Good to Be Back
Good to Be Back is the eleventh studio album by American singer Natalie Cole, released on May 2, 1989, by EMI America Records.[1] Produced by a team including Dennis Lambert, André Fischer, and Michael Masser, the album features eleven tracks blending contemporary R&B, pop soul, and adult contemporary styles, marking Cole's continued resurgence following her 1987 comeback album Everlasting.[1][2] The album opens with uptempo numbers like "Safe" and "As a Matter of Fact," before leading into the ballad "Miss You Like Crazy," co-written by Preston Glass, Gerry Goffin, and Michael Masser. Other notable tracks include the duet "I Do" with Freddie Jackson and the title track "Good to Be Back," which reflects themes of reconciliation and renewal. The standard edition runs 46 minutes, with songs recorded at studios such as A&M and Ocean Way in Los Angeles.[1][3][4] Commercially, Good to Be Back achieved moderate success, bolstered by its lead single "Miss You Like Crazy," which peaked at number 7 on the Billboard Hot 100, number 1 on both the Hot R&B/Hip-Hop Songs and Adult Contemporary charts, and number 2 in the UK. "I Do" reached number 7 on the R&B chart, while "The Rest of the Night" charted at number 56 in the UK. In 2025, Craft Recordings released a deluxe remastered digital edition on August 29, expanding the tracklist to 14 songs with bonus content to celebrate Cole's legacy.[5][6][2][7]Background and development
Album conception
Following the commercial success of her 1987 album Everlasting, which blended pop and R&B elements and marked her return to prominence after personal challenges, Natalie Cole sought to pivot toward a more mature R&B sound for her next project in 1988. This shift reflected her desire to reconnect with her artistic roots, emphasizing emotional depth in mid-tempo ballads and soulful arrangements over the lighter pop sensibilities of her prior work. EMI USA, her label at the time, supported this direction as part of a broader comeback strategy, building on Everlasting's gold certification and Grammy nomination for Best Female R&B Vocal Performance.[1] Cole's personal motivations for the album were deeply tied to her recovery from a six-year hiatus marked by drug addiction and health issues, including throat polyps that sidelined her career in the early 1980s.[8] Having entered rehab in 1983 and achieved sobriety, she viewed the project as an artistic and spiritual rebirth, inspired by a sense of divine purpose and her determination to "just be herself" without external pressures.[8] Reflections on her father, Nat King Cole's enduring legacy as a pioneering vocalist, also played a role; although she initially resisted comparisons, the album's creation came amid growing appreciation for his influence, foreshadowing her later tribute work.[9] The title Good to Be Back aptly captured this sense of return, evoking her renewed confidence after years of personal struggle, though Cole noted it simply "sounded right" without deeper symbolism.[10][11] In early song selections, Cole and her team prioritized emotive ballads to anchor the album's mature tone, with "Miss You Like Crazy"—written by Gerry Goffin, Michael Masser, and Preston Glass—chosen as the lead single for its heartfelt lyrics about longing and reconciliation.[12] This track, produced by Michael Masser, aligned with Cole's goal of delivering vulnerable, R&B-driven material that resonated on both adult contemporary and urban radio formats.[13] EMI allocated resources starting in late 1988 to facilitate this vision, positioning the album as a continuation of her revitalized career trajectory.[1]Pre-production preparations
Following the initial inspirations drawn from the success of her previous album Everlasting, Natalie Cole entered pre-production for Good to Be Back with a focus on logistical planning and creative team building. The production team was selected with an emphasis on R&B specialists, hiring Dennis Lambert and André Fisher; Lambert took charge of most tracks due to his extensive experience in the genre, including prior work with artists like the Four Tops and Glen Campbell.[14][15] Songwriter collaborations finalized the album's 11 tracks, highlighted by the duet "I Do" featuring Freddie Jackson, written by Frank Wildhorn and Jack Murphy to emphasize romantic themes central to Cole's style.[16] Rehearsals were arranged in Los Angeles during early 1989, incorporating Cole's vocal warm-ups and auditions for the backing band to ensure cohesive performances ahead of studio entry. EMI approved a $500,000 production budget in January 1989, setting a timeline aimed at a May release to align with peak spring radio programming for maximum promotion.Recording and production
Studio sessions
The recording sessions for Natalie Cole's Good to Be Back were conducted across multiple studios primarily in the Los Angeles area during the lead-up to its May 1989 release, utilizing facilities renowned for high-quality R&B and pop production. Key locations included Ocean Way Recording and Westlake Audio in Hollywood, Hitsville in Hollywood, Larrabee Sound in Los Angeles, Conway Recording in Hollywood, and others such as the Record Plant and Aire L.A. Studios, allowing for flexible scheduling and specialized equipment to capture the album's blend of contemporary R&B and soul elements.[17] Track-specific recording highlighted the collaborative nature of the project, with "Miss You Like Crazy" produced by Michael Masser. Similarly, the duet "I Do" featured Freddie Jackson, while other tracks like "Safe" and "Good to Be Back" were produced by Dennis Lambert. The sessions incorporated live instrumentation, including drums by Jeff Porcaro and John Robinson, guitar by Paul Jackson Jr., and bass by Neil Stubenhaus, to lend an organic feel amid the era's synth-heavy trends.[17][18] The album's total runtime is 46:34 minutes. The process underscored a commitment to authenticity, with minimal reliance on programmed elements in favor of live band recordings where possible.[17]Key production choices
A key production choice for Good to Be Back was the fusion of contemporary R&B with 1980s pop elements, evident in the use of synthesizers on tracks like "The Rest of the Night," produced by Dennis Lambert.[15][2] The duet "I Do," featuring Freddie Jackson and produced by Narada Michael Walden, integrated dual-lead vocals.[15] Final mastering took place at Bernie Grundman Mastering in Hollywood, California, in April 1989, resulting in a warm analog sound that complemented the album's overall polish.[19]Musical content
Style and influences
"Good to Be Back" exemplifies late-1980s R&B with prominent pop and soul undertones, characterized by its smooth, radio-friendly sound that aligns with the quiet storm format popular during the era. The album's production emphasizes lush, emotive ballads alongside funky, upbeat tracks, reflecting Natalie Cole's ability to navigate contemporary R&B while incorporating subtle nods to her jazz-influenced upbringing as the daughter of legendary singer Nat King Cole. This blend creates a cohesive listening experience that prioritizes vocal expressiveness and melodic accessibility.[20][21] Instrumentation plays a key role in defining the album's polished aesthetic, with keyboards and synthesizers providing a foundational layer of warmth and texture across many tracks—contributions from session musicians like Claude Gaudette on tracks such as "As a Matter of Fact," "Miss You Like Crazy," and "Gonna Make You Mine," and Robbie Buchanan on "I Do" and "Don't Mention My Heartache." Guitar riffs, courtesy of Paul Jackson Jr. on several cuts including "Miss You Like Crazy," "Gonna Make You Mine," and "Don't Mention My Heartache," add rhythmic drive and subtle flair, enhancing the uptempo selections. Percussion elements, including work by Luis Conte and Paulinho da Costa, contribute to the album's dynamic grooves, evoking the sophisticated R&B production styles of the time.[22] The album's influences are evident in its ballad arrangements, which echo the elegant, heartfelt phrasing of Nat King Cole's jazz standards, particularly in the jazzy remake of "Someone's Rocking My Dreamboat." Uptempo tracks like "Gonna Make You Mine" draw on the powerful, soaring vocal deliveries reminiscent of contemporaries such as Whitney Houston, infusing the material with a sense of triumphant energy. Overall, the record maintains cohesion through a thoughtful balance of seven ballads and four uptempo songs, allowing for emotional depth while keeping the pace engaging and varied.[21][2]Track listing
The standard edition of Good to Be Back features 11 tracks with a total runtime of 46:34.[17]| No. | Title | Length |
|---|---|---|
| 1 | "Safe" | 3:48 |
| 2 | "As a Matter of Fact" | 4:00 |
| 3 | "The Rest of the Night" | 4:36 |
| 4 | "Miss You Like Crazy" | 3:56 |
| 5 | "I Do" (featuring Freddie Jackson) | 3:58 |
| 6 | "Good to Be Back" | 4:21 |
| 7 | "Gonna Make You Mine" | 4:15 |
| 8 | "Starting Over Again" | 4:14 |
| 9 | "Don't Mention My Heartache" | 4:48 |
| 10 | "I Can't Cry" | 4:20 |
| 11 | "Someone's Rocking My Dreamboat" | 4:06 |
2025 deluxe edition
On August 29, 2025, Craft Recordings released a deluxe remastered digital edition expanding the tracklist to 14 songs, including the original 11 tracks plus three bonus tracks.[2]| No. | Title | Length |
|---|---|---|
| 1. | "Safe" (Remastered 2025) | 3:48 |
| 2. | "As a Matter of Fact" (Remastered 2025) | 4:00 |
| 3. | "The Rest of the Night" (Remastered 2025) | 4:36 |
| 4. | "Miss You Like Crazy" (Remastered 2025) | 3:56 |
| 5. | "I Do" (featuring Freddie Jackson) (Remastered 2025) | 3:58 |
| 6. | "Good to Be Back" (Remastered 2025) | 4:21 |
| 7. | "Gonna Make You Mine" (Remastered 2025) | 4:15 |
| 8. | "Starting Over Again" (Remastered 2025) | 4:14 |
| 9. | "Don't Mention My Heartache" (Remastered 2025) | 4:48 |
| 10. | "I Can't Cry" (Remastered 2025) | 4:20 |
| 11. | "Someone's Rocking My Dreamboat" (Remastered 2025) | 4:06 |
| 12. | "Wild Women Do" | 4:32 |
| 13. | "I Live For Your Love" | 4:23 |
| 14. | "When I Fall In Love" | 4:57 |
Release and promotion
Initial release
Good to Be Back was released on May 2, 1989, by EMI USA. The album debuted in vinyl, cassette, and CD formats, marking Natalie Cole's return to contemporary R&B and pop after her successful 1987 album Everlasting.[15][25] The packaging featured cover art depicting Cole in an elegant pose, evoking themes of renewal and sophistication that aligned with the album's title and her career resurgence; the liner notes highlighted her personal journey and comeback narrative.[19][26] Distribution emphasized the US market initially, with international versions following shortly after in Europe and other regions during 1989. The lead single "Miss You Like Crazy" had been issued in March 1989 to build anticipation.[1]Singles and marketing
The lead single from Good to Be Back was "Miss You Like Crazy", released on March 15, 1989, by EMI USA.[27] The track received promotion through a music video directed by Greg Gold, which featured Cole in a narrative-driven visual emphasizing themes of longing and romance.[28] Follow-up singles included "I Do", a duet with Freddie Jackson released on June 10, 1989, accompanied by a promotional video showcasing the pair's chemistry in a wedding-themed setting.[29] In the UK, "The Rest of the Night" was issued as a single in July 1989, debuting on the Official Singles Chart that month.[30] "Starting Over Again" followed as another UK release later in 1989, available in 12-inch format with remixes.[31] Marketing efforts for the album and its singles encompassed targeted radio airplay on R&B and adult contemporary formats, alongside visual media to build momentum. EMI supported the campaign with advertisements in industry publications like Billboard. The international strategy featured a UK push, including single releases synchronized with tour dates starting in July 1989, such as performances at venues like the Hammersmith Odeon in London.[32]Commercial performance
Chart positions
Good to Be Back debuted on the US Billboard 200 at number 89 in May 1989, eventually peaking at number 59.[33] On the US Top R&B/Hip-Hop Albums chart, it reached number 21.[34] In the United Kingdom, the album performed more strongly, peaking at number 10 on the UK Albums Chart and spending 12 weeks in the top 100, reflecting its appeal to audiences favoring the record's ballad-heavy content.[35] The album maintained a presence on the US R&B chart for 20 weeks overall. The lead single "Miss You Like Crazy" achieved significant success, peaking at number 7 on the US Billboard Hot 100, number 1 on the US Hot R&B/Hip-Hop Songs chart for two weeks, and number 1 on the US Adult Contemporary chart for five weeks; it reached number 2 on the UK Singles Chart.[36] Follow-up "I Do," a duet with Freddie Jackson, peaked at number 7 on the US Hot R&B/Hip-Hop Songs chart.[2] "The Rest of the Night" entered the UK Singles Chart at number 56.[37] Closing single "Starting Over Again" fared best on adult contemporary formats, reaching number 5 on the US Adult Contemporary chart, while peaking at number 56 in the UK.[38]| Chart (1989) | Peak Position |
|---|---|
| Album: Good to Be Back | |
| US Billboard 200 | 59 |
| US Top R&B/Hip-Hop Albums | 21 |
| UK Albums Chart | 10 |
| Single: "Miss You Like Crazy" | |
| US Billboard Hot 100 | 7 |
| US Hot R&B/Hip-Hop Songs | 1 |
| US Adult Contemporary | 1 |
| UK Singles Chart | 2 |
| Single: "I Do" | |
| US Hot R&B/Hip-Hop Songs | 7 |
| Single: "The Rest of the Night" | |
| UK Singles Chart | 56 |
| Single: "Starting Over Again" | |
| US Adult Contemporary | 5 |
| UK Singles Chart | 56 |