Flashback Snippet: Magical Musical Tours. Black Enterprise Magazine, 1984.

While corporations are pumping megabucks into these concert extravaganzas, black promoters are demanding a piece of the rock...

Pepsi-Cola USA, the nation’s No. 2 soft-drink maker, paid an unprecedented $5 million for the rights to sponsor The Jackson’s tour and gain multimedia visibility the relationship ensured.
It was a risky venture given everything that could have gone wrong (and a lot did), but in the end Pepsi pulled off one of its most successful campaigns. The deal was not the first between a big music act and a major corporation, but it changed the rules and considerably raised the ante. Today, corporate sponsorships appear to be the way to go for headline music acts trying to find an underwriter for their flashy, expensive stage shows and for corporations eager to peddle their products to the youthful, billion-dollar-a-yea rock ‘n’ roll market...

Besides the Jacksons and (Lionel) Richie, few black acts have yet to substantially tape this relatively new financial network, partly because there are few black headline artists who reach the white audiences that corporations target as their market. DeBarge, for example, appears in commercials for McDonald’s, but the deal does not included concert sponsorship...

Excerpts taken from 1984 Black Enterprise Magazine article written by Miles White

Flashback Snippet: It Takes Star Quality to Share the Jackson Limelight. New York Times, 1984.

“The vocal quintet DeBarge and the singer-composer-keyboardist Rockwell -- two of the most successful second generation Motown acts -- have each adapted ideas from Michael Jackson. Teen-agers such as Evelyn King and Johnny Gill have also assimilated Mr. Jackson’s brash verve. Even such older singers as Lionel Richie and George Benson have learned how to sound breathlessly boyish when occasion suits.”

“On the more youthful side of the post- “Thiller” spectrum, DeBarge, a family group from Grand Rapids, Mich., has refined a vocal blend that suggests a Michael Jackson-influenced variant of mid-70’s Philadelphia soul groups like the Spinners and the Stylistics. DeBarge’s music is more ethereal than that of Philadelphia soul groups. Their perfectly synchronized three and four-part harmonies, woven over springy synthesized arrangements, evoke a gossamer lightness. The most interesting songs on DeBarge’s third and best album, “In A Special Way” (Gordy 6061GL), feature intricately patterned arrangements that transcend pat song formulas. “Love Me in a Special Way,” “Queen of My Heart,” and “Time Will Reveal” seat cotton candy love lyrics with melodies distinguished by surprising changes of pace and an adventurous chromaticism.

Much of the credit for the group’s sound must go to its 22-year-old producer, chief songwriter and most prominent vocalist, Eldra DeBarge, who bears a marked physical and vocal resemblance to Michael Jackson. His light, reedy tenor, like Mr. Jackson’s, shades comfortably into a clear, sweet falsetto. But instead of trying to work up a breathless rhythmic charge, he focuses on the minutest embellishments of phrase.”

Excerpts taken from New York Times article written by Stephen Holden, April 1984
Transcribed for the web by thedebarges.blogspot.com

Snippet: Supertars of ‘84. Black Beat Magazine

Alongside Prince, Michael Jackson, and Lionel Richie--Debarge was included in an article on the "Superstars of '84" in an issue of Black Beat Magazine:



“The success of DeBarge may have been seemingly buried under the milestones of the Jacksons and Prince, but it was no less formidable. The family’s debut concert tour had it’s share of organizational problems, but by it’s end, the group was presenting an enjoyable set. And let’s not forget that the group’s second album the self-composed and produced Love In A Special Way, garnered the group another Top 10 hit, going gold as well, still a task in the industry…” - Black Beat Magazine, Dec. 1984

Flashback Article: Debarge’s family affair: Motown spawns another Jackson 5. Rolling Stone Magazine, 1984.

At Motown Records these days, they’re talking about the “new Jacksons.” That’s the word on DeBarge, a group of siblings whose latest LP, In A Special Way (like their last one, All This Love), has been certified gold. It’s hard to ignore the comparisons between the Jacksons and DeBarge. You hear them from DeBarge’s management. You hear them from Motown executives. Your read about them in the black teen magazines and the rock press. Even the group itself acknowledges them. “We agree with the comparisons,” says skinny, soft-spoken Eldra “El” DeBarge, the group’s twenty-two-year-old leader, producer and star performer--the Michael Jackson, if you will, of the pop-soul quintet. “We’re very impressed. Whatever we did to get that comparison, I want to keep doing that.”

“As a matter of fact, we’re getting a house built right next door to Micheal Jackson’s,” deadpans twenty-four-year old Mark “Marty” DeBarge.

“And Marty promises to burn his hair,” says El, laughing. “Wait, don’t write that!”

Flashback Article: "Coming To You In A Special Way...". Right On! Magazine, 1984.

Written by By Deborah DeForrest for Right On! Magazine, April 1984.
Transcribed for the web by www.thedebarges.blogspot.com

Currently riding high on the charts with a hit album, the popular singing group DeBarge reveals that it wasn’t all that easy to record a hit LP. But they did it their way and in this case, “In A Special Way.”

It’s a rare occasion to find the members of DeBarge sitting quietly in one room. In fact, it’s a rare occasion to find all the members of DeBarge in one room period. But there they all were patiently awaiting their interview--El with a sexy grin on his handsome face looked more like the mischievous little brother than an up-and-coming record producer, Randy trying to coax shy baby brother James into conversation and Mark with a protective arm draped over Bunny who, although the oldest, is still very much looked after by all the brothers.

Yes, thanks to Motown’s miracle worker, Bob Jones, Director of Press and Publicity at the big “M”, all the members of DeBarge were in one spot and ready to answer questions for the readers of Right On! Magazine. None appeared nervous, rather a little anxious for the interview to begin.

Flashback Article: "Jesus Was A Stand Up Guy", Record Magazine,1984.

Written by Susanne Whatley for Record Magazine, 1984
Transcribed by www.thedebarges.blogspot.com

DeBarge finds a role model then strikes chart pay dirt by balancing the scared and the sexual in their music.This Begins Motown’s next Golden Era


What do you do when you’re surrounded by some of the most formidable artists in contemporary music and have to deliver the goods before a national TV audience as well?

You prevail, that’s what.

During the taping of Motown 25: Yesterday, Today, and Forever, the DeBarge family may well have ushered in the labels next golden era. Clocking in ample time onscreen with “Can’t Stop” and the title song from last spring’s All this Love album, the quintet eschewed synchro-steps and put movement to their music with a free-flowing grace that was remarkable for a group which had never performed a concert. At the very least, the siblings’ brief turn in the spotlight marked them in some eyes as the best of Motown’s new generation. And the veterans on hand nodded approval.

“A lot of people backstage were really rooting for us,” recalls Eldra DeBarge, 22. “I guess it was because they know we were young and this is a really big thing for us. They’d pat us on the back and talk a bit. ‘Hey man, you guys are great. I know you’re going to do a good job.’ And by the time we got out there we kind of had a proudness about ourselves. We just went out there and did it.

This demonstrable grace under pressure is common among musicians who, like the DeBarges, have spend their entire lives set apart, living the weird half-light of being both controversial and ignored. The children (there are 10) in the DeBarge family were frequently the focus of attention growing up--much of it disdainful, or curious at best, since their mother Etterlene is black and their father Robert white. It’s a tantalizing notion to think that the legion of Motown 25 viewers who were beguiled by these talented singer/songwriters might include their many Midwest neighbors whose morality just didn’t stretch far enough to enfold 10 exuberant mulatto kids. Undeniably, society’s view of their mixed-race family made them a tighter bunch, and they quickly discovered that coming together in the bond of music made the cold stares a little less bruising.