Ooh Baby (You Know That I Love You)

His impersonation of Robinson's celebrated vocal style on the track, including portions sung in falsetto, contrasted with Harrison's hoarse, laryngitis-marred singing on his 1974 North American tour and the poorly received Dark Horse album.

Harrison recorded "Ooh Baby" at A&M Studios in Los Angeles between April and June 1975, with backing from rock musicians Jesse Ed Davis, Gary Wright, Klaus Voormann and Jim Keltner.

[1] While the influence of soul music had been evident in Harrison's 1971 hit song "What Is Life", it was a genre that he began to embrace more obviously later in the decade, beginning with his 1974 collaboration with Faces guitarist Ron Wood, "Far East Man".

[5] Harrison's version of that song appeared on his Dark Horse album,[6] a release that, like his concurrent North American tour with Ravi Shankar, was vilified by some sections of the music press, notably Rolling Stone magazine,[7] a publication that had traditionally championed his work.

[19] In an example of what Clayson identifies as the sparse, "cursory" lyrics found on much of Extra Texture,[20] the words to the chorus in "Ooh Baby (You Know That I Love You)" repeat and improvise on the song title.

[28] While noting a pragmatic, commercial approach on Harrison's part with regard to making Extra Texture, Leng suggests that "Ooh Baby (You Know That I Love You)" was designed to create "crossover appeal to the R&B audience".

[34] Despite his apparent intention to create a genuine soul recording, Harrison worked with the same musicians associated with his previous, UK-recorded albums:[35][36] Gary Wright (Fender Rhodes[37] electric piano), Klaus Voormann (bass) and Jim Keltner (drums).

[49] Leng speculates of this effect that "the goal was to create a Harrison soul album for lovers",[50] while Clayson views it as "the backbone of Extra Texture", similar to "the feathery emanations from Philadelphia by the likes of the Stylistics and Jerry Butler".

[59] In another unfavourable album review from Rolling Stone,[60] Dave Marsh opined that "Too often, Harrison's affectingly feeble voice is buried in a muddy, post-Spector mix" on Extra Texture, and that "Ooh Baby" "fails simply because he isn't much of a melodist".

"[62][63] Writing more recently, for Rough Guides, Chris Ingham pairs the song with "Can't Stop Thinking About You" as two examples of Harrison's "threadbare" compositions on Extra Texture and the "slick playing" found throughout the album.

[64] In a 2002 article on Harrison's solo career, for Goldmine magazine, Dave Thompson described the collection as "patchy" but listed "the contemplative (if somewhat Wings-ish) 'Ooh Baby'" as one of the few tracks that should not be "overlook[ed]".

[3] While similarly admiring Harrison's singing, Simon Leng writes of Gary Wright's "chiffon" keyboard part and Tom Scott's "balmy horns charts", but he dismisses "Ooh Baby" as commercially driven and designed to "not offend anyone".