The 5th Dimension Albums (12)
What The Critics Say
The 5th Dimension attempts a comeback by redefining itself as a Quiet Storm R&B act, but gives the game away right off the bat by having themselves introduced by co-executive producer Dick Clark, who declares, "The 5th Dimension is in the house!" Suddenly, the enterprise seems as hip as a Publishers Clearinghouse commercial, and no amount of drum programming by producer Ollie E. Brown can rescue it. Nor does it help that the group insists on covering The Bee Gees' "How Deep Is Your Love" as well as the work of old friends Neil Sedaka and Laura Nyro. For better or worse, The 5th Dimension is what it is, even after 30 years. Back to Vegas, kids. ~ William Ruhlmann, All Music Guide
What The Critics Say
Not only was Soul & Inspiration (1974) the 5th Dimension's last outing on Bell Records, it served as the penultimate long-player to feature the original quintet of Lamonte McLemore, Ron Townson, Billy Davis Jr., Marilyn McCoo, and Florence Larue. Behind the scenes, band politics as well as the power structure at the record label ultimately led to a parting of ways between the 5D and their longtime producer Bones Howe. Even though the project is replete with good to above-average performances, it undeniably lacks the sonic cohesion that had become their collaborative calling card. Understandably, many of the album's highlights are likewise remnants from Howe's tenure. The title track -- an update of Barry Mann and Cynthia Weil's "(You're My) Soul & Inspiration" -- opens the affair. The funky interpretation of Bill Withers' "Harlem" has some of the refined Philly soul flair that John Florez brought to the project. On the other hand, McCoo's lead vocal is the only thing that makes the cover of the Eagles' "Best of My Love" tolerable. More pointedly, one can easily measure Howe's absence as the melody and talent are so full of unexplored possibilities. The Davis-sung "My Song" is a keeper, with the vocalist leading the pack behind an equally gritty horn-driven score courtesy of ace arranger H.B. Barnum. While "No Love in the Room" might have accurately described the internal acrimony within the 5D's camp, Florez did no one any favors by setting it to an ersatz four-on-the-floor disco backing track. The lull is then broken by a pair of absolute gems. The heartfelt Howe-directed "House for Sale" and Barnum's sensitive and melodic rendering of "Somebody Warm Like Me" -- prove the 5D still possessed their singular brand of enduring pop-meets-R&B vocal magic. Incidentally, the latter was penned by Tony Macaulay, the author of the combo's "(Last Night) I Didn't Get to Sleep." ~ Lindsay Planer, All Music Guide
'Living Together, Growing Together'
Release Date 1/1/1973
Tracks 11
Label Bell
See Album Tracklist and Review
What The Critics Say
For their eighth album of new studio material, the 5th Dimension were sticking to essentials while attempting to stay modern and relevant. As styles and trends in pop and R&B were becoming more flamboyant and expressive, Lamonte McLemore, Ron Townson, Billy Davis, Jr., Marilyn McCoo, and Florence LaRue Gordon remained as solid and somewhat predictable as ever. Living Together, Growing Together (1973) marked the "beginning of the end" for the vocalists reign of non-stop hits, although three of the album's 11 cuts would make it onto the charts. Unlike a majority of the selections that were hand-picked either by or for the 5D, "Living Together, Growing Together" was chosen both as a bit of cross promotion for this LP's centerpiece and as a central theme in the update of Frank Capra's classic motion picture Lost Horizon (1973). The quintet themselves sound splendid, considering the dearth of depth within the song itself. Additionally, the false endings provide an interesting musical contrast to the typical 5D fare.The cover of Nilsson's "Open Your Windows," with its slinky, soft, and complex backing harmonies is an ideal vehicle for McCoo's sultry intonations. She earns major points on Paul Anka's "Changed" thanks to Bones Howe's vigorous score allowing for a pleasant contrast between the singer and instrumentation. "Ashes to Ashes" builds off of its substantial midtempo groove and yields a perfect pop melody for the 5D to wrap their collective voices around. The bluesy waltz of "The Riverwitch" is a treat as Davis, Jr. is at his best, lending some typically tasteful and thoroughly sanctified soul. Davis, Jr. likewise shines on the rousing "There's Nothing Like Music" and the mature ballad "Never Was the Day." Florence LaRue Gordon takes the lead on the second Bacharach/David composition, the comparatively superior "Let Me Be Lonely." Not only is it one of the finest offerings on the entire long-player, but among her best with the group. In 2007, Living Together, Growing Together was coupled with Individually & Collectively on a single-disc two-fer from Collectors' Choice Music -- making both titles available for the first time on CD in North America. ~ Lindsay Planer, All Music Guide
'Individually & Collectively'
Release Date 1/1/1972
Tracks 11
Label Bell
See Album Tracklist and Review
What The Critics Say
"If I Could Reach You" was the 5th Dimension's 19th of 20 Top 40 entries and their last big smash, number one Adult Contemporary in September of 1972. The middle-of-the-road ballad was beautiful, but not totally indicative of the musical sophistication of their Individually & Collectively album. The jazz of "Sky & Sea" from the musical Joy has the group sounding more like the Manhattan Transfer than the 5th Dimension while Florence LaRue Gordon's vocal on Bacharach & David's "All Kinds of People" is surrounded by the group's gospel leanings. Billy Davis, Jr. tries hard to compete with Janis Joplin on John Hall of Orleans' great "Half Moon," but two years after Joplin's passing, Davis Jr. gives it too much Top 40 and not enough heart, missing the mark Janis established for the tune. The vocalist does take care of business on the Elton John/Bernie Taupin chestnut "Border Song," though, displaying the true soul absent from the aforementioned Orleans/Joplin staple. But just as "All Kinds of People" is not your typical Bacharach/David composition, "Turn Around to Me" doesn't sound like it came from the pens of Gerry Goffin and Michael Masser. That tune fuses jazz with the '60s sound the 5th Dimension was known for. On "Band of Gold," not the Freda Payne hit from 1970, they sound like an updated Platters, while Laura Nyro's "Black Patch" dips back into the jazz thing, especially with Bill Perkins' sax solo. Rounding out this sweeping stretch of genres is their masterful rendition of Fortunes/Foundations/Edison Lighthouse pure pop songwriter Tony Macaulay's "(Last Night) I Didn't Get to Sleep at All," which went Top Ten for this ensemble in April of 1972. Individually & Collectively is an overlooked but special album from the Bones Howe/5th Dimension catalog and is one that is most substantial. ~ Joe Viglione, All Music Guide
'Love's Lines, Angles and Rhymes'
Release Date 1/1/1971
Tracks 10
Label Bell
See Album Tracklist and Review
What The Critics Say
Love's Lines, Angles and Rhymes (1971) was the 5th Dimension's (5D) sixth studio album in less than four years. Yet their profuse prolificacy -- not to mention numerous television and personal appearances -- did not have any apparent effect on the quality of their output. As this collection proves, quite the opposite is the case, as Lamonte McLemore, Ron Townson, Billy Davis, Jr., Marilyn McCoo, and Florence LaRue have never sounded better -- together, or as soloists. They begin in familiar territory with the first of two Laura Nyro covers on the upbeat "Time and Love,." Bones Howe had initially pitched the song to be included on a Diana Ross project that the longtime 5D producer/arranger had concurrently been working on. Ultimately, the powers that be at Motown rejected it and Ross' loss became the 5D's gain. Here, it recalls Nyro's own "Lu" and "Timer." The title track "Love's Lines, Angels and Rhymes" made it into the Top 20 pop singles survey thanks to its refined score and McCoo's voice, as it weaves between the slightly shadowy chord changes. Another standout is the interpretation of Junior Walker's "What Does It Take" that -- while it sticks fairly close to the original -- benefits from the additional textures that the 5D's harmonies provide. "Viva Tirado" is a fascinating union of a previously existing melody -- which was penned a decade early by Los Angeles bandleader Gerald Wilson in honor of Mexican toreador Jose Ramon Tirado. Thanks to Norman Gimble's fresh words, the tune gets a new lyrical lease on life. The anthemic Broadway show tune "Light Sings" -- from the short-lived The Me Nobody Knows (1970) -- recalls the hit love-fest that the 5D made out of another modern stage musical with "Aquarius/Let the Sunshine In (The Flesh Failures)" from Hair (1969). The group's dramatic license on Nilsson's "Rainmaker" is perfectly matched to Townson's hearty lead. "He's a Runner" is the album's second Nyro remake and McCoo brings to life lines such as "...Woman ain't been born who can make him stay..." with a gritty and realistic Americana feel. On the closer, the 5D do what they do best by giving a shot of soul and flawless vocal harmonies to Paul McCartney's early solo deep cut "Every Night."In 2007, Love's Lines, Angles and Rhymes was finally issued on CD in North America by Collectors' Choice Music, who paired it with its long- playing predecessor Portrait (1970). ~ Lindsay Planer, All Music Guide
'The 5th Dimension/Live!!'
Release Date 1/1/1970
Tracks 22
Label Bell
See Album Tracklist and Review
What The Critics Say
The 5th Dimension (5D) hit the stage of Sin City on The 5th Dimension/Live!! (1970). Captured in the act are Lamonte McLemore, Ron Townson, Billy Davis, Jr., Marilyn McCoo, and Florence LaRue during an early-'70s stint on the Vegas Strip in the main room of Caesar's Palace. The performance offers a more than adequate sampling of the 5D's classics and concurrent pop songs that attendees would likely be familiar with. The "love" themed medley starts things off with a hot-steppin' "What the World Needs Now" that segues into a quirky reading of "All You Need Is Love" and winds down with Jimmy Webb's exceptional "Have You Tried Love." The funky and thoroughly entertaining interpretation of Curt Boettcher's " I Just Want to Be Your Friend" is marked by some tasty brass, perfectly supporting the powerful vocalists. After a brief greeting from LaRue, the 5D launch into an extensive combo of Laura Nyro compositions. "Stoney End," "Stoned Soul Picnic,""Sweet Blindness," "Wedding Bell Blues," and "Save the Country" all figure prominently in the 5D's songbook. "Never My Love" -- a significant side for the Association several years earlier -- is one of two singles to be lifted from The 5th Dimension/Live!! with McCoo incorporating a hauntingly lovely lead. We return momentarily to the Nyro catalog for the outstanding musical production of "Eli's Coming" before mellowing out considerably on the Davis, Jr./McCoo duet "Together Let's Find Love," which was the album's second 45. "Shake Your Tambourine" instantly recalls James Brown thanks in part to Bob Alcivar's top-shelf orchestration, not to mention arrangements by the group's musical director Rene DeKnight. A six-song Jimmy Webb assortment follows with "Up, Up and Away," "Paper Cup," "This Is Your Life," "The Girl's Song," "The Worst That Could Happen," and "MacArthur Park" all packed into a nearly seven-minute medley that earns the 5D a deserved ovation. Another highlight is the palpably paranoid dramatization of Bobbie Gentry's "Ode to Billy Joe." Each member adopts a role as the dark tale is unraveled before the listener's ears. Wrapping up the festivities is a full-throttle and audience interactive version of "I Wanna Take You Higher" concluding with an equally incendiary "Aquarius/Let the Sunshine In." In 2007, The 5th Dimension/Live!! was issued on CD by Collectors Choice Music. They also amended the set list with a trio of previously unreleased bonus tracks -- "Monday, Monday," as well as covers of Little Anthony & the Imperials' "Goin' out of My Head" and "Use Your Head" aka "Better Use Your Head." ~ Lindsay Planer, All Music Guide
'The Age of Aquarius'
Release Date 1/1/1968
Tracks 13
Label Soul City
See Album Tracklist and Review
What The Critics Say
The Age of Aquarius, the 5th Dimension's fourth album, was the group's commercial peak. They had already topped the charts with their medley of two songs from the Broadway musical Hair, "The Age of Aquarius" and "Let the Sunshine In (The Flesh Failures)," a platinum single that would earn them Grammy Awards for Record of the Year and Best Contemporary Vocal Performance, Group, when they released this album. It turned out that was only the tip of the iceberg: They returned to number one with another platinum single, "Wedding Bell Blues," penned by Laura Nyro, who had given them "Stoned Soul Picnic" the year before. And the album also spawned Top 40 hits in Nyro's "Blowing Away" and Neil Sedaka's "Workin' on a Groovy Thing." The 5th Dimension were the successors to the L.A. vocal group mantle passed on by The Mamas and the Papas (they even inherited the studio band of Hal Blaine, Joe Osborne, and Larry Knechtel). They smoothed out and commercialized everything they sang, and their work had a sheen and a zest that sometimes contrasted with the original tone of the material. On Broadway, the Hair songs seemed full of hippie rebellion; here, they seemed enthusiastic and optimistic. In a conflicted time, the 5th Dimension thrived on their ability to equivocate, and this album was their triumph -- just listen to them harmonize on "Sunshine of Your Love"! ~ William Ruhlmann, All Music Guide
What The Critics Say
One of the 5th Dimension's finest all-around albums, Stoned Soul Picnic is not only home to the title tracks, but also to the hits "Sweet Blindness" and "California Soul." All three of these songs provide excellent examples of the band's sunny and buoyant appeal. Although the singers' awesome vocal gifts deserve all the credit they get, it's also important to realize the immense contributions from producer Bones Howe and vocal arranger Bob Alcivar. The group was far more than a black version of the Mamas & the Papas. There are also some excellent album cuts here, such as Jeff Companor's "It'll Never Be the Same Again," where Ron Townson's exquisite soul pipes get off an amazing solo around an excellent Motown-driven arrangement. If you're going to pick up one 5th Dimension album (aside from a greatest hits package), you'd be hard-pressed to find a better one than this. ~ Matthew Greenwald, All Music Guide
