The Handguide to Ohio Players

The Ohio Players scored major hits with outstanding musicianship and leaders of one of America’s premier funk hotbeds.

and

Jan 24, 2025

Dayton, Ohio, and its surrounding areas in the American Midwest are known for producing a remarkable number of funk bands—likely in part due to the rapid growth of the city’s Black population in the mid-20th century. Among these bands, the Ohio Players were quick to find success. Evolving with the times, they reigned as the representative band of the city and the state, spanning everything from raw, street-oriented funk to sweetly harmonized ballads.

Their predecessor group, the Ohio Untouchables, is said to have formed around 1959. Led by Robert Ward—known for his hard-edged vocals and distinctive guitar work—the band continued to operate through several lineup changes, eventually bringing in Leroy “Sugarfoot” Bonner (born in 1943; guitar & vocals) to replace Ward.

In 1967, they changed their name to the Ohio Players, and by the following year, one of their singles had become a nationwide hit, paving the way for further success. After signing with Westbound Records in Detroit in 1971, they became mainstays on the charts. During this period, keyboardist Walter “Junie” Morrison—later famed for his work with Parliament-Funkadelic—was a member. When they moved to Mercury, Billy Beck replaced Junie in the lineup.

At Mercury, they enjoyed unstoppable success, dominating the R&B album charts with four consecutive releases: Skin Tight, Fire, Honey, and Contradiction. The golden-era lineup featured Sugarfoot, Billy Beck, Clarence “Satch” Satchell (sax, etc.), Ralph “Pee Wee” Middlebrooks (trumpet), Marvin “Merv” Pierce (trumpet), Marshall Jones (bass), and James “Diamond” Williams (drums).

Although the band continued to perform into the 1980s and beyond, they never quite recaptured the brilliance of their 1970s heyday.

Pain (1972)

This is the Ohio Players’ first Westbound album after restarting as an eight-piece band with new members Walter “Junie” Morrison (vocals, keyboards, etc.) and Marvin Pierce (trumpet). All the tracks are credited to the band, and they also handle the arrangements themselves. The title track, which became a hit reaching No. 35 on the R&B charts, has that street-style funk that shows the influence of Sly & The Family Stone and James Brown. On the album version, which runs over six minutes, trumpet, guitar, and flute each take solos in a sophisticated arrangement that keeps you hooked. There are two other funk cuts—both popular songs that have been sampled—and you’ll also find a straight slow blues as well as a pop-styled uptempo track, revealing multiple sides of the band. — P

Rating: ★★★★☆ (4/5)
Showcases the band’s versatility, includes a charting funk track, and highlights skillful arrangement/soloing.

Pleasure (1972)

The pain turned into “joy” for the Ohio Players on their second Westbound-era album—an era that coincides with Walter “Junie” Morrison’s time in the band. There are tracks reminiscent of Stevie Wonder, others recalling Sly & The Family Stone, and even some sweet-soul-style chorus numbers. But the real breakthrough here is “Funky Worm,” in which Junie’s playful, squealing synth work drove the song to become their first No. 1 on the R&B chart and No. 15 on the pop chart, propelling the group straight to the top of the funk scene. The track would be heavily sampled a decade or so later by N.W.A., Ice Cube, Snoop Dogg, Public Enemy, and countless others. Meanwhile, there are also gospel-flavored funk tracks, such as the title cut. — B.O.

Rating: ★★★★½ (4.5/5)
Landmark album with a massive crossover hit (“Funky Worm”), heavy influence on future hip-hop sampling, and stylistic variety (gospel-flavored funk, sweet-soul vibe).

Ecstasy (1973)

This is the second album of their Westbound period (1971–73), featuring a raw and unsettling power not present during their Mercury golden years (1974–78). As with Funkadelic, this label’s unique “edgy” quality has an addictive pull. Led by the title track, Walter “Junie” Morrison—who was at the core of the band’s sound at this time—unleashes his eccentric genius, swirling the funk into a tight, gripping intensity that practically elevates you. Instrumental tracks like “Not So Sad And Lonely,” which sounds as if Al Green’s “Love and Happiness” and The J.B.’s grooves had been shaken together, are also excellent. And speaking of the Ohio Players, they’re known for their risqué album covers—this might just be the pinnacle among them. — P

Rating: ★★★★½ (4.5/5)
Praised for its raw, edgy funk flavor, Junie Morrison’s explosive creativity, and strong instrumentals. Also historically notable for that iconic album artwork.

Skin Tight (1974)

This was the first release after the Ohio Players moved to Mercury, and it reached No. 1 on the national R&B charts. Led by the title track (No. 2 R&B / No. 13 Pop) and the hip slow-funk groove of “Jive Turkey” (No. 6 R&B / No. 47 Pop), plus string-laden numbers, these six tracks pack a surprisingly dense soul-funk punch. Newcomer Billy Beck’s sharp keyboard work adds extra depth. Despite its raunchiness, it never becomes vulgar—thanks in part to Leroy “Sugarfoot” Bonner’s vocals, the band’s solid musicianship, and their rich roots. The gospel-tinged “Is Anybody Gonna Be Saved?” exemplifies their signature style, while the long, mellow “Heaven Must Be Like This” is also known for D’Angelo’s cover in the 1998 film Down in the Delta. — P

Rating: ★★★★½ (4.5/5)
A major commercial and artistic success, strong chart performance, diverse tracklist (slow funk, gospel touches, strings).

Fire (1974)

This is one of the Ohio Players’ signature works and a legendary album shining brightly in Black music history. In 1974, upon signing to the major label Mercury, the lineup was reorganized and solidified, with vocalist/guitarist Leroy “Sugarfoot” Bonner stepping fully to the front. The other members had also leveled up, strengthening the band’s overall sound. Their second Mercury album truly established them as one of the premier funk bands representing both Ohio and the wider Black music scene. Most notably, they refined their perfectly original chord progressions and melodies, exemplified by the title track—street funk that topped both the R&B and Pop charts—as well as the mesmerizing slow jam at track #4, featuring James Williams’s goosebump-inducing drumming. They achieved a more sophisticated polish without sacrificing the Westbound-era toughness, and their vocal harmonies rival any dedicated vocal group. It’s an achievement that massively influenced future funk outfits. This album forms a flawless trilogy with its predecessor, Skin Tight, and its successor, Honey. — P

Rating: ★★★★★ (5/5)
Declared a “legendary album,” it’s both commercially and artistically triumphant, showing fully realized originality. Topping R&B and pop charts cements its impact.

Honey (1975)

Tracing the band’s origins goes back to the Ohio Untouchables, who backed the Falcons on some classic tracks. Despite member changes over time, they’ve always retained a devotion to orthodox soul numbers. While they’re known as a funk band, every album features excellent soul songs, and that tendency is especially prominent in this 1975 release. Their rough-edged funk from the Westbound days is great, but it was during their Mercury era—when they added a mellow sensitivity—that their individuality truly solidified. This album, in particular, boasts sweet soul–flavored tracks fused skillfully into the funk (track #5, for example) and catchy, heavy-hitting dance numbers—some of which hit No. 1 on the R&B chart—demonstrating a strong focus on listenable tunes. Tracks #1, #3, and #7 are tender, bedroom-friendly ballads. Of course, the underlying funk is still there, which is key to their charm. Meanwhile, track #2, with its mid-tempo, heavy, sticky rhythm, and intense interplay among the parts, shows off the top-tier prowess that lets them reign in the crowded field of funk bands. — B.O.

Rating: ★★★★½ (4.5/5)
Balances sweet soul, funk, and ballads with chart-topping success. Shows the group’s flexibility and mastery of groove.

Contradiction (1976)

With this album, they achieved their fourth consecutive R&B chart-topper and another gold record, producing the band’s fifth No. 1 R&B single. That track—“Who’d She Coo?”—is mostly a chant-like vocal line over an instrumental core, featuring rhythmic guitar and horn phrases reminiscent of James Brown, along with lively handclaps and percussion. According to Sugarfoot, it was a return to their jazz roots from their earliest days. Drummer “Diamond” Williams also has jazz roots, and starting with this album, his drumming sound evolved into something heavier, almost like a drum machine, carrying a highly addictive quality that sets the tone for the record. The harmonica-heavy, cool funk number “Far East Mississippi” also climbed to No. 26. — B.O.

Rating: ★★★★☆ (4/5)
Another chart-topping success, continuing their gold-streak momentum; experimental elements (chant-like vocals, heavier drum sound) keep things fresh.

Angel (1977)

This is their fifth Mercury album, with guitarist Clarence “Chet” Willis joining the lineup. Some call it the beginning of their “power-down period” because the raunchiness and sticky grooves receded in favor of a more refined sound. Even so, there’s no letting up in the band’s slick brand of heavy funk—led by Sugarfoot’s scat-like vocals on “Angel,” plus electric piano and synth swirling throughout. The mostly instrumental track “O-H-I-O,” which reached No. 9 on the R&B charts, now feels almost like a tight, danceable hip-hop backing track. The first single, “Body Vibes,” and the amusement-park-themed “Merry Go Round” (a nod to “Love Rollercoaster”) reflect a bit of disco influence. The mellow ballad “Can You Still Love Me” may lack a strong impact, but it delivers that reliably comforting vibe they’re known for. — P

Rating: ★★★½☆ (3.5/5)
Refined funk still shines, “O-H-I-O” is a notable track, and experiments with disco elements.

Junie, When We Do (1975)

When major label Mercury lured away the Ohio Players, Westbound responded by keeping hold of the band’s “brain,” Junie Morrison, resulting in this solo album. The label surely hoped he’d deliver bigger hits than the band itself, but freed from the constraints of the group, Junie dove into an avant-garde style that defies genre boundaries. Alongside tight funk grooves decorated with pop elements, you’ll find Latin flourishes and twisted slow jams—an eclectic mix that forms the bedrock of his one-of-a-kind personality. It didn’t yield the anticipated commercial success, but his off-the-wall songwriting later became the crucial “last piece” George Clinton was seeking, making Junie a key figure in reviving P-Funk. — B.O.

Rating: ★★★★☆ (4/5)
Praised for its creativity and marking Junie’s transformation into an avant-garde force. Historically important for paving the way to P-Funk’s resurgence.

Shadow, Love Lite (1979)

This is the debut release by the trio composed of the Ohio Players’ James “Diamond” Williams, Billy Beck, and Clarence “Chet” Williams. They called themselves “Shadow,” presenting themselves almost like a masked unit, hinting at the delicate relationship with the Ohio Players at the time—who were on a brief hiatus and then restarted. They co-produced it with Don Mizell (a cousin of the Mizell Brothers). The slow track “No Better Love” carries a mellow vibe reminiscent of the Ohio Players, while horn-driven, lively funk tracks like “Need Love” and “Enjoy Ya” lean toward the Earth, Wind & Fire style, suggesting a deliberate shift in direction. There’s also a long disco cut in the vein of Giorgio Moroder. When you hear the ballad “Say It Again,” it makes sense that they later teamed up with Leon Ware on subsequent releases. — P

Rating: ★★★½☆ (3.5/5)
Demonstrates a new direction, mixing Ohio Players–esque mellow funk with EWF-style horns and even a Moroder-inspired disco track. While interesting and diverse, it feels more like an experimental side project. Solid, but not quite on par with the Ohio Players’ strongest mainline albums.