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 (see Randy & The Gypsys). 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. 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, 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. 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.
Ghost
The Jacksons Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Wrist bust down, shorty got a plain Jane
Now we at the crib playing Smash Bros Melee
Oh, she got that look got me singing like I'm Bublé
Call the studio Dojo baby 我是老师
Austin Powers with the mojo, it's my birthday
I'ma need the cake, I'ma eat it like an entrée
I can't leave you even if I tried to
Late night when I slide through
Can't leave you when it's time to (when it's time)
I can't leave you even if I tried to
Late night when I slide through
Can't leave you when it's time to (when it's time to)
Go ghost
When it's time to (when it's time to)
Go ghost
I'ma run through these haters like I'm 炳添
Hundred-meter dash speeding down on my own lane
I'm taking her to the crib with the cheesecake
But I can't let go even if it was a mistake
Call the studio Dojo baby 我是老师
Austin Powers with the mojo, it's my birthday
I'ma need the cake, I'ma eat it like an entrée
She wants me to put a ring on it like Beyoncé
I can't leave you even if I tried to
Late night when I slide through
Can't leave you when it's time to (when it's time)
I can't leave you even if I tried to
Late night when I slide through
Can't leave you when it's time to (when it's time to)
Go ghost
When it's time to (when it's time to)
When it's time to (when it's time to)
Go ghost
Ghost
Go ghost
The lyrics to The Jacksons' song "Ghost" suggest that the singer is in a relationship that seems to be difficult to leave. The first verse alludes to a variety of activities, from playing video games to enjoying cheesecake with someone the singer cares about. The line "ghost" could be interpreted to mean that the singer is withdrawing from the world and focusing solely on their partner. The chorus repeats the phrase "I can't leave you even if I tried to," further emphasizing the difficulty of ending the relationship. The second verse introduces the idea of haters, possibly suggesting that the singer is facing external pressure to end the relationship, but still chooses to stay. The song ends with the repetition of "ghost," seemingly suggesting that the singer will fade away into the relationship.
Throughout the song, there are multiple references to pop culture, including Michael Bublé and Beyoncé. These references could be interpreted as the singer using popular culture to communicate their feelings about the relationship. The line "I'm the same vibe, different wavelengths" could suggest that while both partners are on the same level emotionally, they are not entirely aligned.
Overall, "Ghost" is a song that portrays a relationship that is difficult to leave, but does not necessarily seem entirely healthy. The references to pop culture could be seen as a way for the singer to distance themselves from their feelings and provide a sort of escape from the relationship.
Line by Line Meaning
I'm the same vibe, different wavelengths
Although we may have different personalities, we still connect on a deeper level.
Wrist bust down, shorty got a plain Jane
She may not have expensive jewelry, but she still looks beautiful.
Now we at the crib playing Smash Bros Melee
We are spending quality time together by enjoying a video game at home.
Oh, she got that look got me singing like I'm Bublé
Her gaze at me is so powerful that it makes me feel like a great singer like Michael Bublé.
Call the studio Dojo baby 我是老师
I am calling my studio 'Dojo,' a place where I teach and master music.
Austin Powers with the mojo, it's my birthday
I am feeling confident and charming like the character Austin Powers on my birthday.
I'ma need the cake, I'ma eat it like an entrée
I want to savor and indulge in my birthday cake like it's a main course.
She wants me to put a ring on it like Beyoncé
She desires for me to commit to her and propose, just like Beyoncé's famous song 'Single Ladies.'
I can't leave you even if I tried to
No matter how hard I try to forget about you, I can't seem to escape the thought of you.
Late night when I slide through
I visit her late at night.
Can't leave you when it's time to (when it's time)
Even when it's time to move on from the relationship, I can't seem to let go.
Go ghost
Disappear and cut communication abruptly.
I'ma run through these haters like I'm 炳添
I am going to ignore or overcome criticism and negativity like the Chinese sprinter, Su Bingtian.
Hundred-meter dash speeding down on my own lane
I am quickly hurdling over obstacles to reach my own goals.
I'm taking her to the crib with the cheesecake
I am bringing her back to my home with dessert as a treat.
But I can't let go even if it was a mistake
Even if the relationship was a mistake, I still can't seem to move on.
When it's time to (when it's time to)
At the point when it is necessary to do so.
Ghost
Disappearing or no longer communicating with someone.
Go ghost
To suddenly disappear from someone's life without any explanation.
Lyrics © Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Written by: Dru Decaro, Jackson Wang, Louis Bartolini, Powers Pleasant, William Schultz
Lyrics Licensed & Provided by LyricFind