Latimore -

Latimore is an American soul singer who released eleven albums between 1973 and 1987 and scored R&B hits with “Let’s Straighten It Out,” “Keep the Home Fire Burnin’,” “Somethin’ ‘Bout ‘Cha,” and “I Get Lifted.”

Background

Latimore was born Benjamin Latimore on September 7, 1939, in Charleston, Tennessee. His mother sang in the Baptist church choir and played guitar. His father played banjo. Latimore entered the junior choir as a child and sang his first church solo around age thirteen. The family home had a piano, and Latimore learned by ear while his sisters took formal lessons. After high school, he attended Tennessee A&I State College in Nashville, later Tennessee State University, where he joined the vocal group the Neptunes.

The Neptunes led him to an audition with saxophonist Louis Brooks, whose Hi-Toppers needed a replacement for vocalist Earl Gaines. Latimore joined Brooks as a singer, then developed his piano role under Brooks’s instruction. He left college after the Brooks job became his main work. During the early 1960s, Nashville R&B singer Joe Henderson hired Latimore as accompanist, bandleader, and opening act after Henderson broke nationally with “Snap Your Fingers.” The Henderson road work brought Latimore to Miami, where Knight Beat club owner Clyde Killens offered him a local job.

Miami and Stone Label Work

Latimore settled in Miami after the Henderson engagement. Henry Stone heard him at a club and used Latimore’s band for sessions on Stone’s small labels. Latimore also joined the Steve Alaimo circuit during the mid-1960s. His band backed Alaimo on appearances, with Latimore opening and emceeing. Latimore, drummer Freddie Scott, and two other players also cut tracks used for Alaimo television performances.

Stone’s studio system gave Latimore his first sustained recording base. He worked as a keyboardist on Stone productions and later played on Betty Wright’s “Clean Up Woman.” The Stone connection also placed him with producers Steve Alaimo and Brad Shapiro, who handled much of his late-1960s single activity.

Pre-Glades Singles

Hit listed Benny Lattimore in June 1962 on “Snap Your Fingers,” the B-side to Peggy Thompson’s “I Sold My Heart to the Junkman.” Stone’s Blade label issued the first Benny Latimore single in December 1966 with “I Can’t Go On Anymore” (“Rain From the Sky”).

Dade followed in 1967 with “It’s Just a Matter of Time” (“Move and Groove Together”), “Girl I Got News for You” (“Ain’t Gonna Cry No More”), “There She Is” (“It Was So Nice While It Lasted”), and a second coupling of “It’s Just a Matter of Time” (“Let’s Move and Groove Together”).

During 1968–70, Dade issued “Have a Little Faith” (“I’m a Believer”), “The Power and the Glory” (“Love Don’t Love Me”), “I Pity the Fool” (“I’m Just an Ordinary Man”), and “I’ll Be Good to You” (“Life’s Little Ups and Downs”). Atlantic reissued “I’m Just an Ordinary Man” (“I Pity the Fool”) in June 1969, and Dade gave “I’ll Be Good to You” a second pressing in April 1970. Dash issued “If You Were My Woman” (“Power and the Glory”) in 1971, the last documented pre-Glades single under the Benny Latimore credit.

At the start of the 1970s, Latimore shortened his recording credit to his surname. Henry Stone moved him from Dade/Dash into the Glades label, where Steve Alaimo remained central to his studio work. The 1973 Glades sessions placed Latimore at the front of Stone’s Miami studio operation before the release of his self-titled debut album.

Latimore

Latimore released his self-titled debut album in 1973 on Glades.

The album contains outside material associated with Al Kooper (“Jolie,” “(Be Yourself) Be Real”), Elton John (“Take Me to the Pilot”), Buffalo Springfield (“For What It’s Worth”), and T-Bone Walker (“Stormy Monday”). Kooper co-produces and plays organ and piano on his two titles. Betty Wright, George McCrae, and Gwen McCrae add backing vocals, while Mike Lewis supplies string arrangement and flute. The arrangements place Latimore’s low vocal line against piano, melodica, strings, flute, and chorus replies.

“Stormy Monday” folds melodica color into the T-Bone Walker standard. “If You Were My Woman” recasts a female-narrated lyric through Latimore’s baritone.

A1. “Jolie” (3:05) – Kooper
A2. “If You Were My Woman” (5:30) – McMurry–Sawyer–Ware
A3. “Take Me to the Pilot” (3:10) – John–Taupin
A4. “Willoughby Grove” (3:45) – Scott–Meehan
A5. “Power and Glory” (3:46) – Pomus

B1. “(Be Yourself) Be Real” (3:24) – Kooper
B2. “So Much Love” (4:59) – Goffin–King
B3. “For What It’s Worth” (4:35) – Stills
B4. “(They Call It) Stormy Monday” (5:50) – Eckstine–Hines

Latimore cut the album for Glades with producer Steve Alaimo; Kooper co-produced and arranged “Jolie” and “(Be Yourself) Be Real.” Drago designed the sleeve, and Bianca Capucci photographed the front cover, which shows Latimore under the green title logo against hanging foliage.

Glades lifted “Stormy Monday” in 1973 (b/w “There’s No End”), which reached No. 27 R&B and No. 102 pop. In 1974, “If You Were My Woman” appeared as a single (b/w “Put Pride Aside”) and reached No. 70 R&B.

Let’s Straighten It Out – More, More, More Latimore

Glades issued Latimore’s second album, Let’s Straighten It Out – More, More, More Latimore, in 1974.

The album contains eight titles, including a Latimore original, two Latimore–Alaimo co-writes, two Willie Hale pieces, and covers tied to Bobby “Blue” Bland (“Ain’t Nothin’ You Can Do”), Joe Henderson (“Snap Your Fingers”), and Willie Mabon (“I Don’t Know”). Latimore plays piano, organ, electric piano, and melodica with bassist Ron Bogdon, drummer Robert Ferguson, guitarist Willie “Little Beaver” Hale, and flutists Mike Lewis and Whit Sidener. “Let’s Straighten It Out” delays the vocal entry behind a keyboard-and-guitar vamp.

“Let’s Straighten It Out” simmers through direct address and close relationship talk, with Latimore’s voice set against lean keys. “Ain’t Nothin’ You Can Do” swings through a compact treatment.

A1. “Ain’t Nothin’ You Can Do” (2:53) – Malone–Scott
A2. “Snap Your Fingers” (3:41) – Zanetis–Martin
A3. “That’s How It Is” (5:10) – Hale
A4. “Let’s Straighten It Out” (5:12) – Latimore

B1. “Ain’t Nobody Gonna Make Me Change My Mind” (5:30) – Hale
B2. “I Don’t Know” (4:05) – Mabon
B3. “Put Pride Aside” (2:55) – Latimore–Alaimo
B4. “Everyday” (6:10) – York

Latimore recorded the album with producer Steve Alaimo and album coordinator Sherry Smith. Drago Fernandez designed the sleeve, and Carlin photographed the cover’s triple-exposure stage image, which places Latimore in a blue suit with three microphone poses under red and blue title lettering.

Glades lifted “Let’s Straighten It Out” in September 1974 (b/w “Ain’t Nobody Gonna Make Me Change My Mind”). The single reached No. 1 R&B and No. 31 pop. More, More, More Latimore reached No. 13 on Billboard Black Albums.

Latimore III

Latimore released his third album, Latimore III, in 1975 on Glades.

III contains five Latimore or Latimore–Alaimo titles, with an additional Alaimo–Willie Clarke credit on “There’s a Red-Neck in the Soul Band.” Oscar Brown Jr., Rob Galbraith, and Willie Hale provide the remaining titles. Latimore records with bassist Chocolate Perry, drummer Glen “Zeke” Holmes, conga player Oliver Brown, and guitarists Joey Murcia and Willie “Little Beaver” Hale. His keyboard setup includes electric piano, acoustic piano, ARP synthesizer, and clavinet.

“Keep the Home Fire Burnin’” bears down on a hard-lit lover’s plea. “Are You Where You Wanna Be” struts under Latimore’s restrained lead, leaving the words to carry the charge. “There’s a Red-Neck in the Soul Band” sketches its club narrative with comic timing and a fast-side lift. “Ladies’ Man” slows into a thoughtful role piece. “She Don’t Ever Lose Her Groove” tightens Latimore’s delivery around another emotionally pressed title.

A1. “Keep the Home Fire Burnin’” (3:35) – Latimore–Alaimo
A2. “Qualified Man” (4:38) – Latimore
A3. “Are You Where You Wanna Be” (4:15) – Latimore–Alaimo
A4. “There’s a Red-Neck in the Soul Band” (4:45) – Latimore–Alaimo–Clarke

B1. “Ladies’ Man” (7:20) – Brown
B2. “Leave Me Alone” (3:45) – Galbraith
B3. “Just One Step” (2:45) – Latimore
B4. “She Don’t Ever Lose Her Groove” (3:10) – Hale

Latimore recorded Latimore III with producer Steve Alaimo and album coordinator Sherry Smith. Frank Martinez & Associates designed the package, and Mario Algaze photographed the cover, which shows Latimore seated in a multicolor shirt against a black-and-white abstract backdrop.

Glades lifted “Keep the Home Fire Burnin’” in April 1975 (b/w “That’s How It Is”), which reached No. 5 R&B. “There’s a Red-Neck in the Soul Band” followed in September 1975 (b/w “Just One Step”) and reached No. 36 R&B. In February 1976, “Qualified Man” became the next single (b/w “She Don’t Ever Lose Her Groove”) and reached No. 43 R&B. Latimore III reached No. 49 on Billboard Black Albums.

It Ain’t Where You Been… It’s Where You’re Goin’

Latimore released his fourth album, It Ain’t Where You Been… It’s Where You’re Goin’, in 1976 on Glades.

It Ain’t Where You Been… contains six Latimore originals, the title track co-written with Clarence Reid and Steve Alaimo, and the Casey–Finch song “I Get Lifted.” Latimore plays keyboards beside bassist George “Chocolate” Perry and drummer Ron “Tubby” Zeigler. Guitarist Ron Peterson and percussionist Richie Puente complete the rhythm unit. Mike Lewis sets horn and string parts around the keyboard parts and Latimore’s low vocal line.

“Somethin’ ’Bout ’Cha” settles into Latimore’s close-held talk line against five-piece backing. “All the Way Lover” lingers in the same mellow vocal zone. “Let Me Go” gives the set another close-lined statement. “I Get Lifted” slows the George McCrae title into a heavier lover’s address.

A1. “It Ain’t Where You Been” (4:24) – Latimore–Reid–Alaimo
A2. “Somethin’ ’Bout ’Cha” (5:00) – Latimore
A3. “All the Way Lover” (6:48) – Latimore

B1. “Sweet Vibrations” (4:45) – Latimore
B2. “Let’s Do It in Slow Motion” (5:00) – Latimore
B3. “Let Me Go” (3:15) – Latimore
B4. “I Get Lifted” (5:00) – Casey–Finch

Latimore recorded the album with producer Steve Alaimo and assistant engineer Ann Holloway. Joe Elbert photographed the cover; Drago Artistic Designs handled layout and artwork. The image shows Latimore seated in a white barbershop chair before a piano.

Glades lifted “Somethin’ ’Bout ’Cha” in November 1976 (b/w “Sweet Vibrations”), which reached No. 7 on the R&B chart and No. 37 pop. “I Get Lifted” followed in May 1977 (b/w “All the Way Lover”) and reached No. 30 on the R&B chart. It Ain’t Where You Been… reached No. 47 on Billboard Black Albums and No. 181 on the Billboard 200 chart.

Dig a Little Deeper

Latimore released his fifth album, Dig a Little Deeper, in September 1978 on Glades.

Dig a Little Deeper contains four Latimore originals, plus material by George Jackson (“Ain’t Nothing Like a Sweet Woman’s Love”), Mickey Buckins (“Too Hot to Handle”), and Rod Stewart (“Tonight’s the Night”). The session band includes keyboardist Barry Beckett and drummer Roger Hawkins. David Hood provides the main bass part, while George “Chocolate” Perry appears on “Out to Get ’Cha.” Guitarists Jimmy Johnson and Larry Byrom carry the chord parts, with harmonica and percussion from Terry McMillan. Brandye adds background vocals.

“Long Distance Love” leans into a road-worn lover’s role, with Latimore’s raspy vocal set against solid rhythm and horn-and-string charts. “Out to Get ’Cha” prowls through a more predatory role, keeping the same vocal grain inside a tighter sensual address. “We Got to Hit It Off” bargains through its come-on with plainspoken delay. “Ain’t Nothing Like a Sweet Woman’s Love” settles into a steadier romantic line. “Too Hot to Handle” presses the sexual role harder. “Dig a Little Deeper” turns the title phrase into direct lover’s talk. “Tonight’s the Night” closes the set with a cover recast as seduction.

A1. “Long Distance Love” (2:47) – Latimore
A2. “Out to Get ’Cha” (4:44) – Latimore
A3. “We Got to Hit It Off” (4:28) – Latimore
A4. “Ain’t Nothing Like a Sweet Woman’s Love” (4:50) – Jackson

B1. “Too Hot to Handle” (3:40) – Buckins
B2. “Dig a Little Deeper” (3:54) – Latimore
B3. “Tonight’s the Night” (5:25) – Stewart

Sessions occurred at Muscle Shoals Sound Studios in Sheffield, Alabama, with producer Steve Alaimo and engineers Gregg Hamm and Steve Melton. The horn date occurred at United Sound Systems in Detroit; David Van De Pitte arranged the horns and strings. Bob Heimall handled photography and design/art direction; Peter Fiore created the cover art. The front cover shows Latimore in a white open shirt and white pants against a pastel illustration.

Glades lifted “Dig a Little Deeper” in November 1978 (b/w “Let Me Go”), which reached No. 42 on the R&B chart. “Long Distance Love” followed in March 1979 (b/w “Out to Get ’Cha”) and reached No. 75 on the R&B chart. Dig a Little Deeper reached No. 51 on Billboard Black Albums.

Getting Down to Brass Tacks

Latimore released his sixth album, Getting Down to Brass Tacks, in 1980 on Glades.

Getting Down contains eight titles, with “Life of the Party” as a Marsha Radcliffe co-write. The set places Latimore’s keyboard and vocal parts inside late-period Glades arrangements with horn accents and background-vocal replies. George “Chocolate” Perry remains on bass. Rhodes, Chalmers & Rhodes add background vocals, and Mike Lewis arranges the horns.

Brass Tacks warms Latimore’s earlier base into a less blues-based modern-soul setting. “Discoed to Death” carries a sad-story lead through female backing punctuations and sharp production.

A1. “Take It All” (4:00)
A2. “Ain’t No Comin’ Back” (4:20)
A3. “Life of the Party” (3:46) – Latimore–Radcliffe
A4. “Take Me to the Mountain Top” (4:29)

B1. “Yes We Can” (5:25)
B2. “Joy” (4:14)
B3. “Do It Now” (4:30)
B4. “Discoed to Death” (3:58)

Latimore produced Getting Down to Brass Tacks with Marsha Radcliffe. Rob Vaughn handled art direction. Mike Lewis supplies the album’s brass arrangement credit.

Glades lifted “Discoed to Death” in November 1979 (b/w “Just One Step”), which reached No. 68 on the R&B chart. “Take Me to the Mountain Top” followed in 1980 (b/w “Joy”) on Glades.

Singing in the Key of Love

Latimore released his seventh album, Singing in the Key of Love, in May 1982 on Malaco.

Singing in the Key of Love marks Latimore’s first Malaco album after the close of his Glades run. The album contains four Latimore originals, including “Let the Doorknob Hit’cha” and the title track. George Jackson and Robert Alton Miller supply “Bad Risk,” while the outside material includes songs by Phillip Mitchell, Mickey Jupp, Toni Tennille, and Chuck Brooks. Latimore shares keyboards with Carson Whitsett beside guitarist Dino Zimmerman, bassist Ray Griffin, drummer James Robertson, and the Muscle Shoals Horns.

“Bad Risk” quickens the Malaco setting with an up-tempo track by George Jackson and Robert Alton Miller. “Let the Doorknob Hit’cha” dismisses its addressee through a blunt kiss-off, with Latimore’s direct vocal line carrying the title phrase.

A1. “Bad Risk” (4:46) – Jackson–Miller
A2. “Let the Doorknob Hit’cha” (3:47) – Latimore
A3. “Singing in the Key of Love” (4:23) – Latimore
A4. “Here I Am Again” (4:21) – Mitchell
A5. “Brother, Doctor, Sister, Nurse” (5:10) – Jupp

B1. “Baby Come and Lay Down” (5:25) – Latimore
B2. “Do That to Me One More Time” (5:00) – a 1980 hit for Captain & Tennille.
B3. “Let’s Get High on Each Other” (6:05) – Latimore
B4. “Ain’t Nothing You Can Do” (5:31) – Brooks

Latimore cut Singing in the Key of Love with producers Tommy Couch and Wolf Stephenson. Harrison Calloway Jr. arranged the strings and horns. The Muscle Shoals Horns lineup includes trumpeters Charles Rose, Harrison Calloway Jr., and Ben Cauley, saxophonist Harvey Thompson, and baritone saxophonist Ronnie Eades.

Malaco lifted “Bad Risk” in 1982 (b/w “Ain’t Nothing You Can Do”). “Let the Doorknob Hit’cha” followed in September 1982 (b/w “Do That to Me One More Time”). Singing in the Key of Love reached No. 61 on Billboard Black Albums.

I’ll Do Anything for You

Latimore released his eighth album, I’ll Do Anything for You, in October 1983 on Malaco.

I’ll Do Anything for You retains the Couch–Stephenson production team and brings guitarist Vasti Jackson into the Malaco studio band. The album contains Latimore’s second studio version of “Let’s Straighten It Out,” now placed inside the Malaco arrangement frame. Latimore also covers Denise LaSalle (“Hell Fire Lovin’”), Frederick Knight (“You”), and Hall & Oates (“Sara Smile”).

“Hell Fire Lovin’” swaggers through Denise LaSalle’s material with Latimore placed in the album’s sharpest side-one run. “Out to Lunch” keeps that run tight through the Mississippi rhythm-section setting. “Let’s Straighten It Out” revisits Latimore’s earlier title in the same concentrated side-one sequence. “I’ll Do Anything for You” pleads through Southern-style horns, female backing, and a short guitar solo.

A1. “Hell Fire Lovin’” (4:02) – LaSalle
A2. “Out to Lunch” (4:13) – Jackson
A3. “Let’s Straighten It Out” (5:31) – Latimore
A4. “You” (3:45) – Knight
A5. “I’ll Do Anything for You” (4:08) – Cook–Killough

B1. “Sara Smile” (3:31) – Hall–Oates
B2. “(She Left Me with) One Shirt” (3:53) – Jackson–Rhodes
B3. “We Don’t Make Love Anymore” (4:13) – Johnson
B4. “Take Me Down” (3:54) – Pennington–Gray

Latimore recorded and mixed I’ll Do Anything for You at Malaco Studios in Jackson, Mississippi, with producers Tommy Couch and Wolf Stephenson. Guitarists Dino Zimmerman and Vasti Jackson, bassist Ray Griffin, drummer James Robertson, keyboardist Carson Whitsett, and the Muscle Shoals Horns form the main session group.

Malaco lifted “I’ll Do Anything for You” in 1983 (b/w “Hell Fire Lovin’”). In 1984, “You” appeared as the second single (b/w “One Shirt, Soulless Shoes”). I’ll Do Anything for You reached No. 66 on Billboard Black Albums.

Good Time Man

Latimore released his ninth album, Good Time Man, in May 1985 on Malaco.

Good Time Man contains ten titles, including six written or co-written by Leonard Gibson, a Latimore pseudonym. Denise LaSalle shares three of those credits: “She Didn’t Love Me Like a Lady,” “Falling to Pieces Together,” and “Too Crowded in My Bed.”

The album retains the Couch–Stephenson production team and adds Latimore as co-producer. Guitarists Dino Zimmerman and Jimmy Johnson, bassist Ray Griffin, drummer James Robertson, keyboardist Carson Whitsett, and Fairlight CMI player Carl Marsh form the core band.

A1. “She Didn’t Love Me Like a Lady” (4:38) – LaSalle–Gibson
A2. “Sometimes” (3:52) – Anderson
A3. “Good Time Man” (4:08) – Gibson
A4. “Falling to Pieces Together” (3:33) – LaSalle–Gibson
A5. “Cry to Me” (4:20) – Russell

B1. “Too Crowded in My Bed” (4:13) – LaSalle–Gibson
B2. “Snuggle Up with Somebody” (3:30) – Jackson
B3. “Wake Me Up” (4:23) – Gibson
B4. “Too Thin” (4:00) – Knight
B5. “We Ain’t Through Yet” (4:23) – Gibson–Lucas

Latimore produced Good Time Man with Tommy Couch and Wolf Stephenson. Harrison Calloway Jr. arranged the strings and horns. The Muscle Shoals Horns lineup includes Charles Rose, Harrison Calloway Jr., Harvey Thompson, Jim Horn, and Ben Cauley; Catherine Henderson, Jewel Bass, Thomisene Anderson, Leonard Melvin, and Doug Williams add background vocals.

Malaco lifted “Good Time Man” in 1985 (b/w “Too Crowded in My Bed”).

Every Way But Wrong

Latimore released his tenth album, Every Way But Wrong, in July 1986 on Malaco.

Every Way But Wrong contains ten outside titles from the Malaco writer pool, including three Larry Addison co-writes and two Phillip Mitchell songs. Denise LaSalle writes the title track with Addison and supplies “Put Out the Fire.” Homer Banks and Lester Snell provide “Sunshine Lady,” Latimore’s final charted R&B single of the decade.

The session band includes bassist Ray Griffin, drummer James Robertson, guitarists Dino Zimmerman, Jimmy Johnson, and Vasti Jackson, and keyboardists Carson Whitsett and Larry Addison. Tony Conception, Neal Bonsanti, and Dana Teboe supply the main brass/reed parts; Eddie Calle and Ronnie Eades take saxophone-solo credits.

“Every Way But Wrong” simmers through a torrid title statement. “Sunshine Lady” softens Latimore’s line into a mellow address. “Put Out the Fire” burns slower, with Latimore’s lead fixed to smoldering lover’s talk.

A1. “Every Way But Wrong” (4:44) – LaSalle–Addison
A2. “Body Shop” (3:38) – Mitchell
A3. “This Love Is Real” (4:11) – Thomas–Addison
A4. “It Won’t Get Better Than This” (3:24) – Addison
A5. “My Mind Went Blank” (3:27) – Prestage–Shamwell–Godbold

B1. “Sunshine Lady” (4:11) – Banks–Snell
B2. “Put Out the Fire” (4:03) – LaSalle
B3. “There’s No Limit to My Love” (3:12) – Thomas–Addison
B4. “Second Wind” (4:04) – Moore–Settle–Randle
B5. “She’s All That” (4:00) – Mitchell

Latimore recorded Every Way But Wrong between February and June 1986 at Malaco Studios in Jackson, Mississippi, with producer Wolf Stephenson and engineer Pete Green. Additional recording and remix work occurred at Muscle Shoals Sound Studios in Sheffield, Alabama. Criteria Studios in Miami hosted the string-and-horn date, arranged by Mike Lewis.

Malaco lifted “Sunshine Lady” in 1986 (b/w “There’s No Limit to My Love”), which reached No. 76 on the R&B chart. “Put Out the Fire” followed in 1987 (b/w “Every Way But Wrong”).

Slow Down

Latimore released his eleventh album, Slow Down, in May 1988 on Malaco.

Slow Down contains eight LP titles and three additional tracks on the CD configuration. Jimmy Lewis writes the title track, “That’s the Way That I Do It,” and “Careful Man.” Bob Johnson and Sam Mosley provide “All You’ll Ever Need,” and Latimore supplies “One Man One Woman One Love.” Latimore records the album with producers Jimmy Lewis, Rich Cason, and Wolf Stephenson.

“Slow Down (But Don’t Stop)” scorches through a passionate lead. “Careful Man” holds that vocal manner in a steadier lover’s role. “All You’ll Ever Need” lingers on a lush romantic line. “One Man One Woman One Love” sweetens the pledge into an earnest title phrase. “You Still Make Me Feel Good” answers Latimore with Alfreda James in duet form.

A1. “Slow Down (But Don’t Stop)” (5:07) – Lewis
A2. “That’s the Way That I Do It” (5:15) – Lewis
A3. “Get Up, Start Dancing” (3:40)
A4. “Breakdown” (4:20)

B1. “Careful Man” (3:45) – Lewis
B2. “All You’ll Ever Need” (5:23) – Johnson–Mosley
B3. “One Man One Woman One Love” (4:30) – Latimore
B4. “Too Many Lovers” (4:43)

The CD adds “Paradise,” “Blues Territory,” and “You Still Make Me Feel Good.” Alfreda James joins Latimore on “You Still Make Me Feel Good,” a Rich Cason title.

Malaco issued “Slow Down (But Don’t Stop)” in 1988 (b/w “One Man One Woman One Love”). “Careful Man” followed in 1988 (b/w “All You’ll Ever Need”).

Discography: