Michael's Secret Phone Calls

In May 1972 16 magazine promised to reveal some juicy secrets, gleaned from listening in on Michael and Jermaine's phone calls.

As usual, the teasers promised more than they delivered. First, we saw the banner headline on the cover, announcing:  MICHAEL JERMAINE Listen to Their Secret Phone Calls.

Right inside the front cover, we got another invitation, this time in the form of a full color glossy photo of  lovely Jermaine, asking the question: What do I talk about on the phone?

And in case you missed it, there was Michael inside the back cover, also in the form of a glossy color poster, begging us to turn to page 16 to find out his secrets:

By now, you're probably dying to know his secrets and surprises, right? But if you've read enough teen magazines, you probably think they're going to reveal their summer concert dates, don't you? Ah, but this is even better. In this case, it's not so much what Michael says on the phone as it is who he says it to. Read on.

Oldies Week: Rockin' Robin

The Jackson 5 recorded several cover versions of old songs that were classic doo-wop. This week, we'll take a closer look at them, starting with one of Michael's solo release that was released as a single 39 years ago this month.

In February of 1972, Michael released his second solo single, "Rockin' Robin." The song hadn't originally been scheduled as a single, and it was only after radio djs started playing the song from Michael's first LP, Got to Be There, that Motown decided to release it as the second single, instead of of "I Wanna Be Where You Are."

The djs who has originally played the album cut in the first place probably chose it because it was a familiar song to them, having first been released as a single back by Bobby Day back in 1958, the year Michael was born.

Here's Bobby Day's version for comparison.

The Jackson 5 performed the song live on Top of the Pops when they were in England in November 1972. Tito has a nice guiar solo, and be sure to check out the very end where Marlon, Jackie, and Michael do a little bit of the funky chicken.

The song was released as a single not just in the United States but in other countries, as well. Here are some of the foreign pressings I have in my collection.

Germany, Japan, Spain, and Sweden all issued the single with different picture sleeves. All were backed with "Love Is here and Now You're Gone," as was the U.S. pressing.





Greece didn't issue it with a picture sleeve, but this is one the few Greek pressings I have in my collection. They issued it as the B-side of "Got to Be There."


The picture sleeve from Spain had an interesting back cover, too, showing the different photo they used on the LP release of Maybe Tomorrow (MS-9030) -- a rarity I have so far been unable to find.


The search never ends for a Jackson 5 collector.

Now That's What I Call a Christmas Feast

A double-centerfold from the February 1973 issue of 16 magazine

The Subtle Knife

If we can believe the editors as Spec and 16 (and that's a big if), the Jackson 5 had a photo session scheduled with the teen magazine giant on Jermaine's 17th birthday. Everyone forgot Jermaine's birthday, it seems, except for the fine folks at 16/Spec who surprised him with a cake. The whole day was documented in their May 1972 issue, complete with the photo evidence and Spec's classic teen-cheese write up.


I had this pin-up of Jermaine hanging up on my bedroom wall and I looked at it daily for almost a year, but I never noticed until I saw the real photo from the session that Jermaine isn't actually holding a knife in his hands -- he's just pretending to cut the cake.


I don't know if they had planned to have their graphic artist draw the knife in later, or if they just thought no one would notice. I know I never did -- I was too busy looking at Jermaine's sweet face.

He is holding something in his hands though. I can't tell what it is, but the photographer obviously gave him something that would simulate a knife handle so he'd get the pose right.


As for the cake topper, I can't tell if it's John, Paul or George.

Michael Monday: I Wanna Be Where You Are

When Corey wrote the other day about "Maria (You Were the Only One)," the B-side of Michael's first solo single, a reader asked about picture sleeves for Michael's solo 45s. There was only one picture sleeve issued in the U.S. for a Michael solo on Motown, and that was for "I Wanna Be Where You Are," the third single pulled from his debut solo LP.


The sleeve uses the same photograph of Michael that appeared on the LP, so it wasn't terribly creative or exciting, but it was better than nothing, which is what we usually got with our American 45s.

Kids in other fared better when it came to picture sleeves. Germany could always be counted on for a nice picture sleeve...



...as could Italy.


The Italian sleeve had the added bonus of using a rare photo of Michael which was seldom seen in 1972.

And when it came to dependability and consistency for exciting and beautiful packaging, no one topped the Japanese...


...although this photo paired with the song title does make Michael look a little bit like a stalker.

The Japanese could always be depended on, too, for including a lyric sheet. And in the case of "I Wanna Be Where You Are," the lyrics were correctly translated, except for the second verse.



But considering Motown's stinginess with picture sleeves here in the U.S., maybe the Japanese translation comes closer to the truth: Motown, you are "making to disturb us" when you show us you can make picture sleeves, but choose not to.

Song of the Week: To Know

by Corey Sheppard

"To Know" is another one of the Jackson 5’s rare, mostly unheard of slow jam cuts. I first heard the song in the late 90’s on the internet (but it was a pitched-up bootleg version of it). I didn’t hear the song or see it on any J5 compilations until I purchased the 2-fer compilation of Goin’ Back to Indiana/Lookin’ Through the Windows and heard the official version.

Written by the Corporation (which surprises me because it seems so mature for a Corporation number, when they were all about giving the J5 songs that would appeal to kids and teenagers), this record continued the "ballad" trend that the Jackson 5 picked up on as early as August 1970 with "I’ll be There" but this song was a complete departure from their earlier ballads. "To Know" took a lot of inspiration from the smooth styles of soul that were just becoming popular.


The Jackson 5 did a lot of evolving with the changing musical styles and themes from the very beginning of their six-year recording career. With funk, disco and even standards, the Jackson 5 had a high level of versatility from their debut album onwards. These practices were not uncommon for Motown acts. Berry Gordy wanted his artists to be able to appeal to and perform for any type of crowd, venue, or location. While, up-tempo "bubblegum soul" tracks would remain the norm for the Jackson 5, there was one style that the boys truly had a knack for.

The Jackson brothers (especially Michael and Jermaine) all had a passion for ballads. These young kids became crooners at a very, very young age. All of the brothers' voices fit into a perfect harmony throughout their years at Motown and beyond. If you need proof, just listen to the end of "Thank You (Falettinme Be Mice Elf Agin)" on the new release Live at the Forum. When the brothers sang their tribute to Diana Ross, their voices together created a beautiful barbershop quintet harmony, if you will.

When the Lookin’ Through the Windows album was released in June 1972, the boys were growing by the day (especially Marlon and Michael) and this song "To Know" gave them the perfect vehicle to show off their new skills. What always makes me put this song in a different category of songs like "Got to Be There" and "Never Can Say Goodbye" is that Michael sings this song so softly (especially in the beginning). MJ usually tended to sing at the top of his vocal ability, and to the highest notes he could possibly handle. But starting with "Maybe Tomorrow" and continuing with this track, he sang in a very soft tone, something that could equally make the girls swoon.

If I were listening to "To Know" for the first time, I would have guessed it was any other artist besides the Jackson 5. Without a doubt, this track was majorly influenced by the horn-driven soul that was becoming increasingly popular around the early 70s. By the time this record was recorded (in late-71/early-72, I imagine) singers like Al Green and Marvin Gaye, were using creating their own brand of soul ballads that many people drew inspiration from. The Jackson 5, were no exception.


The production on this track is much different from most of the Jackson 5 cuts around the time. No strings or orchestra were included in the song, nor was the tambourine. It was also one of the only times that Michael shares the lead with Jackie only (even Tito receives some spoken lines!), and no help from Jermaine (although Jermaine is very audible in the background vocals). There is some distortion in the beginning of the record if you listen closely, but nothing too drastic (also, the hi-hats are also a little off in the beginning as well). But, what an interesting drum pattern, I might add.

What always surprises me about the record is how Michael sounds so young in the beginning, then towards the end he sounds like his regular 13-year-old self. You don’t really hear a lot of maturity in his voice until about 2:17. I believe these were some of the first signs of MJ’s man-child voice. Mike really gets into it at the big finale of the song. He had a lot of control over his voice at this time and it really shines on the last minute of this record. Also the harmonies are excellent towards the end.

I was rather sad to see that this song was not performed live by the brothers on the second 1972 Forum concert. It would have been very interesting to hear the arrangement that the brothers would’ve chosen for this particular cut. I loved the way they performed the ballads on the ‘72 show (some of the live performances I prefer over the studio versions), so what a shame that it wasn’t included in the set.

Overall, I love "To Know" and it is currently my favorite cut on Lookin’ Through the Windows. It had a very different, somewhat unique sound for the Jackson Brothers, and they do a outstanding job with the vocal arrangement. This song probably led the way for other ballads in the same vein such as "Touch" and "It All Begins and Ends with Love" but this will always be a stand- out for me!

Next Week’s Song Hint: Oh, hear my plea for sympathy, I just want you here with me

- - - - - - -
Corey Sheppard, 20, has been a Jackson 5 fan since 1993. His favorite hobbies are listening to music, playing racquetball at the YMCA, and hanging out with friends. Corey’s life passion is centered on music. His latest project is an all-new production company shared with Robert White Jr. entitled "Ask About It Productions."

Back to School with the Jackson 5

I have had this odd little children's book in my collection for many years. It was published in 1972 by Let's Save the Children our of Chicago, and was written by E. Marie Johnson, a professor of Educational Psychology. The basic storyline traces the Jacksons' path to fame. The text also includes details about the Goin' Back to Indiana special and it retells the plot line of a few of the skits, although they refer to Tommy Smothers as "a guy from outer space." (Clearly Dr. Johnson missed the tv special.)

The design and layout of the book is really quite nice. Many of the photographs used to illustrate it were taken from the Jackson 5's 1971 appearance at West Side High School in Gary, Indiana. Others, like the one you see below, were taken at the J5's 1970 appearance at the Los Angeles Forum.

While the book is nicely designed, the writing is, in a word, dreadful. This spread has the worst verse of the bunch:

It is likely the only time in history when Marlon has been rhymed with snarl on.

Forced rhymes aside, I learned about the genesis of the book from this article that appeared in the Los Angeles Sentinel in 1973.


I haven't ever come across the book about Marvin Gaye from the same series, but I can just imagine the text.

Anyone who has ever been starvin' may
dig the music of Marvin Gaye.

Marlon's Own Little Corner of the Sky

I've always felt "Corner of the Sky" was an underrated Jackson 5 single. Sure, it's kind of a corny Broadway song, but I love the way they trade leads. And it was the first J5 single where Marlon got his own line.

Here they are performing it on Soul Train in November of 1972. Unfortunately, they only performed the first half of the song, but it does give us a taste of the great choreography. I'd love to see the whole song performed. And Marlon really milks his line for all it's worth!

What's New, Jackson 5?

The Jackson 5 recorded several cereal commercials in the early 1970s that were aired on Saturday morning during children's programming. I was too old for Saturday morning cartoons at the time, but I used to watch them, just for a chance to glimpse the J5 hawking Alphabits.

I thought I had seen them all a hundred times, but there was one that my friend Jeff used to talk about that I just couldn't recall. He said he clearly remembered one with a group of kids, sitting around a table outside eating cereal when, all of a sudden, the Jackson 5's heads pop up from behind a fence. I thought Jeff must be remembering it wrong, until I came across this picture.


I knew for sure that Jeff had it right. And then, at long last, I found the commercial itself, through the wonders of YouTube and a Spanish-speaking fan.

I can see why I missed it. This one looks -- or, more accurately, sounds, from Michael's voice -- like it was made a bit later. I'm sure by then I was opting to sleep in on Saturday mornings. But I'm glad to find it now because it's hilarious. I love the way the kids act like it's the most ordinary thing in the world to have the Jackson 5 pop up in your back yard. And they're more excited by the cheap-ass magic trick in their cereal box than they are by the sight of Michael, Marlon, Jermaine, Tito and Big Jackie suddenly appearing, as if by magic.

But even the magic trick itself is funny in this context: "We lost a kid!" Stick around, buddy, and you'll see it happen for real in a few years when the Jackson 5 lose Jermaine. You should have asked for his autograph while you had the chance.

Interviewing Michael: "I just tell the truth"

Here's a cute picture of Michael being interviewed by Lisa Robinson at his home in 1972. See that little portable tape recorder Lisa is holding? That means there was an audio record of this interview. And guess what? The tape is still in Lisa's possession. She also saved tapes from later interviews she did with Michael, and she interviewed him a lot.

I didn't know that tapes still existed until one of readers (thanks, Dannie!) sent me a link to this YouTube video where you can hear Lisa talking about what it was like to interview Michael through the years. She includes snippets of the actual interviews throughout her ten-minute monologue. And you can find more from her about her interviews in this article that she published last year in Vanity Fair.

Just... Jermaine

I may have mentioned once or twice that Jermaine was my favorite brother when I was a young teen, dreaming of growing up to marry one of the Jackson 5. I wasn't alone in my passion -- Jermaine took his position as the group sex symbol early on (although, in retrospect, I can't see why Jackie wasn't considered the sex symbol instead. Too old, you think? Perhaps, but he was still a year younger than David Cassidy, and probably about 20 years younger than Bobby Sherman).

Anyway, I not only loved feasting my eyes on Jermaine's adorable face, perfect afro, and gorgeous body, I also loved his singing voice. In fact, I first fell for him when I heard him singing his lead parts in "Stand" on The Ed Sullivan Show. "I Found That Girl" was my favorite Jackson 5 song and I would still place it in my top five. Songs with Jermaine leads were just a bit more mellow and mature -- more appropriate for someone at the ripe old age of 13.

When I first heard that Jermaine was working on a solo album, I was ecstatic. I couldn't wait for an entire LP with Jermaine singing lead vocals. I even had a title picked out for the album -- Just... Jermaine. (I never got word through to Motown on that one.)

I can clearly remember the day when I first saw the album. I was in the record section of a downtown department store called Younkers. And there was Jermaine, on display.


Oh, my God, he had never looked so perfect, so cute. It didn't even bother me too much that they had given the album such an uninspired name, like they thought it was going to be Jermaine's only solo album. I stared at the cover for a long time before turning it over to see what he sang, noting that there was another adorable picture of him on the back. He's holding a stick (he's holding a stick!) and looking very pensive. Soulful. Just... Jermaine.


I recognized some of the song titles -- "Ain't That Peculiar," a great Marvin Gaye song; "Homeward Bound," okay, why not, he did a good job on "Bridge Over Troubled Water," I'll give it a try; "If You Were My Woman," hmmm... Gladys Knight song? I'll have to see... The other songs I didn't know, but I would soon enough because I played that album over and over again for the rest of the summer and into the fall.

Nothing, however, prepared me for the surprise awaiting me when I got the album home and took the cellophane off.


Are you kidding me?! Are you kidding me?! Unbelievable! I had to run and call my best friend Janet to come over to look at my new Jermaine album, even though her favorite brother was Tito. We spent the afternoon, sprawled out on the floor with the album open, staring at Jermaine while we listened to all his new songs, over and over again. Then Janet's mom called and she had to go home. So it was back to just... Jermaine -- and me.

5ive questions for... ChiDrummer

ChiDrummer on stage at Millennium Park in Chicago, June 2010

Regulars on the Soulful Detroit Forum know ChiDrummer for his perceptive comments about music, but J5 fans there know him for his amazing memories from the early days of the Jackson 5. As a young fan, he saw them in concert in Chicago three times (1971, 1972, and in 1984 for the Victory Tour) and twice in Ohio (Destiny and Triumph tours). I was eager to find out more about what these experiences were like for him, and, fortunately, he was willing to answer 5ive questions. He even provided some photos from his personal collection. (I wish I had had the foresight to take a photo of my bedroom wall in 1972! it looked a lot like this, except it was a bit more Jermaine-heavy.)

ChiDrummer's bedroom wall in 1972

How long have you been a J5 fan? How old were you when you first saw them in concert?
I guess I’ve been there almost from the beginning. I was a fifth grader when “I Want You Back” was released. I had my parents buy the ABC LP when it was released, and then I went back and bought Diana Ross Presents the Jackson 5. I first saw them during the 1971 tour in July. The Commodores opened for them. I still have the ticket – second row seats (thanks, Dad!).

ChiDrumer's view from the second row in '71

What was it like being in the crowd -- could you actually hear them over all the screaming fans?
Hear them? In ’71 and ’72, hell no! The shows were madhouses. The sheer madness of the ’71 and ’72 shows was unbelievable. 10,000 crazed screaming girls is a rather unique sound. The stage rushes, the girls trying to get the attention of just one of the Jacksons was a sight to behold. Even though I was just a kid myself. Great memories. I’ve even grabbed a little of it for myself over the years.

By the late ‘70s, PA technology had caught up with the size of the venues. Also, we as fans had matured a bit.

Is there anything especially memorable that happened at any of the concerts you attended?
There was something about that first one in ’71 that stood out as special on many different levels. In the early days I think they always considered the Chicago shows to be a bit of a homecoming, especially after 1970. I think they actually played Gary only once after 1970, so they tended to mention how cool it was to be home.

Signed concert program from 1971-72

Is it true that they used to perform "Big Boy" live when they returned to Chicago?
I never saw them sing “Big Boy” the times I saw them in Chicago. They might have done it when they were still a club act. I can’t imagine Motown would have allowed them to sing it after they started making hits for them.

Destiny Tour, Hara Arena, Dayton, Ohio, Oct 21, 1979

How many times did you see them in concert after they left Motown, and how did it compare?
I saw them three times after they left Motown. I’d have to say that was probably their prime as live performers. They were better singers, employed better musicians, the production was bigger and tighter. I don’t think they ever got better than they were during the Triumph tour. Unfortunately, the Victory Tour was almost a word-for-word repeat of the Triumph tour.

Triumph Tour, Riverfront Coliseum, Cincinnati, Ohio, Aug. 8, 1981

How "What Goes Around Comes Around" Came Around to Michael

Our friend Christina's latest article is about the men behind the song "What Goes Around Comes Around," a cut on Michael's Ben album. Turns out they live practically next door to her!

Happy Bastille Day!

Source: Michael Jackson Photo Collectors

It looks like they're standing in front of a painted backdrop, but that's the real Eiffel Tower behind them.

Michael Monday: The Dating Game

One of the hippest game shows of the late 1960s-early 1970s was The Dating Game, a Chuck Barris production, hosted by Jim Lang, in which a bachelor and or "bachelorette" asked a series of questions to one of three strangers hidden behind a screen. Based on their responses, one of the contestants would then be chosen as the winner of a date, with all expenses paid by the game show.

Occasionally the show would feature a famous person as the one asking the questions. (They didn't want to risk the embarrassment of having a star passed over.) In 1972 Michael Jackson appeared on the show, posing his scripted questions to three very nervous, nearly hyperventilating little girls on the other side of the screen. After a series of not-very-probing questions, Michael selected Bachelorette #1, Latany Simmons, a basketball player and aspiring math teacher.

You can watch the complete show on YouTube, and it's all pretty funny until you see the looks of utter disappointment on the faces of the two girls he didn't select. Poor girls!

The October 1972 issue of 16 magazine devoted a double-page spread to the show.


And whatever happened to lucky Latany Simmons? I'm not sure if she ever became a math teacher, but she did have her date with Michael at Sardi's the night before the Jackson 5 concert at Madison Square Garden on June 30, 1972. In an interview a month later with the Los Angeles Times, Michael described their date.

"We went out to dinner in New York. The next night we had a concert there and she came and was in the front row and everyone recognized her from television and started grabbing at her [giggles] and wanted her autograph [more giggles]. They had to put her backstage."

Double Delight

When Jackson 5's third single, "The Love You Save," was issued on May 16, 1970, Motown found that it had two hits -- and two J5 lead singers -- on its hands. There was the upbeat A-side of the single, and the slow tempo, more mellow B-side "I Found That Girl," with lead vocals by Jermaine, the group's bass player. At 16, Jermaine was the right age to be a teen heart-throb. It didn't hurt that his good looks, shy demeanor, and sexy singing voice drove all the girls wild.

In the early years, Michael was the obvious stand-out in the group, with his talent and stage presence. Michael was entertaining, but Jermaine was the one we all wanted to go home with. The Corporation-penned song "I Found That Girl," seemed to be custom-made for Jermaine and his female fans, who could all fantasize that he was singing about them. When the single came out, it was issued as a double A-side, and color vinyl promo copies of "I Found That Girl" were sent to radio stations, along with "The Love You Save."



It climbed the charts throughout the summer of 1970 and Jet magazine's Soul Brothers Top 20 during that time showed it neck to neck with "The Love You Save."


One of the coolest things about the new Jackson 5 Live at the Forum cd is that we get to hear two different versions of "I Found That Girl," the first recorded on June 20, 1970, soon after the song had come out, and the second recorded two years later on August 26, 1972 when Jermaine's sex symbol status had been well established. It's fascinating to hear how he works the crowd, in the earlier version as the soft-spoken boy next door who, on Jackie's prodding, shyly points out the girl he's found ("She's the one over there in the yellow dress."), and two years later as the smooth superfly who teases the audience ("My rap is too heavy for them. They can't dig it.") Both songs end with Jermaine singing an extra song-within-the song that starts "Won't you take me with you?" Girls regularly fainted at J5 concerts when Jermaine sang that line. In some cases they even stormed the stage, trying to get to him. Just a few weeks before the 1972 concert at the Forum, Jermaine had been mobbed by 6,000 fans at Chicago's Midway airport.


And by then he was already secretly dating Hazel Gordy, so he had indeed found his girl. Perhaps that's why he could make the song sound so convincing.