Diana Ross Presents The Jackson 5 Jackson 5
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- 1Zip A Dee Doo Dah03:14
- 3I Want You Back03:01
- 4Can You Remember03:08
- 5Standing In The Shadows Of Love04:03
- 6You've Changed03:14
- 7My Cherie Amour03:43
- 8Who's Lovin' You04:05
- 10(I Know) I'm Losing You02:16
- 12Born To Love You02:27
Info for Diana Ross Presents The Jackson 5
The fantastic first record from the Jackson 5 – and very much the stuff of legend all the way through! The tracks feature a number of tunes sung previously by other artists – but the quintet are already at a level that really transforms the material – not just through their unified sense of soulful harmonies, but especially from the breakout leads – which have a fresh, vibrant style that's really unlike any soul group that ever came before – especially when the young Michael steps forth, and shows us he's one hell of a charmer! Production is from Bobby Taylor and The Corporation – and the former definitely brings in some of the deeper, headier tones you'd hear in his music – one more aspect that really keeps the record from being just a kiddie soul novelty – and which instead makes it a truly lasting Motown gem! Titles include the always-wonderful 'I Want You Back', one of those tunes that we've heard a million times, but still love to death – plus the tracks 'Nobody', 'Chained', 'Born To Love You', 'Stand', 'My Cherie Amour', and 'Standing In The Shadows of Love'. Hell, even their version of 'Zip A Dee Doo Dah' is pretty darn great!
„Less than two weeks before the 1960s were left to be deciphered in the history books, Motown unleashed Diana Ross Presents the Jackson 5 (1969) and in doing so fittingly marked the beginning of a new era in crossover pop and soul. For all intents and purposes, this dozen-song disc introduced the world to the sibling talents of Jackie, Tito, Jermaine, Marlon, and most significantly of all, a prepubescent powerhouse named Michael Jackson. The brothers' inextricably tight vocal harmonies were fueled by the ebullience of youth and inexperience while the flames of their collective success were stoked with the funkified vibe of urban America. Immediately evident is the influence that Sly & the Family Stone (whose 'Stand!' is an unmitigated zenith in the Jackson 5's care), James Brown, and even Funkadelic had on the J5. In fact, the quintet would actually cover George Clinton's 'I Bet You' on their sophomore effort, ABC (1970). The burgeoning sounds coming out of Philly were having a similarly sizable impact, as evidenced by the addition of the Thom Bell/William Hart track 'Can You Remember,' which is one of the album's highlights. Another discernibly affective force was found closer to home, as they also drew on the considerable Motown back catalog with 'My Cherie Amour,' 'Standing in the Shadows of Love,' and a powerful reading of '(I Know) I'm Losing You.' Under the moniker of 'the Corporation,' Motown staffers and artists including Bobby Taylor, instrumentalists Deke Richards (guitar), Freddie Perren (keyboard) , and Fonce Mizell (keyboards), and the label's co-founder, Berry Gordy, came up with a handful of dominant originals. Prominent among them are the midtempo 'Nobody' and their double-sided chart-topping single 'I Want You Back' b/w the Smokey Robinson-penned 'Who's Lovin' You.' (Lindsay Planer, AMG)
Produced by Bobby Taylor, The Corporation
The Jackson 5
were one of the biggest phenomenons in pop music during the early '70s, and the last great group to come out of the Motown hitmaking machine before Marvin Gaye and Stevie Wonder shifted the label's focus to more individual visions. The Jackson 5's infectious brand of funky pop-soul was a definite departure from the typically smooth, elegant Motown sound, as befitting the group's youth and the dawn of a new decade. That youth, coupled with the merchandising juggernaut that sprang up behind them, inevitably got them tagged a bubblegum group. But they were far more talented musically than that label would suggest, especially lead singer Michael, and their material, while sunny and upbeat, didn't pander to its audience. Solo careers and overexposure gradually weakened the Jackson 5, but their best music still holds up surprisingly well as some of the most vibrant mainstream pop/R&B of its era.
Originally, the Jackson 5 were composed of brothers Jackie (born Sigmund Jackson, May 4, 1951), Tito (guitar, born Toriano Jackson, October 15, 1953), Jermaine (bass, lead vocals, born December 11, 1954), Marlon (born March 12, 1957), and Michael (lead vocals, born August 29, 1958). By all accounts, the Jackson family's upbringing in Gary, IN, was strict; their mother Katherine was a devout Jehovah's Witness, and their father Joe was a stern, temperamental disciplinarian. Allowed few outside interests, the boys gravitated to music, which was in their blood -- prior to his job as a crane operator for a steel company, Joe had played guitar in an R&B group called the Falcons (not the same group that launched Wilson Pickett's career). One night, Joe discovered that Jackie, Tito, and Jermaine had been playing his treasured old guitar without permission; though initially furious, he quickly discovered that his sons had genuine talent, and began to conceive of a family singing group that might eventually get them out of their tough working-class life in Gary. The eldest three sons began performing around the area together in 1962, teamed with two cousins (Johnny Jackson and Ronnie Rancifer), who were replaced by Marlon and five-year-old Michael. Supervised by Joe, who became their manager and began working only part-time, the group practiced and rehearsed often, and improved as dancers, singers, and instrumentalists at a rapid rate. In particular, Michael proved himself a dynamic performer, soon replacing Jermaine as the featured lead vocalist, and establishing himself as a nimble dancer able to mimic talents like James Brown. At first, the group was known as Ripples & Waves Plus Michael, then the Jackson Brothers, and finally the Jackson 5.
In 1966, the Jackson 5 won an important local talent competition with a Michael-led rendition of the Temptations' "My Girl." Their father, who had been chauffeuring them to out-of-state performances, also booked their first paid professional gigs that year. In 1967, the group won an amateur talent competition at Harlem's legendary Apollo Theater, where they earned an influential fan in Gladys Knight (probably the first person to recommend the group to Motown). At the end of the year, the Jackson 5 made their first studio recordings for the small Gary-based Steeltown label, and their single "Big Boy" became something of a local hit. Championed again to Motown by Bobby Taylor, a member of the Vancouvers who'd seen the group in Chicago, and Diana Ross, the Jackson 5 finally got a chance to audition for the label in the summer of 1968. Desperately needing new blood, an impressed Berry Gordy signed the group and flew them out to his new headquarters in Los Angeles, where he and his assistants groomed them to be the label's next breakout stars. Having lost his famed Holland-Dozier-Holland songwriting team, Gordy formed a new partnership with Freddie Perren, Fonce Mizell, and Deke Richards dubbed the Corporation, which set about crafting material for the group.
In August 1969, shortly before Michael turned 11, the Jackson 5 opened for Diana Ross at the L.A. Forum, and in December, they issued their debut album, Diana Ross Presents the Jackson 5. On October 7, 1969, the Jackson 5 released their first single, "I Want You Back," a Corporation composition that had originally been intended for Gladys Knight. It was an instant smash, hitting number one on both the pop and R&B charts. So did their next two singles, "ABC" and "The Love You Save" (both from their second album, ABC), which solidified the group's so-called bubblegum-soul sound and certified them as pop sensations. Third Album was released before year's end, spawning the hit ballad "I'll Be There," which not only proved that the group (and lead singer Michael) were more mature and versatile than their bright, bouncy initial singles let on, but also made them the first group in pop history to have their first four singles hit number one. It also became the best-selling single in Motown history, spending a stellar five weeks at number one. And it had still been less than a year since the group's national debut.
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