Album: Dancing machine Written by Mel Larson, Gene Marcellino, Jerry Marcellino Produced by Hal Davis
Wikipedia(".....Although the Jacksons were back on the charts, the brothers still complained of their artistic direction. Nonetheless, the album became another disco concept album for the group, and showcased lead singers Michael and Jermaine Jackson. Around this time the Jacksons were performing in Las Vegas with the rest of the family leaving this album with low promotion.")
I've always felt like this was an odd cut that never got much attention. Superfunky breakbeat cut from Dancing Machine. After doing some research it actually has some VEGAS history. To be honest I don't know too much about Gene or Jerry marcellino. Looks like Jerry is still active in the Las Vegas music scene. If anybodys interested, maybe I can give him a call with some words on the album.
Yknow I can barely find any info on Hal Davis either? That dude has had a hand in Michaels whole career until Quincy yet not even one interview?
Don't Know Why I Love You[/b] Written by (Don Hunter / Lula Mae Hardaway / Stevie Wonder[/b] / Paul Riser) Produced by Hal Davis
It's kind of bittersweet and absurd when you realize how extremely difficult it was for such a troubled 12 year old to enternalize such ballads about true love. Kind of like whenever Stevie wonder describes the things that he sees when we all know about his blindness.
"I Want You Back" is hands down my favorite MJ song, as soon as that piano sweep comes on & the bassline gets going I freakin lose it. It's sooooo good. That bassline is one of the GOAT for me, it rules. When they used it on the Blind Video Days skate vid I was all "this song couldn't get any cooler, but it just did". That vocal line gets stuck in my head for days.
Written by Holland-Dozier-Holland produced by Holland/Dozier/Holland
This is one of those INCREDIBLE cuts that have completly slipped under the radar. Does anyone else hear some Levi stubbs in his delivery here? Chris Clark kills it on the original is as well.
"I Want You Back" is hands down my favorite MJ song, as soon as that piano sweep comes on & the bassline gets going I freakin lose it. It's sooooo good. That bassline is one of the GOAT for me, it rules. When they used it on the Blind Video Days skate vid I was all "this song couldn't get any cooler, but it just did". That vocal line gets stuck in my head for days.
Indeed. Just to add on:
When I think about it, I don???t think I???ve ever been fully convinced by Michael Jackson, really. Not convinced by the squeaky-clean pre-teen singing about women troubles in every other song, not convinced by the timid good-timer of Off The Wall (though I always think of Michael dancing, I never ever think of him dancing with anyone???do you?), not convinced by the cuddly werewolf/virginal baby-daddy/china-fine gang-war mediator of Thriller, and on and on. He was never convincingly girl-weary as a young boy, and never convincingly romantic, aggressive, or sexual as an adult. He always seemed to be just outside of the real action. And while this made me feel very affectionate toward him???he was so clearly a kid, one of us, who had somehow fooled the right people and infiltrated the adult world???none of his music ever seemed to have any real place in any reality that I was familiar with. I managed to grow up loving his music without it actually meaning anything to me; it felt huge and important, but weightless. Like cartoons.
I know that sounds pretty negative, but what it actually ends up meaning is that Michael Jackson???s music works on me with a purity matched by few. Because for all the levels on which it may be suspect???lyrics, persona, whatever???there is one level on which it always always convinces: the sound. Three certainties in life: You will definitely die, you will always pay taxes, and you will never ever say ???Man, that Michael Jackson song doesn???t sound as good as I remember.??? It will only ever sound better, I promise you. Whatever suspension of disbelief the songs may require, and however little connection they may have to anything outside their own miniature fantasias, their reign within the borders of their runtime is absolute. They are unalloyed pop-music-production genius galvanized by Michael???s voice, which is not always the most integral piece, but is always, finally, the most necessary one. At the same time their immense commercial success keeps them present and current within culture, their essential unreality and inhuman inner perfection allow them to operate outside of time. They often seem less like actual songs and more like ideas that we???re all having at the same time. To hear them is to think, ???Well, yeah???of course.???
And ???I Want You Back??? is the best Michael Jackson song. It???s not quite my favorite (???The Love You Save??? narrowly edges it), but it???s the best, and is one of what I usually consider to be the two archetypal Perfect Pop Songs. To paraphrase T.S. Eliot (I know, right?): The Jackson 5???s ???I Want You Back??? and The Who???s ???I Can???t Explain??? divide the world between them???there is no third.
It starts with that piano curlicue that doubles back on itself before it???s even gone and tagging the guitar at the turn, the two together sounding like they could flip the entire sun like a fucking flapjack. Then the strings come in and then the bongos and then and then and then, and it???s not harmonious, exactly???there???s crisp separation between each instrument, and everything???s in its own space, but the sheer mass of all the pieces gives it this beautiful kind of overfull clatter. There???s a quick sense that not only could there not possibly be anything better, there couldn???t possibly be anything else. Mike glides down in full whine, and from here on out the song stubbornly defies momentum???it stays stopping and starting, the drums jump in place (only on the choruses, though???no drums at all on the verses), and it???s the most glorious parade in the world, too generous, and stopping at every house. It should annoy, but the thing is that after every single stop, it somehow manages???incredibly???to sound even better when it starts back up. You don???t think it will, but it does, every single time. By the end, hearts and ears bulge at the seams from the undiminished return.
And although the song never puts across the sense of loss that you???d assume from the title, it???s okay, because it???s not really trying to. The amiable bass and the daylight guitar and that plinky piano that get sprinkled in seem to understand Michael in a way that Michael doesn???t understand the song (and probably couldn't, at his age): Despite the literal desperation of the lyrics, and even though he works overtime to sell us on it, it???s clear from Michael???s perfect, explosive vocal that he does not believe even for an instant that it won???t all work out, and the genius of the music is that it recognizes that this???the faith and the gold of youth???is the point of the song, not some girl, some???other. The point is the I, not the want. Just listen to the little vocal break before the last chorus: Mike???s trying to preach it on what would ostensibly be the climax of this love-lost song, but behind him is this springy guitar line cake-walking with some easter-bunny bassline. Like I said: There's an understanding. Understanding that when Michael sings ???Won???t you please let me / back in your heart????, it isn???t actually a question.
Comments
What you don't know[/b]
September 1974
Album: Dancing machine
Written by Mel Larson, Gene Marcellino, Jerry Marcellino
Produced by Hal Davis
Wikipedia(".....Although the Jacksons were back on the charts, the brothers still complained of their artistic direction. Nonetheless, the album became another disco concept album for the group, and showcased lead singers Michael and Jermaine Jackson. Around this time the Jacksons were performing in Las Vegas with the rest of the family leaving this album with low promotion.")
I've always felt like this was an odd cut that never got much attention. Superfunky breakbeat cut from Dancing Machine. After doing some research it actually has some VEGAS history. To be honest I don't know too much about Gene or Jerry marcellino. Looks like Jerry is still active in the Las Vegas music scene. If anybodys interested, maybe I can give him a call with some words on the album.
Yknow I can barely find any info on Hal Davis either? That dude has had a hand in Michaels whole career until Quincy yet not even one interview?
MONGO SANTAMARIA Cover
- spidey
This was my favorite J5-spin off that album till I re-discovered "Mirrors of my mind". Love that album.
It's great to be here[/b]
April 1971
Produced by Hal Davis & Corporation
Written by The Corporation (Berry Gordy, Freddie Perren, Deke Richards, and Alphonzo Mizell)
If you don't spin this song this month. You're not a real dj.
It's great to be here (Kenny Dope re-edit)
- spidey
you killing it man...instead of tripping in that "other" thread people need to peep this thread out...I know I am loving it!!!!
thanks for your thoughtful posts
Don't Know Why I Love You[/b]
Written by (Don Hunter / Lula Mae Hardaway / Stevie Wonder[/b] / Paul Riser)
Produced by Hal Davis
It's kind of bittersweet and absurd when you realize how extremely difficult it was for such a troubled 12 year old to enternalize such ballads about true love. Kind of like whenever Stevie wonder describes the things that he sees when we all know about his blindness.
Brand new heavies (cover)
- spidey
- spidey
some of my favorite album cuts, though i truly, truly, truly celebrate his entire catalog.
2 4 6 8:
this beat, this song, so simple.
I also found a stellar Jackson 5ive Interview well worth a listen.
- spidey
WOAH SHIT!!! Never seen that before! That looks just like me in high school.. HAHAHAH In fact I can still rock that look to this day.
- diego
TITO!
That was good. First time I hear the original sample source of that Public Enemy track.
Love's gone bad[/b]
album: Looking back to yesterday
Written by Holland-Dozier-Holland
produced by Holland/Dozier/Holland
This is one of those INCREDIBLE cuts that have completly slipped under the radar. Does anyone else hear some Levi stubbs in his delivery here? Chris Clark kills it on the original is as well.
Chris Clark OG (MUST LISTEN!!)
night guys
- diego
Ok. I concede.
http://www.mediafire.com/?btjohwuoydi
All I do is think of you[/b]
1975
Written by Edward Holland, Jr., Michael Lovesmith
Producer Hal Davis
Here's one of my Favorites that I forgot. Love the Donut too.
Troop - All I do is think of you
Dilla - Time: Donut of the heart
- spidey
Indeed. Just to add on:
When I think about it, I don???t think I???ve ever been fully convinced by Michael Jackson, really. Not convinced by the squeaky-clean pre-teen singing about women troubles in every other song, not convinced by the timid good-timer of Off The Wall (though I always think of Michael dancing, I never ever think of him dancing with anyone???do you?), not convinced by the cuddly werewolf/virginal baby-daddy/china-fine gang-war mediator of Thriller, and on and on. He was never convincingly girl-weary as a young boy, and never convincingly romantic, aggressive, or sexual as an adult. He always seemed to be just outside of the real action. And while this made me feel very affectionate toward him???he was so clearly a kid, one of us, who had somehow fooled the right people and infiltrated the adult world???none of his music ever seemed to have any real place in any reality that I was familiar with. I managed to grow up loving his music without it actually meaning anything to me; it felt huge and important, but weightless. Like cartoons.
I know that sounds pretty negative, but what it actually ends up meaning is that Michael Jackson???s music works on me with a purity matched by few. Because for all the levels on which it may be suspect???lyrics, persona, whatever???there is one level on which it always always convinces: the sound. Three certainties in life: You will definitely die, you will always pay taxes, and you will never ever say ???Man, that Michael Jackson song doesn???t sound as good as I remember.??? It will only ever sound better, I promise you. Whatever suspension of disbelief the songs may require, and however little connection they may have to anything outside their own miniature fantasias, their reign within the borders of their runtime is absolute. They are unalloyed pop-music-production genius galvanized by Michael???s voice, which is not always the most integral piece, but is always, finally, the most necessary one. At the same time their immense commercial success keeps them present and current within culture, their essential unreality and inhuman inner perfection allow them to operate outside of time. They often seem less like actual songs and more like ideas that we???re all having at the same time. To hear them is to think, ???Well, yeah???of course.???
And ???I Want You Back??? is the best Michael Jackson song. It???s not quite my favorite (???The Love You Save??? narrowly edges it), but it???s the best, and is one of what I usually consider to be the two archetypal Perfect Pop Songs. To paraphrase T.S. Eliot (I know, right?): The Jackson 5???s ???I Want You Back??? and The Who???s ???I Can???t Explain??? divide the world between them???there is no third.
It starts with that piano curlicue that doubles back on itself before it???s even gone and tagging the guitar at the turn, the two together sounding like they could flip the entire sun like a fucking flapjack. Then the strings come in and then the bongos and then and then and then, and it???s not harmonious, exactly???there???s crisp separation between each instrument, and everything???s in its own space, but the sheer mass of all the pieces gives it this beautiful kind of overfull clatter. There???s a quick sense that not only could there not possibly be anything better, there couldn???t possibly be anything else. Mike glides down in full whine, and from here on out the song stubbornly defies momentum???it stays stopping and starting, the drums jump in place (only on the choruses, though???no drums at all on the verses), and it???s the most glorious parade in the world, too generous, and stopping at every house. It should annoy, but the thing is that after every single stop, it somehow manages???incredibly???to sound even better when it starts back up. You don???t think it will, but it does, every single time. By the end, hearts and ears bulge at the seams from the undiminished return.
And although the song never puts across the sense of loss that you???d assume from the title, it???s okay, because it???s not really trying to. The amiable bass and the daylight guitar and that plinky piano that get sprinkled in seem to understand Michael in a way that Michael doesn???t understand the song (and probably couldn't, at his age): Despite the literal desperation of the lyrics, and even though he works overtime to sell us on it, it???s clear from Michael???s perfect, explosive vocal that he does not believe even for an instant that it won???t all work out, and the genius of the music is that it recognizes that this???the faith and the gold of youth???is the point of the song, not some girl, some???other. The point is the I, not the want. Just listen to the little vocal break before the last chorus: Mike???s trying to preach it on what would ostensibly be the climax of this love-lost song, but behind him is this springy guitar line cake-walking with some easter-bunny bassline. Like I said: There's an understanding. Understanding that when Michael sings ???Won???t you please let me / back in your heart????, it isn???t actually a question.
Was it ever, really?