Purple Reign

What is going on in 2016? Bowie, Sir George Martin, Glenn Frey, Maurice White and now Prince. Some big music names there and we’ve still got 8 months to go. Extraordinary isn’t the word for it, staggering comes a little closer, but hell, let’s just say that this spate of rapid departures is making more than just a few of us a little uneasy.

It’s weird when someone famous passes away. You mightn’t have heard of them in yonks – then suddenly they’re in your face everywhere you look, and in the case of musicians, every radio station you turn to. It’s a little odd because whilst we’re paying tribute to the artist and remembering what made them so special, the reality is that underneath it all we’re really mourning the loss of a significant part of our own lives.

Sir George Martin was so intrinsically involved with the creation of the Beatles’ music it’s impossible to imagine what they might have sounded like without him. Widely revered and respected, his contribution to popular music can’t be underestimated, though having reached the age of 90 you could hardly say his passing was unexpected.

Bowie on the other hand was a complete shock. Sure there had been some health issues in recent years to the point where his touring days were over, but his musical output of late had been exceptional – easily his best work in years. What made the news of his passing so hard to believe was that just 2 days before his death he’d celebrated his 69^th birthday and on that day a number of stunning life affirming photos depicting a joyous Bowie were published to mark the occasion.

Musically and visually David Bowie was the most significantly creative and influential pop artist of the 20^th century. In many ways Prince was one of the few in Bowie’s league – they both broke conventional male stereotypes and were outrageously bold in their choice of fashion. They were both dynamic performers and innovators who set their own agendas – driven by a clarity of vision to the point where you wondered did they ever doubt their next step?

Prince’s versatility in the studio was astonishing. He could play virtually any instrument and often did, as well as mixing and producing the amazing sounds he created. He was a workaholic and a perfectionist, but not a control freak – you only had to witness his performances on stage to see how much room he gave the other musicians around him and how generous he was in deferring to them. He could have run rings around any of them but never felt the need to prove it – the mark of an artist who had no doubts or insecurities in his own talent.

I’ve been listening to a lot of Prince’s music since he died last week, once again reminding me of his genius. Throw on some cans and listen to a track like Kiss. Aside from the amazing falsetto that breaks into an extraordinary screech by the end of the song, check out the separation of the instrumentation and vocals that he’s working into the spaces of that groove, in particular just past the 2 minute mark when the guitar solo kicks in – it’s a masterful piece of production. Then turn it up even louder for a blast of Gett Off. Lyrically it’s Prince at his most audacious as a sexual grind over the fattest of beats, but again the highlight for me is how he fills the spaces in that groove – so much is going on there, yet none of it gets lost in the mix. There’s no shortage of producers (or musicians) today who could learn from Prince.

His live shows were incredible. I was lucky enough to see him a few times, including his 1^st tour of Australia in ‘92 off the back of his enormous success with Diamonds and Pearls. Prince had the guitar chops of Hendrix, the funk of James Brown and the raw sexuality of a young Elvis.

There was such a buzz around Prince being in town on that tour with a rumour circulating he was keen to scope out the local nightlife during his 1^st visit to Oz. We hit some of the coolest nightclubs in Sydney that week hoping we might catch a late night appearance or possibly a performance after one of his shows. We struck out on the 1^st few clubs until we fronted The Tunnel in Kings Cross, a private low-lit joint with a dance floor encased in glass in the centre of the room. It wasn’t packed but the DJ had a good groove going. Soon it became obvious that someone was moving on the floor like he owned it. Unbelievably, there we were sharing the dance floor with Prince! It was mesmerising just watching him move – he wasn’t overtly seeking attention, just doing his thing like everyone else in that room. It didn’t last long, a couple of young girls flipped out and lost it when they realised who was there and as soon as they did Prince was gone.

The last time I saw him play was in 2012. There was talk that a lifetime of performing in heels had taken their toll on his hips and that he’d undergone surgery. Whilst not the spectacle of years gone by it was still a great show, though his overtly sexual and electrifying performances of the past were somewhat toned down. The guitar was no longer an extension of his strutting sexuality, though the incredible deft touch was still there as he caressed and cajoled those wondrous tones into shape. He spent more time that night sitting at the keys, blowing us away with stunning renditions of songs like How Come U Don’t Call Me Anymore and Sign O The Times.

His last Australian tour was just a couple of months ago, this time playing solo at the piano. I was tempted to go, but at $400 a ticket that’s a $1000 night for a couple with the usual extras. Everyone has to draw the line somewhere, even for Prince.