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Busta 'Cherry' Jones (born Michael Jones, September 26, 1951 – December 6, 1995 was an American musician, songwriter and producer. He is known for his bass work both live and in the studio with Albert King, Talking Heads, Gang of Four, Chris Spedding as well as many others during a decade spanning career that lasted from the late 1960s until his death in 1995.

Early Life
Jones was born in Memphis Tennessee on September 26, 1951. At an early age, he began to teach himself guitar. By the time he had reach his teens, Jones had earned himself a spot in Albert King's touring band on bass, playing alongside future collaborators and The Kinsey Report band members, Ralph Kinsey and Donald Kinsey.

Early Career in Memphis: 1969-1972
Following his time with Albert King, Jones began to became increasingly involved with the Blues revival music scene in Memphis, playing with musicians such as Jim Dickinson and Lee Baker. With Dickinson, Jones would play bass on the Delta Experimental Project, which was a series of compilation albums made up of recordings of older bluesmen from the Mississippi delta, such as Sleepy John Estes and Johnny Woods. However, Jones didn't feel as deep a connection to older traditional blues as Dickinson, feeling that "“I’d sit around with them and get the feel of it, but there wasn’t really a bass guitar involved, it was mostly acoustic."

Rather Jones was much more into the idea of "crossover music," which is what drove him to work with white artists like Lee Baker in the band Moloch. Following lackluster sales of their self-titled debut, Moloch as a band more or less dissolved, leaving Baker as the sole original member. When reforming the band to create the follow-up 7-inch single, Baker recruited Jones to play bass for the songs Cocaine Katy and The Terrorizing Of Miss Nancy Jane, both released in 1972.

Moving to London, Work with Sharks and Brian Eno 1972-1973
Having a fascination with British bands who were at this time also creating a crossover sound, Jones would leave Memphis and join the British band Sharks in July of 1972 .Originally formed with former ex-Free bassist Andy Fraser, drummer Marty Simon, guitarist Chris Spedding, and lead singer  Stephen "Snips" Parsons, Sharks toured England, supporting acts like Roxy Music. Fraser would leave the band following a car accident with Simon and Spedding, and Jones was recruited to replace him, with the new lineup debuting in August of 1973.

Jones recorded bass for Shark's sophomore album Jab It In Yore Eye. Released in 1974, the album also features his Jones' first songwriting credit for the song Baby Shine A Light. In addition to touring with Sharks, the new lineup of the band, which also included new keyboardist Nick Judd, were recruited to play tracks on Brian Eno's first solo record Here Come The Warm Jets, which was recorded September of 1973 and released January 1974

Return to North America, work in the US and Canada 1973-1980
Sharks would break up following their second album, and although the band would reunite in the 1990's and again the the late 2010's, Jones would not be a part of either lineup. Instead, Jones would again work with Donald and Ralph Kinsey and form the band White Lightnin'. The group would go on to put out a self titled album on Island Records, featuring production by Mountain bassist Felix Pappalardi and arrangements by future Talking Heads manager Gary Kurfirst. The band would open for acts like Aerosmith, Peter Frampton and Black Oak Arkansas.

By 1977, White Lightnin' had broken up and Jones would begin to work in the Canadian rock scene, especially around Montreal. Through his former Sharks bandmate, Marty Simon, Jones would begin working with Walter Rossi, Dwayne Ford and Michel Pagliaro, eventually forming the short lived band The Rockers. Although never releasing any recorded material, The Rockers would eventually become the studio musicians for a later project Rossi would do with George Lagios called Bombers.

Bombers would go on to release their first self titled album, Bombers, in 1978, with Jones providing both bass and vocals to the album's songs. Bombers was made up of mostly reworked tracks that were originally by Kurt Haunenstein, as well as a reworking of the traditional Mexican song "Per Quaiche Dollero in Piu", that was called "The Mexican" on the album.

Although Bombers was not a runaway success, the first album did generate enough buzz to warrant the band's sophomore album, appropriately titled Bombers 2. This time, the songs would be mostly originals written by Jones and Simon. Bombers 2 would spawn the minor hit "(Everybody) Get Dancin'", which peaked at #3 on the Billboard Dance Club chart in March 1979.

In 1979 and 1980, Jones would begin more directly working with New York based artists, especially members of the band Talking Heads. In September 1979, Jones would play backing bass alongside David Byrne, credited as "Absalm el Habib", on the Robert Fripp songs "Under Heavy Manners" and "The Zero Signified". Following this in early 1980 Jones was asked to play bass alongside Chris Frantz on drums for the Brian Eno-David Byrne album My Life In The Bush of Ghosts. Additionally, Jones would work with Jerry Harrison on two different projects. First, the self titled album for the band Double, which saw Jones writing music and playing multiple instruments alongside Harrison on keyboards and synth, and then the self titled EP for the band Escalators, which again had Jones writing most of the songs and Harrison playing guitar as well as synth.

Solo Album and Touring with Talking Heads 1980-1981
In late 1979, Jones would drop his first solo single "(You) Keep On Making Me Hot", produced with the help of a frequent Canadian collaborator, Gino Soccio. This would be followed by Busta Jones!, the only full length solo album Jones would ever release. Featuring performance by Parliament-Funkadelic members Tyrone Lampkin on drums and Bernie Worrell on keyboards and synth, as well as longtime collaborator Walter Rossi. Despite receiving lukewarm reviews, Hugh Wyatt of the New York Daily News called the album "hard-driving urban funk", the album failed to perform well commercially.

Despite this however, 1980 would see Jones enter possibly his most well-known era of his career, his touring stint with Talking Heads. Following the recording of Talking Heads' third album Remain in Light, the band decided that in order to perform the newly recorded songs live, Talking Heads would have to expand from 4-piece core member group to a 9-person ensemble. Jones, having already worked directly with most of the band at one point or another, was asked to join as a second bassist as well as tasked with the job of finding other musicians to be fill out the lineup. Jones would be responsible for recruiting both back up singer Dolete McDonald and percussionist Steve Scales for the tour.

McDonald and Jones had known and worked with each other previously, with McDonald having performed backing vocals for Jones' album. Steve Scales on the other hand, was openly thinking of quitting music all together and going to business school. Luckily, Jones called Scales just in time, and he was onboard for the project. The other two touring members, keyboardist Bernie Worrell and guitarist Adrian Belew, had also played with Talking Heads and/or Talking Heads solo projects previously.

This new expanded lineup would perform during 1980 and 1981 as part of the Remain in Light Tour. The first appearance with the large band was on August 23, 1980 at the Heatwave festival in Canada in front of 70,000 people; Robert Hilburn of the Los Angeles Times called the band's new music a "rock-funk sound with dramatic, near show-stopping force". Since the album wouldn't be released until October, Heatwave, as well as the following tour stop in Central Park, New York City, would be the first time songs like "Once in a Lifetime" and "Houses in Motion" were heard by the public. Jones would continue to tour with Talking Heads until February 28, 1981 when the tour ended in Tokyo Japan. But when Talking Heads began to tour again in 1982, Jones had left the lineup.

Live recordings from the Remain in Light Tour would end up on Talking Head's first live album, 1982's The Name of This Band is Talking Heads. With the albums release, Jones received recognition alongside other touring members for his contributions to the band's sound and direction. Terry Lawson of Dayton, Ohio's The Journal Herald said that "With the help of musicians like Busta Jones and Bernie Worrell, the Heads achieve a sort of suburban soulfulness that's cool, clean and precise."

Chris Spedding and Gang of Four 1981-1982
Within two weeks of finishing his time with Talking Heads, Jones would record yet another live album, this time with former Sharks bandmate Chris Spedding. The album, called Friday the 13th since it was recorded on Friday March 13, 1981 at Trax in New York City, was focused on a rock power trio performance of songs by both Spedding and Jones. Rounding out the trio for the album was drummer Tony Machine, who was known at the time for his work with the New York Dolls as well as solo projects by Doll's members David Johansen and Sylvain Sylvain. During the performance of the song "Hey Miss Betty," Spedding directly references Jones during some on stage banter, saying "Maybe you think you think we're taking a bit of a risk here, Friday the 13th, you know, doing a live album. But I ain't superstitious. I mean I've even got a black cat in the band."

The group would tour for most of 1981 under the name "The Trio", although occasionally billed as just "Chris Spedding" or "The Chris Spedding Band." Their show was loud and full of energy, Tom Harrison, music critic for The Province in Vancouver, British Columbia, wrote that The Trio's performance was "enough to batter the kidneys." Some time around late summer of 1981, Tony Machine would leave The Trio to work again with David Johansen. He was replaced by New York experimental composer percussionist David Van Tieghem.

Concurrent with The Trio tour, Jones would also play bass as a member of Gang of Four. Dave Allen, the band's previous bassist, had quit the band after a show in Montreal, Canada, following months of distress while touring. The other three members of Gang of Four would go to New York City in search of a replacement bassist for upcoming tour dates. They all knew Jones from his work with Talking Heads and Brian Eno and asked if he could do the dates. Jones agreed, and thus began a marathon rehearsal session to get Jones settled into the band. Although skeptical that Jones could so quickly replace Allen, guitarist Andy Gill and singer Jon King quickly changed their minds as they saw how immediately Jones understood the band's dynamic. Jones would play a number of shows with Gang of Four, most notably a gig at the Showbox in Seattle which had future members of Nirvana in the audience. King, when reflecting on Jones' time with the group said "There was incredible energy and an amazing audience. It became a transcendental symbiosis of crowd and band. The Busta Jones gigs were the best gigs we did, I think." Despite all of this, Jones would not continue to work with Gang of Four, being replaced by Sara Lee by the end of 1981.

The Seclusions and Production Work 1983-1988
Jones would return to New York City in 1982 and begin to play in various local bands as well as solo shows, playing at venues like the Peppermint Lounge. During this time Jones would begin to play with guitarist Jimmy Ripp, with the two occasionally playing gigs together with Holly Beth Vincent. Additionally Jones would begin to work with Marty Feier and Randy Dash, two students who had met at Skidmore College and had come to New York City to record an album.

All of these collaborations would result in a self titled album by a group called The Seclusions. Featuring Jones alongside Ripp, Feier and Dash, with additional contributions by Patti Smith drummer Jay Dee Daugherty. The album received some commercial and college play, alongside a Billboard Magazine review describing it as "punk's answer to the Moody Blues." The first track, a cover of "Nothing Can Change the Shape of Things to Come", features vocals by Joey Ramone alongside his little brother Mickey Leigh. The Ramones would eventually go on to cover the same song on their album Acid Eaters.

Following his time with The Seclusions, Jones would begin to work more in music production, receiving credits for The Ramones' song, "Chop Suey", originally released as part of the soundtrack for the movie Get Crazy. Later in 1985, Jones would also help produce Nashville based band White Animals' self-titled album. Again Jones would help to introduce funk elements to a new wave sound, this can especially be heard on a song like "She's So Different", which features a distinctive slap bass not heard on previous White Animals releases.