As a member of Poco and the Eagles, singer/bassist/songwriter Timothy B. Schmit helped to make some of the best-loved pop music of the '70's. The clear, soulful qualities of his vocals made him an asset to any band. With such hits as the Eagles' "I Can't Tell You Why," he proved his strengths as a lead singer. In demand as a session singer, Schmit has been hailed by his peers time and again.
Schmit has accomplished much -- but there are still sides to his talents left to explore. That's what makes "Timothy B.", his debut MCA LP, such a landmark release. The album fully establishes him as a solo artist through outstanding songs and crisp, modern production values. Most of all, it finds him in top form as a singer, showing off his R&B influences to fine advantage. Schmit has make great music in the past--now, with this album, he proves himself all over again.
"I think the fresh approach I took with this album shows," Schmit says. "There's a new focus. I decided this time to work with all new people, try things I hadn't done before and write songs with a little more depth. I really wanted to show that I've grown with this one."
"Timothy B." should excite old fans and win new converts alike. The first single, "Boys Night Out," is stylish and sleek without sacrificing any of Schmit's emotional directness. Like most tunes on the LP, the song was co-written by Schmit with Grammy-winning lyricist Will Jennings (known for his writing with Steve Winwood, among others) and composer Bruce Gaitsch (co-writer of Madonna's "La Isla Bonita" and Richard Marx's "Don't Mean Nothin'"). Other standout tracks on the album include the uplifting "I Guess We'll Go On Living," the anthem-like "Everybody Needs A Lover," and the moving ballad "Into The Night." Such tracks as "Jazz Street" and "Down Here People Dance Forever" find Schmit delving into R&B with greater assurance than ever before.
Assisting Schmit with this creative breakthrough was veteran R&B producer Dick Rudolph. "He was my choice for producer even before I got the go-ahead to make this album," says Schmit. "He was very much part of the new direction I wanted." With expert use of horns and simmering rhythm tracks, "Timothy B.'s" production is a lively departure for him. Yet it also builds on his past achievements, which have included elements of rock, country, soul and more over nearly two decades in music.
Schmit was born in Oakland, California, where his musician father helped to steer him in an artistic direction. At 15, Schmit was part of a Sacramento-based group called The New Breed. While recording with the band in Los Angeles in 1968. he received an invitation to audition for the bass playing spot in Poco. Initially, Randy Meisner got the position -- but, when Meisner left the band nine months later, Schmit was asked to try out again. This time he made it, beginning a long and fruitful partnership with this pioneering country-rock outfit.
For the next eight years, Schmit was a stalwart Poco member, appearing on such seminal albums as "Deliverin'", "Crazy Eyes" and "Cantamos". "I loved Poco," he says. "It was as democratic as a band could be. And we were always on the road -- that's how I first got to see the world," During this same period Schmit contributed background vocals to a trio of Steely Dan LPs, "Pretzel Logic," "Royal Scam" and "Aja" -- adding, most notably, a distinctive croon on the band's 1974 hit single, "Rikki, Don't Lose That Number."
1977 brought the next major change in Schmit's career. Glenn Frey called him up and said Randy Meisner, then the Eagles' bass player, was thinking about leaving. "It was a twist of fate," says Schmit. "Think about it -- I take Randy's place in Poco, then I get asked to replace him in the Eagles."
He didn't pass the chance up and went on to co-author one of the Eagles biggest hits, "I Can't Tell You Why." A part of both "The Long Run" and "Eagles Live", he was caught off-guard when the band broke up in '81. He moved on initially into session work, singing on Crosby, Stills & Nash's "Daylight Again" and "Toto IV" among other projects. His contribution to the "Fast Times At Ridgemont High" soundtrack, a remake of The Times 1961 hit "So Much In Love," did well as a single. The next step was a full-fledged solo album.
"Playin' It Cool, released by Elektra/Asylum in 1984, found Schmit stepping out in a range of styles and sounds. Featuring writing and session suupport by Don Henley, Joe Walsh, J.D. Souther and other friends of his Eagles days, the LP was a festive affair that revealed Schmit's emerging R&B focus. He also continued to work on other projects during this period -- for several years he toured and wrote songs with Jimmy Buffett.
About a year ago, Schmit knew he was ready to re-enter the studio on his own again. Armed with a new record contract from MCA, he began assembling the creative team he needed. Guitarist/synthesizer programmer/engineer Bruce Gaitsch was an integral part of the process. "He would come up with these great tracks and drop them by weekly," Schmit recalls. "I'd sift through them and come up with melodies to the ones I liked." At this point, Will Jennings became involved. "We brought him what we had and he loved the stuff. He heard one tune and immediately came up with the title "Boys Night Out." He worked fast and was very open to my input."
In contrast to his high-profile Eagle days, Schmit recorded "Timothy B." at several small but well-equipped studios around the Los Angeles area. "We took an 'our gang' kind of approach," he laughs. "It was mostly Dick Rudolph, Bruce and me, and we'd cart our tapes around to these different studios. In it's own cozy way, it was real efficient. There were no frills."
"Timothy B." is more than the latest by a well-established rock veteran -- it's a vigorous new departure from an artist just beginning to hit his real stride. Schmit has never sung better -- or with an identity as much his own -- as on his MCA premier effort.
Back to Press Kits