Prince was bored. It was 1991, and the "Minneapolis Sound" he’d pioneered was being chewed up and spat back out by every pop producer on the radio. He needed something new. Something dirtier. He found it in a frantic, flute-heavy track that would eventually become "Gett Off," a song that didn't just climb the charts—it basically rearranged the furniture of 90s R&B.
Most people remember the yellow lace-less chaps. You know the ones. The 1991 MTV Video Music Awards performance where Prince turned his backside to the camera and effectively broke the pre-internet version of the world. But if you strip away the shock value of the wardrobe, you’re left with a piece of music that is shockingly complex. It’s a six-minute masterclass in how to mix James Brown’s funk with the burgeoning New Jack Swing movement without losing your soul in the process.
The Story Behind the Gett Off Song Prince Almost Didn't Release
Believe it or not, "Gett Off" started its life as a completely different song called "Love Left, Love Right." It was a thin, poppy little number. Prince, ever the perfectionist, hated it. He took the drum beat, slowed it down, and then did something weird. He added a screaming, distorted flute sample.
That flute? It’s actually a sample from a 1978 track called "Sing a Simple Song" by The Bar-Kays. It’s abrasive. It shouldn't work. It sounds like a bird of prey caught in a blender, but laid over that deep, thumping bassline, it creates this tension that defines the whole track. It’s the sound of a man who was tired of being "pretty" and wanted to be "gritty."
He recorded the vocals in a single night at Paisley Park. If you listen closely to the album version on Diamonds and Pearls, you can hear the sheer spontaneity. It’s not polished. It’s sweaty. He’s ad-libbing. He’s shouting. He’s essentially daring the listener to keep up.
✨ Don't miss: Why the Our Town 1940 Movie is Actually Better Than the Play
Why the New Power Generation Changed Everything
By 1991, Prince had dissolved The Revolution and was leaning hard into his new band, the New Power Generation (NPG). This wasn't just a name change. He wanted a "street" sound. He brought in Tony M. to provide rap verses, a move that, honestly, split the fanbase right down the middle. Some people thought Prince was trying too hard to stay relevant in a hip-hop world. Others saw it as him reclaiming the rhythm.
"Gett Off" is the pinnacle of this era. It’s a crowded song. You’ve got Rosie Gaines providing those powerhouse gospel-inflected backing vocals, Levi Seacer Jr. on the deep-pocket bass, and Prince himself playing almost everything else. It was a 23-position celebration of rhythm.
The song was originally released as a "Purple Ticket" promo to clubs on Prince's 33rd birthday. It wasn't a radio edit. It was a club weapon. He wanted to hear it in the dance halls before he heard it on Top 40. That's a classic Prince move—testing the "vibe" in the real world before letting the suits at Warner Bros. touch it.
The "Gett Off" Remix Culture
Prince didn't just release a single; he released a universe. There are probably a dozen official versions of the Gett Off song Prince fans obsess over. You have the "Houstyle" remix, which leans into the emerging house music scene in Chicago and London. Then there's the "Flutestramental," which is exactly what it sounds like—more flute, less talk.
- The "Violet the Organ Grinder" version is basically a whole new song. It uses the same structure but swaps the samples for a grinding, industrial organ.
- "Gett Off (Damn Near 10 Minutes)" is the one you want if you're actually hosting a party. It’s a marathon of funk.
- The "Clockin' the Jizzy" mix. Yes, that was the actual title.
He was obsessed with the 12-inch single format. For Prince, a song was never "finished." It was just a snapshot of an idea that could be stretched, chopped, and screwed until it became something else entirely. This was his way of competing with the emerging DJs who were beginning to dominate the nightlife scene.
The 1991 MTV VMAs: A Cultural Reset
We have to talk about the chaps. It’s impossible to discuss "Gett Off" without the visual. When Prince walked onto the stage at the Metropolitan Opera House, the industry expected a legend to play his hits. Instead, they got a neon-yellow explosion of pure audacity.
💡 You might also like: The Ghost Tour Set List: What’s Actually Happening Onstage With Tobias Forge
The performance featured an enormous stage full of dancers, a literal "caligula-style" orgy of choreography, and a band that played with a tightness that most groups couldn't achieve in a studio. When Prince turned around to reveal his bare glutes (covered by sheer fabric, but the illusion was complete), it was a middle finger to the censorship of the era. It was also a brilliant marketing ploy. Sales for Diamonds and Pearls skyrocketed the next week.
But beyond the skin, look at the musicianship. He’s playing a yellow Cloud guitar, ripping through a solo while dancing in high-heeled boots. The sheer athleticism required to perform "Gett Off" live is something modern pop stars rarely attempt. No lip-syncing. No "vibing" to a backing track. Just raw, unadulterated talent.
Misconceptions and Technical Weirdness
One big myth is that "Gett Off" was a response to Michael Jackson’s Dangerous. While the two were always in a silent war for the throne of pop, "Gett Off" was actually recorded and distributed to DJs months before Michael's "Black or White" hit the airwaves. Prince was actually ahead of the curve, moving away from the "smooth" 80s production into something more industrial and jagged.
Technically, the song is a marvel of the "LinnDrum" era, even though Prince was moving toward live drums again. The layering of the percussion is what makes it feel so heavy. It’s not just one drum beat; it’s layers of shakers, handclaps, and a kick drum that feels like it’s hitting you in the chest.
Actionable Insights for the Modern Listener
If you want to truly appreciate what happened with this track, don't just listen to the radio edit on Spotify. You're missing 60% of the story.
- Find the 12-inch Remixes: Look for the Gett Off maxi-single. It’s available on most streaming platforms under the "Extended/Remix" sections. Listen to how he deconstructs the beat in "Violet the Organ Grinder."
- Watch the London '92 Performance: There’s a version from the Earls Court show that blows the VMA performance out of the water. The band is tighter, the energy is higher, and the ending is a chaotic funk jam that lasts ten minutes.
- Listen for the Samples: Once you hear that Bar-Kays flute, you’ll start hearing it everywhere. Prince showed the world how to sample "correctly"—by taking a tiny fragment and making it the hook of an entirely new genre.
- Read the Credits: Look at the names involved. Eric Leeds on saxophone, Rosie Gaines on keys. This wasn't a solo effort; it was a collective of the best musicians in Minneapolis proving they were still the kings of the hill.
Prince's "Gett Off" isn't just a song about... well, getting off. It’s a song about a genius reclaiming his territory. It’s loud, it’s proud, and it’s arguably the last time a major pop star was allowed to be that weird on a global stage. Grab a pair of good headphones, turn the bass up higher than you think you should, and let that distorted flute scream in your ears. That's how it was meant to be heard.