George Benson

George Benson (March 22, 1943) is an American jazz-funk guitarist and singer from Pittsburgh. He recorded small-group jazz and orchestrated CTI albums before a run of vocal-led Warner Bros. releases. Benson first recorded as a child and joined organist Jack McDuff, then debuted as a bandleader in 1964 on Prestige.

Between 1976 and 1983, Benson scored pop-crossover hits with “Breezin’,” “This Masquerade,” “The Greatest Love of All,” “On Broadway,” “Give Me the Night,” “Turn Your World Around,” and “Lady Love Me (One More Time).”

---

Background

George Washington Benson was born on March 22, 1943, in Pittsburgh and grew up in the Hill District. He sang and played ukulele for street audiences as a child, moved to guitar, and worked in local clubs before adolescence. RCA Victor released his 1954 single “She Makes Me Mad” (b/w “It Should Have Been Me”) under the name Little Georgie, with arranger Leroy Kirkland supervising the session.

Benson attended Connelley Vocational High School and formed a rock-and-roll group at seventeen. Organist Jack McDuff recruited him in the early 1960s for a touring quartet with saxophonist Red Holloway and drummer Joe Dukes. The engagement produced live and studio recordings for Prestige and placed Benson inside an organ-group format that shaped his first leader date. Producer Lew Futterman booked Benson, McDuff, Holloway, bassist Ronnie Boykins, and percussionist Montego Joe for a May 1964 session at Regent Sound Studios in New York City.

---

The New Boss Guitar of George Benson

George Benson released his debut album, The New Boss Guitar of George Benson, in October 1964 on Prestige Records.

The set retains McDuff and Holloway from Benson’s road work and adds Boykins with percussionist Montego Joe. Benson wrote five of the seven original LP selections and gave McDuff a featured role on organ.

“Shadow Dancers” prowls through lean quartet interplay as Benson threads sharp-edged lines around Holloway’s tenor phrases. “The Sweet Alice Blues” simmers through increasingly heated Benson-Holloway exchanges. “I Don’t Know” drifts through late-night blues lines while McDuff and Holloway take the foreground.

“Will You Still Be Mine?” glides through fluid ensemble turns as Benson’s lead rises above McDuff’s chords. “Easy Living” lingers over reflective Benson phrases beside McDuff’s acoustic piano. “Rock-A-Bye” romps through compact exchanges as brisk accents pass between Benson’s lead and McDuff’s chords.

A1. “Shadow Dancers” (4:45) – Benson
A2. “The Sweet Alice Blues” (4:36) – Benson
A3. “I Don’t Know” (6:45) – Benson

B1. “Just Another Sunday” (2:28) – Benson
B2. “Will You Still Be Mine” (2:25) – Dennis, Adair
B3. “Easy Living” (6:33) – Robin, Rainger
B4. “Rock-A-Bye” (3:55) – Benson

Sessions occurred on May 1, 1964, at Regent Sound Studios in New York City, with Futterman as producer; the original package does not identify the engineer. Futterman also supervised McDuff’s preceding Prestige dates, including the live recordings that first presented Benson to the label.

Prestige used an uncredited cover portrait of Benson with guitar and left the designer and photographer unnamed. Original Jazz Classics added the May 14 recording “My Three Sons” to the compact-disc edition.

Prestige issued “Just Another Sunday” as a 1964 single.

---

It’s Uptown

George Benson released his second album, It’s Uptown, in August 1966 on Columbia Records.

The George Benson Quartet pairs Benson with organist Lonnie Smith, baritone saxophonist Ronnie Cuber, and drummer Jimmy Lovelace, with Ray Lucas on selected tracks. Benson sings three standards and supplies six originals across the eleven-song sequence.

“Clockwise” sprints through fast, tightly circling blues phrases. “Jaguar” strides through octave figures. “Willow Weep for Me” lingers over reflective phrases. “Hello Birdie” darts across agile single-line runs. “Bullfight” stamps repeated chording into a Spanish accent pattern.

A1. “Clockwise” (4:25) – Benson
A2. “Summertime” (2:22) – Heyward, George Gershwin, Ira Gershwin
A3. “Ain’t That Peculiar” (2:54) – Tarplin, Rogers, Robinson, Moore
A4. “Jaguar” (2:44) – Benson
A5. “Willow Weep for Me” (7:37) – Ronell

B1. “A Foggy Day” (2:31) – George Gershwin, Ira Gershwin
B2. “Hello Birdie” (3:58) – Benson
B3. “Bullfight” (3:46) – Benson
B4. “Stormy Weather” (2:55) – Arlen, Koehler
B5. “Eternally” (4:02) – Benson
B6. “Myna Bird Blues” (4:35) – Benson

John Hammond produced sessions across February and March 1966 in New York City; Columbia did not identify a recording engineer on the original sleeve. Hammond, the label executive who signed Benson, also brought Smith and Cuber into the quartet sessions.

Columbia staff photographer Don Hunstein supplied a close portrait of Benson and his guitar. Hunstein worked with art directors John Berg and Bob Cato across Columbia’s 1966 album program, although the sleeve does not assign design credit.

Columbia issued “Ain’t That Peculiar” as a 1966 single. The 2001 and 2007 expanded editions added “J.H. Bossa Nova,” “Sideman,” “Minor Chant,” and an alternate “Eternally.”

---

The George Benson Cookbook

George Benson released his third album, The George Benson Cookbook, in 1967 on Columbia Records.

Smith, Cuber, and Lovelace return from the preceding quartet album, while Bennie Green, Blue Mitchell, and Charlie Persip expand selected titles. Benson wrote six selections and retained brief vocal features within an otherwise instrumental program.

“The Cooker” barrels across rapid-fire Benson runs as Cuber and Smith take solo turns. “Ready and Able” races through concentrated single-line figures. “All of Me” skips through an exuberant sung performance.

A1. “The Cooker” (4:16) – Benson
A2. “Benny’s Back” (4:10) – Benson
A3. “Bossa Rocka” (4:25) – Benson
A4. “All of Me” (2:08) – Marks, Simons
A5. “Big Fat Lady” (4:42) – Benson

B1. “Benson’s Rider” (5:38) – Benson
B2. “Ready and Able” (3:32) – Smith
B3. “The Borgia Stick” (3:08) – Benson
B4. “Return of the Prodigal Son” (2:37) – Ousley
B5. “Jumpin’ with Symphony Sid” (6:34) – Young

Hammond produced sessions between August 1 and October 19, 1966, in New York City; Columbia again omitted an engineer credit from the original package. The album completed Benson’s two-record association with Hammond before Creed Taylor moved him to A&M.

Hunstein photographed Benson for the cover and captured additional studio images preserved with later reissues. His Columbia archive from the same period includes album portraits of Miles Davis, Thelonious Monk, and Simon & Garfunkel.

Columbia issued “The Borgia Stick” as a 1966 single. Expanded editions added “The Man from Toledo,” “Slow Scene,” “Let Them Talk,” and “Goodnight.”

---

Giblet Gravy

George Benson released his fourth album, Giblet Gravy, in 1968 on Verve Records.

The album replaces the Columbia quartet with changing New York session groups built around pianist Herbie Hancock, bassists Ron Carter and Bob Cranshaw, drummer Billy Cobham, and percussionist Johnny Pacheco. Arranger Tom McIntosh supplies brass and reed settings for selected tracks, while Benson contributes the title piece and “Low Down and Dirty.”

“Along Comes Mary” glides through a large-ensemble chart around Benson’s warm lead. “Sunny” saunters through broad ensemble phrases with background singers. “Giblet Gravy” loops a repeated-interval figure through a full ensemble chart. “Low Down and Dirty” sprawls through an extended Benson-Hancock exchange of angular blues phrases.

A1. “Along Comes Mary” (3:02) – Almer
A2. “Sunny” (2:56) – Hebb
A3. “What’s New?” (5:32) – Haggart, Burke
A4. “Giblet Gravy” (4:50) – Benson
A5. “Walk On By” (3:26) – Bacharach, David

B1. “Thunder Walk” (4:42) – Ousley
B2. “Sack O’ Woe” (3:08) – Adderley
B3. “Groovin’” (2:46) – Brigati, Cavaliere
B4. “Low Down and Dirty” (8:40) – Benson

Esmond Edwards produced February 1968 sessions at A&R Studios and Capitol Studios in New York City, with Val Valentin as engineer. Edwards and Valentin also handled Jimmy Smith’s Verve album The Boss, which included Benson in the session band.

Art director Acy R. Lehman built the package around a lunch-counter photograph by Daniel Kramer. His record-cover portfolio included mid-1960s portraits of Bob Dylan.

Verve added “Billie’s Bounce” and an alternate “What’s New?” to the 2002 compact-disc edition.

---

Shape of Things to Come

George Benson released his fifth album, Shape of Things to Come, in March 1969 on A&M Records.

Creed Taylor introduces a larger orchestral setting arranged by Don Sebesky, with Hancock, Carter, organist Hank Jones, and drummer Idris Muhammad among the principal players. Benson contributes “Footin’ It” with Sebesky and the extended “Shape of Things That Are and Were.”

“Footin’ It” saunters through lithe lead phrases as flute and cello answer Benson’s opening figure. “Shape of Things to Come” coils through altered-speed leads as organ replies and strings enter near final passage.

“Don’t Let Me Lose This Dream” sweeps through Latin-tinged brass figures before Benson opens a relaxed solo. “Shape of Things That Are and Were” simmers through nocturnal blues phrases beneath a terse horn chart. “Last Train to Clarksville” surges from a blues-drenched harmonica entrance into double-time passages, chordal leads, and twinned single-note lines.

A1. “Footin’ It” (4:23) – Benson, Sebesky
A2. “Face It Boy, It’s Over” (4:05) – Badale, Stanton
A3. “Shape of Things to Come” (5:15) – Mann, Weil
A4. “Chattanooga Choo Choo” (3:34) – Gordon, Warren

B1. “Don’t Let Me Lose This Dream” (4:42) – Franklin, White
B2. “Shape of Things That Are and Were” (5:48) – Benson
B3. “Last Train to Clarksville” (5:32) – Boyce, Hart

Sessions spanned August 27 through October 22, 1968, at Van Gelder Studio in Englewood Cliffs, New Jersey, with Taylor as producer and Rudy Van Gelder as engineer. Taylor and Van Gelder also completed Wes Montgomery’s Road Song within the same A&M/CTI period.

Sam Antupit designed the gatefold around Pete Turner photography. Antupit and Turner established the early CTI visual system on Antônio Carlos Jobim’s Wave before Benson joined the imprint.

A&M issued “Don’t Let Me Lose This Dream” as a 1968 single. The album reached No. 38 on Billboard R&B Albums and No. 11 on Billboard Jazz Albums.

---

Goodies

George Benson released his sixth album, Goodies, in March 1969 on Verve Records.

Benson returned to producer Edwards for a nine-track program that combines four originals with material by Aretha Franklin, Michel Legrand, Horace Silver, Curtis Mayfield, and other writers. Horace Ott arranged the string and vocal settings, with the Sweet Inspirations supporting selected performances.

“I Remember Wes” glides through an elegant tribute. “That Lucky Old Sun” croons through a blues-rooted reading. “Song for My Father” settles near its established tempo before Benson’s solo departs into independent phrases.

A1. “I Remember Wes” (3:50) – Benson
A2. “Carnival Joys” (3:50) – Benson
A3. “(You Make Me Feel Like) A Natural Woman” (4:40) – King, Goffin, Wexler
A4. “That Lucky Old Sun” (3:37) – Smith, Gillespie
A5. “Julie” (3:10) – Benson

B1. “The Windmills of Your Mind” (5:00) – Legrand, Bergman, Bergman
B2. “Doobie, Doobie Blues” (5:10) – Benson
B3. “Song for My Father” (4:45) – Silver
B4. “People Get Ready” (4:10) – Mayfield

Edwards produced sessions on November 18 and 19, 1968, at A&R Studios in New York City, with Don Hahn as engineer and Valentin as engineering director. Hahn also worked on neighboring A&M/CTI and Verve dates from the New York studio network.

New York assemblage artist Barton Lidice Beneš supplied the illustrated cover, with photography by Stephen Stuart. The package marked a visual break from Daniel Kramer’s diner portrait on Giblet Gravy.

---

Tell It Like It Is

George Benson released his seventh album, Tell It Like It Is, in July 1969 on A&M Records.

Arranger Marty Sheller places Benson inside a brass-led Latin-soul ensemble with trumpeter Johnny Coles, flutist Hubert Laws, pianist Richard Tee, bassist Bob Bushnell, and drummer Jimmy Johnson. Benson contributes “Jama Joe,” while ten outside selections shape the balance. “Jackie, All” circles its contoured theme twice before Benson opens a brief single-note solo.

A1. “Soul Limbo” (3:25) – Jones, Cropper, Dunn, Jackson
A2. “Are You Happy?” (2:27) – Bell, Butler, Gamble
A3. “Tell It Like It Is” (2:51) – Davis, Diamond
A4. “Land of 1000 Dances” (2:48) – Kenner
A5. “Jackie, All” (2:14) – Deodato
A6. “Don’t Cha Hear Me Callin’ to Ya” (3:16) – Stevenson

B1. “Water Brother” (2:09) – Sebesky
B2. “My Woman’s Good to Me” (3:14) – Sherrill, Sutton
B3. “Jama Joe” (3:49) – Benson
B4. “My Cherie Amour” (3:28) – Wonder, Cosby, Moy
B5. “Out in the Cold Again” (2:41) – Koehler, Bloom

Taylor produced sessions on April 29, May 16, and May 20, 1969, at Van Gelder Studio, with Van Gelder as engineer. The pair also recorded Hubert Laws’s Crying Song that year, with Benson among the featured guitarists.

Antupit designed the sleeve with cover photography by Turner. Their A&M/CTI packages joined saturated travel imagery to restrained typography across Taylor’s late-1960s catalog.

A&M issued “My Woman’s Good to Me” as a 1969 single, which reached No. 113 on the Billboard pop survey. The album peaked at No. 145 on Billboard Top LPs, No. 43 on Billboard R&B Albums, and No. 16 on Billboard Jazz Albums.

---

The Other Side of Abbey Road

George Benson released his eighth album, The Other Side of Abbey Road, in June 1970 on A&M Records.

Benson interprets the Beatles album through five linked medleys arranged by Sebesky. Pianist Herbie Hancock and bassist Ron Carter anchor the principal rhythm section. Sebesky expands the suite through orchestral and choral arrangements.

“Golden Slumbers/You Never Give Me Your Money” drifts from soft singing into muted octaves and single-note runs. “Because/Come Together” coils from a baroque introduction into an extended bass figure before Benson yields to Sonny Fortune’s fluid solo. “Oh! Darling” croons through restrained singing and expansive big-band phrases.

“Here Comes the Sun/I Want You (She’s So Heavy)” glides from string-backed singing into Freddie Hubbard’s solo. “Something/Octopus’s Garden/The End” quickens near its final passage as Benson breaks into rapid single-note lines.

A1. “Golden Slumbers/You Never Give Me Your Money” (4:47) – Lennon, McCartney
A2. “Because/Come Together” (7:26) – Lennon, McCartney
A3. “Oh! Darling” (4:01) – Lennon, McCartney

B1. “Here Comes the Sun/I Want You (She’s So Heavy)” (9:00) – Harrison; Lennon, McCartney
B2. “Something/Octopus’s Garden/The End” (6:22) – Harrison; Starkey; Lennon, McCartney

Taylor produced sessions on October 22 and 23 and November 4 and 5, 1969, at Van Gelder Studio, with Van Gelder as engineer. Sebesky also arranged Taylor sessions for Freddie Hubbard and Hubert Laws across the same A&M/CTI interval.

Antupit designed the gatefold around Eric Meola photography. Meola placed Benson on East 53rd Street in Midtown Manhattan, using the street setting as a New York counterpart to the Beatles cover.

The album reached No. 125 on Billboard Top LPs and No. 18 on Billboard Jazz Albums.

---

Beyond the Blue Horizon

George Benson released his ninth album, Beyond the Blue Horizon, in May 1971 on CTI Records.

The first Benson album on the independent CTI label pares the ensemble to organist Clarence Palmer, bassist Ron Carter, drummer Jack DeJohnette, and percussionists Michael Cameron and Albert Nicholson. Two Benson originals share the program with “So What” and two standards.

“So What” pivots among brisk swing, half-time passages, and broad Benson chords before Palmer takes a compact solo. “The Gentle Rain” blooms from insistent organ figures into repeated lead phrases and angular cello replies. “All Clear” glides through bright chordal figures as Carter adds buzzing electronic flourishes. “Ode to a Kudu” drifts from harp-like figures into calm, flowing lines with a raw electric edge. “Somewhere in the East” coils through dueling hand patterns and sitar-like bends.

A1. “So What” (9:21) – Davis
A2. “The Gentle Rain” (9:15) – Bonfá, Dubey

B1. “All Clear” (5:29) – Benson
B2. “Ode to a Kudu” (3:48) – Benson
B3. “Somewhere in the East” (6:11) – Benson

Sessions occurred on February 2 and 3, 1971, at Van Gelder Studio, with Taylor as producer and Van Gelder as engineer. Their nearby CTI work included Freddie Hubbard’s Straight Life and Stanley Turrentine’s Sugar.

Bob Ciano designed the gatefold around Turner’s cover image “Flames,” photographed in Libya in 1964, while Chuck Stewart supplied the monochrome Benson portrait inside. Ciano and Turner defined the independent label’s packaging across the first CTI 6000-series releases.

The album reached No. 15 on Billboard Jazz Albums. Later compact-disc editions added alternate takes of “All Clear” and “Ode to a Kudu.”

---

White Rabbit

George Benson released his tenth album, White Rabbit, in May 1972 on CTI Records.

Sebesky returns with a compact orchestral setting that joins Benson with guitarist Jay Berliner, Hancock, Carter, drummer Billy Cobham, percussionist Airto Moreira, and flutist Laws. Teenage guitarist Earl Klugh makes his first recorded appearance with Benson on “El Mar.”

“White Rabbit” coils through bolero figures as Benson’s lead crosses an energetic Rhodes solo and Hubert Laws’s flute feature. “Theme from Summer of ’42” drifts through gentle strings and harp before paired plucked lines turn toward light Latin accents. “Little Train” races through frequent harmonic turns with fleet Benson runs and nimble electric-piano figures.

“California Dreamin’” saunters across Andalusian harmonies as Spanish-strummed chords support Benson-Klugh interplay. “El Mar” unfurls from Klugh’s nylon-string prelude.

A1. “White Rabbit” (6:55) – Slick
A2. “Theme from Summer of ’42” (5:08) – Legrand
A3. “Little Train” (5:47) – Villa-Lobos

B1. “California Dreamin’” (7:22) – Phillips, Phillips
B2. “El Mar” (10:49) – Benson

Sessions occurred on November 23, 24, and 30, 1971, at Van Gelder Studio, with Taylor as producer and Van Gelder as engineer. The same producer-engineer team completed Hubbard’s First Light within the surrounding CTI schedule.

Ciano designed the gatefold around Turner’s 1970 photograph of a Pondo woman in South Africa. Turner also supplied cover images for neighboring CTI albums by Hubbard and Turrentine.

The album reached No. 7 on Billboard Jazz Albums and received a Grammy nomination for Best Jazz Performance by a Group.

---

Body Talk

George Benson released his eleventh album, Body Talk, in August 1973 on CTI Records.

Tenor saxophonist Frank Foster arranges an electric sextet built around Benson, pianist Harold Mabern, Carter, DeJohnette, percussionist Mobutu, and limited rhythm-guitar parts from Klugh. Benson wrote four of the five original LP selections.

“Dance” darts across Latin accents, extended Benson improvisation, and a Benson-DeJohnette coda. “When Love Has Grown” glides through evolving swing as Benson states theme in chords and Klugh takes a brief solo. “Plum” lopes through brisk swing, doubles tempo, and surges beneath terse horn figures.

“Body Talk” shuffles through repeated riffs as Mobutu scatters conga accents beneath full brass. “Top of the World” ascends from solitary chords into quicker ensemble turns as later entries preserve a wistful line.

A1. “Dance” (8:22) – Benson, Ellis
A2. “When Love Has Grown” (5:03) – Hathaway, McDaniels
A3. “Plum” (5:11) – Benson

B1. “Body Talk” (8:21) – Benson
B2. “Top of the World” (9:11) – Benson

Sessions occurred on July 17 and 18, 1973, at Van Gelder Studio, with Taylor as producer and Van Gelder as engineer. Their CTI work from the surrounding period also included Eumir Deodato’s Prelude and Hubbard’s Keep Your Soul Together.

Ciano designed the gatefold around Turner’s “Barn Door,” photographed in Scandinavia in 1966, while Steve Salmieri supplied liner photography. Turner joined Ciano on Deodato’s 1973 CTI releases.

The album reached No. 10 on Billboard Jazz Albums. Compact-disc editions added an alternate take of “Body Talk,” and Dutton Vocalion later paired stereo and quadraphonic mixes on SACD.

---

Bad Benson

George Benson released his twelfth album, Bad Benson, in October 1974 on CTI Records.

Pianist Kenny Barron and guitarist Phil Upchurch join Carter and drummer Steve Gadd in the principal group, while Sebesky adds strings to selected tracks. The original LP combines three Benson titles, two Upchurch pieces, and a version of Paul Desmond’s “Take Five.”

“Take Five” pivots through syncopated five-beat figures as Benson exchanges rapid runs with Kenny Barron. “My Latin Brother” emerges from impressionistic strings, then spirals through arpeggiated samba figures around a repeated five-note phrase. “Full Compass” cruises through compact swing as Phil Upchurch keeps a firm pocket.

A1. “Take Five” (7:08) – Desmond
A2. “Summer Wishes, Winter Dreams” (2:56) – Bergman, Bergman, Mandel
A3. “My Latin Brother” (6:50) – Benson

B1. “No Sooner Said Than Done” (5:59) – Upchurch
B2. “Full Compass” (5:40) – Upchurch
B3. “The Changing World” (4:53) – Benson, Gore

Sessions spanned April 22 through June 20, 1974, at Van Gelder Studio, with Taylor as producer and Van Gelder as engineer. Taylor and Van Gelder also worked on Chet Baker’s She Was Too Good to Me within the same CTI cycle.

Ciano designed the package with cover photography by Ben Rose and liner images by Turner. Their 1974 work also included Deodato’s CTI album Whirlwinds.

Bad Benson reached No. 78 on Billboard Top LPs and No. 1 on Billboard Jazz Albums. CTI retitled a 1979 reissue Take Five, while compact-disc editions added “Take the ‘A’ Train,” “Serbian Blue,” and “From Now On.”

---

In Concert–Carnegie Hall

CTI issued Benson’s first live album, In Concert–Carnegie Hall, in 1976 through Motown distribution.

The original LP draws from a January 1975 concert with Laws, organist Ronnie Foster, bassist Wayne Dockery, drummer Marvin Chappell, and percussionist Bernard Fennell. Taylor later added orchestral parts and replacement rhythm tracks by Will Lee and Gadd to selected performances.

“Take Five” charges from a twitchy opening into freer ad-lib turns as Ronnie Foster answers Benson with compact organ figures. “Summertime” croons through psychedelic keyboard phrases and dense strings. “Gone” coils from a slow, bluesy entrance into Laws’s flute counterpoint and Benson’s extended solo. “Octane” undulates on a cool bassline as walking figures enter midway. “Sky Dive” surges through Latin accents before Benson articulates fifths and eighth-note figures across a quickened rhythm section. 

A1. “Take Five” (5:37) – Desmond
A2. “Summertime” (7:24) – Heyward, George Gershwin, Ira Gershwin

B1. “Gone” (10:28)
B2. “Octane” (10:16) – Benson

CD bonus:
“Sky Dive” (6:57) – Freddie Hubbard

Dave Hewitt and John Venable recorded the concert on January 11, 1975, at Carnegie Hall in New York City with the Record Plant remote truck. Taylor produced the album, and Van Gelder mixed the tapes after 1976 overdubs at his Englewood Cliffs studio.

Rene Schumacher designed the original package around a stage photograph by Kwame Brathwaite. The same photographer supplied liner images for Hubert Laws’s 1975 CTI album The Chicago Theme.

Billboard listed the album at No. 122 on Top LPs, No. 43 on R&B Albums, and No. 6 on Jazz Albums. Compact-disc editions restored an introduction and “Sky Dive,” while CTI retitled a 1982 reissue Summertime.

---

Breezin’

George Benson released his Warner Bros. debut, Breezin’, on March 19, 1976, on Warner Bros. Records.

Benson’s Warner debut places his guitar beside lead singing on Leon Russell’s “This Masquerade.” Keyboardists Jorge Dalto and Ronnie Foster join Upchurch, bassist Stanley Banks, drummer Harvey Mason, and percussionist Ralph MacDonald, with Claus Ogerman arranging the orchestral parts.

“Breezin’” glides through fleet single-note phrases, low-key syncopation, and restrained strings. “This Masquerade” murmurs through sung lines before Benson shadows single-note runs with scat syllables. “Six to Four” quickens through tight syncopation, a compact Foster solo, and fleet Benson runs.

“Affirmation” unfolds from solitary lead phrases into ensemble entry and Dalto’s electric-piano solo. “So This Is Love?” saunters beneath broad orchestration as Benson threads contoured turns through harmonic changes. “Lady” drifts from orchestral prelude into hushed theme statements shared by Benson and Foster.

A1. “Breezin’” (5:40) – Womack
A2. “This Masquerade” (8:03) – Russell
A3. “Six to Four” (5:06) – Upchurch

B1. “Affirmation” (7:01) – Feliciano
B2. “So This Is Love?” (7:03) – Benson
B3. “Lady” (5:49) – Foster

Sessions occurred from January 6 through January 8, 1976, at Capitol Studios in Hollywood, with Tommy LiPuma as producer and Al Schmitt as recording and mix engineer. LiPuma and Schmitt also paired on Michael Franks’s 1976 Warner album The Art of Tea.

Art directors Ed Thrasher and Robert Lockhart supervised Peter Palombi’s design, which uses a pale-field portrait by Playboy and record-cover photographer Mario Casilli. The Warner team shifted Benson from CTI’s photographic gatefold system to a direct artist portrait.

Warner Bros. issued “This Masquerade” in 1976, and the single reached No. 10 on the Billboard Hot 100, No. 3 on Hot Soul Singles, and No. 6 on Easy Listening. “Breezin’” followed and reached No. 63 on the Hot 100, No. 55 on Hot Soul Singles, and No. 13 on Easy Listening.

The album reached No. 1 on Billboard Top LPs, Top Soul Albums, and Jazz Albums. It earned triple-platinum certification in the United States, while “This Masquerade” won Record of the Year and the album won Best Pop Instrumental Performance at the Grammy Awards.

---

Good King Bad

George Benson released Good King Bad in June 1976 on CTI Records.

The album compiles 1975 studio sessions built around David Matthews arrangements and a changing cast that includes Eric Gale, Bobby Lyle, Ronnie Foster, Gary King, Gadd, and Andy Newmark. Matthews wrote three selections, with the balance drawn from Vince Guaraldi, Eugene McDaniels, and Michael Namanworth.

“Theme from Good King Bad” strides across a rigid beat as Benson loosens precise backing figures with syncopated turns. “One Rock Don’t Make No Boulder” prowls through crunchy minor chords as Benson and Grolnick take contrasting solos.

“Cast Your Fate to the Wind” glides through wistful theme statements as Benson plants terse notes between Farrell’s dancing flute phrases. “Siberian Workout” circles through minor-key figures beneath repeated rhythm strokes and horn phrases. “Shell of a Man” quickens through vibraphone accents and blues-tinged changes before Benson unfurls a swinging coda.

A1. “Theme from Good King Bad” (6:03) – Matthews
A2. “One Rock Don’t Make No Boulder” (6:50) – Matthews
A3. “Em” (4:56) – Namanworth

B1. “Cast Your Fate to the Wind” (7:00) – Guaraldi
B2. “Siberian Workout” (6:45) – Matthews
B3. “Shell of a Man” (5:17) – McDaniels

Taylor produced sessions on July 1 and 8, October 9, and December 4 and 5, 1975, at Van Gelder Studio, with Van Gelder as engineer. Their final concentrated Benson sessions for CTI overlapped the Carnegie Hall album and later supplied material for Space and Pacific Fire.

Rene Schumacher designed the package with cover and liner photography by Turner. Schumacher and Turner also worked on CTI sleeves across the label’s 1975–76 catalog.

The album reached No. 51 on Billboard Top LPs, No. 18 on Billboard R&B Albums, and No. 3 on Billboard Jazz Albums. “Theme from Good King Bad” won the Grammy Award for Best R&B Instrumental Performance, and CTI retitled a 1982 reissue Cast Your Fate to the Wind.

---

Benson & Farrell

George Benson and Joe Farrell released their collaborative album, Benson & Farrell, in October 1976 on CTI Records.

Farrell alternates flute and saxophones against Benson’s guitar, while Matthews wrote and arranged four of the five selections. Don Grolnick, Eric Gale, bassist Will Lee, drummer Newmark, and percussionist Nicky Marrero complete the principal group. “Old Devil Moon” careens through Latin-tinged percussion beneath an expansive flute choir.

A1. “Flute Song” (6:05) – Matthews
A2. “Beyond the Ozone” (7:03) – Matthews
A3. “Camel Hump” (6:25) – Matthews

B1. “Rolling Home” (7:15) – Matthews
B2. “Old Devil Moon” (9:23) – Lane, Harburg

Taylor produced January 20 and 21 sessions at Van Gelder Studio and a March 12 date at A&R Studios in New York City. Van Gelder and Don Hahn divided engineering work between the two locations, extending technical links from Benson’s earlier CTI and Verve recordings.

Schumacher designed the gatefold around photography by Irish-born documentary photographer Alen MacWeeney. The sleeve places the two leaders together and distinguishes the joint billing from Benson’s Warner portrait campaign.

Billboard listed the album at No. 100 on Top LPs, No. 27 on R&B Albums, and No. 3 on Jazz Albums.

---

In Flight

George Benson released his next studio album, In Flight, in February 1977 on Warner Bros. Records.

The Breezin’ rhythm section returns with Dalto, Foster, Upchurch, Banks, Mason, and MacDonald. Ogerman, Nick DeCaro, and Foster divide the string and horn arrangements across six extended selections.

“Nature Boy” sways through Latin accents and layered strings as Benson’s sung line sits deep within ensemble mix. “The Wind and I” cruises through firm syncopation as Benson and Foster divide nimble solo turns. “The World Is a Ghetto” saunters through pitch-bent singing and supple syncopation.

“Valdez in the Country” threads chordal passages, octaves, and single-note runs before Benson comps beneath Foster’s solo. “Everything Must Change” swells from an orchestral opening into rubbery bass figures and buoyant piano before returning to main theme.

A1. “Nature Boy” (5:58) – ahbez
A2. “The Wind and I” (5:04) – Foster
A3. “The World Is a Ghetto” (9:41) – Allen, Brown, Dickerson, Jordan, Miller, Oskar, Scott

B1. “Gonna Love You More” (4:37) – Albert
B2. “Valdez in the Country” (4:29) – Hathaway
B3. “Everything Must Change” (8:07) – Ighner

LiPuma produced sessions at Capitol Studios in Hollywood, with Schmitt as recording and mix engineer and Don Henderson as assistant. The same core team followed Breezin’ without repeating the larger CTI production structure.

Mike Doud directed and designed the package with photography by Antonin Kratochvil and Ken Veeder and lettering by Michael Manoogian. Doud worked across Warner and Atlantic packages in the late 1970s, while Kratochvil brought a documentary approach to the layered Benson portrait.

Warner Bros. issued “Everything Must Change” in 1977, which reached No. 34 on Hot Soul Singles. “Gonna Love You More” followed and reached No. 71 on the Hot 100 and No. 41 on Hot Soul Singles, while “Nature Boy” reached No. 26 in the United Kingdom.

The album reached No. 9 on Billboard Top LPs, No. 2 on Billboard R&B Albums, and No. 1 on Billboard Jazz Albums. RIAA awarded platinum certification.

---

Harlem Underground Band recordings

Producer Paul Winley recorded Benson with the Harlem Underground Band in 1976 for an album led by organist Dave “Baby” Cortez and guitarist Sterling Magee. Winley repackaged material from that session in 1978 as Erotic Moods, with Benson and the band sharing cover billing after his Warner Bros. breakthrough. The release does not form part of Benson’s scheduled studio-album sequence.

---

Weekend in L.A.

George Benson released the double live album Weekend in L.A. in January 1978 on Warner Bros. Records.

The Roxy performances reunite Dalto, Foster, Upchurch, Banks, Mason, and MacDonald. Benson divides the program between instrumental features, lead singing, and a first release of “On Broadway.”

“Weekend in L.A.” unfurls from Benson’s opening solo into buoyant ensemble rhythm, Dalto-Foster counterpoint, and a late “I Got Rhythm” quotation. “On Broadway” stomps through an extended four-square beat as Benson digs into syncopated lead phrases. “We All Remember Wes” glides through understated lines that reference Montgomery’s tone and technique.

A1. “Weekend in L.A.” (7:28) – Benson
A2. “On Broadway” (10:07) – Leiber, Mann, Stoller, Weil
B1. “Down Here on the Ground” (4:54) – Garnett, Schifrin
B2. “California P.M.” (7:04) – Benson
B3. “The Greatest Love of All” (5:43) – Creed, Masser

C1. “It’s All in the Game” (3:54) – Dawes, Sigman
C2. “Windsong” (6:13) – Larsen
C3. “Ode to a Kudu” (7:25) – Benson
D1. “Lady Blue” (3:39) – Russell
D2. “We All Remember Wes” (5:47) – Wonder
D3. “We as Love” (7:05) – Foster

LiPuma produced recordings made from September 30 through October 2, 1977, at the Roxy Theatre in West Hollywood, with Schmitt as recording and mix engineer and Henderson as assistant. DeCaro arranged later string overdubs without displacing the touring sextet.

John Cabalka directed Brad Kanawyer’s design, which uses front and interior photography by Tom Bert, a back-cover image by Jim McCrary, and insert photography by Fred Valentine. The same Warner art group continued Benson’s late-1970s campaign across live and studio packages.

Warner Bros. issued “On Broadway” in 1978, and the edited single reached No. 7 on the Billboard Hot 100 and No. 2 on Hot Soul Singles. “Lady Blue” also charted at No. 39 on Hot Soul Singles.

The album reached No. 5 on Billboard Top LPs and No. 1 on both Billboard R&B Albums and Jazz Albums. It earned platinum certification in the United States, while “On Broadway” won the Grammy Award for Best R&B Vocal Performance, Male.

---

Space

CTI issued the compilation Space in 1978 as a catalog assemblage.

The set combines the previously unissued studio recording “Hold On, I’m Coming” with Carnegie Hall material. Original packaging misidentifies the final performance as “No Sooner Said Than Done”; the recording is “Gone.”

“Summertime” croons through a live sung line beneath studio-added strings. “Sky Dive” surges through Latin accents before Benson articulates fifths and eighth-note figures. “Octane” pivots from heated lead phrases into shifting meter and hard swing. “Gone” coils from a slow, bluesy entrance into Laws’s flute counterpoint and Benson’s extended solo.

A1. “Hold On, I’m Coming” (5:44) – Hayes, Porter
A2. “Summertime” (7:16) – Heyward, George Gershwin, Ira Gershwin
A3. “Sky Dive” (6:51) – Hubbard
B1. “Octane” (10:12) – Benson
B2. “No Sooner Said Than Done” [actually “Gone”] (8:04)

Taylor produced the source recordings. Van Gelder engineered “Hold On, I’m Coming,” while Hewitt and Venable recorded the Carnegie Hall titles before Van Gelder mixed the concert tapes.

Chalawick designed the gatefold with cover photography by Turner and liner images by Talamon. Turner remained central to CTI packaging, while Talamon photographed contemporary Los Angeles stage productions.

---

Livin’ Inside Your Love

George Benson released his next studio album, Livin’ Inside Your Love, in February 1979 on Warner Bros. Records.

The double album expands Benson’s Warner group with keyboardist Mike Mainieri, guitarist Klugh, bassist Will Lee, and drummer Gadd. Ogerman and Mainieri divide orchestral arrangements across a sequence that alternates instrumentals with lead singing.

“Livin’ Inside Your Love” glides through ornate lead turns. “Hey Girl” pleads through impassioned lines against romantic piano phrases. “Nassau Day” surges on brisk syncopation and Rhodes accents as Benson unspools extended runs. “Soulful Strut” saunters through unhurried lead phrases. “Prelude to Fall” threads agile single-note runs. “Love Ballad” quickens through buoyant sung lines. “You’re Never Too Far from Me” expands as rhythm section spurs long Benson phrases.

A1. “Livin’ Inside Your Love” (6:37) – Klugh
A2. “Hey Girl” (4:31) – Goffin, King
A3. “Nassau Day” (6:14) – Foster
B1. “Soulful Strut” (5:37) – Record, Sanders
B2. “Prelude to Fall” (6:30) – Foster
B3. “A Change Is Gonna Come” (3:47) – Cooke

C1. “Love Ballad” (5:15) – Scarborough
C2. “You’re Never Too Far from Me” (6:43) – Benson
C3. “Love Is a Hurtin’ Thing” (4:25) – Raleigh, Linden
D1. “Welcome Into My World” (4:08) – Benson
D2. “Before You Go” (6:27) – Benson
D3. “Unchained Melody” (6:36) – North, Zaret

LiPuma produced sessions at Atlantic Studios and Columbia 30th Street Studios in New York City and Capitol Studios in Hollywood. Schmitt served as principal recording and mix engineer, with Henderson and Michael O’Reilly assisting across the three-studio production.

Cabalka directed Kanawyer’s design around photography by Bert. Their Warner package followed the Weekend in L.A. campaign while shifting from concert documentation to a controlled studio portrait.

Warner Bros. issued “Love Ballad” in 1979, which reached No. 18 on the Billboard Hot 100, No. 3 on Hot Soul Singles, and No. 12 on Adult Contemporary. “Unchained Melody” followed and reached No. 55 on the Hot 100 and No. 27 on Hot Soul Singles.

The album reached No. 7 on Billboard Top LPs, No. 4 on Billboard R&B Albums, and No. 1 on Billboard Jazz Albums. It earned gold certification in the United States.

---

Give Me the Night

George Benson released his next studio album, Give Me the Night, on August 9, 1980, through Qwest and Warner Bros. Records.

Producer Quincy Jones brings Benson into a studio group with keyboardist Hancock, guitarist Lee Ritenour, bassist Louis Johnson, drummer John Robinson, and percussionist Paulinho da Costa. Rod Temperton wrote six selections, while Patti Austin joins Benson on “Moody’s Mood.”

“Love X Love” glides across a spare beat as Benson threads blues-tinged phrases. “Off Broadway” barrels through a driving beat and a prominent Moog-bass figure. “Give Me the Night” struts through echo-laced riffs, Austin’s scat replies, and sweeping strings. “Dinorah, Dinorah” sways through supple instrumental lines. “Love Dance” drifts through a hushed Benson-Austin duet.

A1. “Love X Love” (4:45) – Temperton
A2. “Off Broadway” (5:23) – Temperton
A3. “Moody’s Mood” (3:24) – Jefferson, Moody
A4. “Give Me the Night” (5:01) – Temperton

B1. “What’s on Your Mind” (4:02) – Ballard, Chater
B2. “Dinorah, Dinorah” (3:39) – Lins, Martins
B3. “Love Dance” (3:18) – Lins, Peranzzetta, Williams
B4. “Star of a Story (X)” (4:42) – Temperton
B5. “Midnight Love Affair” (3:31) – Wolinski
B6. “Turn Out the Lamplight” (4:43) – Temperton

Jones produced sessions at Cherokee Studios in Hollywood and Kendun Recorders in Burbank, with Bruce Swedien as recording and mix engineer. Jones and Swedien entered the project after their work on Michael Jackson’s Off the Wall, while Temperton and Jerry Hey also crossed between the two productions.

Richard Seireeni directed the package with a cover portrait by Norman Seeff, photo illustration by Paul Jasmin, sleeve photography by Peter Brill, and additional illustration by Charlie Wild Studio. Seeff’s contemporary album work included portrait sessions for Joni Mitchell, Carly Simon, and other Warner artists.

“Give Me the Night” reached No. 4 on the Billboard Hot 100, No. 1 on Hot Soul Singles, No. 2 on Dance Club Songs, and No. 7 in the United Kingdom. “Love X Love” followed with No. 61 on the Hot 100, No. 9 on Hot Soul Singles, and No. 10 in the United Kingdom; “Turn Out the Lamplight” reached No. 9 on Adult Contemporary.

The album reached No. 3 on Billboard Top LPs, No. 1 on Billboard R&B Albums, and No. 1 on Billboard Jazz Albums. It earned platinum certification in the United States and Grammy Awards for Best R&B Vocal Performance, Male, and Best Jazz Vocal Performance, Male.

---

The George Benson Collection

Warner Bros. issued the double-album compilation The George Benson Collection in 1981 as a two-record set.

The sequence surveys recordings from A&M, CTI, and Warner and adds two Jay Graydon productions: “Turn Your Love Around” and “Never Give Up on a Good Thing.” It also pairs Benson with Aretha Franklin on “Love All the Hurt Away” and Chaka Khan on “We Got the Love.”

Producer-guitarist Jay Graydon conceived a chorus melody for “Turn Your Love Around” four days before a scheduled Benson session. Graydon co-wrote the song with Toto guitarist Steve Lukather and Sons of Champlin singer Bill Champlin. They recorded the track with synthesist David Foster, pianist Jai Winding, and Lukather’s bandmates David Paich (synth bass) and Jeff Porcaro (Linn LM-1).

“Turn Your Love Around” glides on a supple shuffle as Benson shapes rounded sung phrases amid recurrent horn accents.

A1. “Turn Your Love Around” (3:51)
A2. “Love All the Hurt Away” (4:10)
A3. “Give Me the Night” (3:43)
A4. “Cast Your Fate to the Wind” (6:51)

B1. “Never Give Up on a Good Thing” (4:06)
B2. “On Broadway” (5:18)
B3. “White Rabbit” (6:58)
B4. “This Masquerade” (3:19)

C1. “Love Ballad” (4:17)
C2. “Nature Boy” (4:20)
C3. “Last Train to Clarksville” (5:01)
C4. “Livin’ Inside Your Love” (6:38)

D1. “Here Comes the Sun” (2:33)
D2. “Breezin’” (5:39)
D3. “Moody’s Mood” (3:26)
D4. “We Got the Love” (4:06)
D5. “The Greatest Love of All” (5:33)

Graydon produced both new recordings. Jeremy Smith recorded and mixed “Turn Your Love Around”; original package leaves engineering for “Never Give Up on a Good Thing” unassigned.

Seireeni directed package design around photography by Raul Vega and Charles Bush. Seireeni also handled art direction for preceding Give Me the Night campaign.

Warner Bros. issued “Turn Your Love Around” in October 1981 (b/w “Nature Boy”), and the single reached No. 5 on the Billboard Hot 100, No. 1 on Hot Soul Singles, and No. 9 on Adult Contemporary. Graydon, Lukather, and Champlin received the 1983 Grammy Award for Best R&B Song.

“Never Give Up on a Good Thing” followed in December 1981 (b/w “Livin’ Inside Your Love”) and reached No. 52 on the Hot 100, No. 16 on Hot Soul Singles, and No. 14 in the United Kingdom.

The collection reached No. 14 on Billboard Top LPs, No. 5 on Billboard R&B Albums, and No. 33 on Billboard Jazz Albums. Warner omitted “Cast Your Fate to the Wind” from the first single-disc compact-disc edition because of format capacity.

---

In Your Eyes

George Benson released his next mainline studio album, In Your Eyes, in June 1983 on Warner Bros. Records.

Arif Mardin oversees a vocal-led album with Kashif producing “Inside Love (So Personal).” Chaka Khan joins “Love Will Come Again,” while David Paich, Greg Phillinganes, Steve Gadd, Marcus Miller, and other New York and Los Angeles players support the divided sessions.

“Feel Like Making Love” saunters through a dance beat beneath Benson’s sensuous lines. “Lady Love Me (One More Time)” pleads through phrases that shed early bravado as Hamish Stuart answers in harmony. “Love Will Come Again” swells through layered harmonies before Benson closes with economical octave phrases. “Being With You” glides through fluid, delicately shaped riffs over lush keyboards. “In Search of a Dream” careens through harder-edged single-note runs.

A1. “Feel Like Making Love” (4:22) – McDaniels
A2. “Inside Love (So Personal)” (5:13) – Kashif
A3. “Lady Love Me (One More Time)” (3:59) – Paich, Howard
A4. “Love Will Come Again” (5:42) – Mardin, Stuart

B1. “In Your Eyes” (3:16) – Hill, Masser
B2. “Never Too Far to Fall” (4:00) – Stuart, Doheny
B3. “Being with You” (3:52) – Hakim
B4. “Use Me” (4:22) – Ingram, Mann, Weil
B5. “Late at Night” (3:29) – Mann, Weil
B6. “In Search of a Dream” (4:58) – Falcon

Mardin produced the principal sessions with Jeremy Smith as engineer, while Kashif and engineer Michael O’Reilly handled “Inside Love.” Gary Skardina engineered “Lady Love Me,” and Mardin drew on collaborators from his recent albums with Chaka Khan.

Simon Levy directed Laura LiPuma’s design around photography by Jean Pagliusso. The Warner package replaces the multi-credit illustration of Give Me the Night with a direct close portrait.

“Inside Love” reached No. 43 on the Billboard Hot 100, No. 3 on Hot Black Singles, and No. 7 on Dance Club Songs. “Lady Love Me” reached No. 30 on the Hot 100, No. 21 on Hot Black Singles, and No. 4 on Adult Contemporary, while “In Your Eyes” reached No. 7 in the United Kingdom.

The album reached No. 27 on the Billboard 200, No. 6 on Black Albums, No. 1 on Jazz Albums, and No. 3 in the United Kingdom. It earned gold certification in the United States and platinum certification in Britain.

---

Pacific Fire

CTI issued the archival studio album Pacific Fire in 1983 on CTI Records.

The album draws from Benson’s 1975 CTI sessions and reunites material arranged by Ronnie Foster with one title previously issued on Good King Bad. Eric Gale, Laws, Lyle, Foster, King, Gadd, and Newmark appear across the changing groups.

“Knock on Wood” charges through a propulsive beat before Fred Wesley breaks into a tough trombone solo. “Moody’s Mood” winds through an unsettled sung line before Benson matches scat syllables to guitar phrases. “Bandoleros Caballa” surges through electric backing as Benson wails through lead phrases. “Melodia Español” glides through Andalusian figures beside Hubert Laws’s flute solo. “Pacific Fire” lopes through a slow, loose-jointed beat.

A1. “Knock on Wood” (8:15) – Floyd, Cropper
A2. “Moody’s Mood” (6:26) – Moody, Jefferson
A3. “Bandoleros Caballa” (3:42) – Foster

B1. “Melodia Español” (4:38) – Benson, Laws
B2. “Pacific Fire” (6:58) – Foster
B3. “Let Your Love Come Out” (2:31) – Foster
B4. “Em” (5:19) – Namanworth

Taylor produced sessions from July through October 1975 at Van Gelder Studio, with Van Gelder as engineer. The tapes belong to the same recording pool that supplied Good King Bad and later CTI compilations.

Blake Taylor designed the 1983 package around photography by Chuck Stewart. Earlier Benson work by Stewart included the liner portrait for Beyond the Blue Horizon.

Japan received the first official compact-disc edition in 2017 through the CTI catalog.

---

I Got a Woman and Some Blues

A&M issued the archival album I Got a Woman and Some Blues in 1984 through the Audio Master series.

The album collects unreleased 1969 A&M/CTI sessions with arrangements by Sebesky, Sheller, and Luiz Bonfá. Brazilian guitarist Bonfá joins Benson on “Out of the Blue,” while the remaining cast links the set to Tell It Like It Is and The Other Side of Abbey Road.

“I Got a Woman” struts through Benson’s scat syllables and mumbled asides. “Out of the Blue” drifts through romantic singing above an acoustic-electric guitar duet. “Durham’s Turn” coils through Latin accents.

A1. “I Got a Woman” (5:01) – Charles, Richard
A2. “Out of the Blue” (3:18) – Nemo, Jason
A3. “Bluesadelic” (4:14) – Benson
A4. “Durham’s Turn” (4:06) – Benson
A5. “Good Morning Blues” (2:53) – Vera

B1. “I Worry ’Bout You” (2:28) – Mapp
B2. “Without Her” (2:38) – Nilsson
B3. “She Went a Little Bit Farther” (3:08) – Vickery, Kilgore
B4. “Goodbye, Columbus” (2:04) – Yester

Taylor produced sessions on April 30, June 4, August 19 and 20, and September 3, 1969, at Van Gelder Studio, with Van Gelder as engineer. Their release schedule from the same period produced Benson’s second and third A&M albums.

Chuck Beeson directed the 1984 package around photography by Melanie Nissen. Both worked within A&M’s Audio Master reissue campaign, which paired archival recordings with new sleeve presentations.

---

20/20

George Benson released his next studio album, 20/20, on January 7, 1985, on Warner Bros. Records.

20/20 assigns the main program to producer Russ Titelman, while Michael Masser handles “Nothing’s Gonna Change My Love for You” and “You Are the Love of My Life.” Daniel and Michael Sembello produce “Hold Me,” and Roberta Flack shares the closing duet. “20/20” stalks through tense electronic accents and taut sung lines. “Beyond the Sea” swings through an elegant big-band chart with bright brass replies.

A1. “No One Emotion” (3:55) – Magness, Mueller, Keane
A2. “Please Don’t Walk Away” (3:51) – Howard, Lukather
A3. “I Just Wanna Hang Around You” (4:41) – Cruz, Daniel Sembello, Michael Sembello
A4. “Nothing’s Gonna Change My Love for You” (4:04) – Masser, Goffin
A5. “Beyond the Sea (La Mer)” (4:10) – Trenet, Lawrence

B1. “20/20” (4:07) – Goodrum, Kipner
B2. “New Day” (4:27) – Cecil Womack, Linda Womack
B3. “Hold Me” (4:02) – Michael Sembello, Daniel Sembello
B4. “Stand Up” (5:07) – Larsen
B5. “You Are the Love of My Life” (2:50) – Creed, Masser

Russ Titelman produced the principal 1984 sessions across New York and Los Angeles, with Jim Boyer and Elliot Scheiner among the main recording and mix engineers. Bill Schnee mixed Michael Masser’s two productions, while Daniel and Michael Sembello co-produced “Hold Me.” Scheiner entered the project after engineering Donald Fagen’s The Nightfly, and Titelman continued a Warner production run that included albums by Paul Simon and Randy Newman.

Levy directed the package, Kav DeLuxe supplied the design, and Richard Bomersheim photographed Benson. The art director returned from In Your Eyes and retained Warner’s direct portrait format.

Warner Bros. issued “20/20” late in 1984, and the single reached No. 48 on the Billboard Hot 100, No. 15 on Hot Black Singles, and No. 15 on Adult Contemporary. “I Just Wanna Hang Around You” reached No. 24 on Hot Black Singles and No. 7 on Adult Contemporary, while “Nothing’s Gonna Change My Love for You” later became a chart hit for Glenn Medeiros.

The album reached No. 45 on the Billboard 200, No. 20 on Black Albums, No. 3 on Jazz Albums, and No. 9 in the United Kingdom. It earned gold certification in the United States and Britain.

---

While the City Sleeps…

George Benson released his next studio album, While the City Sleeps…, on August 25, 1986, on Warner Bros. Records.

Tommy LiPuma and Robbie Buchanan produce the title track and “Did You Hear Thunder,” Narada Michael Walden handles five selections with Preston Glass, and Kashif produces “Secrets in the Night.” The album uses Benson as lead singer throughout, with guitar features integrated into the arranged vocal program.

“Kisses in the Moonlight” lingers through romantic phrases. “Love Is Here Tonight” glides through pulsating electronics as Benson’s guitar lines surface deep within mix. “Teaser” stalks through rigid machine accents.

A1. “While the City Sleeps” (3:35) – Innis, Lorber
A2. “Kisses in the Moonlight” (4:21) – Cohen, Glass, Walden
A3. “Shiver” (5:23) – Glass, Valentine, Walden
A4. “Love Is Here Tonight” (5:43) – Benson, Cohen

B1. “Teaser” (4:40) – Gorrie, Reswick, Werfel
B2. “Secrets in the Night” (5:50) – Kashif, Phillinganes
B3. “Too Many Times” (4:37) – Afanasieff, Glass
B4. “Did You Hear Thunder” (3:50) – Pitchford, Snow

Elliot Scheiner engineered the LiPuma-Buchanan tracks, with Eric Calvi mixing them, while David Frazer recorded and mixed the Walden sessions. Darrell Gustamachio handled “Secrets in the Night,” preserving separate technical teams for each producer block.

Kav DeLuxe directed and designed the package around photography by Caroline Greyshock. Her mid-1980s album campaigns also included Sheila E. and other Warner-associated performers.

“Kisses in the Moonlight” appeared in 1986 with the non-album Benson-Ronnie Foster instrumental “Open Your Eyes” on the B-side; the single reached No. 13 on Hot Black Singles. “Shiver” reached No. 16 on the same chart and No. 19 in the United Kingdom, while “Teaser” reached No. 45 in Britain.

The album reached No. 124 on the Billboard 200, No. 21 on Black Albums, No. 8 on Jazz Albums, and No. 13 in the United Kingdom. It earned gold certification in Britain.

---

Collaboration

George Benson and Earl Klugh released Collaboration in 1987 on Warner Bros. Records.

Benson plays electric guitar against Klugh’s classical and acoustic guitars, with bassist Marcus Miller, drummer Mason, keyboardist Randy Goodrum, and percussionist MacDonald in the principal ensemble. Miller wrote two selections, Klugh wrote two, and the title piece joins Mason with Goodrum.

“Mt. Airy Road” glides through matched scat and guitar phrases. “Mimosa” unfurls fluid Benson lines against Klugh’s answering phrases and electronic layers. “Brazilian Stomp” bounds through Latin accents as acoustic runs cross piano chords. “Jamaica” drifts through gentle, nostalgic phrases. “Romeo & Juliet” settles into a soothing interpretation.

A1. “Mt. Airy Road” (7:51) – Miller
A2. “Mimosa” (6:50) – Benson
A3. “Brazilian Stomp” (5:33) – Klugh
A4. “Dreamin’” (5:49) – Miller

B1. “Since You’re Gone” (5:46) – Klugh
B2. “Collaboration” (6:16) – Mason, Goodrum
B3. “Jamaica” (5:40) – Goodrum

LiPuma produced sessions in Los Angeles and New York City, with Bill Schnee as principal recording and mix engineer and Schmitt handling additional recording. Their contemporary Warner credits included albums by David Sanborn and Michael Franks.

Laura LiPuma directed and designed the package around photography by British portrait photographer Stuart Watson. The cover presents both guitarists under equal billing without repeating Benson’s solo portrait format.

Billboard listed the album at No. 59 on the 200, No. 28 on R&B Albums, and No. 1 on Contemporary Jazz Albums. Warner Bros. issued “Since You’re Gone” and “Dreamin’” as singles, and the Recording Industry Association of America certified the album gold.

Compact-disc editions add Nino Rota’s “Romeo & Juliet.”

---

Twice the Love

George Benson released his next studio album, Twice the Love, on June 28, 1988, on Warner Bros. Records.

Seven production units divide the ten-track LP, with Preston Glass, Jay Graydon, Dennis Lambert, the Lewis brothers, Carl Sturken and Evan Rogers, and Michael O’Hara handling separate selections. Benson serves as executive producer and co-produces “Living on Borrowed Love,” “Let’s Do It Again,” and the compact-disc bonus “Let Go.”

“Everybody Does It” strides on a prominent bass figure. “Let’s Do It Again” settles into an easy beat. “You’re Still My Baby” glides through assured Benson guitar phrases.

A1. “Twice the Love” (4:30) – Preston Glass, Alan Glass, Nolen
A2. “Starting All Over” (4:27) – Champlin, Matkosky, Scheff
A3. “Good Habit” (5:43) – Golde, Lambert
A4. “Everybody Does It” (4:29) – Gorrie, Reswick, Werfel
A5. “Living on Borrowed Love” (3:54) – Pescetto, Rich

B1. “Let’s Do It Again” (4:53) – Mayfield
B2. “Stephanie” (3:46) – Brathwaite, Eastmond, Skinner
B3. “Tender Love” (4:21) – Butler, Skinner
B4. “You’re Still My Baby” (5:40) – Miller
B5. “Until You Believe” (4:08) – Butler, Eastmond, Skinner

The 1988 recordings used separate engineering teams for six producer blocks. Maureen Droney recorded and mixed the title track after work on Whitney Houston’s Whitney, while Jay Graydon engineered “Starting All Over” for mixer Mick Guzauski. David Bianco led the Lambert sessions, and Jim Boyer, Earl Cohen, and Carl Beatty completed the balance before LiPuma sequenced the album.

Mary Ann Dibs directed and designed the package around photography by Robert Hakalski and illustration by Terry Robertson. Dibs and Hakalski reunited on Benson’s 1990 Big Boss Band package.

“Let’s Do It Again” reached No. 8 on Hot Black Singles and No. 56 in the United Kingdom. “Twice the Love” followed with No. 23 on Hot Black Singles, No. 32 on Dance Club Songs, and No. 91 in Britain.

The album reached No. 76 on the Billboard 200, No. 17 on R&B Albums, No. 10 on Contemporary Jazz Albums, and No. 16 in the United Kingdom. It earned silver certification in Britain.

---

Tenderly

George Benson released his next studio album, Tenderly, in July 1989 on Warner Bros. Records.

McCoy Tyner, Carter, and drummers Louis Hayes, Herlin Riley, and Al Foster place Benson inside an acoustic standards program. Marty Paich arranges strings for selected titles, while “At the Mambo Inn” supplies the sole Latin ensemble setting.

“At the Mambo Inn” swings through Latin accents as Benson threads fluid single-note lines. “Here, There and Everywhere” glides from a string-backed introduction into warm singing and extended Benson phrases. “Tenderly” lingers through an unaccompanied guitar solo. “I Could Write a Book” pivots through compact phrases into a chromatic solo break.

A1. “You Don’t Know What Love Is” (4:39) – Raye, de Paul
A2. “Stella by Starlight” (5:13) – Washington, Young
A3. “Stardust” (6:02) – Carmichael, Parish
A4. “At the Mambo Inn” (4:53) – Guirty, Woodlen, Sampson, Bauzá

B1. “Here, There and Everywhere” (5:04) – Lennon, McCartney
B2. “This Is All I Ask” (5:35) – Jenkins
B3. “Tenderly” (3:05) – Lawrence, Gross
B4. “I Could Write a Book” (4:00) – Rodgers, Hart

LiPuma produced sessions at Group IV Recording in Hollywood and additional New York locations, with Scheiner as recording engineer. Schnee mixed the album, while Schmitt and Steve Rinkoff handled additional recording.

Ph.D. directed and designed the package around photography by Harris Savides. His 1988 photography for R.E.M.’s Green preceded a later career as a cinematographer.

Tenderly reached No. 140 on the Billboard 200, No. 1 on Contemporary Jazz Albums, and No. 52 in the United Kingdom.

---

Later Activity

Benson returned to a large-ensemble format with Big Boss Band, recorded with the Count Basie Orchestra and released in 1990 on Warner Bros. Records. Love Remembers followed in 1993 before he moved to GRP for That’s Right, Standing Together, Absolute Benson, and Irreplaceable.

Concord released Givin’ It Up, a full-album collaboration with Al Jarreau, in 2006 on Concord Records. Benson followed with Songs and Stories, Guitar Man, Inspiration: A Tribute to Nat King Cole, and Walking to New Orleans, which interprets songs associated with Fats Domino and Chuck Berry.

Rhino released Dreams Do Come True: When George Benson Meets Robert Farnon in July 2024 on Rhino Records. Benson recorded the orchestral project with arranger Robert Farnon in 1989, but the tapes remained unreleased until the archive edition.

---

Discography

Studio Albums

• The New Boss Guitar of George Benson (1964)
• It’s Uptown (1966)
• The George Benson Cookbook (1967)
• Giblet Gravy (1968)
• Shape of Things to Come (1969)
• Goodies (1969)
• Tell It Like It Is (1969)
• The Other Side of Abbey Road (1970)
• Beyond the Blue Horizon (1971)
• White Rabbit (1972)
• Body Talk (1973)
• Bad Benson (1974)
• Breezin’ (1976)
• Good King Bad (1976)
• Benson & Farrell (1976)
• In Flight (1977)
• Livin’ Inside Your Love (1979)
• Give Me the Night (1980)
• In Your Eyes (1983)
• 20/20 (1985)
• While the City Sleeps… (1986)
• Collaboration (1987)
• Twice the Love (1988)
• Tenderly (1989)
• Big Boss Band (1990)
• Love Remembers (1993)
• That’s Right (1996)
• Standing Together (1998)
• Absolute Benson (2000)
• Irreplaceable (2003)
• Givin’ It Up (2006)
• Songs and Stories (2009)
• Guitar Man (2011)
• Inspiration: A Tribute to Nat King Cole (2013)
• Walking to New Orleans (2019)
• Dreams Do Come True: When George Benson Meets Robert Farnon (2024)

Live Albums

• In Concert–Carnegie Hall (1976)
• Weekend in L.A. (1978)

Archival and Compilation Albums Covered Above

• Space (1978)
• The George Benson Collection (1981)
• Pacific Fire (1983)
• I Got a Woman and Some Blues (1984)

---

Sources:

• Discogs: George Benson
• RYM: George Benson
• 45cat: George Benson
• MusicBrainz: George Benson