Angel R. Cortes Ledesma @angelsrocks13 - Twitter Profile

4 days ago

#PrinceOnThisDay On the morning of 18 October 1986—the day after the public announcement that Prince and the Revolution had disbanded—Prince locked himself into Studio 3 at Sunset Sound in Hollywood and cut one of the most purely physical, one-man funk statements of his career. What emerged was “Housequake,” a track that announced both a personal break and a new sonic direction that would help define Sign o’ the Times. The Morning After: The Revolution’s dissolution had been building for months. Tensions rose during the Parade tour (which ended in Japan in early September), and Prince had already moved to fire key members, including Wendy Melvoin and Lisa Coleman. A formal public announcement followed around 17 October. The next day, instead of retreating, Prince went straight into the studio he loved most. Studio 3 at Sunset Sound was booked as a lockout from 10:30 a.m. until 1:30 a.m. Engineers Susan Rogers (Prince’s longtime collaborator) and Coke Johnson were on the desk. Prince produced and played nearly everything himself: drums (or drum machine patterns), bass, guitar, and synthesizers including the Fairlight CMI, Oberheim OB-8, and Prophet VS. The only outside players that day were the horn section—Eric Leeds on saxophone and Atlanta Bliss on trumpet. Building the Quake: Prince started with the drums. The groove shares DNA with the earlier “Shockadelica.” One unconfirmed studio story (recounted in Duane Tudahl’s session history) has Prince about to leave with his bodyguards for food when he heard a rhythmic pattern—possibly the sound of his own shoes on the studio floor. He immediately sat down, told Coke Johnson to roll tape, and captured the beat that opens the track. He layered bass, guitar, and Fairlight elements, then added his lead vocal in the higher, sped-up register that would soon be formalized as the Camille persona. This was among the earliest sustained uses of that voice. The lyrics are pure party command mixed with playful absurdity (“Shut up already! Damn!” / “Who in this house know about the Quake?” / “Green eggs and ham!”), delivered with the energy of someone shaking off the recent past. Leeds later described the horn arrangement: Prince supplied the main line (“ba ba da, dal dal da”), while Leeds created the counter line (“ba da da da da”). The horns give the track its James Brown-style stabs and strut, but the core remains a solo performance. Susan Rogers later recalled that Prince spent an unusually long time on the song—roughly seven hours tracking and overdubbing, then another eight hours editing and mixing the dense layers. She has said this usually signaled a track he considered important or especially enjoyable. In her view, “Housequake” represented a new idea in dance music for him at a moment when his instruments, style, colors, and the people around him were all changing. It also marked some of his earliest and most successful experiments with hip-hop phrasing and attitude while he retained total control of every element. A single C-60 cassette left the session. Prince was already excited enough to play an early version for associates days later. 1/2

HoldOn2YourWigs's tweet photo. #PrinceOnThisDay

On the morning of 18 October 1986—the day after the public announcement that Prince and the Revolution had disbanded—Prince locked himself into Studio 3 at Sunset Sound in Hollywood and cut one of the most purely physical, one-man funk statements of his career. What emerged was “Housequake,” a track that announced both a personal break and a new sonic direction that would help define Sign o’ the Times.

The Morning After:
The Revolution’s dissolution had been building for months. Tensions rose during the Parade tour (which ended in Japan in early September), and Prince had already moved to fire key members, including Wendy Melvoin and Lisa Coleman. A formal public announcement followed around 17 October. The next day, instead of retreating, Prince went straight into the studio he loved most.

Studio 3 at Sunset Sound was booked as a lockout from 10:30 a.m. until 1:30 a.m. Engineers Susan Rogers (Prince’s longtime collaborator) and Coke Johnson were on the desk. Prince produced and played nearly everything himself: drums (or drum machine patterns), bass, guitar, and synthesizers including the Fairlight CMI, Oberheim OB-8, and Prophet VS. The only outside players that day were the horn section—Eric Leeds on saxophone and Atlanta Bliss on trumpet.

Building the Quake:
Prince started with the drums. The groove shares DNA with the earlier “Shockadelica.” One unconfirmed studio story (recounted in Duane Tudahl’s session history) has Prince about to leave with his bodyguards for food when he heard a rhythmic pattern—possibly the sound of his own shoes on the studio floor. He immediately sat down, told Coke Johnson to roll tape, and captured the beat that opens the track.

He layered bass, guitar, and Fairlight elements, then added his lead vocal in the higher, sped-up register that would soon be formalized as the Camille persona. This was among the earliest sustained uses of that voice. The lyrics are pure party command mixed with playful absurdity (“Shut up already! Damn!” / “Who in this house know about the Quake?” / “Green eggs and ham!”), delivered with the energy of someone shaking off the recent past.

Leeds later described the horn arrangement: Prince supplied the main line (“ba ba da, dal dal da”), while Leeds created the counter line (“ba da da da da”). The horns give the track its James Brown-style stabs and strut, but the core remains a solo performance.
Susan Rogers later recalled that Prince spent an unusually long time on the song—roughly seven hours tracking and overdubbing, then another eight hours editing and mixing the dense layers. She has said this usually signaled a track he considered important or especially enjoyable. In her view, “Housequake” represented a new idea in dance music for him at a moment when his instruments, style, colors, and the people around him were all changing. It also marked some of his earliest and most successful experiments with hip-hop phrasing and attitude while he retained total control of every element.
A single C-60 cassette left the session. Prince was already excited enough to play an early version for associates days later.

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