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Ohio Players Concert Tickets

The Ohio Players are a funk and R&B band whose heyday was in the mid- to late 1970s. They formed in Dayton, Ohio in 1959 as the Ohio Untouchables, and initially included members Robert Ward (vocals/guitar), Marshall "Rock" Jones (bass), Clarence "Satch" Satchell (saxophone/guitar), Cornelius Johnson (drums), and Ralph "Pee Wee" Middlebrooks (trumpet/trombone). The Ohio Untouchables broke up in 1963, with Ward leaving for a solo career, but the core members of the group returned to Dayton and added Gary Webster (drums) and Leroy "Sugarfoot" Bonner (guitar) in 1964. Check our available Ohio Players concert ticket inventory and get your tickets here at ConcertBank now. Sign up for an email alert to be notified the moment we have tickets!


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Ohio Players Reviews

Avg. Customer Rating:
5.0 (based on 9 reviews)

Greasy funk was hardly scarce in the US in the mid 1970s. After its originator, James Brown, and its innovator, George Clinton, there were myriad followers such as the Commodores (before the ballads), Cameo (before the codpieces) and perhaps the slinkiest of them all, the Ohio Players. The group had been around in various guises since 1959, but it was when they signed to Mercury in 1974 that they hit their stride, incorporating soul, blues, jazz and even splashes of country into their funk...
- www.bbc.co.uk
"Contradiction" and "Far East Mississippi" are in such a no-bullshit mode that they can get away with change-of-pace woo-pitchers, although they've done better than these. But, like Gerald Ford, they can't get away with "Bi-Centennial."
- www.robertchristgau.com
On Mercury the Players are a funk factory, turning out delightful but very similar hits and surrounding them with functional filler. On Westbound they were experimentalists whether copying Funkadelic or Cactus. Not that all the experiments were interesting, much less successful, or that a hit format displays them at their best--I'd welcome a second long jam in addition to the two-part "Pain." Which is one of the three successful as opposed to interesting songs on this compilation...
- www.robertchristgau.com
A/k/a Boogity-Shoogity, and I don't mean to be mean--I quite like these guys in limited doses. There are even good slow ones here. What's more, it's their funniest album ever, and that's no typo. Only I can't quite convince myself that artistic development is even a category for a group that is clearly pure Act if not pure Product. What I can do, however, is be glad that they make Earth, Wind & Fire sound like the Herbie Mann Singers.
- www.robertchristgau.com
Let's see, how did that thang go? Boogity-sheboppity? No, that's not it. Was it shoobity-boobity? Boobity! Shit. Hey, maybe that's it--shittiby-bittiby. Nah. Er . . .
- www.robertchristgau.com
A misnomer--should be Early Year. To be precise, 1972, when they released both Pain and Pleasure. Suggested retitle: Half Pain and Half Pleasure.
- www.robertchristgau.com
Alternate title: Shoogity-Boogity.
- www.robertchristgau.com
OK, I don't approve of their album covers, although this one is relatively innocent--instead of casting the bald naked woman in molten metal they put wings on her and let her deliver a gold record, like an angel, or a carrier pigeon. But the visuals don't turn me off the aurals, which at their best fuse the body heat of funk with the mind games of the novelty single--that is, unite rhythmic and conceptual eccentricity...
- www.robertchristgau.com
A snazzier gleaning would include "Far East Mississippi" and some Westbound hits. But as competing UniMoth entries by the Gap Band, Trick James, and LTD make clear, this Dayton crew got the funk. What seemed like novelty ad infinitum in the '70s was in fact kompletely kinky, and not in the sense of honey-covered cover girls or (too bad) fresh interpretations of "Lola" and "You Really Got Me"--just wound-tight bass and drums and three horny men following turn for turn...
- www.robertchristgau.com
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