Sheila E. Opens Up About Her ‘We Are The World’ Experience: A Tale of Deception and Disappointment

In a candid revelation, iconic musician Sheila E. recently shared her bittersweet experience participating in the recording of the legendary anthem “We Are the World” in 1985. In a new documentary titled “The Greatest Night in Pop,” Sheila E. unveiled the unsettling truth behind her invitation to the historic recording session—it was merely a ploy to entice her close collaborator, Prince, to join.

Reflecting on the events of that fateful night, Sheila E. recounted feeling increasingly uneasy as the producers persistently inquired about Prince’s potential attendance. “It was getting late, and I was looking forward to singing one of the verses, but they kept asking, ‘Well you think you can get Prince here?'” she revealed. “I just started feeling like I feel like I’m being used to be here because they want Prince to show up.”

The star-studded recording session, held on January 28, 1985, brought together an array of music luminaries, including Michael Jackson, Stevie Wonder, Tina Turner, and more. However, despite the presence of these iconic figures, the absence of Prince loomed large.

Prior to the recording session, both Sheila E. and Lionel Richie, co-songwriter of “We Are the World,” had reached out to Prince in hopes of securing his participation. “I called Prince to let him know how it was going,” Sheila E. recalled. “I think maybe you should come, it’s pretty cool, everyone’s hanging out, we’re having a great time,” she conveyed to him. Similarly, Richie had also extended an invitation to Prince, who expressed interest in contributing a guitar solo, though Richie insisted on a vocal performance instead.

As the night progressed, it became evident that Prince would not be making an appearance. Sheila E. expressed her disappointment, particularly upon realizing that she had been misled into believing she would have a solo vocal part. “They never intended on having me sing a verse, which was a little bit heartbreaking,” she lamented.

At the time, Sheila E. and Prince shared a close professional relationship, having collaborated on various projects and even been briefly engaged in the 1980s. The disappointment of being used as a lure for Prince’s attendance left Sheila E. feeling deceived and betrayed by her industry peers.

In a subsequent interview on the Rolling Stone Music Now podcast, Sheila E. further elaborated on her feelings of disillusionment, noting that Lionel Richie and Quincy Jones repeatedly urged her to reach out to Prince. “Everyone took turns trying to get me to call him back and have him come down…. That’s cold-blooded,” she remarked, reflecting on the deception she experienced.

Director Bao Nguyen, whose documentary sheds light on this chapter of music history, confirmed that Richie did not dispute Sheila E.’s account of the events, underscoring the authenticity of her narrative.

Furthermore, Sheila E.’s revelation sheds light on the complexities and power dynamics within the music industry, where artists are sometimes used as pawns to fulfill the desires of producers and executives. Despite her immense talent and contributions to the music world, Sheila E. found herself relegated to the role of a mere intermediary in the hopes of attracting a bigger star.

The incident serves as a sobering reminder of the challenges faced by artists, particularly women and people of color, in an industry often driven by profit and prestige. Sheila E.’s experience underscores the importance of transparency, respect, and genuine collaboration in fostering a supportive and equitable creative environment where artists can thrive and express themselves authentically.

In the wake of this revelation, it is crucial for the music industry to reflect on its past actions and strive towards greater inclusivity and integrity in all aspects of artistic collaboration. Only then can we truly honor the legacy of iconic musicians like Sheila E. and ensure that their contributions are celebrated and respected for generations to come.

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