In the Nick of Time was the second album by Nicolette Larson, released in 1979.
The album features a duet with Michael McDonald (Doobies and Steely Dan), keyboards from Bill Payne (Little Feat), backing vocals from Bobby LaKind (Doobies) and Rosemary Butler, Ronnie Montrose on guitar, and percussion by producer Ted Templeman. Larson had a minor hit with her McDonald duet, "Let Me Go, Love".
AllMusic Review: In the Nick of Time was much more highly polished than Nicolette Larson's first effort. Here, Nicolette Larson is backed up by a crack team of L.A. studio musicians, and the results are sort of mixed. True, she doesn't suffer from the dreaded sophomore jinx that plagues so many first hit artists, but In the Nick of Time doesn't have that wow-charm that Larson did. Her styles have broadened even more here to include '40s dance tunes alongside Motown sure-fire hits and '50s rockin'. While nothing here grabs the listener's attention, there is plenty of fine listening in store. Larson even co-wrote the title cut and was helped out by such stellar friends as Karla Bonoff and Michael McDonald, who duets with her on his own "Let Me Go, Love," which comes off as an almost too slick cut for the listener to grab hold of. Culled from the late '70s Hollywood slick machine, In the Nick of Time could use a little dirt to help make it all sound just a bit more real.
Nicolette Larson (July 17, 1952 – December 16, 1997) was an American pop singer. In 1975, Larson auditioned for Hoyt Axton, who was producing Commander Cody. She performed with Hoyt Axton, opening for Joan Baez on the 1975 "Diamonds and Rust" tour.
Larson's work with Emmylou Harris on the album Luxury Liner (1977) led to her meeting Harris's friend Linda Ronstadt, who became friends with Larson. In 1977, Larson was at Ronstadt's Malibu home when neighbor Neil Young phoned to ask Ronstadt if she could recommend a female vocal accompanist. Ronstadt suggested Larson; she was the third person that day to mention Larson to Young. The following week Ronstadt and Larson cut their vocals for Young's American Stars 'n Bars album. Larson and Neil Young had a 1978 hit single with "Lotta Love", which hit Number One. She followed with four more adult contemporary hits.
Larson recorded with Marcia Ball, Rodney Crowell, and Emmylou Harris's Quarter Moon in a Ten Cent Town. She also contributed vocals to the Doobie Brothers' Minute by Minute. That album's producer, Ted Templeman, then produced Larson's debut album.
By 1985, she shifted her focus to country music, charting six times on the US country singles chart. Her only Top-40 country hit was "That's How You Know When Love's Right", a duet with Steve Wariner.
In 1992, Larson reunited professionally with Neil Young to sing on his Harvest Moon album; in 1993 she was featured on Young's Unplugged.
Through her early work in the 1970s with Emmylou Harris, Larson met guitarist and songwriter Hank DeVito. Larson and DeVito later married and divorced. In the early 1980s, Larson was engaged to Andrew Gold. In the late 1980s, she briefly dated "Weird Al" Yankovic. In 1990, Larson married drummer Russ Kunkel, and the two were married until her death in 1997.
She died in 1997 of cerebral edema and liver failure at the age of 45. According to Astrid Young, her friend and Neil Young's half-sister, Larson had been showing symptoms of depression, and her fatal seizure "was in no small way related to her chronic use of Valium and Tylenol PM."
The Kingston Trio is the debut album by The Kingston Trio, released in 1958.
Dave Guard, Nick Reynolds, and Bob Shane formed the Kingston Trio in Palo Alto, California in June 1957. By 1958 they had a recording contract with Capitol Records and were in the studio by February. From their first recording sessions, the single "Tom Dooley" was released and became a number one hit in the US. The single's success helped propel their debut album to the number one spot of the Billboard Pop chart.
The album entered the Billboard album charts in late October 1958 and stayed there for nearly four years.
Nick Reynolds ( vocals, tenor guitar, bongos, conga) stated, "We don't collect old songs in the sense that the academic cats do. Each one of us has his ears open constantly to new material or old stuff that's good."
"Three Jolly Coachmen" (Traditional)
"Bay of Mexico" (Traditional)
"Tom Dooley" (Alan Lomax, Frank Warner)
"Fast Freight" (Terry Gilkyson)
"Hard, Ain't It Hard" (Woody Guthrie)
"Sloop John B" (originally published as "The John B. Sails") is a Bahamian folk song from Nassau. A transcription by Richard Le Gallienne was published in 1916, and a version was included in Carl Sandburg's The American Songbag in 1927. Since the early 1950s there have been many recordings of the song with variant titles including "I Want to Go Home" and "Wreck of the John B". The Beach Boys' version of "Sloop John B" was on Rolling Stone's list of "The 500 Greatest Songs of All Time".
Al Jardine recalled:
"Brian was at the piano. I asked him if I could sit down and show him something. I laid out the chord pattern for 'Sloop John B.' I said, 'Remember this song?' I played it. He said, 'I'm not a big fan of the Kingston Trio.' He wasn't into folk music. But I didn't give up on the idea. So what I did was to sit down and play it for him in the Beach Boys idiom. I figured if I gave it to him in the right light, he might end up believing in it. So I modified the chord changes so it would be a little more interesting. The original song is basically a three-chord song, and I knew that wouldn't fly.
So I put some minor changes in there, and it stretched out the possibilities from a vocal point of view. Anyway, I played it, walked away from the piano and we went back to work. The very next day, I got a phone call to come down to the studio. Brian played the song for me, and I was blown away. The idea stage to the completed track took less than 24 hours."
"Scotch and Soda" was discovered by the Trio through Tom Seaver's parents, who had first heard it when on their honeymoon. One member of the trio was dating Seaver's older sister at that time, and heard the song on a visit to the Seaver home. Although it is credited to Dave Guard, the trio never did discover the real songwriter's name, though they searched for years.
Autographed by Dave Guard, Nick Reynolds, and Bob Shane.
Timothy B is the second studio solo album by Timothy B. Schmit, bass guitarist and co-lead vocalist for the Eagles, released in 1987.
The single, "Boys Night Out", peaked at #25 on the Billboard Hot 100 chart, Schmit's best selling single.
In 1968, Schmit (now 72 years old) auditioned for Poco but was turned down in favor of founding member Randy Meisner. When Meisner quit the band in 1969, Schmit replaced him on bass and vocals. He appeared on nine of Poco's studio albums and two live albums between 1969 and 1977.
Schmit toured with Jimmy Buffett, in 1983, 1984, and 1985 as a member of the Coral Reefer Band, and coined the term "Parrotheads" to describe Buffett's fans.
His voice can be heard on many hits, including Bob Seger's "Fire Lake", Don Felder's "Heavy Metal (Takin' A Ride)", and Crosby, Stills and Nash's "Southern Cross", where he sang harmony. He was also a background musician Don Henley's "Dirty Laundry".
Schmit also sang backing vocals on the Steely Dan albums Pretzel Logic, The Royal Scam and Aja.
Schmit also performed on the Toto 1983 hit singles "I Won't Hold You Back" and "Africa". Schmit provided background vocals to the 1987 Richard Marx hit "Don't Mean Nothing".
In 1998, he was inducted into the Rock and Roll Hall of Fame as a member of the Eagles.
On Sunshine is an album by Bill Summers and Summers Heat, released in 1979.
"Walking On Sunshine" was written by Eddy Grant. "She's Gone" was written by Hall and Oates.
During the 1970s, he was a member of The Headhunters with Herbie Hancock. He worked with Quincy Jones on the scores for the movie The Color Purple and the television miniseries Roots.
Summers (age 72) recorded with Sting (The Soul Cages), Harry Connick Jr, The Pointer Sisters, Kenny Loggins, Allen Toussaint, Stevie Wonder, and many others.
AllMusic Biography: To say that Bill Summers is a percussionist is like saying a Steinway is a piano: The noun conveys none of the history and quality of the owner of the title. Summers is a musician of the highest order, playing anything from traditional African instruments to pop bottles, and a cultural visionary who brings diverse people and ideas together. Whether working with Quincy Jones on the musical score for Roots, or the soundtrack to The Color Purple, or interpreting the music of the holiday Kwanza, Summers is cognizant of his heritage and its many contributions to world culture. His late-night musical soirées in his New Orleans home have often served as a lightning rod for creativity and success.
And witness the fortuitous phone call from Irvin Mayfield to Jason Marsalis, who suggested that the trumpeter call Summers about his idea for a Latin rhythms/jazz fusion-inspired group. Late-night sessions at the Summers residence resulted in the 1998 formation of Los Hombres Calientes, an overnight sensation in New Orleans and then the world. Los Hombres Calientes tore the roof off Snug Harbor, the House of Blues, and ignited the stage at the New Orleans Jazz and Heritage Festival with its searing dance music.
In 1999, Bill Summers was initiated into the prestigious Yoruba order of sacred drummers by Estaban "Cha Chaa" Vega, the most revered drummer in Cuba.
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