Dazz Band -

The Dazz Band was an American soul-funk nine-piece from Cleveland, first named Kinsman Dazz for two 1978/79 albums on 20th Century Fox. As Dazz Band, they released seven 1980–85 albums on Motown and scored R&B crossover hits with “On the One for Fun,” “Let It All Blow,” and the electro-funk anthem “Let It Whip.”

Members: Bobby Harris (saxophone, clarinet, vocals), Isaac “Ike” Wiley, Jr. (drums, 1980-95), Pierre DeMudd (trumpet, vocals, 1980-88, 1998-2001), Michael Wiley (bass, vocals, 1980-88), Kenny Pettus (vocals, percussion, 1980-86, 1998-2001), Sennie “Skip” Martin (trumpet, vocals, 1980-85, 1998-present), Eric Fearman (guitar, 1980-85), Kevin Kendrick (keyboards, 1980-81, 1998-2001), Michael Calhoun (guitar, vocals, 1980-81), Ed Meyers (trombone, 1980-81), Keith Harrison (vocals, keyboards, 1982-88), Marlon McClain (guitar, 1985-2014), Jerry Bell (vocals, 1986-87)

Background

The band formed in 1976 through a merger of two Cleveland jazz-funk bands, Bell Telefunk and Mother Braintree. (Both bands, unheard for more than three decades, had archival singles issued in 2017 by Super Disco Edits.)

Saxophonist Bobby Harris led the new band, which featured guitarists Michael Calhoun and Eric Fearman, bassist Michael Wiley, drummer Isaac Wiley, keyboardist Kevin Frederick, percussionist Kenny Pettus, and trumpeters Skip Martin III and Pierre DeMudd. Local businessman Ray Calabrese, who owned The Kinsman Grill in Harris’s childhood neighborhood, became their manager and named them Kinsman Dazz. The word “Dazz,” chosen before the namesake hit by Brick, is a portmanteau of “dance” and “jazz.”

In 1977, Kinsman Dazz signed to 20th Century Records and contacted Marvin Gaye, their intended producer. When Gaye fell ill, they secured Philip Bailey of Earth Wind & Fire.

Kinsman Dazz

Kinsman Dazz released their self-titled debut album in October 1978 on 20th Century Fox.

The album introduced the group’s horn-charged jazz-funk with bright vocal arrangements and string charts. Produced under the guidance of Philip Bailey, it blends Cleveland’s street-funk roots with an EWF–styled polish.

Guitarist Michael Calhoun wrote “Makin’ Music” and co-wrote “Get Down With the Feelin’,” “Dazzberry Jam,” “And I Mean,” and “Name That Tune.” Bassist Michael Wiley, percussionist Kenny Pettus, and saxophonist Bobby Harris contributed across these numbers with Bailey. Keyboardist Michael G. Jackson co-wrote “Saturday Night” and “Dazzberry Jam.” External writers include Mark Bacon and Tony Cain (“I Might As Well Forget About Lovin’ You”), Lisa Dal Bello (“[Don’t Want To] Stand in Your Way”), Les Thaler (co-writer of “Name That Tune”), and trombonist Ed Myers (“In My Life”).

The set balances uptempo dance numbers like “Get Down With the Feelin’” and “Dancin’ Free” with mid-tempo tracks such as “Saturday Night” and “Catchin’ Up on Love,” the latter spotlighting Wayne Preston on lead. Calhoun’s guitar takes a prominent role on “I Searched Around” and “Dazzberry Jam,” while “In My Life” closes the record in a softer, reflective mood.

A1. “Saturday Night” (4:51)
A2. “Get Down With the Feelin’” (4:05)
A3. “I Might As Well Forget About Lovin’ You” (4:33)
A4. “Makin’ Music” (3:42)

B1. “Dazzberry Jam” (2:45)
B2. “And I Mean” (4:20)
B3. “(Don’t Want To) Stand in Your Way” (3:51)
B4. “Name That Tune” (2:48)
B5. “In My Life” (3:47)

Sessions took place at Filmways/Heider Recording in Hollywood with producers Philip Bailey, Ralph Johnson, and Tommy Vicari. Vicari engineered and mixed the album at Sound Labs, also in Hollywood. Bernie Grundman mastered the album at A&M Studios.

The Kinsman Dazz features cover photography by Norman Seeff and design by Mick Haggerty.

“I Might As Well Forget About Lovin’ You” appeared as the first single, followed by “Get Down With the Feelin’,” backed with “Makin’ Music.”

Dazz

Kinsman Dazz released their second album, simply titled Dazz, on August 14, 1979, on 20th Century Fox.

The album expands on their debut with a tighter funk-disco drive, extended track lengths, and layered arrangements that align with late-1970s urban dance styles. Strings, horns, and multi-voiced choruses give the record a fuller dimension than their prior release.

Guitarist Michael Calhoun wrote “I Searched Around” and co-wrote “Dancin’ Free,” “Keep On Rockin’,” and “Can’t Get Enough.” Saxophonist Bobby Harris wrote “Catchin’ Up on Love,” and co-wrote “Love Design” with drummer Isaac Wiley. External writers include Beloyd Taylor, who co-wrote “Can’t Get Enough,” and Ed Myers, who co-wrote “Dancin’ Free.” Keyboardist Michael Jackson co-wrote “Keep On Rockin’.”

The set opens with “Dancin’ Free,” a seven-minute disco jam with interlocking horns and percussion. “I Searched Around” contrasts with a supple ballad feel, while “Love Design” blends brass stabs with vocal call-and-response. “Keep On Rockin’” pushes toward arena-funk with sharper guitar textures. “Catchin’ Up on Love” carries a smoother R&B phrasing, and “Can’t Get Enough” closes with layered horn riffs and extended instrumental interplay.

A1. “Dancin’ Free” (7:00)
A2. “I Searched Around” (4:39)
A3. “Love Design” (6:14)

B1. “Keep On Rockin’” (6:41)
B2. “Catchin’ Up on Love” (5:09)
B3. “Can’t Get Enough” (7:14)

Sessions took place at Filmways/Heider Recording in Los Angeles with producers Pat Glasser and Tommy Vicari. Vicari also engineered alongside Les Cooper, with Brian Gardner mastering at Allen Zentz Mastering.

Dazz features cover illustration by Shusei Nagaoka, noted for his futuristic fantasy art. Stephen Harvey handled photography, with art direction and design by Roger Carpenter.

Three singles appeared: “Keep On Rockin’” backed with “I Searched Around” in September 1979, “Catchin’ Up on Love” backed with “I Searched Around” in December, and a June 1980 issue of “I Searched Around” backed with “Dancin’ Free.”

Invitation to Love

Dazz released their third album, Invitation to Love, on October 7, 1980, on Motown.

The album introduced the group’s reorganization under the shortened name Dazz Band, marking their Motown debut with new members Sennie “Skip” Martin (vocals, trumpet), Pierre DeMudd (vocals, trumpet), and Kevin Kendrick (keyboards). It balances uptempo funk and disco-inflected tracks with smoother ballads, using expanded horn and string sections for a fuller arrangement style.

Guitarist Michael Calhoun wrote “I Searched Around,” “Skate Lovers,” and co-wrote “Shake It Up” with saxophonist Bobby Harris, who also co-wrote “Hello Girl” and “Sooner or Later” with Calhoun and Kendrick. DeMudd co-wrote the title track with Calhoun. Harris, who handled multiple horn arrangements, wrote “Do It Again” with Eric Fearman and Kendrick. Drummer Isaac Wiley wrote the instrumental closer “Beyond the Horizon.” Outside writers include Fearman, who wrote “Magnetized,” and Kendrick, who co-wrote “Carry On” with Calhoun.

The set opens with “Shake It Up,” a brassy funk track dominated by Harris’s horn charts and choral vocals in the vein of Earth, Wind & Fire. The title track slows the pace with string lines arranged by Gil Askey and a soaring vocal by Martin. “Magnetized” and “Skate Lovers” restore an uptempo pulse with Harris’s horn punctuation and sharp guitar figures from Calhoun and Fearman. “Hello Girl” takes a softer phrasing with alternating lead lines from Kenny Pettus, while “Sooner or Later” drives with layered horn stabs. “Beyond the Horizon” closes as a horn- and string-led instrumental.

A1. “Shake It Up” (5:05)
A2. “Invitation to Love” (5:01)
A3. “Magnetized” (4:00)
A4. “Hello Girl” (4:24)

B1. “Skate Lovers” (4:20)
B2. “Carry On” (4:24)
B3. “Do It Again” (3:58)
B4. “Sooner or Later” (3:42)
B5. “Beyond the Horizon” (4:32)

Sessions took place at The Recording Connection in Beachwood, Ohio, with the band producing under Dazz Productions. Reggie Andrews served as associate producer and string arranger. Recording engineers included Arnie Rosenberg and Phil Kaye, with Bob Bullock mixing alongside Harris, Michael Smith, and others. Frank DeLuna mastered the album.

Invitation to Love features photography by Ron Slenzak and design by Ginny Livingston under art director Johnny Lee.

Motown promoted the album with “Shake It Up” (b/w “Only Love”) in October 1980, followed in February 1981 by the title track (b/w “Magnetized”). Both reached the R&B singles chart.

Let the Music Play

The Dazz Band released their fourth album, Let the Music Play, on May 13, 1981, on Motown.

The album builds on the brassy funk foundation of Invitation to Love while moving into smoother R&B territory. It mixes uptempo numbers with ballads, balancing prominent horn arrangements with selective keyboard programming.

Saxophonist Bobby Harris co-wrote seven tracks, including the title song with keyboardist Kevin Kendrick and percussionist–vocalist Kenny Pettus, who also co-wrote “Freaky Lovin’” and “Don’t Stop.” Harris partnered with guitarist Eric Fearman on “Knock! Knock!” and “This Time It’s Forever,” and with vocalist–trumpeter Pierre DeMudd, Kendrick, and Sennie “Skip” Martin on “What Will I Do Without You.” Guitarist Michael Calhoun co-wrote “Everyday Love” with Fearman and “I Believe in You” with Kendrick. Pettus also co-wrote “Satisfying Love” with Harris.

The set opens with the horn-driven “Let the Music Play,” followed by the angular rhythm and eccentric accents of “Freaky Lovin’.” “Knock! Knock!” carries an insistent pulse with overlapping guitar lines. “Don’t Stop” adds bass-driven propulsion with sharp horn stabs, while “Satisfying Love” and “What Will I Do Without You” slow the pace with vocal-centered balladry. The album closes with “I Believe in You,” a brief, subdued keyboard-led number.

A1. “Let the Music Play” (5:11)
A2. “Freaky Lovin’” (5:28)
A3. “Knock! Knock!” (4:48)
A4. “What Will I Do Without You” (4:11)

B1. “Don’t Stop” (5:06)
B2. “This Time It’s Forever” (4:39)
B3. “Satisfying Love” (4:09)
B4. “Everyday Love” (4:14)
B5. “I Believe in You” (2:59)

Sessions occurred in March and April 1981 at The Recording Connection in Beachwood, Ohio, with the Dazz Band producing alongside Reggie Andrews. Dale Peters engineered and mixed the album with assistance from Jimmy Carroccio and Paul Schwartz. John Matousek mastered the final release.

Let the Music Play features photography by Ron Slenzak under art direction by Johnny Lee.

Motown promoted the album with “Knock! Knock!” (b/w “Sooner or Later”) in June 1981, followed in September by the title track (b/w “Hello Girl”). Let the Music Play reached No. 36 on the R&B Albums chart.

Keep It Live

The Dazz Band released their fifth album, Keep It Live, on February 19, 1982, on Motown.

The album balances percussive funk numbers with ballads. It opens with the group’s breakthrough single “Let It Whip” and alternates between high-energy tracks and slow jams, showing both their rhythmic attack and romantic side.

Bandleader Bobby Harris co-wrote three tracks with guitarist Eric Fearman and collaborated “Can We Dance” and the title track with bassist Michael Wiley and percussionist Kenny Pettus, who shares lead vocals across the set.

Outside writers include Larry Batiste and Claytoven Richardson (“I’ll Keep On Lovin’ You”) and Chocolate Jam Co. alumni Leon “Ndugu” Chancler and Reggie Andrews, ongoing Dazz auxiliaries who wrote “Let It Whip.” Andrews (ex-Karma) played vocoder, supplemental keyboards, and also wrote “Let Me Love You Until” and “Just Believe In Love,” the latter with one Olivia Bower.

“Let It Whip” rides a tense bassline with layered synth effects and spirited group vocals. The uptempo “Shake What You Got” and “Keep It Live (On the K.I.L.)” build on that pace with hard funk cadences and dense horn voicings. Pettus leads “Can We Dance,” a taut rhythmic workout, while Skip Martin fronts “Gamble with My Love,” a shuffling midtempo cut. The slower material includes “Just Believe in Love,” set to plush strings, and the closing “Let Me Love You Until,” voiced by Pierre DeMudd.

A1. “Let It Whip” (4:44)
A2. “Gamble With My Love” (4:04)
A3. “I’ll Keep On Lovin’ You” (3:38)
A4. “Just Can’t Wait ‘Till the Night” (3:50)
A5. “Shake What You Got” (3:37)

B1. “Keep It Live (On the K.I.L.)” (4:57)
B2. “Just Believe in Love” (4:55)
B3. “Can We Dance” (4:44)
B4. “Let Me Love You Until” (4:02)

Sessions took place at The Recording Connection with producer Reggie Andrews. Bobby Brooks mixed the material at Motown/Hitsville U.S.A. in Los Angeles, where John Matousek also mastered the album. Dale Peters engineered with assistance from Michael Johnson and Jim Carroccio. Paulinho Da Costa played additional percussion and Michael Boddicker handled synthesizer programming.

Keep It Live spawned two singles. “Let It Whip” (b/w “Everyday Love”) reached No. 5 on the Billboard Hot 100, No. 1 on the R&B chart, and No. 2 on the Dance chart. The follow-up “Keep It Live (On the K.I.L.)” (b/w “This Time It’s Forever”) reached No. 20 R&B. The album itself peaked at No. 14 on the Billboard 200 and No. 1 R&B.

On the One

The Dazz Band released their sixth album, On the One, on January 14, 1983, on Motown.

The album follows Keep It Live with a set that splits between hard-paced funk and smoother ballads. Side one emphasizes tightly wound, synth-driven rhythm tracks, while side two slows the tempo for romantic material apart from one late burst of funk.

Bandleader Bobby Harris co-wrote three numbers with guitarist Eric Fearman and collaborated with bassist Michael Wiley, percussionist Kenny Pettus, trumpeter Skip Martin, keyboardist Keith Harrison, and keyboardist Steve Cox on further tracks. Harris also co-wrote “Cheek to Cheek” with Heshimu, who contributed lyrics to two songs.

Outside material includes the Smokey Robinson–Berry Gordy classic “Bad Girl” and two songs by Chocolate Jam Co. alumni Leon “Ndugu” Chancler and Reggie Andrews: “On the One for Fun” and “Don’t Get Caught in the Middle.” Andrews also supplied “We Have More Than Love” and additional keys, arrangements, and production. The ballad “Stay a While With Me” was written by Joe Cobb and Van McCoy.

The album opens with the party-starting “Party Right Here,” whose layered horns and Parliament-styled pace lead into the multi-voiced chant of “Cheek to Cheek.” “On the One for Fun” reprises the rhythmic stamp of “Let It Whip” in condensed form, while “Don’t Get Caught in the Middle” sustains the dance-floor emphasis. “A Love Song” pivots with jazzed-up brass flourishes. Side two centers on ballads such as “Stay a While With Me” and “We Have More Than Love,” though “Nice Girls” injects an uptempo funk lift.

A1. “Party Right Here” (4:00)
A2. “Cheek to Cheek” (5:30)
A3. “On the One for Fun” (4:31)
A4. “Don’t Get Caught in the Middle” (4:50)
A5. “A Love Song” (1:50)

B1. “Bad Girl” (4:12)
B2. “Nice Girls” (4:55)
B3. “Stay a While With Me” (4:50) first appeared on the 1971 namesake album by soul singer Sharon Ridley. Covers proliferated during 1976–78 by Donny Gerrard, Melba Moore, Patsy Gallant, Lou Rawls, and Walter Jackson.
B4. “We Have More Than Love” (5:10)

Sessions occurred at The Recording Connection in Beachwood, Ohio, and at Conway Studios in Los Angeles with producer Reggie Andrews and associate producer Bobby Harris. Dale Peters engineered the recordings, which Bobby Brooks later mixed at Motown’s Hitsville U.S.A. in Hollywood, where John Matousek also mastered the set.

Motown lifted three singles: “On the One for Fun” (b/w “Just Believe in Love”) in January 1983, which reached No. 9 on the R&B chart; “Cheek to Cheek” (b/w “Can We Dance”) in April; and “Party Right Here” (b/w “Gamble With My Love”) in May.

On the One reached No. 59 on the Billboard 200 and No. 12 on the R&B Albums chart.

Joystick

Dazz Band released their seventh album, Joystick, on November 15, 1983, on Motown.

The album adopts a harder electro-funk direction with drum programming, vocoder textures, and layered synth lines, reflecting the early 1980s shift from horn-led funk to machine-driven rhythm. Despite the increased electronics, the band maintains grit through charged horns and alternating vocal leads.

Bandleader Bobby Harris co-wrote the title track with guitarist Eric Fearman and partnered with keyboardist Steve Cox on “Laughin’ at You.” Fearman also collaborated with Pettus and Skip Martin on “Straight Out of School” and with Isaac Wiley and Pettus on “Until You.” Keith Harrison joined Harris on “To the Roof” and “Rock With Me.” Outside material includes two songs by Leon “Ndugu” Chancler and Reggie Andrews (“Swoop [I’m Yours],” “Now That I Have You”), with Andrews also credited on arrangements and production. Harris supplied the instrumental closer “T. Mata.”

Joystick opens with the expansive “To the Roof,” where clipped synth stabs and horn interjections set the mood before the vocoder-fueled chant of “Joystick.” “Swoop (I’m Yours)” merges robotic textures with tightened dance rhythms, while “Straight Out of School” and “Rock With Me” sustain the uptempo thrust. Ballads occupy the second half with “Until You” and “Now That I Have You,” though “Laughin’ at You” pivots with a sharper edge before the set closes on the instrumental sketch “T. Mata.”

A1. “To the Roof” (5:25)
A2. “Joystick” (5:20)
A3. “Swoop (I’m Yours)” (5:00)
A4. “Until You” (3:55)

B1. “Rock With Me” (4:40)
B2. “Straight Out of School” (4:36)
B3. “Now That I Have You” (5:15)
B4. “Laughin’ at You” (3:55)
B5. “T. Mata” (1:50)

Sessions occurred at the Recording Connection in Beachwood, Ohio, with horns and strings tracked at Sound Castle in Glendale, California. Reggie Andrews produced the album with associate producer Harris. Dale Peters and Jimmy Carroccio handled recording alongside F. Byron Clark, who also mixed the album at Sound Castle. John Matousek mastered the finished tapes at Motown’s Twilight Studio in Hollywood.

Motown lifted two singles: “Joystick” (b/w “Don’t Get Caught in the Middle”) in October 1983, which reached No. 9 on the R&B chart, and “Swoop (I’m Yours)” (b/w “Bad Girl”) in March 1984, which peaked at No. 12 R&B. Joystick reached No. 12 on the R&B Albums chart.

Jukebox

Dazz Band released their eighth album, Jukebox, on September 24, 1984, on Motown.

The album leans fully into 1980s electro-funk with layered synthesizers, drum programming, and Fairlight textures while retaining crisp horn punches and alternating vocal leads. It balances uptempo dance tracks with slower, polished ballads, highlighting the band’s versatility within a tighter, more electronic sound palette.

Bandleader Bobby Harris co-wrote “Let It All Blow” and “Main Attraction” with keyboardist Steve Cox and Keith Harrison, and partnered with Harrison alone on “She’s the One” and “Undercover Lover.” Harris and Harrison also collaborated with Skip Martin on “Heartbeat.” Harrison contributed the instrumental closer “So Much Love.” Kenny Pettus co-wrote and sang “Dream Girl” and “Keep You Comin’ Back for More,” the latter featuring Roland Bautista on guitar. Outside material includes Harris and Reggie Andrews on “Heartbeat” and Andrews on synthesizer and arrangements throughout.

Jukebox opens with the explosive “Let It All Blow,” where syncopated bass, layered synths, and sharp horn stabs drive the energy. Dance numbers like “Keep You Comin’ Back for More” and “Main Attraction” push rhythmic intensity, while “Heartbeat” and “So Much Love” soften the pace with smoother, string-infused textures. “She’s the One” and “Undercover Lover” bridge the extremes with tight electro-funk and controlled vocal interplay, and the set closes on the electronic instrumental “So Much Love.”

A1. “Let It All Blow” (5:50)
A2. “Keep You Comin’ Back for More” (4:33)
A3. “She’s the One” (4:39)
A4. “Heartbeat” (5:20)

B1. “Dream Girl” (3:45)
B2. “Undercover Lover” (4:29)
B3. “I’ve Been Waiting” (4:32)
B4. “Main Attraction” (4:05)
B5. “So Much Love” (3:26)

Sessions occurred at The Recording Connection and Motown studios with Reggie Andrews and Bobby Harris producing. F. Byron Clark recorded and mixed the album, supported by Bobby Brooks, Jimmy Carroccio, and Peter Chaikin. John Golden mastered the tapes.

Motown released two singles: “Let It All Blow” (b/w “Now That I Have You”) in September 1984, reaching No. 9 R&B, and “Heartbeat” (b/w “Rock With Me”) in December 1984, peaking at No. 12 R&B. Jukebox reached No. 18 on the R&B Albums chart.

Hot Spot

Dazz Band released their ninth album, Hot Spot, on July 16, 1985, on Motown.

The album introduces a new lineup, with Keith Harrison on keyboards and Marlon McClain on guitar, pushing the Dazz Band further into synth-driven funk with hints of new wave and synth-pop textures. Horns remain present but secondary to programmed rhythms, electronic percussion, and layered synthesizers.

Bandleader Bobby Harris co-wrote the title track and several other songs with Keith Harrison and Marlon McClain. Harrison also collaborated with Harris on “Paranoid” and with Kenny Pettus and Skip Martin on “All the Way.” Outside contributors include Gary Taylor (“If Only You Were in My Shoes”), Jeff Lorber (“Slow Rap”), and Gary McGill (“When You Needed Roses”). The ensemble co-wrote “S.C.L. & P. (Style, Class, Looks and Personality)” with former Motown and funk veterans Allen A. Jones, Harvey Henderson, Howard Redmon Jr., Larry Dodson, and Winston Stewart.

The album blends upbeat synth funk and electronic dance tracks with slower, contemplative ballads. “Hot Spot” and “All the Way” drive rapid, programmed rhythms, while “If Only You Were in My Shoes” and “Slow Rap” explore contoured, electronic textures. Romantic tracks such as “She Used to Be My Girl” and “When You Needed Roses” soften the pace, the latter offering one of the few moments of introspective, 1970s-style soul within the set.

A1. “If Only You Were in My Shoes” (5:49)
A2. “Hot Spot” (5:13)
A3. “Paranoid” (5:19)
A4. “All the Way” (3:36)

B1. “S. C. L. & P. (Style, Class, Looks and Personality)” (4:20)
B2. “She Used to Be My Girl” (4:33)
B3. “When You Needed Roses” (4:33)
B4. “Slow Rap” (5:44)

Sessions occurred at Atlantic Recording Studios, New York City; Sound Castle, Los Angeles; and Motown/Hitsville U.S.A., Hollywood. Bobby Harris produced with Lew Hahn; F. Byron Clark recorded and mixed the album alongside Hahn. John Golden mastered the tapes.

Motown issued two singles: “Hot Spot” (b/w “I’ve Been Waiting”) in June 1985, which reached No. 21 R&B.

Dazz Band dedicates Hot Spot to Reggie Andrews, their longtime collaborator and teacher. Also in 1985, the Wiley brothers played on the eponymous album by Voyeur, an electro-funk project with Andrews’ Karma colleague, saxist Ernie Watts.

Wild and Free

Dazz Band released their tenth album, Wild and Free, on August 4, 1986, on Geffen.

The album introduces Jerry Bell as lead vocalist, with Keith Harrison and Marlon McClain solidifying the lineup. The band relies heavily on programmed synths, electronic percussion, and layered keyboards, moving away from horn-driven arrangements and emphasizing stylized, mid-’80s dance rhythms.

Bobby Harris wrote and arranged the majority of the tracks with Keith Harrison and Marlon McClain. Harrison contributed to rhythm, synthesizer, and vocal arrangements, while Marlon McClain co-arranged guitar and rhythm parts. Outside contributors include Jeff Lorber, who arranged multiple tracks, and Reggie Andrews, who handled string arrangements on “All I Need.”

Wild and Free splits into electronic dance tracks and slower ballads. Up-tempo tracks such as “Wild and Free,” “The Beat That’s Right,” and “L.O.V.E. M.I.A.” favor rhythmic drive and punchy synth patterns, while mid-tempo songs like “Time Will Heal a Broken Heart” and “All I Need” temper the pace. “Body and Mind” leans into the Minneapolis sound (Prince, The Time) with layered keyboards and programmed rhythms.

A1. “Wild and Free” (4:00)
A2. “Body and Mind” (4:20)
A3. “Time Will Heal a Broken Heart” (4:55)
A4. “The Beat That’s Right” (4:25)
A5. “All I Need” (3:40)

B1. “L.O.V.E. M.I.A.” (4:50)
B2. “Hooks in Me” (4:30)
B3. “Sunglasses” (4:30)
B4. “It’s All Right” (3:26)
B5. “Something You Said” (4:10)

Sessions occurred with Bobby Harris producing, assisted by Keith Harrison and Marlon McClain. Tchao Blake recorded and mixed the album, with synthesizer programming by Jeff Lorber, Keith Harrison, and David Irwin.

Geffen issued two singles: “Wild and Free” (b/w “Last Chance for Love”) in June 1986 and “L.O.V.E. M.I.A.” (b/w “A Place in My Heart”) in July 1986.

Discography: