Luscious Jackson: Jill Cunniff (vocals, guitar, bass); Gabrielle Glaser (vocals, guitar, drum programming); Vivian Trimble (vocals, piano, Hammond organ, Mellotron, keyboards); Kate Schellenbach (drums).

Additional personnel includes: Daniel Lanois (slide guitar, mando-guitar, bass, percussion); Emmylou Harris, N'Dea Davenport (background vocals).

Producers: Daniel Lanois, Tony Mangurian, Luscious Jackson.

Recorded at Kate Schellenbach's house and Baby Monster Studios, New York, New York; Kingsway Studio, New Orleans, Louisiana.

Personnel: Gabrielle Glaser (vocals, guitar, programming, drum programming); Jill Cunniff (vocals, guitar); Vivian Trimble (vocals, piano, Mellotron, keyboards, background vocals); Tony Mangurian (acoustic guitar, Mellotron, drums, bongos, timpani, percussion, programming, drum programming, loops, sampler); Daniel Lanois (slide guitar, percussion); Alex Young (drums, loops, scratches); Darryl Johnson (drums, background vocals); Kate Schellenbach (drums); Emmylou Harris, N'Dea Davenport (background vocals).

DJ: Alex Young.

Audio Mixers: Daniel Lanois; Alex Young; Jill Cunniff; Luscious Jackson; Mark Howard; Tony Mangurian; Jamie Candiloro.

Editors: Ethan Allen; Tony Mangurian.

Photographers: Daniel Lanois; Matthew Horovitz.

Unknown Contributor Roles: Daniel Lanois; Ethan Allen; Alex Young; John ?; Chris; Rob Mitchell; Chris Johnsen; Justin ?; Mike Diamond; Mary; Steve.

Arranger: Tony Mangurian.

On FEVER IN, FEVER OUT, Luscious Jackson abandons the hip-hop poses that dominated their debut, NATURAL INGREDIENTS, for a smoother, more atmospheric sound exemplified by lead single (and hit) "Naked Eye." On the rest of the album, the band balances a seamless groove with eclectic sonic textures, as on the languid "Why Do I Lie?" and the dub-meets-the-Doors flavored "Take a Ride." Though FEVER IN, FEVER OUT lacks a truly bracing cut on the level of "City Song" or "In Search of Manny," there isn't a clunker in the bunch.

Spin (2/97, p.91) - "...[Luscious Jackson] successfully achieve a sound that rejects earlier Beastie Boys linkages for pomo pop a la U2 or Sheryl Crow....They've simply replaced one type of pop functionalism--subcultural correctness--for another: songcraft..."

Q (5/97, p.124) - 4 Stars (out of 5) - "...this collection of trippy swing is more transcendent, less aggressive than earlier material...This is LJ at their most seamless, high and rising."

Alternative Press (1/97, pp.74-76) - 3 (out of 5) - "...When everything clicks, the mood approaches the subtle, but compelling tension of Anna Domino's best work..."

Vibe (12/96, p.168) - "...a more curvaceous Luscious Jackson abandon the shaky, hip hop-flavored fervor...for a more mature brand of melodiousness..."