This is a great interview: https://tidal.com/magazine/article/qa-george-benson/1-75400
Joints Benshin !
"You got together with Quincy Jones for Give Me the Night .
I always knew that I was gonna do something with Quincy; we just didnât know when or where it was gonna happen. And so it finally happened in 1980. He asked me one question. He said, âGeorge, do you want to make the greatest jazz record in the world, or do you wanna go for the throat?â And with the success he was having with Michael Jackson, and me now being considered a vocalist, I laughed lightly; I said, âMan, go for the throat!â [ laughs ] And he laughed, too.
So he brought his A-team out, as he called them: [keyboardist] Greg Phillinganes, [drummer] JR, John Robinson, and whoever else was on that team. And his top writer, Rod Temperton. Mannn , what a formula that was, from top to bottom. We were in the studio just about every night for a month. I just finished the album, and I woke up, I was getting ready to go to the airport, and Quincy called. He said, âGeorge, you canât go home, man.â I said, âWhat do you mean I canât go home, man?â I said, âQuincy, I been in the studio every day for a month with you.â I said, âYou mean to tell me weâre not finished?â He said, âRod Temperton wrote one more song, man. He thinks this song is gonna be important in this album.â I said, âMan, no, no. I ainât got the energy.â He said, âGeorge, it wonât take that long. Weâll have everything ready to go when you get there; you just go jump in the studio and do your part.â
I said, âMan, Qâ â thatâs what we called him, Q, and he called me âJoints Benshin.â Every night, when I came over to pick him up and take him to the studio by car, his daughter â she was only 5 then, her name is Kidada â she said, âDad, is Joints Benshin coming over tonight?â [ laughs ] And so Quincyâs been calling me that ever since, man: âHey, Joints.â He said that made her so sad, âcause she knew she wasnât gonna see him no more that night if Joints Benshin came over.
So I went in the studio, and the song was âGive Me the Night.â We had Lee Ritenour playing that line with me. He did an octave below or an octave above [ sings the guitar part ], and man, he got off to an incredible start. It was a tricky tune. Didnât know what category it was in. I didnât even try that. And here was the key: A few weeks later, Q sent me a test pressing of the album, and he had already tricked me into using this strange voice. He heard me messing with it that day. When I got tired, I started going to my little Mickey Mouse voice: [ sings ] âWhenever dark has fallen.â He said, âCould you put one down like that?â I said, âNo, man. No way in the world. âCause I know you, Q, youâll put that on the record.â He said, âNah, Iâm not gonna put it on the record. I just wanna hear it.â
You know I knew better, right? When I got the demo at home in Hawaii a few weeks later, I put it on to see if he used that vocal and sure enough, he used the vocal. But hereâs the kicker. After hearing it three or four times, I took it off. And my young son, who never, ever commented about my music, he came over to me and yanked on my pants. âDad? Can you play that song that goes, âAlright tonight.â Can you play that again for me?â I said, âWell, I will be doggone. I know this songâs gonna be big. My kids never ask me anything about music, ever.â When that happened, I knew I had something special on my hands."