Joyful Sound: Footage from 'One Night with Gayle' Concert

  Check out the short video from "One Night with Gayle," a concert hosted by "Dyes Got the Answers 2 Ur ?s," featuring Gayle Chapman, Clayton Ballard and Old Blue. Here are some of the highlights from the show which took place August 9 at The Mix in Seattle in a video produced and edited by Elke Hautala.

The Rest of My Life: Gayle Chapman Talks About Events After Prince

 Gayle Chapman has no regrets about her time out of the spotlight.
 Chapman, a keyboard player in Prince's first touring band, worked with the artist for two years before she left the band in 1980.This was only a few years into The Purple One's evolution into a musical icon and before he released a string of wildly popular albums that began with 1999 (1982), accelerated with Purple Rain (1984) and lasted well into the 1990s.
  Chapman has been active in the music scene in Boise, Idaho, where she has lived for more than 25 years. She is bringing her act to Washington and headline an upcoming show at 7 p.m. Aug. 9 at The Mix, 6004 12th Ave. S., Seattle, with special guests Old Blue and Clayton Ballard. She will play original music, as well as three songs from the unreleased album "The Rebels" (1979), recorded during her time with Prince: "If I Love You Tonight, "You" and "Lovin' You."
  Dyes conducted an interview with Chapman last month, by both phone and e-mail, where the musician discussed why it was hard to leave Prince's band, trying to make a living in New York City in the 1980s and her upcoming album:

  ?: How did you get into Prince's first touring band?
  GC: I was standing in my living room and I was listening to Prince's record (For You), full blast. I was home alone and this still, small voice shot through my mind. (It was) just like an arch from above that went through my head and back out again. It said “In order to tour, he's going to need a band.” 
  I turned off the music and looked around. God had spoken to me. (Laughs). I'm not kidding. I mean it was wonderful and spooky at the same time, because, I was home alone and I heard a voice. I was in pursuit of what it would take to be in (his) band from that moment on. 
  I auditioned (for Prince) and didn't hear from him for three months. One day, I was in my apartment, in bed and it was probably noon. The phone rang. I wasn't expecting a call from Prince. He said “Gayle, this Prince. What are you doing?” I said “Oh, hi. How are you?” He said “I'm good. Can you make it to rehearsal?” I didn't have to think about it at all. I said “Where is it?” and he told me where it was. I said “Yeah, what time?” He said “1 p.m.” It was noon. I was 45 minutes away, had to load all my gear and get dressed. I made it there in probably 35 minutes. (Laughs).
  I had the thought (to be in Prince's band). I went after it and then, I waited. And waited. I basically gave up. Then, the phone rang. I think what happened in the meantime was that he hired Linda Anderson (Andre Cymone's sister). She was there before I was, but, I didn't know about that until last year. 
  At one point, in my own frustration in working with him, I asked (Prince) “Why did you hire me?” He said “You have blond hair, blue eyes and you can sing. You're the funkiest white chick I've ever met.” I guess that's a compliment. I'll take it. I'm hard pressed to believe that now, because, there are a lot of funky white chicks out there. 
  ?: Do you remember the moment when you decided to leave Prince's band?
  GC: Do I remember the moment? No, I don't. What was I thinking? God only knows! I realized that I wasn't growing and I needed more. That's about the sum of it...I was in Prince's world and if I stayed, that's where my growth and energies would be and I wanted more.   (People) always ask me “Did you leave, because, of Dirty Mind?” I'd like to roll my eyes and say “No, it wasn't my Dirty Mind, it was his.” Yes, I did tell him that I did not want to sing that song (“Head”) but, I sang “You.” So, what? (Singing lyrics) “You get so hard I don't know what to do.” How stupid was I? “Take your pants off!” (Laughs). No, I really digress...
  I don't know if it was the mother instinct, because, it didn't feel like that. But, I wasn't growing. I was in a band, touring and it was the most fun I had in a long time... But, I needed more and I couldn't put my finger on what it was. I just knew I had to go.
  I look back now and I probably would have been wise to stay another couple of years. I could have hung in there. But, I needed to grow. So, I left. And now I wax poetic...
  ?: How did you tell Prince that you were leaving?
  GC: We met at his house. He lived on Orono Bay on Lake Minnetonka. I told him I needed to talk to him, because, I was thinking about leaving (the band). I asked if would he have time to sit down with me. He said yes. I lived about a mile and a half down the road from him in a cabin on a resort.  I went over and we sat and talked. He wasn't happy that this white chick was leaving. The last thing he ever said to me was “Gayle, if you ever need my help, you just let me know.” 
  ?: When you decided to move on was it a tough decision for you?
  GC: It was a very difficult decision to leave. It was a job. If I was going to have “jobs” the rest of my life, there were jobs where I could make a lot more money. I just happened to like that one a lot. That's why it was such a tough decision. The perks were amazing. 
  The perks of working with Prince were that you were paid, whether you performed or not, because, you had to be kept on the payroll. You would continue to practice and rehearse. When Prince got back from L.A. and said “We're rehearsing,” you would rehearse. That would be it. 
  I flew (on an airplane) every time I traveled and had my own hotel room. There were drivers that would pick me up and take me wherever I needed to go... It was the beginning of what I thought stardom was like. It was work, yeah, but, it was fun. It was attention getting. How many people would show up to a record store to do an interview dressed in their rock-and-roll gear and hop out of a limo. That was me. It's like that to this day. Maybe they show up in minivans, I don't know. 
  There was notoriety. There was flamboyance. There were perks. You could go out and eat wherever you wanted, because, there was always money to do that if you wanted to. It wasn't a lot of money, but, it what was you needed to get by. They would have a microwave in my hotel room and instead of spending my money that way, I would go to a grocery store and buy a frozen dinner or something. 
  Two hundred fifty dollars was more than I had (previously) made in a week. But, it wasn't a lot of money. I just saw that if that was the (salary) cap on what I was doing... I knew that I needed the opportunity to do more and make more (money) if I was going to live the way I wanted to. 
  I have learned, over the years, that it doesn't matter how much money you make, if you have bad habits, you're never going to have any (money). So, you learn to change your habits with what you do with money. You can make $55,000 or $100,000 a year, (but), if you manage your own money wrong, shame on you!

Courtesy of Princefams.com

  Gayle Chapman on being an “employed” musician: I think people romanticize how much (money) rock stars make. It's a business like anything else. Unless you're the “star,” you're not going to make as much money. That's the way it is. 
  They're going to pay you a wage and take care of you, because, you signed on willingly for what you're getting to be there. So, to complain about it is stupid. When you agree to take a job and they offer you a wage, if you're not happy with it, you have say so up front. Otherwise, you're stuck getting that ... If you're not happy, you shouldn't stay. In the negotiation process, some people really aren't happy, but, they stay anyway.
  I was happy, because, I didn't have to be a maid in a hotel or a waitress in a cafe. That just wasn't in the cards for me. I had to work with a rock star or look like one. 

  ?: When you quit, did you leave the band right away?
  GC: I offered to stay on for a while, (because), he had to take time to go find somebody. He said to me, when he found Lisa, “She's amazing, she can play her ass off, but, she can't sing like you.” I think there was a tug of war there. But, it was what it was. I can't say that I have any regrets, about being there or leaving. I just knew it was time to go. 
  ?: What did you do after you left the band? Where did you go?
  GC: I left in April or May (of 1980). I went to a big festival that August called Rock of Ages in New Knoxville, Ohio. It was part of The Way International (a religious organization that Chapman was a member of at the time). It was a big festival held specially for their outgoing and returning ambassadors.  It was an annual event where 20,000 to 30,000 people came from all over the world and spent a week (together). I went to the Rock of Ages every year. It was amazing...they don't do it anymore. I just found that out. 
  I met all kinds of amazing musicians there. I met David Girabaldi, Tower of Power's drummer. Nice guy. Really good looking. Amazing drummer. I also met (the late) Skip Mesquite, who was also with Tower of Power for a while. I met them before (leaving Prince's band). We used to sit down and talk about going on the road: what it was about and things that would happen. When I told them I was going to be working with Prince, they advised me on ways to keep my sanity on the road, since they had been at it for so long by that time. I was really glad to have them there. 
  After that, I lived in New York City for three years. I “grew” there. 
  ? Did you try to get a recording contract when you moved to New York?
  GC: I learned right away that New York was a different bear. They couldn't have cared less who I had played music with. They would say “Who?” After I left Prince, nobody in New York City knew who he was (then). Then he came and did a concert at the Union Square Theater.
  I went to that one. Morris Day and the Time opened the show. That was my only meeting with Jellybean Johnson and Jimmy Jam. I looked at Day on the stage and said “Wow. That's not the Morris I knew.” When I knew him, (He) was this freckled, light-skinned guy with this big Afro, just like Prince had, and was so shy he could barely carry on a conversation with you—at least that's what it seemed like. Either that or he was just shy around girls.
  He basically was a changed person. Prince taught him everything and brought this character out in him. It was pretty amazing to watch. I literally sat there with the sound guy at the front of the house and my jaw was down like “What? Whoa!”
  I talked to Prince and the band for a little bit. This was the first time they came to New York. They were all growing with the things they were doing. I was living in New York City by myself. I don't know what I was doing. I was a kid. I probably should have gone back to school, but, I didn't. 
  Prince came back the next year, or a couple years later, and played Radio City Music Hall.There was a girl, Marci Kenon, who was a teenager (at the time) and had been babysitting for Diana Ross. She loved Prince. She knew about me, found me, got my number and called me up. God only knows how back then. She had been writing some songs.
  She called me before that (Radio City Music Hall) concert. She wanted to know if I was going and if I could get her in. I said “Well, actually, I'm not going.” She wanted to know why. I said “Because, I can't afford the tickets.” There was just stunned silence from a teenager on the other end of the phone. I said, “You know, I work as a secretary, I'm not in the rock-and-roll business working with famous people.” She said “Oh. Well, are you still doing any music at all?” I said yes. She asked if I would help her with what she was working on. I told her I would be happy to. 
  She came over and... I said “Here's how you're going to get in to the concert: You're going to back of the building, wherever that is, and ask for these people. I had no idea about anything at Radio City Music Hall. Nothing. Except that I had been there to watch The Rockettes and that was really fun.
  I didn't go to the Prince concert. But, she went and mentioned all the names I gave her and they let her in. She got to meet the band—Prince, Dez (DIckerson), Cymone, Matt (Fink)-- and they said to her “Who? Gayle Chapman? We thought she was dead. We haven't heard from her at all.” I (later) said “Oh, that's good. At least they're thinking of me.” (Laughs).

  ?: How did you react when record companies were not more enthusiastic about signing you when you first moved to New York?
  GC: In my mind, I was just the first to quit his first band and I had to get work. So, I did.
  ?: What did you end up doing?
  GC: I got to New York City and I had to get a job. I was a cashier and a waitress at the Union Circle Cafe for a while. I later got hired as the cleaning woman at the Cardio Pulmonary Rehab Corporation. Their receptionist wasn't there one day and the phone was ringing. The manager looked at me and said “Our receptionist quit. Can you answer the phone?” I said “Sure.” (Mimics speaking on telephone) “C.P. Rehab Corporation. This is Gayle. How may I direct your call?”  She just looked at me and said “You need a job.” So, I got a job. 
  I went from being the cleaning woman to part-time receptionist while they found somebody. They never did, so, they just kept me. When the office was moved, I moved with it. I became the executive secretary to the president (of the company). I didn't get paid very much. I worked my way up from cleaning woman. Why should they pay me very much? When I left, I think I was making $10.40 a hour.
  What got me out of there was the company's Chief Financial Officer, who was three years older than me, making $44,000 a year and still lived at home. 
  We were all working overtime one night, because, we had to get the yearly prospectus out. I had to do all that typing. I had to type anything that anyone gave me, get it done and be accurate. I was able to do that. 
  I can't remember what started it, but, he came up and made some remark to me (and) I questioned why he said it to me. I think it was something absolutely derogatory and one thing lead to another. I looked at him and said “Look. You're 28 years old, you make $44,000 a year and you live at home. You have the gall to tell me that?” And I just went back to work.
The next thing you know I was on my way out the door. 
  He started it, I finished it. That was pretty much it. To this day, I'll never understand people who do things like that. They make a lot of money, but, they can't get out of their mother's basement? I'd be happy to make $44,000 a year now. To be honest, the most I ever made was $55,000 a year and that's when I was flipping houses (in Bosie, Idaho). I did that for a year. I worked with a broker and one of her agents. We (made) just under $500,000 in one year. I want to get back to it, I just have to find people who want to do that.
  ?:Why did you leave New York?
  GC: I grew up in nature in Minnesota and there is very little nature in New York City. I was very tired of concrete and missed trees. (There was) a lot of consumption going on there. That was when I went into training in The Way Corps.
  ?: In what capacity did you continue to work with The Way after you left Prince's band? Are you currently a member of that organization?
  GC:  I joined the 15th Way Corps leadership training program and stayed with them another five years before leaving. I was married when I graduated. My husband and I moved to Pocatello, Idaho and served there for a while. (We) later moved to Boise, Idaho where we finally parted ways with the ministry and each other. I am not currently a member of that organization.
  ?: You were always known for being a very spiritual person during your time with Prince. What part have your beliefs played in your life since you have been out of the spotlight?
  GC: I really don't know what folks thought of me then, but, I was definitely a practicing Christian believer in "grow mode.” As with any endeavor in life, if you believe (in) it, you will maintain basics and grow throughout your life. I have never stopped loving God, His word or the power that is in the name of Jesus Christ. 
  I do not consider myself religious, and I'm certainly not pious. But, I do believe actions speak louder than words. I use every opportunity that arises to help others-- spiritually, through music, or sharing wisdom from my own personal growth. One of my favorite quotes from a minister was "I'd rather see a sermon than hear one any day!"
  ?: What do you do to stay active on the music scene in Boise?
  GC: I work with lots of musicians, teach a lot of students, and keep my fingers in the pie by writing. I have occasionally had the opportunity to write with some famous people. I hope to get back on the road and gain more insight for writing, arranging and recording. I love it, (but), I need at least one to three other musicians to work and travel with to complete my vision.
  ?: Tell me about your self-titled album? What was the process like?
  GC: (My) self-titled album (released in 2003) was my third recording project for myself. The first was called Standard Laments, and although it was finished, it was never released. I still have it stuck on 1/2-inch 16-track recording tape. It's probably no good now, but, if anyone out there wants to help, who has the right equipment, get in touch with me.
  The second was Change of Direction in 1993 (recorded by Black Diamond, an acoustic duo Chapman formed with Lyricist and Folk Guitarist Jan Skurzynski). We worked for seven years playing locally and occasionally touring Idaho and the country playing festivals. (We later) parted ways. 
  My self- titled album was a process of sifting through musicians here in town to see who would actually do the work required in the studio. It took lots of time and money to get it done.   The first time I tried, I traveled to Hailey, Idaho to record in Big Wood Studios, with Bruce Innes engineering. Unfortunately, he ripped me off, along with a bunch of other people.
  I had to start all over in Boise, Idaho at Audio Lab Sound Recording, run by Steve Fulton. It was finished, but, not without more headaches in the process-- like musicians showing up to the studio unprepared and still wanting to get paid. However, most (musicians) learned the material, and did a great job. I was very thankful for the work everyone did at the studio.
  ?: What will your new album be like?
  GC: I started the new album last April with a guy named Robb Howell, of Robb Howell Music and RH Peace Machine, a great writer and engineer with four gold records. (He) has worked with Ozzy Osbourne, Frank Marino, and lots of others, but, I had to fire him. I didn't figure it out until late in the process that a lot of damage had been done.
  I have this great start of fantastic tracks that I'm in the process of musically replicating. (The album) has the “harder” edge I've always wanted, and I'm staying with the feel of it. The new CD will have lots of new and different stuff, but, it won't come out until I'm satisfied with it.
  ?: What are you most looking forward to as far as the show is concerned?
  GC: The show is my birthday present this year. Life is happening all around me, so, I will be as prepared as possible, given the circumstances. I'm very busy making a living and this is lots of extra work, but, a real kicker for me. I want to do well and I believe I will. Even though I can't bring the guys (Sam Lay and Jake Monroe, two of her music students) I was working with, because, they are underage, I will still have fun. I want people to come with an open mind and enjoy the evening. I will give it my all.
  ?: What do you hope for in the next five years?
  GC: I am looking forward to doing more out-of-state shows, fundraisers, house and theater concerts, working with musicians across the country and going to Europe.
I have no interest in remaining a local musician. It just doesn't offer me enough and I need to be working with professionals on a higher level. I want to retire from teaching and focus on writing, arranging, producing, recording and touring. Life is too short to just live for making a buck. You have to do what you love (and) hopefully you make the money you want as well. 

Stay Beautiful, Kristi

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All photos courtesy of Gayle Chapman except where listed.

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Better With Time: 'One Night With Gayle' Official Press Release

  ”Dyes Got the Answers 2 Ur ?s: The Beautiful Nights Blog" is inviting local music lovers to spend "One Night with Gayle."

  The blog, dedicated to Prince and associated artists, will host a concert featuring Gayle Chapman at 6 p.m. Aug. 9, at The Mix, 6006 12^th Ave. S., Seattle (themixseattle.com). Local Musicians Clayton Ballard and Old Blue will be the opening acts. Tickets are $8. This is a 21-and-over event.

  Chapman (www.reverbnation.com/gaylechapman) played keyboards with Prince from 1978-1980 and will perform original material. She will also sing "If I Love You Tonight," "You" and "Lovin' You"  songs that were recorded for "The Rebels," an unreleased album from 1979, with music written and performed by Prince and then band members.  "If I Love You Tonight" was later covered by Mayte Garcia, of "Hollywood Exes" fame for her 1995 album “Child of the Sun.” Chapman's other cut on the album, "You," was covered by Paula Abdul (as "U") on her 1991 album “Spellbound.” The supporting acts will also play an acoustic version of one of their favorite Prince songs.

  Chapman teamed up with "Dyes Got the Answers 2 Ur ?s," Editors K Nicola Dyes and Elke Hautala, of Seattle, (beautifulnightschitown.blogspot.com), to organize the event. She has been very active in the music community in Boise, Idaho, her residence for the last 25 years, but, is looking to expand her fan base by bringing her eclectic sound to Seattle.

  "Living is better than dying, as doing is better than wishing," she said about the show. "We are looking forward to this and know we are going to have a great time...can't wait!"

  Chapman has a vocal tone that has been compared to Bonnie Raitt and has mastered several musical genres including blues, folk and rock. She will play guitar for the night's performance.

  Ballard (www.claytonballard.com) describes his unique sound as "Tom Waits meets Tom Jones," and has a loyal local following. He independently released his newest album "Tragedies to Threnodies" last month.

 

  Old Blue (www.facebook.com/oldbluemusic), a band that specializes in electric rock and blues will perform a special acoustic set. It will be one of their last performances with the current line up.

  Chapman, was one of the keyboard players (along with "Dr." Matt Fink) in Prince's very first professional band after he released his debut album "For You" on Warner Bros. Records in 1978. She played with him at his first concert as a solo artist at the Capri Theater, Minneapolis, in 1979, his TV appearances on "American Bandstand" and "Midnight Special" and on the "Fire it Up" Tour, where Prince and his band opened for Rick James. She left the band in 1980, right before the release of Prince's Dirty Mind album.

Clayton Ballard

  She met Dyes and Hautala when the two traveled to her home in February to produce a video interview chronicling her life and career ("In Search of Gayle Chapman"), which was published on the blog and YouTube later that month. So far, it has had a combined total of 1,500 page views. They all kept in touch after the interview and when Chapman proposed a trip to Seattle, she said she would be interested in performing. Dyes and Hautala have worked since March to find the right venue and supporting acts to make this happen.

  Chapman was one of the first artists that worked with Prince who agreed to an interview with Dyes since she started the blog six months ago. Others include: Fink; Jill Jones; The Twinz (Maya and Nandy McClean); Lalah Hathaway; Susannah Melvoin; Cat Glover; T.C. Ellis and Pepe Willie.The blog now has more than 22,000 total page views. Other stories include a review of Prince's concert at the Showbox at the Market in Seattle, a review of the Billboard Music Awards where Prince was honored with the 2013 Icon Award, and interviews with fans.

                                   

Old Blue

Stay beautiful, Kristi 

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Lead Photo courtesy of Gayle Chapman. All other photos courtesy of bands listed.

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She Spoke 2 Me: Gayle Chapman Talks 2 Beautiful Nights

    K Nicola Dyes and Elke Hautala, of "Dyes Got the Answers 2 Ur ?s," took a road trip from Seattle to Boise, Idaho earlier this month to meet with Gayle Chapman, Prince's keyboardist from 1978-1980.
   Check out the interview below where Chapman, who famously left the band for personal reasons, discusses life, music and the Purple One:

You can also check out Gayle's music at http://www.reverbnation.com/gaylechapman

Stay beautiful, Kristi

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Pop Life: Troy Gua talks 2 Beautiful Nights

  K Nicola sat down for an interview late last year with Seattle Artist Troy Gua, best known as the creator of Le Petit Prince. Check out the very first video interview on "Dyes Got the Answers 2 Ur ?s," produced and edited by Elke Hatuala, where Gua discusses upcoming projects, popular culture as an art subject and how Prince inspires his work. Also, stay tuned for a special bonus after the final credits:

Stay beautiful, Kristi

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Sign o' the Times (Disc 2): K Nicola reviews Seattle's Tribute to Prince

This is Part II of a two-part story:

Courtesy of Ticketweb.com

“It's a bit of a humbling experience to cover a Prince song. Because, really, you can't do it like Prince.” -Gavin Guss

Gavin Guss, photo by Elke Hautala

“U Got the Look” by Gavin Guss

  This was, by far the most interesting performance of the night. It was done as a solo, not as a duet, with an

all-male band. But, honestly, I don't think Sheena Easton's soulful vocals and or Prince's androgynous “Camille” vocals would have a place in this version of the song. 

  The band took what is easily one of the funkiest grooves on the album and turned it into a straight rock and roll song. Now what kind of rock song, I can't tell you. I heard some parts that sounded like late 60s rock and others that sounded like Seattle's most famous export: grunge music. He did this one pose and hit a guitar riff that, I swear to God, reminded me of Chuck Berry circa 1955. Or maybe not. I'm not well-versed enough to tell you for sure and it's hard enough just trying to describe this genre-defying song. In roughly four to five minutes this song took you so many places that, as a listener, you were just trying to keep up. I thought it was a great tribute to a genre-defying artist like Prince.

  “It's a bit of a humbling experience to cover a Prince song,” Guss said before his set. “Because, really, you can't do it like Prince.”
  So, I guess he just decided to make the song his own. I appreciate the effort and I think Prince would, too.

“If I Was Your Girlfriend” by Strong Suit

  This, like all the other songs of the evening, was heavy on the electric guitars, but, I loved it. A lot of those keyboard grooves were doubled the guitar and I thought it sounded great. There was some great ad-libs by the lead singer and at the end and a really nice drum solo. There was a extended jam at the end where they really got the crowd involved.

  The band got together and only had “one and a half” rehearsals before performing that night, said Keith, the band's bassist after his set. And the band actually chose that song to perform.

  “We all love that song, that whole album,” he said. “Our singer chose that song, (it was) the first one, off the top of his head.

Eldridge Gravy, photo by Elke Hautala

“Strange Relationship” by Eldrige Gravy

This performance was definitely funky! The fact that it was done as a duet gave the already deep song an even deeper meaning. (Side note: I would love to hear Prince do this as a duet now). The lead singers were great, very soulful (probably the most soulful act all night). I love this song and I was definitely digging their version of it.

“I Could Never Take the Place of Your Man” by To The Glorious Lonely

Michelle Speir, a Prince fan in the audience described their performance as the “goth metal version” of the song. Maybe. It definitely didn't have the light pop feel of the original, it was much heavier, punk I would say, and I felt like they powered right through it. I'm not really sure how to describe their version of the song, and I thought Speir's description was interesting, so I'm going to stick with that.

Kim, of Lazy Susan, photo by Elke Hautala

“The Cross” by Lazy Susan

  This song was done by a female vocalist and, again, did not stray wildly from the original. There was plenty of kick drum in those first verses and her subtle emotion in her voice lent itself greatly to the song's very quiet opening. But, once the guitars and drums kicked in on the second part of the song, it was on.

  Her voice came across as being filled with rage at the conditions she is describing in the song, whereas, I always felt that Prince's vocals on the album were filled a strong sense of urgency (or maybe it was sublimated rage I wasn't capable of understanding).         At this point the band was playing with urgency and abandon. I loved it. The song's length was not as compact and to the point as the original, as there were several guitar solos throughout the song. There was no harmonies at the end, but, a nice, clean rock and roll finish with lots of guitar riffs and drums.

“It's Gonna Be a Beautiful Night” by Aaron Daniel

Aaron Daniel, photo by Elke Hautala

This performance was super ambitious. This guy came out, alone, with a guitar and a machine where he had pre-recorded background vocals, a drum beat and, I don't know if he had an actual vocoder, but, he there was something that altered his voice that made it sound like he had one. I'm standing in the audience thinking “where's the band?” but, decided to give it a chance.

  When you hear this song on the album it's a JAM. Lots of horns, banging drums, keyboards, layered vocals. It would have been hard to duplicate that, because Tractor Tavern is a very intimate setting. I like how this guy just came out solo like “I'm about to do this.” He was an amazing guitar player and also got the crowd involved. Since there was no backing band for the “confusion” segment at the end of the song, when he yelled “confusion” he just cued the crowd to go crazy. It was pretty cool. My one complaint is that it was hard to hear his vocals over everything that going on.

  The only thing missing was Sheila E.'s very fun and very funky “Transmississippi Rap” (which I spent weeks trying to learn in high school). But, if he would have been able to do that on top of everything else, I would have expected him to walk on water next...just saying.

Amsterdam, photo by Elke Hautala

“Adore” by Amsterdam

  This is arguably the best song on the album, in my opinion, and I had high expectations for whatever band decided tackled it.

  When Amsterdam hit the stage, I wasn't disappointed. They had a trumpet and saxophone player-- first brass instruments I had seen all night -- the drummer had on his 1999 T-Shirt and the female vocalist just stepped up to the mic and looked like she was ready to throw down.

  She had the chops-- with the falsetto right on point— and she knew all the lyrics (which I appreciated). However, she was a bit overpowered by the brass section of the band and toward the end of the song her voice got a little lost in the music. This, like Strange Relationship was the most faithful interpretation of the Prince's original and there was little room for error. I feel that the band more than rose to the challenge.

  It was fitting finale to a great tribute.

-K

 For more information on MusiCares visit www.grammy.org/musicares. Check out Elke Hautala's video of the event  here:

Stay beautiful, Kristi

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Sign o' the Times (Disc 1): K Nicola reviews Seattle's Tribute to Prince

  

Courtesy of Ticketweb.com

“It's a bit of a humbling experience to cover a Prince song. Because, really, you can't do it like Prince.” -Gavin Guss

  Some of the best bands in the Emerald City paid tribute to the Purple One last weekend.
  I attended the 10^th Annual Double Album Christmas Benefit on December 15 at Seattle's Tractor Tavern. This year's album was Sign o' the Times by Prince, where the entire album was played live and in sequence by local bands. All the proceeds from the concert benefited MusiCares, a foundation that gives assistance to musicians in times of need, according to the organization's Web site.

  I am a working stiff, however, and couldn't get the day off to prepare myself to witness this epic undertaking. So, I missed the opening of the concert with Sign o' the Times and Play in the Sunshine (thank you, King County Metro and, for the record, the new D-Line bus to Ballard sucks). However, I did arrive just in time for Housequake, so that's where the review begins (I know, I'm sorry). I've divided this review into two parts, just like the CD, to make it more palatable for my readers:

“Housequake” by Judd Wasserman

Judd Wasserman, photo by Elke Hautala

   Of course, the sped-up “Camille” vocals were missing, but, for anyone who's seen Prince in concert, where Prince sings this in his natural voice, it doesn't lessen the impact of this jam.

  The only thing missing was the brass, which is all over this song on the album, but, this group more than made up for it with some slammin' electric guitar solos. What they lacked in instrumentation, they more than made up for with funk. I will concede that it would not have satisfied some Prince purists, but, I thought they did well with the band they had. The drummer was in the pocket and they rode that groove all the way to the very end of the song with high energy. The vocalist was sounded great, but, I felt like he could have been more on point with the lyrics.

“The Ballad of Dorothy Parker”

  In my humble opinion, it would have been impossible to get the super-stripped down sound of the album version live. The band did not try to do that and I think it worked to their advantage. This song, again, was heavy on the guitar, bass and drums, like most of the songs of the night were, but, it sounded great. There was another searing guitar solo in the middle of the song and I thought the vocalist was good, too. Really held his own in what I think is a difficult song to sing.

Shawn Smith. photo by Elke Hautala

“It” by Shawn Smith

  I have to admit that I have never been a fan of this song. But, I did enjoy this version of it. His blues/rock version of the song is not far off the mark of Prince's original, and hearing it live added something that made it more enjoyable. Michelle Speir, an avid Prince fan like myself, described his look and music as “ZZ Top meets Prince,”and I would agree. Only much cooler.

“Starfish and Coffee” by the Scott Summers Quartet

  This was pretty true to the original, with the exception that it was sung as a duet with a man and woman. It sounded very good and it looked like the band was having a lot of fun doing it.

Julia Massey, photo by Elke Hautala

“Slow Love” by The Glass Notes

  The band stayed pretty true to the original song, but, there were some parts, in my opinion, that sounded a little more bluesy. The guitar solos in the middle were kicking (just for the record, I may say that several more times, since I didn't hear one bad guitar solo all night). The best part in my opinion was the raw emotion in the lead singer's vocals and you could see that everyone in the band was really feeling the song.

Prince Fan David Schwartz, photo by Elke Hautala

Keyboardist Julia Massey, who fronts her own band Julia Massey and the 5 Finger Discount, sat in with The Glass Notes on this song. She was asked to play with the band just days before the event and practiced with the band twice before performing Saturday night. She said when she was first recruited she wasn't familiar with the song or the album, but, she had a great time playing on stage.

  “I think I am like most kids who grew up in the 80s, I know the hits backwards and forwards,” Massey said. “I'm happy I have a whole lifetime to unpack...everything he's produced. He's so prolific..”

“Hot Thing” by Lucky Girl

  This band took the stripped-down funk jam and turned into a rollicking “punk-rock groove, with rock and roll solos” as lead singer Kathy Moore described it.

Kathy Moore, photo by Elke Hautala

  If you are at all familiar with the song, it is almost unrecognizable. Moore's smoky vocals gave the song an edge. Unlike the album cut, which has a long instrumental at the end, this song ended when the lyrics did, save for a few guitar solos in the middle.

  As I listened to them play the song, I wondered was there any significance that this particular song, an homage to a very sexy woman, was sang by female vocalist.

  “Well you know, to be honest I was powering through it and not thinking about the lyrics,” Moore said, after her set.

Prince fans Michelle Speir and Ken Iliffe, photo by Elke Hautala

“Forever in My Life” by Shawn Smith

  This is another song on the album that I have never been particularly fond of. Not because there is anything wrong with it, but, I guess it just has not touched me in a special place yet...whatever that means. With this song, just like with “It,” he had me groovin'. I also felt he gave this song a blues/rock feel and the vocals were powerful and he more than did this Prince cut justice.

-K

For more information on MusiCares visit www.grammy.org/musicares. Check out Elke Hautala's video of the event here:

Stay beautiful, Kristi
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