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Marv Gaye, Amerin soul sger-songwrer-producer who, to a large extent, hered the era of artist-ntrolled popular mic of the 1970s. Among his h songs were ‘I Heard It Through the Grapeve,’ ‘A’t Nothg Like the Real Thg,’ ‘What’s Gog On,’ ‘Let’s Get It On,’ and ‘Sexual Healg.’

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MARV GAYE

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Marv Gaye, byname of Marv Pentz Gay, Jr., (born April 2, 1939, Washgton, D. Gaye sang his father’s Evangelil church Washgton, D. When doo-wop dissipated the late 1950s, Gaye had already absorbed Fuqua’s lsons close harmony.

After disbandg the Moonglows, Fuqua took the 20-year-old Gaye to Detro, where Berry Gordy, Jr., was formg Motown Rerds. Gaye, who also played dms and piano, bucked the Motown system and s emphasis on teen hs.

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Gaye also enjoyed a seri of succsful duets, most notably wh Tammi Terrell (“A’t Nothg Like the Real Thg” [1968]).

Blsed wh an exceptnally wi range that enpassed three distct vol styl—a piercg falsetto, a smooth mid-range tenor, and a ep gospel growl—Gaye bed great technil prows wh rare mil dividualy. Gaye also displayed dazzlg virtuosy by overdubbg (buildg sound track by track onto a sgle tape) his own voice three or four tim to provi his own rich harmony, a technique he would employ for the rt of his reer.

”Other major artists—most importantly Stevie Wonr—followed Gaye’s lead and acted as producer of their own efforts. In 1972 Gaye wrote the soundtrack for the film Trouble Man, wh lyrics that mirrored his own sense of secury.

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Let’s Get It On, released 1973, displayed Gaye’s sensuo si. Here, My Dear (1979) brilliantly alt wh Gaye’s divorce om Gordy’s sister Anna (the first of the sger’s two tumultuo divorc)’s growg addictn to e exacerbated his psychologil stggl.

On April 1, 1984, durg a fay dispute, Gaye iated a vlent fight wh his father, who shot him to ath.

Gaye, who ced his chief fluenc as Ray Charl, Cly McPhatter, Rudy Wt (lead sger for the doo-wop group the Five Keys), and Ltle Willie John, was ducted to the Rock and Roll Hall of Fame 1987.

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He received a Grammy Award for lifetime achievement an artist who employed urban soul mic to exprs social and personal ncerns, as well as a sger of exquise sensivy and romantic grace, Gaye left a legacy that has wined sce his mise, and his mic has bee a permanent fixture Amerin pop. 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... Free Marv Gaye sheet mic | Download PDF or prt on. Marv Gaye.

Here's the Marv Gaye stallment the Free Soul seri, released by Motown Japan 2002. While you'd have to make an effort to pick 21 tracks om Gaye's talog that don't make for a great listen, there are several pilatns of his that fall somewhere between beg good and bad troductns. Admtedly, this is a good way to bee somewhat faiar wh the era that saw Gaye bee a full-blown album artist.

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Marv Gaye was a sger and songwrer, known for his proment role the Motown rerd pany. C, and was raised by his father, Marv Gay, Sr, a mister, and his mother, Alberta Gay. As Marv began his mil reer, he was teased for his surname “Gay”, so he add an ‘E’ to the end of , which created distance between him and his father, who had a rocky relatnship.

Gaye was pronounced ad at the hospal, the day before his 45th birthday.

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Gaye’s father stated that he killed his son self-fense, did not know if the gun was load, and even said, “I didn’t mean to do .

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And Price’s rner, amid the televisn meras and cigar smoke, sat Price’s manager, Marv Gaye, feelg like his whole life was on the le. Gaye often spoke boxg metaphors, and 1979 — the wake of a stly divorce om his first wife, tranged om his send, gripped by e addictn, and badly bt to the IRS — the image of the pummeled prizefighter beme particularly potent to him.

Gaye’s relatnship to boxg wasn’t merely metaphoril. Highly petive and seemgly lnal about his abili — never md that the whole thg was meant to be a lark — Gaye was tent on actually boxg Ali.

In preparatn for the Ali “fight, ” Gaye traed at the Hoover Street Gym South Central Los Angel. But if his own limatns as a boxer were now clear, Gaye had at least found a way to stay the rg, or near : He’d bee the Hawk’s manager.

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Gaye’s partnership wh Price led to three victori, before Gaye sred Price that Vegas tle shot agast Leonard, boxg’s baby-face sensatn.

It was the biggt fight of Price’s reer, and jt as huge a moment for Gaye. A victory, Gaye believed, would turn his life around.

“I thk Marv suffered om this magil-thkg syndrome, ” says Rz, who met Gaye 1979. Though much has been wrten about Gaye’s downward spiral the late Seventi and early Eighti, about the rurgence of his reer the wake of “Sexual Healg, ” and his 1984 murr at the hands of his own father at the fay’s home, ltle has been wrten about this event.

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It’s a story that illtrat so much about Gaye — his fears, his misplaced ias of masculy, his charms, his abily to pull profundy out of pa, his celty, and his lns.

Gaye once said that when he managed fighters, when he really put his heart to them, was as if were he himself the rg. Gordy signed Gaye 1961, and the hs followed, one after another. But spe reachg dizzyg heights of succs together, the two were, as Gaye put , “sted to clash.

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” A lot of their troubl, Rz believed, stemmed om the ght relatnship Gaye had wh his father. Marv Gay Sr., a Pentestal mister, was physilly abive and suffered om alholism.

C., Gaye was huiated by his father’s double life, feelgs that led to a lifelong stggle wh his own masculy; he even add the “e” to his last name hop of dispellg mors about his sexualy. “Confn about manhood would bee another great theme Marv Gaye’s life, ” wrote Rz. Gaye’s relatnship wh Gordy was further plited when he, 24 at the time, married Gordy’s glamoro olr sister Anna, 41.

“Marryg a queen might not make me a kg, but at least I’d have a shot at beg prce, ” Gaye told Rz years later. Gaye was one of Motown’s most reliable hmakers throughout the Sixti, but wh 1971’s What’s Gog On, he beme somethg more: an ner-cy bard and soul mic’s social nscience.

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In fact, was at a ssn for Let’s Get It On that Gaye met Jan Hunter, a 17-year-old fan visg the stud.

The divorce proceedgs wh Anna, falized 1977, only add to Gaye’s fancial problems. There uldn’t have been a worse time for Gaye’s reer to nosedive.

In October 1978, Billboard ran a story revealg Gaye had recently filed for bankptcy, timatg his bts at $7 ln. As 1978 drew to a close, Gaye realized he’d have to h the road orr to dig himself out of bt.

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Unlimed ee Marv Gaye mic - Click to play A't No Mounta High Enough, What's Gog On and whatever else you want! Marv Pentz Gay, Jr. (April 2, 1939 – April 1, 1984), better known by his stage name Marv Gaye, w * free marvin gaye *

One night, he hopped on a CB rad to announce to strangers on the highway they were stuck traffic wh none other than Marv Gaye. Marv Gaye wh his wife Janice Gaye, Halloween 1977 Los Angel, California.

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Marv Gaye, Amerin soul sger-songwrer-producer who, to a large extent, hered the era of artist-ntrolled popular mic of the 1970s. Among his h songs were ‘I Heard It Through the Grapeve,’ ‘A’t Nothg Like the Real Thg,’ ‘What’s Gog On,’ ‘Let’s Get It On,’ and ‘Sexual Healg.’ * free marvin gaye *

In After the Dance, Jan chronicled the manipulative gam Gaye played when me to their sex life. Acrdg to Divid Soul, Gaye claimed Jan was the flh-and-blood maniftatn of a recurrg dream, which he watched as a young woman tnted him as she had sex wh other men. She’d go om man to man, g closer to me, movg away om me, ” said Gaye.

Penrgrass, steppg out om the shadow of Philly soul group Harold Melv and the Blue Not, strapped himself to the rocket that was the dis-soul craze of the late Seventi and experienced massive succs jt as Gaye’s reer was takg a downturn.

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