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.
State of Shock
The Jacksons Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You gotta be mine 'cause you're so fine
I like your style, it makes me wild
You take it to me good, you like it, know, you should
You get me on my knees, well, please, baby, please
Listen: She looks so great, every time I see her face
She put me in a state, a state of shock
Oh, do it, come on, baby, come on, baby, come on, baby
She put me on my knees, please, baby, please
I know you like to tease, please, baby, please
You take it to me good, you like it, know, you should
I love the way you walk and talk, baby, talk
Listen: She looks so great everytime I see her face
She put me in a state, a state of shock
She put me in a state of shock, come on, baby
No, come over here
Talk, talk to me, state of shock
You know I've really loved you, baby
You know I've really want you for me
You've got me paralyzed, you've got me paralyzed
You've got me into tonic, you drive me catch the sonic, baby
You've got me supersonic, you drive me supersonic, baby
Baby, try, you no want me decide, state of shock
Yeah, look what you've done to me, look what you've done to me
Look what you've done to me
Yeah, how you move, a state of shock
You know I need mouth-to-mouth resuscitation
Come on, baby, you know I've really loved you, baby
State of shock, you know I've really want you for me
Yeah, baby, yeah, baby, just look at me, look at me
State of shock, you drive me
You call me, you call me
You call me in a state of shock
Look at that, look at me, look at me, look at me
Look at me, oh, look at me
The Jacksons's song State of Shock is a fast-paced, energetic track about the power of attraction and how it can render a person helpless. The lyrics are directed towards a woman who has evidently caught the attention of the singer, as indicated by the lines "You gotta be mine 'cause you're so fine" and "She looks so great, every time I see her face". The singer seems to be in awe of the woman's style, and how it has a wild effect on him, putting him in a state of shock. Despite being teased, the singer is clearly not in control, as evidenced by the lines "You've got me supersonic, you drive me supersonic, baby". The woman holds all the power, and the singer is at her mercy.
The song was notable for being a collaboration between two of the biggest names in music at the time - The Jacksons, and Mick Jagger of The Rolling Stones. It was released as a single in 1984, and reached number three on the Billboard Hot 100 chart. The song was well received, with critics praising the energy and the vocal performances of both Michael Jackson and Mick Jagger. Interestingly, the song was originally meant to be performed by Freddie Mercury of Queen, but he was unable to complete the recording due to a conflict of schedules. Michael Jackson was then brought in to replace him, and the song was rearranged to better suit his style.
Line by Line Meaning
Yeah, come on, baby
The singer is encouraging someone to approach them with excitement and enthusiasm.
You gotta be mine 'cause you're so fine
The singer believes the other person is attractive and wants to have a relationship with them.
I like your style, it makes me wild
The singer is attracted to the way the other person presents themselves.
You take it to me good, you like it, know, you should
The artist is enjoying their interactions with the other person.
You get me on my knees, well, please, baby, please
The other person has power over the artist and the artist is asking for favors or attention.
Listen: She looks so great, every time I see her face
The singer is talking about someone else they find attractive.
She put me in a state, a state of shock
The other person's attractiveness is overwhelming the singer.
Oh, do it, come on, baby, come on, baby, come on, baby
The artist is encouraging the other person to act on their feelings.
She put me on my knees, please, baby, please
The other person has power over the artist and the artist is asking for favors or attention.
I know you like to tease, please, baby, please
The artist believes the other person is intentionally teasing them and is asking for attention.
You love the way you walk and talk, baby, talk
The singer is attracted to the other person's mannerisms and speech.
Listen: She looks so great every time I see her face
The artist is talking about someone else they find attractive.
She put me in a state, a state of shock
The other person's attractiveness is overwhelming the singer.
She put me in a state of shock, come on, baby
The other person is causing the singer to feel intense emotions.
No, come over here
The singer is requesting that the other person physically approach them.
Talk, talk to me, state of shock
The artist wants to communicate with the other person about their feelings.
You've got me paralyzed, you've got me paralyzed
The other person is causing the artist to feel unable to move or act.
You've got me into tonic, you drive me catch the sonic, baby
The other person is causing the singer to feel intense emotions and is using sharp, sudden movements to do so.
You've got me supersonic, you drive me supersonic, baby
The other person is causing the singer to feel intense emotions and is moving quickly and powerfully.
Baby, try, you no want me decide, state of shock
The artist is asking the other person to make a decision about their relationship.
Yeah, look what you've done to me, look what you've done to me
The artist is experiencing strong emotions as a result of the other person's actions.
Yeah, how you move, a state of shock
The other person's movements are causing the artist to feel intense emotions.
You know I need mouth-to-mouth resuscitation
The singer is exaggerating their attraction to the other person and saying they need the other person's help to breathe.
Come on, baby, you know I've really loved you, baby
The artist is expressing their deep emotions and attraction for the other person.
State of shock, you know I've really want you for me
The singer is expressing their desire to have a relationship with the other person.
Yeah, baby, yeah, baby, just look at me, look at me
The singer wants the other person to pay attention to them.
State of shock, you drive me
The other person is causing the singer to feel intense emotions.
You call me, you call me
The artist is paying close attention to the communication they receive from the other person.
You call me in a state of shock
The other person's communication is causing the artist to feel intense emotions.
Look at that, look at me, look at me, look at me
The singer wants the other person to pay attention to them.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: MICHAEL JACKSON, RANDY HANSEN
Lyrics Licensed & Provided by LyricFind
@davidjohn438
Mick Jagger and Michael Jackson really outdid themselves in this One. Probably my all-time favorite song from them both!!!!
@GingerSnape46
First time I heard this, I was at the beach. The smell of the water, suntan lotion, popcorn, and hotdogs comes back every time I hear this. Great times, great memories!
@lennomenno
Summer 1984 😎
@jketcham9004
I can almost visulise what you smell. Not from this comment. I am you in multiverse.
@shaedbyus
@@jketcham9004 It was a stripper anthem at Kings Cross in Sydney. Naked women, stale beer and cigarettes.
@SMewett
Best year of music 1984
@brianburton1129
This is one of those cool and forgotten classic. Ashamed radio stations didn't play this song more often.
@user-id9bp1ne2n
I played the hell out of this album. I was blessed to see the victory tour when I was in 8th grade. Once in a lifetime. Miss you Michael.
@76FANca
Lucky you! I was at History tour!
@DarlinCat
Very underrated. Michael was such a talent! wish more people knew about this one.