Take It to the Limit was the third Jennings/Nelson duet album and the second to be produced by Chips Moman. Whereas their previous album together, 1982’s WWII, had contained more Waylon solo tracks, this LP includes five tracks sung solely by Willie. The title actually reads Wille Nelson with Waylon Jennings, likely the result of the LP being released on Nelson’s label CBS (the previous two duet albums had been released on RCA).
The title song was written by Eagles’ members Randy Meisner, Don Henley and Glenn Frey and performed by the Eagles on their 1975 album, One of These Nights, while “Homeward Bound” was originally by Simon and Garfunkel. Take It to the Limit was the next-to-last collaboration between Jennings and Nelson; of the four duets albums released by the singers, 1978’s Waylon & Willie achieved the greatest success.
Despite the fact that neither singer was in top artistic form and Jennings’ most successful days were already over, the record managed to chart, peaking at #3, as did WWII. “Why Do I Have to Choose” also reached #3, while the title track reached #8 on the singles chart.
- “No Love at All” (Johnny Christopher, Wayne Carson Thompson) – 2:42
- “Why Do I Have to Choose” (Willie Nelson) – 3:12
- “Why Baby Why” (Darrell Edwards, George Jones) – 2:40
- “We Had It All” (Donnie Fritts, Troy Seals) – 3:06
- “Take It to the Limit” (Randy Meisner, Glenn Frey, Don Henley) – 3:50
- “Homeward Bound” (Paul Simon) – 3:29
- “Blackjack County Chain” (Red Lane) – 2:59
- “‘Til I Gain Control Again” (Rodney Crowell) – 4:57
- “Old Friends” (Roger Miller) – 3:33
- “Would You Lay with Me (In a Field of Stone)” (David Allan Coe) – 3:16
- Producer: Chips Moman
- Art Direction: Virginia Team
- Cover Illustration Bill Imhoff
- Photo of Willie: Beverly Parker
- Photo of Waylon: Charlyn Zlotnick
- Drums: Gene Christman, Paul English
- Bass: Mike Leach, Bee Spears
- Guitars: Willie Nelson, Waylon Jennings, Chips Moman, Reggie Young, Grady Martin, Johnny Christopher
- Keyboards: Bobby Nelson, Bobby Wood
- Saxophone: Jon Marett
- Harmony Vocals: Willie Nelson, Waylon Jennings, Toni Wine, Lisa Silver, Harry Huffman, Chips Moman, Bobby Wood, Johnny Christopher, David Alan Coe, Garry Talley
Released: April 1983
Genre: Country, outlaw country
Label – Columbia Records
The First National Band or Michael Nesmith and The First National Band was a short-lived American collaborative band, led by former Monkee Michael Nesmith. During the two active years, The First National Band released three albums in the country rock genre between 1970 and 1971.
Nevada Fighter is the third solo album by American singer-songwriter Michael Nesmith during his post-Monkees career. The album is also the third and final album with the First National Band. Released by RCA Records in 1971, the LP failed to chart in the top 200 but bubbled under at #202. The lead off single “Nevada Fighter” peaked at No. 70 on the Billboard charts.
Nevada Fighter kicks off with the witty and loose-limbed “The Grand Ennui,” and for a moment it sounds like the album will pick up where Michael Nesmith‘s previous album with the First National Band, Loose Salute, left off. But before long, the album shifts gears, and it becomes obvious that Nesmith had something different in mind this time. Except for the rollicking side-closer, “Nevada Fighter,” most of the material on side one suggests the more introspective moments of Magnetic South but without the same balance of charm and dry humor that made that album so appealing (though “Propinquity (I’ve Just Begun to Care)” is a fine love song that’s a good bit more approachable than its title would lead you to expect). Side two is turned over to material by other songwriters, and while this shifts the album’s lyrical tone rather dramatically, Nesmith reveals himself to be a fine interpretive vocalist, and “Texas Morning” and “The Rainmaker” are splendid songs that would merit anyone’s attention. The First National Band were also augmented by a number of session musicians on Nevada Fighter (including James Burton and Ronn Tutt from Elvis Presley‘s band), and the arrangements have a decidedly different flavor than on Nesmith‘s previous two albums, especially in the second half (though Red Rhodes‘ pedal steel is predictably splendid throughout). Nevada Fighter is a fine album, but it’s also the weakest of the three Nesmith would cut with the First National Band, and it’s not hard to imagine that Nesmith was starting to look for new pastures while he was recording this set.
John London and John Ware left the group in late November 1970. Two tracks were left to finish the album – “Here I Am” (recorded in early January 1971) and “Only Bound” (recorded in late January). Nesmith recruited James Burton, Joe Osborn and Ron Tutt to help finish the album — all three had worked with Nesmith during his days with The Monkees.
The track “Nevada Fighter” was originally recorded under the title “Apology.” “Propinquity” was the third version of this song Nesmith recorded — he demoed it for The Monkees in 1966 and recorded a 1968 version for the group.
- “Grand Ennui” – 2:07
- “Propinquity (I’ve Just Begun To Care)” – 2:59
- “Here I Am” – 3:15
- “Only Bound” – 3:23
- “Nevada Fighter” – 3:06
- “Texas Morning” (Mike Murphy, Boomer Castleman) – 3:00
- “Tumbling Tumbleweeds” (Bob Nolan) – 4:10
- “I Looked Away” (Eric Clapton, Bobby Whitlock) – 3:13
- “Rainmaker” (Harry Nilsson, Bill Martin) – 3:17
- “René” (Red Rhodes) – 1:40
All songs by Michael Nesmith except where noted.
- Michael Nesmith – vocals, guitar
- John London – bass
- John Ware – drums
- O.J. “Red” Rhodes – Pedal steel
- Joe Osborn – bass
- Max Bennett – bass
- Glen D. Hardin – keyboards
- Michael Cohen – keyboards
- Ron Tutt – drums
- Nelson Stump – Cowbell
- James Burton – guitar
- Al Casey – guitar
Recorded: Oct 1970 – Jan 1971
Genre: Country rock
Label – RCA Records
National Lampoon was a ground-breaking American humor magazine which ran from 1970 to 1998. The magazine started out as a spinoff from the Harvard Lampoon. National Lampoon magazine reached its height of popularity and critical acclaim during the 1970s, when it had a far-reaching effect on American humor and comedy. The magazine spawned films, radio, live theatre, various kinds of recordings, and print products including books. Many members of the creative staff from the magazine subsequently went on to contribute creatively to successful media of all types.
Gold Turkey is an American album of sketch comedy that was first released as a vinyl record in 1975. It was a spin-off from National Lampoon magazine. The album is a collection of “greatest hits” from the National Lampoon Radio Hour, a radio show that was broadcast on 600 radio stations and ran from November 17, 1973 to December 28, 1974.
The sketches on Gold Turkey feature numerous National Lampoon actors including Christopher Guest, Bill Murray, John Belushi, Brian Doyle-Murray, Chevy Chase, Harold Ramis, Gilda Radner, Joe Flaherty and Ed Subitzky.
The title of the album “Gold Turkey” is a reference to the phrase “cold turkey” a phrase meaning to suffer sudden withdrawal from an addictive substance; there is a John Lennon song Cold Turkey. “Gold Turkey” as shown in the cover photograph by Arky & Barrett is a visual pun on the golden statue awards for entertainment, such as the Oscars and the Emmy, and is simultaneously a verbal pun on the word “turkey” meaning a box office bomb or entertainment failure.
01. Front Row Center (2:00)
02. Public Disservice / Alternative Child (3:52)
03. We’ll Be Back / Mother Goose’s Wine (2:20)
04. My Husband (2:30)
05. Megaphone Newsreel (3:25)
06. The Trial / Terminal Football / Flash Bazbo (4:12)
07. Jimmy Dugan Story (1:38)
08. Well-Intentioned Blues (2:45)
09. A Laugh From The Past (4:41)
10. Stand Up / Flash Bazbo (3:12)
11. Hockey (0:21)
12. Prison Farm (1:35)
13. Mr. Veal Chop / Rosenburgs (0:40)
14. The Immigrants (7:07)
National Lampoon, Guests
Joseph O´ Flaherty
Martin Harvey Friedberg
Label – Epic Records
Aaron Neville (born January 24, 1941, New Orleans, Louisiana, United States) is an American R&B singer and musician. He has also recorded with his brothers Art, Charles and Cyril as The Neville Brothers.
Aaron Neville (born January 24, 1941, New Orleans, Louisiana, United States) is an American R&B singer and musician. He has also recorded with his brothers Art, Charles and Cyril as The Neville Brothers.
The Grand Tour, Aaron Neville’s second solo album for A&M Records, it’s a collection of songs that in ways, both deliberate but unforced, suggests a kind of musical biography. It’s a record that resurrects timeless stains of soul, R&B, country, gospel, rock and roll, Tin Pan Alley, Mardi Gras music and contemporary pop, all rendered with a continuity of style and purpose that seems to travel the world without ever abandoning the spirit of New Orleans the birthplace of American music and, of course, Neville himself. Not coincidentally, many of the songs here also suggest key touchstones from a career and life very much in progress.
Although Steve Lindsey tries a little too hard to make The Grand Tour appeal to everyone, Aaron Neville manages to make the album another solid addition to his latter-day catalog. Lindsey keeps the sound of the album strictly in the mainstream, piling on layers of keyboards, vocalists, and drum machines which neuter any rootsy elements in the music. This is particularly unfortunate, since the selection of songs is interesting, ranging from George Jones and Chuck Berry to Bob Dylan and Leonard Cohen. Nevertheless, Neville rises to the material, not the production, giving the music an emotional core. Not every teaming works, but enough songs hit the target to make The Grand Tour worthwhile for dedicated fans.
01. Don’t Take Away My Heaven (4:37)
Written-By – Diane Warren
02. I Owe You One (5:31)
Written-By – Jon Lind, Phil Galdston, Wendy Waldman
03. Don’t Fall Apart On Me Tonight (4:23)
Written-By – Bob Dylan
04. My Brother, My Brother (4:59)
Written-By – Bob Thiele Jr., Davey Farager, Phil Roy
05. Betcha By Golly, Wow (3:54)
Written-By – Linda Creed, Thom Bell
06. Song Of Bernadette (Vocals – Linda Ronstadt) (4:02)
Written-By – Bill Elliott, Jennifer Warnes, Leonard Cohen
07. You Never Can Tell (2:53)
Written-By – Chuck Berry
08. The Bells (3:22)
Written-By – Anna Gordy Gaye, Elgie Stover, Iris Gordy, Marvin Gaye
09. These Foolish Things (4:22)
Written-By – Harry Link, Holt Marvell, Jack Strachey
10. The Roadie Song (4:40)
Written-By – Aaron Neville
11. Ain’t No Way (5:00)
Written-By – Carolyn Franklin
12. The Grand Tour (3:17)
Written-By – Carmol Taylor, George Richey, Norris Wilson
13. The Lord’s Prayer (1:58)
Written-By – Alfred Malotte
Art Direction – Chuck Beeson
Coordinator [Production] – Julie Larson
Design – Chuck Beeson, Jean Krikorian
Engineer [Assistant] – Dominique Schafer, Enrico De Paoli, Jim Champagne, John Hendrickson
Executive-Producer – David Anderle
Management [Direction] – Bill Graham Management
Mastered By – Doug Sax
Mixed By – Bill Schnee
Photography By – Diego Uchitel
Producer – Steve Lindsey
Recorded By – Gabe Veltri
Release Date 1993
Recorded at: Oceanway, Saturn Sound, House Of Soul, New Orleans Recording Studios.
Mixed at: Schnee Studio.
Mastered at: The Mastering Lab.
Genre: R&B, Religious
Styles: Adult Contemporary, New Orleans R&B
Label – A&M Records
New Birth (also known as The New Birth) is an American funk and R&B group. It was originally conceived in Detroit, Michigan by former Motown songwriter/producer, Vernon Bullock and co-founded in Louisville, Kentucky. The history of the group began with the instrumental outfit, The Nite-Liters, which was originally formed in 1963.
In its heyday, besides Churchill on tenor sax and vibes, the band featured Charlie Hearndon on guitar, James Baker on keyboards, Robin Russell on drums, Robert “Lurch” Jackson on trumpet, Austin Lander on baritone sax, Leroy Taylor on bass, and, later, Carl McDaniel on guitar.
Earlier members included Johnny Graham, later of Earth, Wind & Fire and Jerry Bell also a member at one time.
Some sources identify The Nite-liters as the band that played as “The Crawlers” with Chicago artist Alvin Cash on his R&B #1 1964 hit, “Twine Time.”
Instrumental Directions is the third album by the Louisville, Kentucky group The Nite-Liters, the instrumental ensemble offshoot of New Birth. Released in 1972 on RCA Records. Produced by mentor Harvey Fuqua.
- “Theme from Shaft” (4:16)
- “Brand X” (4:43)
- “Them (Changes)” (4:45)
- “Respect To The Other Man” (5:00)
- “Cherish Every Precious Moment” (3:00)
- “Afro-Strut” (2:50)
- Medley: “McArthur Park, What’s Going On, Fugua’s Theme” (4:55)
- “I’ve Got Dreams To Remember” (3:15)
- “Wichita Lineman” (5:05)
- “Bakers Instant” (3:39)
- Arranged By, Conductor – Harvey Fuqua, The Nite-Liters
- Artwork By – Acy Lehman
- Engineer – Jim Crotty
- Photography – David Hecht
Recorded at RCA’s Studio C, New York City.
Genre: Funk / Soul
Label – RCA Victor Records
New England is the debut album by the American rock band New England. The group was best known for the song “Don’t Ever Wanna Lose Ya”, which received heavy radio exposure on Album-oriented rock (AOR) stations and reached the Top 40 in 1979. “Hello, Hello, Hello” also received some airplay. The debut album was released on Infinity Records INF-9007.
The quartet formed in the Boston area and was discovered by manager Bill Aucoin, who also managed Kiss. Paul Stanley helped produced the debut album along with famed producer Mike “Clay” Stone, best known for his work with Queen and Asia. Guitarist and vocalist John Fannon was the leader of the band.
The group had a live stint supporting the falling but still high-profile Kiss, but New England unfortunately slid between the cracks of other Aucoin projects. The group’s success stalled when their label Infinity Records was absorbed by its parent company, MCA Records, in 1979.
Produced by Paul Stanley of Kiss who was also represented by manager Bill Aucoin, this Boston band’s debut still stands as their finest. “Hello, Hello, Hello,” much like Alice Cooper‘s use of Rolf Kemp‘s “Hello Hooray,” is a nice opener, but the lyrics are more like Stevie Nicks witchcraft and magic. Song two is the most classic statement made by writer John Fannon and his group New England. “Don’t Ever Wanna Lose Ya” is perhaps the shortest poem/song on record by Fannon, but it is his most famous.
There are swirling keyboards by Jimmy Waldo and the precision the band is known for in performance.
Like another Boston-based group, Private Lightning on A&M with their local hit “Physical Speed,” these groups were ahead of their time and exploring sounds that were not identified with the city that brought the world the Modern Lovers, Aerosmith, and the Jonzun Crew.
But with three albums on a major label, and superb production, New England had a good shot at the brass ring and a tune with all the elements of “hit” in this track. “P.U.N.K.” is also a song that generated attention. About a punk, and certainly not punk rock, although the band frequented (and played) the clubs like the Paradise and the Rat, which, no doubt, helped inspire this. “Shall I Run Away” has a great vocal from Fannon and is the best tune next to “Don’t Ever Wanna Lose Ya” — mellow with cosmic guitars, a unique sound removed from the Asia style producer Mike Stone and the band New England became known for, almost Roxy Music. And that is where the band could’ve really made its mark, by being more experimental and less like the arena rock bands of the day. “Alone Tonight” is a great song held back by the “overproduction,” to quote the late Stones producer Jimmy Miller and his idea of the New England sound. The thick production on this music is incessant.
“Nothing to Fear” has hooks a plenty and the voice more prominent; “Shoot” is like a progressive Black Sabbath riff sped up and gone pop. Fannons‘ great ideas and lyrics seem to get lost in some of the instrumentation of “Turn Out the Light.”
That stage life which Paul Stanley knows so well from the Kiss hit “Beth” is the theme of “The Last Show.” “Encore” concludes the album with Fannon almost sounding like Roger Waters in delivery and idea. New England deserves recognition for years of hard work and the creation of a very important tune from the late ’70s. The cover photo has Terminator-style lightning (so did Private Lightning‘s cover, of course) and the band being delivered from out the blue.
01. Hello, Hello, Hello (3:34)
02. Don’t Ever Wanna Lose Ya (5:22)
03. P.U.N.K. (Puny Undernourished Kid) (3:22)
04. Shall I Run Away (5:06)
05. Alone Tonight (3:39)
06. Nothing To Fear (5:05)
07. Shoot (3:59)
08. Turn Out The Light (3:43)
09. The Last Show (3:55)
10. Encore (3:15)
- Recorded At – Davlen Sound Studios
- Recorded At – Cherokee Studios
- Recorded At – Electric Lady Studios
- Mixed At – Trident Studios
- Mastered At – Sterling Sound
- Art Direction– Peter Corriston
- Bass Guitar– Gary Shea
- Drums, Vocals– Hirsh Gardner
- Engineer– Mike Stone
- Engineer [Assistant]– Chris Desmonde, Patrick Van Wiegandg
- Engineer [Pre-Production Recording By (Uncredited)]– Steve Bruno (2)
- Guitar, Vocals– John Fannon
- Keyboards, Vocals– Jimmy Waldo
- Mastered By– George Marino
- Mixed By [Assisted]– John Brand
- Photography By– Alen MacWeeney, Andre Haluska, Hubert Kretzschmar
- Producer– Mike Stone, Paul Stanley
- Written-By– John Fannon
Style: Pop Rock
Label – Infinity Records
Peter John Joseph Murphy (born 11 July 1957) is an English singer and musician. He was the vocalist of the gothic rock group Bauhaus and later went on to release a number of solo albums, such as Love Hysteria. The album was largely written with former B-Movie keyboard player Paul Statham, who had joined Murphy’s band, The Hundred Men. It was produced by former member of The Fall, Simon Rogers.
Having assembled, for touring purposes, what would soon be his formal backing band, the Hundred Men, and more specifically, having found a new key songwriting collaborator in ex-B. Movie keyboardist Paul Statham, Murphy created his most elegant post-Bauhaus effort to date. Love Hysteria had definite Bowie echoes, though the feeling was more late-’70s Berlin-era than Ziggy glam. That said, with his band turning in a variety of bright, lively performances and with sympathetic production from ex-Fall member/arranger Simon Rogers, Murphy matched the music with flair, his voice even more of a passionate croon than a powerful howl. Lead single “All Night Long” was something of an American breakthrough hit; its upbeat rock drive and lush keyboards are a perfect bed for Murphy‘s performance. Other moments, such as the ringing acoustic/electric guitar combinations on “Indigo Eyes” and “Dragnet Drag,” take Murphy even further away from Bauhaus‘ shadow, though “His Circle and Hers Meet” and “Blind Sublime” have a brusquer energy. The definite highlights of the album are two majestic ballads: “Time Has Got Nothing to Do With It,” with a fine Statham synth line matching Murphy‘s soaring vocals; and “My Last Two Weeks,” a simply wonderful romantic sentiment. If his lyrics now sometimes have the feeling of formal philosophical pronouncements, the sense of style with which he sings them saves the performances more often than not. Closing with a fun romp through Iggy Pop‘s “Funtime,” saluting another one of Murphy‘s old heroes with an appropriately strong vocal and amusing horror-movie samples, Love Hysteria shows Murphy fully coming into his own as a performer.
- “All Night Long” — 5:42
- “His Circle and Hers Meet” — 6:01
- “Dragnet Drag” — 5:46
- “Socrates the Python” — 6:47
- “Indigo Eyes” — 5:54
- “Time Has Got Nothing to Do with It” — 5:21
- “Blind Sublime” — 3:55
- “My Last Two Weeks” — 6:38
- “Funtime” (David Bowie, Iggy Pop) — 3:49
- Bonus tracks on CD reissue:
- “I’ve Got a Miniature Secret Camera” — 4:25
- “Funtime (Cabaret Mix)” — 5:57
All songs written by Peter Murphy except where noted.
- Peter Murphy – vocals, “naive” keyboards
- Faut Güner, Peter Bonas, Simon Rogers – guitar
- Eddie Branch, Peter Bonas – bass
- Matthew Seligman – fretless bass
- Paul Statham, Simon Rogers – keyboards
- Howard Hughes – piano
- Terl Bryant – drums, percussion
- Producer – Simon Rogers
- Engineer – Ian Grimble
- Engineer [Assisted By] – Danny Pickard, Gareth Cousins
- Photography By – Jean-Baptiste Mondino
Released: March 1988
Recorded at: Jacob Studios and Abbey Road
Mixed at Abbey Road
Genre: AGothic rock
Label – Beggars Banquet Records
In 2004 Boz Scaggs released his first, and what is likely to be only, officially sanctioned live disc in an extensive career. With 35 years of experience and 13 albums of material to choose from, it also substitutes as a reasonable best-of, although Sony/Legacy’s 1997 double set My Time did an excellent job of recapping his studio hits.
Even if it’s a byproduct of the associated DVD recorded at the same August, 2004 San Francisco gig, this is a lively and professionally performed show that makes up in soul what it lacks in spontaneity. Live hits’ discs coming in the twilight of the artist’s career are typically dicey affairs, often used as a backdoor way for a new label to release some of the act’s best material, the originals of which they do not have rights to.
While that may be the case here, this is far from a fast way to make a few bucks off Scaggs‘ catalog. The seven-piece band (plus two backing vocalists) offer perfect, occasionally inspired renditions of a relatively unsurprising set list.
The show is a terrific mix of the lovely, but sometimes sappy Scaggs ballads such as “Heart of Mine,” “We’re All Alone,” “Slow Dancer” and “Look What You’ve Done to Me” with the blue-eyed funk-pop of “Lowdown,” “Jojo,” “Georgia,” and “Lido Shuffle.” The songs that ultimately work the best and are the loosest are the blues-based tracks, in particular a sumptuous version of Bobby “Blue” Bland‘s “Ask Me ‘Bout Nuthin’ but the Blues,” and nearly a half-hour on disc two dedicated to the jazzy jump blues of “Runnin’ Blue” and a fiery “Loan Me a Dime.” Scaggs is in terrific voice throughout, the band adapts remarkably well to a varied set list and the live sound is crisp but not sterile.
Many of the arrangements, especially of the pop songs, don’t differ substantially from the originals, but the effect is lively and with slightly more drive due to the live setting.
The rather forced between-song patter very present in the DVD is edited out for the audio version, which provides a better musical flow.
Some of these songs never charted, and were not even particularly popular. Many tracks from My Time and even three from the slimmer Hits! collection are missing. But these are minor complaints for an extremely well produced, immaculately played, stylishly presented and dynamic look at Scaggs‘ diverse catalog.
1. Lowdown (5:43)
2. Slow Dancer (4:41)
3. Heart Of Mine (4:27)
4. It All Went Down The Drain (6:15)
5. Harbor Lights (7:52)
6. Jojo (5:51)
7. Ask Me About Nothing But The Blues (6:10)
8. Breakdown Dead Ahead (5:57)
1. Look What You’ve Done To Me (6:44)
2. I Just Go (5:15)
3. Georgia (4:45)
4. Miss Sun (6:39)
5. Lido Shuffle (5:36)
6. Running Blue (11:28)
7. Loan Me A Dime (15:45)
8. We’re All Alone (4:38)
- Boz Scaggs – vocals, guitar
- Drew Zingg – guitar
- Charles McNeal – saxophone
- Richard Armstrong – trumpet
- Jim Cox, Michael Bluestein – keyboards
- Matt Bissonette – bass
- John Ferraro – drums
- Barbara Wilson, Ms. Mone’t – background vocals
- Producer – David Paich
Release Date: August 17, 2004
Recording information: Great American Music Hall, San Francisco, CA.
Styles: Adult Contemporary/Contemporary Pop/Rock/Vocal Pop
Label – Gray Cat Records
Disco Bill (1977) is an album by Bill Cosby.
After four musical comedy/parody albums, this would be the last Cosby would do.
Like Bill Cosby Is Not Himself These Days, Cosby stated he improvised much of the material on the album.
The comedian’s follow-up to his gold LP Bill Cosby Is Not Himself These Days Rat Own Rat Own Rat Own follows in the same musical parody vein and re-teams him with producer/keyboardist Stu Gardner.
The budget seemed to have been upped for this effort because there are strings and full choirs on some tracks. Cosby earns more musical mileage using his previous targets: Barry White‘s “A Simple Love Affair,” and James Brown‘s “Boogie on Your Face” on the first two singles and the James Brown-ish “What Ya Think ‘Bout Lickin’ My Chicken.” A laid-back cover of Len Barry‘s “One, Two, Three” has drippy strings, a quasi-classical choral, and a hilarious subject. But he also manages to mold his own identity with “Section #9,” “What’s in a Slang,” and the funky “A Nasty Birthday.”
On Disco Bill and the previous album, Cosby says that he improvised throughout the album.
01. A Simple Love Affair (Cosby, Gardner) – 4:38
02. What Ya Think ‘Bout Lickin’ My Chicken (Cosby, Gardner, Watson) – 4:04
03. Rudy (Cosby, Gardner) – 1:56
04. Boogie on Your Face (Cosby, Gardner) – 3:03
05. Happy Birthday Momma (Cosby, Gardner, Mays) – 4:01
06. That’s How I Met Your Mother (Cosby, Gardner) – 3:19
07. 1, 2, 3 (Barry) – 4:10
08. Section #9 (Cosby, Gardner) – 3:12
09. A Nasty Birthday (Cosby) – 3:32
10. What’s in a Slang (Cosby, Gardner) – 2:19
Bass – David Shields, Gary Stovall, Paul Stallworth
Bass [Featured] – Eric Ajaye
Drums – Ken Sprague
Drums [Featured] – Nate Neblett
Guitar – Gary Stovall, Wah Wah Watson
Keyboards – Larry Farrow
Percussion – Freddie Marrone, Paulinho Da Costa
Saxophone – Doug Richardson, Rudy Johnson
Strings [Contracted By] – Robert Dubow
Trumpet – Bobby Findley, Oscar Brashmear
Vocals [Singers] – Irene Cathaway, Kathelene Woehrle, Linda Mallah, Patty Bishop, Rebecca Louis, Stu Gardner
Manufactured By – Capitol Records, Inc.
Phonographic Copyright (p) – Capitol Records, Inc.
Copyright (c) – Capitol Records, Inc.
Pressed By – Capitol Records Pressing Plant, Winchester
Published By – Turtlehead Publishing Co.
Published By – Uts Rendrag Publishing Co.
Recorded At – Sound City Studios
Mixed At – Sound City Studios
Mastered At – Capitol Mastering
Arranged By – Stu Gardner
Arranged By [Horn] – Stu Gardner
Arranged By [Vocal] – Stu Gardner
Art Direction – Roy Kohara
Photography By – Howard Bingham
Engineer – Bill Drescher
Executive-Producer – Larkin Arnold
Producer, Keyboards, Synthesizer, Ensemble [String], Clavinet, Synthesizer [Moog, Arp] – Stu Gardner
Written-By – B. Cosby, S. Gardner
Release Date: September, 1977
Genre: Funk / Soul
Style: Funk, Disco
Label – Capitol/EMI Records
James Mtume‘s band Mtume hit its commercial and creative peak in 1983, when Juicy Fruit was released. The infectious, mildly risqué title song — which contains the controversial lyrics “I’ll be your lollipop/You can lick me everywhere” — soared to number one on Billboard’s R&B singles chart and ended up being sampled by quite a few hip-hoppers, including the late Notorious B.I.G. (who used the infectious gem on his 1994 hit “Juicy”). Some of the people who heard the “Juicy Fruit” single on the radio back in 1983 bought the single but not the album, which is a shame because the other tracks are also excellent. In fact, many of Mtume‘s hardcore fans agree that Juicy Fruit is the band’s most essential album.
This LP came at a time when funk was becoming increasingly technology-minded. Horn-driven funk bands were going out of style, and funksters were using a lot more keyboards and synthesizers. Juicy Fruit reflects that evolution; although not totally electronic, funk/urban pearls like “Hips” and “Ready for Your Love” are very keyboard-minded. Only one horn player is employed on this release: jazz saxophonist Gary Bartz, who did his share of R&B sessions in the late ’70s and early ’80s but eventually returned to being a full-time jazz improviser. Throughout Juicy Fruit, James Mtume takes a very hands-on approach — in addition to producing the album and co-writing much of the material, he plays keyboards and provides some of the lead vocals (along with the expressive, big-voiced Tawatha Agee). Juicy Fruit isn’t the only worthwhile album that James Mtume‘s band came out with in the ’80s; as a rule, his ’80s output was solid. But if you must limit yourself to one Mtume release, Juicy Fruit would be the best choice.
1. Green Light (5:18)
2. Juicy Fruit (6:00)
3. Hips (5:44)
4. Would You Like To (Fool Around) (3:37)
5. Your Love’s Too Good (To Spread Around) (4:47)
6. Hip Dip Skippedabeat (5:08)
7. Ready For Your Love (3:55)
8. The After 6 Mix (Juicy Fruit Part II) (3:21)
- James Mtume – Keyboards, lead vocals, backing vocals
- Tawatha Agee – Lead vocals, backing vocals, percussion
- Ed “Tree” Moore, Kevin Robinson, Michael Murphy – Guitar
- Raymond Jackson – Bass, backing vocals
- Philip Field- Keyboards, backing vocals
- Barry Eastman, Bernie Worrell, David Frank – Keyboards
- Gary Bartz – Saxophone
- Andy Wallace – Engineer
Produced for Mtume-Lucas Productions
Recorded and Mixed at E.A.R.S. Recording Studio, New Jersey
Mastered at A&M Studios, Los Angeles, CA
Manufactured by Epic Records CBS Inc.
Label – Epic Records