Grasshopper is a 1982 album by J. J. Cale. It was his seventh studio album since his debut in 1971. Recording After recording five albums in the seventies, Cale moved from Nashville to California and released Shades in 1981. Produced by Audie Ashworth, the album, like the majority of Cale's releases, was not a commercial success, although the Oklahoma singer-songwriter had a loyal cult following among fans and fellow musicians. Backed by the usual top session musicians, including Reggie Young, Ken Buttrey, and David Briggs, Grasshopper has a slicker, more radio-friendly sound than Cale's previous album, as is evident in the opening track "City Girls," where "a poor boy" longs for a city beauty but "can’t afford no diamond rings or all them other fancy things." In his AllMusic review of the LP, William Ruhlmann notes, "J.J. Cale drifts toward a more pop approach on this album, starting with the lead-off track, ‘City Girls,’ which could almost but not quite be a hit single. The usual blues and country shuffle approach is in effect, but Audie Ashworth's production is unusually sharp, the playing has more bite than usual, and Cale, whose vocals are for the most part up in the mix, sounds more engaged." Grasshopper was recorded in studios in Nashville and North Hollywood. Cale’s previous albums were studies in diversity, touching on a variety of musical styles that make up what would become known as Americana, and Grasshopper, while a more polished production, continues this exploration. Cale accompanies himself on the folk song "Drifter’s Wife," displaying some impressive finger picking, and returns to the theme of a musician's rootless life on the road. The straight love song "You Keep Me Hangin’ On" begins with a piano introduction reminiscent of Elton John, unusual for a Cale recording, and contains vulnerable lyrics to a longed-for lover. There are also two instrumentals, including the title track, which uses steel drums, and "Dr. Jive," which displays the talents of vibraphonist Farrell Morris. Several songs have an optimistic and upbeat feel, such as "Don’t Wait" ("Don't wait for the good times to come, we got 'em right here, we’re on the run…") and the jaunty "Nobody But You." The fast tempo boogie "Devil in Disguise" begins with Chuck Berry-type lyrics in the first verse before introducing a girl who has "rock and roll way down in her soul" but who "wants to know where's