Millie Jackson -

Millie Jackson is an American soul singer who made nineteen albums between 1972 and 1983 on Spring/Polydor, followed by seven further titles on Jive and Ichiban during the subsequent 12-year period.

She rose to prominence with the albums Caught Up (1974) and Still Caught Up (1975), which combined deep soul balladry with candid spoken-word monologues. Her signature songs include “It Hurts So Good,” “(If Loving You Is Wrong) I Don’t Want to Be Right,” and “If You’re Not Back in Love by Monday.”

Jackson became known for her mix of sensuality, satire, and narrative realism, qualities that reached their peak on live albums like Live & Uncensored (1979) and Live and Outrageous (1982). She collaborated frequently with producer Brad Shapiro and developed a stage persona that bridged confessional soul and raunchy comedy. In the 1990s, she continued recording and performing while also hosting a radio show and launching her own label.

Background

She was born Mildred Virginia Jackson on July 15, 1944, in Thomson, Ga., the daughter of a sharecropper. Her mother died when she was a small child. Afterward, her father moved them to Newark, NJ. As a teen, she moved in with her aunt in New York City and found modeling gigs, appearing in JIVE and Sepia.

In 1964, she had her first singing spot at a New York nightclub. Nervous about singing before a crowd of onlookers, she gave a monologue that consumed most of the show. This begat her method of telling lengthy stories before and after songs. Later that year, she won a talent contest at the Smalls Paradise nightclub in Harlem.

Jackson released her first single, “A Little Bit of Something” (b/w “My Heart Took a Licking (But it Kept on Ticking)”), in 1969 on MGM. Two years later, she signed to the more localized Spring Records, which issued her second single, “A Child of God (It’s Hard to Believe)” (b/w “You’re the Joy of My Life”).

Millie Jackson (1972)

Millie Jackson released her self-titled debut album in May 1972 on Spring (North America), Mojo (UK), and Polydor (Europe).

Her debut presents a more restrained vocal approach and polished studio sound than her later Southern soul albums, foregrounding orchestrated arrangements and uptempo numbers that echo late-60s Motown. It marked her entry into professional songwriting and hinted at the emotional directness that would define her later output.

Backing comes from rhythm players arranged by Tony Camillo and Bert de Coteaux, whose orchestrations add strings, brass, and percussion detail across the set. Vocals were tracked at Mediasound (NYC), with additional sessions at Track Recorders in Maryland.

Raeford Gerald wrote six of the ten original album tracks. Jackson co-wrote three songs, including the breakout “A Child of God (It’s Hard to Believe),” and paired twice with Billy Nichols. Other co-writers include Joe Simon, Dock Price Jr., and Reginald Spruill.

“A Child of God (It’s Hard to Believe)” opens with a slow-spoken monologue over subdued organ before shifting into mid-tempo lamentation, built on a restrained rhythm section and rising background vocals. “I Ain’t Giving Up” builds from slow vamping to a faster refrain with conga punctuation and climbing strings. “Ask Me What You Want” moves briskly with syncopated piano and a tight beat under Jackson’s alternating spoken and sung appeals. “I Gotta Get Away (From My Own Self)” modulates between short phrased verses and a prolonged release, circling around a single idea with increasing vocal tension. “Strange Things” closes the LP with upbeat brass and loose vocal phrasing, returning to a lighter tone after the mid-album introspection.

A1. “If This Is Love” (2:56)
A2. “I Ain’t Giving Up” (2:35) — features a prominent conga solo and layered string break
A3. “I Miss You Baby” (2:38)
A4. “A Child of God (It’s Hard to Believe)” (3:40) — Millie’s first hit; opens with a spoken intro reflecting on poverty, racial struggle, and faith
A5. “Ask Me What You Want” (2:50) — her second hit; features alternation between confessional verses and urgent choruses

B1. “My Man, a Sweet Man” (2:32)
B2. “You’re the Joy of My Life” (2:44)
B3. “I Gotta Get Away (From My Own Self)” (3:38) — depicts emotional turmoil over self-doubt and inner conflict
B4. “I Just Can’t Stand It” (2:52)
B5. “Strange Things” (2:40)

Sessions occurred in early 1972 at Mediasound in New York City and Track Recorders in Silver Spring, Maryland, with Raeford Gerald producing and engineering assistance credited to in-house Spring staff.

Millie Jackson features arrangements by Tony Camillo and Bert de Coteaux, who alternate between chamber-style strings and sharp brass voicings, shaped to resemble contemporary Detroit soul.

Spring promoted the album with “My Man, A Sweet Man” (b/w “I Miss You Baby”), which reached No. 7 on the Billboard R&B chart and No. 42 pop. “Ask Me What You Want” followed in March 1972 (b/w “I Just Can’t Stand It”) and hit No. 4 R&B and No. 27 pop. “A Child of God (It’s Hard to Believe)” charted earlier in 1971 on Billboard Soul at No. 22. Each single helped solidify Jackson’s entry into the national soul scene.

The 2006 Southbound CD reissue adds eleven bonus tracks, including early singles from 1969 and alternate mixes with added strings and unedited takes of several album tracks.

It Hurts So Good

Millie Jackson released her second album, It Hurts So Good, on August 20, 1973, on Spring/Polydor.

This album marks her first co-production credit and her transition into a funkier, more assertive Southern soul style, with lyrical themes that alternate between pointed social critique and emotionally complex love songs. It builds on the success of her debut with a bolder vocal presence and more grounded rhythm arrangements.

Backing was split between sessions at Mediasound (New York City) and Muscle Shoals (Sheffield, Alabama), where the Muscle Shoals Rhythm Section supplied the core instrumental sound. Brad Shapiro and Raeford Gerald co-produced, with orchestral charts by Tony Camillo, Mike Lewis, and Lew Delgatto.

Jackson wrote “Hypocrisy” and co-arranged two tracks. Gerald wrote or co-wrote two selections. Additional contributors include Billy Nichols, Phillip Mitchell, Nick Ashford and Valerie Simpson, and former Orleans members John and Johanna Hall. “It Hurts So Good” originated as a 1971 single by Katie Love and the Four Shades of Black on Muscle Shoals Sound.

“I Cry” begins the album with slow-building phrases over low horns, cycling verses that express grief, and extended passages of vocal improvisation. “Hypocrisy” and its reprise bookend a mid-tempo funk sequence with spoken interjections and clipped brass phrases. “Two-Faced World” uses staccato rhythms to drive home its message of betrayal. “It Hurts So Good” proceeds at a slower pulse with strings and muted guitar licks behind Jackson’s shifting register. “Breakaway (Reprise)” closes the LP with short horn riffs and cascading vocal overdubs after the track’s longer single version. The album arcs from personal and political reflection into full-bodied expressions of desire and disappointment.

A1. “I Cry” (4:12) — a socially conscious ballad with long vocal phrases and slow minor modulations
A2. “Hypocrisy” (2:14) — addresses two-faced moralism in clipped phrases and interjected speech
A3. “Two-Faced World” (2:50) — sets its lyrical theme against rising tension in brass and rhythm guitar
A4. “It Hurts So Good” (3:07) — originated as a 1971 single by Katie Love and the Four Shades of Black, written by Phillip Mitchell
A5. “Don’t Send Nobody Else” (3:22)

B1. “Hypocrisy (Reprise)” (2:00) — returns to the theme with less instrumentation, emphasizing vocals
B2. “Good to the Very Last Drop” (3:49) — slow ballad with electric piano and fading string coda
B3. “Help Yourself” (3:05)
B4. “Love Doctor” (2:55) — appeared as the b-side to “Hurts So Good”
B5. “Now That You Got It” (2:33)
B6. “Close My Eyes” (3:12)
B7. “Breakaway (Reprise)” (1:56)

Sessions occurred in 1973 at Mediasound in New York City and at Muscle Shoals Sound Studios in Sheffield, Alabama, with production by Brad Shapiro and Raeford Gerald. Mike Lewis and Brad Shapiro conducted the rhythm and horn charts; Tony Camillo and Lew Delgatto arranged additional orchestration.

It Hurts So Good features orchestration by Tony Camillo and Lew Delgatto, with string and horn charts layered atop rhythm tracks arranged by Shapiro and Lewis.

Spring issued “Breakaway” as a lead single (b/w unavailable), which reached No. 16 on the Billboard Soul chart. “It Hurts So Good” followed in August 1973 (b/w “Love Doctor”), charting at No. 3 R&B and No. 24 pop. Its inclusion in the soundtrack to Cleopatra Jones contributed to its wide recognition.

The 2006 Southbound CD reissue includes the full-length version of “Breakaway” along with alternate takes and b-sides from the same sessions, providing an expanded view of Jackson’s early 1973 repertoire.

I Got to Try It One Time

Millie Jackson released her third album, I Got to Try It One Time, in March 1974 on Spring.

Her third album resumes the emotionally candid tone of Caught Up with a looser format, alternating hard funk and dramatic soul across a sequence of relationship-themed vignettes. Producer Brad Shapiro expands the arrangements with a more cinematic flair, embracing narrative-driven songwriting tied to betrayal, self-worth, and impulse.

The album features the Muscle Shoals Rhythm Section: guitarist Jimmy Johnson, bassist David Hood, keyboardist Barry Beckett, drummer Roger Hawkins, and guitarist Pete Carr. Vocal support comes from Cissy Houston, Judy Clay, and Deirdre Tuck. Arrangements were divided between Andrew Smith and Mike Lewis, with additional remixing by Alan Varner and Tony Bongiovi.

Jackson co-wrote the title track and appears as co-author on “In the Wash.” Brad Shapiro composed five tracks (two with K. Sterling), Phillip Mitchell contributed two, and Don Covay penned the back-to-back “A Letter Full of Tears” and “Watch the One Who Brings You the News.” “How Do You Feel the Morning After” and “Gospel Truth” were written and arranged by Smith, Perry Boyd, and Bob Babbitt.

“How Do You Feel the Morning After” opens with tight drum fills and spare piano voicings that frame Jackson’s confessional narrative. “I Got to Try It One Time” moves through clipped verses and a tension-building refrain with backing vocals echoing her resolve. “My Love Is So Fly” plays like a funk send-up, its brisk tempo matched by wordplay and brass outbursts. “A Letter Full of Tears” slows the pace with dramatic chordal progressions under Jackson’s vocal restraint. “In the Wash” closes the set with angular rhythm guitar, emphasizing clarity over pathos in its thematic finality.

A1. “How Do You Feel the Morning After” (2:58) — confronts post-affair regret over a slow funk vamp
A2. “I Got to Try It One Time” (3:03) — details temptation and thrill through layered call-and-response phrasing
A3. “Get Your Love Right” (3:25)
A4. “Gospel Truth” (3:01)
A5. “My Love Is So Fly” (2:47) — adopts comic funk textures and exaggerated vocal inflections

B1. “One Night Stand” (3:20)
B2. “A Letter Full of Tears” (3:21) — written by Don Covay
B3. “I Gotta Do Something About Myself” (2:25)
B4. “Watch the One Who Brings You the News” (3:15) — written by Don Covay
B5. “In the Wash” (2:43) — co-written by Millie Jackson

Sessions occurred in late 1973 at Media Sound Studios and The Hit Factory in New York City and at Muscle Shoals Sound Studios in Sheffield, Alabama. Brad Shapiro produced and arranged the majority of tracks; Raeford Gerald handled three. Alan Varner, Tony Bongiovi, and Shapiro remixed the Muscle Shoals cuts at Criteria Studios in Miami.

I Got to Try It One Time features cover art designed by Ted Pettus of Kameny Associates, depicting Jackson in a cape-style coat by Georges Kaplan-Benthylan.

Spring promoted the album with the title track “I Got to Try It One Time” (b/w unknown), which became a modest R&B hit and extended her run of early 1970s singles into 1974.

Caught Up

Millie Jackson released her fourth album, Caught Up, in October 1974 on Spring.

Her fourth album functions as a narrative suite that unfolds a love triangle in two acts, voiced respectively from the mistress’s and the wife’s perspectives. Jackson and producer Brad Shapiro sculpt the arc using continuous transitions, monologue-based interludes, and Southern soul arrangements anchored in the Muscle Shoals studio band’s mid-tempo orchestrations. This marked her commercial and artistic breakthrough.

The Muscle Shoals Rhythm Section—keyboardist Barry Beckett, bassist David Hood, guitarist Jimmy Johnson, and drummer Roger Hawkins—handle the core instrumentation. Mike Lewis arranged the strings; Tom Roady and Shapiro contribute percussion. Jackson developed the album’s narrative arc and authored the extended spoken passage on Side A.

Jackson wrote “The Rap” and co-wrote two additional tracks with King Sterling. Homer Banks, Carl Hampton, and Raymond Jackson wrote the centerpiece “(If Loving You Is Wrong) I Don’t Want to Be Right,” first recorded by Luther Ingram in 1972. Additional contributions come from Phillip Mitchell, Billy Clements, Bobby Womack, and Bobby Goldsboro.

“(If Loving You Is Wrong) I Don’t Want to Be Right” begins in slow tension, with Jackson delivering the lyric in staggered phrases over minor chords and modal swells. “The Rap” continues the narrative with nearly six minutes of spoken introspection layered against understated guitar and strings. “All I Want Is a Fighting Chance” accelerates the pacing with call-and-response refrains that stage a confrontation. “It’s All Over but the Shouting” opens Side B with clipped brass punctuation and a terse vocal delivery that shifts the viewpoint. “I’m Through Trying to Prove My Love to You” stretches the phrasing over delayed cadences, dissolving into resignation. “Summer (The First Time)” ends the album with a slow build, rising from sustained piano chords to a full orchestral sweep.

A1. “(If Loving You Is Wrong) I Don’t Want to Be Right” (3:56) — originated as a 1972 single by Luther Ingram, written by Homer Banks, Carl Hampton, and Raymond Jackson
A2. “The Rap” (5:53) — Jackson’s monologue from the mistress’s perspective, addressing her terms and emotional cost
A3. “(If Loving You Is Wrong) I Don’t Want to Be Right (Reprise)” (1:13)
A4. “All I Want Is a Fighting Chance” (2:37) — depicts a verbal showdown between mistress and wife
A5. “I’m Tired of Hiding” (3:51)

B1. “It’s All Over but the Shouting” (2:51) — opens the wife’s perspective with terse phrasing and clipped motifs
B2. “So Easy Going, So Hard Coming Back” (4:07) — uses a slow cycle to underline reluctant return
B3. “I’m Through Trying to Prove My Love to You” (5:48) — originally written and recorded by Bobby Womack
B4. “Summer (The First Time)” (5:43) — originated as a 1973 single by Bobby Goldsboro; repurposed here as a bittersweet memory

Sessions occurred between 1973 and 1974 at Muscle Shoals Sound Studio in Sheffield, Alabama, and Criteria Studios in Miami, with Brad Shapiro producing. David Wiseltier designed the original LP cover.

Caught Up features orchestration by Mike Lewis and rhythm work by the Muscle Shoals Swampers, whose mid-tempo phrasing and sustained tension underscore the album’s dual emotional arcs.

Spring issued “(If Loving You Is Wrong) I Don’t Want to Be Right” as the lead single (b/w “The Rap”), which reached No. 3 on Billboard’s R&B chart and No. 24 pop. The song’s three-part suite earned Jackson two Grammy nominations in 1975 and was her highest-charting hit.

The album was certified Gold by the RIAA for U.S. sales exceeding 500,000 units.

Still Caught Up

Millie Jackson released her fifth album, Still Caught Up, on June 24, 1975, on Spring.

A direct sequel to her 1974 breakthrough Caught Up, this fifth album reverses its predecessor’s structure: Side A now voices the wife, and Side B the mistress. Once again produced by Brad Shapiro, the album uses the same Muscle Shoals ensemble to deliver a continuous suite of confessionals, arguments, and inner reckonings. The tone shifts from wounded resolve to bitter dismissal, using speech interludes and string-framed slow-burners to extend the narrative cycle of infidelity and fallout.

The Muscle Shoals Rhythm Section—keyboardist Barry Beckett, guitarist Jimmy Johnson, bassist David Hood, and drummer Roger Hawkins—provides the instrumental core. Pete Carr plays lead guitar, with orchestral arrangements by Mike Lewis. Backing vocals come from Charles and Sandra Chalmers, Janie Fricke, Sandy and Donna Rhodes. Tom Roady adds percussion. Brad Shapiro handled rhythm arrangements and conducted along with The Swampers.

Jackson co-wrote three tracks with King Sterling. Phillip Mitchell contributed two, including “Leftovers,” the Side B climax. Covers include Tom Jans’ “Loving Arms” and the Mac Davis–Mark James closer “I Still Love You (You Still Love Me).” “Making the Best of a Bad Situation” was written by Richard Kerr and Gary Osborne.

“Loving Arms” opens with faux crowd noise and a deadpan spoken dedication before launching into a slow reading with ambient guitar and unhurried vocal phrasing. “The Memory of a Wife” builds tension over a drawn-out monologue and brooding instrumental padding, blending spoken sections with a long-form verse-bridge-chorus design. “Tell Her It’s Over” doubles Jackson’s voice with choral refrains that accentuate the narrator’s authority.

“You Can’t Stand the Thought of Another Me” accelerates the pace with clipped phrasing and darting horn lines, setting up the venom of “Leftovers,” where Jackson unleashes rhythmic putdowns over stabbing brass and rolling bass. “I Still Love You (You Still Love Me)” ends the album on a slow fade, with Jackson oscillating between heartbreak, resignation, and breakdown.

A1. “Loving Arms” (3:43) — originated as a 1973 single by Tom Jans; Jackson opens with a spoken dedication before a restrained vocal over string-framed rhythm
A2. “Making the Best of a Bad Situation” (3:00) — expresses weary acceptance in a smooth ballad form
A3. “The Memory of a Wife” (5:12) — Jackson’s monologue as the wife, addressing betrayal and public humiliation
A4. “Tell Her It’s Over” (4:06) — features stinging call-and-response refrains and steady dynamic build

B1. “Do What Makes You Satisfied” (3:38)
B2. “You Can’t Stand the Thought of Another Me” (2:51)
B3. “Leftovers” (4:31) — sharp verbal takedown of the mistress, framed by punctuated brass and escalating rhythm
B4. “I Still Love You (You Still Love Me)” (4:39) — originated as a 1973 song by Mac Davis and Mark James; Jackson reinterprets it as a coda of emotional collapse

Sessions occurred at Muscle Shoals Sound Studio in Sheffield, Alabama, and Criteria Studios in Miami, with Brad Shapiro producing and conducting rhythm arrangements. Engineers included Mac Emmerman, Steve Melton, Jerry Masters, and Ernie Winfrey. Post-production was overseen by Adam Skeaping.

Still Caught Up features photography by Nima Yakubu and orchestral arrangements by Mike Lewis. The Swampers co-conducted rhythm arrangements, continuing the collaborative framework of Jackson’s previous studio work.

Spring promoted the album with the double-sided single “Loving Arms” / “Leftovers,” which charted in Australia and reinforced the album’s conceptual structure.

Free and in Love

Millie Jackson released her sixth album, Free and in Love, in April 1976 on Spring.

Following the two-part narrative cycle of Caught Up and Still Caught Up, her sixth album dispenses with concept structure in favor of episodic romantic vignettes. Now portraying a woman newly liberated from an affair, Jackson alternates between flirtation, loneliness, and longing. She balances extended spoken passages with straight soul singing across ballads, funk cuts, and even a rock cover, widening her stylistic scope for the first time since 1972.

Sessions featured the Muscle Shoals Rhythm Section, with contributions from guitarist Pete Carr, horn players Charles Rose, Harvey Thompson, Ronnie Eades, and Harrison Calloway Jr., and percussionist Tom Roady. String arrangements were scored by Mike Lewis. The album was co-produced by Jackson and Brad Shapiro, with remixing handled by Ernie Winfrey in Nashville.

Jackson co-wrote three songs, including “I’m Free” with Levi Monroe and two with longtime collaborator King Sterling. Clarence Reid, Phillip Mitchell, and the Stax team of Homer Banks and Carl Hampton contributed additional material. “Feel Like Making Love” originated as a 1975 hard rock single by Bad Company, composed by Paul Rodgers and Mick Ralphs.

“A House for Sale” opens with brassy orchestrations and lyrical metaphor, signaling emotional foreclosure after a breakup. “There You Are” unfolds as a romantic slow jam built on sustained chords and interspersed vocal asides; Jackson plays out an imagined seduction in real time. “Bad Risk” shifts to mid-tempo tension, underscored by clipped guitar. Her cover of “Feel Like Making Love” strips the riff of its original bombast in favor of slow-burn phrasing and electric piano fills. The album ends with “I’m in Love Again,” a seven-minute monologue-sung hybrid that gradually intensifies from reflective speech to climaxed vocal outburst.

A1. “A House for Sale” (4:02) — originated with Homer Banks and Carl Hampton
A2. “I’m Free” (3:00) — Jackson’s self-penned anthem of regained independence
A3. “Tonight I’ll Shoot the Moon” (3:08)
A4. “There You Are” (4:02) — narrative ballad with vocal asides portraying instant infatuation
A5. “Do What Makes the World Go Round” (4:05)

B1. “Bad Risk” (4:26)
B2. “Feel Like Making Love” (4:57) — originated as a 1975 single by Bad Company, written by Paul Rodgers and Mick Ralphs
B3. “Solitary Love Affair” (3:48)
B4. “I’m in Love Again” (7:21) — long-form spoken word track with building instrumentation and climactic vocal delivery

Sessions occurred in 1975 at Muscle Shoals Sound Studio in Sheffield, Alabama, and Criteria Studios in Miami, Florida. Brad Shapiro and Millie Jackson co-produced, with Jerry Masters and Steve Melton engineering and Ernie Winfrey handling remix duties at Sound Shop Studios, Nashville.

Free and in Love features string arrangements by Mike Lewis and cover photography by Don Hunstein. Design was overseen by Beverly Parker. Furniture props on the cover were supplied by Atelier International Ltd., New York.

Live in Tokyo

In 1976, Polydor Japan issued Live in Tokyo, Millie Jackson’s first live album.

Her first live album captures a full concert performance at Yubin Chokin Hall with a setlist drawn from her first four studio albums. The set emphasizes emotional narrative arcs, spoken intros, and slow-building medleys that blend monologue and song, previewing the structure of her later conceptual live work.

The stage band replicates her Southern soul arrangements with extended intros, breakdowns, and seamless transitions between titles. Jackson shifts between confessional soliloquies and full-voiced choruses, often threading one song into another. The material balances funk, balladry, and narrative pacing across two uninterrupted sides.

Jackson wrote or co-wrote six of the album’s selections, including the medley centerpiece and the opener “Ask Me What You Want.” Remaining material includes tracks originally written by Curtis Mayfield, Mac Davis, Bunny Sigler, Gamble & Huff, and Tom Jans.

A1. “Introduction” (1:32)
A2. “Ask Me What You Want” (6:54)
A3a. “I Gotta Get Away (From My Own Self)”
A3b. “I Just Can’t Stand It”
A3c. “I Miss You Baby”
A3d. “Ask Me What You Want (Reprise)”
A4. “Love Doctor” (3:31)
A5. “How Do You Feel the Morning After” (6:50)
A6. “It’s All Over But the Shouting” (3:00)
A7. “My Man, a Sweet Man” (2:53)

B1. “Leftovers” (3:40)
B2. “What Am I Waiting For” (6:38)
B3. “I Still Love You (You Still Love Me)” (5:29)
B4. “Now That We Found Love” (2:43) — originated as a 1973 single by The O’Jays, written by Kenneth Gamble and Leon Huff
B5. “On and On” (1:48) — originated as a 1974 single by Curtis Mayfield
B6. “Lovin’ Arms” (3:26) — originated as a 1973 single by Dobie Gray, written by Tom Jans

Sessions occurred in 1976 at Yubin Chokin Hall in Tokyo. The live set was issued exclusively in Japan by Polydor K.K., packaged with an obi banner, lyric booklet (English lyrics, Japanese liner notes by 桜井ユタカ), and a special anti-static sleeve.

Live in Tokyo features photography and graphic layout unique to the Japanese market. The rear jacket incorrectly lists the track order; accurate titles appear only on the LP labels.

Lovingly Yours

Millie Jackson released her seventh album, Lovingly Yours, in February 1977 on Spring.

Her seventh album widens the palette of romantic expression while maintaining the assertive tone of her mid-1970s output. The set includes both cover material and original tracks, alternating between sultry declarations and emotional affirmations. Jackson continues to integrate spoken preludes, now embedded within lush orchestral arrangements shaped by an expanded production team.

The album was recorded with three arrangers: David Van DePitte (noted for his work with Marvin Gaye), Tom Tom Washington, and James Mack. The Moments provide male backing vocals on several cuts, alongside the female vocal trio Brandy. Brad Shapiro and Jackson co-produced the album, which features string and horn arrangements throughout.

Jackson co-wrote “Help Me Finish My Song” with Victor Davis. Other contributors include Homer Banks and Carl Hampton, Allen Toussaint, B. Latimore, and Ned Doheny and Hamish Stuart (of Average White Band), whose composition “A Love of Your Own” appears here.

“You Can’t Turn Me Off (In the Middle of Turning Me On)” opens the album with layered strings and stop-start phrasing, building tension across its chorus-repeat form. “I’ll Continue to Love You” follows with swelling horn refrains and clipped mid-tempo verses. “A Love of Your Own” slows the pacing with a smooth ballad phrasing, foregrounding Jackson’s lower register. “Help Me Finish My Song” blends spoken and sung sections, mirroring her prior use of monologue format. “I’ll Be Rolling (With the Punches)” ends the set with Toussaint’s laid-back composition, delivered with reflective restraint.

A1. “You Can’t Turn Me Off (In the Middle of Turning Me On)” (4:02) — written by Michael McLeod and Phillip Sawyer
A2. “Somethin’ Bout Cha” (3:00) — written by B. Latimore
A3. “I’ll Continue to Love You” (3:08) — written by D. Robinson
A4. “I Can’t Say Goodbye” (4:02) — written by Billy Nichols
A5. “A Love of Your Own” (4:05) — originated on AWB (1975) by Average White Band, written by Hamish Stuart and Ned Doheny

B1. “I’ll Live My Love for You” (4:26) — written by Richard Kerr and Will Jennings
B2. “Body Movements” (4:57) — written by M. Burton
B3. “From Her Arms to Mine” (3:48) — written by Homer Banks and Carl Hampton
B4. “Help Me Finish My Song” (3:21) — co-written by Millie Jackson and Victor Davis
B5. “I’ll Be Rolling (With the Punches)” (4:39) — written by Allen Toussaint

Sessions occurred in 1976 with string and horn arrangements by David Van DePitte, Tom Tom Washington, and James Mack. Brad Shapiro and Millie Jackson co-produced the album. Engineers and mastering personnel are unlisted; mastering occurred at I.B.C. and Phonodisc Ltd. in the UK. The album was released in LP and cassette formats by Polydor (UK/Europe).

Lovingly Yours features vocal backing by Brandy (female) and The Moments (male), credited courtesy of All Platinum Records. Design and photography credits include Beverly Parker (art direction) and Don Hunstein.

Feelin’ Bitchy

Millie Jackson released her eighth album, Feelin’ Bitchy, in August 1977 on Spring.

Her eighth album represents a tonal shift into unapologetic comedic soul, laced with extended monologues, adult subject matter, and broader production. She fuses her sharp-witted persona with deep soul textures and string-laden arrangements, making this the most explicit and theatrical LP of her 1970s run. The material ranges from cover ballads to funk-tinged satire, anchored by Jackson’s increasingly fearless blend of speech and song.

Backing was provided by the Muscle Shoals Rhythm Section: guitarist Jimmy Johnson, bassist David Hood, keyboardist Barry Beckett, and drummer Roger Hawkins, augmented by Pete Carr, Ken Bell, and Larry Byrom. Tim Henson shares keyboard duties, with Tom Roady on percussion. Spiderman Harrison appears on male vocals; backing singers Brandye provide choruses. Mike Lewis arranged the strings, and David Van DePitte arranged the horns. Ernie Winfrey handled remix engineering.

Jackson performs material by Benny Latimore, George Jackson, Lamont Dozier, Merle Haggard, and others. She introduces extended narrative passages, including the ten-minute opener, and applies her spoken-word technique across multiple tracks.

“All the Way Lover” opens the album with slow-churning organ, extended guitar vamping, and one of Jackson’s most notorious monologues—targeting romantic complacency, sexual double standards, and uncooperative partners. “Lovin’ Your Good Thing Away” and “Angel in Your Arms” restore formal structure with verse-chorus cadences and clean orchestration. “You Created a Monster” uses clipped verses and sarcastic refrains to dissect role reversals and emotional damage. “If You’re Not Back in Love by Monday” transforms the 1977 Merle Haggard country hit into a soul-lament with layered vocal phrasing. “Feelin’ Like a Woman” closes with slow-stroked piano chords and a vocal build from spoken thoughts to full-bodied declarations.

A1. “All the Way Lover” (10:44) — written by Benny Latimore; includes Jackson’s longest comedic monologue, covering sexual politics, relationship fatigue, and emotional reciprocity
A2. “Lovin’ Your Good Thing Away” (3:11) — written by George Jackson and Raymond Moore
A3. “Angel in Your Arms” (4:02) — originated as a 1977 pop hit by Hot, written by Terry Woodford, Tommy Brasfield, and Clayton Ivey

B1. “A Little Taste of Outside Love” (3:41) — written by George Jackson
B2. “You Created a Monster” (2:24) — written by Lamont Dozier
B3. “Cheatin’ Is” (3:20) — written by Rafe Van Hoy
B4. “If You’re Not Back in Love by Monday” (4:45) — originated as a 1977 single by Merle Haggard, written by Glenn Martin and Sonny Throckmorton
B5. “Feelin’ Like a Woman” (4:26) — written by David Sackoff and Randolph Klein

Sessions occurred in 1977 at Muscle Shoals Sound Studios (Sheffield, Alabama), A&R Studios (New York), United Sound Studios (Detroit), and Criteria Studios (Miami). Brad Shapiro and Millie Jackson co-produced. Ernie Winfrey handled remixing.

Feelin’ Bitchy features orchestration by Mike Lewis and horn arrangements by David Van DePitte. Spiderman Harrison appears on guest vocals.

Spring issued “If You’re Not Back in Love by Monday” (b/w unknown), which reached No. 5 on Billboard’s Soul chart and No. 43 pop. “All the Way Lover” followed in 1978 and reached No. 12 Soul.

The album earned a Gold certification from the RIAA for U.S. sales exceeding 500,000 units.

Get It Out’cha System

Millie Jackson released her ninth album, Get It Out’cha System, in June 1978 on Spring.

Her ninth album resumes the interplay of rap and soul that defined Feelin’ Bitchy, now channeled through disco-adjacent rhythms and mid-tempo ballads. Jackson uses the title theme as a springboard into advice-driven monologues, erotic declarations, and reinterpretations of contemporary pop and country hits. The LP combines her sharp-witted persona with increasingly polished studio orchestration and layered arrangements across both upbeat and subdued material.

Jackson is backed by the Muscle Shoals Rhythm Section and additional session players. David Van DePitte arranged the string and horn charts, while Brad Shapiro co-produced alongside Jackson. Spoken segments and narrative setups are woven into the track sequencing, creating a semi-continuous album arc.

Jackson co-wrote three of the nine tracks, including the title cut, “Logs and Thangs,” and “I Just Wanna Be With You.” Latimore and Bobby Womack contributed funk-rooted material, while Jackson reworks high-charting songs by Dolly Parton and Kenny Rogers. “Here You Come Again” originated as a 1977 crossover pop hit by Parton; “Sweet Music Man” appeared on Rogers’ Daytime Friends.

“Go Out and Get Some” opens the album with bass-led pulse and spoken commands layered over clipped rhythm guitar. “Keep the Home Fire Burnin’” proceeds with rhythmic continuity, acting as a conceptual setup for the spoken/sung hybrid “Logs and Thangs,” where Jackson riffs on domestic stasis and relationship rituals. “Put Something Down On It” follows with a slow swing and emotive vocal phrasing. Side B opens with “Here You Come Again,” reconceived with smooth chords and soulful emphasis. The final three ballads ease the album’s energy into somber resignation, culminating in “Sweet Music Man,” which blends narrative opening with Jackson’s most restrained vocal performance to date.

A1. “Go Out and Get Some (Get It Out ’Cha System)” (2:47) — co-written by Millie Jackson and Randy Klein
A2. “Keep the Home Fire Burnin’” (3:09) — originated with Latimore, written by Latimore and Steve Alaimo
A3. “Logs and Thangs” (5:46) — extended spoken piece built over the musical structure of the previous track
A4. “Put Something Down on It” (5:31) — written by Bobby and Cecil Womack
A5. “Here You Come Again” (3:10) — originated as a 1977 crossover hit by Dolly Parton, written by Barry Mann and Cynthia Weil

B1. “Why Say You’re Sorry” (3:42) — co-written by Brad Shapiro and Millie Jackson
B2. “He Wants to Hear the Words” (3:14) — written by Kathy Wakefield and Ken Hirsch
B3. “I Just Wanna Be With You” (3:57) — co-written by Brad Shapiro and Millie Jackson
B4. “Sweet Music Man” (6:14) — originated as a 1977 Kenny Rogers single, written by Rogers; Jackson prefaces it with a short spoken introduction

Sessions occurred in 1977–78 at Muscle Shoals Sound Studios (Sheffield, Alabama), A&R Studios (New York), United Sound Studios (Detroit), and Criteria Studios (Miami). Brad Shapiro and Millie Jackson produced the album; David Van DePitte arranged strings and horns.

Get It Out’cha System features orchestral arrangements by Van DePitte and a blend of extended funk cuts and downtempo ballads, with Jackson alternating between vocal clarity and conversational speech.

Spring promoted the album with “Sweet Music Man” (b/w unknown), which reached No. 33 on the Billboard Soul chart. “Keep the Home Fire Burnin’” followed in 1979 and reached No. 83 Soul. The album peaked at No. 14 on the Soul Albums chart and was certified Gold by the RIAA for U.S. sales exceeding 500,000 units.

A Moment’s Pleasure

Millie Jackson released her tenth album, A Moment’s Pleasure, in March 1979 on Spring.

Her tenth album incorporates disco-informed production and phrasing into her established blend of sensual soul and spoken drama. While Jackson maintains her signature vocal monologues, the material here aligns with the polished, dancefloor-oriented sounds of late-1970s R&B. Producer Brad Shapiro integrates smooth rhythm structures and layered orchestration to frame Jackson’s exploration of desire, conflict, and fleeting connection.

The Muscle Shoals Sound Band handles rhythm section duties, with string and horn arrangements by David Van DePitte. Jackson and Shapiro co-arranged the core tracks. Vocal support is provided by Brandye. The album was recorded across four studios: Muscle Shoals Sound (Sheffield), Sterling Sound (NYC), Sound Suite (Detroit), and Sound Shop (Nashville).

Jackson co-wrote four tracks with Shapiro, including the two-part centerpiece “What Went Wrong Last Night.” She also adapts outside material from George Jackson, Benny Latimore, and Zane Grey. “Never Change Lovers in the Middle of the Night” originated as a 1978 Euro-disco track by Boney M. “Kiss You All Over” first appeared as a U.S. No. 1 hit by Exile, written by Mike Chapman and Nicky Chinn.

“Never Change Lovers in the Middle of the Night” opens with slow pulse and soft keyboard phrasing under Jackson’s shifting vocal tone. “Seeing You Again” picks up with a mid-tempo figure that blends longing with resolve. “What Went Wrong Last Night (Pt. 1 & 2)” stretches across two tracks, using a monologue-to-song structure to stage emotional fallout. “We Got To Hit It Off” injects rhythmic lightness with hand percussion and chorus framing. The title track delivers the album’s central statement—a momentary indulgence framed by romantic ambiguity—over softly pulsing keys and horns.

A1. “Never Change Lovers in the Middle of the Night” (5:04) — originated as a 1978 single by Boney M., written by Keith Forsey and Mats Björklund
A2. “Seeing You Again” (3:59) — co-written by Brad Shapiro and Millie Jackson
A3. “Kiss You All Over” (4:30) — originated as a 1978 No. 1 hit by Exile, written by Mike Chapman and Nicky Chinn
A4. “A Moment’s Pleasure” (6:51) — written by George Jackson

B1. “What Went Wrong Last Night, Pt. 1” (4:57) — features spoken prelude followed by down tempo arrangement
B2. “What Went Wrong Last Night, Pt. 2” (2:30) — continues theme in vocal duet style
B3. “Rising Cost of Love” (3:56) — written by Bobby Martin, Zane Grey, and Len Ron Hanks
B4. “We Got to Hit It Off” (3:34) — written by Benny Latimore
B5. “Once You’ve Had It” (2:49) — co-written by Brad Shapiro and Millie Jackson

Sessions occurred in early 1979 at Muscle Shoals Sound Studios (Alabama), Sterling Sound (NYC), Sound Suite (Detroit), and Sound Shop (Nashville). Brad Shapiro and Millie Jackson co-produced, with David Van DePitte arranging all horns and strings.

A Moment’s Pleasure features orchestration by Van DePitte and rhythm by the Muscle Shoals crew. Vocal backing comes from Brandye.

Spring issued three singles: “Never Change Lovers in the Middle of the Night” (No. 33 R&B), “We Got to Hit It Off” (No. 56 R&B), and “A Moment’s Pleasure” (No. 70 R&B). The album peaked at No. 47 on the Soul Albums chart and No. 144 on the Billboard 200.

Royal Rappin’s (w/ Isaac Hayes)

Millie Jackson and Isaac Hayes released their collaborative album, Royal Rappin’s, in September 1979 on Spring/Polydor.

The album pairs two of soul’s most outspoken voices in a collaborative effort structured as a Millie Jackson-led production with Isaac Hayes as featured vocalist. Despite the promise of their respective personas, the result favors soft duets and cover material over the conversational interplay that defined their solo peaks. Brad Shapiro again oversees production, steering the album toward lush, romantic soul with disco pacing in select numbers.

Jackson and Shapiro produced Royal Rappin’s through Keishval Productions with arrangements by Carl Marsh and David Van De Pitte. Backing was supplied by the Muscle Shoals Rhythm Section and Muscle Shoals Horns. Sessions occurred at Muscle Shoals Sound Studios (Alabama), Master Sound Studios (Atlanta), the Sound Shop (Nashville), and Sterling Sound (New York), where George Marino mastered the final mix. Brandye provides backing vocals.

The album mixes new compositions with outside material, including country-soul ballads, disco remakes, and romantic duets. “Sweet Music, Soft Lights and You” opens with a moderate pace, electric piano textures, and call-and-response phrasing that suits both singers. “Feels Like the First Time” reworks Foreigner’s 1977 hit with rhythmic pulse and string enhancement. “If I Had My Way” and “If You Had Your Way” bookend a slow-burning, spoken two-part exchange with atmospheric keyboards and split-narration structure. “You Needed Me” closes the set with Jackson’s solo voice over piano and orchestral support, reworking Anne Murray’s 1978 ballad into a soul lament.

A1. “Sweet Music, Soft Lights, and You” (4:24) — originally recorded by The O’Jays in 1976; written by J.R. Bailey, Ken Williams, Mel Kent
A2. “Feels Like the First Time” (4:03) — originated as a 1977 rock single by Foreigner, written by Mick Jones
A3. “You Never Cross My Mind” (3:55) — written by Charlie Putman, Don Allen, Rafe Van Hoy
A4. “Love Changes” (3:52) — written by L.J. Crawford, N. Pigford
A5. “I Changed My Mind” (4:08) — written by Michael Green, N. Dolph

B1. “Do You Wanna Make Love” (4:24) — originated as a 1977 soft-pop hit by Peter McCann, written by McCann
B2. “If I Had My Way” (6:03) — written by Eddie Setser, Millie Jackson, Troy Seals
B3. “If You Had Your Way” (3:15) — written by Eddie Setser, Millie Jackson, Troy Seals
B4. “You Needed Me” (4:45) — originated as a 1978 U.S. No. 1 hit by Anne Murray, written by Randy Goodrum

Sessions were tracked at Muscle Shoals, Master Sound, the Sound Shop, and Sterling Sound. Engineers included Steve Melton (Muscle Shoals), Joe Neil (Master Sound), Ernie Winfrey and Mike Bradley (Sound Shop), and George Marino (Sterling). Carl Marsh and David Van De Pitte arranged strings. Brandye contributed backing vocals; art direction by Murry Whiteman, photography by Ron Slenzak.

Live & Uncensored

In December 1979, Millie Jackson released Live & Uncensored, a live double-album.

The double album captures Jackson in full command of her live persona, blending ballads, covers, and candid comedic monologues before a packed crowd at The Roxy in Los Angeles. Her performance pivots between tightly arranged soul numbers and extended spoken-word sequences, presenting a seamless blend of musical and theatrical pacing across four continuous sides.

Jackson performs with the Easy-Ak-Shun Band, joined by the Muscle Shoals Horns and the East Coast Horns. Backing vocals are supplied by Brandye, Lonnie Youngblood, and Ray, Goodman & Brown. Jackson herself handles production alongside Brad Shapiro, as she guides both musical transitions and inter-song narratives with improvisatory flair.

She co-wrote five of the album’s featured titles, including “Give It Up,” “Be a Sweetheart,” and the centerpiece monologue-suite “Phuck U Symphony.” The set also features material by Bobby Womack, Kenny Rogers, Randy Vanwarmer, Curtis Mayfield, and the songwriting teams of Gamble & Huff and Bell & Hart. Many tracks appear with reprises or serve as the endpoints of comedic routines.

Jackson opens with “Keep the Home Fire Burnin’” and quickly moves into “Logs and Thangs,” whose slow shuffle and euphemism-laced lyrics set the tone for the balance of playful and explicit content. The crowd interaction intensifies on “Da Ya Think I’m Sexy?” where she truncates the chorus to parody disco exhaustion, seguing back into Womack’s “Put Something Down on It.” On “The Soaps,” she critiques daytime television via a nine-minute spoken tangent, while “Phuck U Symphony” recasts classical motifs with bawdy counterpoint. Her rendition of “Didn’t I Blow Your Mind” employs rubato phrasing and sustained vibrato for dramatic tension. The closing suite juxtaposes “(If Loving You Is Wrong)” with “The Rap” and Kenny Rogers’ “Sweet Music Man,” forming a medley of resignation, commentary, and catharsis.

A1. “Keep the Home Fire Burnin’” (3:28)
A2. “Logs and Thangs” (5:15)
A3. “(If You Want My Love) Put Something Down On It” (3:17)
A4. “Da Ya Think I’m Sexy?” (1:02) — originated as a 1978 single by Rod Stewart, written by Rod Stewart and Carmine Appice
A5. “Put Something Down On It (Reprise)” (0:58)
A6. “Just When I Needed You Most” (4:27) — originated as a 1979 single by Randy Vanwarmer
A7. “Phuck U Symphony” (5:27)

B1. “What Am I Waiting For” (4:46)
B2. “I Still Love You (You Still Love Me)” (6:23)
B3. “All the Way Lover” (3:11)
B4. “The Soaps” (9:06)
B5. “All the Way Lover (Reprise)” (1:02)

C1. “Hold the Line” (3:59) — originated as a 1978 single by Toto, written by David Paich
C2. “Be a Sweetheart” (2:53)
C3. “Didn’t I Blow Your Mind” (4:03) — originated as a 1970 single by The Delfonics, written by Thom Bell and William Hart
C4. “Give It Up” (6:20)
C5. “A Moment’s Pleasure” (5:19)

D1. “(If Loving You Is Wrong) I Don’t Want To Be Right” (3:35) — originated as a 1972 single by Luther Ingram, written by Carl Hampton, Homer Banks, and Raymond Jackson
D2. “The Rap” (5:24)
D3. “If Loving You Is Wrong (Reprise)” (0:37)
D4. “Never Change Lovers in the Middle of the Night” (3:40) — originated as a 1977 track by Boney M., written by Fred Jay, Keith Forsey, and Mats Björklund
D5. “Sweet Music Man” (9:39) — originated as a 1977 single by Kenny Rogers
D6. “It Hurts So Good” (0:51) — originated as a 1973 single by Millie Jackson, written by Phillip Mitchell
D7. “Sweet Music Man (Reprise)” (1:12)

Sessions occurred live in 1979 at The Roxy Theatre in Los Angeles with producers Millie Jackson and Brad Shapiro. The performance was captured to tape with minimal editing, preserving audience reaction and spontaneous banter.

Live & Uncensored features an uncredited photo layout typical of Spring/Polydor’s late-1970s packaging. The LP jacket makes no attempt to mask the album’s explicit content. A later CD edition combines this album with Live and Outrageous (Rated XXX).

Spring promoted Live & Uncensored with a double-LP gatefold. It peaked at No. 22 on Billboard’s Top Soul Albums and No. 94 on the Pop Albums chart.

For Men Only

Millie Jackson released her eleventh solo studio album, For Men Only, in June 1980 on Spring.

The album blends country balladry, spoken interludes, and deep Southern soul textures across a set arranged and produced with Jackson’s longtime collaborator Brad Shapiro. Rather than capitalizing on disco’s fading momentum, For Men Only reaffirms Jackson’s commitment to narrative soul, vocal directness, and raunchy dialogue. A blend of soft instrumentation and hard lyrical confrontations defines the album’s emotional terrain.

Jackson produced the album with Shapiro for Keishval Enterprises. Rhythm tracks were cut at Muscle Shoals Sound Studio; horns were tracked at Wishbone Recording Studio. Vocal and background vocals were recorded and mixed at The Sound Shop (Nashville). George Marino mastered the final mix at Sterling Sound, New York. Engineers included Ernie Winfrey and Mike Bradley. Backing vocals were provided by Donna McElroy, Leajane Berinati, Vicki Hampton, and Yvonne Hodges.

Several tracks feature dramatic dialogues and extended intros. “This Is Where I Came In” opens with a monologue that frames Jackson’s entry into a tired romantic cycle. “This Is It” reinterprets the Kenny Loggins–Michael McDonald tune with sharp-tongued preambles and vocal grit. “Despair,” co-written by Jackson, builds its tension on steady rhythm guitar and an undercurrent of resignation. “Ain’t No Comin’ Back” closes the album with thick bass, drawn-out phrasing, and bitter finality.

A1. “This Is Where I Came In” (4:54) — written by Randy Klein, Vicky Germaise
A2. “This Is It” (7:30) — originated as a 1979 hit by Kenny Loggins; written by Loggins and Michael McDonald
A3. “If That Don’t Turn You On” (4:20) — written by D. Morrison, J. Slate, L. Keith, S. Pippin
A4. “I Wish That I Could Hurt That Way Again” (3:35) — written by Charlie Putman, Don Cook, Rafe Van Hoy; first cut by Kenny Rogers on The Gambler (1978)

B1. “A Fool’s Affair” (3:56) — written by Ron Kerr, Troy Seals
B2. “You Must Have Known I Needed Love” (3:11) — written by Len Ron Hanks, Zane Grey
B3. “Despair” (4:13) — written by Brad Shapiro, Millie Jackson, Randy McCormick
B4. “Not On Your Life” (4:00) — written by Randy Klein, Vicky Germaise
B5. “Ain’t No Comin’ Back” (4:00) — written by Benny Latimore

Polydor issued three singles from For Men Only. “I Wish That I Could Hurt That Way Again” appeared as the first A-side, backed with “Despair.” “This Is It” was released in two parts as a long-form A-side and vocal-focused B-side. None charted, but the album later gained renewed attention with a 1990s reissue by Ichiban Records.

The album’s title and artwork (a men’s room door marked with gender signage) subvert expectations and serve as visual shorthand for Jackson’s dual appeal to and critique of male behavior.

I Had to Say It

Millie Jackson released her twelfth studio album, I Had to Say It, in December 1980 on Spring.

The album continues Jackson’s narrative soul approach with a stronger emphasis on spoken-word delivery, particularly on the title track and centerpiece “The Rap ’81.” Rather than chasing trends, I Had to Say It balances biting commentary with Southern soul balladry, episodic structure, and full-band backing that shifts between simmering restraint and pointed theatricality. The album includes one of Jackson’s earliest forays into hip-hop-inflected monologue, showing awareness of the emerging rap idiom while retaining her deep R&B framework.

Background vocals were performed by Donna McElroy, Lea-Jane Berinati, Vicki Hampton, and Yvonne Hodges. The rhythm section included Muscle Shoals musicians: drummer Roger Hawkins, bassist David Hood, guitarists Jimmy Johnson and Wayne Perkins, keyboardists Randy McCormick and Clayton Ivey, and horns by the Muscle Shoals Horns (Ben Cauley, Charles Rose, Harrison Calloway, Harvey Thompson, Ronnie Eades).

The title track opens the album with a confrontational spoken diatribe, targeting racial, social, and gender hypocrisies. “Loving Arms ’81,” a remake of Dobie Gray’s 1973 ballad, contrasts with its soft restraint and sustained phrasing. The suite “The Rap ’81 / Stranger / Reprise” forms the record’s dramatic core, framing a monologue about infidelity and loneliness with fragmented dialogue and atmospheric transitions. “Fancy This,” a duet with Phillip Mitchell, simmers with regret, while “Somebody’s Love Died Here Last Night” draws on slow-paced organ and minor chord changes to underscore emotional exhaustion.

A1. “I Had to Say It” (5:25) — written by Brad Shapiro, Millie Jackson
A2. “Loving Arms ’81” (4:15) — written by Tom Jans; originally a 1973 hit by Dobie Gray
A3. “The Rap ’81 / Stranger / The Rap ’81 (Reprise)” (11:20) — written by Brad Shapiro, Millie Jackson

B1. “Ain’t No Glory Story” (3:52) — written by A. Aldridge, C. Richardson
B2. “It’s Gonna Take Sometime This Time” (4:00) — written by Al BreVard, Millie Jackson
B3. “Fancy This” (3:25) — written by Al BreVard, Millie Jackson; features duet vocal by Phillip Mitchell
B4. “Ladies First” (3:38) — written by Jeff Silbar, Sam Lorber
B5. “Somebody’s Love Died Here Last Night” (4:00) — written by Phillip Mitchell
B6. “You Owe Me That Much” (3:42) — written by Al BreVard, Millie Jackson

Jackson co-produced the album with Brad Shapiro for Keishval Enterprises. Sessions took place at Muscle Shoals Sound Studio and The Sound Shop (Nashville). Ernie Winfrey, George Marino, Mary Beth McLemore, and Steve Melton served as engineers. Lacquer was cut at PRS Baarn (Netherlands). Carl Marsh arranged strings.

The title track received attention for blending Jackson’s characteristic stage-rant delivery with an early form of rap cadence. The visual presentation — designed by Murry Whiteman with photography by Ron Slenzak — maintains Jackson’s bold image with glam styling and a direct-to-camera pose.

Just a Lil’ Bit Country

Millie Jackson released her thirteenth studio album, Just a Lil’ Bit Country, in June 1981 on Spring.

Despite the title’s nod to Nashville, the album comprises mostly Southern soul ballads and funk-rooted R&B with occasional country inflections. Rather than a genre departure, it continues Jackson’s 1980s fusion of straight-faced pathos and self-aware roleplay, with a few selections borrowing the lyrical directness and instrumental color of modern country. The album closes with a rare cover from Kris Kristofferson and reworks the countrypolitan standard “I Can’t Stop Loving You” in Jackson’s conversational style.

Jackson employed two keyboardists (Mitch Humphries, Ron Oates) and two (Jerry Shook, Larry Byrom), anchored by bassist Bob Wray and drummer James Stroud. Lil’ Bit also features steel guitarist Jim Vest, fiddlist Tommy Williams, Muscle Shoals hornists (Charles Rose, Harrison Calloway), and string parts by the Nashville Pickers. Backing vocalists include Donna McElroy, Lea-Jane Berinati, Vickie Hampton, and Yvonne Hodges.

A1. “I Can’t Stop Loving You” (5:26) — written by Don Gibson; originally recorded in 1957, made famous by Ray Charles in 1962
A2. “Till I Get It Right” (3:55) — written by Larry Henley, Red Lane; first recorded by Tammy Wynette in 1972
A3. “Pick Me Up on Your Way Down” (2:52) — written by Harlan Howard; first recorded by Charlie Walker in 1958
A4. “Loving You” (4:50) — written by Al Brevard, Millie Jackson
A5. “I Laughed a Lot” (3:25) — written by Al Brevard, Millie Jackson

B1. “Love on the Rocks” (5:25) — written by Gilbert Bécaud, Neil Diamond; first recorded by Diamond for The Jazz Singer soundtrack (1980)
B2. “Standing in Your Line” (3:58) — written by Barbara Fairchild
B3. “Rose’colored Glasses” (4:05) — written by George F. Baber, John Conlee; originally recorded by Conlee in 1978
B4. “It Meant Nothing to Me” (3:35) — written by Bobby John Henry
B5. “Anybody That Don’t Like Millie Jackson” (2:54) — written by Kris Kristofferson

Millie Jackson co-produced the album with Brad Shapiro, who also led the sessions at Soundshop Recording Studios in Nashville. Ernie Winfrey engineered the recordings, and Bernie Grundman mastered the album at A&M Studios. Mike Lewis arranged the horns and strings on most tracks.

“I Can’t Stop Loving You” and “Loving You” were issued as a 7″ single on Spring/Polydor. While the album featured numerous country songs, Jackson’s delivery remained rooted in soul phrasing and Southern gospel tradition. Her cover of “Love on the Rocks” maintains the original’s dramatic structure but draws added contrast from her raspy tone. “Loving You,” an original, avoids sentimentality through open pacing and unsentimental lines, while “Anybody That Don’t Like Millie Jackson” delivers a self-referential finale with Kristofferson’s wry lyricism.

The cover image, shot by Ron Slenzak and designed by Lumel and Murry Whiteman, presents Jackson in full western wear, reinforcing the concept while maintaining her characteristic theatrical presence.

Live and Outrageous

In March 1982, Millie Jackson released Live and Outrageous, her third live album.

Her third live album captures a concise stage show centered on monologue-driven routines, comedic vignettes, and compact vocal numbers. Unlike the sprawling Live & Uncensored, this set places greater emphasis on short, structured routines and tightly arranged transitions, spotlighting Jackson’s storytelling control and rhythmic command.

Backing is provided by the E-Z Ak Shun Band with Donnell Farmer on bass, Harold Small on keyboards, George Morland on drums, and Delbert Smith on saxophone and flute. Brian Tyree and Chuck Johnson handle lead and rhythm guitars. Horns come from the D.C. Horns, and backing vocals feature Carol Bigger, Vicki Hampton, and Yvonne Hodges. Jackson co-produced with Brad Shapiro, and Jerry Shook contributed guitar overdubs.

Jackson wrote or co-wrote five of the eight tracks, including the centerpiece “Lovers and Girlfriends” and comedic routines like “A Horse or Mule.” She also revisits Rod Stewart’s “Passion” and Kenny Loggins’ “This Is It,” and sings Lionel Richie’s ballad “Still.” Much of the album unfolds as linked narrative sequences with quick punchlines and direct audience engagement.

“Passion” opens with a brisk backbeat and punchy horns before Jackson inserts a sharp monologue about masculine delusions. “Lovers and Girlfriends” unfolds as a nine-minute breakdown of romantic hierarchy, layered with crowd call-and-response and vocal ad-libs. “Ugly Men” blends dramatic monologue with clipped staccato phrasing. “Still” provides a rare sustained melodic interlude, before Jackson returns to rapid-fire satire on “This Is It,” closing the set on an exaggerated theatrical high.

A1. “Passion” (4:45) — originated as a 1980 single by Rod Stewart, written by Rod Stewart, Kevin Savigar, Jim Cregan, Carmine Appice, Gary Grainger, and Phil Chen
A2. “A Horse or Mule” (1:30)
A3. “Lovers and Girlfriends” (9:40)
A4. “Don’t You Ever Stop Lovin’ Me” (2:40)

B1. “I Had to Say It” (8:13)
B2. “Still” (6:07) — originated as a 1979 single by the Commodores, written by Lionel Richie
B3. “Ugly Men” (6:18)
B4. “This Is It” (1:50) — originated as a 1979 single by Kenny Loggins, written by Kenny Loggins and Michael McDonald

Sessions occurred live in 1981 at Mr. Vee’s Figure 8 in Atlanta, recorded by Fanta Professional Services and remixed by Ernie Winfrey at Soundshop Recording Studios in Nashville.

Live and Outrageous features design by Bob Heimall and photography by Chuck Stewart. The LP’s visual layout continues the risqué theme of Jackson’s prior live records, marketed with a “Rated XXX” subtitle.

The album was later reissued on CD alongside Live & Uncensored as a combined two-disc set.

Hard Times

Millie Jackson released her fourteenth studio album, Hard Times, in October 1982 on Spring.

The album builds on her blues-funk hybrid with sharp, theatrical narratives and dramatic spoken-word interludes. Several tracks unfold as extended suites, contrasting slow-burning ballads with layered funk breakdowns and vocal monologues. Jackson co-produced the album and doubled down on her signature fusion of satire, pathos, and confessional realism.

Backing players include guitarist Larry Byrom, bassist Bob Wray, keyboardist Ron Oates (strings, Moog), drummer James Stroud, and percussionist Terry McMillin. The horn section includes Charles Rose, Harrison Calloway, and Harvey Thompson, while string parts were performed by the Nashville String Machine. Background vocals appear courtesy of Donna McElroy, Leajane Berinati, Vicky Hampton, and Yvonne Hodges.

Jackson wrote or co-wrote five of the ten tracks, including both parts of “Finger Rap.” Collaborators include songwriter Brad Shapiro, who also shares production and arrangement duties. Sam Dees contributed two pieces, and outside material includes the blues standard “We’re Gonna Make It” and a new composition by W.T. Davidson.

“Blufunkes” cycles between long-held keyboard chords and sharply staggered guitar rhythms, setting up alternating sections of conversational delivery and sung refrains. “Special Occasion” uses a slow pacing with modal turns, while “I Don’t Want to Cry” contrasts smooth verses with clipped vocal refrains. The centerpiece suite (tracks B3a–d) alternates narrative monologue with choral segments, flipping between sung and spoken parts with metrical shifts and rhythm section dropouts. “Feel Love Comin’ On” ends the album on an upward pulse, using a steady backbeat and syncopated bassline over strings.

A1. “Blufunkes” (6:00)
A2. “Special Occasion” (4:43)
A3. “I Don’t Want to Cry” (4:13)
A4. “We’re Gonna Make It” (2:56) — originated as a 1965 single by Little Milton, written by B. Davis, C. Smith, G. Barge, and R. Miner

B1. “Hard Times” (4:22)
B2. “The Blues Don’t Get Tired of Me” (2:57)
B3a. “Mess On Your Hands” (2:09)
B3b. “Finger Rap” (2:34)
B3c. “Mess On Your Hands (Reprise)” (2:04)
B3d. “Finger Rap (Reprise)” (1:55)
B4. “Feel Love Comin’ On” (4:08)

Sessions occurred in mid-1982 at Soundshop Recording Studios in Nashville with producers Millie Jackson and Brad Shapiro, engineered by Ernie Winfrey and Mike Bradley, with assistant engineers Fran Overall and Sheilla Landers.

Hard Times features cover art by Tom Newsom with art direction and design by Bob Heimall. The concept originated with Bill Levy. Some editions display a gold sticker reading “For Mature Audiences Only.”

Spring promoted the album with the multipart suite “Mess On Your Hands” and the track “Hard Times,” both issued to radio.

E.S.P. (Extra Sexual Persuasion) (1983)

Millie Jackson released her fifteenth studio album, E.S.P. (Extra Sexual Persuasion), in 1983 on Spring.

The album extends Jackson’s spoken-sung soul style into high-tempo, synth-driven tracks with dancefloor pacing and electronic percussion. While retaining elements of her monologue-driven narratives, the material emphasizes shorter formats and modern production techniques, contrasting with the extended suites of her prior studio albums.

Backing players include bassist David Hood, guitarist Wayne Perkins, and keyboardists Carl Marsh and Steve Nathan. Horn lines were arranged by Ben Cauley, Charles Rose, Harrison Calloway Jr., and Harvey Thompson. Background vocals come from Donna McElroy, Michael Mishaw, and Vicky Hampton. Drum programming was handled by Roger Hawkins (credited as Regor Snikwah). Brad Shapiro co-produced the album with Jackson.

Jackson co-wrote three of the album’s nine tracks and collaborated with Randy Klein and Vicky Germaise on the two-part “Sexercise” suite. Outside contributions include numbers by Muscle Shoals regulars and Nashville pop writers. The title track and “This Girl Could Be Dangerous” reflect a tilt toward contemporary dance-pop aesthetics.

The title track sets the tone with staccato synth lines and fast-cycle pacing. “Too Easy Being Easy” stretches across seven minutes with a long central breakdown and overdubbed vocal layers. “This Girl Could Be Dangerous” leans on percussive accents and clipped phrasing. The “Sexercise” suite unfolds over two segments, pairing aerobic themes with rhythmic repetition and backing chants. “Slow Tongue” draws on echo-laden keyboard textures and minor-key harmonic framing.

A1. “E.S.P.” (3:58)
A2. “Too Easy Being Easy” (7:00)
A3. “This Girl Could Be Dangerous” (3:01)
A4. “I Feel Like Walkin’ in the Rain” (3:58)

B1. “Sexercise (Pt. 1)” (3:00)
B2. “Sexercise (Pt. 2)” (2:41)
B3. “You’re Working Me” (4:07)
B4. “Slow Tongue” (4:58)
B5. “Why Me” (3:24)

Sessions occurred between late 1982 and early 1983 at Muscle Shoals Sound Studios in Alabama with producers Millie Jackson and Brad Shapiro. Jimmy Johnson engineered, with Pete Green assisting and mixing.

E.S.P. features design by Chris Popham and photography by Chuck Stewart.

Discography: