The Jackson 5 Albums (17)
What The Critics Say
Available outside North America since the mid-'70s, In Japan makes its debut thanks to the audio archivists at Hip-O Select. The online sonic shop went as far as re-creating the original gatefold album jacket -- in miniature of course -- and a 16-panel fold-out replicating the Japanese insert. Still known as the Jackson 5, Marlon, Tito, Randy, Jackie and Michael took to the stage of Osaka's Koseinenkin Hall in support of their most recent release Skywriter (1973) -- yet the extracts from the show on this title are filled primarily with familiar tunes not only from the quintet's sizable songbook of hits, but also selections gleaned from Michael Jackson's and Jermaine Jackson's respective solo catalogs. In fact, both brothers come out stronger than the collective ensemble with Michael performing "I Want to Be Where You Are," "Got to Be There" and "Ben," while Jermaine provides persuasive renderings of his early platters "That's How Love Goes," as well as covers of Shep & the Limelites' "Daddy's Home" and Marvin Gaye's "Ain't That Peculiar." The show kicks off with sturdy, though unremarkable stabs at the Rare Earth side "We're Gonna Have a Good Time," followed by a half-hearted "Lookin' Through the Windows"." It doesn't take long before they are able to turn the beat around on the inspired interpretation of Stevie Wonder's "Superstition," which many may find worth the price of admission in and of itself. They similarly barrel into a propelling and hearty spin of the Temptations' "Papa Was a Rollin' Stone," commencing with an eerily portentous siren during the prelude. Even as the version of "Never Can Say Goodbye" is among this set's zeniths, it is likewise the sole entry from the Jackson 5's extraordinary run of best-selling and chart-topping R&B/pop crossover smashes. Those omissions are not entirely unexpected, as they had come a great distance from the catchy bubblegum of "ABC," "I Want You Back" and "The Love You Save," maturing into decidedly more demanding roles within the band -- especially Jermaine and Michael, whose respective stars would continue their ascent during the ensuing decades. The aforementioned Hip-O Select edition of In Japan is limited to 5,000 copies and is available through their website www.hip-oselect.com. ~ Lindsay Planer, All Music Guide
What The Critics Say
This was the final gathering of the entire Jackson family, and it turned out to have both historical significance and some musical value. The team of L.A. and Babyface, then emerging as major producers, spearheaded the track "Nothin' Compares to U," and the title track was a nice autobiographical/family outing song. ~ Ron Wynn, All Music Guide
What The Critics Say
Victory has the distinctions of being the only Jacksons album to feature all six brothers and the last Jacksons album to feature Michael Jackson. In the four years that had passed since the last Jacksons studio album, Triumph, Michael had become the biggest pop star in the world because of 1982's Thriller. He had little excuse other than family ties to work with his brothers again, but he agreed to a final album and tour. So, here one has the ludicrous situation of an album in which Marlon Jackson has as prominent a role as Michael Jackson. That's how it sounded to listeners in 1984, anyway, and they weren't fooled -- "State of Shock," on which Michael shared vocals with Mick Jagger, was a gold Top Ten hit, and "Torture," which teamed Michael with Jermaine, made the Top 40, while the album went platinum. But the tracks by other group members went virtually ignored. In retrospect, Victory is a competent album of slick contemporary R&B, occasionally goosed toward greatness by the appearance of one of pop music's most identifiable voices. Which is the same thing you can say about nearly the entire Jackson 5/Jacksons catalog. ~ William Ruhlmann, All Music Guide
What The Critics Say
Released during the summer of 1980, just as the hits from Michael's Off the Wall were sliding off the charts, Triumph became the Jacksons' first Top Ten pop album since 1972's Lookin' Through the Windows. This despite the album-opening "Can You Feel It," promoted with a spectacle of a video that made the Jacksons into gigantic superheroes capable of transforming bridges into bendable rainbow tubing, stalling at number 77 on the Hot 100. It didn't make much of an impact on the R&B chart either, but then again, its supernatural anthemic stomp is more a fireworks program finale than something as small scale as a mere single. As on 1978's Destiny, the Jacksons wrote and produced the material, this time with keyboardist Greg Phillinganes bumped up to associate producer, and with an uptick in star backing -- including but not limited to Ronnie Foster, Phil Upchurch, Webster Lewis, Michael Boddicker, and Ollie Brown, as well as Triumph holdovers Michael Sembello, Thomas Washington, and Nathan Watts. The other singles, including "Lovely One" (very nearly "Don't Stop 'Til You Get Enough" reheated) and "This Place Hotel" (an elaborate six-minute affair, written and arranged by Michael, that could have easily swollen to greater length) propelled the album into sales greater than that of Destiny, and it's equally durable (and markedly slicker) all around. ~ Andy Kellman, All Music Guide
What The Critics Say
The brothers' third post-Motown album as the Jacksons was their most successful release, both commercially and creatively, since 1974's Dancing Machine. Their first two Epic albums, where they aligned with Gamble, Huff, and other Philly soul stalwarts, had some strong singles but were very uneven and somewhat awkward in stretches, and this time out, they wrote and produced on their own. Backed by an arsenal of up-and-coming and veteran L.A. session musicians -- including guitarists Michael Sembello and Paul Jackson, Jr., drummer Rick Marotta, arranger Thomas "Tom Tom 84" Washington, and keyboardist Greg Phillinganes, the last of whom played on just about everything involving a Jackson family member through the early '90s -- Destiny did much more than set the stage for Michael's Off the Wall. The sunny "Blame It on the Boogie" and the dazzling Off the Wall prelude "Shake Your Body (Down to the Ground)" were the album's only singles, upbeat numbers that peaked at number three on the Black Singles chart, but the mature Michael showcase ballad "Push Me Away" (pointing toward "I Can't Help It" and "Human Nature") and the alternately somber and uplifting "Bless His Soul," containing a startling confession from Michael ("There is no life for me at all/'Cause I give myself at beck and call") added an impressive level of depth to the Jacksons' discography. ~ Andy Kellman, All Music Guide
What The Critics Say
The Jacksons' move to Epic regenerated their enthusiasm and spirit for several years. The Gamble/Huff team brought them fresh material and new production ideas, as well as better tracks and arrangements than they'd gotten in quite a while on Motown. This album got them R&B and pop hits and kept the family act in the spotlight for a little while longer. ~ Ron Wynn, All Music Guide
What The Critics Say
After the commercial reprieve of the innovative "Dancing Machine" single (and album of the same name), the Jackson 5's successful five-year relationship with Motown and Berry Gordy ended. Their last Motown effort, Moving Violation, had barely made a dent. After an acrimonious split, brother Jermaine Jackson stayed at Motown, and Gordy fought and won, keeping the Jackson 5 moniker. The Jacksons isn't only their Epic label debut, it's the first album to feature youngest brother Randy Jackson. To ensure chart success, the group was teamed with Philadelphia producers Kenneth Gamble and Leon Huff, as well as their staff of writers and players. Despite the promise, The Jacksons is hampered by derivative tracks and a lack of knowing what to do with the group, particularly lead singer, Michael Jackson. The big hit here, the jerky "Enjoy Yourself," perfectly captured Michael Jackson's late adolescence, with his newfound vocal tics and inflections. "Show You the Way to Go" best captures the Philly sound, with a pretty melody and a great vocal from Michael, but it's a weak lyric. The Dexter Wansel-written and -produced "Keep on Dancing" matches a substandard discofied track to Michael Jackson's singular vocals. The last track, the graceful "Blues Away" marks the writing debut of the group and is a great match between artists and producers. For the most part, The Jacksons gives the guys by-the-numbers Philly tracks that could have been easily done by Lou Rawls. Despite the best songs, The Jacksons misses more than it hits. ~ Jason Elias, All Music Guide
What The Critics Say
The Jackson 5 closed out their celebrated Motown tenure with Moving Violation, a slight if intermittently engaging LP buoyed, as always, by the brothers' remarkable vocals. A slickly commercial overture to the growing disco audience, the record is a patchwork of borrowed sounds and styles, from the Philly soul-inspired title cut to the percolating nightclub groover "Body Language" to the futuristic climax "Time Explosion." It's telling that the siblings sound most galvanized on an over-the-top cover of the Supremes' "Forever Came Today," the album's lone nod to Motown's rich legacy. Also noteworthy is the gossamer ballad "All I Do Is Think of You," which anticipates the quiet storm sensibility of the decade to follow. It's also a showcase for the gorgeous sibling harmonies that would begin to fracture with Jermaine Jackson's subsequent exit from the Jackson 5 ranks. ~ Jason Ankeny, All Music Guide
What The Critics Say
Available outside North America since the mid-'70s, In Japan makes its debut thanks to the audio archivists at Hip-O Select. The online sonic shop went as far as re-creating the original gatefold album jacket -- in miniature of course -- and a 16-panel fold-out replicating the Japanese insert. Still known as the Jackson 5, Marlon, Tito, Randy, Jackie and Michael took to the stage of Osaka's Koseinenkin Hall in support of their most recent release Skywriter (1973) -- yet the extracts from the show on this title are filled primarily with familiar tunes not only from the quintet's sizable songbook of hits, but also selections gleaned from Michael Jackson's and Jermaine Jackson's respective solo catalogs. In fact, both brothers come out stronger than the collective ensemble with Michael performing "I Want to Be Where You Are," "Got to Be There" and "Ben," while Jermaine provides persuasive renderings of his early platters "That's How Love Goes," as well as covers of Shep & the Limelites' "Daddy's Home" and Marvin Gaye's "Ain't That Peculiar." The show kicks off with sturdy, though unremarkable stabs at the Rare Earth side "We're Gonna Have a Good Time," followed by a half-hearted "Lookin' Through the Windows"." It doesn't take long before they are able to turn the beat around on the inspired interpretation of Stevie Wonder's "Superstition," which many may find worth the price of admission in and of itself. They similarly barrel into a propelling and hearty spin of the Temptations' "Papa Was a Rollin' Stone," commencing with an eerily portentous siren during the prelude. Even as the version of "Never Can Say Goodbye" is among this set's zeniths, it is likewise the sole entry from the Jackson 5's extraordinary run of best-selling and chart-topping R&B/pop crossover smashes. Those omissions are not entirely unexpected, as they had come a great distance from the catchy bubblegum of "ABC," "I Want You Back" and "The Love You Save," maturing into decidedly more demanding roles within the band -- especially Jermaine and Michael, whose respective stars would continue their ascent during the ensuing decades. The aforementioned Hip-O Select edition of In Japan is limited to 5,000 copies and is available through their website www.hip-oselect.com. ~ Lindsay Planer, All Music Guide
What The Critics Say
For a brief time, it seemed as if the magic was back between Motown and the Jackson 5. The title track was their best up-tempo hit since "ABC," and put them back on top of the R&B charts for the first time in three years. It just missed topping the pop charts as well, peaking at number two. They even got a second chart hit from the album, and it restored their position within the pop and R&B communities. ~ Ron Wynn, All Music Guide
