Farrell And Farrell – A Portrait Of Us All – 1979

This is the second album from Bob and Jayne and Word records (The distributor) promoted it like crazy. It included the enduring hit “Boundless Love” (originally written and released by Dennis Loewen) which made it to #13 on the CCM charts. The bigger hit on the album was actually “All You Need” which climbed to #3. This track featured Amy Grant on background vocals which must have had something to do with the albums producer Brown Bannister. Bob said in an interview that he sought out Bannister after hearing Amy’s first album. Brown listen to some of the Farrell’s first album and wanted to do this album. They headed into Gold Mine Studios in Nashville, which was owned by Chris Christian, and cut the album. Farrell & Farrell are not exactly my preferred genre but they always seemed to have the ability to get a few tracks on each album that I liked. Most of this album is soft rock but there’s a few tracks that keep me interested. This in one of the CCM era albums that everyone should listen to.

Tracklist
1 – I Couldn’t Live Without You – 3:44
2 – Fallen – 3:55
3 – Put More Love In Me – 3:23
4 – Can’t Ask Anything More – 2:27
5 – Boundless Love – 3:34
6 – No Need – 3:04
7 – Find It In The Word – 2:52
8 – Jailhouse Rock (Acts 16:16-34) – 1:50
9 – All You Need – 4:44
10 – Scars – 4:12
11 – A Place In His Heart For You – 3:03

Credits
Acoustic Guitar – Jon Goin, Larry Byrom, Ron Elder
Backing Vocals – Amy Grant, Ava Gardner, Cindy Richardson, Marie Clark
Bass – Jack Williams, Jerry Bridges, Mike Leach
Congas, Bongos – Terry McMillan
Cymbal – Terry McMillan
Drums – Kenny Malone, Roger Clark
Electric Guitar – Jon Goin, Larry Byrom
Electric Piano – Randy Goodrum, Bobby Ogden, Shane Keister
Flugelhorn – Harrison Calloway, Jr.
Flute – Quittman Dennis
Horn – Charles Rose, Harrison Calloway, Jr., Harvey Thompson, Ron Eades
Lead Vocals – Bob Farrell, Jayne Farrell
Lyricon – Quittman Dennis
Organ – Shane Keister
Percussion – Roger Clark, Terry McMillan
Piano [Acoustic Piano] – Bobby Ogden, Randy Goodrum, Shane Keister
Strings – Shelly Kurland Strings
Synthesizer – Shane Keister
Saxophone, Lyricon – Quittman Dennis
Trombone – Charles Rose

Companies, etc.
Phonographic Copyright ℗ – Newpax Records, Inc.
Copyright © – Newpax Records, Inc.
Published By – Paragon Music Corp.
Published By – Bug & Bear Music
Distributed By – Word, Inc.
Distributed By – Word Records Limited
Distributed By – The Benson Company
Produced For – Chris Christian Productions
Recorded At – Gold Mine Studio
Recorded At – Sound Stage Studios
Mastered At – Masterfonics

Stewart & Kyle – Isn’t It Strange – 1978

This is the second album of theirs that we’ve featured and I still can’t find out anything about them. This is their second albumand it appears to be U.K. only release except that it was re-released in Germany in 1993 on CD. I have discovered that Chris Kyle has continued his music career as a studio musician and actually appears on lots of projects and is still working currently. Alistair Stewart appears to have moved on from a recording career as there is no activity from him after 1992. This album is also firmly in the easy listening category with a couple upbeat tracks. Some real talent in these guys and I’m surprised this didn’t get an American release. Anyway enjoy the soothing sounds of Stewart & Kyle.

Tracklist
1 – Come Early – 3:49
2 – America – 4:17
3 – C’est La Vie – 3:23
4 – When Love Came Down – 2:52
5 – Open Boat – 4:45
6 – Do You Remember? – 3:57
7 – Don’t Hold Me Back – 4:42
8 – Many Times – 3:25
9 – Living In These Days – 4:57
10 – The Sad And Lonely – 4:14

Credits
Vocals, Guitar, Written-By – Chris Kyle
Vocals, Piano, Guitar, Written-By – Alistair Stewart

Companies, etc.
Phonographic Copyright ℗ – Pila Music
Copyright © – Grapevine

2nd Chapter Of Acts, Phil Keaggy And A Band Called David – How The West Was One – 1977

“How the West Was One” is an artistic achievement of its own and is deserving of its representation here if only for the remarkable performance of Phil Keaggy. Phil Keaggy, more than any artist in Christian music, has suffered from the limitations of studio projects. Most fans of Keaggy bemoan how his live performances have never been captured in the studio. This is certainly not the case here, but that will be dealt with later.

The first thing to note is the ambitious scope of the project itself. A few years earlier the 2nd Chapter of Acts had released a live album with fellow Jesus Music pioneer, Barry McGuire. That album was a double album and sold relatively well based primarily on the success of Barry McGuire who brought quite a strong musical legacy to Christian music. This project was more ambitious being a very rare three record set with the 2nd Chapter of Acts having to carry the load as Phil Keaggy was a relative newcomer to the market and his following was much more in the rock musician vein. Add to that the fact that the SCOA had not released another album of new material since the previous live album with McGuire.

But the pure passion and quality of the performances included on this project are simply top rate. The back up band, a band called DAVID, contained some of the best musicians Christian music has ever witnessed. The band was not called “DAVID” but rather “a band called DAVID.” The band included Gene Gunnels, former drummer Strawberry Alarm Clock, Peter York and the amazing Richard Souther. Along with Keaggy playing throughout the entire album the musicianship was superior. The live band also made the music of SCOA more authentically contemporary,

Highlights include “Hey, Watcha Say,” “Which Way the Wind Blows,” Yahweh,” and one of the finest versions of “Easter Song” to date. The recordings, which were culled from an 18 city tour during 1977, were incredibly well produced with exceptional mixes.

As much as I am a huge fan of the Second Chapter of Acts this project was truly a coming out party for Phil Keaggy. Previous to this release Keaggy was a bit of a cult hero, but mainstream Christian music had not completely caught on to this amazing master. Underground rock fans were familiar with Keaggy and his previous band Glass Harp, a sixties influenced, psychedelic blues influenced band that released three fantastic projects that saw limited success.

Keaggy’s guitar virtuoso reputation was impressive and many urban legends regarding secular guitar heroes respect for his abilities have continued unabated despite nefarious beginnings. One included a comment from famed guitar “rock god” Jimi Hendrix supposedly calling Keaggy the greatest guitar player in the world. Keaggy denies even the possibility of this by noting that  Glass Harp’s first album did not even begin to be recorded until weeks after Hendrix’s death.

But these legends have continued for 40 years precisely because of the kind of guitar work demonstrated on “How the West Was One.” Both acoustic and electric stylings are represented here and the craftsmanship is simply unbelievable.

Highlights include “What a Day,” the title track from Keaggy’s debut solo record and has remained a staple for Keaggy for nearly 40 years. “Your Love Broke Through” was the title track of Keaggy’s second release and is a wonderful Jesus Music classic penned by Randy Stonehill and Keith Green. It is said that Green was so impressed by Keaggy and his version of the song that he requested that Keaggy release the song before he did.

But there are two songs that simply make this project the true classic that it has become. The first is the nearly 17 minute version of “Rejoice” that shows both Keaggy’s amazing skills and the subtlety of his guitar work. This is not some long rambling “jam” but rather the work of a master displaying diversity, restraint and creative skill. Much of the instrumental spotlight is exclusively the work of Keaggy as the rest of the band simply stops playing and leaves Keaggy and his guitar work center stage.

The other highlight is quite possibly the “Stairway to Heaven” of Christian music. The song, “Time” is a 10 minute tour de force of rock at its finest. Where “Rejoice” shows the innovative, creative and quieter side of Keaggy’s work, “Time” just flat out rocks and contains the finest rock work of Keaggy’s career. The song shows the blazing speed and tasteful lead work that always seems to be missing from his studio projects. The back and forth playing between Keaggy and keyboardist Richard Souther is a sheer rock and roll joy.

“How the West Was One” is a snap shot in time and, in some ways, spelled the end of the Jesus Music part of Christian Music’s history. Things seemed to get “bigger” after the release of this project and two Jesus Music’s leading performers would become significant cogs in the bigger music medium of the 1980′s. But for that moment in time, this wonderful album remains a reminder to what was as it, at the same time, pointed to would be.

Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/

Tracklist
1 – Concert Intro – 2:19
2 – Hey, Watcha Say – 4:13
3 – Keep On Shinin’ – 3:26
4 – I Fall In Love/Change – 5:49
5 – Now That I Belong To You – 4:08
6 – What A Day – 6:38
7 – Love Broke Thru – 4:26
8 – Take Me Closer – 5:34
9 – My Life – 5:58
10 – Another Try – 5:06
11 – Rejoice – 16:57
12 – Just The Same – 4:17
13 – Hallelujah – 5:37
14 – Time – 9:35
15 – Easter Song – 4:54
16 – Dance With You – 4:07
17 – Which Way The Wind Blows – 4:44
18 – Something Tells Me – 6:32
19 – Yaweh (Yawehuesse Cosio) – 3:24
20 – Psalms 61 (From Scripture) – 3:18
21 – Grinding Stone – 2:47
22 – Receive – 3:53
23 – Morning Comes When You Call/Son Comes Over The Hill – 6:51

Credits
Marc Curtis – Coordinator [Concert]
Wally Duguid – engineer
Nelly Greisen – vocals
Gene Gunnels – drums
Annie Herring – piano, vocals
Buck Herring – producer, mixer, concert intro
Phil Keaggy – guitar, vocals
Herb Melton – bass
Richard Souther – piano, multi-keyboards, background vocals
Matthew Ward – vocals
Peter York – rhythm guitar, background vocals

Companies, etc.
Manufactured By – Word, Inc.
Distributed By – Word, Inc.

Sharalee – Finally Him, Finally Me – 1980

This is Sharalee’s (Sharalee Lucas Sherman) 5th album. She was completely unknown to me but this is another case of someone who’s genre wasn’t my choice. She actually appeared on a ton of albums in the 70’s including Walt Disney’s Voices of Liberty. She also hosted the 1978 Dove Awards with her husband of the time Jerry Lucas who was a NBA basketball star. As for the album well it’s rather strange. The music has a funk feel but her vocals are completely unsuited to this style. Also strangely there is one country track on the album but this track suits her vocals. The album was produced by John Thompson who was a great producer but I have no idea why he thought this album was good. Continuing the strange of this album, it was re-released a year later on Impact records. Impact did a different much better album cover but otherwise the album was identical. Anyway give it a listen and tell me what you think.

Tracklist
1 – Stand Up And Be Counted – 4:19
2 – Gettin’ Out – 3:12
3 – Welcome Love – 3:45
4 – Even As We Are One – 3:36
5 – Lead Me Home – 3:43
6 – Don’t Give In – 2:55
7 – Open Up My Eyes – 3:15
8 – Glory Forevermore – 4:41
9 – Don’t Look To Me – 2:46
10 – You Mean More To Me – 3:25
11 – Resurrection Power – 3:30

Meet Jesus Music – Gold – 1975

Meet Jesus Music were a U.K. Jesus music band out of the 70’s. I had never heard of them before so I started doing some research and discovered they were pretty popular in the U.K. at the time. The U.K. didn’t have as many Jesus music bands so these guys filled a gap in local music. This is their second and last album but many members of the band went on to have solo careers. The band is probably best known in the 80’s circles for their performance at Greenbelt in 1979. As for the album it is your rather typical Jesus music and nothing really stands out to me but that’s not to say it’s bad. To me a lot of music form this era sounds the same but I am not a connoisseur of this era and I don’t mean any disrespect to the music.

Tracklist
1 – Gold – 5:05
2 – Too Many Times – 4:05
3 – Just One Touch – 4:06
4 – High Time – 2:40
5 – Cannot Understand – 4:15
6 – Hey Mr. Sally Ann! – 3:22
7 – Jesus – 3:22
8 – Take Time – 4:51
9 – Don’t Let Them Fool You – 4:21
10 – Praise the Lord! – 3:20

Credits
Bass – Simon Dennis
Bass Trombone – Dave Scragg
Cello – Dave Thorn
Congas, Timbales – Julian Sullivan
Design – Gillard Bros. Graphics
Drums – Tony Taylor
Engineer [‘Live’ Sound Engineer] – Mike Waller
Engineer, Producer – John Pantry
Guitar – Dave Gillard
Harp – Muriel Liddle
Trombone – Dave Gladman, Keith Brown
Trumpet, Flugelhorn – Ray Allen
Vibraphone, Flute, Arranged By [Brass Arrangement] – Peter Shade
Vocals – Angie Routledge
Vocals, Guitar, Trombone – Ken Smith
Vocals, Keyboards – Keith Routledge, Lou Hayles

Bob Bennett – Matters Of The Heart – 1982

Clearly the single greatest oversight in the previous Top 50 list was the omission of Bob Bennett as an artists, and most specifically, this amazing project as an album. That omission is hopefully rectified here with its inclusion in the Top 20; a well deserved placement for one of the early 80’s most poignant, important and brilliant releases. Bennet’s stories songwriting career found a zenith of sort in the nearly perfect musical expression. A decade before the strains of life brought a painful album of loss and regret in “Songs From Bright Avenue,” Bennett released “Matters of the heart,” an album filled with grace, yearning, hopes, legacy and love. Brilliantly performed with not one stray note or moment, the album is Bennett’s finest complete collection. There is nothing here that can be skipped. No album title has ever been more apropos than the one here as Bennett explores the emotional, nostalgic, inspiration and frailty of the human heart and its faltering condition. The themes are set against some beautiful melodies that warm, soothe and wrap their notes around the listener in such a gentle and calming way that the album serves as both wonderful background music and forefront personal examination encouragement. Bennett’s first release was on Maranatha Music and Bennett noticed from the very beginning that he did not quite fit with the rest of the artists on the label and with the Calvary Chapel way of doing things. the label’s pastoral type executive were kind enough to allow Bennett to record his brilliant debut, but did nothing to garner airplay, tour support or marketing. In fact, Bennett was left out of all of the label sponsored concerts and events. Bennett’s concerns about the relationship were verified when there was never a discussion about a follow up despite the albums relative success given the lack of support. So, as the 1970’s became the 1980’s Bennett found himself with a suitcase full of songs and no label. At the same Time CBS Records was working on an “Inspirational” imprint with eyes of taking CCM into the mainstream with artists they believed carried that potential. The James Taylor-like musical expressions of Bennett’s soulful pop had a strong Adult Contemporary, acoustic appeal that was quite popular at the time. The label would be called “Priority Records” and would be the home of everyone from Bennett to Carman and even a one-off by Mylon LeFevere under the name, “Look Up.” Bennett was impressed initially by the label when the label’s President actually personally returned a phone call to him. This true rarity gave Bennett hope this would be his new musical home. Bennett went into the studio with Jonathan David brown to record some demos for the label and eventually signed with the label. Bennett described to me that after the rather simplistic contract with Maranatha Music, the CBS record deal would make the IRS regulations seem pale in comparison. After signing Bennett returned to the studio with Brown and a sick list of musicians that would make most artists green with envy. Smitty Price was brought in to create the band charts, arrangements and lead the band that consisted of Hadley Hockensmith, John Patitucci, Keith Edwards, John Ferraro, Alex MacDougall and Price. Bennett was joined by Kelly Willard and the impeccable Roby Duke on backing vocals.There are even real strings to be heard here! What made the album seem so consistent throughout was that even though the album was loaded with brilliant musicians there was primarily one core band with only Ferraro and Edwards sharing the drumming duties. This gave an amazing studio album a true band feel throughout. Much kudos here to Brown for making it come together flawlessly for the listener. The albums title track and finishing track share a similar musical landscape and even a similar title. This somewhat thematic approach weaves throughout the entire project. Opening with “Matters of the Heart” and closing with “Heart of the Matter,” the album introduces and brings home all of these themes into one cohesive unit. The album starts off with the title track and the listener is immediately introduced to a wonderful acoustic musical, swirling melody that quickly morphs into a jazzy vibe that is utterly infectious. The listener is also introduced to brilliant songwriter at his very best. The song delivers a powerful message of the truth that there are things that numbers, statistics and sales cannot measure, nor define; these are the true matters of the heart. These undefinable feelings, impressions and responses cannot be put through a strainer or defined by an outside source. The constant struggle to understand the “concrete and the spiritual” that wields this internal battle is so beautifully portrayed that the only lyrical comparison would be something from Bruce Cockburn’s “Dancing In the Dragon’s Jaws.” This would probably also serve as a good starting point musically. the guitar work, especially Bennett’s acoustic work is very reminiscent to Cockburn’s work on that album. It should be noted here that not only did Bennett surround himself with brilliant musicians, he is also an accomplished acoustic guitar player. The previous comparison to Cockburn is meant to be taken lyrically and musically. His playing both melodic and intricate. Perhaps only Keaggy and Heard would rival his playing. The beautifully jazzy “Falling Stars” will remind some listeners of Roby Duke’s softer side or the aforementioned Cockburn’s “Night Vision.” Here the heart’s struggles and pain are examined. Sin and the pain of loss are compared to these falling stars with no hope but to crash. But Bennett finds a glimmer of hope as the song concludes that hints at what will be revealed later in time and on the album. One of Bennett’s truly great artistic achievements follows with “Mountain Cathedrals.” This epic song of epic praise reads like a Psalm where the writer realizes just how minuscule he is compared to the vast creation and majestic work of God, all the while realizes this same God loves him personally. Bennett’s personal frailty is so common that one would be hard pressed not to relate. Musically, the album is a real treasure as it floats from a simply worship like melody to this wonderful Celtic type musical break and closes with a more country rock feel of the same melody. It is nearly progressive in a purely acoustic setting. The first of a few “legacy” songs is “1951,” a poignant picture of his family, especially his father. One can see the song , written in black and white, and compares favourable to Bruce Springsteen’s more emotive lyrics, though musically very acoustic jazz. The legacy of simple faith and the need to pass along to further generations the faith and family values is on display here. Nothing about the life of the family sounds easy, but rather, all too real. A long time personal favourite is “A Song About Baseball.” This same father introduced in the previous song appears here as a loving and compassionate one who loves his son no matter the results of his athletic endeavours. Bennett croons, “He loves me, no matter how I played.” And so, this example rings true about a heavenly father who loves us no matter what. One line that really sticks with the listener is “nothing mattered after the game, when my father would find me, and call out my name.” The simple expression of a father knowing his son by calling out his name leaves an indelible mark. On “Madness Dancing” the heart finds a heart that is more expressive and joyous than elsewhere on the album. There are times when all hearts must simply release its love for God even in ways that are unconventional and uncomfortable. Though there are times to experience a sombre, sober and reflective worship, there are times when the heart must be free of expectations. It is at these times that Bennett cries out, “I don’t want to shoot anyone, with my high powered doctrine gun.” I also would like to bring attention to the great band feel on this song, especially the brilliant guitar work by Hockensmith. The album returns to a much more reflective and difficult content with “Together All Alone.” The struggles for purity and true relationship are contrasted with the desire to be loved and to interact on a deeper level. Very few songs understand the real struggles of young people and older ones alike like this song. The first story revolves around a lonely and needy young boy whose girlfriend had moved away leaving him at a loss. But Bennett’s keen wisdom and lyrical precision describes the struggle perfectly with the lines, “She bounces his heart like a basketball” and “he lies with his with back to back…together all alone.” Then leaves a chilling and sombre reminder that somewhere, half-way around the world, “a shepherd tends his sheep” “Beggar” always brings to mind Walter Wangerin’s great short story, “Ragman,” in which a man trades in his rags for new clothes. In Wangerin’s powerful story the beggar trades his old clothes with another who takes upon himself the wounds and scars of the beggar. Here the beggar is clothed in new garb who is also now well fed because he discovered where true bread resides. I will not claim that “Come and see” in Bennett’s finest moment ever, but it certainly ranks up there among his best. This beautiful and worshipful melody is just captivating. It should have grown to be a great song of invocation or calling for its majestic sound and yearning content. Bennett calls the listener to come and meet this man from Heaven. A recent Facebook discussion led one man I admire greatly in the industry to refer to the song as “majestic.” I cannot disagree, I find myself hitting repeat quite often as I listen to the album. Though it does not serve as the album’s closing piece, it does, in way, close out the albums message with a call to meet the Savior. In the hands of a less gifted communicator the content could have sounded trite and simplistic, but with Bennett it is revealed as authentic, genuine and convincing. The album closes with somewhat of a reworking of the title track in “Heart of the Matter.” After a short acoustic introduction, the title track’s rhythm and groove is repeated with a chord reversal to match the title’s reversal. There is one moment when the song retraces the actual title track’s melody, then returns to its initial form. It is is really a musically brilliant work and Bennett, Brown and, especially Price, deserve serious kudos. CCM Magazine made the album it’s “Album of the Year” and would later include it in the Top 20 of it’s first “Greatest of All Time” countdowns. It would also show up up lower when the CCM released its Top 100 of all time, which is ridiculous! Bennett ranks with Mark Heard, Bruce Cockburn and Terry Scott Taylor as among the finest songwriters in Christian music history. “Matters of the Heart” is Bennett’s finest work ranks among the very best singer-songwriter albums in or out of Christian music.

Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/

Tracklist
1 – Matters Of The Heart – 3:30
2 – Falling Stars – 3:07
3 – Mountain Cathedrals – 4:54
4 – 1951 – 3:07
5 – A Song About Baseball – 3:21
6 – Madness Dancing – 3:19
7 – Together All Alone – 2:48
8 – Beggar – 3:57
9 – Come And See – 2:51
10 – Heart Of The Matter – 6:10

Credits
Acoustic Guitar – Bob Bennett
Arranged By [Strings & Woodwinds], Conductor – James Gabriel Stipech
Art Direction – Bob McConnell
Booking – The Holmes Agency
Concertmaster – Pavel Farkas
Drums – John Ferraro, Keith Edwards
Electric Bass, Acoustic Bass – John Patitucci
Electric Guitar – Hadley Hockensmith
Engineer [Second] – Wally Grant
English Horn, Flute, Saxophone – John Phillips
Guitar [2nd] – Steve Swinford
Hammered Dulcimer [Hammer Dulcimer] – Mark Davis
Keyboards – Smitty Price
Mastered By – Steve Hall
Percussion – Alex MacDougall
Photography By – Ken Kim
Photography [Bob Bennett and Albie Pearson] – Dad
Producer, Engineer, Mixed By – Jonathan David Brown
Score Editor [Rhythm Charts] – Smitty Price
Steel Guitar – Steve Swinford

Companies, etc.
Manufactured By – Priority Records
Manufactured By – CBS Inc.
Produced For – Pacific Entertainment Group
Recorded At – Weddington Studios
Mixed At – Weddington Studios
Mastered At – MCA Whitney Recording Studios
Pressed By – Columbia Records Pressing Plant, Carrollton, GA
Designed At – McConnell Graphics
Lacquer Cut At – MCA Whitney Recording Studios
Phonographic Copyright ℗ – CBS Inc.
Copyright © – CBS Inc.
Published By – Priority Music

Larry Carlton – Alone/But Never Alone – 1986

Larry Carlton’s “Christian” music career is actually very interesting. Larry started out in the 60’s with the band The (Jazz) Crusaders who had a big hit in 1979 with “Street Life”. Larry continued with them while both pursuing a solo career as well as doing a lot of session work. He certainly was one of the hardest working men in the business. The story of his coming to Christ is not your normal “a friend introduce me” story instead he describes it as follows. “…I started reading a lot of books on different religions. I remember there was one night in Philadelphia after a show. I had been reading these books and digesting and thinking about religion. I just remember coming to a conclusion one night after a gig. I was lying in bed and I just told the Lord, “I don’t know any more about you than I did 2 months ago, but I choose you.” That was the beginning of my relationship with the Holy Spirit.” Larry however never really considered moving to the Christina music industry and stayed in the secular market. This was his first release after his coming to Christ. There is actually more to Larry’s life story, lots more, but we will cover it chronologically as it relates to his album releases so stay tuned for more.

Tracklist
1 – Smiles And Smiles To Go – 5:44
2 – Perfect Peace – 4:25
3 – Carrying You – 3:58
4 – The Lord’s Prayer – 5:07
5 – High Steppin’ – 6:42
6 – Whatever Happens – 4:25
7 – Pure Delight – 5:31
8 – Alone/But Never Alone – 3:32

Credits
Acoustic Guitar – Larry Carlton
Art Direction – Simon Levy
Bass – Abraham Laboriel, Larry Carlton
Design – Thomas Ryan Design
Drums – Rick Marotta
Electric Guitar – Larry Carlton
Engineer [Assistant] – Hal Sacks
Keyboards – Larry Carlton, Terry Trotter
Keyboards [Additional] – Larry Carlton
Management – Charlie Lico
Mastered By – Bernie Grundman
Percussion – Michael Fisher
Photography By – McGuire
Producer, Arranged By – Larry Carlton
Recorded By, Mixed By – Rik Pekkonen
Synthesizer [Dx7] – Terry Trotter
Written-By – Albert Malotte, Bill Withers, Larry Carlton

Companies, etc.
Manufactured By – Record Service GmbH
Produced For – Larry Carlton Productions
Phonographic Copyright ℗ – MCA Records, Inc.
Copyright © – MCA Records, Inc.
Made By – WEA Musik GmbH
Recorded At – Room 335, Hollywood
Mixed At – Room 335, Hollywood
Mastered At – Bernie Grundman Mastering
Pressed By – Record Service Alsdorf