Alfie Moss vocals, percussion

Dale Melton vocals, Rhodes piano, Steinway grand piano, Telecaster guitar

Dennis Melton vocals, Fender Precision bass

Tyrone Wilson vocals, drums

Bill Allman washboard, percussion

All selections mixed at Kern Studio, St. Georges, DE; Recording engineers: Fred Kern & George Opegard; Mixing engineer: Fred Kern

Cover artwork & design: Michael R. Stack

Road & sound: Rick Hanna, Jim Russell & Betsy

Executive producers: Bill & Sandy Rawlins. Richard Holdsworth & MDM Communications

Special thanks to: The Cabaret, Alan Berger, Ken Homer, Bear, Bruce, Rusty, Dave, the Turks Head crowd, Guthries, Grendal's Lair, John & Peter's, The Main Point, Oscar's. Fred & Virginia Kern, Tom Bradley, Joe McSorley & Veritable Recording, East Coast Music, Music Museum, Studio 42, Channel 12 & Channel 3 Philadelphia, Beth Featherman, Denyse, Donna & Bonnie, our Moms & Dads. Aisha, Villetta Moss Jackson, Don Duncan, Mount Savior Moastery,L.M.P., WIOQ, WXDR, WXPN, Howard Melton, Sr., Cindy, "Willingtown", Jim Crawford, Pete Cruickshank. Thank God we found each other.

If you are among these credits or know someone listed above, please email us and let us know what's up today. We'd love to hear from you!

People We've Heard From

Mike Stack: cover artwork & design

"I don’t know why I was lucky enough to be chosen to design “The Melton Brothers Band/Livin’ in the City” album cover. I guess I begged. The concept for the cover was simple. Even in the bleakness of the city you can pull down the shade, and escape into your own private paradise.  The Melton Brothers Band, for me, made that kind of escape possible.  Live, their music evoked the best of times and transported you to a different, fun place for hours at a time, a place where cultures, and classes blended together, in a marvelous mix of music. The warm, funky, sounds made everybody in earshot bop as one pulsating, happy throng.  Life was Good!

The design of the album cover was a challenge, , , how to convey the bold, funkiness of the band in two colors. I chose green, and orange because blending the two would provide me a color palette to both grab attention for a hot band, and give me the sober tones of a city that always slept (Wilmington). With limited funds, we moved ahead. I shot the band members and decided to render them in solid pen and ink, no half tones. This way the overprinting of the two colors would produce the rich cocoa brown I needed to depict the strong personality of Ms. Alfie Moss. In those (analog) days there was no economical way to see a proof of the cover until it came sailing off the press. The back cover colors were not well received by the band, as the printer had burned the printing plates incorrectly. We chose to stop the presses, and cut our loses. The determination to move to the black on tan cover was purely one of economics.  Livin’ in the City, going nowhere fast, could not see it's future. Who knew that twenty-five years later the band would be better than ever, and the album, both color and black and tan, would be fetching such prices. Everything happens for a reason!!!"

Mike Stack

PS. The band’s calendar and mailing list turned into “Fine Times” magazine, an entertainment monthly that launched hundreds of bands and clubs. Not bad for four people from “Willingtown”!