Sheila E. Albums (6)
What The Critics Say
Sheila E. has been one of music's top drummers and percussionists since her debut in Prince's band. Alongside her legendary father, Pete Escovedo, and as a solo performer, she continues to enjoy commercial as well as artistic success on such recordings as her year 2000 release on the Concord Vista label, titled Writes of Passage. This time around, the highly talented musician has followed up with Heaven. Created with a little help from her friends, including George Duke, Gerald Albright, and many more, Sheila E. adds her vocal, percussion, drum, producing, composing, and arranging skills and other cool tools to yet another jazz style. She's cool, yet beautifully orchestrated, but most of all, she has opened her musical treasure trove and delivered some new grooves, R&B-inflected vocals, smooth gospel, and funky jazz. The 12 compositions include seven either written or co-written by Sheila E., with a memorable percussion solo and miniMoog solos by Sheila E. and Byron Williams, respectively, on "Trust Me," and smooth jazz solos from saxophone master Gerald Albright and guitarist Paul Jackson, Jr. on the title track. "Bahia" is a Brazilian jazz composition with breezy vocals from Lynn Mabry and Sheila E., and is quite beautiful. Saxophonist Eddie M. closes the program with a beautiful, poignant smooth gospel song titled "Revelation." Heaven does not feature many of Sheila E.'s fiery, trademark Latin percussion jam sessions that she plays with the Escovedo family, but certainly delivers an assortment of musical styles -- R&B, smooth jazz, smooth gospel, Brazilian jazz, and funk -- and is remarkably different from anything she has done. ~ Paula Edelstein, All Music Guide
'The Writes of Passage'
Release Date 10/10/2000
Tracks 11
Label Concord Jazz
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What The Critics Say
Everyone out there surely remembers Sheila E. from her mid-'80s heyday as one of Prince's protegée, when songs like "The Glamorous Life" and "A Love Bizarre" (produced by the enigmatic pop star) helped launch the young singer/percussionist to brief but memorable stardom. Though she delighted millions recording and touring with Prince, Sheila Escovedo's real fans know there's a jazzier side of the story: She began her career as a teenager playing with George Duke and has been a top touring percussionist with numerous jazz and pop notables. Recorded with her longtime performing band, the E Train, Sheila's Concord Records debut, Writes of Passage -- her first effort as a leader in nine years -- combines funk-inflected smooth jazz, 1970s-influenced fusion, gospel, and, as is her family tradition, an exciting Latin influence. She takes a lead vocal on only one song, the gentle and inspirational "N Perfect Time," and only lets loose a few times on percussion solos (most notably at the end of the easy-swaying exotica of "Rituals," featuring Ray Obiedo's rolling guitar lines and Eric Leeds' mix of punchy sax improv and sassy flute). Her wild fills on the Yellowjackets-influenced closer "Virtuosity" help spur her bandmates onto some zesty playing themselves. The rest of the time, she blends happily into her formidable ensemble, switching off drum- and percussion-anchoring duties with her brother, Peter Michael Escovedo, as Leeds, Obiedo, and keyboardist Renato Neto trade moments in the spotlight. Often those moments draw together impressively, as at the end of "Paragon," where Obiedo's screeching electric guitar bounces off the sax melody while Neto bubbles under on harmony. The title track is the one obvious middle-of-the-road smooth jazz cut, with melodic pleasantries showing off Leeds' pretty side. ~ Jonathan Widran, All Music Guide
What The Critics Say
Seven years after Sheila E. burst upon the scene with her Top Ten single "The Glamorous Life," the talented percussionist's fourth release, Sex Cymbal, reflects the sound of successful, late-'80s artists like Janet Jackson and Paula Abdul. It's a solid mix of pop/R&B ballads like the pretty (if unspectacular) "Loverboy" and more dance-oriented tracks. The title track is a slinky come-on and Sheila E. leads her band through a horn-laden version of "Lady Marmalade." The musicianship is not-surprisingly strong and there are a couple cool instrumental jams. Sex Cymbal is a sure-footed, groove-oriented album, but it lacks anything as memorable as her earlier hits. ~ Tom Demalon, All Music Guide
'The Glamorous Life'
Release Date 5/5/1987
Tracks 7
Label Warner Bros.
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What The Critics Say
When Sheila Escovedo started going by Sheila E. and soared to the top of the R&B charts with 1984's "The Glamorous Life," those who didn't know anything about her background assumed that she was just another Vanity or another Apollonia -- in other words, a sexploitive Prince disciple who was entertaining but had limited ability as a vocalist. It's true that the singer/drummer/percussionist doesn't have a great voice, but anyone who was hip to her work with Azteca, Pete Escovedo (her father), and George Duke knew that she was an excellent musician. As a drummer/percussionist, Escovedo has major chops -- and even though she doesn't have a mind-blowing vocal range, she has no problem getting her points across on her debut solo album, The Glamorous Life. Produced by Prince, this is one of the best albums that came out of the Purple One's Minneapolis funk-rock empire in the 1980s. The hit title song is a classic, and the same goes for the quirky, new wave-ish "Oliver's House," the Latin-tinged "The Belle of St. Mark," and the funky instrumental "Shortberry Strawcake." Although Prince's stamp is all over this LP, Escovedo did most of the writing herself. The Glamorous Life isn't the only excellent album that Escovedo provided in the 1980s, but it's definitely the most essential. ~ Alex Henderson, All Music Guide
What The Critics Say
This set includes the dance cut "Koo Koo" and adult contemporary cut "Hold Me." ~ Bil Carpenter, All Music Guide
What The Critics Say
In 1985, a 25-year-old Sheila Escovedo, aka Sheila E., followed up her debut solo album, The Glamorous Life, with the equally Prince-influenced Romance 1600. The album cover found Escovedo and her band members sporting the attire of 17th century Europe, and the musicians were given such names as Dame Kelly, Benentino the Wizard, the Earl of Grey, and Sir Stephan. But once you get past the aristocratic imagery, Romance 1600 isn't much different from The Glamorous Life. Although Escovedo did most of the writing and producing herself, Prince's influence is strong throughout the album -- "Bedtime Story," "Sister Fate," and other selections all have that distinctive Minneapolis vibe. The only track that Prince co-wrote and co-produced with Escovedo is the funk gem "A Love Bizarre," which became a major hit and finds the two of them performing a vocal duet. As a vocalist, Escovedo never had Prince's range, but like Madonna and Janet Jackson, she demonstrates that singing can be meaningful even if the artist doesn't have the world's biggest voice. Although The Glamorous Life remains Escovedo's most essential album of the 1980s, Romance 1600 is a respectable follow-up and is also highly recommended to fans of Minneapolis funk-rock. ~ Alex Henderson, All Music Guide
