Bought: Goldhawk Road Record and Tape Exchange, 1989?
The music biz is littered with successful solo artists who were tempted out from behind the drum kit. Marvin Gaye, Teddy Pendergrass, Phil Collins, Karen Carpenter, Dave Grohl, Frank Zappa and Iggy Pop all graduated from the engine room to centre stage.
But while Sheila has never been on that level in terms of record sales or cultural impact (though trumps all of them in terms of drumming chops), her transition from sidewoman to frontwoman led to a couple of really infectious, interesting albums in the mid-’80s.
She had an enviable CV long before going solo, including percussion work with Billy Cobham, Herbie Hancock, Marvin, George Duke and Diana Ross. Prince and Sheila were a similar age and had followed each other’s careers since the late-’70s. When he tasted his first mainstream success and was looking to mentor new artists, she was top of the list.
Their first collaboration was the superb B-side ‘Erotic City’, swiftly followed by Sheila’s debut album The Glamorous Life, a hit. But its follow-up, Sheila E In Romance 1600, was a far more expansive and experimental piece, even though recording sessions were squeezed in on days off during the Purple Rain Tour between December 1984 and January 1985.
Despite Sheila’s obvious musical pedigree, Romance 1600‘s liner notes and song credits are misleading – this is a Prince album in all but name. According to biographer Per Nilsen (and as listed at the ASCAP offices), he wrote all the tracks here bar one (kicking Latin/fusion instrumental ‘Merci For The Speed Of A Clown In Summer’) and played all instruments except drums, percussion and sax.
But lucky for us, Romance 1600 was recorded smack-bang in the middle of his golden period and features some of Prince’s finest performances as a musician. His guitar solos on ‘Dear Michelangelo’ and ‘A Love Bizarre’ are simply tremendous, the latter throwing in some ridiculous bass too.
But Sheila also brings out the best in him. There’s much more humour here than on his own albums of the period. She turns in some hilariously hammy vocal performances on ‘Sister Fate’, ‘Toy Box’ and dramatic ballad ‘Bedtime Story’. Sheila and Prince were having a lot of fun and you can hear the results. Sometimes the rushed nature of the recording shows, though – the mix is very murky and the album is short of a few memorable pop hooks.
Prince’s ‘movie’ concept was in full effect here. He was leaving behind the ‘street’ style of Vanity 6/Purple Rain/The Time and embracing a romantic, ‘Amadeus’-influenced image which also crossed over into The Family project and his Parade album.
Thinking of Romance 1600 as a movie also opened up the album musically, allowing Sheila and Prince to embrace jazz (‘Yellow’), fusion, wacky synth-pop (the title track), Latin and even Third Stream. This eclectic outlook was no doubt also influenced by his Revolution bandmates Wendy and Lisa.
Sheila E In Romance 1600 was a reasonable hit, going gold in the US and reaching number 50 on the Billboard chart, no doubt helped by the success of the ‘Love Bizarre’ single (US number 11). Sheila toured the US for the second time in two years.
She followed up Romance 1600 with a disappointingly bland self-titled album in 1987, which featured far less contribution from Prince. More successfully, she played some fantastic drums on the Sign ‘O’ The Times and Lovesexy tours.