The quintessential family group came from Gary, Indiana, an otherwise nondescript mid-Western burgh in the shadow of the Chicago metropolitan area. They started life hoofing and harmonising as The Jackson Brothers and soon became regulars on the local chitlin’ and talent show circuit which they inevitably bossed. They actually signed first to Steeltown Records in 1967 but that independent couldn’t contain them and Motown’s interest piqued they arrived in the big time immediately, singing in 1969 and fulfilling Berry Gordy’s desire to find and sustain a totally popular crossover musical act. Seventeen Top Forty singles later, they’d accomplished what Mr Gordy required
and then some since everything they touched turned to gold from the outset when Gordy assembled his backing of The Corporation to flesh out the sounds while Motown’s team of writers and the vigilant encouragement of The Supremes, Gladys Knight and Bobby Taylor drew them into the fold and turned them into Motown’s superstars. TV specials, cartoons and a Jackson-led black media teen boom ensured their fame grew exponentially and their debut album, Diana Ross Presents the Jackson 5. That first album remains a cherished item and is utterly recommended especially as many will be familiar with the hits – from “I Want You Back” on – blasted the disc to the top of the charts. Michael’s later moniker “The King of Pop” is well known but even back then he was often referred to as “The Prince of Pop.
You can also find this album teamed as a double pack with sophomore effort ABC (1980), that sold over 6 million copies at last count. Bubblegum soul? Soft pop funky rock? Those terms don’t do justice to what’s inside the candy coating of the title track and “The Love You Save”. Super charged ballads, floor filling anthems for the young that reflected their naïve energy back at them – The Jackson 5 had all bases covered but they also offered wonderful covers of The Delfonics - “La-La (Means I Love You)”, Funkadelic’s “I’ll Bet You”, The Miracles “Come ‘Round Here (I’m The One You Need)” and Stevie Wonder’s marvellous “Don’t Know Why I Love You”.
The modestly titled Third Album really pushed Michael to the fore, literally, figuratively and pictorially on the cover where it’s astonishing to realise just how young these kids still were. This 1970 disc has all the classic Motown Corporation tropes laid on: densely-layered harmony vocals, cute spoken words interludes and some harder-edged funk backing, especially on the second Delfonics’ cover –“Ready or Not Here I Come (Can’t Hide from Love)” which is one of the Jackson’s most-sampled moments.
Again, this is available teamed as a very handy double pack with Maybe Tomorrow. But first there’s the Jackson 5 Christmas Album (their third recording from 1970), a superior example of that genre. As with all the Jacksons' work, keep a close look out for remastered and bonus material. There is plenty of it to digest.
So to Maybe Tomorrow, an album that really represents the Jackson 5 coming of age and expanding their own horizons while maintaining close ties with Gordy and The Corporation top cats. A more sophisticated animal than what had come before this disc really hits the soul buttons head on during the epic tracks “Never Can Say Goodbye” and “Maybe Tomorrow”. This is probably the boys most sampled effort since everyone from Ghostface Killah and Puff Daddy have borrowed hooks and lines while Isaac Hayes, James Brown, The Communards and Gloria Gaynor have all offered joyful versions of “Never can Say Goodbye”.
That five star affair is followed by the live/soundtrack disc Goin’ Back to Indiana that accompanied their 1971 ABC TV Special; a moment in time and a reminder of an innocent age when crossover pop and show business needn’t be considered naff but can be accepted as beguiling. With guests numbering Bill Cosby and Tommy Smothers and various sports stars of the era this is a true artefact. The original became quite a cult item and had a rare cachet – though it still sold well over 2 million copies. Check it out for funk soul moments like their version of Sly Stone’s “Stand!” and Dave Mason’s Traffic classic “Feelin’ Alright” those numbers being the meat on a sandwich containing another Sly song, “I Want to Take You Higher”. Given the progressive movement afoot in Motown’s world (one thinks of Stevie Wonder’s utterly magnificent Music of My Mind) this is a significant disc for 1971 and shouldn’t be ignored if you’re anxious to dig properly deep.
The inevitable Greatest Hits was no idle boast in 1971 either, their first compilation shifting staggering amounts to folks who most likely already owned the originals but were enticed by the new track “Sugar Daddy”.
The self-consciously grown up Lookin’ Through the Windows (1972) saw Michael’s boy voice modulate from a neo-soprano to a smooth tenor and the arrangements reflect a far different attitude within the ranks. The material is similarly shifting in its view with covers of Jackson Browne, Ashford & Simpson and The Corporations funk-driven grooves causing a sensation amongst those who had grown up with the Jacksons as a purely teenage
Likewise Skywriter from 1973 hints at the shift from pop to disco while G.I.T. Get It Together saw Norman Whitfield enter the production room with his various boxes of tricks. At this point the Jackson clan and Motown’s Berry Gordy didn’t exactly see eye-to-eye on their development but it’s albums like this that retain an interest and a currency. Dancing Machine and Moving Violation would end their tenure with the parent label and the compilation Joyful Jukebox Music (1976) is hard to find on vinyl.
Now rebranded as The Jacksons, a label change and a move to Sigma Sound Studios in Philadelphia, Pennsylvania finds the self-titled album The Jacksons drawing the curtain on the opening chapters and utilising the in-demand expertise of Gamble & Huff and McFadden & Whitehead. Michael Jackson’s “Blues Away” is significantly his first known published song and one senses him starting to pull the strings.
Goin’ Places, aptly named, and the hugely successful Destiny effectively end the boy band image for good as disco and the new urban black American sounds take over here. and the world tours become front page news.
Thereafter tracks like “Blame it on the Boogie” and “Shake Your Body (Down to the Ground)” correspond with Michael starting to construct his solo masterpiece Off the Wall and the rest, as they say is history. The song “Can You Feel It” (from Triumph) is another watershed moment and now the Jacksons are eminently capable of writing their own words and music and hitting a far deeper groove.
But to get that point they had to evolve from a uniquely uplifting pop soul act to something far bigger that reflected the shifting times. While a certain amount of controversy and a great deal of tragedy would ensue later on there is no denying their charm and their global appeal.
Looking for something else in the catalogue? Try the 20th Century Masters – The Millennium Collection:The Best of The Jackson 5, or Come and Get It: The Rare Pearls (via Hip-O-Select). Live lovers can pore over Live at the Forum and then we also point you towards I Want You Back! Unreleased Masters, and The Very Best of The Jacksons. The comprehensive Anthology is wonderful – originally a triple album and now available as a double CD it covers all the bases of the early dynamic years.
The Jackson family are that rare thing, signifiers of cultural importance. They also made wonderful music from start to finish. It probably wasn’t as easy as "ABC, 123", but back in the day there was no need to worry about what Michael and company would do next. It was enough to enjoy them and marvel at their artistry and dedication.
Not even six months after the Jackson 5 -- Jackie, Jermaine, Marlon, Michael, and Tito -- issued their debut long-player, Diana Ross Presents the Jackson 5 (1969), the vocal quintet returned with ABC (1970), arguably the brothers' most solid effort of the early '70s. The Jacksons' collective (and respective) talents, coupled with exemplary material and the finest behind the scenes crew Motown had to offer, were directly responsible for the enormous success that placed the LP at the crest of the R&B chart and into the Top Five of the pop survey, while the title track and the double-sided hit single "The Love You Save" b/w "I Found That Girl" all went directly to the number one position across the board. Not too shabby for a group whose oldest member was barely in his teens. Granted, the familiar tunes are undeniably the focal point, making it easy to overlook some of the other stellar selections. As was customary, Motown's cache of house composers provide the lion's share of the songs, most notably the Holland-Dozier-Holland-penned "(Come 'Round Here) I'm the One You Need" -- brought to prominence by Smokey Robinson & the Miracles -- and Stevie Wonder's "Never Had a Dream Come True," which Wonder himself had recently included on his own Signed, Sealed & Delivered (1970). There are also a few contemporary nuggets from beyond the boundaries of Detroit, as "La-La (Means I Love You)" is derived from the up-and-coming Philly soul movement and "I'll Bet You" was gleaned from George Clinton's incipient incarnation of Funkadelic. However, the cuts credited to "the Corporation" -- with Bobby Taylor and instrumentalists Deke Richards (guitar), Freddie Perren (keyboard), and Fonce Mizell (keyboards), as well as Motown founder Berry Gordy -- were of primary significance not only on the ABC album, but within the entire Jackson 5 oeuvre.
Words: Lindsay Planer
Less than three months following the release of ABC came the Jackson 5's aptly titled follow-up, Third Album. This two-fer CD also includes their subsequent long-player, Maybe Tomorrow. As with their predecessors, these albums contain a diverse mixture of R&B, funk, and soul styles, all the while remaining vibrant, fresh, young, and most definitely pop. Although still formulaic in approach, the Corporation -- consisting of Motown founder Berry Gordy along with Deke Richards, Freddie Perren, and Fonce Mizell -- were able to garner significant success by blending a few well-placed cover songs, such as "Bridge Over Troubled Waters" and "16 Candles," with continued contributions from Philly soul stylists Thom Bell and William Hart on "Ready or Not (Here I Come)." As the Jackson 5 phenomenon continued, however, the Corporation became increasingly dependant upon their own skills and formidable credentials. Not only were all four singles -- two from each album -- written and produced by the team, they also provided the majority of the material for Maybe Tomorrow. Tracks such as "I'll Be There," "Goin' Back to Indiana," "Mama's Pearl," and "Sugar Daddy" would become well-known performance staples and fan favorites. The secondary layer of material is equally matched for the high-energy soul antics of Michael's imposing talent. That is not to dismiss the formidable contributions of the other brothers, especially on "It's Great to Be Here" and "My Little Baby." Their increased role as support and co-leads were forging new boundaries. Following the seasonally maneuvered Jackson 5 Greatest Hits disc in November 1971, the Corporation disbanded.
Words: Lindsay Planer
Although they were still getting hits, there were some problems creeping into the Jackson 5's Motown albums. The main one was that the company was no longer in the forefront of black music production, and their '60s-style efforts were sounding dated. Only Michael Jackson's individual brilliance and the group's polished performances salvaged much of this material, and they soon openly expressed their disapproval.
Words: Ron Wynn
Maybe Tomorrow (1971) was the Jackson Five's fourth long-player in less than two years, actually their fifth if you count the excellent holiday offering Jackson 5 Christmas Album (1970). Tito, Jermaine, Marlon, Randy and Michael continue their prolific run, building off the same combination of swooning slow jams and funky rockers that had catapulted their previous outings into the Top Five R&B and Pop Album surveys. No doubt influenced by the recent success of "I'll Be There," the focus tunes extracted as singles were the heartfelt and Michael-led ballads "Never Can Say Goodbye," as well as the title track "Maybe Tomorrow." Although the youngest member of the Jackson 5, he consistently turned in precociously age-defying performances. Once again Motown's self-inclusive team of Bobby Taylor, instrumentalists Deke Richards (guitar), Freddie Perren (keyboard), Fonce Mizell (keyboards) and the label's co-founder Berry Gordy -- known collectively as the Corporation -- supplied a majority of the grooves. However, it was increasingly the tunes brought in from elsewhere that were gaining the most attention. Actor/composer/performer Clifton Davis supplied "Never Can Say Goodbye," while Hal Davis' mid-tempo arrangement of the Crests' 1958 hit "16 Candles" is a perfect vehicle for Jermaine. He would return to his R&B ancestry for the significant solo side, a cover of Shep & the Limelites' "Daddy's Home"." Standouts from the Corporation's contributions are the fun, though admittedly lightweight "My Little Baby," the harder driving "It's Great to Be Here" and the upbeat funk vibe "I Will Find a Way" that concludes the platter. When Maybe Tomorrow was reissued on CD in 2001, it was coupled with the quintet's Third Album (1970) and supplemented with two of the last recordings created by the Corporation, "Sugar Daddy" -- which initially surfaced on the Greatest Hits  (1971) package -- and the non-LP "I'm So Happy."
Words: Lindsay Planer
The Jackson 5 slipped a bit with this album, although they still had two pop and R&B hits. But it wasn't anywhere near as dominant or popular an album as their earlier ones and wound up being one of their final three releases for Motown. They later did some recording with Stevie Wonder, Michael cut some solo material, and everyone except Jermaine headed for Columbia.
Words: Ron Wynn
The Jackson 5's first Greatest Hits album remains an excellent summation of the group's first few years, boasting 11 of their biggest hits, including "I Want You Back," "ABC," "Never Can Say Goodbye," "I'll Be There" and "Who's Lovin' You." Although this is a fine record for what it is, it has been replaced many times over the next 25 years, and it pales in terms of song selection to such latter-day compilations as The Ultimate Collection, which offer more songs, better liner notes and improved sound for not much more money.
Words: Stephen Thomas Erlewine