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).
Well, the podcast episode I promised yesterday isn’t going to happen until early next week; I simply didn’t have enough time to finish editing. Luckily, Warner Bros. has my back, because last night they surprise-released another advance track from the new Purple Rain reissue: the studio-recorded medley of “Our Destiny” and “Roadhouse Garden.” So, rather than completely skip a post today, let’s take a short look at these songs and how they fit into the grander scheme of Prince’s work.
Like the previously-discussed “Electric Intercourse,” “Our Destiny” and “Roadhouse Garden” have advance notoriety among hardcore fans and collectors–though their connection to the Purple Rain project is less clear. Prince and the Revolution performed the song only once, at his 26th birthday celebration at Minneapolis’ First Avenue on June 7, 1984: the same concert that yielded the basic track for Jill Jones’ “All Day, All Night.” And as all of us Prince obsessives know, that might as well have been a decade after the previous year’s August 3 First Avenue date, which similarly provided the majority of Purple Rain’s second side. By summer 1984, Prince was already at work on his next project(s), including tracks that would end up on 1985’s Around the World in a Day.
Adding to the confusion, Roadhouse Garden would later become the title of an aborted late-’90s compilation of refurbished Revolution tracks by the artist then-formerly known as Prince–most of which seemed to date from what Princeologists would consider to be the “Dream Factory era” of 1985-1986. This, in turn, appears to have transformed in many fans’ reckonings into a whole other album between Purple Rain and Around the World in a Day, possibly also called Roadhouse Garden. Basically, the song’s provenance is a mess, and I’ve seen more than a few people cry foul over its and its sister song’s inclusion in what “should” be a compilation of outtakes specifically related to Purple Rain.