knows. All great state of the protest songs. But they weren’t funky.
2 AIDS, unusual to mention in 1987. Gangs on crack toting a machine gun. Brave for a radio record, the first single off an album following two comparative flops. But spending on space programme? Out. There. Whitney Houston wasn’t singing about that.
3 “Ooh, doggies!” Other ‘classic albums’ do not start their second track like this. Wish they would.
4 “Without the help of margarita and ecstasy”. This is a man thinking clearly, strategically, without the help of most of the Revolution too for that matter, who’d been let go in October 1986, about how to make his best ever record and decided, in album form only, to “make mine a double.”
5 “Shut up already…damn.” What a way to start (and finish) a song.
6 Even three decades after making-of features, documentaries and books about every single pigging classic album known to man (and a few that aren’t), mystery shrouds this record. Prince was at this stage deep in prep with alter-ego Camille being his alter-ego, but was the speeding up and slowing down on Housequake, a mistake by engineer Susan Rogers loved and uncorrected by Prince, an attempt to be Camille, or just a man totally in control of what he was doing in the studio. Princeologists may know but does anybody (else) know ‘bout the Quake? I mean, really?
7 Last word on Housequake. In the States in the ‘80s, black radio used to play album tracks. Which is cool. And Questlove from The Roots heard this track and ran home to tape this off the radio. Which is also cool. And he told this story in his autobiography which, again..well, you get the idea.
8 Storytelling in song is a fine art. Few nail it completely. Billy Joel’s Scenes from An Italian Restaurant, Bob Dylan’s Hurricane, The Divine Comedy’s A Lady of a Certain Age and this, a man meeting a waitress and chatting her up, or her chatting him up, is hardly The Greatest Story Ever Told but it is different. And unusual. And funky again. And fruit cocktail?!?
9 The musicality astounds.The simplicity of the drum machine and keyboard line, clearly knocked up by the wee man, but even in the telling of the tale, the way he weaves his order, the object of his affection singing Joni Mitchell’s Help Me and the “brrrring” ringtone of the cafe all into a couple of lines without breaking his musical flow is matchless.
10 A truckload of musicians namecheck The Beatles, Stones, Dylan, Stevie Wonder, Pink Floyd but Joni Mitchell? Nice. As well as frequently performing A Case of You live, here he drops in the opening track from another stone-cold JM piece of greatness, Court & Spark. (For the record, his own favourite Joni album was Hissing of Summer Lawns.)
11 It. Not the finest offering in the man’s canon but his willingness to go to atonal, interesting places (see also Tambourine, Something In The Water Does Not Compute) is part of what makes him different. And Prince.
12 The alarm noise at the start of Starfish and Coffee.
13 The fact it’s the kind of song which would end up on Sesame Street. And did.

14 Important Artists (those initial caps again), with honourable exceptions like The Beatles, Queen, Paul McCartney aren’t silly and playful and fun and child-like. This song, and large chunks of SotT, are.
15 The brass “rolls” (if that’s the technical term) on Slow Love.
16 “The man in the moon is smiling cos he knows what I’m thinking of”…just as well cos there isn’t anyone else on Planet Earth communing with this man’s muse.
17 Hot Thing. Leaving aside the dodgy sexual politics of the lyrics, listening again to this makes you wonder where the brass riffs stop, and Prince’s programmed keyboards begin. And that guitar…..
18 For any British pop fan of a certain age, the fact the Hot Thing was “looking for Big Fun” never failed to amuse.
19 Forever In My Life. People who choose this song at their wedding have got good taste. Even if Prince and Susannah never made it to the altar.
20 “Here we are folks, the dream we all dream of, boy vs girl, in the world series of love.” A theme is emerging. This is the best record for talky-bit intros in the history of records.
21 If I Was Your Girlfriend Clearly, the intro suggests (see also Let’s Go Crazy) that he has given a church wedding some thought. But that brooding, ticking beat that kicks in and takes over the song, with that digitised voice again (is this Prince? Camille? Prince as a girl? someone else entirely?) in a weird but wondrous direction. And all cos the home studio got the wrong tempo and he ended up liking it.
22 That track, It, Forever In My Life, Ballad of Dorothy Parker…listen to how simple they are. As Alexis Taylor of Hot Chip noticed: “It leaves space for things.”
23 Prince is a bath man, not a shower man. He clarifies this on two of this record’s songs. So now we know.
24 “For you naked I would dance a ballet.Would that get you off? Tell me what will. ” You don’t hear Thom Yorke singing that on OK Computer.
25 “Baby I Just Can’t Stand To See You Happy/More Than That, I Hate to See You Sad”. The not-getting-married thing is beginning to make sense by now.
26 The Sign O’ The Times record is amazing in part because it was part of a recording session which included a triple album workout, the Camille project, The Dream Factory, The Black Album…the list is longer than the heels in which he used to dance on stage. But to have tracks like I Could Never Take the Place of Your Man kicking around from five years previous, and drop them in here shows a certain forethought. This album certainly wasn’t all just thrown together.
27 The Cross. He means it, man. Susan Rogers may not have liked his drumming (“too technical”)
but the vocal is as intense as the subject matter demands.
28 The nine minute track on the classic album will introduce feelings of dread from most listenings. The Artist has Something Important to Say. And won’t stop Initialising Capital Letters. Eugh. It’s Gonna Be A Beautiful Night is a 9:02 party in Prince’s head which doesn’t let up for a second. You wonder if James Brown heard this and felt envy or if he was just too busy dancing.
29 Sheila E’s rap (seemingly down the phone) on It’s Gonna Be A Beautiful Night is much better than all of Tony M.’s on Diamonds and Pearls put together. Prince got worse at hip hop the bigger it got.
30 Adore is Teddy Pendergrass, Maxwell, The Stylistics, D’Angelo, Luther Vandross, Anita Baker and all the other good things with the lights down low. In some ways a strange way to close the album but a sweet way too. Adore does make one thing abundantly clear. The brass lifts, the keyboard, the programmed drum patterns, Eric Leeds’ sax, Prince’s guitar, in particular the soul claps are all brilliant. But Prince’s voice is the greatest instrument by far on Sign O’ The Times. Mess with your mind? No doubt about it.

The A to Z of 2016

This site was named after a Prince single with alphabet in its title, so if there is to be an end of year review….an A to Z seems a better way than 50 records or the calendar year which would only start with that depressing moment Duncan Jones’ tweet, the Radio 4 programme, 6Music breakfast gave us the grim news. Trying to go through it in order (pointless), in terms of releases (it wasn’t all that, as the Best of/End Of year lists suggested…a list more of brand names in music than album achievement) seems an errand for another fool so without further ado….

Adele won most of the big awards for work she did in 2015, was brave enough to discuss her post-natal depression to Vanity Fair’s Lisa Robinson and announced four summer 2017 dates for Wembley Stadium by singing Baddiel, Skinner and the Lightning Seeds. A is also for Radiohead’s A Moon Shaped Pool because R, M and P were taken.

Bowie and Blackstar. What a way to leave the stage.

Christine and the Queens: The freshest newest act to hit magazine covers, the TOTP Christmas Day special and endorsement from Sir Elton Hercules John. Heloise Letissier sat regally above all the other pretenders to the French dance music throne who put out music in 2016. As that includes Daft Punk, Justice, Cassius and M83, she’s ruling over some pretty distinguished courtiers.

D is for Down Down. If Kings of Leon or Kasabian did something this good….imagine the music press….except they wouldn’t, would they? RIP Rick.

This whole alphabet could have been musical talents gone forever. Earth, Wind and Fire’s Maurice White and The Eagles’ Glenn Frey were another two lost to us this year.

G is for Mark Giuliana, the incredible drummer on Bowie’s Blackstar. Bowie’s always had good drummers from Woody Woodmansey to Omar Hakim, but this guy…this guy is good.

Hype. Beyonce and Frank Ocean released records in the dark of night without pre-release interviews and hype. Which was the biggest hype they could have given them. Result: in this day and age, the dreaded insta-review, and the rest of us taking stock to figure out how good Blond and Lemonade are. And Beyonce did a new one at the Superbowl which, whoever you are and not withstanding the importance of the Black Lives Matter cause, was just disrespectful.

If You’re Feeling Sinister..anniversary gigs at a packed Royal Albert Hall, the same night at Brexit. Belle and Sebastian had them dancing from the dome to the soundstage on the floor.

Just Change It. Insta-reviews, ticket booking fees, secondary booking agencies buying all the tickets through bots, streamed records finishing top of the charts over songs which have sold more (Drake vs Justin Timberlake) and the BBC only showing two Top of the Pops a year. There are other changes in music it would be nice to make but we’re only in J.

Michael Kiwanuka. Difficult second album syndrome? Not really. This was the year when the man who came be known for the Sound of 2012 poll delivered one of the Sounds of 2016 with Black Man in a White World.

Lemmy died in the Christmas holidays of 2015 so L is for Greg Lake, who left us in December, sadly not leading to a concerted campaign for I Believe in Father Christmas to reach the top of the festive 40. The man who suggested Keith Emerson (also lost this year) should try the Moog and the rest was history (and a tour which cost them a fortune years before the Pet Shop Boys lost £1.5m on the Performance tour. Their dates at the Royal Opera House were exquisite, and presumably didn’t lose them that kind of cash).

George Michael’s death on Christmas Day was sad, inexplicable, miserable, unexpected (maybe not entirely), but a reminder of the fact this man was such a creative fulcrum from Wham! Rap aged 17 to Cowboys and Angels before he’s out his twenties, is staggering.

Nobel Prize. This was the first year they gave one to the guy in Wyclef Jean’s Gone ‘Til November video. Unless Herta Muller or V.S. Naipaul were in it and I missed them.

Lapsley, Operator. Another sound of 2016. And (sort of) 1977, or whenever you carbon date the height of disco.

Phife Dawg and Q-Tip joined forced for A Tribe Called Quest’s We Got It From Here…Thank You 4 Your Service, their final album and first for eighteen years. 2016 wasn’t just the year of the musician death, it was the year of the fitting valedictory statement. In place of a last will and testament for the fans, they got to leave a great record without the hassle of probate.

Revolver. Like Blonde on Blonde and Pet Sounds, 50 years young. Anniversary pieces all round, including this one I wrote for Reaction.life. http://reaction.life/revolver-50-beatles-masterpiece-still-hasnt-outstayed-welcome/

Songs In The Key of Life…performed in full at Hyde Park. A magical four-hour night. Critics sniped that it was overlong, but any gig where the setlist actually has the words “Superstition etc” written and Stevie drops a DJ set including When Doves Cry and Kiss into the encore, is not too long for me.

Tapestry was also performed in full at Hyde Park. Carole King tore through that in around 40 minutes. So we had the cast of Beautiful, a selection of her hits for other people like It Might as Well Rain Until September but, above all, we had the unimpeachably great set of songs from 1971. (A book on that year, 1971, by David Hepworth, was probably the music book I enjoyed most in 2016).

Unforgettable. The orchestra pulled together by Jules Buckley performing Soul Bossa Nova in front of Quincy Jones himself for the Quincy Jones Prom. It’s etched on my memory but finding it online means it has to stay unforgettable.

The Vault. With Prince gone, and half-sister Tyka in charge of the estate, the questions remain. He’s made two unseen films. The Crystal Ball triple album. Every live show recorded for posterity, including the Piano and a Microphone shows. All in the mythical vault at Paisley Park, waiting to be opened. When? When? When?

X Factor. Respectfully, it’s over. With two episodes of TOTP a year, and Jools Holland starting Later and Later (gone midnight) and taking the self-indulgent move of heading to Maidstone, the only music show on TV that matters – even if you despise it, it breaks new acts and it’s where the big acts come to perform their hits – is in trouble. The second Christmas single in a row to miss the top three, a lack of big acts (no Beyonce, Justin Timberlake or Adele performing but they did have Honey G, James Arthur and Louisa Johnson, twice) and a feeling that another reinvention may be beyond them.

You Want It Darker. Leonard Cohen says goodbye in just as classy a way as Bowie. A meditation on death, hope, love and unfinished business getting close to being cleared up.

Zoolander. The sequel had Sting. The Original had Bowie. So thank you 2016 for making us remember how good 2001’s Zoolander was by giving us Zoolander 2. For those clamouring for a sequel to a film we love, Zoolander 2 gave us pause for thought.

Just seven of the things which made George Michael so Fantastic


The fact he was pop
Wham!’s first album contained “socially relevant” hits such as Wham! Rap and Young Guns (Enjoy What You Do) which incurred the wrath of Paul Weller and was reversioned by Michael Gove at a visit to a kids’ school. George decided ahead of Make It Big to write the album, and then live up to its name. Club Tropicana, Wake Me Up Before You Go Go, Freedom, I’m Your Man, Last Christmas and Edge of Heaven and the world was a better place for it. As were the charts. Everything She Wants is arguably the best B-side since I Am The Walrus or at the very least Wherever I Lay My Hat. Nah, it’s better than that.

His own songs
After all of the above, he delivered A Different Corner, Faith, Father Figure, One More Try, Freedom ’90, Waiting for the Day, Heal the Pain, Something to Save, Amazing, Fast Love and Outside. Among others. The songs about his dearly departed love Anselmo Feleppa, Jesus to a Child and You Have Been Loved, are as beautiful as any he wrote.

Other people’s songs
It is often said of great singers – he or she could sing the phone book. Although he could have picked up and sung from the Yellow Pages, George had the musical smarts to be able to pick from songs made famous by Elton, Queen, Bowie, Nina Simone, Terence Trent D’Arby, Bonnie Raitt, his idol Stevie Wonder and New Order.
And on the subject of the phone book, before cynics say calling a cab firm may have helped him on occasion, how can he be remembered by occasional screw-ups, which were rare, and to which we’re all prone, over a myriad of great pop songs which only a handful can write. Away from Andrew Ridgley, he only released four studio albums proper, but the best of the songs on those are up there with the brothers Gibb, Anderson and Ulvaeus and The Carpenters.

He was brave
The self-sabotage of a public and long court battle with Sony to escape from his contract (much admired publicly and privately by Prince, who called him often) was extraordinarily courageous and ahead of a period now where pop stars, even those who post clips of their own singing on You Tube, are acutely aware of their rights.
Once he was outed by news organisations after a sting by the LAPD, he didn’t hide. Instead, he fronted up on CNN,  and flipped the script on the haters with the Outside video.
He picked an argument on the second Iraq war when he was still hugely successful in America and in Britain. He took flak, and ploughed on with more interviews, and another anti-war song.
If you want more evidence, look at the people he sought out to sing with on stage or in the studio: Elton, the remaining members of Queen, Aretha, Beyonce, Pavarotti, Whitney, Mary J Blige, Stevie.
For a shy pop fanboy from Bushey, that takes guts too.

He was generous
The papers by now are full of stories of the nurses (collective) for whom he played a special gig, and the nurses (individual, and other public sector workers) for whom he would help out financially. The homeless shelter where he volunteered. Colleagues in the charity sector have given examples to this, and more will doubtless emerge. None, you’ll notice, appeared in any of his own interviews. The pop star who says “I love my fans” is not uncommon. The pop star who backs that up with cash to help them certainly is.

Wham! played China
Anyone who says Wham! weren’t cool might want to reflect on their own tour to China. Pre-1985, there weren’t any. While Paul Weller and Jerry Dammers were slating him, Yog, Andrew Ridgeley and Simon Napier-Bell delivered a coup beyond their dreams. Apparently, Chinese bureacrats regarded pop music, according to Shanghai-based impresario Andrew Bull, regarded pop music as “banal and filthy”. Only the good stuff.

He had star quality
He didn’t want to be a celebrity. He was often spotted at his local Italian restaurant in north London, or pulling pints at his local in Oxfordshire. He didn’t, publicly anyway, date anyone famous. He appeared sparingly at awards ceremonies and TV shows. Star People, from Older, sets out his position fairly openly. And yet, or perhaps because of that, there was an elusive force field around him which added to any public appearance. Having been in the same room as Eminem, Beyonce, Britney, The Beckhams and others, I’ve wobbled a bit but they were only people. But when George and then boyfriend Kenny Goss popped into my local 7-eleven and my flatmate told me, all dignity went out the window and I ran out just to view them from afar, just like the cameramen on Planet Earth do with snow leopards. There was just something about George Michael.


The Revolution Will Be Televised (We Hope)

Viva The Revolution!
A sad event led to Bobby Z, Wendy Melvoin, Lisa Coleman, Brown Mark and Doctor Fink meeting this week to reminisce about their much-missed friend.
Talk has turned, as it seems to on these occasions, about bringing the band back together.
The fact The Revolution are missing one rather crucial member could be seen as rather important. Like the High Flying Birds without Noel Gallagher and unlike Peter Green’s Fleetwood Mac, who did all right once the Peter Green element was phased out.
Prince famously marshalled his bands like a Panzer division (or if he was in really sadistically fierce mood, like James Brown) with an ability to change song, mid-song, and riff for 20 minutes into a freeform dance party. Or play three songs in two minutes.
These are tremendously accomplished musicians playing, one presumes, Prince songs.
It could be great. Bring on The New Power Generation and 3rd Eye Girl’s tour. And Sheila E’s and Candy Dulfer’s too. If you’ve played with Prince, you never need to stay off the road for long?
But who could front the Revolution? Which frontman or woman would have the versatility, scale and vision to sing the songs the Revolution could play?
(Out of courtesy, am assuming they won’t be doing new, or their own, material. If they are, stop reading now and I’ll stop writing).
The Revolution’s new singer doesn’t have to be bandleader of Prince’s calibre. Shouldn’t be really. That’s impossible. But a great singer is a must and when the songs are that good, how high do their qualifications have to be?
Here’s an idea.
Scrap the X Factor this year. Make every week Prince Week. Have Wendy, Lisa, Brown, Matt Fink and Bobby as the judges.
If the public picks the wrong winner, the judges get to override the decision. Well, because the public didn’t play on Pop Life, did they?
It could be the longest career an X Factor winner had yet. And the best lives shows yet.
Loser gets to go on tour with James Arthur.

“Dearly Beloved, We Are Gathered Here Tonight…”


Birmingham, NEC 1990 The first time was worth the wait. Tickets for the Sign O’ The Times tour had been discussed with friends, where all were summoned wearing peach and black, but UK dates were pulled. The Lovesexy tour, where Prince emerged from a cat with Cat (of “Cat! We Need You To Rap!” fame), had pulled out the stops but broken the Paisley Park bank. The Nude tour was stripped down, back to basics stuff. Or it would have been without the incendiary guitar-playing, dancing in heels and call-and-response to a dragoon of hits. If there had been a budget cut, no one noticed.
Memories: being so excited led to two loo visits in the half-hour leading up to the concert, buying two T-shirts and listening to the Sign O The Times double album four times on the bus down. Prince got everyone to sing along to Take Me With U, and it was still ringing in my ears when the bus dropped me off at Buchanan Street seven hours after the concert.


Celtic Park, 1992 The Diamond and Pearls tour
A funny period in the wee fella’s character as with any stadium tour, the Diamonds and Pearls tour the pre-match hoopla threatened to get on the nerves. He was pushing the merits of future Baywatch star Carmen Electra (the video messages on a loop kept telling us “Carmen Electra is inevitable”) but they didn’t say it was inevitable she’d end up on Baywatch and commercials for Taco Bell and hair colour products.
The moment he walked out to a Mahalia Jackson song, he reminded you who he was, and why one of his shows could never be Just Another Stadium Tour. Seguing from Bambi, into Delirious into the freeform jam of Willing And Able demonstrates the myriad ways he could make a crowd move.


London Hammersmith Apollo, 2002 He was in a jazz mood at this point of his career, as you would be with Candy Dulfer and Maceo Parker in the band. one of his big hits, When You Were Mine, being the 12th song in after the Ohio Players’ Love Rollercoaster and Track 15 before he slid into mega-hit mode with Take Me With U and Raspberry Beret. Ending a three-hour set – which contained no Let’s Go Crazy, 1999 or Kiss – or with Anna Stesia was bold, surprising and entirely Prince-like. An artist like this reminds us there aren’t really mis-steps just Prince decisions.


London O2, 2007 Snuck in under the wire to see the last night of the 21 dates (ahead of the aftershow with Amy Winehouse singing Love Is a Losing Game) and he started with I Feel For You and pretty much crammed in most of what you’d want including a sublime Sometimes It Snows… in the piano segment and 36 songs, many of them superhits from I Wanna Be Your Lover to The Most Beautiful Girl…, defined and then re-defined crowd-pleasing. Playing the same venue 21 nights in a month might leave some artists looking crumpled and sick of their songs. When you have a catalogue as rich as Prince’s, not a hint of it here.


Madison Square Garden, 2010 This was incredible. Sheila E was back in the band and there were so many hot spots from a 150 minute set, it feels perverse to pick one. But so what? The version of A Love Bizarre with Sheila on vocals and drums and a guest spot from ?uestlove, reinforced the image of Mr. Nelson as the Pied Piper of music. Spike Lee, Jamie Foxx, Naomi Campbell, Professor Cornell West and Alicia Keys were up on stage dancing by the end of the song in the most upscale conga New York has seen for a long time.


Hop Farm, Kent 2011 He did about two and three quarter hours in a field in Kent. A fifteen year-old boy near me was screaming and crying after this set. “I thought I liked music but this has changed everything! I’m going to buy all his records.” It was great to be reacquainted with that feeling.
He brought out Larry Graham for the encore saying “look who it is!” and I’m guessing the 15 year boy didn’t. No matter. They played Sly and the Family Stone’s Everyday People, and I Want To Take You Higher as well as The Beatles’ Come Together. He also played The Time’s Cool, MJ’s Don’t Stop Til You Get Enough, three encores and some Prince songs too. His all-female band, a proto-type for 3rd Eye Girl, smoked it. The performance of Controversy in the encore was a memorable stand-out. If you can produce something that funky, and then bring out a founding member of Sly and the Family Stone, you probably doing more than one thing right.


First Direct Arena, Leeds, 2014 The Hit N Run tour saw Prince make guerilla manouevres in Manchester and London for last-minute gigs which for those of us with day jobs necessitated making plans to go to the bigger venues – in this case, Leeds O2. There were sections of a crowd of undecideds who felt it was OK to talk through The Beautiful Ones on piano. Or maybe that was a sign of this writer’s age. Although he touched on funk, airing Vanity 6’s Nasty Girl and Musicology, it was arguably his rockiest band yet with Donna Grantis, Hannah Ford and Ida Nielsen.
Prince has been through just about every musical incarnation, channeling Count Basie and Cary Grant in Under the Cherry Moon, Rick James on Dirty Mind, Earth, Wind and Fire through his Musicology period and this was obviously the point he fancied being in a gragae band. So playing a slowed-down Let’s Go Crazy, as well as Funknroll, Screwdriver and Guitar really suited this period.

Camden Roundhouse 2014 This was a 5.30pm matinee before the second Roundhouse show, and there were queues round the Chalk Farm Morrisons to let fans in. They were turning folk away without photo ID and for some reason, only a Scotland Supporters Travel card at the last minute saved me. Highlights: all of it really, but the sublime piano cover of Joni Mitchell’s A Case of You, an 18-minute Purple Rain which invoked the crowd to a level where it reached prayer, and closing with She’s Always In My Hair left the poor sods who hadn’t bough a ticket for the second show skulking around in reception hoping against hope that might sneak them into the second show (it didn’t). Oh well, there would always be another visit to London, wouldn’t there?


Nothing Compares 2 Him


It’s been seven hours and umpteen days since Prince was taken from us and of course it still hurts.
The natural thing is to pay tribute, and that should cheer us up. From Adam Levine at a party for Howard Stern to Bruce Springsteen opening up his Barclays Centre gig (both Purple Rain) to LCD Soundsystem playing Controversy at Coachella or Nerina Pallot’s
Sometimes It Snows in April, which she’d been rehearsing before the sad events of April 21st.
And they’re all fine. The Bangles, Chaka Khan, Alicia Keys and Sinead O’ Connor have shown you can perform one of his songs and make it sound great.
It’s just…it’s not this, is it?
Most bands play the hits, occasionally wig out with a solo (and Nils Lofgren’s on Purple Rain is by most standards, excellent) but they can’t turn on a sixpence to
It wasn’t just Prince’s songwriting or musical talent which led people to compare him to Mozart. It’s not even the outfit.
But this performance shows the playfulness, the versatility, the breadth of content and the fact sometimes only he can do this. Please note: this is before you acknowledge his dancing or guitar-playing.
Little surprise that some like Elton John and Noel Gallagher have played it safe, paying tribute with one of their own songs, respectively, I Guess That’s Why They Call It The Blues in Las Vegas and Live Forever in Glasgow.
The fact London could see the Prince and a Piano dates should make any music fans purple with envy.
There’s a reason there are no (decent) Prince tribute acts. Nothing Compares.