1 hits in his career), was an appropriately faithful rendition that was sufficiently energetic, but skipped Prince’s wailing guitar coda. “Anotherloverholenyohead,” despite being a lesser song, showed how talented the players were.Īnd another of Prince’s best songs, “Let’s Go Crazy” (one of just three No. Melvoin’s scratching solo at the end extended the song, and it got one of the biggest responses of the night. “1999” is such a good song, you can’t screw it up, and The Revolution didn’t.

“Erotic City,” the “Purple Rain” B-side, was very funky, and the band tied it tight to “Let’s Work,” which Brownmark owned with a slapped-bass solo. “Raspberry Beret” is an amazing song, and the band performed it well, but it was lessened without Prince’s definitive voice. That not only was appropriate in a respectful way, but it was Prince’s best music anyway. The Revolution was indisputably Prince’s best, most musically accomplished and possibly musically adventurous band in Prince’s nearly 40-year career, and despite the fact that the artist released 37 albums, Friday’s show wisely stuck to songs from Prince’s six albums on which band members played. That helped elevate several songs, including the funky and thumping “D.M.S.R.” from his album “1999.” From the night’s first notes, the crowd was on its feet - and dancing. It didn’t seem to bother the audience, which came very close to filling the 900-capacity venue. “All Day, All Night,” a song Prince wrote and The Revolution performed with his backing singer Jill Jones, showed he made the right decision to give it up. “Uptown” was an example of songs that fell far below Prince’s level. But of course the adventurousness and peak of passion Prince offered was missing.

Bassist Brownmark ably sang on several songs, and Stokely Williams, singer for the Minneapolis R&B band Mint Condition, which had toured with Prince filled the role on several others. Perhaps the biggest dilemma The Revolution faced was replacing Prince’s vocals.

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