The Ohio Players Albums (18)
'Ohio Players on Tour'
Release Date 1/1/2002
Tracks 10
Label Master Song
See Album Tracklist and Review
What The Critics Say
In the '60s, you didn't have to live in the Deep South to have a Southern R&B sound. Aretha Franklin lived in Detroit, but many of her '60s recordings favored the rawness and toughness of Southern soul over the sleeker, more pop-influenced soul that was coming out of Detroit as well as Chicago and Philadelphia. And even though the Ohio Players were from Dayton, many of their early recordings sound like they could have been recorded in Memphis. Produced by Johnny Brantley in New York, Observations in Time is full of songs that would have been perfect for a Sam & Dave or Rufus Thomas session; there is no shortage of Southern-style grit on "Street Party," "The Man That I Am" or the single "Here Today and Gone Tomorrow" (which was a minor hit). However, some of these 1968 recordings hint at the type of jazz-influenced experiments that the Players would provide at Westbound in the early '70s. The jazz influence is strong on imaginative versions of the standards "Over the Rainbow" and "Summertime," and "Cold Cold World" is the sort of jazz/blues item that one would have expected from Lou Rawls, Jimmy Witherspoon, or Bobby "Blue" Bland in the '60s. So even though the Players offer a lot of Southern-minded R&B on Observations in Time (which was their only album for Capitol), they aren't afraid to branch out and try some other things. Thankfully, this album was reissued on CD in the '90s. ~ Alex Henderson, All Music Guide
What The Critics Say
Polygram couldn't be hurting for cash, or could they? This recording has all the elements of a cash cow. It's advertised as the Ohio Players' jammin' in the studio; it's most likely a rehearsal for a live-on-stage recording. If you have the Ohio Players' albums, cassettes, or CDs, or one of their greatest-hits compilations, you already have the best versions of these songs. The liner notes claims these are new arrangements of their old hits, but the changes are so slight you won't even notice them. That Polygram thinks the public wants 11 minutes of "Fire" is a problem in itself. Unless you're just a hopelessly addicted Ohio Player fanatic and have to possess everything and anything with their name stamped on it, avoid this. ~ Andrew Hamilton, All Music Guide
What The Critics Say
After being on nearly a two-year hiatus, the veteran R&B/funk aggregate signed with the now-defunct Boardwalk Records after being with Mercury for seven years and a brief stay with Arista. Hoping to jumpstart their once prosperous status, the Ohio Players recorded two Otis Redding classics: "Try a Little Tenderness" and "Sittin' on the Dock of Bay." Reduced to a quartet on this recording, they lay their patented style on the former. Beginning as a soulful ballad, the track kicks into high gear with Leroy "Sugar" Bonner's trademark baritone complemented by horns and a groovin' bassline. The single only managed to reach the number 40 position on the Billboard R&B charts after ten weeks, but it was truly deserving of a better outing. "Sittin' on the Dock of Bay" was never released. The Ohio Players did not present anything new on this single; this is probably more a tribute to Redding. There are also two other featured singles that were promoted by the label: "Sometimes I Cry" and "Skinny." The former is a slow, drifting song with a twist of country & western that is unlike any other Ohio Players recording; the single never charted. The latter, the title track, is a funky composition driven by Bonner's scratch baritone and a delayed, groovin' bassline; it posted a #46 rating after ten weeks. ~ Craig Lytle, All Music Guide
What The Critics Say
The Ohio Players' stay at Mercury ended with 1978's Jass-Ay-Lay-Dee, and the funksters switched to Arista with their next album, 1979's Everybody Up. By 1979, the Players were past their prime -- both creatively and commercially. Hoping to regain their popularity, they decided to try something different -- and that meant bringing a lot of disco gloss to their funk. On catchy, if unremarkable, cuts like "Make Me Feel," "Say It," and the title song, the Players favor a slick disco-funk approach along the lines of Earth, Wind & Fire's "Boogie Wonderland" or Kool & the Gang's "Ladies' Night." The only tune on the LP that is truly weak is "Don't Say Goodbye," which goes for the sort of bluesy ambience that characterized "Alone" but misses the mark badly and ends up sounding lethargic. For the most part, however, Everybody Up isn't a bad album -- uneven and less than remarkable, but not bad. Although hardly in a class with Fire, Skin Tight, or Honey, this vinyl LP has its moments -- and it is certainly superior to the two weak albums that the Players recorded for Boardwalk in the early '80s. Nonetheless, Everybody Up received very little attention. This record quickly went out of print, and it is most unlikely that Arista will ever reissue it on CD. ~ Alex Henderson, All Music Guide
What The Critics Say
From "Pain" to "Heaven Must Be Like This" and "Sweet Sticky Thing," the Ohio Players often fared well when they incorporated elements of jazz. Jazz influences were especially strong when they recorded Mr. Mean, a soundtrack album that contains its share of instrumentals and received a variety of reactions from fans. More subtle than other Players projects, this R&B/jazz effort didn't emphasize the type of hard, aggressive funk they were best known for. To be sure, Mr. Mean had its detractors, who saw it as too laidback. But while it's far from one of the Players' best albums, songs ranging from the clever title song to "The Big Score" and "Fight Me, Chase Me" aren't bad. And to their credit, the Players were experimenting and taking chances -- some of which pay off, and some of which don't. ~ Alex Henderson, All Music Guide
What The Critics Say
The group was already in massive decline by the time this album was released. They had officially disbanded, and this album was rushed out by Mercury to fill the void. It sounded like a wrap job as well; their vocals were never great, but they were at least exuberant. Now, they were lifeless, as were the arrangements, horn charts, musical backing, and compositions. Only Ohio Players completists ever purchased it, and they're the only ones who would ever own it. ~ Ron Wynn, All Music Guide
