Song of the Week: Darling Dear

by Corey Sheppard

From the very first time I heard this record on the Jackson 5ive cartoon in the mid 1990s, I loved it. I could tell it was something special, and couldn’t wait to hear it again. Ahh I have so many fond memories of singing this song in the mirror or humming the song in my head in elementary school. “Darling Dear” is truly serious jelly!!

“Darling Dear” was originally recorded by Smokey Robinson & the Miracles for their 1969 for their album A Pocket Full of Miracles. If you have never heard their version before, I’d recommend that you check it out. It’s very good. It’s a lot different than the J5 version. The Miracles’ version has a bit jazzier, easy-listening vibe to it, while the J5 version is a bit more up-tempo utilizing the drums and the bass a bit more than the Miracles version. Ironically, the Miracles (like the Jackson 5) used "Darling Dear" as a b-side as well. It’s funny to me that neither group put this song as an a-side.

“Darling Dear” also has the fortune of being recorded in the original Hitsville studio on May 24, 1970 (wow, we even have the date it was recorded). It was on very few occasions that the boys would record in the Detroit studios, but according to several resources this record was indeed recorded in the Motor City. The track truly benefits from this. From the ever changing drums utilized through the entire recording, to the haunting string arrangement that builds the suspense in the recording. If you truly want to hear the strings in their total glory, listen to this remix that ended up on the Japanese release, Soul Source. The actual video doesn’t start till 0:07 but listen to the strings… breathtaking.


One thing I noticed about the record is at the very beginning at 0:01. You hear a sound in the record as if somebody just shot a ball on a pool table. It’s also heard again at 0:05. I always wondered what that sound is. Any of you guys ever notice that? For some reason, I love it and wouldn’t change a thing.

The bass playing on this track by legendary bassist James Jamerson Jr. is simply outstanding. From the beginning of the track to the very end, Jamerson lays out one complicated groove after another. Sometimes I can literally just listen to the bass playing in the track and totally be absorbed in it, isolating it from the complete recording. This track has reached thousands of music fans all over the world just by its classic bass playing. There are literally dozens of YouTube videos where bass players all around play their version of “Darling Dear.” I think that’s totally awesome. What a great way for Mr. Jamerson’s legacy to be continued because most view his playing on this track as one of the greatest bass sessions ever.

Michael (as always J) does an excellent job on his vocal performance but all of the Jackson brothers on background vocals sound excellent. Their harmony notes provided on the bridge of the song is outstanding. It gives the record a doo-wop flavor, while keeping it fresh for the new generation. One can clearly hear Jermaine providing ad-libs throughout the recording. Also Jackie has a brief solo on the song’s bridge that shows his vocal range as well.

The only slight criticisms I can give the record would be that number one, I wish the mix of the record was more bass heavy. The kick drum and bass on the record is really low, and one truly has to focus to hear some of the things these instruments are doing. I wish it were a bit louder; it would’ve created a more easy listening effect to it. And, of course, as with most J5 songs, I truly wish the song were longer -- 2:36 just doesn’t do it for me. It could have easily been over the 3:30 mark or beyond and not get dull. But I’ll take what I get.

Also there are a couple glitches in the record. At 0:51 it sounds as though the record is slightly distorted. Also at 2:02 and 2:07 it sounds as though they stuck two different takes together or something. I’m not sure, but every time I listen to the record in headphones I hear the mistake.

But other than those tiny, minor observations, it’s a flawless record. I really love it. What a great, unique way to close out the Third Album. This record truly gives you the ultimate example of what the Jackson 5 were trying to accomplish for that latter portion of 1970. I believe their goals were to continue creating catchy little ditties for the little ones and teenagers, while appealing to the adults and expert music critics of the time. And I say to that: job well done, Jackson 5!

- - - - - - -
Corey Sheppard, 21, 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."

Song of the Week: Mama's Pearl

by Corey Sheppard

“Mama’s Pearl” was the fifth single released by the Jackson 5 and the first release by the boys for 1971. 1970 proved to be the year of success for the Jackson 5. With four back-to-back number one hits, three top pop albums, numerous TV appearances, and a successful tour, what more could the boys ask for? 1971 would bring a lot of change for the group and this record was the start of that.

By the time this record was recorded in mid-1970, there were signs that Michael’s voice was changing -- not so much in his range, but in his maturity as a vocalist. When he hits his high notes at the end of the second verse, he vacillates between shouting and soul singing and I appreciate his variety of style. Also on the chorus, he sings most of the lines without backup from his brothers, and he handles it well.


I’ve always had trouble finding out the true meaning of “Mama’s Pearl.” It’s always been slightly confusing to me, how the boys go from singing about a girl to pearls from a mother, I‘ll never understand. I’m sure it’s just me; it obviously makes sense to the millions of J5 fans around the world.

While “Mama’s Pearl” is a classic in my heart and in many Jackson 5 fanatics’ hearts, I do believe it fell a little short from their first three up-tempo Motown masterpieces. Don’t get me wrong -- while the song is a very excellent number by the boys, I feel something is missing from it to make it an A+ record for me. But despite this, I’m still bewildered by the fact that it was kept from being number one by the Osmonds “One Bad Apple.” That record can’t hold a candle to any of the Jacksons’ first releases. including the subject of this column.


I feel one thing that perhaps stopped this record from knocking out ”One Bad Apple” from the top spot is the fact that the boys weren’t on television much to promote it. The first television performance of the song wasn’t until the Diana! special in April 1971, four months after the record was released. For sure, another Ed Sullivan performance by the boys would have guaranteed a number one record for the brothers.

Also J5 Collector hit on a major epiphany that this single was released too long after Third Album was released. Unlike “The Love You Save,” the second single released off the ABC album that came out only a week after the album was released, “Mama’s Pearl” came out nearly four months after Third Album did. That’s a long time after the fact, especially for this period when the Jackson 5 were riding a high wave after “I’ll Be There.” It’s almost as if Motown released this single as an afterthought.


Another slight issue I have with “Mama’s Pearl” is the mix. It sounds as though not much attention was put into the actual mix of the record. First off, there is a lot of “air” in this track, more than most of the J5 tracks at the time, and it’s very evident from the intro of the song. Plus it seems as though a lot of the instruments used for the record are clouded in the mix.

I will say the alternative version of “Mama’s Pearl” found on the 2004 compilation The Jacksons Story is a far better mix, in my opinion. But I must say the energy and raw sound on the common version of “Mama’s Pearl” is something I don’t want to live without.

Wow, forty years since “Mama’s Pearl” was first released as a single! It’s amazing to me that it still packs a powerful blow for music listeners. After this release, the brothers’ singles were focused more on ballads. It wasn’t until the release of “Sugar Daddy” in late 1971 where the boys went back to their old ways. “Mama’s Pearl” gives you the opportunity to listen to the Jackson 5 at the height of their fame, and it was, is, and always will be an enjoyable audio experience.

- - - - - - -
Corey Sheppard, 21, 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."

Song of the Week: Give Love on Christmas Day

by Corey Sheppard

“Give Love on Christmas Day” is such a beautiful, moving Christmas ballad. Released in 1970 on the only Jackson 5 Christmas album ever (and only Christmas album released by any Jackson, what a shame), the song shows the brothers taking on a serious ballad about caring and looking after another during the holiday season. This song has taken a life of its own for soul Christmas music fans and I take much pride in knowing that the song was written exclusively for the Jackson 5.

Written by the Corporation (Berry Gordy, Alphonzo Mizell, Freddie Perren, and Deke Richards) “Give Love on Christmas Day” has many memorable moments. First the intimate production provided by the session musicians helps set the mood for the record. The drums are fantastic on this record. The high hats on the record frequently changed from a four count to an eight count, as well as the drummer hitting the rim on the verse then the snare drum on the choruses.

Twelve-year-old Michael Jackson lays down a beautiful vocal for this record. He truly had a gift of opening himself to any emotion a song could have. Most adults don’t have this gift, let alone a twelve year old in his first year of professionally recording, His vocals swift from first being very soft and adorable, to being urgent and pleading. Not many singers can do that, let alone a child. He never fails too impress the hardest critic! The background vocals are excellent too. You can clearly hear Jermaine and Jackie singing the harmony notes with Michael on the chorus. They sound excellent, and completely in tune.

The only little thing I can say about this record is that I would have loved for the songwriters to have written a bridge to this beautiful song. I guess it’s just my selfish way of saying “I wish the record were longer.” Every time I listen to “Give Love on Christmas Day,” there’s always a bit of sadness on my part when it comes to an end. I truly feel this record could’ve been stretched a bit more. I would even turn up the volume at the very last seconds of the record. I could clearly hear MJ singing: “Every Tom, Dick, and Harry, and Susie, too…” In my mind I thought “why, oh why, would they not let the record play longer?” Boy did I get a big surprise last year.

I, myself was already head-over-heels in love with “Give Love on Christmas Day” by the time the Ultimate Christmas Collection was released in late 2009. This beautiful set compiled by Motown contained several perks. One major perk for serious J5 fans was the color picture of the Jackson 5 around the Christmas tree in 1970. But the major, major highlight for myself and many J5 fans (including the owner of this page!) is the a capella version of “Give Love on Christmas Day” found near the end of the re-issue. All the vocals are here and, boy, does it sound good. The first time I heard it, I swear I got chills. Such beautiful vocals provided by the brothers, plus we received nearly an extra minute of vocal harmonies and extra lyrics provided by the boys. For J5 fans, this feels like a lifetime. What a nice little addition to this album, showing how much care Motown put into this package just for us.

his holiday wouldn’t be the same without the Jackson 5. The eleven tracks they made in summer 1970 have been a part of my life since the very beginning of my childhood. Recently, Jackie Jackson stated that the Christmas Album was one of his favorite J5 albums, and it is still to this day a big seller. That means the world to me and several others, proving that good tunes never die.

- - - - - - -
Corey Sheppard, 21, 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."

Song of the Week: Reach In

by Corey Sheppard

When most people think of the major evolution of the Jackson 5, they automatically think of 1973’s “Get It Together.” And while that was a heck of a change for the boys, I think some of the first signs of maturity of the Jackson 5 sound were first heard in 1970. In my opinion, Third Album was one of the Jackson 5’s most ambitious recordings because it went from one musical extreme to the other. You have plenty of love ballads, a couple of funk classics, and then, of course, you've got your bubble-gum numbers. But there are about three alternative, inspirational numbers that have sparked a lot of conversation around J5 boards as to the actual meaning of the song. This song is one of them.

A lot of people have questioned for years the true meaning of "Reach In." Since it is one of the only Jackson 5 songs that showed some slight influence from gospel music, my interpretation of the lyric is that they are talking about empowering your belief in God and religion. Another way of looking at it is they may be referring to researching your family history, or maybe even learning about your ethnic background. I’m not completely sure of the exact meaning of the song. This is a question that I would love to ask the songwriter, Mrs. Beatrice Verdi. The trend of inspiration records had started about a year before with records like "What’s Going On" by Marvin Gaye, and "Stand" by Sly and the Family Stone. I like to consider "Reach In" by the Jackson 5 a record in that same vein.


As for the music, right from the very beginning, you know you are in for a unique musical journey. Next time you listen to the beginning of "Reach In" I want you to listen in on the many instruments being played on the intro. First you have the piano belting out the main melody line, and then you have two guitar lines completely isolated from each other on the stereo channels. Then once the bass comes in the tracks gets extremely smelly (thanks Mike!). The p-funk groove to this track is not unlike George Clinton and the Parliament sound (which the J5 captured on the previous album with their version of "I’ll Bet You." Also present later in the mix is the interesting synthesizer that was used later on in "We’ve Got Blue Skies" (although it is way lower in the mix than the slightly annoying sound on "We’ve Got Blue Skies").

I love listening to this song through headphones. It is perfectly mixed by the production team The Corporation. Everything can be heard properly, and that’s saying a lot especially since there are a lot of instruments being used in this track (that being said, I do think the strings could be a bit louder). Also, there isn’t as much "air" in this recording as some of the early Jackson 5 numbers and that just makes the production ten times cleaner. The drums throughout the track are amazing. I like the use of the suspended cymbal right before the final chorus begins. It is a pretty powerful effect.

One of the ways this song is distinctly different from other J5 songs is that Jermaine sings the verses and bridge, and Michael backs him up on the chorus. I really like this arrangement, though Motown tended to keep Michael solely on the verses and Jermaine backing him up occasionally. This new vocal arrangement was also used on "Oh How Happy." Also call-and-response was used in the verses with Jermaine singing each time after the background vocals.

You truly have to love the final choruses of this record. It continually builds up until the fadeout. I love Jermaine’s final yelps of "Reach In" at the very, very end of the record. You can tell he was totally into the record, would love to hear an extended cut of this one day. I’m sure the funkiness didn’t just stop there. When I listen to "Reach In" I’m completely am wrapped on in the groove, and I can’t lie, I truly start feeling sad when the record starts to fade out. The recording could’ve gone on for over five minutes, for all I care. When you got a funky groove, you got to wear that bad boy out!


"Reach In" is truly one powerful record. The very first time I heard the song, it completely blew me away. And even to this day, I still get goose bumps listening to this song. The Jackson 5 had never done a record like that before, and would not do a record in the same vein ever again. It is truly an original masterpiece for the group and its groove is truly a one of a kind.

Next Week’s Song Hint: To think of how to say/you’re fine in every way.

- - - - - - -
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."

Song of the Week: Give Me Half a Chance

by Corey Sheppard

"Give Me Half a Chance" was a beautiful ballad that truly didn’t get its chance to shine until 1986. And, boy, does it shine bright with most J5 fans.

"Give Me Half a Chance" was written by songwriter/actor Clifton Davis. Although he didn’t write too many songs for the Jackson 5, the songs he did compose for the group were always standouts. I truly loved his selections for the boys because he chose not to write “bubble-gum soul” tracks for the group, instead he mostly wrote mature love songs that would have been a challenge for any other teen group; but not the Jackson 5. Davis, who started his career as a songwriter ended up becoming an actor (he is mostly famous because of his role on the 80’s sitcom Amen.


"Give Me Half a Chance" was never released as a single or an album track throughout the Jackson 5’s stay with Motown. Instead, it was released over twenty five years later on Looking Back to Yesterday in 1986. It is absolutely absurd to me that this track was not released on either Third Album or Maybe Tomorrow. To me, the song has hit potential written all over, or it’s at least album placement material.

Maybe the reason Motown didn’t release the track was that they possibly felt the boys were doing too many ballads at this time. Just look at the difference between Third Album and Maybe Tomorrow and you’ll find it’s like comparing night and day. Third Album was more a ballad album, while Maybe Tomorrow was straight up bubble-gum pop mixed with a few soul ballads.

Since this track wasn’t released on an album, Jackson 5 fans had to use their imaginations as to when the song was recorded. It wasn’t until 2009 when Hello World: The Motown Solo Collection that we get a hint of when the track was cut. According to the booklet, "Give Me Half a Chance" was recorded between the years 1969-1970. It was apparently mixed, in 1971, and was considered a Got to Be There outtake (despite the brothers singing background vocals behind Michael.)

I would say this song was definitely not recorded in 1969, since neither Bobby Taylor nor the Corporation produced it. My opinion is that the song was recorded in 1970 or possibly 1971. The major hints to me are the instrumentation, and Michael’s high-pitched, slowly maturing lead. Also since Clifton Davis produced the record, I would speculate that this record and “Never Can Say Goodbye” were recorded around the same time. And since I’ve always suspected that “Never Can Say Goodbye” was recorded a little earlier than the rest of the sessions, it leads me back to my opinion that this song was recorded sometime late 1970.

Now on to the actual record! I love the persistent, urgent, back beat of the song. It keeps the track from becoming too mushy in my opinion. I would say this was one of the first Jackson records to use a harpsichord as the keyboard arrangement. Motown became literally obsessed with this instrument beginning in 1971 until about 1972. Also this track uses bells as well, which were also used in “Never Can Say Goodbye.” Michael sings this song as if his life depends on it. He never disappointed his fans when it came to a vocal delivery of a song, especially ballads.


In the end, "Give Me Half a Chance" remains a standout for me and for many others. I’m actually kind of happy this song isn’t very well-known in the music community, because once people think they have heard most of what the Jackson 5 has to offer, "Give Me Half a Chance" comes and takes them by surprise. I’m am thankful that it was finally released by Motown, so that we are can cherish this song in our collection. We truly can never get enough ballads from the Jackson 5. So to the Jackson 5: your chance finally came!

Next week’s song hint: Don’t take the easy way out/Believe there is a maker.

- - - - - - -
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."

Song of the Week: 2-4-6-8

by Corey Sheppard

"2-4-6-8" is a huge favorite among Jackson 5 fans. It’s truly an irresistible, catchy pop number that came at the perfect time for the Jackson 5. While never released as a single (except in the Philippines), it became one of the most beloved and well-known Jackson 5 album tracks of all time. It even charted in Jet's Soul Brothers Top 20 the week of September 10, 1970.

The lyrics in the song tell a story a boy who tries desperately to get a girl’s attention. He wakes up early to see her before school; he waits for the girl at her home room; he even offers to share his pie with her (despite Jack Horner’s refusal). For years and years, I had no clue of what the lyrics were in this song. Michael and Jermaine sing it at such a fast rate that I would just mumble the words because I had absolutely no clue what was being said. It wasn’t until I joined the one and only J5 Collector Forum that I learned the complete lyrics (thanks J5C!).

Now I know the title and subject line seems very juvenile, but it’s too extremely catchy for it to have been passed on. If the song right before this record on the album is entitled “ABC” you gotta have a song called "2-4-6-8" placed directly right after it. I’m sure Motown completely planned it for these songs to have complimented each other. If would have been cool if "2-4-6-8" had been the b-side to ‘ABC’. How do you think the Beatles would have felt if their very mature, serious ballad “Let It Be” had been knocked out by the Jackson 5’s double-sided hit “ABC/2-4-6-8?” In fact, the saying “2-4-6-8, who do you appreciate” was quoted seven years later in the movie The Wiz, starring none other than Michael Jackson.

One thing I did not recognized about "2-4-6-8" until now is how fairly simple and bare the groove and chord progression is. Unlike most of the early Jackson 5 numbers, this song has no strings provided by Motown. No auxiliary percussion was provided in the background by Motown session players. No tambourines or shakers, just drums and handclaps only. But I like it, even without the normal production practices, you get a bit of variety with this song. By the way, take another listen to the drums at the end… Phenomenal.


There are two other things that stand out to me with “2-4-6-8.” First off, for some reason this track has more “air” in it than most Jackson 5 tracks. I know that the record is from 1970 but compared to even “Never Had a Dream Come True” or “(Come ’Round Here) I’m the One You Need” it has much more “air.” Maybe the record wasn’t mixed or mastered to the top of the producers’ abilities. Also, a unique form of instrumentation was used in this track. The bass guitar sounds as though it was plugged into a fuzz box to give it that “fuzz” sound throughout the recording. I really like that it gives the song an rock/pop edge that is totally opposite of the subject matter.

I truly loved the way Michael sings the first verse of the song. I’m not sure who he was trying to sound like but the way he pronounces the words when he sings the verse is very interesting and slightly hilarious! Perhaps he was trying to sound like William Hart (from the group Delfonics), someone he mostly only intimated on when the boys covered Delfonics numbers. I’m not sure, maybe he was just trying to make sure he could sing the complete lyrics correct in its very fast pattern.

"2-4-6-8" always stands out to me more than other songs because it’s a tune I distinctly remember listening too as a child. When I turned five years old in 1994, my mom brought me two Jackson 5 CDs from Sun TV, the first CD being The Jackson 5ive Greatest Hits and the second turned out to be ABC. I was definitely more excited to hear the latter because it meant that I could listen to and learn new Jackson 5 songs! I also remember listening to "2-4-6-8" over and over again. I even got the neighborhood kids to jump rope to the beat of the song!


"2-4-6-8," I imagine, must have been a favorite of Michael himself because it was one of the only records (that was not released as a single) that was included in the opening segment of 1988’s Moonwalker. The bridge portion of the song that they used in Moonwalker was actually the first time I had heard a portion of this song.

My mom will sometimes walk around the house singing the lines “2-4-6-8, who do you appreciate” constantly all day, keeping it in my head all day -- which is totally fine with me!

Next Week’s Song Hint: Love put us two love birds/but we don’t know how to stay

- - - - - - -
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."

Song of the Week: Maria (You Were the Only One)

by Corey Sheppard

Two weeks ago, I hit a ‘first’ by writing about Jermaine’s early solo lead on “My Cherie Amour.” This week I am once again hitting a ‘first’ by commentating on a Michael Jackson solo (Motown) number.

Now at first, I was pretty hesitant on writing about solo numbers from Michael, Jermaine, and Jackie, basically because I felt that the songs I choose should be strictly Jackson 5. But now, I feel that these songs need to be included as well. The Jackson solo tracks make up for a big part of the Jackson 5’s history. For example in 1972, two solo hits by Michael, and one of Jermaine’s, placed higher than all the Jackson 5 single releases that year. And occasionally, the Jackson brothers sung backgrounds for some particular Jackson solo numbers as well. So starting with this post, I will include Motown solo cuts from all three Jackson Brothers.

The Jackson 5 were the first Motown group that had certain members record solo albums and singles while still remaining in a group. This decision was mainly inspired by Donny Osmond (of the teen-group the Osmonds) who became a solo star while still in his group. I believe Motown’s goal for each solo album recorded by the boys, was to show the many sides and abilities of that particular Jackson . Instead of recording the typical two-and-a-half minute ‘bubble-gum soul’ number, most Jackson-solo songs were melodic-orchestrated ballads. Thirteen-year-old Michael Jackson led the pack with his debut single “Got to Be There” released in October 1971, and his debut album (of the same name) coming out in January of 1972.

When die-hard Jackson 5 fans first listened to Michael Jackson’s first single “Got to Be There,” they saw that Michael (or Motown really) had continued the ballad trend that the Jackson boys had picked up the previous year. Everything about “Got to Be There” gives you an easy listening R&B/pop feel until you reach the B-side. As soon as you hear the opening toms, of “Maria (You Where the Only One)” you know you are in for a different kind of musical journey.

This song is such an unusual number for Michael to sing. It really doesn’t compare to anything that the brothers had recorded at previously. It’s a song that goes a lot of places musically. It starts off with a very soulful blues feeling, then ends up an up-tempo pop- sounding ditty. Not a lot of artists would be able to pull this track off successfully. I can possibly hear The Four Tops singing this number, or maybe Diana Ross. Whoever sings it, would have to be prepare for a song with a lot of versatility.

This song was recorded earlier than the majority of tracks from his debut album. Since it was issued as the B-side of “Got to Be There” I would say it was recorded in the summer of 1971. The only thing that doesn’t surprise me about this record is Michael’s delivery. He sings this song with a red-hot passion. The use of double tracking on his voice when he sings “Maria” is a very effective tool, and it’s something that Motown had just started experimenting with. He makes the song what it is, in my opinion. I would not want to hear anyone else singing this song other than Michael Jackson because no kid (or adult even) could ever sing the blues like Michael Jackson.


The production on this track is very new and inventive for Motown. It starts off with the harpsichord instrument (something used very frequently for the Jackson 5 around this time) and the tom toms I mention before. Then it turns pretty funky with the heavy bass line and the use of the percussion instruments vibraslap and casbassa, (which gets very off tempo, from time to time). Also listen out for some kind of studio chatter in the right channel at 0.18. The haunting arrangement intensifies when beautiful strings accompany the track, making the mood even more dramatic.

Michael’s biggest shining moment comes at the final verse before the rapid finale. He totally takes advantage of the lyrics and put his all into it, which translates into a great vocal performance. But to be honest, the up-tempo finale (with it’s slightly Egyptian vibe, I might add) is my least favorite part of the record. It’s hard to go from just down-right soul, to an arrangement that doesn’t fit the mood of the track. The ending reminds me of something the Fifth Dimension would record in their heyday. Nevertheless, Michael still sings like “Maria” is farther and farther away from him, with each passing section.

Just like last week’s “To Know,” I was very sad to see that “Maria” wasn’t performed on the 1972 forum show (released on CD). I know Michael and his brothers would have totally worn this arrangement out. “Maria” seems to be a very popular album cut for Michael. So popular that in 2009 it was included on the remix tribute album to Michael entitled The Remix Suite. The remix is not bad at all, some of the instrumentation (such as the strings) are more isolated than in the original version, so for that reason alone, I’d recommend checking it out.

I’m very happy that this song was chosen as the B-side of “Got to Be There.” It shows that Motown was willing to take a chance on a new sound. It also shows that the company had full confidence that Michael would be able to once again, entertain his fans and attract new ones with his capabilities. So clearly “Maria” WASN’T the only one...

Next Week’s Song Hint: He’s no Prince Charmin’ but still he keeps tryin’ girl, you’re so unkind

- - - - - - -
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."

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."

Song of the Week: My Cherie Amour

by Corey Sheppard

Jermaine Jackson was one of music’s first teen idols. His voice and bass playing sent thousands of girls through a frenzy. Jermaine (as said by J5C….numerous times) was the sex symbol out of the five boys. His chilled, mellow leads were the perfect opposite of Michael’s piping lead, but their two styles totally blended together. He was an integral part of the group, and was often looked at as the “fan favorite.”

Jermaine had shown potential from the very beginning and producer Bobby Taylor must’ve known it. Jermaine was given two tracks to record on the J5’s debut album Diana Ross Presents the Jackson 5. One of the tracks chosen for Jermaine was a frantic version of the Temptations “(I Know) I’m Losing You.” As for the second cut, Bobby Taylor must have wondered: hmmm, what would be the perfect song for a growing 14-year old to sing to the young ladies……ding…a-ha Stevie Wonder’s “My Cherie Amour.”

Stevie Wonder was flying fresh off of one of his biggest hits that winter of 1969, when the J5’s version popped up on their debut album on December 18. Jermaine’s first lead comes right directly in the middle of the album, sandwiched in between Michael’s leads on the J5-original “You’ve Changed” and the masterpiece “Who’s Lovin’ You” (the perfect spot if you ask me).

I have always looked at Jermaine’s version of the tune as the acoustic, unplugged version of Stevie’s classic, if you will. With brushes being the only percussion being used, (also a triangle used in the intro and outro), and an acoustic guitar strumming beautifully throughout the song, it gives an opposite affect to Stevie’s version with his relying more on the string orchestra, and a prominent snare drum on the track. It definitely helped the soul-vibe of the track by it being recorded in Detroit, Michigan.

Being that this track is one of the first J5 recordings that we hear Jermaine singing on, we get a slight hint of Jermaine’s man-child voice. This record comes at in interesting time for Jermaine’s voice. He had a very raspy tone at this time. Jermaine’s voice would not fully change until late 1971, partially due Jermaine getting rid of his tonsils, and the other factor just being Mother Nature.

With that being said, I like his voice here. He sounds a lot better than most of the young boys that are out now (these kids now are just whining up a storm!!!). The main reason why I love Jermaine on this record is because he sings this song with a lot of passion. From his very beginning notes, to the finale (listen to the fade-out Jermaine is still wailing away till the very end of the take) this kid was extremely eager to make a statement.

My two favorite sections of this record are the intro and the bridge. The intro is nearly flawless (except for a slight flat note from the acoustic guitar at 0.14 ) and the bridge is simply excellent. The background vocals are a delight as well (it sounds like it might just be Michael and Jackie here). The brothers totally wrap themselves around the bridge leading in to the final verse (which is slowed down a bit). The harmonies and delivery from the boys is downright perfect. Who would expect this kind of delivery from young kids who haven’t even graduated from high school yet?


Once again, I recognize and appreciate Bobby Taylor’s versatility on this track. He created the perfect cool, relaxed instrumental for Jermaine and the boys to lay their vocals onto. No one would’ve thought to give the young group such a strong and emotional tune. But just like every other obstacle in the Jackson 5’s early career, they were successful in breaking through.

After this recording, the Jackson 5 had a long history and association with Stevie Wonder for many years. While only covering two more songs from the Wonder catalog, the Five collaborated with Stevie on his number one recording “You Haven’t Done Nothin.” Around the same time, Stevie Wonder returned the favor by giving the brothers a tune called “Buttercup” (a song speculated in the press around 1975, but not released until 2009) and according to sources a couple more songs including a song entitled “You’re Supposed to Keep Your Love For Me.” Ironically ten years later, Stevie Wonder found himself working side-by-side with Jermaine on the latter track and also on Jermaine’s top-ten single “Let’s Get Serious.” It must have been a real delight for Jermaine to be working with one of his mentors.

But now back to 1969. This record was very important for the boys (and especially Jermaine) in more ways than one. It showed Motown that Jermaine was quite capable of handling not only a lead vocal but a classic tune with a unique arrangement as well. Motown paid attention to this and less than six months later was given his first B-side entitled “I Found that Girl” (which actually replaced “My Cherie Amour” in the Five’s live concert act).

Because of the significance of this record (and the fact that I just simply adore the arrangement) I would say this is my favorite early Jermaine record. A major thanks goes to Bobby Taylor, for reintroducing Jermaine as a lead vocalist. Jermaine (more than likely) had only one shot to prove himself as a vocalist to the eyes of Motown. And luckily for all of us fans, he passed that test with flying colors!

Next Weeks Song Hint: Since You’ve Been Gone/I’m Just Not the Same Baby

- - - - - - -
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."

Song of the Week: Listen I'll Tell You How

by Corey Sheppard

"Listen I’ll Tell You How" is a song recorded by the Jackson 5 in May 1969. It is one of the first recordings the boys did at Motown and, wow, what a great recording! I first heard this record on Motown’s official Jackson 5 webpage. They were having a listening party for some of the songs that were on last year’s I Want You Back! Unreleased Masters a few weeks before it was released in stores. From the first opening seconds, I knew immediately that this was a record from the 1969 Detroit sessions, and I took comfort in the fact that I was in the safe hands of producer Bobby Taylor.

An incredible producer, Taylor brought out the best in the growing group. The Jackson 5 (at the time) had very little experience in the recording studio, but he surrounded the boys with the original terrific “snake pit” musicians, and great cover songs by Motown’s hottest artists. He gave them a confidence that helped prepared their transition to stardom. Bobby Taylor stopped producing the boys in early 1970, and what a shame. Michael has said in interviews about how much they loved working with Taylor . There was even talk about the boys reuniting with Taylor for their first album for CBS, and while songs were recorded, none have seen the light of day. I’m sure the Jackson brothers would have totally loved if Taylor would’ve continued producing a couple of records for not only the boys, but Jermaine and Michael solo.

I feel that this record has one of Michael’s best early vocal performances ever. This ten-year-old totally throws himself into this bombastic production. What amazes me is how many vocal runs he fits into each verse and hook. I also love the background vocals on the track. Jermaine’s early vocals are clearly audible on the hook section of the song.

The instrumentation on this track is dynamite. Nothing beats the sound of late 60’s soul music, in my opinion, and this track carries it to the max. The intro is totally outrageous with the horns and the strings wailing away. I loved it from the first time I heard it. The hook section on this track is incredible. The buildup to the chorus takes the anticipation up a notch. And the drummer is in a league of his own, providing the track with pretty much all of runs and improvisation that Motown was famous for. The song had a very inspirational, uplifting vibe to it, along with soul horns and breakdowns that only James Brown could have bested.


The main reason I feel that this song was not released on the Diana Ross Presents the Jackson 5 LP is because of the message in the lyrics. In my opinion, the message in the song is about people looking after another, and helping your fellow brother. This is not the direction that Berry Gordy wanted the Jackson 5 to go in. He wanted the Jackson 5 to sing only of things kids think about: girls, girls, and girls! To me, that’s the main reason that records like this and “I’ll Try You’ll Try (Maybe We’ll All Get By),” also from the Unreleased Masters cd, never were released, until now.

Overall, I enjoyed this record a lot, and was very appreciate that Motown decided to finally release it 40 years later. Once again it shows a lot of versatility for the (at the time) very, very young group. I hope more unreleased Bobby Taylor productions get released in the future. It has been said that the J5 recorded about 30 tracks with Taylor , so I hope that means more records from that summer will be released in the future, which truly gives me a reason to live every day!!!


Next Week’s Song Hint: This record was Jermaine’s first solo lead on a Jackson 5 track.

- - - - - - -
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."

Song of the Week: (You Were Made) Especially for Me

by Corey Sheppard

"(You Were Made) Especially for Me" is a song off of the Jackson 5’s last album for Motown entitled Moving Violation. This album (like most of the Jackson 5’s last albums for Motown Records) was released during a transitional phase for not only the group but also soul music. At this time the Jackson brothers reunited with the Holland brothers for the album, as with Michael’s early 1975 solo album entitled Forever Michael. Working with new producers gave the boys an opportunity to try out new material and new vocal styles. And this was the perfect song for that.

If you already haven’t picked up, I love record intros. I feel that any artist, any song, has about ten seconds to impress me to either want to listen to the record, or skipped it J. The opening presentation is extremely important to me, and luckily, the Jackson 5 (or should I say Motown) had no problems in this department. From "I Want You Back," to "Lookin’ Through the Windows," all these songs immediately grab you and take you along the ride. This 1975 record was no different.


The intro to this track is the major highlight. Not to say anything bad about the rest of the song, but, once again, the intro is amazing. There are so many things going on in this record. The strings are so haunting, and the flutes are just terrific. Next time you listen to this record, I dare you to close your eyes and let the music take you away!

Once again with this album cut (being one of the last recordings the J5 made at Motown), you get a real sense of the future vocal style of all the brothers but especially Michael. On this record, the sixteen-year-old totally uses a lot of the same vocal runs and effects as he did in his adult years. I find it very interesting to listen to Michael’s man-child voice throughout his teen years. I love the way he makes his voice sound when he sings "for ME" on the chorus especially at 1:59. Jermaine comes in on a line or two for support, but the song mainly relies on Michael

I think perhaps some people criticize this record for being a little repetitive. I can agree with that; it does tend to rely heavy on the chorus. I also feel that maybe some of the J5 fans at the time might have thought this record was not really the boys' style. I do agree that the record could have been recorded by the O’Jays or the Blue Notes (to just name two groups). In my opinion, this record sort of takes its inspiration from the Philadelphia sound created by legendary producers Gamble & Huff. Most of the mid-70s soul was inspired by the symphonic and orchestrated sounds from the innovative Philadelphia International Records, and Motown was no exception.

This song was given a rapid increase in tempo when performed by the Jackson 5 during their last concerts with Motown. It actually became their opening number on a concert in Mexico in late '75 (shortly after Jermaine had departed from the group). This performance (along with their television performance of the track on the debut season of the variety show in 1976) is very entertaining. The dancing is faster than anything they had attempted before it and thanks to Marlon filling in Jermaine’s line in the song; we still get to hear vocal variety among the boys.

Overall, a good record by the boys. It gives you a slight hint of the direction the Jackson brothers would be going in the next two years. So the record has a strong purpose for the J5, because in a way, they were practicing and preparing for the future just like in the Gary days.


Next Week’s Song Hint: If you’re looking for a chance / to move it on up. / To get yourself / on the right track.

- - - - - - -
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."