There are artists who play guitar, and then there are artists for whom the guitar is an extension of their very soul, a conduit for raw emotion, blistering technique, and otherworldly innovation. Prince Rogers Nelson, the enigmatic polymath from Minneapolis, unequivocally belonged to the latter. While the world at large knew him as a pop icon, a fashion maverick, and a symbol of unbridled sexuality, for us guitar fanatics, Prince was, and forever will be, a guitarist of staggering ability and profound influence. His magnum opus, Purple Rain, wasn’t just a cultural phenomenon; it was a coronation, cementing his status as a guitar hero for the ages. This exploration delves into the purple-hued world of Prince’s guitar artistry, from his early days to the iconic Purple Rain era, his unique instruments, mind-bending techniques, and the unforgettable live moments that left audiences (and fellow guitar legends) speechless.

1. The Spark: Early Life, First Guitars, and the Minneapolis Sound

Prince Rogers Nelson, born June 7, 1958, in Minneapolis, was practically preordained for a life in music. His father, John L. Nelson, was a pianist and songwriter, and his mother, Mattie Della Shaw, a jazz singer. This musical environment was fertile ground. Determined to emulate his father, a young Prince taught himself piano, penning his first tune, “Funk Machine,” at the tender age of seven. Soon after, he added guitar and drums to his rapidly expanding skillset, all self-taught. His stepfather played a crucial role in his six-string journey, taking him to see the legendary James Brown and subsequently gifting him his first guitar.

Music became a sanctuary for Prince during a challenging childhood marked by his parents’ separation when he was ten and a strained relationship with his stepfather. He even moved in with neighbors, the Andersons, where he befriended Andre Anderson (later André Cymone). Together, they formed Grand Central, a local band that gigged around Minneapolis, with Cymone on bass – a partnership that would extend into Prince’s early solo career. These formative years were spent obsessively honing his craft. He’d spend countless hours in a local DJ’s basement studio, meticulously transcribing lyrics from greats like Aretha Franklin and James Brown, absorbing their essence while simultaneously developing his own unique voice.

By sixteen, Prince had left school, already pioneering the “Minneapolis Sound”—a distinct fusion of funk, rock, pop, R&B, and new wave, heavily characterized by synthesizers and electronic drum machines, but always with a potent guitar presence at its core. His talent was undeniable; by eighteen, he was working as a session guitarist for Minneapolis Sound 80 Studios, and by nineteen, he had inked a deal with Warner Records. His 1978 debut album, For You, was a testament to his burgeoning genius, with Prince reportedly playing all 27 instruments on the record. While not a critical smash, it was a clear statement of intent.

The guitar was not just an instrument for Prince; it was a fundamental means of expression from his earliest days. His early influences were diverse. While Jimi Hendrix is an oft-cited comparison, Prince himself confided to Rolling Stone that Carlos Santana was a more significant influence: “If they really listened to my stuff, they’d hear more of Santana influence than Jimi Hendrix … Hendrix played more Blues, Santana played prettier”. This preference for melodicism, combined with the raw funk of James Brown and the eclectic artistry of Sly Stone and George Clinton, began to shape his unique guitar voice.

The sheer breadth of Prince’s talent was, and remains, astonishing. He wasn’t just a pop star who happened to play guitar; he was a guitarist who redefined what the instrument could achieve within popular music. This duality often meant that his profound guitar skills were sometimes overshadowed by his flamboyant stage persona, his chart-topping hits, and his revolutionary impact on fashion and culture. However, for those who listened closely, the guitar was always there, a searing, soulful, and integral part of his musical DNA. His early life and relentless self-education laid the groundwork for a guitarist who could effortlessly traverse genres, from the tight, percussive funk rhythms that defined the Minneapolis Sound to the soaring rock solos that would later electrify stadiums worldwide. This foundation was not just about learning notes and chords; it was about an obsessive drive for musical excellence, a trait instilled early on by his father’s demanding standards, which Prince described as “almost like the army when it came to music”. This discipline, coupled with an innate, prodigious talent, set the stage for the guitar icon he would become.

2. Forging a Legend: The Purple Rain Era – Album and Film

The release of the album and film Purple Rain in 1984 was a watershed moment, catapulting Prince from MTV icon (thanks to 1982’s 1999 ) to global superstardom. It was here that his image as a guitar god was indelibly etched into the public consciousness. The film, a semi-autobiographical narrative of “The Kid” navigating love, rivalry, and artistic ambition in the Minneapolis club scene, served as a perfect vehicle to showcase not just his music but his electrifying stage presence and, crucially, his guitar pyrotechnics.

A Collaborative Revolution: Crafting the Album

The Purple Rain album marked a significant shift in Prince’s creative process. While still the clear visionary, he opened himself up to collaboration with his band, The Revolution: Wendy Melvoin (guitar), Lisa Coleman (keyboards), Dr. Fink (keyboards), Brown Mark (bass), and Bobby Z. (drums). This collective energy infused the music with a new, more stadium-ready bombast.

Wendy Melvoin, in particular, became a key musical foil. She and Lisa Coleman introduced Prince to new influences, including modern classical composers like Ravel and Stravinsky, whose textures subtly seeped into tracks like “Take Me With U” and “When Doves Cry”. The creation of the album was an intensely collaborative and often spontaneous affair, with many songs taking shape during marathon rehearsals and jam sessions in a St. Louis Park warehouse that served as Purple Rain HQ.

The title track, “Purple Rain,” is a prime example. Prince had the initial country-inspired melody, which he’d even sent to Stevie Nicks (who found it beautiful but too intimidating to write lyrics for). During a late-night rehearsal, Prince played the basic structure, and Wendy Melvoin began adding chords, crafting the iconic intro progression. The rest of the band then layered in their parts, and over six hours, the epic ballad took shape. This organic process, with Prince as bandleader guiding the tight-knit group through looks and gestures, was typical.

“Let’s Go Crazy,” with its gospel-infused organ intro, driving beat, and blistering guitar solo, perfectly captured the band’s live energy, honed in that warehouse space. The guitar work on this track is a quintessential example of Prince’s ability to blend raw rock power with funk sensibility. “Computer Blue” evolved from a piece Prince’s father had written (“Father’s Song”), which was reworked into a guitar solo for the track. The song also features a memorable intro conceived by Wendy and Lisa. Even tracks Prince largely crafted himself, like the emotionally charged ballad “The Beautiful Ones” and the sexually explicit “Darling Nikki,” benefited from the band’s energy in rehearsal before being committed to tape, often after gauging audience reactions at live shows.

The guitar was central to the album’s sonic landscape. From the clean, chiming arpeggios of the “Purple Rain” intro to the distorted fury of the “Let’s Go Crazy” solo and the funky stabs in “I Would Die 4 U,” Prince’s guitar work was incredibly diverse and expressive. The recording process itself often involved capturing live energy. For instance, much of the material, including “Purple Rain,” “I Would Die 4 U,” and “Baby I’m a Star,” was recorded live at the First Avenue club in Minneapolis on August 3, 1983, during a benefit concert. These live tracks were then taken to Sunset Sound in Los Angeles for overdubs and refinement. David Z, who engineered the live recording, noted that vocal microphones were Shure SM57s, which were also used on Prince’s and Wendy Melvoin’s guitar amps. The focus was on capturing the raw energy, with minimal effects added during the initial recording to tape. Prince would then meticulously work on these tracks, often playing most instruments himself in the studio, layering vocals, and perfecting the mix.

The Film: Visualizing Guitar Heroism

The film Purple Rain was instrumental in solidifying Prince’s guitar hero status for a mass audience. It wasn’t just the music; it was seeing Prince wield his guitar with such charisma and skill. Memorable scenes, like The Kid’s electrifying performance of “Let’s Go Crazy” to open the movie, or the emotionally charged rendition of “The Beautiful Ones” where he uses his guitar to express his longing and frustration, showcased the instrument as an extension of his character’s inner turmoil and artistic passion.

The film’s narrative, though simple, revolved around the power of music and performance. The live performance sequences at First Avenue were essentially music videos woven into the plot, highlighting Prince’s scorching performance style and guitar prowess. The iconic image of Prince, silhouetted, unleashing the “Purple Rain” solo, became an enduring symbol of rock and roll cool. While some critics found the acting and plot to be secondary to the music, the film’s cultural impact was undeniable. It introduced a cinematic audience to Prince’s multifaceted talent, where the guitar was not just an accessory but a central weapon in his artistic arsenal. The film effectively transformed Prince from a music star into a cultural icon, and his guitar playing was a key component of that transformation. It demonstrated that a Black artist could lead a blockbuster film that wasn’t solely about race, changing Hollywood perceptions. The Purple Rain album and film, therefore, were not just commercial successes; they were a carefully orchestrated multimedia experience that cemented Prince’s image as a guitar-wielding rock deity, blending funk, soul, and pop into a uniquely compelling package. The visual power of the film, combined with the sonic brilliance of the album, ensured that Prince’s guitar playing would be celebrated and emulated for decades to come.

3. The Arsenal: Prince’s Iconic Guitars

A guitarist is often identified by their chosen axe, and Prince, with his flair for the unique and visually striking, had several instruments that became synonymous with his persona. While he played many guitars throughout his career, a few stand out as true icons.

The Hohner MadCat: The Workhorse Tele

Perhaps Prince’s most enduring and consistently used guitar was not a high-end custom shop creation, at least not initially, but a Japanese-made Hohner Telecaster copy, often referred to as the “MadCat”. Prince acquired his Hohner HG-490 in the late 1970s or early 1980s from Knut Koupee Music in Minneapolis. Legend has it that it cost a mere $30, though André Cymone suggests it was purchased from a proper guitar store.

What made this guitar special was its unique construction and sound. It featured a body made of ash with a flamed maple top and back, and a distinctive walnut center strip. The pickguard had a leopard-print (or tortoiseshell-like) appearance, which appealed to Prince’s flamboyant aesthetic. Crucially, while shaped like a Telecaster, its pickups and hardtail bridge were more akin to a Fender Stratocaster, giving it a unique tonal character – bright, funky, and capable of searing leads.

This Hohner MadCat became his main axe throughout his career, used extensively on tours from Dirty Mind through Welcome 2 America and appearing on nearly all his studio albums from 1980 onwards. It was a surprisingly high-quality instrument for its price, built by the Moridaira/Morris company’s custom shop equivalent. Over the years, it underwent modifications: the original pickups were replaced, first with Fender Vintage Noiseless pickups, and later with Kinman Traditional pickups. A third pickup was even added under the pickguard for noise-canceling at one point but was later removed. During the Purple Rain tour, a wireless receiver was famously built into the body. Prince had several replicas made, including some by Roger Sadowsky, and custom versions in different colors, like a purple one gifted to Sheila E. and a pink one now at Paisley Park. One infamous MadCat replica used on the Purple Rain tour was engineered to squirt liquid (reportedly Ivory dish soap) over the audience during “Baby I’m a Star”.

The Cloud Guitar: A Purple Rain Dream

The Cloud guitar is arguably Prince’s most visually iconic instrument, intrinsically linked to the Purple Rain film and era. Its unique, flowing, biomorphic design became a symbol of Prince himself. Minneapolis luthier Dave Rusan built the first Cloud guitar for Prince in 1983 specifically for the movie.

The design was inspired by a bass guitar Prince had seen, possibly owned by André Cymone. Prince’s requirements for Rusan were specific yet somewhat sparse: it had to be white, have gold-plated hardware, feature EMG active pickups (an 81 humbucker in the bridge and an SA single-coil in the neck), and have spade playing card symbols as fretboard inlays. Rusan constructed it from hard rock maple with a neck-through-body design, a 24 ¾” scale length, a 12″ fretboard radius, and Schaller hardware.

Initially, Rusan viewed it somewhat as a movie prop, but Prince loved the guitar so much he commissioned two more from Rusan. A fourth was made for a Warner Bros. contest. The name “Cloud” likely came from the cloud-covered blue suit Prince wore in the “Raspberry Beret” video and in Doug Henders’ cover art for the Around the World in a Day album, where the guitar features prominently. These guitars, in various colors (white, black, yellow, blue), were mainstays of his live shows and videos throughout the 80s and 90s. Later, Schecter produced retail versions, and other luthiers made additional copies. The active EMG pickups provided clarity and definition, even with heavy distortion, which suited Prince’s dynamic playing style.

The Symbol Guitar: The Artist Formerly Known As…

When Prince famously changed his name to an unpronounceable symbol in the early 1990s, he needed a guitar to match. Enter German luthier Jerry Auerswald, who had previously built the Model C guitar for Prince. The Auerswald Symbol Guitar was a direct visual representation of this new identity.

Crafted from maple, the original Symbol guitar was gold and featured prominently in videos like “Endorphinmachine” and “Gold”. It was equipped with Prince’s preferred EMG active pickups (SA single-coil in the neck, 81 humbucker in the bridge), a locking bridge and tremolo system, and sometimes LED lights. Other versions were made in black (seen in the “I Hate U” video), white (for promoting Emancipation), and purple. Schecter also produced a production version known as the “Habibe,” which Prince used live, often featuring a Floyd Rose-style tremolo. Due to its complex shape and Prince’s habit of tossing his guitars, only the original gold model is believed to have survived and is now housed at Paisley Park.

Other Notable Axes

While the MadCat, Cloud, and Symbol guitars are the most famous, Prince utilized a variety of other instruments:

Auerswald Model C: Another Jerry Auerswald creation, this headless guitar featured an unusual “sustain bow” designed to enhance resonance. It was used on albums like Lovesexy and Batman.
Fender Stratocasters: Especially in the 2000s, Prince used Fender Stratocasters, often heavily customized with EMG pickups (removing the middle one) and Floyd Rose tremolo systems, turning them into “Super Strats”. One such Strat was famously played (and damaged) during his rainy Super Bowl XLI halftime show.
Gibson L6S: In his early years, Prince could be seen playing a Gibson L6S, which was later modified and covered in leopard print.
Acoustic Guitars: Prince also played acoustics, such as the Sigma SE-19 (a Martin sub-brand).
Jazz Guitars: The Epiphone Emperor Thinline, an archtop jazz guitar, appeared during the Parade tour and on tracks like “Everybody Wants What They Don’t Got”.

Prince’s choice of guitars reflected his eclectic musical style and his penchant for visual flair. Each instrument, whether a humble Tele copy or an outlandish custom creation, became a tool through which he channeled his immense talent. His willingness to modify and customize his guitars, like adding wireless units or specific pickups, underscores his practical approach to achieving his desired sound and stage functionality. These instruments weren’t just props; they were integral to his sound, his image, and his legend.

Here’s a quick look at some of Prince’s key guitars:

Guitar Model	Key Features	Notable Usage
Hohner HG-490 “MadCat”	Telecaster-shape, Strat-style pickups/bridge, leopard pickguard, walnut strip	Main studio/live guitar throughout career, Purple Rain album/tour
Dave Rusan Cloud Guitar	Unique curved design, maple neck-through, EMG 81/SA pickups, gold hardware	Purple Rain film/album, iconic live guitar from 1984-1994, 1998-2002
Auerswald Symbol Guitar	Shaped like Prince’s name symbol, maple, EMG SA/81 pickups, locking tremolo	Mid-90s videos (“Gold,” “Endorphinmachine”), live performances
Auerswald Model C	Headless design, “sustain bow,” EMG pickups	Lovesexy, Batman, Graffiti Bridge albums, Lovesexy & Nude tours
Fender Stratocaster	Often customized: EMG pickups (bridge/neck), Floyd Rose tremolo	2000s live performances, Super Bowl XLI halftime show

This array of instruments highlights a fascinating aspect of Prince: his ability to take a relatively inexpensive guitar like the Hohner and make it legendary through sheer talent, while also embracing avant-garde designs that mirrored his artistic evolution. The common thread was always how the guitar served the music and the performance, becoming an indelible part of the Prince phenomenon.

4. The Minneapolis Sound and Beyond: Prince’s Guitar Styles & Techniques

Prince’s guitar playing was a chameleon, effortlessly shifting between genres and moods, yet always retaining an unmistakable signature. He wasn’t just a shredder or a rhythm player; he was a complete guitarist, a master of texture, groove, and melody. His style was a rich tapestry woven from funk, rock, R&B, blues, soul, pop, and even jazz and metal influences.

Rhythm King: The Funk Foundation

At the heart of Prince’s guitar playing was an impeccable sense of rhythm, deeply rooted in funk. His ability to lay down a tight, syncopated groove was second to none. Key elements of his funk rhythm style include:

Chord Voicings: He frequently utilized 9th, 13th, and minor 7th chords, staples of funk and soul music, to create rich harmonic textures. The iconic staccato E9 chord that kicks off “Kiss” is a perfect example of his clean, precise funk chording.
Syncopation: Prince was a master of syncopation, emphasizing off-beats to create infectious, danceable rhythms. His strumming patterns were often complex yet felt completely natural.
Muting Techniques: Crucial to his percussive funk sound was his expert use of string muting with both his fretting and picking hands. This created the “chucking” or “scratching” sound that is so characteristic of funk guitar, adding a rhythmic pulse even when notes weren’t fully sounded. He understood the importance of “when not to play,” using space effectively within the groove.
Clean Tones: While capable of heavy distortion, his funk rhythms often employed a clean, crisp tone, allowing the intricacies of his playing to shine through.

Songs like “Controversy,” with its dazzlingly intricate clean rhythm part, and “Alphabet St.,” with its bold, brassy guitar line mimicking a horn section, showcase his rhythmic ingenuity. He could make the guitar sound like a percussive instrument, a horn section, or a melodic counterpoint, all within the same song.

Lead Guitar Hero: Soaring Solos and Emotional Expression

Prince’s lead playing was equally impressive, marked by fiery solos that could be both technically dazzling and deeply emotional. His solos weren’t just displays of virtuosity; they told a story, with careful attention to phrasing and dynamics.

Pentatonic Power: He often utilized pentatonic scales, particularly the minor pentatonic, as a foundation for his rock and blues-infused solos. However, he always found fresh and inventive ways to use them.
Expressive Bends and Vibrato: Prince’s string bends were legendary – wide, precise, and full of emotion, often described as “crying” bends. His vibrato was equally expressive, ranging from subtle shimmers to wide, intense wails that made his guitar sing. The solo in “Purple Rain” is a masterclass in emotive bending and vibrato.
Fast Runs, Trills, and Tapping: He could unleash flurries of fast runs and trills (rapid hammer-ons and pull-offs), adding excitement and intensity to his solos. The chaotic, fast picking in the “Purple Rain” solo is a prime example. He also incorporated techniques like open-string pull-offs.
Hammer-ons and Pull-offs: Legato techniques like hammer-ons and pull-offs were frequently employed for fluid, singing lines.
Double Stops and Diads: Prince often used two-note chords (double stops) and sliding diads to create rich harmonic textures and soulful effects in his solos and rhythm playing.
Motifs and Repeated Licks: He would sometimes build tension and memorability by repeating small melodic or rhythmic motifs, varying them slightly to maintain interest.

His early track “Bambi” from the self-titled 1979 album is an example of his heavier rock side, focusing on overdriven guitars, power chords, and minor pentatonic licks. The solo in “Why You Wanna Treat Me So Bad?” from the same album is another early showcase of his rock lead capabilities, with sustained melodies and blazing runs. He could seamlessly transition from a clean funk rhythm to a heavily distorted rock solo within the same song, demonstrating his incredible versatility.

The development of his guitar style was a continuous evolution. While early albums showcased clean funk chords, heavily distorted parts and solos were often juxtaposed, demonstrating his wide-ranging sensibilities. This fusion was key to his unique sound – he wasn’t just playing funk, or rock, or R&B; he was playing Prince music, where the guitar was a vital, multifaceted voice. His understanding of groove was paramount; he knew precisely when to play and when to leave space, making every note count. This sophisticated musicality, combined with raw talent and an unyielding work ethic, allowed him to craft a guitar style that was as innovative as it was influential.

5. The Sound of Purple: Prince’s Use of Effects Pedals

Prince was a master of sculpting his guitar tone, and effects pedals played a crucial role in shaping his diverse sonic palette. He wasn’t a guitarist who hid behind effects; rather, he used them as an extension of his musical expression, enhancing his playing and creating signature sounds that are instantly recognizable. While his live rig could be extensive, he had a core set of effects he relied on, with a notable fondness for Boss pedals.

His journey with effects began early. For his first few albums and tours, he primarily used amp distortion from his Mesa/Boogie Mark II and a Mutron Bi-phase phaser. However, starting with the 1999 album and tour, Boss effects became a mainstay of his pedalboard.

Here’s a look at some of the key effects and pedals Prince utilized throughout his career:

Octave Pedals: Prince frequently used octave pedals to add depth and fullness to his riffs and solos, creating a fat, harmonized tone. The distinctive opening riff of “When Doves Cry” is a classic example of his octave pedal magic. He often used the Boss OC-2 Octave, a pedal that remained on his board for many years. Later recommendations for achieving this sound include the Electro-Harmonix POG or Boss OC-5.
Chorus: To achieve shimmering, ethereal clean tones, Prince often employed a chorus pedal. This added modulation and a sense of spaciousness to his rhythm parts and arpeggios. The Boss CE-2W Waza Craft Chorus is cited as a pedal that can replicate this aspect of his sound. The iconic intro to “Purple Rain,” played by Wendy Melvoin, features a lush chorus effect.
Flanger: A flanger creates a swirling, jet-plane-like whooshing effect, and Prince used it to add texture and movement to his guitar tones. The Boss BF-2 Flanger was a long-serving pedal on his board, present from the 1999 era right through to his later years.
Delay: Delay effects were crucial for extending his solos, adding depth, and creating atmospheric textures. He started with the analog Boss DM-2 Delay in the early 80s, later moving to digital units like the Boss DSD-2 Digital Delay/Sampler, DD-3 Digital Delay, and eventually the DD-6 Digital Delay. The MXR Carbon Copy Analog Delay is also mentioned as a pedal that can achieve his warm, vintage delay sounds.
Overdrive/Distortion: Prince could conjure a wide range of distorted tones, from warm overdrives to searing high-gain sounds. His early Boss setup included the SD-1 Super Overdrive. In the early 90s, he switched to the MT-2 Metal Zone for a heavier sound, later adding a DS-2 Turbo Distortion. Eventually, the MT-2 was replaced by the BD-2 Blues Driver, suggesting a preference for a more nuanced, bluesy overdrive in his later career.
Wah Pedal: The wah pedal was a key tool for Prince’s expressive lead work, allowing him to add a vocal-like quality to his solos. He used a Vox V846 wah on the 1999 album and a Dunlop Cry Baby on the subsequent tour. From 1986 to 1998, a vintage Colorsound Wah was his main wah, eventually being replaced by another Dunlop Cry Baby.
Vibrato: The Boss VB-2 Vibrato was another long-standing pedal on his board, used to create a pulsating pitch modulation effect.
Whammy Pedal: In the 2000s, Prince incorporated a Digitech Whammy pedal into his setup, known for its distinctive pitch-bending capabilities.
Compression: For tighter, funk-driven rhythm work, a compressor like the Keeley Compressor Plus helps smooth dynamics and enhance sustain, contributing to that percussive, controlled funk sound.
Modulation Modeler: A Line 6 MM4 Modulation Modeler was also part of his early 2000s live rig.
Rack Effects: Beyond stompboxes, Prince also utilized rack effects from the late 1980s to the early 2000s, primarily a Roland GP-16 and a Zoom 9030, controlled by Roland EV-5 and FC-100 controllers.

Prince’s use of effects was not about masking his playing but about enhancing its character. He knew how to dial in tones that perfectly served the song, whether it was a subtle shimmer on a ballad or a screaming distorted lead. His pedalboards evolved over time, but he maintained a core set of Boss effects that formed the foundation of his sound for decades. This consistent yet evolving approach to effects is another hallmark of his genius. He even used these Boss pedals in the studio to process drum sounds from his Linn LM-1, contributing to his distinctive drum tones on iconic albums like 1999 and Purple Rain.

Here is a table summarizing Prince’s Boss pedal usage across different eras:

Era	Power Supply / Switch	Overdrive/Distortion	Modulation	Delay	Octave	Vibrato	Tuner
1982-1985	Boss PSM-5	Boss SD-1 Super Overdrive	Boss BF-2 Flanger	Boss DM-2 Delay	Boss OC-2	Boss VB-2	N/A
1986-1992	Boss PSM-5	Boss SD-1 Super Overdrive	Boss BF-2 Flanger	Boss DSD-2 or DD-3	Boss OC-2	Boss VB-2	N/A
1993-1997	Boss PSM-5	Boss MT-2 Metal Zone, Boss DS-2 Turbo Distortion (added ’94)	Boss BF-2 Flanger	Boss DD-3 Digital Delay	Boss OC-2	Boss VB-2	N/A
1998-2007	Newer Power Block	Boss BD-2 Blues Driver, Boss DS-2 Turbo Distortion	Boss BF-2 Flanger	Boss DD-3 Digital Delay	Boss OC-2	Boss VB-2	N/A
2009-Onward	N/A (TU-3 likely powered)	Boss BD-2 Blues Driver, Boss DS-2 Turbo Distortion	Boss BF-2 Flanger	Boss DD-6 Digital Delay	Boss OC-2	Boss VB-2	Boss TU-3

This consistent reliance on certain Boss pedals, while also incorporating new technologies as they emerged, demonstrates a thoughtful and practical approach to tone shaping. Prince knew what worked for his sound and built upon that foundation throughout his career.

6. Electrifying Live: Legendary Guitar Moments

While Prince’s studio recordings showcased his meticulous craftsmanship and multi-instrumental genius, it was on the live stage that his guitar prowess truly exploded, creating moments of pure, unadulterated musical transcendence. His concerts were legendary for their energy, spontaneity, and, of course, his electrifying guitar solos.

The “While My Guitar Gently Weeps” Masterclass (Rock and Roll Hall of Fame, 2004)

Perhaps the single most defining live guitar moment for Prince, especially for the broader rock audience, was his solo during the George Harrison tribute at the 2004 Rock and Roll Hall of Fame induction ceremony. Performing “While My Guitar Gently Weeps” alongside Tom Petty, Jeff Lynne, Steve Winwood, and Dhani Harrison, Prince stepped forward for the closing solo and unleashed a torrent of emotion and technique that left everyone on stage, and in the audience, utterly spellbound.

Playing his Hohner “MadCat” Telecaster (some sources say a yellow Fender Telecaster, but his MadCat often had a similar look) , Prince didn’t just replicate Eric Clapton’s original solo; he reinvented it, infusing it with his own fiery blend of blues, rock, and soul. The solo was described as “incendiary,” “frenetic,” and a “master class in shredding”. He commanded the stage, at one point leaning far back over the monitors into the crowd, held by a stagehand, all while continuing his blistering fretwork. Dhani Harrison looked on with a mixture of awe and delight, while Tom Petty was seen nodding in encouragement and smiling by the end.

This performance was more than just a great solo; it was a statement. Reportedly, Prince felt slighted by Rolling Stone magazine, which had omitted him from its “100 Greatest Guitarists of All Time” list the previous year. His performance that night, at an event closely associated with the magazine’s founder Jann Wenner, was seen by some, including Questlove, as an “act of revenge” – a definitive, undeniable demonstration of his guitar mastery. The sheer power and passion of the solo, coupled with his incredible showmanship, silenced any doubters. Rolling Stone later rectified their omission, ranking him #14 in an updated list of 250 guitarists.

And then there was the famous disappearing guitar. At the solo’s climax, Prince tossed his guitar high into the air, and it seemingly vanished, never appearing to land on camera. This added an almost mythical element to the performance. His guitar tech at the time, Takumi Suetsugu, later revealed that he caught the guitar, and per Prince’s instructions, handed it to Oprah Winfrey, who was in the audience, as a playful prank. Oprah eventually returned the guitar, and it is now preserved at Paisley Park. This entire episode encapsulates Prince: unparalleled skill, audacious showmanship, and a mischievous sense of humor.

Reigning in the Rain: Super Bowl XLI Halftime Show (2007)

Performing at the Super Bowl halftime show is a monumental undertaking for any artist. Prince’s performance at Super Bowl XLI in Miami in 2007 is widely regarded as one of the greatest, if not the greatest, in the event’s history. What made it even more legendary was the fact that it took place during a torrential downpour – the first time it had ever rained during a Super Bowl halftime show.

The rain, far from being a hindrance, became an electrifying element of the performance. Prince, ever the consummate showman, embraced the conditions. He and his dancers navigated the slippery, Love Symbol-shaped stage in high heels, with electric guitars adding to the inherent risk. His setlist was a masterful blend of his hits and iconic covers, including “Let’s Go Crazy,” “Baby I’m a Star,” Creedence Clearwater Revival’s “Proud Mary,” Bob Dylan’s “All Along the Watchtower,” and the Foo Fighters’ “Best of You”.

The guitar moments were plentiful and powerful. For the climactic performance of “Purple Rain,” as the rain intensified, Prince played a searing guitar solo silhouetted behind a large, flowing sheet that had risen from beneath the stage. The image was iconic, the combination of the music, the silhouette, and the actual rain creating a literal “purple rain”. This moment, however, also sparked some controversy, as the placement of his guitar during the silhouette projection was deemed phallic by some viewers, leading to complaints.

Despite this minor controversy, the performance was a triumph. Critics lauded his ability to turn the adverse weather into a dramatic advantage, making it seem as if he had ordered the downpour himself. His guitar solos, particularly on the covers, showcased his versatility and his ability to make any song his own. The Super Bowl performance was a testament to his incredible stage presence, his musical command, and his fearless guitar playing in the face of challenging conditions.

Montreux Magic: Jazz Festival Prowess (2009)

In July 2009, Prince graced the prestigious Montreux Jazz Festival with two distinct performances on the same night, showcasing a more intimate, yet no less powerful, side of his guitar artistry. While the festival had its roots in pure jazz, it had long embraced a diverse range of musical styles.

The first show, while leaning more towards jazz and ballads, still featured significant guitar work. It opened with a guitar-heavy rendition of “When Eye Lay My Hands On U,” and a highlight was a “jaw-dropping performance” of “Empty Room,” where Prince reportedly “absolutely tears it up on guitar” during the final two minutes, his face betraying his intense focus and confidence.

The second show, however, was a true guitar feast. For nearly the first forty minutes, Prince barely let go of his guitar. This extended segment included fiery renditions of Billy Cobham’s “Stratus” (showcasing the entire band’s improvisational skills), a rocking cover of Elvis Presley’s “All Shook Up” transitioning into his own “Peach,” a blistering take on Jimi Hendrix’s “Spanish Castle Magic,” and his own classic “When You Were Mine”. This portion of the show was described by reviewers of bootleg recordings as a “God-send for those who like to see Prince on guitar”.

These Montreux performances, captured in high-quality bootlegs, are highly prized by fans and critics alike, often cited as some of his best live work from that period. They reveal Prince in a setting that allowed for extended improvisation and a raw display of his guitar skills, free from the spectacle of his arena shows but brimming with musical intensity and passion.

These high-profile live performances were more than just concerts for Prince; they were arenas for him to assert his dominance as a guitarist and artist. He seemed to thrive under pressure, whether it was the weight of a tribute, the challenge of adverse weather, or the expectation of a discerning jazz festival audience. The guitar was his chosen instrument to make these definitive statements, and his showmanship amplified their impact, creating unforgettable moments that fused technical brilliance with theatrical flair. He didn’t just play the guitar; he wielded it, making every solo a captivating event.

7. The Unseen Dedication: Work Ethic, Practice, and the Guitar as Confidante

Behind the dazzling performances and iconic imagery lay a foundation of relentless dedication and an almost symbiotic relationship with his instruments, particularly the guitar. Prince’s oft-quoted sentiment, “I always wanted to be thought of as a guitarist,” spoken in a 1994 Guitar Aficionado interview, reveals a deep-seated aspiration that transcended his pop superstardom. For him, the identity of “guitarist” held a special reverence.

This love for the six-string was lyrically expressed in his 2007 song “Guitar,” with the telling line, “I love you baby, but not like I love my guitar”. Interestingly, the studio arrangement of the song itself is somewhat sparse in guitar work, perhaps reflecting a later-career tendency to reserve his more overt guitar pyrotechnics for the live stage, while his studio productions explored broader instrumental palettes.

Prince’s work ethic was nothing short of legendary. Chuck Zwicky, an engineer at Paisley Park, stated Prince worked “10 times harder than anybody I’ve ever known in my life”. This sentiment is echoed by numerous collaborators. Susan Rogers, another key engineer during his peak 80s period, witnessed him creating essentially a song a day for five consecutive years. He would often play all the instruments, sing all lead and backing vocals, and even mix the track himself, sometimes completing an entire song from lyrics jotted down in a hotel room to a fully mixed master within a single day. This astonishing proficiency and speed were fueled by an unstoppable creative drive.

His band members experienced this intensity firsthand. Rehearsals were relentless, with new songs being introduced constantly. Musicians were expected to learn complex arrangements quickly and recall them perfectly months later. Mike Scott, a guitarist for Prince, recounted how Prince once fined the entire band because they didn’t follow him when he went to a bridge too early, his justification being, “I never make mistakes – you all made a mistake by not following me”. This anecdote, while perhaps extreme, illustrates the level of precision and intuitive connection he demanded. Kat Dyson, another guitarist, recalled Prince playing something just once in rehearsal and asking, “Got it?”. The pressure was immense, but it also pushed his musicians to their limits and beyond.

This obsessive dedication meant that music, and by extension the guitar, consumed his life. It was, as one source put it, his “whole life,” his “every waking moment”. Even on tour, the work didn’t stop. He was known for conducting four-hour soundchecks that were essentially extended jam sessions, followed by the actual concert, and then often heading to a mobile recording truck or a local club for a surprise late-night set. This constant engagement with music meant the guitar was perpetually in his hands, an ever-present tool for creation and expression.

His creative flow was often described as a “constant flow,” like a “funnel” with songs pouring into him and out through his instruments. He could pick up a guitar, bass, or keyboard and immediately translate the ideas in his head into music, often having the entire arrangement preconceived. In the studio, this translated to incredible efficiency. He valued capturing the initial feeling and emotion of a performance, often preferring first takes even if they contained minor imperfections, believing that “leaving the mistakes in was also leaving the emotions in”. The guitar was a primary vehicle for this rapid-fire creation, allowing him to lay down riffs, solos, and textures with astonishing speed and precision. He could reportedly swivel in his studio chair from the Linn drum machine, plug his guitar directly into the console, lay down a track, and then add vocals, all in a seamless process.

Anecdotes from those who worked closely with him paint a vivid picture. Donna Grantis of 3rdeyegirl described the “total surprise” of Prince cueing her for the “Purple Rain” solo in her hometown, a moment that was both a “gift” and a test, demanding she “jump in and go for it”. This highlights his spontaneity and his expectation that his musicians be ready for anything. She also mentioned 30- to 45-minute jam sessions focused on a single funk groove, underscoring the depth of musical exploration he sought.

Morris Hayes, Prince’s long-time keyboardist and musical director for the New Power Generation, shared a particularly telling story about Prince’s unflappable professionalism and connection to his instrument. During a show at Wembley, a disgruntled guitar tech, Fred, who knew he was about to be fired, intentionally handed Prince an out-of-tune guitar right before his solo spot. In front of thousands, Prince, with “laserbeam eyes” directed at the tech, calmly tuned the guitar himself on stage. He then proceeded to deliver an absolutely scorching solo, essentially “murderizing” the guitar to prove that such sabotage could not derail him. This incident speaks volumes about his relative pitch, his composure under pressure, and his sheer determination.

Dez Dickerson, an early guitarist with Prince, noted that Prince wasn’t a typical “gearhead” obsessed with the minutiae of pickups and string gauges; for Prince, it was “more a matter of the sound”. This practical, results-oriented approach meant the guitar was always a tool to achieve a specific musical vision.

This relentless cycle of creating, rehearsing, and performing, with the guitar as a constant companion, blurred the lines between practice and performance. His “practice” was often public or part of the genesis of new material, and his “performances” were so deeply ingrained that they felt like second nature. This extraordinary immersion in his craft fueled his prolific output and ensured that his guitar skills were not just maintained but continuously honed and expanded. The guitar was more than an instrument; it was a confidante, a weapon, and an unwavering ally in his lifelong musical quest.

8. The Echo of the Purple Guitar: Legacy and Influence

Prince’s impact on the world of guitar and music culture at large is immeasurable and continues to resonate long after his untimely passing. His unique fusion of styles, virtuosic skill, and revolutionary persona have left an indelible mark.

The respect he garnered from his peers is a testament to his extraordinary talent. While the famous Eric Clapton quote – “I don’t know; ask Prince” when asked about being the world’s best guitarist – is widely considered apocryphal , Clapton did offer genuine and profound praise after Prince’s death. He called Prince a “true genius” and a “huge inspiration,” revealing that seeing the film Purple Rain during a difficult period in the 1980s “was like a bolt of lightning!” and “gave me hope”. Such heartfelt admiration from a guitarist of Clapton’s stature speaks volumes.

Mick Jagger of The Rolling Stones was equally effusive, lauding Prince as a “revolutionary artist,” a “wonderful musician and composer,” an “original lyricist,” and, significantly, a “startling guitar player” whose “talent was limitless.” Jagger unequivocally rated Prince “at the top,” stating he “outperformed almost everyone”. Tom Petty, who shared the stage with Prince during the legendary “While My Guitar Gently Weeps” performance, vividly recalled the experience: “He just burned it up. You could feel the electricity of ‘something really big’s going down here'”. Even Miles Davis famously described Prince as a combination of “James Brown, Jimi Hendrix, Marvin Gaye, and Charlie Chaplin”.

Mainstream critical recognition of Prince as a top-tier guitarist, in the canonical sense, was perhaps a slower burn, but it did arrive. Rolling Stone magazine, which initially omitted him from their “100 Greatest Guitarists” list in 2003 (an omission that reportedly fueled his fiery Hall of Fame performance) , later ranked him at #33 , and eventually at a more fitting #14 in an updated list of 250 guitarists. Within the guitar community itself, there’s widespread acknowledgment of his virtuosity, with his “Purple Rain” solo frequently cited among the greatest of all time.

Beyond critical acclaim, Prince’s influence on subsequent generations of musicians is vast and diverse. The Purple Rain album and its associated “Minneapolis Sound” not only dominated the charts but also launched the careers of many artists associated with Prince. His impact extends to contemporary stars like Alicia Keys, D’Angelo, Beyoncé, Bruno Mars, and Janelle Monáe, many of whom embody his spirit of multi-instrumentalism, genre-bending, and fearless individuality.

What makes Prince an unparalleled guitar icon is a unique confluence of factors. His ability to seamlessly meld funk’s rhythmic precision with rock’s raw power, R&B’s soulful expression with pop’s melodic sensibility, and blues’ emotive depth created a guitar voice that was entirely his own. He wasn’t just a funk guitarist who could rock, or a rock guitarist with funk leanings; he was, distinctively, a Prince guitarist. This is even more astounding when considering his proficiency on over 25 instruments, often playing every part on his groundbreaking records. This holistic musical understanding undoubtedly informed his approach to the guitar, giving him a broader sonic palette and compositional depth than many of his six-string-focused peers.

Furthermore, his unparalleled showmanship transformed guitar playing into an electrifying visual spectacle. He didn’t just play the notes; he embodied the music, making every performance a captivating event. His innovative use of effects, his fearless approach to song structure, and his constant genre-hopping kept his guitar work fresh, unpredictable, and deeply influential.

Prince’s legacy as a guitarist is intrinsically linked with his broader cultural impact. He challenged norms around genre, race, and sexuality, with the guitar often serving as a potent symbol and sonic tool in this revolution. He made the guitar “cool” in contexts far beyond traditional rock, inspiring a diverse array of artists not just to play like him, but to be like him: unique, fearless, and supremely talented. His journey to full critical acceptance as one of the all-time great guitarists reflects an evolving appreciation for diverse guitar styles and the dismantling of rigid genre classifications in music criticism. He forced the world to broaden its definition of a “guitar hero.”

9. Conclusion: Forever in the Purple Light

Prince was far more than a pop superstar who happened to play the guitar; he was a guitarist of profound depth and breathtaking skill who redefined the instrument’s role within popular music. His virtuosic hands channeled a unique alchemy, fusing the tight, percussive precision of funk, the raw, anthemic power of rock, the deep, aching soul of the blues, and an innate melodic ingenuity into a guitar voice that was unmistakably, singularly his own. He didn’t just play genres; he synthesized them, creating a new musical language spoken fluently through his six strings.

The album and film Purple Rain stand as the monumental crucible where his status as a guitar deity was forged in the white heat of public consciousness. It was here that the world witnessed the full spectrum of his guitar artistry – the technical brilliance that could unleash flurries of notes with pinpoint accuracy, the emotional depth that could make a single bent note weep with palpable sorrow or scream with unbridled joy, and the iconic stage presence that transformed every solo into a moment of pure theater. From the chiming, chorus-drenched arpeggios that open the title track to the searing, cathartic release of its legendary solo, Purple Rain announced the arrival of a new kind of guitar hero.

Yet, to focus solely on technique or iconic moments is to miss the spirit that animated Prince’s playing. His legacy is not confined to the licks he played or the myriad of unique guitars he wielded. It resides in his fearless, boundary-shattering approach to music, his almost superhuman work ethic, and his relentless desire to push creative frontiers with the guitar as his loyal and expressive co-conspirator. He was an innovator, constantly experimenting with sounds, textures, and song structures, ensuring his guitar work remained vibrant and unpredictable.

Prince’s guitar playing, much like his music as a whole, remains an electrifying, life-affirming force. It is a vibrant testament to a singular talent, a purple beacon that will continue to inspire and guide guitarists, musicians, and music lovers for generations to come. He didn’t just play the guitar; he made it sing, scream, cry, funk, and dance – all bathed in a regal, unforgettable, and eternal purple light. His strings may be silent now, but their echoes will resonate forever.