Natalie Cole -

Natalie Cole (Feb. 6, 1950 — Dec. 31, 2015) was an American soul singer from Los Angeles. She recorded soul, pop, jazz, and standards across a career that began with a sequence of Capitol albums produced by Chuck Jackson and Marvin Yancy. Her first four albums spawned the 1975–77 R&B No. 1’s “This Will Be,” “Inseparable,” “Sophisticated Lady (She’s a Different Lady),” “I’ve Got Love on My Mind,” and “Our Love.”

Cole’s 1987 hit “Jump Start” launched a second chart round with “I Live for Your Love,” “Pink Cadillac,” and the crossover ballad “Miss You Like Crazy.” Her 1991 standards album Unforgettable… with Love won a Grammy for the titular duet with her father, jazz legend Nat King Cole.

Background

Natalie Maria Cole was born on February 6, 1950, in Los Angeles to singer-pianist Nat King Cole and former Duke Ellington Orchestra singer Maria Hawkins Ellington. She grew up in Hancock Park with four siblings and sang on her father’s 1960 album The Magic of Christmas. Cole began public performances at age eleven, then attended Northfield School for Girls in Massachusetts and the Buckley School in Sherman Oaks.

She entered the University of Massachusetts Amherst, spent one term at the University of Southern California, and returned to Amherst for a 1972 degree in child psychology with a minor in German. Cole sang with Black Magic in East Coast clubs. Songwriter-producer Chuck Jackson and songwriter-keyboardist Marvin Yancy recorded a demo with Cole at Curtis Mayfield’s Curtom studio in Chicago. Capitol executive Larkin Arnold signed her after the label heard those recordings.

Inseparable

Natalie Cole released her debut album, Inseparable, in May 1975 on Capitol.

Jackson and Yancy wrote nine selections together and added Kay Butler to “You.” Keyboardist Tennyson Stephens, guitarist Cash McCall, bassist Lucky Scott, drummer Quinton Joseph, and percussionist Henry Gibson formed the principal Chicago unit. Richard Evans and Gene Barge arranged the orchestral parts.

“This Will Be” testifies through joyous, church-schooled phrasing, staccato multitracked responses, and rapid-fire declarations. “Inseparable” glides through intimate phrasing and a supple arrangement.

A1. “Needing You” (2:45)
A2. “Joey” (2:57)
A3. “Inseparable” (2:26)
A4. “I Can’t Say No” (3:30)
A5. “This Will Be” (2:50)

B1. “Something for Nothing” (2:57)
B2. “I Love Him So Much” (3:24)
B3. “How Come You Won’t Stay Here” (3:03)
B4. “Your Face Stays in My Mind” (2:45)
B5. “You” (3:30) – Jackson, Yancy, Butler

Sessions spanned 1974 through 1975 at Curtom and Universal in Chicago, with additional work at Paragon. Jackson and Yancy produced the album. Roger Anfinsen and John Janus engineered the first six selections; Rich Adler and Bruce Swedien handled the balance. Anfinsen also engineered Curtis Mayfield’s 1975 album There’s No Place Like America Today.

Inseparable appeared in a sleeve designed by Capitol art director Roy Kohara with photography by David Alexander. In 1976, he photographed the Beverly Hills Hotel image for Eagles’ album Hotel California.

Capitol issued “This Will Be” in April 1975 (b/w “Joey”), and the single reached No. 6 on the Billboard Hot 100 and No. 1 on the Hot Soul Singles chart. “Inseparable” followed in November (b/w “How Come You Won’t Stay Here”) and returned Cole to No. 1 on the soul chart while reaching No. 32 on the Hot 100. The album reached No. 18 on the Billboard 200 and No. 1 on the soul albums chart.

Natalie

Cole released her second album, Natalie, in April 1976 on Capitol.

Jackson and Yancy wrote most of the program and shared two selections with Cole. The album also contains “Good Morning Heartache,” which Billie Holiday introduced on a 1946 Decca single. Stephens and Yancy returned on keyboards with McCall, Scott, Joseph, and Gibson; Barge and Evans again supplied arrangements.

“Mr. Melody” sparkles through exuberant phrasing, a brief scat turn, and multitracked responses. “Sophisticated Lady (She’s a Different Lady)” struts through sassy, slinky phrasing and sharp multitracked replies. “Keep Smiling” testifies in robust, full-throated declarations. “Good Morning Heartache” smolders through torch-lit restraint and quiet, haunting passages.

A1. “Mr. Melody” (3:07) – Chuck Jackson, Marvin Yancy
A2. “Heaven Is With You” (4:17) – Jackson, Yancy
A3. “Sophisticated Lady (She’s a Different Lady)” (3:27) – Jackson, Yancy, Natalie Cole
A4. “No Plans for the Future” (3:12) – Jackson, Yancy
A5. “Can We Get Together Again” (3:12) – Jackson, Yancy

B1. “Keep Smiling” (2:55) – Jackson, Yancy
B2. “Good Morning Heartache” (4:19) – Ervin Drake, Irene Higginbotham, Dan Fisher
B3. “Not Like Mine” (3:03) – Jackson, Yancy, Cole
B4. “Touch Me” (4:14) – Jackson, Yancy
B5. “Hard to Get Along” (2:45) – Jackson, Yancy

Sessions spanned 1975 through 1976 at Curtom in Chicago. Jackson and Yancy produced most selections, while Gene Barge and Richard Evans co-produced “Sophisticated Lady.” Roger Anfinsen returned from Inseparable and shared engineering with Chicago recording engineer Fred Breitberg.

Natalie appeared in a sleeve directed by Kohara with photography by Charles W. Bush, whose contemporary portrait credits included Freda Payne and Tavares.

Capitol released “Sophisticated Lady” in April 1976 (b/w “Good Morning Heartache”), and the single reached No. 25 on the Billboard Hot 100 and No. 1 on the soul chart. “Mr. Melody” followed in August (b/w “Not Like Mine”) and reached No. 49 on the Hot 100 and No. 10 on the soul chart. Natalie peaked at No. 13 on the Billboard 200 and No. 3 on the soul albums chart.

Unpredictable

Natalie Cole released her third album, Unpredictable, in February 1977 on Capitol.

Jackson and Yancy wrote seven selections, while Tennyson Stephens contributed “Party Lights” and Cole wrote “Peaceful Living” and “Your Eyes.” Terry Fryer added synthesizer, Phil Upchurch played acoustic guitar, and Linda Williams joined the keyboard group. Gene Barge co-produced the Stephens composition and Richard Evans arranged both Cole originals.

“I’ve Got Love on My Mind” swells through rousing declarations, jazz-shaded harmony, and a church-bred climax. “Party Lights” charges through a rapid dance pattern with sassy phrasing and exuberant exclamations. “Unpredictable You” struts across brass accents and a strident refrain.

“Peaceful Living” glides through bucolic calm and a sweeping string arrangement. “Your Eyes” declaims through dramatic surges and emphatic phrasing. “I’m Catching Hell (Living Here Alone)” testifies through church-bred phrasing and a confessional slow burn.

A1. “This Heart” (4:07) – Chuck Jackson, Marvin Yancy
A2. “Still in Love” (3:43) – Jackson, Yancy
A3. “Party Lights” (4:09) – Tennyson Stephens
A4. “I’ve Got Love on My Mind” (4:20) – Jackson, Yancy
A5. “Unpredictable You” (3:40) – Jackson, Yancy

B1. “Peaceful Living” (4:19) – Natalie Cole
B2. “Be Mine Tonight” (3:22) – Jackson, Yancy
B3. “I Can’t Break Away” (3:04) – Jackson, Yancy
B4. “Your Eyes” (2:41) – Cole
B5. “I’m Catching Hell” (6:14) – Jackson, Yancy

Sessions spanned 1976 through 1977 at P.S. Recording Studios in Chicago and Westlake Audio in Los Angeles. Jackson and Yancy produced the album, with Barge as co-producer on “Party Lights.” Steve Hodge and trumpeter-engineer Paul Serrano recorded the sessions. Concurrent work for Serrano included the Staple Singers’ 1977 album Family Tree.

Unpredictable appeared in a sleeve directed by Kohara with photography by Raul Vega, who also supplied photography for Gato Barbieri’s 1977 album Caliente!.

Capitol issued “I’ve Got Love on My Mind” in January 1977 (b/w “Unpredictable You”), and the single reached No. 5 on the Billboard Hot 100 and No. 1 on the soul chart. “Party Lights” followed in June (b/w “Peaceful Living”) and reached No. 79 on the Hot 100 and No. 9 on the soul chart. The album rose to No. 8 on the Billboard 200 and No. 1 on the soul albums chart.

Thankful

Natalie Cole released her fourth album, Thankful, in November 1977 on Capitol.

Jackson and Yancy supplied four selections and shared “Lovers” with Cole. She wrote “Annie Mae” and “Keeping a Light,” while Linda Williams joined her on “La Costa.” Williams and Yancy led the keyboard group; Ray Parker Jr. and Lee Ritenour joined guitarist Criss Johnson, and Gene Barge played an alto saxophone solo on “Just Can’t Stay Away.”

“Lovers” saunters into a boogie-woogie spoken passage before agile scat. “Our Love” swells through tender declarations and several pronounced transitions. “La Costa” glides through tropical-tinged phrasing and understated scat. “Ain’t Nothing Stronger Than Love” simmers beneath lush orchestration. “Be Thankful” testifies with rousing, church-bred fervor and a brisk dance pattern. “Annie Mae” strides through a driving step pattern and dramatic narrative turns.

A1. “Lovers” (3:47) – Chuck Jackson, Marvin Yancy, Natalie Cole
A2. “Our Love” (5:22) – Jackson, Yancy
A3. “La Costa” (3:50) – Cole, Linda Williams
A4. “There Ain’t Nothing Stronger Than Love” (4:54) – Jackson, Yancy

B1. “Be Thankful” (3:49) – Jackson, Yancy
B2. “Just Can’t Stay Away” (5:23) – Jackson, Yancy
B3. “Annie Mae” (4:00) – Cole
B4. “Keeping a Light” (4:06) – Cole

Sessions ran from August through November 1977 at ABC Recording Studios and Westlake Audio in Los Angeles. Jackson and Yancy produced the album, while Barge co-produced “Be Thankful.” Barney Perkins served as principal engineer. Zollie Johnson and Lester Smith handled additional recording. Perkins also engineered Aretha Franklin’s 1977 album Sweet Passion.

Kohara directed the Thankful package, while painter and illustrator Craig Nelson rendered the cover portrait and illustrated War’s 1976 compilation Greatest Hits.

Capitol released “Our Love” in November 1977 (b/w “La Costa”), and the single reached No. 10 on the Billboard Hot 100 and No. 1 on the soul chart. “Annie Mae” reappeared as an A-side in April 1978 (b/w “Just Can’t Stay Away”) and reached No. 6 on the soul chart. Thankful reached No. 16 on the Billboard 200 and No. 5 on the soul albums chart.

I Love You So

Natalie Cole released her fifth album, I Love You So, in March 1979 on Capitol.

Jackson and Yancy remained principal songwriters, while Cole contributed four co-writes or originals. The program includes “Oh, Daddy” from Fleetwood Mac’s 1977 album Rumours. Keyboardists Mark Davis and Linda Williams joined Yancy, Keni Burke and Bobby Eaton divided bass duties, and Paul Riser arranged selected orchestral parts.

“I Love You So” glides through a sleek dance pattern. “You’re So Good” struts through gritty, funk-rooted declarations. “Sorry” rises from lush strings and piano toward graceful high sweeps, with spare woodblock accents beneath harmony passages.

A1. “I Love You So” (4:49) – Chuck Jackson, Marvin Yancy
A2. “You’re So Good” (3:23) – Fred Freeman, Harry Nehls
A3. “It’s Been You” (4:53) – Jackson, Yancy
A4. “Your Lonely Heart” (4:45) – Natalie Cole, Rob Halprin
A5. “The Winner” (3:40) – Jackson, Gene Barge, Yancy, Halprin

B1. “Oh, Daddy” (4:03) – Christine McVie
B2. “Sorry” (4:45) – Jackson, Yancy, Jessy Dixon
B3. “Stand By” (4:19) – Cole, Yancy
B4. “Who Will Carry On” (3:36) – Cole

Sessions spanned 1978 through 1979 across Hollywood and Los Angeles, with additional work in Glendale. Jackson and Yancy produced the recordings under executive producer Kevin Hunter, with Gene Barge in a shared production role. Reggie Dozier and Al Schmitt handled orchestral sweetening and remixes. Frank Kejmar joined the orchestra sessions, while Gordon Shryock recorded the voice sessions. Schmitt also recorded and mixed George Benson’s 1979 album Livin’ Inside Your Love.

Melissa Tormé-March coordinated the I Love You So package, and John Ernsdorf created the graphics. Photographer Vincent Frye supplied the reclining portrait and photographed We’re the Best of Friends and Don’t Look Back within the next year.

Capitol issued “Stand By” in February 1979 (b/w “Who Will Carry On”), and the single reached No. 9 on the soul chart. “Sorry” followed in May (b/w “You’re So Good”) and reached No. 34, while “Your Lonely Heart” appeared in October (b/w “The Winner”) and reached No. 59 on the same listing. The album peaked at No. 52 on the Billboard 200 and No. 11 on the soul albums chart.

We’re the Best of Friends

Natalie Cole released her sixth album, the Peabo Bryson collaboration We’re the Best of Friends, in November 1979 on Capitol.

The program alternates solo features with joint performances. Bobby Caldwell issued “What You Won’t Do for Love” in 1978, while the closing medley combines the 1933 film song “Let’s Fall in Love” with “You Send Me,” introduced by Sam Cooke on a 1957 single. Nelson Riddle arranged the medley; Johnny Pate and Mark Davis scored selected tracks.

“Gimme Some Time” struts through a brisk dance pattern and lively traded lines. “What You Won’t Do for Love” glides through smoothly traded phrases as brass and piano punctuate each exchange. “We’re the Best of Friends” beams through buoyant exchanges.

A1. “Gimme Some Time” (3:19) – Natalie Cole
A2. “This Love Affair” (4:37) – Marvin Yancy, Cole
A3. “I Want to Be Where You Are” (4:15) – Peabo Bryson
A4. “Your Lonely Heart” (4:30) – Cole

B1. “What You Won’t Do for Love” (6:02) – Alfons Kettner, Bobby Caldwell
B2. “We’re the Best of Friends” (4:14) – Edward Howard, Thomas Campbell
B3. “Let’s Fall in Love/You Send Me” (4:08) – Harold Arlen, Ted Koehler / Sam Cooke
B4. “Love Will Find You” (6:09) – Bryson

Sessions occurred in 1979 at Hollywood Sound and the Sound Factory, with additional work at United Western in Los Angeles. Mark Davis and Yancy produced “Gimme Some Time,” “This Love Affair,” “Your Lonely Heart,” and the medley. Bryson and Johnny Pate handled the remaining selections. Rik Pekkonen mixed the album. Butch Lynch and Steve Reyes recorded the rhythm and orchestral sessions, while Gordon Shryock handled the voice sessions. Pate and Bryson continued the production partnership from Bryson’s 1978 album Crosswinds.

The package retained coordinator Tormé-March and graphic artist Ernsdorf from I Love You So. Frye supplied the joint portrait.

Capitol released “Gimme Some Time” in October 1979 (b/w “Love Will Find You”), and the single reached No. 8 on the soul chart. “What You Won’t Do for Love” followed in February 1980 (b/w “Your Lonely Heart”) and reached No. 16 on the same listing. The album reached No. 44 on the Billboard 200 and No. 7 on the soul albums chart.

Don’t Look Back

Natalie Cole released her seventh album, Don’t Look Back, in May 1980 on Capitol.

Yancy shares most of the program with Cole, who wrote “Danger Up Ahead,” “Beautiful Dreamer,” and “Cole Blooded.” Nelson Riddle arranged the 1939 standard “Stairway to the Stars,” a song recorded in that period by Glenn Miller and His Orchestra. Michael Masser supplied “Someone That I Used to Love,” with Lee Holdridge as orchestrator. Linda Williams and Yancy returned on keyboards; bassist Leland Sklar and guitarist Steve Hunter joined the album.

“Stairway to the Stars” scats through agile turns and poised phrases. “Beautiful Dreamer” floats through plush swells and delicate, free-flowing phrasing. “Danger Up Ahead” surges through sassy declarations, stretched notes, unusual inflections, and a showy coda.

A1. “Don’t Look Back” (4:08) – Fred Allen, Marvin Yancy, Natalie Cole
A2. “(I’ve Seen) Paradise” (4:31) – Yancy, Cole
A3. “Hold On” (4:50) – Kevin Yancy, Marvin Yancy, Cole
A4. “Stairway to the Stars” (3:08) – Frank Signorelli, Matty Malneck, Mitchell Parish
A5. “I’m Getting Into You” (3:57) – Chuck Bynum, Marvin Yancy, Cole

B1. “Someone That I Used to Love” (4:05) – Gerry Goffin, Michael Masser
B2. “Danger Up Ahead” (6:30) – Cole
B3. “Beautiful Dreamer” (4:10) – Cole
B4. “Cole Blooded” (4:56) – Gene Barge, Cole

Sessions spanned 1979 through 1980 at Scott/Sunstorm and United Western in Hollywood. Barge and Yancy produced all selections except “Someone That I Used to Love,” which Michael Masser produced. Gerry Brown served as principal engineer and remixer, while Paul Dobbe recorded “Stairway to the Stars.” Masser also produced studio selections for Dionne Warwick’s 1981 album Hot! Live and Otherwise.

Art director Glen Christensen designed the Don’t Look Back sleeve. Frye photographed Cole, and Georgina Karvellas supplied the still-life image. Christensen also directed and photographed Barry White’s 1980 album Sheet Music.

Capitol issued “Someone That I Used to Love” in April 1980 (b/w “Don’t Look Back”), and the single reached No. 21 on both the Billboard Hot 100 and soul chart, plus No. 3 on Adult Contemporary. “Hold On” followed in September (b/w “(I’ve Seen) Paradise”) and reached No. 38 on the soul chart. The album peaked at No. 77 on the Billboard 200 and No. 17 on the soul albums chart.

Happy Love

Natalie Cole released her eighth album, Happy Love, in July 1981 on Capitol.

Gary Goetzman and Mike Piccirillo supplied three selections, while Cole wrote or co-wrote three others. The program pairs “These Eyes,” recorded by the Guess Who in 1968, with “When a Man Loves a Woman,” introduced by Percy Sledge on a 1966 single. Piccirillo played guitar and synthesizer; Bill Cuomo and Eddie Cole supplied keyboards, while Keni Burke handled most bass parts.

“You Were Right Girl” strides through blues-tinged phrasing and a brisk, theatrical arrangement. “These Eyes” swells through a steadily climbing arrangement and broad dramatic peaks. “Nothin’ but a Fool” flares through passionate declarations.

A1. “You Were Right Girl” (3:16) – Gary Goetzman, Mike Piccirillo
A2. “Only Love” (3:44) – Goetzman, Piccirillo
A3. “Nothin’ but a Fool” (4:20) – Bill Amesbury
A4. “The Joke Is on You” (3:22) – Eddie Cole, Natalie Cole
A5. “These Eyes” (3:37) – Burton Cummings, Randy Bachman

B1. “When a Man Loves a Woman” (3:47) – Calvin Lewis, Andrew Wright
B2. “I Can’t Let Go” (3:07) – Goetzman, Piccirillo
B3. “Love and Kisses” (3:43) – Cole
B4. “Across the Nation” (5:16) – Mark Davis, Cole

Sessions occurred at Sunset Sound in Hollywood with producers George Tobin and Piccirillo. Howard Wolen and Mark Wolfson engineered the album, assisted by John Volaitis. Tobin and Piccirillo also produced Smokey Robinson’s 1981 album Being with You.

Christensen directed and photographed the Happy Love sleeve. The front presents Cole in a black leather suit against a pale field and purple border. His contemporary covers also included Stephanie Mills albums Sweet Sensation and Stephanie.

Capitol issued “You Were Right Girl” in June 1981 (b/w “Across the Nation”), and the single reached No. 35 on the Hot Soul Singles chart. “Nothin’ but a Fool” followed in September (b/w “The Joke Is on You”) and reached No. 34 on the same listing. Happy Love reached No. 132 on the Billboard 200 and No. 37 on the soul albums chart, closing Cole’s first Capitol period.

I’m Ready

Natalie Cole released her ninth album, I’m Ready, in April 1983 on Epic.

The album reunited Cole with Jackson and Yancy for five selections and introduced a second production unit led by bassist Stanley Clarke. Charles Bynum and Clarke co-produced “Time (Heals All Wounds),” which Bynum wrote with Joe Blocker and Cole. Greg Phillinganes and George Duke joined the keyboard group, while Clarke and Nathan East divided most bass duties.

“Too Much Mister” struts through an ebullient dance pattern and bright declarations. “I Won’t Deny You” bounces through buoyant phrases and quick accents. “I’m Ready” gleams through sleek declarations and graceful phrasing. “Keep It on the Outside” pleads through warm restraint and sustained phrases. “I’m Your Mirror” settles into soft, stately phrasing.

A1. “Too Much Mister” (4:50) – Chuck Jackson, Marvin Yancy
A2. “I Won’t Deny You” (3:58) – Jackson, Yancy
A3. “I’m Ready” (4:10) – Clarence McDonald, Jackson, Yancy
A4. “Keep It on the Outside” (4:21) – Jackson, Yancy

B1. “Time (Heals All Wounds)” (5:24) – Charles Bynum, Joe Blocker, Natalie Cole
B2. “(I’m Coming) Straight from the Heart” (5:10) – Jackson, Yancy
B3. “Where’s Your Angel” (3:55) – Allee Willis, Greg Phillinganes
B4. “I’m Your Mirror” (5:01) – Cole

Sessions spanned 1982 through 1983 at Larrabee Sound and A&M Studios, with additional work at Ocean Way and Mad Hatter in Los Angeles. Jackson and Yancy produced five tracks. Bynum and Clarke co-produced “Time,” and Clarke handled the remaining original-LP selections. Barry Rudolph recorded and mixed the album. Erik Zobler engineered material added to the later compact-disc edition. Clarke followed with his 1984 Epic album Time Exposure.

CBS art directors Tony Lane and Nancy Donald designed the package. Jerry Rosengren supplied the photography. Lane and Donald also designed Philip Bailey’s 1984 album Chinese Wall.

In June 1983, Epic released “Too Much Mister” (b/w “Where’s Your Angel”). “Keep It on the Outside” followed in September (b/w “I Won’t Deny You”). I’m Ready reached No. 182 on the Billboard 200 and No. 54 on the Black Albums chart.

Dangerous

Natalie Cole released her tenth album, Dangerous, in May 1985 on Modern and Atco.

Edward Holland Jr. and Harold Beatty supplied three selections, while Marti Sharron co-wrote three others with Gary Skardina or Dianne Steinberg. Cole and Eddie Cole wrote “Love Is on the Way.” Gene Page arranged strings and selected rhythm parts across the album.

“Billy the Kid Next Door” barrels through a pulsating dance pattern. “Opposites Attract” charges through pulsating dance accents. “Your Car (My Garage)” races through insistent dance accents. “Nobody’s Soldier” testifies through self-assured phrasing and torch-lit emotional peaks. “Love Is on the Way” settles into mellow, tender intimacy. “The Gift” pleads through heartfelt, personal declarations.

A1. “Dangerous” (3:49) – Marti Sharron, Stephen Mitchell, Gary Skardina
A2. “Billy the Kid Next Door” (4:40) – Edward Holland Jr., Harold Beatty
A3. “Secrets” (4:13) – Dianne Steinberg, Sharron
A4. “Nobody’s Soldier” (4:04) – David Lasley, Willie Wilcox
A5. “Opposites Attract” (3:43) – Holland, Beatty, Richard Davis, Robert Holland

B1. “A Little Bit of Heaven” (4:03) – Graham Lyle, Richard Kerr
B2. “Your Car (My Garage)” (4:05) – Holland, Beatty
B3. “Love Is on the Way” (4:51) – Eddie Cole, Natalie Cole
B4. “The Gift” (3:12) – Mark Davis, Sharron

Sessions spanned 1984 through 1985 across Los Angeles-area rooms and Mediasound in New York. Marti Sharron and Gary Skardina produced five selections, with Skardina also engineering them. Harold Beatty produced three others. Cole and Eddie Cole handled “Love Is on the Way.” Craig Burbidge recorded Beatty’s tracks, while Mark Wolfson recorded the Cole production. Sharron and Skardina also produced Durell Coleman’s 1985 debut album.

Music photographer Aaron Rapoport shot the Dangerous cover. His contemporary credits included Rockwell’s 1985 album Captured and Keel’s The Right to Rock.

Modern issued “Dangerous” in April 1985 (b/w “Love Is on the Way”), and the single reached No. 57 on the Billboard Hot 100, No. 16 on the R&B chart, and No. 6 on the Dance Club listing. Follow-up single “A Little Bit of Heaven” appeared in August (b/w the non-album “When I Need It Bad, You Got It Good”) and reached No. 81 on the Hot 100 plus No. 11 on Adult Contemporary. The album peaked at No. 140 on the Billboard 200 and No. 48 on the Black Albums chart.

Everlasting

Natalie Cole released her eleventh album, Everlasting, in June 1987 on Manhattan.

“When I Fall in Love” returns to a Victor Young and Edward Heyman standard first recorded by Jeri Southern in 1952 and later recorded by Nat King Cole. Bruce Springsteen introduced “Pink Cadillac” as a 1984 B-side, while José Feliciano joins Cole on “More Than the Stars.” Jerry Knight and Aaron Zigman supplied the title song; Reggie and Vincent Calloway wrote two further selections.

“Jump Start” jolts through synth-fueled accents and a high-energy dance pattern. “Split Decision” glides through smooth phrasing. “In My Reality” swings lightly through measured phrases. “Pink Cadillac” struts through assertive delivery and playful dance accents. “I Live for Your Love” swells through sultry restraint and strong declarations. “When I Fall in Love” caresses measured phrases before a saxophone solo. “More Than the Stars” shimmers through samba-tinged sway.

A1. “Everlasting” (5:17) – Jerry Knight, Aaron Zigman
A2. “Jump Start” (6:26) – Reggie Calloway, Vincent Calloway
A3. “The Urge to Merge” (4:10) – Pam Reswick, Steve Werfel
A4. “Split Decision” (4:14) – Burt Bacharach, Carole Bayer Sager
A5. “When I Fall in Love” (5:09) – Edward Heyman, Victor Young

B1. “Pink Cadillac” (4:28) – Bruce Springsteen
B2. “I Live for Your Love” (4:29) – Reswick, Allan Rich, Werfel
B3. “In My Reality” (5:21) – Bacharach, Bayer Sager
B4. “I’m the One” (5:21) – Reggie Calloway, Belinda Lipscomb
B5. “More Than the Stars” (4:39) – Natalie Cole, Eddie Cole

Sessions spanned 1986 through 1987 across Southern California and New York, with additional work in West Orange. Jerry Knight and Aaron Zigman produced the title track, while Reggie and Vincent Calloway handled “Jump Start” and “I’m the One.” Dennis Lambert produced three selections. Burt Bacharach and Carole Bayer Sager produced two songs. Marcus Miller produced “When I Fall in Love,” and Natalie and Eddie Cole handled “More Than the Stars.” Mick Guzauski recorded and mixed the Knight-Zigman and Bacharach-Bayer Sager productions. Jeremy Smith handled Lambert’s tracks, while Taavi Mote mixed the Calloway material. Mark Wolfson engineered “More Than the Stars.” Lambert also produced four tracks on Five Star’s 1987 album Between the Lines.

Debra Bishop and Koppel & Scher designed the package. Hollywood photographer Moshe Brakha supplied the cover portrait and shot Pat Benatar’s 1988 album Wide Awake in Dreamland.

Manhattan issued “Jump Start” in July 1987 (b/w “More Than the Stars”), and the single reached No. 13 on the Billboard Hot 100 and No. 2 on the R&B chart. “I Live for Your Love” followed in October (b/w “More Than the Stars”) and reached No. 13 on the Hot 100, No. 4 on the R&B chart, and No. 2 on Adult Contemporary. “Pink Cadillac” appeared in February 1988 (b/w the non-album “I Wanna Be That Woman”) and reached No. 5 on the Hot 100 plus No. 1 on the Dance Club chart. “When I Fall in Love” followed in July (b/w “Pink Cadillac”) and reached No. 14 on Adult Contemporary.

Everlasting peaked at No. 42 on the Billboard 200 and No. 8 on the R&B albums chart. Elektra reissued the album in 1991 with “What I Must Do” as a bonus track.

Good to Be Back

Natalie Cole released her twelfth album, Good to Be Back, in May 1989 on EMI USA.

Freddie Jackson joins Cole on “I Do.” “Starting Over Again” revisits a Gerry Goffin and Michael Masser song first recorded by Dionne Warwick in 1981, while “Someone’s Rockin’ My Dreamboat” draws from a 1942 Decca recording by the Ink Spots. Claude Gaudette and Walter Afanasieff join Robbie Buchanan and Booker T. Jones across the keyboard parts.

“Miss You Like Crazy” swells from subdued phrases toward soaring pleas and dramatic peaks. “As a Matter of Fact” swings through brisk phrases. “The Rest of the Night” springs through a brisk dance pattern. “I Do” sways through a measured duet and broad shared declarations. “Starting Over Again” glides through slow, intimate phrasing. “Someone’s Rockin’ My Dreamboat” saunters through lounge-lit phrases and elegant restraint.

A1. “Safe” (3:46) – Franne Golde, Dennis Lambert
A2. “As a Matter of Fact” (3:57) – Don Boyette, Siedah Garrett
A3. “The Rest of the Night” (4:33) – Glen Ballard, Randy Goodrum
A4. “Miss You Like Crazy” (3:53) – Preston Glass, Gerry Goffin, Michael Masser
A5. “I Do” (3:56) – Frank Wildhorn

B1. “Good to Be Back” (4:19) – Pam Reswick, Steve Werfel
B2. “Gonna Make You Mine” (4:34) – Garry Glenn
B3. “Starting Over Again” (4:13) – Goffin, Masser
B4. “Don’t Mention My Heartache” (4:44) – Clydene Jackson, Catherine Wilmore
B5. “I Can’t Cry” (4:17) – Shelly Peiken, Ric Wake
B6. “Someone’s Rockin’ My Dreamboat” (4:05) – Leon René, Otis René

Sessions spanned 1988 through 1989 across Southern California and New York. Dennis Lambert produced three selections, while André Fischer handled two. Michael Masser returned from Don’t Look Back for both Gerry Goffin co-writes. Narada Michael Walden directed the Freddie Jackson duet. Lee Curreri and Ric Wake handled one track each, while Eddie Cole produced the closing standard. Doug Rider recorded Lambert’s tracks, while Mick Guzauski handled Fischer’s work. Calvin Harris engineered the Masser productions, and David Frazer recorded the Walden duet.

EMI USA art director Henry Marquez directed the package, and LuAnn Graffeo designed the sleeve. Fashion photographer Matthew Rolston supplied the portrait. Marquez also directed Richard Marx’s 1989 album Repeat Offender.

EMI USA released “Miss You Like Crazy” in March 1989 (b/w “Good to Be Back”), and the single reached No. 7 on the Billboard Hot 100, No. 1 on both the R&B and Adult Contemporary charts, and No. 2 in the United Kingdom. “I Do” followed in July (b/w the single version of “Miss You Like Crazy”) and reached No. 7 on the R&B chart. “The Rest of the Night,” “As a Matter of Fact,” “Good to Be Back,” and “Starting Over Again” extended the single campaign into 1990; the last title reached No. 5 on Adult Contemporary.

On the charts, Good to Be Back peaked at No. 59 on the Billboard 200, No. 21 on the R&B albums chart, and No. 10 in the United Kingdom. EMI’s 1990 European edition added “Wild Women Do,” recorded for the film Pretty Woman.

Unforgettable… with Love

Natalie Cole released her thirteenth album, Unforgettable… with Love, in June 1991 on Elektra.

The twenty-two selections revisit standards recorded by Nat King Cole. Johnny Mandel, Bill Holman, Clare Fischer, Michel Legrand, and Ralph Burns supplied the principal orchestral charts. “Unforgettable” combines Natalie Cole’s new performance with her father’s 1951 recording through a reconstructed duet.

“The Very Thought of You” drifts through measured swing, hushed phrasing, and understated vibrato. “Paper Moon” blooms from quiet strings into full-orchestra swing. “Route 66” races through lively accents and quick instrumental replies. “Lush Life” coils through blues-tinged elegance and nimble phrasing.

“Straighten Up and Fly Right” skips across crisp syncopation and a nimble piano solo. “Too Young” slows into measured articulation before a mid-song tempo turn. “Nature Boy” hovers beneath swirling orchestration and a foreboding contour. “Unforgettable” converses through interwoven phrases, moving harmonies, and lush orchestral swells.

1. “The Very Thought of You” (4:14) – Ray Noble
2. “Paper Moon” (3:24) – Harold Arlen, E.Y. Harburg, Billy Rose
3. “Route 66” (3:00) – Bobby Troup
4. “Mona Lisa” (3:45) – Ray Evans, Jay Livingston
5. “L-O-V-E” (2:32) – Bert Kaempfert, Milt Gabler
6. “This Can’t Be Love” (2:13) – Richard Rodgers, Lorenz Hart
7. “Smile” (3:37) – Charlie Chaplin, John Turner, Geoffrey Parsons
8. “Lush Life” (4:20) – Billy Strayhorn
9. “That Sunday That Summer” (3:31) – Joe Sherman, George David Weiss
10. “Orange Colored Sky” (2:36) – Milton DeLugg, Willie Stein
11. “For Sentimental Reasons/Tenderly/Autumn Leaves” (7:26) – William Best, Deek Watson / Walter Gross, Jack Lawrence / Joseph Kosma, Jacques Prévert, Johnny Mercer
12. “Straighten Up and Fly Right” (2:40) – Nat King Cole, Irving Mills
13. “Avalon” (1:51) – Buddy DeSylva, Al Jolson, Vincent Rose
14. “Don’t Get Around Much Anymore” (2:34) – Duke Ellington, Bob Russell
15. “Too Young” (4:32) – Sidney Lippman, Sylvia Dee
16. “Nature Boy” (3:23) – Eden Ahbez
17. “Darling, Je Vous Aime Beaucoup” (3:24) – Anna Sosenko
18. “Almost Like Being in Love” (2:11) – Alan Jay Lerner, Frederick Loewe
19. “Thou Swell” (1:50) – Rodgers, Hart
20. “Non Dimenticar” (2:56) – P.G. Redi, Michele Galdieri, Shelley Dobbins
21. “Our Love Is Here to Stay” (3:28) – George Gershwin, Ira Gershwin
22. “Unforgettable” (3:29) – Irving Gordon

Sessions began in 1989 and resumed from November 1990 through April 1991 at Pacifique Recording Studios in North Hollywood. André Fischer produced eleven selections, while David Foster handled seven. Tommy LiPuma directed the remaining four. Al Schmitt engineered and mixed the album at Bill Schnee Studio. Fischer returned from Good to Be Back. LiPuma also produced Joe Sample’s 1990 album Ashes to Ashes, while Foster worked on Celine Dion’s 1990 English-language debut Unison.

Doyle Partners designed the package. Hollywood portrait photographer George Hurrell photographed Cole. The assignment followed Hurrell’s 1986 cover portrait of Paul and Linda McCartney for Press to Play.

Elektra issued “Unforgettable” in June 1991 (b/w the non-album “Cottage for Sale”), and the single reached No. 14 on the Billboard Hot 100, No. 10 on the R&B chart, and No. 3 on Adult Contemporary. In 1992, Elektra followed with “The Very Thought of You” as a single. The album reached No. 1 on the Billboard 200, No. 5 on the R&B albums chart, and No. 8 on the jazz albums chart.

Grammy honors included Album of the Year and Best Engineered Album, Non-Classical. “Unforgettable” received Record of the Year and Best Traditional Pop Performance, while Irving Gordon received Song of the Year and Johnny Mandel received Best Instrumental Arrangement Accompanying Vocal(s). Craft Recordings’ 2022 thirtieth-anniversary edition added “At Last” and “A Cottage for Sale.”

Discography: