The primary members of the group were all the sons of Katherine and Joseph Jackson: Jackie Jackson, Tito Jackson, Jermaine Jackson, Marlon Jackson, Michael Jackson, and Randy Jackson. Joseph Jackson formed the band in 1964 and served as its manager, with Jackie, Tito, Jermaine, and unrelated youths Reynaud Jones and Milton Hite comprising its original lineup. Within a year, Michael and Marlon joined the band, and Michael became lead singer as the group developed a following in the eastern and midwestern United States during the mid-1960s. Signed to the Motown label from 1969 to 1975, and to CBS Records (as "The Jacksons") from 1975 until their disbanding in 1990, the Jackson 5 were one of the most popular groups of the era and became the first recording act to have their first four major label singles (I Want You Back, ABC, The Love You Save, and I'll Be There) reach the top of the American charts. Several future singles, among them "Mama's Pearl", "Never Can Say Goodbye" and "Dancing Machine", were Top 5 pop hits and number-one hits on the R&B singles chart. Most of the early hits were written and produced by a specialized songwriting team known as The Corporation™; later Jackson 5 hits were crafted chiefly by Hal Davis.
While not the first act considered a "boy band", The Jackson 5 is one of the earliest examples of the type as it is defined today: five adolescents specifically packaged and marketed by a record label for crossover pop success. Upon their departure from Motown for CBS in 1975, the Jacksons, were forced to change their name and trade Jermaine (who remained at Motown) for Randy. The group took control of their songwriting, production, and image, and their success continued into the 1980s with hits such as "Shake Your Body (Down to the Ground)" and "State of Shock", and a highly successful 1984 Victory tour. The Jacksons officially disbanded in 1990.
History
Early works
The Jacksons were a working-class family from Gary, Indiana. Katherine, being a Jehovah's Witness, raised the children as such, while their father, Joe, was not of that faith. Their father, a steel mill employee who often performed in an R&B band called "The Falcons" with his brother Luther, was a strict disciplinarian. Many of the Jackson children recall being severely beaten by Joe for misbehaving.
The children found an outlet in music, with elder brothers Jackie (born Sigmund Esco Jackson, 1951), Tito (born Toriano Jackson, 1953), and Jermaine (b. 1954) borrowing their father's guitar without his permission and playing along to the radio. Younger brothers Marlon (b. 1957) and Michael (b. 1958) were allowed to watch as long as they did not tell. Joseph eventually discovered that the older three boys were playing his guitar when one of the strings broke[2]. Although he was furious at first, Joseph realized the boys had talent and began making plans to create a musical act for them.
In 1965, Jackie, Tito, and Jermaine began performing around the Gary area with two neighborhood children, Milford Hite (on drums) and Reynaud Jones (on keyboards), in a group called The Jackson Brothers. Joe Jackson served as the manager, at first only part-time, and then eventually quitting his job at the steel mill. Jermaine sang lead and played bass, and Tito played guitar.
In 1966, younger brothers Marlon and Michael, joined the group as its tambourine and bongo players. Already showing talent as a singer and dancer[3], Michael replaced Jermaine as lead vocalist by mid-1967. Shirley Cartman, Tito's junior high orchestra teacher, noticed the group's talents and served as an early mentor to the group, by then calling itself The Jackson Five.
During this period, the boys toured Indiana extensively, and after winning a major local talent show in 1966 with a rendition of The Temptations' "My Girl", led by Michael, they began playing professional gigs in Chicago, Illinois and across the mid-eastern U.S. Many of these gigs were in a string of black clubs and venues collectively known as the "chitlin' circuit", and the young kids sometimes had to open for strip teasers and other adult acts in order to earn money.
Shirley Cartman got the Jackson Five a record deal with Gordon Keith's local Steeltown label, and the group began making their first recordings in 1967. Their first single, "Big Boy", became a regional hit. During this period, Johnny Jackson (no relation) on drums and Ronnie Rancifer on keys replaced Milford Hite and Reynaud Jones.
The Jackson Five had a number of admirers in their early days, including Sam & Dave, who helped the group secure a spot in the famous Amateur Night competition at the Apollo Theater in Harlem. The group won the August 13, 1967 competition during the Amateur Night showdown at the Apollo, impressing Motown Records artist Gladys Knight of The Pips. Knight recommended the group to Motown chief Berry Gordy, but Gordy, who already had teenager Stevie Wonder on his roster, was hesitant to take on another child act because of the child labor laws and other problems involved.
The Jackson Five's sound was influenced by many of the biggest stars of the 1960s, especially including family funk bands Sly & the Family Stone and The Isley Brothers, soul pioneer Marvin Gaye, doo-wop boy band Frankie Lymon & the Teenagers, and soul shouters like Wilson Pickett, Jackie Wilson, Stevie Wonder and James Brown [4]. At the time of their early success, soul and funk stars, especially coming from Motown Records, were among the most popular musicians; Motown had launched the careers of dozens of the decade's biggest stars, most notably Smokey Robinson & the Miracles, Stevie Wonder, Marvin Gaye, The Temptations, and Diana Ross & the Supremes.
Influences
From these sources, The Jackson Five developed many of their vocal arrangement styles and dance movements. The group's multi-lead vocal style was inspired by that of The Family Stone, while young Michael adapted Jackie Wilson and James Brown's impassioned singing and dancing styles into his own.
Joining Motown
By 1968, the Jackson 5 were a headlining act for the All Star Floor Show at Chicago's The Guys' and Gals' Cocktail Lounge and Restaurant. From July 12 - 27, 1968, the Jackson 5 opened for Motown group Bobby Taylor & the Vancouvers at Chicago's Regal Theater. Taylor was also very impressed with the boys, and he decided to make the commitment to bring them to Detroit and Motown. Joseph and the Jackson Five stayed on the floor of Bobby Taylor's Detroit apartment the night of July 22, while Taylor and Motown executive Suzanne de Passe arranged for the Jackson Five to audition for the label.
On July 23, the Jackson Five had their Motown audition, for which they performed James Brown’s then current hit "I Got the Feelin’". Berry Gordy was not in attendance, but the audition was videotaped and sent to him in Los Angeles. Gordy's initial reluctance to sign the group disappeared when he finally saw the boys perform. Gordy decided to sign the Jackson Five to Motown, and hosted a party at his Detroit mansion on November 25, 1968 to introduce them to the Motown staff and stars.
Motown began negotiations to buy out the Jackson Five's Steeltown contract, completing the deal in March 1969. By the summer, Bobby Taylor began producing the group's first recordings at Motown's Hitsville U.S.A. recording studio in Detroit. The early Taylor-produced Jackson Five records were all covers of both contemporary hits and Motown-standards, including Sly & the Family Stone's "Stand!" and their famous rendition of The Miracles' "Who's Lovin' You", written by Smokey Robinson.
In mid-August 1969, Gordy moved the Jackson Five and Joseph to California, and he and Suzanne de Passe began the process of grooming them as the label's next big act, while the rest of the family remained in Gary. While looking for a house in California, Joseph, Jermaine, Tito, and Jackie lived with Berry Gordy, while Michael and Marlon lived with Motown star Diana Ross.
Keep off the grass
The Jackson 5 Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She’s the one (satisfaction guaranteed)
She’s the one (she’s got everything I need)
So I don’t need a friend like
You messing with my baby’s mind
Let me give you some advice before
You step out of line
(keep off the grass)
Walk on past don’t look back, no no
(walk on, get back)
You better keep off the grass!
(keep off the grass)
Walk on past don’t look back
(walk on, get back)
I know you’re looking for some property
To lay your hands upon
Mine is not for sale so you better move on
She’s mine (she’s mine)
She’s mine, mine, mine, mine, mine
She’s the one that swept me off my feet
She’s the one that made my life complete
You look just like a snake
With your sneaky face
When you walked through the door of our life
(you came to the wrong place)
You better keep off the grass
(keep off the grass)
Walk on past don’t look back (no no, walk on)
Yeah, yeah baby
You better keep off the grass
(keep off the grass)
Walk on past don’t look back
No, no yeah, yeah (walk on, get back)
I know you’re looking for some property
To lay your hands upon
Mine is not for sale so you better move on
She’s mine (she’s mine)
She’s mine, mine, mine, mine, mine
Do-roo do do (I want to tell you she’s mine)
Do-roo do do (I want to tell you she’s mine)
Do-roo do do (I want to tell you she’s mine)
Do-roo do do (I want to tell you she’s mine)
Do-roo do do (mine, mine)
Do-roo do do (I want to tell you she’s mine)
Do-roo do do (mine, mine) do-roo do do
I know you’re looking for some property
To lay your hands upon
But mine is not for sale so, brother move on
Oooh, yeah baby (oooh yeah)
You better keep off the grass!
(keep off the grass, get back)
Yeah, yeah, yeah keep off the grass!
You better keep off the grass!
(keep off the grass, get back)
She’s mine, mine (you better …)
Keep off the grass
In "Keep Off the Grass," The Jackson 5 sings about protecting their relationship from outside interference. It expresses their possessiveness and determination to keep their loved one away from anyone who may disrupt their bond.
The song begins by emphasizing the uniqueness and satisfaction they find in their partner. They assert that they don't need friends like the listener interfering with their significant other's thoughts. They offer advice to avoid crossing any boundaries and causing trouble. The repeated refrain of "keep off the grass" serves as a metaphorical warning, urging the listener to stay away and not disrupt their relationship.
The lyrics also convey a sense of protectiveness and assertiveness. They clearly state that their love interest belongs to them and them alone. They describe their partner as the one who has swept them off their feet and made their life complete. The mention of a "sneaky face" implies distrust towards the listener, questioning their intentions and loyalty. The Jackson 5 reaffirm their ownership of their loved one and ask the listener to move on and find someone else.
Line by Line Meaning
Ooh yeah, baby, ooh yeah
Expressing excitement and affirmation about a specific situation or person
She’s the one (satisfaction guaranteed)
Acknowledging that the person being referred to is the ideal choice, ensuring the fulfillment of desires or needs
She’s the one (she’s got everything I need)
Emphasizing that the person being mentioned possesses all the qualities and attributes necessary for personal satisfaction
So I don’t need a friend like
You messing with my baby’s mind
Rejecting the idea of having someone interfering or causing harm to the emotional well-being of the beloved
Let me give you some advice before
You step out of line
Offering guidance or cautionary words to prevent someone from behaving inappropriately or crossing boundaries
You better, keep off the grass!
Warning someone to stay away or refrain from intruding into a specific domain or relationship
(keep off the grass)
Reiterating the previous warning to avoid any interference
Walk on past don’t look back, no no
Encouraging someone to continue moving forward without dwelling on the past or turning back
(walk on, get back)
Reemphasizing the need to keep moving forward and retreat from any unwelcome involvement
I know you’re looking for some property
To lay your hands upon
Understanding that the person in question has intentions of taking possession of something valuable or significant
Mine is not for sale so you better move on
Asserting that what belongs to the singer is not available for acquisition, hence advising the individual to search elsewhere
She’s mine (she’s mine)
Stating with pride and possessiveness that the mentioned person belongs exclusively to the singer
She’s mine, mine, mine, mine, mine
Repeating the possessive claim over the person to emphasize the singer's ownership
She’s the one that swept me off my feet
Describing the tremendous effect the mentioned person had on the singer, completely overwhelming their emotions and attraction
She’s the one that made my life complete
Acknowledging that the individual has brought immense joy and fulfillment, filling the gaps in the singer's existence
You look just like a snake
With your sneaky face
Comparing the person's deceptive and untrustworthy appearance to that of a snake, implying they cannot be trusted
When you walked through the door of our life
(you came to the wrong place)
Asserting that the person's presence in the singer's life is unwelcome or inappropriate, indicating they do not belong
Yeah, yeah baby
Expressing excitement or agreement in a charming and familiar manner
Do-roo do do (I want to tell you she’s mine)
Repeating a rhythmic vocalization to emphasize the singer's desire to assert ownership over the mentioned person
Do-roo do do (mine, mine)
Continuing the rhythmic vocalization to reinforce the possessive claim over the person being referred to
I know you’re looking for some property
To lay your hands upon
Recognizing the person's intention to seize or control something valuable, possibly with ill intentions
But mine is not for sale so, brother move on
Clearly stating that what belongs to the singer is not available for acquisition, hence advising the person, possibly in a brotherly manner, to search elsewhere
You better keep off the grass!
Repeating the initial warning, cautioning the person to stay away or refrain from intruding
(keep off the grass, get back)
Reiterating the need to keep away and retreat from any unwelcome involvement
She’s mine, mine (you better …)
Reasserting with possessiveness and authority that the mentioned person exclusively belongs to the singer, as a reminder to the person being addressed
Keep off the grass
Using an idiom to emphasize the need for the person to maintain distance or refrain from intervening
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Cris Sabanpan
on I Want You Back
Hlo