>Herbie was trying to get his Quincy Jones on and being a
>limit vocalist he using outside vocalists was on some Q "the
>dude" type of thing and i saw that vision.

That I saw, especially on LITE ME UP, because it sounds like Herbie's version of a Quincy Jones record, down to the heavy use of Rod Temperton on the songwriting side. It's kind of forgotten as is most of that 1978-82 era, because it didn't sell so well, but I actually like it more than his '80s Electro era, because under Laswell's production, Herbie sounded more straitjacketed than he ever did (until now, of course). You'd have to dig out the live performances of the Rockit band in that era, to hear more the "real" Herbie. There, the music had more of a "Cameo" vibe, with the Simmons drums, and Herbie using his vocoder not to sound like an evil robot, but an ill background vocalist.

>me and narada michael walden are hit and alot of miss. loved
>him best with Stacy lattisaw and angeli Bofil for "too tough"
>alone, hit and Miss with him on Aretha,Whitney and Mariah.
>
>other things he was corny to me on production.

Like, his group of hired hands. Freddie Perren and them. Even Freddie "Boom Boom" Washington (not the bassist, I mean Lawrence Hilton-Jacobs himself) was on his studio squad. I think Narada had some good stuff with Johnny Gill. Mostly the slow tracks ("Thank You" is one of my secret weapons). Uptempo shit was a mixed bag. He could make some boss "Quiet Storm" and fusion-styled music on his own records. But they all were a mixed bag that often missed a mark in a way I don't quite know where he was aiming. And when Narada tried to do more aggressive R&B, it was definitely corny as all hell...