Bruce Willis - The Return Of Bruno (1987)

01. Comin' Right Up — 3:29
02. Respect Yourself — 3:51
03. Down In Hollywood — 5:19
04. Young Blood — 4:07
05. Under The Boardwalk — 3:01
06. Secret Agent Man James Bond Is Back — 4:47
07. Jackpot (Bruno's Bop) — 4:10
08. Fun Time — 3:36
09. Lose Myself — 3:55
10. Flirting With Disaster — 4:28

Bruce Willis - Vocals
Dave Chamberlain 	Bass, Vocals (Background)
Lynn Davis 	Vocals (Background)
Alexis England 	Vocals (Background)
Michael Fisher 	Percussion
Siedah Garrett 	Vocals (Background)
Gary Grant 	Trumpet
Dan Grenier 	Arranger, Guitar, Vocals (Background)
James Harrah 	Guitar
Jerry Hey 	Trumpet
Dann Huff 	Guitar
Phillip Ingram 	Vocals (Background)
Booker T. Jones 	Organ (Hammond)
Robert Kraft 	Vocals (Background)
Jolie Jones Levine 	Vocals (Background)
Jon Lind 	Vocals (Background)
Jeff Lorber 	Drum Programming, Keyboards
Rick Marotta 	Drums
Alan Pasqua 	Keyboards
Joel Peskin 	Saxophone
Greg Phillinganes 	Keyboards
Darryl Phinnessee 	Vocals (Background)
Duane Sciacqua 	Guitar, Vocals (Background)
Greg Smith 	Saxophone
Jeff Steele 	Bass
Tim Stone 	Vocals (Background)
Neil Stubenhaus 	Bass
The Temptations 	Vocals (Background)
Steve Thomas 	Keyboards, Vocals (Background)
Rob Trow 	Vocals (Background)
John Vigran 	Vocals (Background)
Brock Walsh 	Vocals (Background)

At the height of Moonlighting mania and after the Seagram's wine cooler commercials showcased his vocal skills, Motown asked Bruce Willis to record a full album of blues, R&B, and soul -- hence, The Return of Bruno. Willis has more vocal talent than, say, Cybill Shepherd, but he doesn't quite have the conviction or skill of the Blues Brothers. Often, it's difficult to hear him strain for notes on familiar items like "Under the Boardwalk," "Young Blood," and "Respect Yourself," but that same limited talent makes the ready-made originals "Jackpot," "Down in Hollywood," and "Flirting with Disaster" appealing kitsch. And, really, The Return of Bruno isn't anything more than a kitsch artifact -- Willis may deeply believe he has vocal talent, but the album stands more as a testament to the excesses of Reagan-era celebrity and baby-boomer nostalgia than as a piece of music. ---Stephen Thomas Erlewine, AllMusic Review

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