A new J5: 4 Stars for GIT, 3 for Skywriter

The SKYWRITER/GET IT TOGETHER combo might as well be two different records by two different bands. SKYWRITER was the last of their bubble-gum kiddie pop, if not softened up a bit with the soft-rock influence of early 70s groups like Bread and The Carpenters. The title track is the only song that sounds somewhat right for its time, with its psychedelic harmonies and intense clavinet a'la Stevie Wonder. "I Can't Quit Your Love" almost fits in this vein, and is perhaps even more soulful and aggressive. The other highlights are the softer ballads and showtunes ("Touch," "Ooh, I'd Love To Be With You," and "Corner of the Sky"). Unfortunately, "Boogie Man" is terrible and almost out of Michael's vocal range at this point; "World of Sunshine" and "Hallelujah Day" seem like post-hippiedom, anti-Vietnam statements that don't sound right from these young'ns, although the songs themselves are decent. They could easily have been recorded by the Fifth Dimension circa 1968.

GET IT TOGETHER, on the other hand, is very surprsing. The first time I heard these songs, I couldn't believe that Motown let the J5 record such long, infectious funk grooves. Sure, some of them sound like Temptation replicas, but some perfectly combine the past J5 with the "new" J5 sound ("Don't Say Goodbye Again," "You Need Love Like I Do," "Mama I Got A Brand New Thing"). Others sound nothing like anything they'd ever done, and succeed marvelously in getting feet moving ("Get It Together," "Dancing Machine"). Despite an awkward cover of "Reflections," this album rocks. The bonus tracks here (and on other recent J5 compilations) show that much of the unreleased material from 1972-73 was much better than what was put on SKYWRITER. That album could have been a much bigger success if they put some of these funkier tracks on it instead of the lightweight fluff.

Five stars for Get It Together, one for Skywriter

Bubblegum J5 songs were good when they were released, but not 30 years later. Adding that Skywriter was the worst (and luckily last) of J5 albums from that era, it is easy to hate this album right now.

But the following J5 release was a major change in the acoustic side. They started to do funk, and the result was quite good!

It's a pity G.I.T. hasn't been packed together with Moving Violation.

In Between Isn't Always A Bad Thing

These were aquared times for the J5 for sure.The majority
of the band members are teenagers and young men now and all of
their voices are adult ones-notably Michael,who as heard on "Skywriter" is losing his baby voice.The quasi-pop/gospel of
"Hallelujah Day" shows this in fine effect.The tital track of the
first record makes wonderful use of the Leslie amp over Jermaine's closing vocal and the ballads "Uppermost","Ooh,I'd Love To Be With You" and covers of the Supremes "Touch" and the
broadway hit "Corner Of The Sky" indicated The Jackson's might have a future in producing romantic slow grooves.Then comes
"Get It Together",a startling dance-funk record whose clavinet-
driven,Wonder-esqe tital song shows off Michael's fully matured
voice to full effect.Funkified covers of Gladys Knight & The
Pips "You Love Me Like I Do (Don't you)" and a snarling hard rock
take on the Temp's "Hum Along And Dance" are major highlites.
One piece of note is an intruiging piece of reggae/soul in
Michael's "It's Too Late to Change The Time" indicates a sincere
respect and understanding of all music in the world.And to conclude the affair is the unforgettable "Dancing Machine",here in it's complete version with robot sound effects and intro.Most
songs on "GIT" segue and feature very different instrumental
accompanyment then past J5 numbers.Unfortunately neither of these
records were big chart successes but musically they have very
strong vertues and deserve alot more respect and recognition then
time or statistics let on.