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Subtlety always stood at the forefront of DeBarge’s sound, in which large swathes of lush introspection and sheer suppleness defined the timbre of their grooves. On All This Love, this quality is magnified to the highest power. In the tradition of DeBarge’s overall body of work, the themes of romanticism and commitment are at the helm of this eight-song gem. The album’s opener, “I’ll Never Fall in Love Again” is a slinky funk-pop ditty, where the sweetly-nasal newcomer James dishes on the scandalous nature of an ex-lover. The gusty sleaze of “Stop! Don’t Tease Me” (US R&B #46) raises the funk edge, with a grinding bass synth groove that’s so potently steamy, one would think Minneapolis’ purple funk messiah Prince laid it down.
The inviting teases of “I Like It” brings the love fest full circle, with its laid-back, gospel-inflected melody and Randy’s agile tenor anchoring the ballad’s leading verses. Then, El’s suave countertenor commands the bridge and the remainder of the song, with the clan harmonizing the hook like there’s no tomorrow. As legend has it, Idris Gordy convinced El to utilize his high register near the end of the song, to give it a dramatic climax. El was reluctant at first; concerned that she wanted him to sound like older brother, Bobby DeBarge, who shared vocal similarities with El. Idris shot back with “you’d better thank your lucky stars if you sound even close to Bobby.” This signature ballad was composed by El, who also produced it with Gordy, along with Randy, El, and Bunny penning the lyrics. It became their first national hit, reaching #31 on the Billboard Hot 100 and the R&B chart at number two.
Marvin Gaye’s artistry stood as a major influence on DeBarge’s sound from day one. Early traces of his influence could be heard in Bobby’s buttery vocal inflections and songwriting approach during his tenure with Switch. El certainly took cues from his brother, when writing material for the group’s debut and second album. If there’s one song in DeBarge’s oeuvre that solidifies their enduring affinity to Gaye, it would be “All This Love,” which El originally intended for him to record when he wrote it. With its easygoing jazz-soul melody, El convincingly sings on the wonderment of his lover, for she made him the changed man he became. He pleads with and reassures her that his love grows stronger for her, even with the strains that come in his life. A melodious acoustic guitar solo beautifully caps off the romantic aura of the ballad. In reaffirming Gaye’s inspiration behind the song, they smartly lift harmonic refrains from Gaye’s “Soon I’ll Be Loving You Again,” a sensual album cut from his 1976 landmark suite, I Want You, for the backdrop of the song’s concluding climax.
A mighty rarity in R&B, where simple sentiments of love gave way to hyper-carnal throbs, “All This Love” struck a chord with a new generation of music lovers that yearned for vulnerability and grace. The classic staple hit #17 the Billboard Hot 100, while reaching the R&B and Adult Contemporary charts at five and one, respectively.
Determined to establish their place in the music scene, members of DeBarge were pleasantly surprised at the reception All This Love garnered. The album solidly hit number 24 on the US Billboard album chart, while reaching the R&B album chart at number three. By the summer of 1982, it would reach gold status, marking their mercurial rise to R&B superstardom. Critics and R&B purists welcomed their efforts on the album, but wondered if Motown’s pop-minded grooming eclipsed or embellished their artistic strengths. In a critical blurb for the album, the famed music critic Robert Christgau praised the work, stating that “they go against their own best instincts, bearing down on individual compositions rather than immersing themselves in sound.” He concedes with Motown’s crossover aspirations for the group, insisting that the group succeeds at the expense of the label’s hit-making approach, while disregarding the group’s singular artistry. “When they hit one—slow stuff like “All This Love” and “I Like It” is why the Lord blessed them—you can hear it breaking through and crossing over, always the Motown ideal. When they don’t, all you hear is exquisitely cautious product.”
What made All This Love an intriguing work was DeBarge’s heartfelt commitment to their craft, with unmatched focus, class, and urgency. It’s the sole reason why black contemporary music resonates strongly with its timeless grooves, as countless musicians and producers have either lifted from them or interpreted the songs over the years.
- Bunny DeBarge – backing vocals, lead vocals, BGV arrangements
- El DeBarge – keyboards, lead vocals, backing vocals, rhythm arrangements, horn arrangements, BGV arrangements
- James DeBarge – keyboards, backing vocals, lead vocals (1), rhythm arrangements, BGV arrangements
- Mark DeBarge – saxophone, trumpet, backing vocals, rhythm arrangements, BGV arrangements
- Randy DeBarge – bass, backing vocals, lead vocals, rhythm arrangements, BGV arrangements
- Raymond Crossley – keyboards, arrangements , BGV arrangements
- Russell Ferrante – keyboards, rhythm arrangements
- Charles Fearing – guitars, acoustic guitar solo
- José Feliciano – acoustic guitar
- Robben Ford – guitars
- Curtis Anthony Nolen – guitars, arrangements, BGV arrangements
- Freddie Washington – bass
- Ken Wild – bass
- Ollie E. Brown – drums
- Ricky Lawson – drums
- Richard Heath – percussion
- Nate Hughes – percussion
- Daniel LaMelle – alto saxophone, tenor saxophone, horn arrangements, sax solo
- Jeff Clayton – baritone saxophone, flute
- Gerald Albright – tenor saxophone
- Damon Rentie – tenor saxophone
- George Bohanon – trombone
- John Ervin – trombone
- Clay Lawrey – trombone
- Ray Brown – trumpet, flugelhorn
- Cliff Ervin – trumpet
- Roy Poper – trumpet
- Nolan Smith – trumpet, flugelhorn
- Linda Howard – BGV arrangements
- Barbara Mitchell – BGV arrangements
- Benjamin Wright – rhythm arrangements, horn and string arrangements
- Janice Gower – concertmaster
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