Anybody remember her? She had a song with Johnny Gill back in the early 80's called "Perfect Combination." She had a few minor hits like "Every Drop of Your Love" and the remake of "Where Do We Go From Here" but she seemed to drop off the face of the earth. Anyone know what ever happened to her?

i let her be my angel..

sosgemini said:

hell yeah, i remember her. perfect combination, nail it to the wall! she was cool.

I remember Stacey Lattisaw most for her jam called "Dynamite".

The last I heard, a few years ago, is that she wanted to get into gospel music. I haven't heard any mention of her since.

Stacy began singing gospel music in 1990.

No joke I heard she passed in her sleep

Got this from Google...

Born in the nations capitol on November 25, 1966, Stacy grew up showing an unusual talent at an early age. By the tender age of six Stacy was already belting out songs like a seasoned veteran. Making her public debut on a local talent show at Stingarn High School, the six year old wowed the audience with her renditions of Patti LaBelle and Natalie Cole hits.
A few years later, pianist Ramsey Lewis came to play Ft. DuPont Park. Stacy's manager, Al Dale, arranged for her to open the show before an estimated crowd of 30,000. With her cuteness and unabashed talent she wowed the audience.
Proud father Jerome sent a tape of that performance to several labels in hopes of securing his daughter a recording contract. Henry Allen, president of Atlantic Records' Cotillion label, whose roster then included Sister Sledge and Slave, couldn't believe that the voice he heard belonged to an 11-year old. Impressed with her talent Henry immediately signed Stacy. Her debut album "Young And In Love" was produced and arranged by legendary "Hustle" man Van McCoy. McCoy brought in his disco coterie of Zulema and Faith, Hope & Charity to back the tiny lass. The 1979 12" single of "When You're Young And In Love" bookended the album, both ballad and disco versions. Besides a few remakes of 1960's hits ("Downtown"-"Dedicated To The One I Love") the album's other stellar track was the a-typical McCoy penned "Love Is Here Beside Us."
McCoy's lush sound of bells and strings seemed a natural fit for Stacy. "I did two songs a day." said Stacy, "and we finished the whole album in four days. I had just turned 12, and they were all amazed. I've always had the kind of ear where I pick up things fast." But her heart was only halfway in it, "Mr. McCoy was very patient with me." The single stalled at number 91 on the charts and fared somewhat better in the clubs. Stacy couldn't have cared less.
Returning to the drawing board, Henry paired Stacy with a hungry young musician turned producer named Narada (pronounced NAR-DUH) Michael Walden, a drummer whose roots had been in jazz-rock fusion. His first two Atlantic albums had generated little success, but after switching to a more dance-oriented beat he achieved instant fame with "I Don't Want Nobody Else (To Dance With You)" and "I Shoulda Loved Ya" both went top ten R&B. His only outside production credit was an album ("Here & Now") for trumpeter Don Cherry.
"Everbody was worried because he didn't have a track record." stated Stacy. "Henry gave him a chance." Narada revealed "I was riding high and wanted to branch out, so I asked Henry if I could do three or four tunes on Stacy's next album. We wrote and rehearsed stuff immediately: "Let Me Be Your Angel," "Dynamite," "Jump To The Beat." It only took three days to cut those tracks. That was unheard of." Walden wound up producing the entire eight-song album. The first single from "Let Me Be Your Angel" (1980) was "Dynamite!," that soared to number 8 R&B and number 1 club. "As I got older and could perform in clubs," Stacy recalled, "Dynamite!" always got a great response." The other club-favorite was "Jump To The Beat" which also scored top ten in the clubs.
Narada made a career out of pop producing, specializing in work with ladies like Whitney Houston, Aretha Franklin , Mariah Carey, Angela Bofill, Lisa Fischer, Shanice, Phyllis Hyman and Gladys Knight. But he always made time for Stacy, producing her following four albums. Next up was 1981's "With You," featuring the smash-hit "Love On A Two-Way Street," a cover of the Moments number one classic from 1970, her version fared nearly as well, number two for four weeks. The 12" single of "Feel My Love Tonight" received some club play but failed to achieve the success of her previous year's releases.
Upon "With You"'s release, Stacy's manager Buddy Allen, landed her the coveted opening slot on the Jackson's "Triumph" tour. "When they told me that I'd be on the road for 13 weeks," Stacy admits, "I cried. They were like, "Not many people get the chance to go on the road with Michael Jackson. Why are you acting like this? I guess I was just a weird kid!" Stacy was taken out of school altogether and traveled with a tutor and her parents. Michael and his brothers treated Stacy well, the same could not be said about the stagehands and crew. Stacy claims that despite her protests of being the opening act "they (her and her family) were shoved around like nobodys."
Her fourth album, 1982's "Sneakin' Out" brought yet another top ten R&B ballad with "Don't Throw It All Away." Followed by the perky 12" club hit "Attack Of The Name Game" which featured a rhyming rap and synthesizer effects by Patrick Cowley. Look closely and you'll see credits for guitar work by Randy Jackson and percussion by Sheila E. (Escovedo). It went to number 14 on the R&B charts.
Her fifth album, 1983's "Sixteen" was a celebration of reaching that teenage milestone. Her Sweet 16 started with a birthday call from M.J. "Sixteen" was a grab bag of funky jams like "16" and "Black Pumps And Pink Lipstick." The real winner here was "Million Dollar Babe," a super high energy track that showed a more mature artist at her peak.
Around this time Stacy also had her first love, Johnny Gill. "Johnny and I went to Kimball Elementary School and Sousa Junior High together," she said. "When I lived in southeast Washington, there was a bunch of us who played volleyball and kickball in my front yard. Johnny's brother Bobby and another boy named Keith Martin had crushes on me, but I wasn't interested. Keith brought Boogie (Johnny's nickname) to my house. One day we were in the basement goofing around and we heard this voice singing "Gloria" we couldn't believe it was Johnny. None of us knew he could sing."
"We took him to New York, and Henry could not believe it. He called the whole staff in." Henry signed Johnny, who enjoyed moderate success with the single "Super Love." Then he and Stacy recorded the "Perfect Combination" album (1984), the title track was penned by Narada and Preston Glass and went top ten R&B. That "Perfect Combination" was a hit made a magical time even more precious. "Every time Narada left the studio Johnny would come over and kiss or hug me. We did some concert dates together and a few TV shows like 'Solid Gold' and 'Soul Train.'" Two more singles followed, "Baby It's You" and "Block Party." Stacy continues "We just knew we were in love. You couldn't tell us nothing! We were 17, and I had never had a boyfriend, a date or even been to a school prom, my parents were strict. But we snuck around and were together for a few years before we broke up." Johnny will always have a special place in her heart, first loves are always the hardest.
Despite the success of the duets, Stacy's next solo album, "I'm Not The Same Girl" (1985), was a disastrous misstep, an eight-song set of maudlin Michael Masser pop that Stacy describes as "Whitney Houston rejects!" When her Cotillion contract expired she made a move to Motown Records in search of more creative control.
Her first album for her new label, "Take Me All The Way" (1986), balanced her pop side with an equal dose of funky jams. The hits came from the 12" singles "Nail It To The Wall" and "Jump Into My Life," number 4 R&B and number 13 R&B respectively. The former produced by Jellybean Benitez and the latter by Kashif. Though out of character, those smashes proved she could hang with the current hit-makers.
"Personal Attention," released in 1988, found Stacy earning her first writing credits for "He's Got A Hold On Me" and "Changes." But it's first hit came from producer Ron "Have Mercy" Kersey with the steamy "Every Drop Of My Love" a straight ahead R&B track, followed by a pretty ballad, "Let Me Take you Down."
But the winds of change were blowing at Motown. Berry Gordy's successor, president Jheryl Busby, was showing more interest in his signing Shanice. And despite her radio successes, Stacy's albums weren't selling. Her final Motown disc, 1989's "What You Need," found her going out with a bang. After an experiment with new jack swing on the title hit (featuring a then Motown mailroom boy Sean "Puffy" Combs in the video), Stacy returned with "Where Do We Go From Here," a duet that reunited her with Johnny Gill, now a member of New Edition and a new Motown solo signee. The song was written and produced by Lemel Humes.
"We recorded separately," said Stacy, "but then Lemel wanted us to run it down a few times together to see if it would be better. The version that came out was a combination of both." Gill also sang on the album cut "Dance For You," and the work rekindled some old feelings. "We dated again and talked about getting engaged, but it never happened."
After Motown, Stacy walked away from secular music. "I was frustrated," she said. "There has been a lot of wrongdoing in my career. I never had the right representation."
On the bright side she met the true love of her life. Stacy's father hired Kevin Jackson to do sound for her concerts. Though he was engaged, and Stacy was seeing someone else, they began to date. They married a year later in 1992 and now have two kids Kevin Jr. and Kayla.
Stacy has given her life to the Lord and now only wants to sing Christian music. She sings in her Maryland church and is writing new material with local sensation Jonathon Hall and her husband.

Fucking love that album. Might even throw it on my cd player now.
The song, "Nail It To The Wall" is the sh*t!!!

come on and jump to the beeeeeat...jump!

purplebutterfly2 said:

when did this suppose to have happen....

Chico1 said:

actually,"Nail It To The Wall" is not on this particular album

That's right, "Nail It To The Wall" came much later and was released on Motown records.

I have a lot of Stacy Lattisaw 45s but the one Stacy Lattisaw album that I simply had to have was "With You". When I heard "Feel My Love Tonight" on the radio, I HAD to have it. Everyone remembers Stacy for the ballads but "Feel My Love Tonight" is proof that Stacy could definately throwdown when she wanted to.

vainandy & Davideye said;



I Know it's NOT on that album! I have the cassette of the album "Nail It To The Wall"
[Edited 11/4/04 7:57am]

This is true--I'm a manager for a large department store. When I was working in our Arlington, Va store in 1998 Stacy came in and picked up some childrens' clothes she had put on layaway. The cashier recognized her and asked for her autograph, which she cheerfully did on the back of some blank cash register tape. She still looked pretty good

meltwithu said:

Wow

OH MY STARS!!

i didnt know stacey had so many r&b hits..



i thought her only hit was "let me be your angel"..

sosgemini said:

Oh man, that was a great song. I am *still* groovin' on "Attack of the Name Game"...She was a fun, fun artist with a great voice.