Giving Jermaine His Flowers
I remember the Jackson 5’s debut on the Hollywood Palace in 1969. But I only recently became an avid Jackson 5 Fan. I love them all: Tito, Marlon, Jackie, Michael, and Jermaine. Jermaine, though is my favorite.
Why?
Because he is just that talented. Singer, bass player, lyricist, song writer, music producer, and dancer. There seems to be no end to his artistic output.
Jermaine Jackson started his career with the Jackson 5, joining the Motown hit machine in 1969. He was the tallish brother on the viewers’ right, with the bass, the big smile and even bigger hair. His soulful, smoky vocals provided a second lead to baby brother Michael, and they crafted an incomparable “call and response” duo. This signature feature of the Jackson 5 sound undoubtedly contributed to the band’s meteoric success. In just 1 year, the Jackson 5 became the first band to debut with four consecutive number 1 hits, one of which, “ABC,” earned a Grammy nomination. Four years later they scored another Grammy nod for “Dancing Machine.”
Although the J5 enjoyed phenomenal success, Motown encouraged eldest brother Jackie, Jermaine, and Michael to record solo albums. At age 17, Jermaine’s debut album eponymously named Jermaine yielded two singles “That’s How Love Goes” and a surprisingly sophisticated cover of Shep and the Limelight’s “Daddy’s Home.” This latter topped the US and Canadian Billboard charts and demonstrated Jermaine’s innate ability to sell a song, a talent he developed further over time.
When his brothers moved to Epic in 1975, Jermaine, married to Hazel Gordy, daughter of Motown founder Barry Gordy, famously decided to remain at Motown. He cited loyalty to the company that made them, but continuing his solo career probably contributed to his decision. At this point, he had two solo albums, and he topped those with 7 more, winning a 1981 Grammy nomination for Best R&B Vocal for “Let’s Get Serious.” Jermaine rejoined the Jacksons for the Motown 25th Anniversary broadcast in May 1983, and then their Victory tour and album. During that time, he and Michael recorded the duet, “Tell Me I’m Not Dreaming,” with the brothers singing background. For this tune, he and Michael earned yet another Grammy nomination in 1985.
A prodigious worker, Jermaine’s catalogue consists of 14 studio albums and numerous singles. His musical range is as incredible as his work ethic: standard R&B, funk, new jack swing, synth-pop, new wave, and later, country and jazz. Seemingly there is no musical genre he can’t master. His vocals never disappoint. His vibrato dazzles and his amazing vocal control, placement, and flexibility, give him a smooth, effortless sound, punctuated with his signature growl. His voice truly shines in his slow jams, however. His 1976 “My Touch of Madness” and his 1989 “Two Ships” showcase his inimitable style and should be a part of any contemporary quiet storm playlist. And this is not just my opinion. Father Joe Jackson once argued that Jermaine has the edge on Michael as a balladeer.
Jermaine is an impressive bass player as well. No wonder. Although self-taught, he had the best role models: Barry Gordy’s session musicians James Jamerson, arguably one of the best bass players ever, accomplished saxophonist and bassist Wilton Felder, and also Larry Graham of Sly and the Family Stone and Graham Central Station. When the Jackson 5 started at Motown, the session musicians recorded the instrumentals. Then, when the group appeared on Ed Sullivan and other variety shows, the Jackson brothers lip synched the playback, which required guitarist Tito and Jermaine to “fake” the playing. People far more knowledgeable than me note how Jermaine often hit the session musicians’ bass lines note for note, even when the bass was not plugged in.
Live performances were another matter. Tito, Jermaine and their keyboardist, Ronnie Rancifer and drummer, Johnnie Jackson, played for packed and screaming crowds. Jermaine was a quick study. As a contributor to Talk Bass.com noted in the early 2000s, Jermaine, age 15, was a decent bass player in the 1970 Live at the Forum, Jackson 5 concert. In just two short years, at age 17, he was well on his way to creating his own style. Consider this quote:
“Jermaine played well on the first CD, which was from 1970. But the 2nd CD is just ridiculous. His playing is FEROCIOUS … embellishing on some of the Motown lines while singing and dancing. His groove is straight out of the Jamerson school of bass playing.”
As Jermaine matured, he only got better. Chad A. Wright, the Jackson’s Unity Tour drummer told Jermaine biographer B.A. Duffour: “I was always aware of how great a bass player Jermaine is…His precision, tone and pocket were so present, I could not help but lock with him.” And Jermaine accomplished all of this while singing a melody different from the bass line, harmonizing with his brothers, and dancing. He makes it look so easy that singer/bass player YouTube commentators feel compelled to remind non-musicians just how hard it is. Here’s Chad Wright again: “And he is singing on top of playing this difficult bass line. Just absolutely amazing.”
Eventually, Jermaine composed instrumental numbers that showcased his bass playing abilities. Check out “Erucu,” from the Mahogany film soundtrack, and “Bass Odyssey” from his 1976 album My Name is Jermaine. Recently, I called in the former to a college radio station, and they happily played it. Ahead of its time and timeless.
Alas, other than a couple of high charting tunes, such as the R&B classic “Let’s Get Serious” (a collaboration with Motown colleague, Stevie Wonder), the R&B/New Wave fusion piece “Let Me Tickle Your Fancy,” with Devo, and quiet storm standout “Do What You Do,” Jermaine never reached the heights he deserved. Some argue that Motown simply slept on his work, never properly promoting it (Jermaine said as much about “Let Me Tickle Your Fancy” in his memoir). Others argue that his brother Michael’s stunning world-wide success eclipsed him. Theories abound: fodder for another essay.
So, Jermaine is a wonderful Grammy nominated R&B male vocalist and musician. Lots of people are: Lionel Ritchie, Teddy Pendergrass, Barry White, and so on. Why Jermaine? Why does his artistry move me like no other artist? Check out my first reason: his ability to connect with his audience.