Just two weeks after beginning “Take Me with U”–and a little less than three months after finishing “Sex Shooter”–Prince had nearly enough material for a full album by Apollonia 6; the only thing missing was a feature for the group’s third member, Susan Moonsie. According to Brenda Bennett, the oversight may have been deliberate: “Susan and Prince were fighting,” she told sessionographer Duane Tudahl (Tudahl 2018 255). So, never one to shy away from a passive-aggressive slight, on February 5, 1984, His Royal Badness dashed off “Ooo She She Wa Wa” with zero input from his protégée and on-and-off paramour.
Sometimes, the uncanny ease of Prince’s creative process can make it tempting to presume that his songs simply sprang forth from him, like Athena from the forehead of Zeus. This is doubly true when one considers that, in at least a few cases, that’s pretty much exactly what happened. Engineer Peggy McCreary likes to tell the story of when Prince called her back into Sunset Sound on the morning of February 4, 1984, after a typical marathon session the previous night: “I remember going to bed at six in the morning and he called and said, ‘Can you be at the studio at noon?’ because he had dreamed a song,” she told sessionographer Duane Tudahl. “He said if he dreamed a chorus he’d call me, and he did, and it was ‘Manic Monday’” (Tudahl 2018 253).
Prince’s Sunset Sound session on February 3, 1984 was highly productive, even by his lofty standards: After taking “A Million Miles (I Love You)” from jam session to finished track, he still had time to complete a second number for Apollonia 6. To date, his efforts to write for the group’s namesake had been dogged by her limited range as a singer. “In a Spanish Villa” was his most ingenious solution to the problem yet: Rather than spending another long night building Apollonia’s confidence in the vocal booth, he’d craft a song around one of the bilingual actress’ existing strengths–sounding sexy in Spanish.
Like its predecessor Vanity 6, the Apollonia 6 album was something of a community effort, with contributions from Prince’s touring bandmates and others from his circle. One of the most notable new additions to that circle was percussionist Sheila Escovedo, better known as “Sheila E.”
Sheila had actually been on Prince’s radar–and he on hers–for years before they ever set foot in the studio together. Her father, Mexican American percussionist Pete Escovedo, first told her about the “young kid… playing all the instruments and producing and writing by himself” in 1977, while he was recording with Santana and Prince was working on his debut album at the Record Plant in Sausalito. The following year, she told Billboard’s Jem Aswad. “I walked into a record store and saw a poster of him and was like, ‘Oh my God, he’s beautiful’” (Aswad “Sheila” 2016).
With his own album and the Time’s both more or less finished–emphasis, in the former case, on “more or less”–Prince finally turned his full attention to Apollonia 6 in early February 1984. The two songs he’d completed for the project to date, “Sex Shooter” and (soon to be reclaimed) “Take Me with U,” had focused on the group’s frontwoman and namesake, with some difficulty. Luckily, there were two other members to write for–one of whom could actually sing!