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Best of Brothers Johnson
To download this album via iTunes, click here: 
To buy this album from Amazon.com, click here: 20th Century Masters - The Millennium Collection: The Best of the Brothers Johnson
__________________________________________________
1. WELCOME TO THE CLUB
(Louis Johnson-Valerie Johnson)
A&M single 2506
R&B #13 / charted 11-27-82
From the album Blast – A&M 4927
2. I’LL BE GOOD TO YOU
(George Johnson)
A&M single 1806
R&B #1 / charted 4-17-76
Pop #3 / charted 5-1-76
From the album Look Out For Number 1 – A&M 4567
3. STRAWBERRY LETTER 23
(Shuggie Otis)
A&M single 1949
R&B #1 / charted 6-18-77
Pop #5 / charted 7-2-77
From the album Right On Time – A&M 4644
4. IS IT LOVE THAT WE’RE MISSING? (Quincy Jones with Brothers Johnson)
(George Johnson-Debbie Smith)
A&M single 1743
R&B #18 / charted 10-4-75
Pop #70 / charted 10-11-75
From the Quincy Jones album Mellow Madness – A&M 4526
5. RUNNIN’ FOR YOUR LOVIN’
(George Johnson-Louis Johnson)
A&M single 1982
R&B #20 / charted 10-29-77
From the album Right On Time – A&M 4644
6. RIDE-O-ROCKET
(Nickolas Ashford-Valerie Simpson)
A&M single 2086
R&B #45 / charted 9-30-78
From the album Blam! – A&M 4714
7. AIN’T WE FUNKIN’ NOW
(Louis Johnson-Quincy Jones-Tom Bahler-Alex Weir-Valerie Johnson)
A&M single 2098
R&B #45 / charted 11-18-78
From the album Blam! – A&M 4714
8. STOMP
(Louis Johnson-George Johnson-Valerie Johnson-Rod Temperton)
A&M single 2216
R&B #1 / charted 2-16-80
Pop #7 / charted 3-15-80
From the album Light Up The Night – A&M 3716
9. LIGHT UP THE NIGHT
(Louis Johnson-George Johnson-Rod Temperton)
A&M single 2238
R&B #16 / charted 5-24-80
From the album Light Up The Night – A&M 3716
10. THE REAL THING
(George Johnson-Louis Johnson)
A&M single 2343
R&B #11 / charted 6-20-81
Pop #67 / charted 6-27-81
From the album Winners – A&M 3724
11. FUNK IT (FUNKADELALA)
(Louis Johnson-Valerie Johnson)
From the album Blast – A&M 4927
12. GET THE FUNK OUT MA FACE
(Quincy Jones-George Johnson-Louis Johnson)
A&M single 1851
R&B #4 / charted 8-14-76
Pop #30 / charted 8-14-76
From the album Look Out For Number 1 – A&M 4567
__________________________________________________
All tracks Produced by QUINCY JONES
(Track 10 Produced by BROTHERS JOHNSON)
Compilation Produced by MIKE RAGOGNA
Production Coordinated by BETH STEMPEL
Mastered by ERIC LABSON @ Universal Mastering Studios West, North Hollywood, CA
Editorial Assistance by BARRY KORKIN
__________________________________________________
Art Direction: VARTAN
Design: HEY POSER
Photo Research: JASON PASTORI
Photos: A&M ARCHIVES except Liner Notes photos: ELLIOTT GILBERT/A&M ARCHIVES
Special thanks to LOUIS JOHNSON, GEORGE JOHNSON, ANDY MCKAIE & RICHIE GALLO
__________________________________________________
The Brothers Johnson perfectly exemplify the amalgamation of pop music styles in the mid ‘70s, when the genre buzzed with black artists routinely fusing R&B, rock, pop and jazz influences. George, guitarist/vocalist and Louis, bassist/vocalist effortlessly operated in all of those worlds, able to lay down a raucous funk groove accented with some rock guitar and just as easily craft sleek, tender love ballads or the jazz-infused instrumental. This intuitive skill served the brothers well in making a name for themselves during one of the most exciting periods in black pop.
Born and raised in Los Angeles, and musically weaned on everything from the Beatles to Sly and the Family Stone, George and Louis started out in their teens, playing local talent shows and club gigs before joining the band of keyboardist Billy Preston in the early ‘70s. With Preston, George and Louis earned their stripes both on the road and in the studio, co-writing Preston’s 1974 instrumental hit, “Struttin’.”
They were busy building a rep as L.A. studio session players and recording demos of their own when they were introduced to producer Quincy Jones in 1975. Sensing the potential for something special, Jones signed the Johnsons to his Quincy Jones Productions, secured them a contract with A&M Records and nurtured his new protégés by taking them on the road.
Thanks to Jones, the brothers actually had a hit before their official debut, having written and performed the sentimental, mid-tempo groove, “Is It Love That We’re Missin’,” from Quincy’s 1975 album, Mellow Madness. The association made for one hell of a “set-up,” as they say in the music industry: 1976’s Look Out For #1, featuring the hit singles “I’ll Be Good To You” and “Get The Funk Out Ma Face,” quickly reached platinum status. George and Louis, dubbed “Thunder Thumbs” (Louis) and “Lightnin’ Licks” by Jones’ right hand man Ed Eckstine, were on their way to stardom.
The Brothers Johnson came along in a pop music era when artists pridefully nurtured their own musical nuances, a certain style, and sound. Likewise, a Johnson song was always melodic, usually chord-driven with both a lyrical and musical hook. George’s guitar playing, a uniquely funky single-picking style countered by fluttering, often phase shifter-enhanced fills, fit naturally above Louis’ percolating, monster bass lines – all of it couched in Jones’ sophisticated production of dimensional synthesizer pads and spry, warm Jones-commissioned horn charts.
To be sure, the early Brothers Johnson sound was as much Quincy’s as it was that of George and Louis. In the studio, Jones surrounded the duo with a caliber of musician they otherwise might not have encountered in that stage of their careers – great players such as keyboardist Dave Grusin, guitarist Lee Ritenour (notably during the ethereal instrumental break on “Strawberry Letter 23”) and renowned percussionist Paulinho Da Costa. All of these elements – the Johnsons’ songs, Jones’ artful interpretation and a mutual musical direction – created the Brothers Johnson sound: poppy R&B/funk glazed with a crossover gloss.
The results served all parties well. Armed with such platinum albums as 1977’s Right On Time (featuring the cosmopolitan soul of “Runnin’ For Your Lovin’” and the enchanting “Strawberry Letter 23”), 1978’s Blam! (including the steamrolling “Ain’t We Funkin’ Now” and songwriters Ashford and Simpson’s decidedly MOR&B “Ride-O-Rocket”), 1980’s Light Up The Night (which spawned the infectious “Stomp” and the gliding title track) along with their Grammy Award-winner “Q” from Right On Time (the instrumental nod to their mentor), the Brothers became international music stars.
Meanwhile, Jones, previously revered as a jazz band leader, arranger and the lone black man in the major TV/film soundtrack business, began fielding calls from such R&B acts as Rufus featuring Chaka Khan, jazz guitarist-turned R&B vocalist George Benson and, of course, Michael Jackson.
The Brothers Johnson on record and in concert were two distinctly different animals. In the studio, under Jones’ meticulous direction, the music was smoothed out; onstage, the up-tempo hits were edgier, possessing more rhythmic punch. You see, the Brothers reigned B.M.V. – Before Music Video – and aside from Top 40 radio airplay and plum appearances on national TV music programs such as American Bandstand, Soul Train or the odd variety show, an artist promoted his records almost exclusively by touring. Back then, if you shared concert bills with such acts as Rufus, Parliament/Funkadelic, Cameo, and Larry Graham, you had to bring the noise. The Brothers did.
During the Right On Time period, the legendary, dearly departed Soul newspaper sent out this writer, and photographer Bobby Holland on the East Coast leg of one of the Brothers’ many tours to chronicle life on the road with BJ and band. Newspaper publisher Regina Jones didn’t understand – Holland and I would have paid Soul for the opportunity to watch the Brothers funk it up on stage every night.
By 1981, George and Louis had graduated from Quincy Jones University, striking out to produce their own records. Winners, released that year, buoyed by the funky “The Real Thing,” proved that the brothers had dutifully earned their diplomas. 1983’s Blast, essentially an A&M greatest hits package, featured two new Johnson creations, “Funk It (Funkadelala)” and “Welcome To The Club.” In the meantime, the Brothers worked with peers – George collaborating with funkster Steve Arrington and Louis playing bass on Michael Jackson’s Thriller. By the end of the ‘80s, the duo had disbanded – with Louis spending time in Japan – before briefly reuniting for a tour.
As of this writing, the two were still pursuing individual interests – George touring and recording with a new band, and Louis recording and working with various new artists.
No matter. George and Louis were long ago welcomed to pop music’s club, a fraternity whose dues require real musical skills and boundless musical ambitions. It’s hard for most of today’s young artists to gain membership in that club – posers and fakers never get past the front door.
– STEVE IVORY
July 2000
__________________________________________________
ALSO AVAILABLE BY BROTHERS JOHNSON:
BLAM! (750 213 171-2)
GREATEST HITS (314 540 552-2)
LIGHT UP THE NIGHT (750 213 716-2)
LOOK OUT FOR #1 (750 213 142-2)
RIGHT ON TIME (750 213 147-2)
THE BEST OF…20TH CENTURY MASTERS/THE MILLENNIUM COLLECTION ALSO AVAILABLE:
L.T.D. (069 490 739-2)
GAP BAND (314 542 270-2/4)
PARLIAMENT (314 546 998-2/4)
JAMES BROWN (314 547 719-2/4)
OHIO PLAYERS (314 542 268-2/4)
SMOKEY ROBINSON (012 159 499-2)
GLORIA GAYNOR (314 549 137-2)
GLADYS KNIGHT & THE PIPS (012 159 282-2)
STEPHANIE MILLS (088 112 357-2/4)
JACKSON 5 (012 153 364-2/4)
THE COMMODORES (314 542 096-2/4)
FOUR TOPS (314 542 214-2/4)
MARY WELLS (012 153 991-2/4)
MARVIN GAYE, VOLUME 1 (012 153 363-2/4)
MARVIN GAYE, VOLUME 2 (012 153 732-2/4)
THE TEMPTATIONS, VOLUME 1 (012 153 362-2/4)
THE TEMPTATIONS, VOLUME 2 (012 153 733-2/4)
(P) © A&M Records, 2200 Colorado Avenue, Santa Monica, CA 90404-U.S.A. Distributed by Universal Music & Video Distribution, Inc. Warning: All rights reserved. Unauthorized duplication is a violation of applicable laws.
069 490 738-2
To buy this album from Amazon.com, click here: 20th Century Masters - The Millennium Collection: The Best of the Brothers Johnson
__________________________________________________
20TH CENTURY MASTERS - THE MILLENNIUM COLLECTION
THE BEST OF BROTHERS JOHNSON
THE BEST OF BROTHERS JOHNSON
1. WELCOME TO THE CLUB
(Louis Johnson-Valerie Johnson)
A&M single 2506
R&B #13 / charted 11-27-82
From the album Blast – A&M 4927
2. I’LL BE GOOD TO YOU
(George Johnson)
A&M single 1806
R&B #1 / charted 4-17-76
Pop #3 / charted 5-1-76
From the album Look Out For Number 1 – A&M 4567
3. STRAWBERRY LETTER 23
(Shuggie Otis)
A&M single 1949
R&B #1 / charted 6-18-77
Pop #5 / charted 7-2-77
From the album Right On Time – A&M 4644
4. IS IT LOVE THAT WE’RE MISSING? (Quincy Jones with Brothers Johnson)
(George Johnson-Debbie Smith)
A&M single 1743
R&B #18 / charted 10-4-75
Pop #70 / charted 10-11-75
From the Quincy Jones album Mellow Madness – A&M 4526
5. RUNNIN’ FOR YOUR LOVIN’
(George Johnson-Louis Johnson)
A&M single 1982
R&B #20 / charted 10-29-77
From the album Right On Time – A&M 4644
6. RIDE-O-ROCKET
(Nickolas Ashford-Valerie Simpson)
A&M single 2086
R&B #45 / charted 9-30-78
From the album Blam! – A&M 4714
7. AIN’T WE FUNKIN’ NOW
(Louis Johnson-Quincy Jones-Tom Bahler-Alex Weir-Valerie Johnson)
A&M single 2098
R&B #45 / charted 11-18-78
From the album Blam! – A&M 4714
8. STOMP
(Louis Johnson-George Johnson-Valerie Johnson-Rod Temperton)
A&M single 2216
R&B #1 / charted 2-16-80
Pop #7 / charted 3-15-80
From the album Light Up The Night – A&M 3716
9. LIGHT UP THE NIGHT
(Louis Johnson-George Johnson-Rod Temperton)
A&M single 2238
R&B #16 / charted 5-24-80
From the album Light Up The Night – A&M 3716
10. THE REAL THING
(George Johnson-Louis Johnson)
A&M single 2343
R&B #11 / charted 6-20-81
Pop #67 / charted 6-27-81
From the album Winners – A&M 3724
11. FUNK IT (FUNKADELALA)
(Louis Johnson-Valerie Johnson)
From the album Blast – A&M 4927
12. GET THE FUNK OUT MA FACE
(Quincy Jones-George Johnson-Louis Johnson)
A&M single 1851
R&B #4 / charted 8-14-76
Pop #30 / charted 8-14-76
From the album Look Out For Number 1 – A&M 4567
__________________________________________________
All tracks Produced by QUINCY JONES
(Track 10 Produced by BROTHERS JOHNSON)
Compilation Produced by MIKE RAGOGNA
Production Coordinated by BETH STEMPEL
Mastered by ERIC LABSON @ Universal Mastering Studios West, North Hollywood, CA
Editorial Assistance by BARRY KORKIN
__________________________________________________
Art Direction: VARTAN
Design: HEY POSER
Photo Research: JASON PASTORI
Photos: A&M ARCHIVES except Liner Notes photos: ELLIOTT GILBERT/A&M ARCHIVES
Special thanks to LOUIS JOHNSON, GEORGE JOHNSON, ANDY MCKAIE & RICHIE GALLO
__________________________________________________
The Brothers Johnson perfectly exemplify the amalgamation of pop music styles in the mid ‘70s, when the genre buzzed with black artists routinely fusing R&B, rock, pop and jazz influences. George, guitarist/vocalist and Louis, bassist/vocalist effortlessly operated in all of those worlds, able to lay down a raucous funk groove accented with some rock guitar and just as easily craft sleek, tender love ballads or the jazz-infused instrumental. This intuitive skill served the brothers well in making a name for themselves during one of the most exciting periods in black pop.
Born and raised in Los Angeles, and musically weaned on everything from the Beatles to Sly and the Family Stone, George and Louis started out in their teens, playing local talent shows and club gigs before joining the band of keyboardist Billy Preston in the early ‘70s. With Preston, George and Louis earned their stripes both on the road and in the studio, co-writing Preston’s 1974 instrumental hit, “Struttin’.”
They were busy building a rep as L.A. studio session players and recording demos of their own when they were introduced to producer Quincy Jones in 1975. Sensing the potential for something special, Jones signed the Johnsons to his Quincy Jones Productions, secured them a contract with A&M Records and nurtured his new protégés by taking them on the road.
Thanks to Jones, the brothers actually had a hit before their official debut, having written and performed the sentimental, mid-tempo groove, “Is It Love That We’re Missin’,” from Quincy’s 1975 album, Mellow Madness. The association made for one hell of a “set-up,” as they say in the music industry: 1976’s Look Out For #1, featuring the hit singles “I’ll Be Good To You” and “Get The Funk Out Ma Face,” quickly reached platinum status. George and Louis, dubbed “Thunder Thumbs” (Louis) and “Lightnin’ Licks” by Jones’ right hand man Ed Eckstine, were on their way to stardom.
The Brothers Johnson came along in a pop music era when artists pridefully nurtured their own musical nuances, a certain style, and sound. Likewise, a Johnson song was always melodic, usually chord-driven with both a lyrical and musical hook. George’s guitar playing, a uniquely funky single-picking style countered by fluttering, often phase shifter-enhanced fills, fit naturally above Louis’ percolating, monster bass lines – all of it couched in Jones’ sophisticated production of dimensional synthesizer pads and spry, warm Jones-commissioned horn charts.
To be sure, the early Brothers Johnson sound was as much Quincy’s as it was that of George and Louis. In the studio, Jones surrounded the duo with a caliber of musician they otherwise might not have encountered in that stage of their careers – great players such as keyboardist Dave Grusin, guitarist Lee Ritenour (notably during the ethereal instrumental break on “Strawberry Letter 23”) and renowned percussionist Paulinho Da Costa. All of these elements – the Johnsons’ songs, Jones’ artful interpretation and a mutual musical direction – created the Brothers Johnson sound: poppy R&B/funk glazed with a crossover gloss.
The results served all parties well. Armed with such platinum albums as 1977’s Right On Time (featuring the cosmopolitan soul of “Runnin’ For Your Lovin’” and the enchanting “Strawberry Letter 23”), 1978’s Blam! (including the steamrolling “Ain’t We Funkin’ Now” and songwriters Ashford and Simpson’s decidedly MOR&B “Ride-O-Rocket”), 1980’s Light Up The Night (which spawned the infectious “Stomp” and the gliding title track) along with their Grammy Award-winner “Q” from Right On Time (the instrumental nod to their mentor), the Brothers became international music stars.
Meanwhile, Jones, previously revered as a jazz band leader, arranger and the lone black man in the major TV/film soundtrack business, began fielding calls from such R&B acts as Rufus featuring Chaka Khan, jazz guitarist-turned R&B vocalist George Benson and, of course, Michael Jackson.
The Brothers Johnson on record and in concert were two distinctly different animals. In the studio, under Jones’ meticulous direction, the music was smoothed out; onstage, the up-tempo hits were edgier, possessing more rhythmic punch. You see, the Brothers reigned B.M.V. – Before Music Video – and aside from Top 40 radio airplay and plum appearances on national TV music programs such as American Bandstand, Soul Train or the odd variety show, an artist promoted his records almost exclusively by touring. Back then, if you shared concert bills with such acts as Rufus, Parliament/Funkadelic, Cameo, and Larry Graham, you had to bring the noise. The Brothers did.
During the Right On Time period, the legendary, dearly departed Soul newspaper sent out this writer, and photographer Bobby Holland on the East Coast leg of one of the Brothers’ many tours to chronicle life on the road with BJ and band. Newspaper publisher Regina Jones didn’t understand – Holland and I would have paid Soul for the opportunity to watch the Brothers funk it up on stage every night.
By 1981, George and Louis had graduated from Quincy Jones University, striking out to produce their own records. Winners, released that year, buoyed by the funky “The Real Thing,” proved that the brothers had dutifully earned their diplomas. 1983’s Blast, essentially an A&M greatest hits package, featured two new Johnson creations, “Funk It (Funkadelala)” and “Welcome To The Club.” In the meantime, the Brothers worked with peers – George collaborating with funkster Steve Arrington and Louis playing bass on Michael Jackson’s Thriller. By the end of the ‘80s, the duo had disbanded – with Louis spending time in Japan – before briefly reuniting for a tour.
As of this writing, the two were still pursuing individual interests – George touring and recording with a new band, and Louis recording and working with various new artists.
No matter. George and Louis were long ago welcomed to pop music’s club, a fraternity whose dues require real musical skills and boundless musical ambitions. It’s hard for most of today’s young artists to gain membership in that club – posers and fakers never get past the front door.
– STEVE IVORY
July 2000
__________________________________________________
ALSO AVAILABLE BY BROTHERS JOHNSON:
BLAM! (750 213 171-2)
GREATEST HITS (314 540 552-2)
LIGHT UP THE NIGHT (750 213 716-2)
LOOK OUT FOR #1 (750 213 142-2)
RIGHT ON TIME (750 213 147-2)
THE BEST OF…20TH CENTURY MASTERS/THE MILLENNIUM COLLECTION ALSO AVAILABLE:
L.T.D. (069 490 739-2)
GAP BAND (314 542 270-2/4)
PARLIAMENT (314 546 998-2/4)
JAMES BROWN (314 547 719-2/4)
OHIO PLAYERS (314 542 268-2/4)
SMOKEY ROBINSON (012 159 499-2)
GLORIA GAYNOR (314 549 137-2)
GLADYS KNIGHT & THE PIPS (012 159 282-2)
STEPHANIE MILLS (088 112 357-2/4)
JACKSON 5 (012 153 364-2/4)
THE COMMODORES (314 542 096-2/4)
FOUR TOPS (314 542 214-2/4)
MARY WELLS (012 153 991-2/4)
MARVIN GAYE, VOLUME 1 (012 153 363-2/4)
MARVIN GAYE, VOLUME 2 (012 153 732-2/4)
THE TEMPTATIONS, VOLUME 1 (012 153 362-2/4)
THE TEMPTATIONS, VOLUME 2 (012 153 733-2/4)
(P) © A&M Records, 2200 Colorado Avenue, Santa Monica, CA 90404-U.S.A. Distributed by Universal Music & Video Distribution, Inc. Warning: All rights reserved. Unauthorized duplication is a violation of applicable laws.
069 490 738-2
