Gerald Albright, Norman Brown - 24/7 (2012)

24/7 features the smooth jazz super-duo of guitarist Norman Brown and saxophonist Gerald Albright. Two of the biggest names in contemporary instrumental pop, Brown and Albright are a perfect pair to team up and 24/7 makes the most of their talents. Sounding slick but never too slick, the album features stylish production by both artists along with keyboardist Herman Jackson. Brown and Albright primarily stick to the more soulful contemporary R&B end of smooth jazz here, and cuts such as the bright and melodic leadoff cut "In the Moment," the cinematic "Perfect Love," and the sensuous title track -- featuring vocals by Gerald's daughter Selina Albright -- are finger-snapping, head-bobbing numbers that set a romantic, positive-minded mood. Elsewhere, we get the Brazilian funk of "Buenos Amigos," the club-ready "Yes I Can," and the old-school R&B of "Champagne Life," once again featuring the attractive, sweetly soulful vocals of the younger Albright. More than a few cuts on 24/7 have an old-school vibe that, while never getting too deep into any decade-specific production, do evince a clear passion for various R&B sounds from the '70s through the '90s. For longtime fans of either of these contemporary jazz titans, 24/7 will certainly be a round-the-clock pleasure. ~ by Matt Collar, AMG. 

Concord Music Group, CJA-33445-02, 2012 

Recording Locations: -
Bright Music Studios, Castle Rock, CO
In Your Ear Studios, Richmond, VA
Permanent Studios, Sherman Oaks, CA
Titan Studios, Sherman Oaks, CA
Ahhsum Studios, West Covina, CA
jLaj-Music Studios, Fredericksburg, VA
2nd Bedroom Studios, Atlanta, GA
Resource Studios, West Covina, CA
Gitt Traxx Studios, Atlanta, GA
Strings at CCI Media Torrance, CA 

Musicians:
Gerald Albright - Alto, Tenor & Baritone Saxes, Flutes, Bass Guitar, Percussion, Bkgd Vocals
Norman Brown - Lead Guitar, Rhythm Guitar (#3,5,6,9)
Tracy Carter - Keyboards (#1,7,8,10)
Herman Jackson - Keyboards (#2,3,5,6,9)
Phil Davis - Keyboards (#4)
Rick Watford - Rhythm Guitar (#1,4,7,8)
Byron Miller - Bass (#2,3,5,6,9)
Jay Williams - Drums (#1,4,8)
Charles Streeter - Drums (#2,3,5,6,9)
Ricky Lawson - Drums (#10)
Ramon Ysalas - Percussion (#2,3,5,6,9)
Rochella Brown - Vocals (#3)
Demille Cole-Heard - Vocals (#3)
Selina Albright - Vocals (#7), Background Vocals (#8)
Mark Cargill - Strings, Harp & Bell Programming (#10) 

Tracks:
01. In The Moment {Gerald Albright} (4:47)
02. Keep It Moving {Herman Jackson} (5:03)
03. Perfect Love {Norman Brown, Dr. Farid Zarif} (4:29)
04. Buenos Amigos {Gerald Albright} (5:20)
05. Tomorrow {George Johnson, Louis Johnson} (5:53)
06. Yes I Can {Norman Brown} (4:38)
07. 24-7 {Gerald Albright, Selina Albright} (5:59)
08. Champagne Life {David Dorohn, Gough-Shaffer Smith} (5:22)
09. The Best Is Yet To Come {Norman Brown, Jeanette Harris} (4:41)
10. Power Of Your Smile {Gerald Albright} (5:00) 

Total Time: 51:16 

Credits:
Producer - Gerald Albright (#1,4,7,8,10)
Producer - Norman Brown, Herman Jackson (#2,3,5,6,9)
Executive Producer - Mark Wexler
Mixing - Don Murray [Concord Studios, Studio City, CA]
Mixing - Michael Blum [Titan Studios, Sherman Oaks, CA]
Mastering - Paul Blakemore [CMG Mastering]
Photography - Lori Stoll
Art Direction - Larissa Collins
Package Design - Albert J. Roman 

Tomorrow

Gerald Albright - New Beginnings (2006)

Make no mistake; Gerald Albright has chops - serious chops - not to mention strong improvisational skills (on both tenor and alto sax) and a healthy amount of gritty, down-home soulfulness. But having a lot of positive attributes and actually making the most of them are two different things - and while the saxman has excelled at times, he has also delivered his share of forgettable, knee-jerk fluff. Drawing on both soul-jazz and smooth jazz, New Beginnings is a mixed bag, but is still one of his more worthwhile commercial outings. There are some weak tracks, to be sure, but when Albright lets loose, New Beginnings becomes a treat that brings to mind Grover Washington, Jr. and early Ronnie Laws. Albright really soars on a gospel-drenched performance of Hoagy Carmichael's "Georgia on My Mind," and he has some enjoyably funky moments on "Big Shoes" and "We Got the Groove" (both of which keyboardist Jeff Lorber co-wrote with the saxman) as well as the title track (which features Patrice Rushen on acoustic piano). This 2006 release has more pluses than minuses. ~ Extract by Alex Henderson, AMG. 

Concord Records, PKD-8540-2, 2006
Castle Oaks Studio, Calabasa, California
JHL Sound, Pacific Palisades, California
Riverphlo Studio, Anaheim, California
KAR Studio, Sherman Oaks, California
Dacrib Studio, Los Angeles, California 

Personnel: [See Text for Details]
Gerald Albright - Alto, Tenor & Baritone Saxophones, Flute, Bass Guitar, Drum Programming
Jeff Lorber - Keyboards, Drum Programming, Guitar
Chuckii Booker - Keyboards, Drum Programming, Backing Vocals
Rex Rideout - Keyboards, Drum Programming
Patrice Rushen - Acoustic Piano
Luther "Mano" Hanes - Keyboards, Backing Vocals
Tracy Carter - Keyboards
Chris Botti - Trumpet
John "Jubu" Smith - Guitar
Ricky Watford - Guitar
Paul Jackson Jr. - Guitar
Darrell Crooks - Guitar
Melvin Davis - Bass Guitar
Teddy Campbell - Drums
Tony Moore - Drums
Walter Scott & Wallace Scott - Vocals 

Tracks:
01. We Got The Groove {Gerald Albright, Jeff Lorber} (4:07)
02. New Beginnings {Gerald Albright} (5:10)
03. Deep Into My Soul {Gerald Albright, Jeff Lorber} (4:04)
04. And The Beat Goes On {Sylvers III, Preston Shockley, Shelby} (4:36)
05. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (5:23)
06. Take Your Time {Gerald Albright, Jeff Lorber} (4:35)
07. I Want Somebody {Chuckii Booker, Gerald Albright} (4:28)
08. You Are My Love {Gerald Albright, Luther "Mano" Hanes} (5:15)
09. Last But Not Least {Gerald Albright} (4:38)
10. I Need You {Chuckii Booker, Gerald Albright} (3:53)
11. Big Shoes {Gerald Albright, Jeff Lorber, Marlon McClain} (5:09)
12. Georgia On My Mind [Reprise] {Hoagy Carmichael, Stuart Gorrell} (3:52) 

Total Time: 55:19

Credits:
Producer (#2,5,9,12), Engineer (#1,3,4,6,7,9-11), Arranger (#2,5,9,12) - Gerald Albright
Producer, Arranger (#1,3,6,11), Engineer (#1,3,6,11) - Jeff Lorber
Producer, Engineer, Arranger - Chuckii Booker (#7,10)
Producer, Engineer, Arranger - Rex Rideout (#4)
Producer, Arranger - Luther "Mano" Hanes (#8)
Executive-Producer - Andi Howard, Mark Wexler
Engineer - Anthony Jeffries (#2,5,12), Dave Rideau (#1,3,6,11), Tracy Carter (#9)
Arranger - Tracy Carter (#2,5,9,12)
Art Direction - MAD Design/Photography, Sonny Mediana
Photography - Carl Studna
Liner Notes - Phil Collins

Keiko Matsui - Cherry Blossom (1992)

If we're talking Keiko Matsui, we can expect another impressionistic album cover which belies the often-explosive music on the disc. Matsui draws a little more from her heritage this time but textures it with soulful excursions ("Walking on the Bridge"). She once again gives radio a seductive earful while continuing her heightened exploration into more challenging orchestral sounds and several impressive, wildly percussive Latin journeys (e.g., "Sail South"). Making perfect use of Lenny Castro's spicy percussion and Clay Jenkins' punchy trumpet flavors, Matsui lets loose. The gospel vocal by Arnold McCuller is a strong one. Other newcomers to the fold are guitarist Jorge Strunz, Jon Clark (recorder) and Sam Riney on sax. ~ by Jonathan Widran, AMG.

White Cat Records, 77701-2, 1992
Recorded at:
Milagro Sound Recorders, Glendale, California
Pacifique Studio, North Hollywood California
The Club House Studio, Burbank, California
Aire L.A. Studios, Glendale, California 

Musicians:
Keiko Matsui - Keyboards Arranger (#3,4,5,7)
Clay Jenkins - Trumpet (#8), Solo (#2)
Bill Armstrong - Trumpet (#2)
Alex Iles - Trombone (#2)
Gerald Albright - Saxophone (#1,3,5)
Sam Riney - Saxophone (#2,8)
Steve Tavaglione - Saxophone (#6,7)
Jon Clark - Recorder (#6), English Horn, Saxophone (#9)
Kazu Matsui - Shakuhachi (#9)
Derek Nakamoto - Synthesizer (#1,9), Arranger (#1,9)
Gary Stockdale - Synthesizer (#2,6,8) Arranger (#2,4; [Strings],6,8)
Ron Komie - Guitar (#2-5,8)
Jorge Strunz - Acoustic Guitar (#6)
Anas Allaf - Acoustic Guitar (#7)
Richard M. Schmidt - Steel Guitar (#8)
Brad Cumming - Bass (#1,3)
John Pena - Bass (#2,4,6-9)
Jimmy Johnson - Bass (#5)
Ed Smith - Drums (#1,3)
Bernie Dresel - Drums (#2,4-8)
Robert Chiarelli - Drum Programming (#3)
Lenny Castro - Percussion (#1-5,7,8)
Arnold McCuller - Lead Vocals (#5)
Yvonne Williams - Background Vocals (#5)
Alfie Silas - Background Vocals (#5)
Jeff Day - Lyrics (#5) 

Tracks:
1. Rainy Season (4:48)
2. Sail South (5:11)
3. Walking On The Bridge (4:18)
4. Crescendo (5:30)
5. She Prays To The Wind (4:41)
6. Cherry Blossom (5:02)
7. Frontier (4:19)
8. Foot Steps (4:08)
9. Dawn Opener (5:29) 

All Compositions by Keiko Matsui

Total Time: 43:30

Credits:
Producer - Kazu Matsui
Recording - Robert Biles, Robert Chiarelli, Dennis Moody
Mixing - Robert Chiarelli (#1-4,6,7,9), Craig Burbidge (#5,8)
Mastering - Teppei Kasai
Photography - Katsuhiro Ichikawa
Art Director - Hidetake Awano [Momogumi]
Cover Art - J. Torrents Llado

Anita Baker - My Everything (2004)

Anita Baker's My Everything is her first studio outing in a decade. Family life seems to have claimed most of that time, as the album's last cut, "Men in My Life," seems to indicate. Baker co-wrote seven of the album's nine songs (one is a reprise of the title track), authored the aforementioned tune, and assisted producer Barry J. Eastmond in the arrangements. The disc's first single, "You're My Everything," is indicative of the album's sound: finely wrought and executed urban adult soul. Most of the set falls into this category, too, with the exception of "Like You Used to Do," a duet with Kenneth "Babyface" Edmonds that walks a line between it and new-school groove. Another cut, the stellar "I Can't Sleep," offers Baker in full-on jazz mode, careening through a skittering and swinging arrangement with a full horn section pushing the groove; it showcases Baker's ability to croon, and she comes very close to Betty Carter's scat. Some may be frustrated that, after such a long time, Baker doesn't push the envelope more stylistically. This may be true in terms of the material itself, but that's not necessarily a bad thing. Right down the line, Baker delivers on what she does best. But in one sense she has expanded her palette. On these cuts, most of the rhythm section's tracks were cut live from the floor, and on three, the vocals were as well. This gives the album a reedy immediacy that contrasts sharply with the rest of her studio catalog. This is a worthy return, qualitatively standing head and shoulders above most everything else in its class. ~ by Thom Jurek, AMG. 

Blue Note, 7243 5 77102 2 0, 2004 

Recording Locations:
Brandon's Way Recording, Hollywood, CA
Conway Studios, Hollywood, CA
East Bay Music Studios, Tarrytown, NY
Le Gonks West Studios, Hollywood, CA
Record One Studios, Sherman Oaks, CA
Soup Can Studios, Detroit, MI
Village Recorders, Los Angeles, CA 

Personnel:
Anita Baker - Vocals, Backing Vocals, Arranger (#1-5,7-10)
Gary Grant - Trumpet (#1-5,7-10)
Jerry Hey - Trumpet, Horn Arrangement (#1-5,7-10)
Reggie Young - Trombone (#1-5,7-10)
Eric Marienthal - Alto Saxophone (#9)
Dan Higgins - Tenor & Baritone Saxophones (#1-5,7-10)
Gary Bias - Tenor Saxophone (#1-5,7-10)
Barry J. Eastmond - Keyboards, Percussion, Horn Arranger, Backing Vocals (#1-5,7-10)
George Duke - Synthesizer [Additional], Percussion (#1-5,7-10)
Eric Rehl, Leo Colon - Synthesizer [Additional] (#1-5,7-10)
Russell Ferrante - Piano (#9)
Paul Jackson Jr., Phil Hamilton, Robert Randolph - Guitar (#1-5,7-10)
Kenneth "Babyface" Edmonds - Guitar, Backing Vocals (#1-5,7-10)
Al Turner, Alex Al, Gerald Albright, Jimmy Haslip, Nathan East, Reggie Hamilton, Ron Jenkins - Bass (#1-5,7-10)
Bernard Davis, Ricky Lawson, Steve Ferrone, William Kennedy - Drums (#1-5,7-10)
Bashiri Johnson - Percussion (#1-5,7-10)
Rafael Padilla - Percussion (#6)
Esther Ridgeway, Gloria Ridgeway, Gordon Chambers, Gracie Ridgeway - Backing Vocals (#1-5,7-10)
Kenya Ivey - Backing Vocals (#6) 

Tracks:
01. You're My Everything {Anita Baker} (5:03)
02. How Could You {Anita Baker, Barry J. Eastmond} (4:21)
03. In My Heart {Anita Baker} (5:07)
04. Serious {Dawn Thomas} (5:26)
05. How Does It Feel {Anita Baker, Barry J. Eastmond} (4:42)
06. Like You Used To Do {Anita Baker, Barry J. Eastmond} (5:12)
07. Close Your Eyes {Anita Baker, Barry J. Eastmond} (4:43)
08. You're My Everything [Revisited] {Anita Baker} (1:12)
09. I Can't Sleep {Anita Baker, Russell Ferrante, W. Kennedy} (5:08)
10. Men In My Life {Anita Baker} (3:37) 

Total Time: 44:31

Credits:
Producer, Engineer - Anita Baker
Producer, Engineer - Barry J. Eastmond
Producer, Arranger - Kenneth "Babyface" Edmonds (#6)
Engineer - Alan Sides, Dylan Dresdow, Ghian Wright
Recording - Paul Boutin (#6)
Engineer [Assistant] - Greg Burns, Jared Nugent, Tom Wilber
Engineer, Engineer [Assistant] - Kevin Szymanski
Mixing - Jon Gass (#6)
Mixing [Assistant] - Edward Quesada (#6)
Mixing - Erik Zobler
Mixing [Assistant] - Stefaniah McGowan
Mixing, Engineer - George Duke
Photography - Andrew Eccles

Anita Baker - A Night Of Rapture - Live, 1986 (2004)

When you listen to this recording you get the full measure of Anita. By that I mean, you will find that what she does and is best at, is not by benefit of any studio technical wizardry. In many ways this recording is the equal of "Rapture" for its directness, it's straight to the point delivery. Anita's voice is rich with big, rich tones. Those exhortations and unique vocal embellishments hold you transfixed. The band is first rate and she is backed unobtrusively by a band of some exceptional musicians, most notably James Bradley, Jr. and Gerald Albright. For me, "Mystery" and "(Caught up in the) Rapture" actually surpass the studio versions because Anita is just so much more direct in concert. Nothing gets in the way. This is an enhanced CD with three video files from the accompanying video. This is an excellent concert recording. She even attempts Van Morrison's "Moondance" which has now become a standard especially within the jazz world. This is where the more contemporary band gives it a perfunctory performance but Anita transcends this and captures the jazzy feel of the piece, somewhat faithfully. It's the one departure from what we all know is the Anita Baker repertoire. A truly compelling concert recording. ~ ND, NY, Amazon.com. 

Atlantic/Rhino Entertainment, 8122-78144-2, 2004
Recorded Live at Constitution Hall Washington, DC, 1986 (#2-4)
Recorded Live at The Montreux Jazz Festival, Montreux, Switzerland, July, 1986 (#7)
Recorded Live on Tour, 1986 (#1,5,6,8,9) 

Musicians:
Anita Baker - Vocals
Bobby Lyle - Keyboards, Musical Leader
Garry Glenn - Keyboards, Backing Vocals
Gerald Albright - Bass Guitar, Saxophone
Donald Griffin - Guitar
James Bradley, Jr. - Drums
Freida Williams, Gina Taylor, Joanne Funderburg - Backing Vocals 

Tracks:
1. Caught Up In The Rapture {Dianne Quander, Garry Glenn} (5:30)
2. Mystery {Rod Temperton} (5:23)
3. Been So Long {Anita Baker} (5:53)
4. No One In The World {Ken Hirsch, Marti Sharron} (4:10)
5. Same Ole Love [365 Days A Year] {Darryl K. Roberts, Marilyn McLeod} (4:01)
6. Watch Your Step {Anita Baker} (6:17)
7. Moondance {Van Morrison} (4:07)
8. You Bring Me Joy {David Lasley} (4:34)
9. Sweet Love {Anita Baker, Gary Bias, Louis A. Johnson} (4:51) 

Total Time: 44:46

Enhanced Content:
1. Sweet Love [mp4] (5:12)
2. You Bring Me Joy [mp4] (4:30)
3. No One In The World [mp4] (4:08) 

Credits:
Compilation - Barry "Rockbarry" Benson
Art Direction Nancy L. Hopkins
Design - Saori Soga
Photography [Front, Inlay] - Clayton Call
Liner Notes - Gary Jackson

Thom Rotella - Can't Stop (1997)

Even as the smooth jazz format has grown over the past ten years, its annals are unfortunately littered with many artists whose promise fell victim to poor promotion, folding labels, and unending label limbo. While many (i.e. Chris Boardman, Gary Herbig, Bill Bergman) seemed to give up the fight to focus on more lucrative side endeavors, Thom Rotella - who faced six years of this musical purgatory after three hit albums on DMP from 1987 to 1990, chose to struggle through the bleak period of turn-downs from seemingly every label in the genre. The title of his comeback album, Can't Stop reflects this brazen spirit in the face of all those rejection letters. But Rotella realized that the type of lightweight acoustic guitar music that launched his career was no longer en vogue and might not stand out among the competition in 1997; to get back in the game, he needed more substance, more grit. While Rotella fans from way back might think the crackling, electric Wes Montgomery-flavored licks on Can't Stop are a departure, the guitarist is simply reverting back to the style he intended to begin his solo career with all along. It's notable not only for Rotella's thicker production values and bolder sense of improvisation, but also for the pointed conversations he has with the horns of Rick Braun (trumpet and flugelhorn) and Gerald Albright (sax); none of his old albums had sax embellishment at all. On "Belly Up," he textures Land Richards' live drums with shuffling loops, blending his own fluid electric lines with a wah-wah guitar track, and weaving Albright's tenor through a veil of appearing, then disappearing bluesy keyboard lines by Jim Studer. On the feisty title track, Rotella starts with a groove foundation of Richards, percussionist Vail Johnson and percussionist Arno Lucas. Above this, Rotella's fluid lines gallop along, each verse culminating in a dual flourish of muted trumpet and guitar; Braun takes a solo, and then backs off so Rotella can wail away. ~ by Jonathan Widran, AMG.

Telarc Jazz Zone, CD 83416, 1997
Recorded 1997 At JAM Studio, Phat Cat Studio & Twin Sons Studio 

Musicians:
Thom Rotella - Guitar, Keyboards, Synthesizer, Synthesizer Bass, Drum Programming, Percussion Programming
Chris Tedesco - Flugelhorn, Trumpet, Trumpet [Muted]
Joe Turano - Soprano Saxophone
Jim Studer - Keyboards, Synthesizer, Drum & Percussion Programming
Larry Cohn - Keyboards, Piano [Electric]
Chris Rhyne - Keyboards, Synthesizer
Land Richards - Drums, Drum & Percussion Programming, Synthesizer Bass
Arno Lucas - Percussion 

Guests:
Gerald Albright - Soprano Saxophone, Tenor Saxophone
Rick Braun - Flugelhorn, Trumpet [Muted]
Mitchel Forman - Piano [Electric], Synthesizer
Vail Johnson - Bass 

Tracks:
01. What's The Story? {Thom Rotella} (4:35)
02. Mood {Thom Rotella} (4:29)
03. Dance The Night Away {Thom Rotella} (4:47)
04. Lights Out {Thom Rotella} (4:45)
05. Can't Stop {Thom Rotella} (5:12)
06. As Close As We Can Get {Thom Rotella} (5:02)
07. The Thought Of You {Thom Rotella} (5:11)
08. Belly Up {Thom Rotella} (5:01)
09. If Only {Land Richards, Thom Rotella} (4:47)
10. Stay The Night {Thom Rotella} (4:35) 

Total Time: 48:24

Credits:
Producer, Engineer - Thom Rotella
Executive Producer - Robert Woods
Engineer, Mixing - Matt Hyde
Mastering - Geoff Sykes

Charles Fambrough - Upright Citizen (1997)

The heart of a jazz fan beats like Fambrough's bass, driving the lifeblood of warm sounds through the speakers and into the brain. Some bassists, in their own sessions, favor percussive and percolating arrangements that place the instrument in the role of soloist. Charles Fambrough actually seems to downplay the bass on Upright Citizen, ceding the spotlight to guests like Grover Washington, Jr. and Joe Ford. Fambrough's domain here is the rhythm section, adding programmed drums to his basslines in order to get the right foundation in place. As the captain of this ship, Fambrough ensures a smooth ride, absorbing the shock in Alex Bugnon's potentially bumpy "In Stride" and making sure a track like "D's Song" has the right amount of snap to it. Though Fambrough built his reputation largely on bop, Upright Citizen is more of a crossover album, lyrical and light on its feet. There are certainly stretches of substance, such as George Duke's piano solo on "It's Not Easy Havin' Fun," but even here the soprano sax washes away the intellectualism in a simple, cleansing motion. This session doesn't completely qualify as smooth jazz; there's more afoot than sweet sounds and mildly funky rhythms, yet even the most complex passages are never far removed from an ingratiating and warmly rendered melody. If you enjoy the sound of the soprano sax but find Kenny G a little light for your tastes, Upright Citizen might be right for you. The disc was reissued by Random Chance in 2002, with a different cover and slightly scrambled track order that essentially flip-flopped the opening and closing songs, among other things. The original 1997 Nu Groove recording is rich, vibrant, and clean, so you can't go wrong with either copy. ~ by Dave Connolly.

NuGroove Records, NUG-3003, 1997

Random Chance Records, RCD-7, 2002

Musicians:

Charles Fambrough - Bass (#1,2-4,6-9), Keyboards (#1), Programmed Drums (#3,4,7,8)

John Swana - Trumpet (#1), Muted Trumpet (#6,8), EUI (#6,7)

Gerald Albright - Alto Saxophone (#6)

Joe Ford - Soprano Saxophone (#1-3,5,7,8)

Grover Washington Jr. - Soprano Saxophone (#4,9)

Alex Bugnon - Piano (#1,5), Keyboards (#1,5,8)

Bruce Barth - Piano (#2), Keyboards (#2)

Mulgrew Miller - Piano (#3), Keyboards (#3,4)

George Duke - Piano [Solo] (#4), Keyboards (#4,6)

Rich Budesa - Piano [Solo] (#8)

Bill O'Connell - Piano (#9)

Nick Sistrun - Guitar (#1)

Gerald Brown - Drums (#2,9)

N'Dugu Chancelor - Drums (#4,6)

Pete Vinson - Drums, Poogie Bell-Trumpet, Programmed Drums (#5)

Marlon Simon - Percussion (#1,9)

Edson D'Silva (cafe) - Percussion (#2,9)

Munyungo Jackson - Percussion (#1,6)

Jon Lucien - Vocals (#2)

Tracks:

1. Fun City {Charles Fambrough} (4:25)

2. Bright Eyes {Charles Fambrough} (7:40)

3. D's Song {Charles Fambrough} (5:04)

4. It's Not Easy Having Fun {Charles Fambrough} (5:43)

5. In Stride {Alex Bugnon} (5:01)

6. Disguises {John Swana, Charles Fambrough} (7:59)

7. Dina {Charles Fambrough} (5:09)

8. Down The Way {Charles Fambrough} (4:17)

9. Main Street {Bill O'Connell} (4:00)

Total Time: 46:18

Credits:

Producer - Charles Fambrough, Stuart Alan Love

Executive Producer - David Chackler