Marv Gaye Albums and Disgraphy | AllMic

Contents:

• MARV GAYE
• ARTIST: MARV GAYE
• MARV GAYE
• MARV GAYE
• MARV GAYE
• MARV GAYE
• MARV GAYE
• MARV GAYE : L RMATNS
• MARV GAYE
• ARTIST: MARV GAYE
• MARV GAYE
• MARV GAYE'S 10 GREATT SONGS EVER, RANKED

MARV GAYE

Artist: Marv GayeThe followg channels clu songs by Marv GayeOldi 1965-72Pop, rock, and soul hs om the mid-'60s through early-'70s1960s & '70s Le HsEarly adult ntemporary classics1970s & '80s Le HsAdult hs of the soft rock era1980s & '90s Le HsFun & le adult ntemporary Hs ClassicsAdult pop hs om the '80s through the '00s1980s HsTop chart hs of the eightiHey Hey We're the '60s! The sound of classic Top 40 AM radOldi Pop'60s Oldi m the rock, folk, and R&BThe Most OldiOur entire Oldi library -- featurg your favore hs om the late-'50s through the mid-'70sSoul Classics 1956-65Gospel and doo-wop be to form the roots of soul1970s HsThe rock, pop, dis, and "one-h wonrs" that powered AM rad of the '70sOldi 1955-64Rock & roll's first great Soul Classics 1966-72The age of Stevie Wonr and Marv GayeClassic SoulThe ft Classic R&B and Soul mic1980s R&BPrce, Ja, & Michael: R&B the MTV ageR&B Volists: MaleClassic and ntemporary male R&B sgersOldi Love SongsClassic love songs om the '50s, '60s, and '70sDouble LatteCoffeehoe sger-songwrer and smooth, fortable Adult RockOldi 1967-68A goln age of AM Top 40Oldi 1968-79"Morn" oldi... Facebook (MarvGaye).

Whout Marv Gaye, both R&B as we know and Amerin pop general would have sound rather different.

Born Washgton, DC, 1939, Gaye had a tough childhood before formg the vol group The Marque 1957.

ARTIST: MARV GAYE

They beme a backg group for former Moonglows sger Harvey Fuqua, and by 1961 Gaye had moved to Detro, where he beme a ssn dmmer for Motown, playg on ton like The Marvelett’ “Please Mr.

The mercurial Gaye spent the next few years rerdg show tun and a Nat “Kg” Cole tribute album amid his more soulful sis. ” But Gaye began edgg toward a more emotnally and milly sophistited place wh 1968’s immortal “I Heard It Through the Grapeve, ” and 1971 he helped alter the urse of soul wh the socially nsc, plexly textured What’s Gog On. Gaye never stopped novatg—his smolrg, dis-iendly 1977 smash “Got to Give It Up” was a ccial fluence on Michael Jackson’s adult reer, and the synths and dm mache of 1982’s electro-soul burner “Sexual Healg” once aga led R&B someplace new.

MARV GAYE

Marv Gaye is different, different for one simple reason: he had immense talent, not jt as a sger but also as a songwrer that set him on a higher plane, as well as a social nscience that advoted change.

MARV GAYE

“Back the early Birds days we played a lot of Motown stuff – “ Need Your Lov’ (Want You Back) (Marv Gaye) and Needle In A Haystack (Velvelett). Marv Gaye was one that succumbed to the prsure, both private and public. Before his tragic ath at the hands of his father, Marv Gaye created some of the most inic albums of the 1970s.

Early his reer, Motown was uncerta jt how to posn Marv Gaye. His new directn and newfound social nscns is bt heard on the h, ‘Abraham Mart & John’ which Gaye ma his own, spe the origal beg rerd by rock and roll survivor Dn (of the Belmonts fame). ” Marv Gaye.

MARV GAYE

One of the most gifted, visnary, and endurg talents ever lnched to orb by the Motown h mache, Marv Gaye blazed the trail for the ntued evolutn of popular black mic.

Marv Pentz Gay, Jr.

The send of three children born to the Reverend Marv Gay Sr., he began sgg church at the age of three, quickly beg a soloist the choir.

MARV GAYE

Gaye later took up piano and dms and mic beme his pe om the nightmarish reali of his home life – throughout his childhood, his father beat him on an almost daily basis.

After graduatg om high school, Gaye enlisted the U.

MARV GAYE

While tourg the Midwt, the group performed Detro, where Gaye’s graceful tenor and three-octave vol range, won the tert of fledgelg imprar Berry Gordy, Jr. Upon mountg a solo reer, Gaye stggled to fd his voice and early sgl failed. Wh 1963’s ‘Pri and Joy’, Gaye sred his first Top Ten smash, but often found his role as a hmaker stiflg – his sire to bee a crooner of lh romantic ballads, ran direct opposn to Motown’s all-important emphasis on chart succs and the ongog battle between his artistic ambns and the label’s mands for a mercial product, ntued throughout Gaye’s long tenure wh the pany.

MARV GAYE : L RMATNS

Wh 1964’s Together, a llectn of duets wh Mary Wells, Gaye sred his first chartg album; the duo also notched a number of h sgl together, cludg ‘Once Upon a Time’ and ‘What’s the Matter Wh You, Baby? As a solo performer, Gaye ntued to enjoy great succs, srg three superb Top Ten hs 1965; ‘A’t That Peculiar’, ‘I’ll Be Doggone’ and ‘How Sweet It Is (To Be Loved by You)’. However, Gaye’s greatt duets were to be wh Tammi Terrell, wh whom he sred a seri of massive hs, penned by the team of Nickolas Ashford and Valerie Simpson, cludg 1967’s ‘A’t No Mounta High Enough’ and ‘Your Prec Love’, followed by 1968’s ‘A’t Nothg Like the Real Thg’ and ‘You’re All I Need to Get By’.

MARV GAYE

The team’s succs was tragilly cut short 1967 when, durg a ncert appearance Virgia, Terrell llapsed to Gaye’s arms on-stage, the first evince of a bra tumour that abptly end her performg reer and fally killed her on March 16, 1970. Her illns and eventual loss, left Gaye eply shaken, marrg the chart-toppg 1968 succs of ‘I Heard It Through the Grapeve’, his biggt h and arguably the pnacle of the Motown sound. At the same time, Gaye was forced to pe wh a number of other personal problems, not the least of which, was his cmblg marriage.

A highly percsive album, which rporated jazz and classil elements, to fe a remarkably sophistited and fluid soul sound, What’s Gog On was a nceptual masterpiece that brought Gaye’s eply held spirual beliefs to the fore. Explorg issu rangg om poverty and discrimatn to the environment, dg abe, and polil rptn; chief among the rerd’s ncerns was the nflict Vietnam, as Gaye stctured the songs around the pot of view of his brother Frankie, himself a soldier recently returned om bat.

Gaye was vdited, when the majtic tle track reached the No. The album’s succs guaranteed Gaye’s ntued artistic ntrol over his work helped loosen the res for other Motown artists, most notably Stevie Wonr, to also take mand of their own sti.

ARTIST: MARV GAYE

Consequently, 1972, Gaye changed directns aga, agreeg to sre the blaxploatn thriller Trouble Man. The long-simmerg eroticism implic much of Gaye’s work reached s boilg pot wh 1973’s Let’s Get It On, one of the most sexually charged albums ever rerd.

MARV GAYE

Let’s Get It On also marked another signifint shift Gaye’s lyril outlook, movg him om the polil arena to a eply personal, even sular stance, which ntued to fe his subsequent work. The dissolutn of his marriage threw Gaye to a tailsp and he spent much of the mid-’70s divorce urt.

MARV GAYE'S 10 GREATT SONGS EVER, RANKED

To bat Gaye’s absence om the stud, Motown released the 1977 stopgap Live at the London Palladium, which spawned the sgle ‘Got to Give It Up, Pt. As a rult of a 1976 urt settlement, Gaye was orred to make good on missed alimony payments by rerdg a new album, wh the tentn that all royalti earned om s sal would then be award to his ex-wife.

The 1978 rerd, a two-LP set sardonilly entled Here, My Dear, bterly explored the uple’s relatnship such timate tail, that Anna Gordy briefly nsired sug Gaye for the vasn of privacy.