Marv Gaye "Remake" Of Glenn Miller's "In The Mood"? - Crossword Clue Answers - Crossword Solver

Contents:

• MOODS OF MARV GAYE
• THE SOULFUL MOODS OF MARV GAYE
• 55 YEARS AGO: HOW ‘MOODS OF MARV GAYE’ CHANGED EVERYTHGNICK DERISONICK DERISOPUBLISHED: MAY 29, 2021MOTOWNSHARETWEETMARV GAYE ACTUALLY REVEALED HIMSELF AS MORE THAN THE TYPIL MOTOWN FACTORY DRONE WELL BEFORE 1971'S WHAT'S GOG ON. HE JT HADN'T QUE HARNSED THOSE AMBNS YET.A SIRE TO BREAK THE MOLD, TO NFOUND POPULAR MIC'S BUILT- EXPECTATNS, EVENTUALLY LED GAYE TO ANK MIL DISCSNS ABOUT WAR, THE ENVIRONMENT AND SOCIAL JTICE. WHEN MOODS OF MARV GAYE ARRIVED ON MAY 23, 1966, HOWEVER, HE WAS STILL ENGAGED THE AD-END PURSU OF BEG A CELEBRATED TERPRETER OF THE GREAT AMERIN SONGBOOK.IN SOME WAYS, MA SENSE. HE CERTALY HAD THE STYLE AND GRACE, AND SUCCS WH SOPHISTITED VERS OF AGELS FAVOR POPULARIZED BY THE LIK OF FRANK SATRA, BILLIE HOLIDAY AND NAT "KG" COLE WOULD HAVE PLACED HIM WELL OUTSI ANY R&B NVENTN."MARV ULD SG ANYTHG," MOODS OF MARV GAYE PRODUCER SMOKEY ROBSON TOLD ROLLG STONE 2010, "OM GOSPEL TO GUTBUCKET BLU TO JAZZ TO POP."THE PROBLEM IS HE WANTED TO, BUT DIENC WEREN'T ALL THAT TERTED. NEHER, OF URSE, WERE GAYE'S LABEL BOSS. SO, HE FOLLOWED UP 1965'S A TRIBUTE TO THE GREAT NAT "KG" COLE WH MOODS OF MARV GAYE, AN ALBUM THAT SPL THE DIFFERENCE. HE SANG SONGS BY ROBSON AND STEVIE WONR, WHILE ALSO VERG HAROLD ARLEN AND JOHNNY MERCER.IT QUICKLY BEME BTALLY OBV WHICH ON THE BUYG PUBLIC PREFERRED. GAYE HAD NO PROBLEMS WH THE OLD CHTNUT "ONE FOR MY BABY (AND ONE MORE FOR THE ROAD)" AND EVEN MORE FTLY HANDLED WILLIE NELSON'S TWILIGHT CLASSIC "NIGHT LIFE." BUT ONLY THE R&B STUFF H, AS ROBSON'S "A'T THAT PECULIAR" AND "I'LL BE DOGGONE" BEME GAYE'S FIRST LN SELLERS.LISTEN TO MARV GAYE'S 'A'T THAT PECULIAR'FOR ROBSON, THAT FELT ALMOST PREORDAED. SEEMS HE ALWAYS HAD GAYE MD FOR "A'T THAT PECULIAR": "WE WERE ON TOUR, AND [MIRACL BANDMATE MARV TARPL] ME TO ME BEE HE HAD THAT GUAR RIFF, WHICH I THOUGHT WAS AWOME," ROBSON LATER REMEMBERED. "AND WE WROTE THE SONG RIGHT THERE. IT WAS SPECIFILLY FOR HIM."THE SGLE BEME THE FIRST OF FOUR TOP 20 R&B-THEMED SMASH TO EMERGE OM MOODS OF MARV GAYE. ROBSON, WHO ALSO WROTE "ONE MORE HEARTACHE" (NO. 4) AND "TAKE THIS HEART OF ME" (NO. 16) FOR THE LP, ALREADY REGNIZED SOMETHG EPER MOVG BENEATH THE SURFACE WH GAYE."I SPENT A LOT OF TIME WAG FOR MARV," ROBSON TOLD ROLLG STONE. "SEE, MARV WAS BASILLY LATE G TO THE STUD ALL THE TIME. BUT I NEVER MD, BEE I KNEW THAT WHENEVER MARV DID GET THERE, HE WAS GOG TO SG MY SONG A WAY THAT I HAD NEVER IMAGED . HE WOULD 'MARVIZE' MY SONGS, AND I LOVED ."UNFORTUNATELY, "ONE FOR MY BABY" WAS JT AS QUICKLY FOTTEN – AND THGS WERE EVEN ROUGHER OUT ON THE ROAD. GAYE HAD BEGUN TO FOC MORE ON SUPPER CLUBS RATHER THAN TYPIL NCERT VENU GEARED TO YOUTH. HE WORE A TUXEDO, THE SARTORIAL MANNER OF MID-CENTURY CROONERS, FURTHER SEPARATG HIMSELF OM HIS SOUL-SGG ROOTS.FRANKIE GAYE'S MEMOIR MARV GAYE, MY BROTHER SET THE SCENE FOR A NTEMPORARY APPEARANCE AT BIMBO'S 365 CLUB SAN FRANCIS, AS MARV "STROLLED OUT LOOKG SO SUAVE A TOP HAT AND TAILS, OF ALL THGS, ACTG LIKE ROMEO BUT G ACROSS AS THE DAPPER DANS '30S MOVIE MILS."THAT ENGAGEMENT PRAGED WHAT GAYE MT HAVE IMAGED WOULD BEE A SIGNATURE MOMENT DURG HIS EXTEND STAND THAT AUGT AT THE COPABANA. LOTED ADJACENT TO CENTRAL PARK NEW YORK CY, THE POSH VENUE WELED GAYE'S SURPRISG PENCHANT FOR BARET MATERIAL, BUT THE MOTOWN STUFF WAS MORE LIKELY TO BE MET WH CUR STAR.A TERMED GAYE TOLD BILLBOARD 1966 THAT HE STILL FELT "VERY STRONGLY ABOUT R&B," BUT "I'D LIKE TO BEE KNOWN AS A MORE VERSATILE SGER." THE HEADLE, HOWEVER, SUMMED UP HIS MIL NUNDM: "GAYE, POPPG WH POP, KEEPS EYE ON 'FIRST LOVE.'"LISTEN TO MARV GAYE'S 'I'LL BE DOGGONE'IN TTH, HIS REER DIRECTN WAS ALREADY OBV: MOODS OF MARV GAYE, LIKE 1965'S HOW SWEET IT IS TO BE LOVED BY YOU, BEME A TOP 10 R&B H ALBUM WHILE SONGBOOK-FOCED PROJECTS CLUDG 1964'S HELLO BROADWAY FAILED TO CHART ANYWHERE. MOTOWN RERD GAYE'S 1966 DAT NEW YORK CY WH AN EYE TOWARD RELEASG A LIVE ALBUM BUT END UP SHELVG THE PROJECT FELY.CLEARLY STUNG, GAYE WOULD RERD A FEW OTHER NON-R&B TRACKS BUT NEVER RETURNED TO THE COPABANA. INSTEAD, HE RETREATED EPER TO THE STUD, FOCG ON DUETS WH TAMMI TERRELL THE N UP TO AN IAL CREATIVE BREAKTHROUGH WH 1968'S HEARTBROKEN AND MYSTER "I HEARD IT THROUGH THE GRAPEVE.""I'M NOT PECIALLY AN ENTERTAER," GAYE LATER ADMTED TO THE WASHGTON POST. "I'M AN ARTIST AND AN ENTERTAER, BUT THE TWO ARE PLETELY DIFFERENT. WH ONE I'M EXTREMELY HAPPY AND JOYFUL AND AT PEACE, AND WH THE OTHER I'M ANKLY OUT OF MY ELEMENT. ALTHOUGH I DO OKAY, I DO NICELY AND EVERYTHG, 'S NOT WHERE I GET MY BIGGT KICK."THIS IS WHERE HIS TE LEGACY WOULD SOON BE FED. GAYE WASN'T GOG TO SHAKE OFF MOTOWN'S SHACKL BY LOOKG BACKWARD TO SOME OF THE UNTRY'S MOST TREASURED STANDARDS, NO MATTER HOW TASTEFULLY DONE. (AND NO MATTER HOW UNNIABLY GREAT HE LOOKED A TUXEDO.) MARV GAYE WOULD HAVE TO DIG EPER, TO GET MORE REAL.JT AS CCIALLY, HOWEVER, HE'D ACHIEVE EEDOM ONLY THROUGH FAME. A PLATFORM OF SUCCS WAS NEED ORR TO LNCH ONE OF THE MOST REMARKABLE TRANSFORMATNS ALL OF MIC. GAYE NEED TO BEE UNNIABLE. IN MANY WAYS, THAT STARTED WH MOODS OF MARV GAYE – JT NOT THE TIME OR MANNER HE ONCE HOPED WOULD. PATIENCE FALLY PAID OFF WH WHAT'S GOG ON."MARV WAS MUCH MORE THAN JT A GREAT SGER. HE WAS A GREAT RERD MAKER, A GIFTED SONGWRER, A EP THKER — A REAL ARTIST THE TE SENSE," ROBSON TOLD ROLLG STONE. "MARV WAS ALWAYS WORTH THE WA." TOP 25 SOUL ALBUMS OF THE '70S
• [TR24][OF] MARV GAYE - THE SOULFUL MOODS OF MARV GAYE (REMASTERED) - 1961/2021 (VOL JAZZ, SOUL)
• MARV GAYE REMAKE OF GLENN MILLERS IN THE MOOD?WHILE SEARCHG OUR DATABASE WE FOUND 1 POSSIBLE SOLUTN FOR THE: MARV GAYE REMAKE OF GLENN MILLERS IN THE MOOD? CROSSWORD CLUE. THIS CROSSWORD CLUE WAS LAST SEEN ON JANUARY 22 2023 LA TIM CROSSWORD PUZZLE. THE SOLUTN WE HAVE FOR MARV GAYE REMAKE OF GLENN MILLERS IN THE MOOD? HAS A TOTAL OF 11 LETTERS. ANSWER
• BRISH ZOO HOP THAT MIC BY MARV GAYE WILL PUT MONKEYS THE MOOD
• EVERY GREAT MOTOWN H OF MARV GAYE
• THE UNTOLD TTH OF MARV GAYE
• MARV {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. HE PRODUCED HIS OWN RERDS AND OFTEN ADDRSED NTROVERSIAL {MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{LE-HEIGHT:1.6;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;FONT-FAY:RALAS,GEIA,TIM,SERIF;LOR:#323232;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: APR 19, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;--POSN:ABSOLUTE;HEIGHT:TO;} IMG{MAX-WIDTH:100%;HEIGHT:TO;} A{POSN:ABSOLUTE;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{BACKGROUND:#C92228;BOTTOM:0;PADDG:.5REM;RIGHT:0;}@MEDIA(M-WIDTH: 64REM){{PADDG:0.39REM;}}{DISPLAY:BLOCK;HEIGHT:1REM;WIDTH:1REM;}@MEDIA(M-WIDTH: 64REM){{WIDTH:1.063REM;HEIGHT:1.063REM;}}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{PADDG-RIGHT:0.3125REM;LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: NBCU PHOTO BANK/GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;}(1939-1984){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS MARV GAYE?MARV GAYE SANG HIS FATHER'S CHURCH AND THE MOONGLOWS BEFORE SIGNG WH MOTOWN. HE RERD SONGS BY SMOKEY ROBSON BEFORE BEG HIS OWN PRODUCER ON THE PROTT ALBUM WHAT'S GOG ON (1971). GAYE'S LATER RERDS VELOPED HIS PRODUCTN STYLE AND YIELD SEVERAL HS, CLUDG "LET'S GET IT ON," "SEXUAL HEALG" AND "I HEARD THROUGH THE GRAPEVE." GAYE WAS KILLED 1984 DURG A DOMTIC DISPUTE WH HIS FATHER.EARLY LIFESGER MARV PENTZ GAYE, JR., ALSO KNOWN AS THE "PRCE OF SOUL," WAS BORN WASHGTON, D.C., ON APRIL 2, 1939. GAYE WAS RAISED UNR THE STRICT NTROL OF HIS FATHER, REVEREND MARV GAY SR.—MARV GAYE JR. ADD THE "E" ON THE END OF HIS NAME LATER LIFE—THE MISTER AT A LOL CHURCH, AGAST A BLEAK BACKDROP OF WISPREAD VLENCE HIS NEIGHBORHOOD. THROUGHOUT HIS CHILDHOOD, GAYE OFTEN FOUND PEACE MIC, MASTERG THE PIANO AND DMS AT A YOUNG AGE. UNTIL HIGH SCHOOL, HIS SGG EXPERIENCE WAS LIMED TO CHURCH REVIVALS, BUT SOON HE VELOPED A LOVE FOR R&B AND DOO-WOP THAT WOULD SET THE FOUNDATN FOR HIS REER. IN THE LATE 1950S, GAYE JOED A VOL GROUP LLED THE NEW MOONGLOWS. THE TALENTED SGER HAD A PHENOMENAL RANGE THAT SPANNED THREE VOL STYL AND HE SOON IMPRSED THE GROUP'S FOUNR, HARVEY FUQUA. IT WASN'T LONG BEFORE GAYE AND FUQUA BOTH ME TO THE ATTENTN OF DETRO MIC IMPRAR {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}BERRY GORDY JR. AND WERE SIGNED TO GORDY'S LEGENDARY MOTOWN RERDS.MOTOWN RERDSGAYE'S FIRST CERTIFIED H UNR HIS OWN NAME WOULDN'T E UNTIL 1962, BUT HIS EARLY YEARS AT MOTOWN WERE FULL OF BEHD-THE-SCEN SUCCS. HE WAS A SSN DMMER FOR MOTOWN LEGENDS SUCH AS LTLE STEVIE WONR, THE SUPREM, THE MARVELETT AND MARTHA AND THE VANLLAS. SHOWG HIS STRIP AS MOTOWN'S RENAISSANCE MAN, GAYE WENT ON TO BREAK TO THE TOP 40 FOR THE FIRST TIME ON HIS OWN 1962 WH HIS SOLO SGLE "HCH HIKE." THROUGHOUT THE 1960S, GAYE WOULD SHOW HIS IMMENSE RANGE, CHURNG OUT SOLO DANCE HS AND ROMANTIC DUETS WH H-MAKERS LIKE DIANA ROSS AND MARY WELLS. "CAN I GET A WNS" AND "I HEARD THROUGH THE GRAPEVE" WERE SOME OF GAYE'S BIGGT HS OF THE PERD, THE LATTER ACHIEVG S PLACE AS MOTOWN'S BT-SELLG SGLE OF THE 1960S. FOR THREE HIGH-FLYG YEARS, GAYE AND TAMMI TERRELL WOWED THE UNTRY WH THEIR SOARG DUET PERFORMANC OF SONGS LIKE "A'T NO MOUNTA HIGH ENOUGH" AND "IF I COULD BUILD MY WHOLE WORLD AROUND YOU." UNFORTUNATELY, THEIR REIGN AS THE ROYAL COUPLE OF R&B END WHEN TERRELL SUCCUMBED TO A BRA TUMOR 1970. HIS BELOVED PARTNER'S ATH HERED A DARK PERD FOR THE SGER, WHO SWORE NEVER TO PARTNER WH ANOTHER FEMALE VOLIST AND THREATENED TO ABANDON THE STAGE FOR GOOD.POLIL MSAGEIN 1970, SPIRED BY LATG VLENCE AND POLIL UNRT OVER THE VIETNAM WAR, GAYE WROTE THE LANDMARK SONG "WHAT'S GOG ON." DPE CLASH WH MOTOWN OVER THE SONG'S CREATIVE DIRECTN, THE SGLE WAS RELEASED 1971 AND BEME AN STANT SMASH. ITS SUCCS PROMPTED GAYE TO TAKE EVEN MORE RISKS, BOTH MILLY AND POLILLY. WHEN WAS RELEASED THE SPRG OF 1971, THE WHAT'S GOG ON ALBUM SERVED TO OPEN GAYE UP TO NEW DIENC WHILE MATAG HIS MOTOWN FOLLOWG. DEPARTG OM THE TRIED AND TE MOTOWN FORMULA, GAYE WENT OUT ON HIS OWN ARTISTILLY, PAVG THE WAY FOR OTHER MOTOWN ARTISTS LIKE WONR AND MICHAEL JACKSON TO BRANCH OUT LATER YEARS. BEYOND FLUENCG HIS PEERS, THE ALBUM GARNERED WISPREAD CRIL ACCLAIM, WNG THE ROLLG STONE ALBUM OF THE YEAR AWARD.CROSSOVER SUCCSIN 1972, GAYE MOVED TO LOS ANGEL AND SOON MET JANIS HUNTER, WHO WOULD LATER BEE HIS SEND WIFE. INSPIRED PART BY HIS NEWFOUND PENNCE, GAYE RERD ONE OF THE MOST REVERED LOVE ANTHEMS OF ALL TIME, "LET'S GET IT ON." THE SONG BEME HIS SEND NO. 1 BILLBOARD H, CEMENTG HIS CROSSOVER APPEAL ONCE AND FOR ALL. SHORTLY AFTERWARDS, MOTOWN PHED GAYE TO TOURG TO PALIZE ON HIS MOST RECENT SUCCS; RELUCTANTLY THE SGER-SONGWRER RETURNED TO THE STAGE. THROUGH MOST OF THE MID-1970S, GAYE WAS TOURG, LLABORATG OR PRODUCG. WORKG WH DIANA ROSS AND THE MIRACL, HE PUT OFF RELEASG ANOTHER SOLO ALBUM UNTIL 1976. HE NTUED TOURG AFTER THE RELEASE OF I WANT YOU (1976) AND, AFTER SRG A NO. 1 H 1977 WH THE DANCE SGLE "GOT TO GIVE IT UP," RELEASED HIS LAST ALBUM FOR MOTOWN RERDS (HERE, MY DEAR) 1978. (DES LATER, "GOT TO GIVE IT UP" WOULD BEE THE CENTER OF A BIG NTROVERSY. IN 2013, GAYE'S TATE ASSERTED THAT PRODUCER/SONGWRER PHARRELL WILLIAMS AND SGER/SONGWRER ROB THICKE HAD MTED PYRIGHT GEMENT BY TAKG MAJOR MIL ELEMENTS OM THE DIS TRACK FOR THE MEGA-H "BLURRED L." AFTER A SE WHICH THICKE TTIFIED THAT HE'D HAD LTLE TO DO WH THE WRG OF THE SONG, THE JURY LED FAVOR OF GAYE'S FAY, WHO WERE AWARD $7.3 LN DAMAG AND PROF SHAR. THE JURY ALSO LED THAT NEHER WILLIAMS OR THICKE HAD PURPOSELY MTED GEMENT.) AFTER TWO S AT MOTOWN, GAYE SIGNED WH CBS'S COLUMBIA RERDS 1982 AND BEGAN TO WORK ON HIS LAST ALBUM, MIDNIGHT LOVE. THE LEAD SGLE OM THAT ALBUM, "SEXUAL HEALG," BEME A HUGE EBACK H FOR THE R&B STAR AND EARNED HIM HIS FIRST TWO GRAMMY AWARDS AND AN AMERIN MIC AWARD FOR FAVORE SOUL SGLE.PERSONAL LIFEIN 1975, GAYE'S WIFE ANNA GORDY—BERRY GORDY'S SISTER—FILED FOR DIVORCE, AND TWO YEARS LATER GAYE MARRIED HUNTER, WHO HAD BY THEN GIVEN BIRTH TO THEIR DGHTER, NONA (BORN SEPTEMBER 4, 1974) AND THEIR SON FRANKIE (BORN NOVEMBER 16, 1975). GAYE ALSO HAD AN ADOPTED SON (MARV PENTZ GAYE III) OM HIS PREV MARRIAGE. THE SGER'S MARRIAGE TO HUNTER PROVED SHORT LIVED AND TUMULTUO, ENDG DIVORCE 1981.DEATH AND LEGACYDPE HIS SUCCSFUL EBACK THE EARLY 1980S, GAYE STGGLED BADLY WH THE SUBSTANCE ABE AND BOUTS OF PRSN THAT HAD PLAGUED HIM FOR MOST OF HIS LIFE. AFTER HIS LAST TOUR, HE MOVED TO HIS PARENTS' HOE. THERE HE AND HIS FATHER FELL TO A PATTERN OF VLENT FIGHTS AND QUARRELS THAT RELLED NFLICTS THAT HAD HNTED THE FAY FOR S. ON APRIL 1, 1984, MARV GAYE SR. SHOT AND KILLED HIS SON AFTER A PHYSIL ALTERTN; THE FATHER CLAIMED HE ACTED SELF-FENSE BUT WOULD LATER BE NVICTED OF VOLUNTARY MANSLGHTER. THREE YEARS AFTER HIS ATH, GAYE WAS DUCTED TO THE ROCK AND ROLL HALL OF FAME. CREATG BETIFUL ART OM A TROUBLED LIFE, GAYE AGA AND AGA BROUGHT HIS VISN, RANGE AND ARTISTRY TO THE WORLD STAGE. AT THE END OF HIS REER, HE ADMTED HE NO LONGER MA MIC FOR PLEASURE; STEAD, HE SAID, "I RERD SO THAT I N FEED PEOPLE WHAT THEY NEED, WHAT THEY FEEL. HOPEFULLY, I RERD SO THAT I N HELP SOMEONE OVERE A BAD TIME."{BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;MARG:0.9375REM 0 0 0.625REM;PADDG:0 0 0 1.25REM;}@MEDIA(M-WIDTH: 48REM){{MARG:0.9375REM 0;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;} LI{PADDG-BOTTOM:0.625REM;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} LI::MARKER{LOR:#323232;}NAME: MARV GAYEBIRTH YEAR: 1939BIRTH DATE: APRIL 2, 1939BIRTH CY: WASHGTON, D. C.BIRTH COUNTRY: UNED STATGENR: MALEBT KNOWN FOR: MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. HE PRODUCED HIS OWN RERDS AND OFTEN ADDRSED NTROVERSIAL THEM.INDTRIPOPASTROLOGIL SIGN: ARIINTERTG FACTSBEFORE MAKG AS A SOLO ARTIST, MARV GAYE PLAYED DMS FOR ARTISTS SUCH AS STEVIE WONR AND THE SUPREM.DEATH YEAR: 1984DEATH DATE: APRIL 1, 1984DEATH STATE: CALIFORNIADEATH CY: LOS ANGELDEATH COUNTRY: UNED STATFACT CHECKWE STRIVE FOR ACCURACY AND YOU SEE SOMETHG THAT DON'T LOOK RIGHT,NTACT !CITATION INFORMATIONARTICLE TLE: MARV GAYE BGRAPHYAUTHOR: EDORSWEBSE NAME: THE WEBSEURL: ACCS DATE: PUBLISHER: A&E; TELEVISN NETWORKSLAST UPDATED: APRIL 19, 2021ORIGAL PUBLISHED DATE: APRIL 2, 2014QUOTES
• MARV GAYE "REMAKE" OF GLENN MILLER'S "IN THE MOOD"? CROSSWORD CLUE

MOODS OF MARV GAYE

After Marv Gaye rerd tribut to Broadway and Nat Kg Cole the prev two years, Motown fans may have had their spicns raised by an LP tled Moods of Marv Gaye. As for the pyrights not owned by Jobete, the chtnut "One for My Baby (And One More for the Road)" certaly didn't need another readg, but Gaye's take on Willie Nelson's after-hours classic "Night Life" was spired. Marv Gaye was improvg wh every rerd, gag character and strength of performance, and Moods of Marv Gaye is a radilly better rerd than s precsors.

That the years after the release of this album Marv Gaye beme one of the greatt and most fluential sgers the fields of soul and R&B is hardly a matter for discsn.

THE SOULFUL MOODS OF MARV GAYE

Fans of saloon sgg may be cur to know how well Gaye far this difficult genre, and for the most part the are fe performanc nsirg the versatile range of his voice and the pth of feelg he brought to most of his performanc. No, this is not Gaye wh a fully veloped style, and is hardly the novative legend of Let's Get It On or What's Gog On but there is nothg he uld have been embarrassed about here.

A sire to break the mold, to nfound popular mic's built- expectatns, eventually led Gaye to ank mil discsns about war, the environment and social jtice.

When Moods of Marv Gaye arrived on May 23, 1966, however, he was still engaged the ad-end pursu of beg a celebrated terpreter of the Great Amerin some ways, ma sense.

55 YEARS AGO: HOW ‘MOODS OF MARV GAYE’ CHANGED EVERYTHGNICK DERISONICK DERISOPUBLISHED: MAY 29, 2021MOTOWNSHARETWEETMARV GAYE ACTUALLY REVEALED HIMSELF AS MORE THAN THE TYPIL MOTOWN FACTORY DRONE WELL BEFORE 1971'S WHAT'S GOG ON. HE JT HADN'T QUE HARNSED THOSE AMBNS YET.A SIRE TO BREAK THE MOLD, TO NFOUND POPULAR MIC'S BUILT- EXPECTATNS, EVENTUALLY LED GAYE TO ANK MIL DISCSNS ABOUT WAR, THE ENVIRONMENT AND SOCIAL JTICE. WHEN MOODS OF MARV GAYE ARRIVED ON MAY 23, 1966, HOWEVER, HE WAS STILL ENGAGED THE AD-END PURSU OF BEG A CELEBRATED TERPRETER OF THE GREAT AMERIN SONGBOOK.IN SOME WAYS, MA SENSE. HE CERTALY HAD THE STYLE AND GRACE, AND SUCCS WH SOPHISTITED VERS OF AGELS FAVOR POPULARIZED BY THE LIK OF FRANK SATRA, BILLIE HOLIDAY AND NAT "KG" COLE WOULD HAVE PLACED HIM WELL OUTSI ANY R&B NVENTN."MARV ULD SG ANYTHG," MOODS OF MARV GAYE PRODUCER SMOKEY ROBSON TOLD ROLLG STONE 2010, "OM GOSPEL TO GUTBUCKET BLU TO JAZZ TO POP."THE PROBLEM IS HE WANTED TO, BUT DIENC WEREN'T ALL THAT TERTED. NEHER, OF URSE, WERE GAYE'S LABEL BOSS. SO, HE FOLLOWED UP 1965'S A TRIBUTE TO THE GREAT NAT "KG" COLE WH MOODS OF MARV GAYE, AN ALBUM THAT SPL THE DIFFERENCE. HE SANG SONGS BY ROBSON AND STEVIE WONR, WHILE ALSO VERG HAROLD ARLEN AND JOHNNY MERCER.IT QUICKLY BEME BTALLY OBV WHICH ON THE BUYG PUBLIC PREFERRED. GAYE HAD NO PROBLEMS WH THE OLD CHTNUT "ONE FOR MY BABY (AND ONE MORE FOR THE ROAD)" AND EVEN MORE FTLY HANDLED WILLIE NELSON'S TWILIGHT CLASSIC "NIGHT LIFE." BUT ONLY THE R&B STUFF H, AS ROBSON'S "A'T THAT PECULIAR" AND "I'LL BE DOGGONE" BEME GAYE'S FIRST LN SELLERS.LISTEN TO MARV GAYE'S 'A'T THAT PECULIAR'FOR ROBSON, THAT FELT ALMOST PREORDAED. SEEMS HE ALWAYS HAD GAYE MD FOR "A'T THAT PECULIAR": "WE WERE ON TOUR, AND [MIRACL BANDMATE MARV TARPL] ME TO ME BEE HE HAD THAT GUAR RIFF, WHICH I THOUGHT WAS AWOME," ROBSON LATER REMEMBERED. "AND WE WROTE THE SONG RIGHT THERE. IT WAS SPECIFILLY FOR HIM."THE SGLE BEME THE FIRST OF FOUR TOP 20 R&B-THEMED SMASH TO EMERGE OM MOODS OF MARV GAYE. ROBSON, WHO ALSO WROTE "ONE MORE HEARTACHE" (NO. 4) AND "TAKE THIS HEART OF ME" (NO. 16) FOR THE LP, ALREADY REGNIZED SOMETHG EPER MOVG BENEATH THE SURFACE WH GAYE."I SPENT A LOT OF TIME WAG FOR MARV," ROBSON TOLD ROLLG STONE. "SEE, MARV WAS BASILLY LATE G TO THE STUD ALL THE TIME. BUT I NEVER MD, BEE I KNEW THAT WHENEVER MARV DID GET THERE, HE WAS GOG TO SG MY SONG A WAY THAT I HAD NEVER IMAGED . HE WOULD 'MARVIZE' MY SONGS, AND I LOVED ."UNFORTUNATELY, "ONE FOR MY BABY" WAS JT AS QUICKLY FOTTEN – AND THGS WERE EVEN ROUGHER OUT ON THE ROAD. GAYE HAD BEGUN TO FOC MORE ON SUPPER CLUBS RATHER THAN TYPIL NCERT VENU GEARED TO YOUTH. HE WORE A TUXEDO, THE SARTORIAL MANNER OF MID-CENTURY CROONERS, FURTHER SEPARATG HIMSELF OM HIS SOUL-SGG ROOTS.FRANKIE GAYE'S MEMOIR MARV GAYE, MY BROTHER SET THE SCENE FOR A NTEMPORARY APPEARANCE AT BIMBO'S 365 CLUB SAN FRANCIS, AS MARV "STROLLED OUT LOOKG SO SUAVE A TOP HAT AND TAILS, OF ALL THGS, ACTG LIKE ROMEO BUT G ACROSS AS THE DAPPER DANS '30S MOVIE MILS."THAT ENGAGEMENT PRAGED WHAT GAYE MT HAVE IMAGED WOULD BEE A SIGNATURE MOMENT DURG HIS EXTEND STAND THAT AUGT AT THE COPABANA. LOTED ADJACENT TO CENTRAL PARK NEW YORK CY, THE POSH VENUE WELED GAYE'S SURPRISG PENCHANT FOR BARET MATERIAL, BUT THE MOTOWN STUFF WAS MORE LIKELY TO BE MET WH CUR STAR.A TERMED GAYE TOLD BILLBOARD 1966 THAT HE STILL FELT "VERY STRONGLY ABOUT R&B," BUT "I'D LIKE TO BEE KNOWN AS A MORE VERSATILE SGER." THE HEADLE, HOWEVER, SUMMED UP HIS MIL NUNDM: "GAYE, POPPG WH POP, KEEPS EYE ON 'FIRST LOVE.'"LISTEN TO MARV GAYE'S 'I'LL BE DOGGONE'IN TTH, HIS REER DIRECTN WAS ALREADY OBV: MOODS OF MARV GAYE, LIKE 1965'S HOW SWEET IT IS TO BE LOVED BY YOU, BEME A TOP 10 R&B H ALBUM WHILE SONGBOOK-FOCED PROJECTS CLUDG 1964'S HELLO BROADWAY FAILED TO CHART ANYWHERE. MOTOWN RERD GAYE'S 1966 DAT NEW YORK CY WH AN EYE TOWARD RELEASG A LIVE ALBUM BUT END UP SHELVG THE PROJECT FELY.CLEARLY STUNG, GAYE WOULD RERD A FEW OTHER NON-R&B TRACKS BUT NEVER RETURNED TO THE COPABANA. INSTEAD, HE RETREATED EPER TO THE STUD, FOCG ON DUETS WH TAMMI TERRELL THE N UP TO AN IAL CREATIVE BREAKTHROUGH WH 1968'S HEARTBROKEN AND MYSTER "I HEARD IT THROUGH THE GRAPEVE.""I'M NOT PECIALLY AN ENTERTAER," GAYE LATER ADMTED TO THE WASHGTON POST. "I'M AN ARTIST AND AN ENTERTAER, BUT THE TWO ARE PLETELY DIFFERENT. WH ONE I'M EXTREMELY HAPPY AND JOYFUL AND AT PEACE, AND WH THE OTHER I'M ANKLY OUT OF MY ELEMENT. ALTHOUGH I DO OKAY, I DO NICELY AND EVERYTHG, 'S NOT WHERE I GET MY BIGGT KICK."THIS IS WHERE HIS TE LEGACY WOULD SOON BE FED. GAYE WASN'T GOG TO SHAKE OFF MOTOWN'S SHACKL BY LOOKG BACKWARD TO SOME OF THE UNTRY'S MOST TREASURED STANDARDS, NO MATTER HOW TASTEFULLY DONE. (AND NO MATTER HOW UNNIABLY GREAT HE LOOKED A TUXEDO.) MARV GAYE WOULD HAVE TO DIG EPER, TO GET MORE REAL.JT AS CCIALLY, HOWEVER, HE'D ACHIEVE EEDOM ONLY THROUGH FAME. A PLATFORM OF SUCCS WAS NEED ORR TO LNCH ONE OF THE MOST REMARKABLE TRANSFORMATNS ALL OF MIC. GAYE NEED TO BEE UNNIABLE. IN MANY WAYS, THAT STARTED WH MOODS OF MARV GAYE – JT NOT THE TIME OR MANNER HE ONCE HOPED WOULD. PATIENCE FALLY PAID OFF WH WHAT'S GOG ON."MARV WAS MUCH MORE THAN JT A GREAT SGER. HE WAS A GREAT RERD MAKER, A GIFTED SONGWRER, A EP THKER — A REAL ARTIST THE TE SENSE," ROBSON TOLD ROLLG STONE. "MARV WAS ALWAYS WORTH THE WA." TOP 25 SOUL ALBUMS OF THE '70S

"Marv uld sg anythg, " Moods of Marv Gaye producer Smokey Robson told Rollg Stone 2010, "om gospel to gutbucket blu to jazz to pop. So, he followed up 1965's A Tribute to the Great Nat "Kg" Cole wh Moods of Marv Gaye, an album that spl the difference. Gaye had no problems wh the old chtnut "One for My Baby (And One More for the Road)" and even more ftly handled Willie Nelson's twilight classic "Night Life.

" But only the R&B stuff h, as Robson's "A't That Peculiar" and "I'll Be Doggone" beme Gaye's first ln to Marv Gaye's 'A't That Peculiar'For Robson, that felt almost preordaed. Seems he always had Gaye md for "A't That Peculiar": "We were on tour, and [Miracl bandmate Marv Tarpl] me to me bee he had that guar riff, which I thought was awome, " Robson later remembered. Frankie Gaye's memoir Marv Gaye, My Brother set the scene for a ntemporary appearance at Bimbo's 365 Club San Francis, as Marv "strolled out lookg so suave a top hat and tails, of all thgs, actg like Romeo but g across as the Dapper Dans '30s movie mils.

"That engagement praged what Gaye mt have imaged would bee a signature moment durg his extend stand that Augt at the Copabana. Loted adjacent to Central Park New York Cy, the posh venue weled Gaye's surprisg penchant for baret material, but the Motown stuff was more likely to be met wh cur star.

[TR24][OF] MARV GAYE - THE SOULFUL MOODS OF MARV GAYE (REMASTERED) - 1961/2021 (VOL JAZZ, SOUL)

A termed Gaye told Billboard 1966 that he still felt "very strongly about R&B, " but "I'd like to bee known as a more versatile sger. '"Listen to Marv Gaye's 'I'll Be Doggone'In tth, his reer directn was already obv: Moods of Marv Gaye, like 1965's How Sweet It Is to Be Loved by You, beme a Top 10 R&B h album while songbook-foced projects cludg 1964's Hello Broadway failed to chart anywhere. Gaye wasn't gog to shake off Motown's shackl by lookg backward to some of the untry's most treasured standards, no matter how tastefully done.

While a few of the songs here are very transparently built on the skeletons of others ("Ill Be Doggone" and "Mtang Sally", "You've Been a Long Time Comg" and "A Change Is Gonna Come"), Marv Gaye as a performer was strong enough to make the songs enjoyable and unique enough. The first si is a fairly basic Motown soul template cir 1966 and shows evince for Gaye's sire to beg penng his own work, while the flip is a much slower, lovelier affair. 7 logfile om Tuday 28 September 2021 05:43:59 PMFile: D:\Temp\Download\Marv Gaye - The Soulful Moods Of Marv Gaye - 1961-2021 (24-192)\01.

MARV GAYE REMAKE OF GLENN MILLERS IN THE MOOD?WHILE SEARCHG OUR DATABASE WE FOUND 1 POSSIBLE SOLUTN FOR THE: MARV GAYE REMAKE OF GLENN MILLERS IN THE MOOD? CROSSWORD CLUE. THIS CROSSWORD CLUE WAS LAST SEEN ON JANUARY 22 2023 LA TIM CROSSWORD PUZZLE. THE SOLUTN WE HAVE FOR MARV GAYE REMAKE OF GLENN MILLERS IN THE MOOD? HAS A TOTAL OF 11 LETTERS. ANSWER

1log date: 2021-09-28 17:49:36--------------------------------------------------------------------------------Analyzed: Marv Gaye / The Soulful Moods Of Marv Gaye--------------------------------------------------------------------------------DR Peak RMS Duratn Track--------------------------------------------------------------------------------DR10 -0. Known throughout the mid- and late ‘60s as “The Prce of Motown”, Marv Gaye won the hearts of untls fans for his soulful croong.

BRISH ZOO HOP THAT MIC BY MARV GAYE WILL PUT MONKEYS THE MOOD

Blsed wh a mellifluo tenor and a three-octave vol range, Gaye was one of the most nsistent and enigmatic of the Motown hmakers. Long unavailable on vyl, this qutsential llector’s edn clus the legendary sger’s magnificent but LPfor the Tamla label, The Soulful Moods Of Marv Gaye, pl 4 bon tracks, nsistg of sgl om the same album was rerd over two weeks and was issued on June 8, 1961. This is the material upon which his soul kgdom and unique personal style were the years after the release of this album Marv Gaye beme one of the greatt and most fluential sgers the fields of soul and R&B is hardly a matter for discsn.

EVERY GREAT MOTOWN H OF MARV GAYE

Would Marv Gaye have mataed his stat as one of the preement voic soul mic even amid the risg ti of hip-hop and harr edged R&B? While the other two artists mentned above make harr to make any absolute claims about their imaged futur, I thk ’s a ltle easier to image that Gaye would have found a way to thrive even while his peers were phed to mercial rndancy or started makg mic that felt beneath their abili. Gaye is one of the few Motown artists who me up through the ranks of that label’s star-makg system and ntued to evolve wh the tim up until his untimely ath one day shy of his 45th birthday.

After some dabblgs doo-wop early on, Gaye posned himself as a crooner of pop standards like “My Funny Valente” and “How High The Moon,” before quickly embracg the new sound of R&B and soul. If there’s any posive to be found amid all the legal clamor regardg the siari between “Got To Give It Up” and Rob Thicke’s “Blurred L,” ’s that ’s great to see Marv Gaye’s mic is still fluencg today’s artists and producers.

THE UNTOLD TTH OF MARV GAYE

Sgers like Michael Bublé and Robert Palmer have tried and failed to pture the gravas that Gaye brought to even the lightt of pop songs. An equally paful parture, and one that was perhaps more vastatg nsirg she was only 24 at the time of her passg, was Gaye’s equent duet partner Tammi Terrell. As fantastic as the two were on their own (and as Gaye was the pany of other female sgers like Mary Wells and Kim Wton), they seemed to brg somethg extra out of one another.

Each was spired by what they heard and saw the other — Terrell’s mand of a stage, Gaye’s knee-bucklg voice — and beme the clost of iends.

MARV {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. 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HE RERD SONGS BY SMOKEY ROBSON BEFORE BEG HIS OWN PRODUCER ON THE PROTT ALBUM WHAT'S GOG ON (1971). GAYE'S LATER RERDS VELOPED HIS PRODUCTN STYLE AND YIELD SEVERAL HS, CLUDG "LET'S GET IT ON," "SEXUAL HEALG" AND "I HEARD THROUGH THE GRAPEVE." GAYE WAS KILLED 1984 DURG A DOMTIC DISPUTE WH HIS FATHER.EARLY LIFESGER MARV PENTZ GAYE, JR., ALSO KNOWN AS THE "PRCE OF SOUL," WAS BORN WASHGTON, D.C., ON APRIL 2, 1939. GAYE WAS RAISED UNR THE STRICT NTROL OF HIS FATHER, REVEREND MARV GAY SR.—MARV GAYE JR. ADD THE "E" ON THE END OF HIS NAME LATER LIFE—THE MISTER AT A LOL CHURCH, AGAST A BLEAK BACKDROP OF WISPREAD VLENCE HIS NEIGHBORHOOD. THROUGHOUT HIS CHILDHOOD, GAYE OFTEN FOUND PEACE MIC, MASTERG THE PIANO AND DMS AT A YOUNG AGE. UNTIL HIGH SCHOOL, HIS SGG EXPERIENCE WAS LIMED TO CHURCH REVIVALS, BUT SOON HE VELOPED A LOVE FOR R&B AND DOO-WOP THAT WOULD SET THE FOUNDATN FOR HIS REER. IN THE LATE 1950S, GAYE JOED A VOL GROUP LLED THE NEW MOONGLOWS. THE TALENTED SGER HAD A PHENOMENAL RANGE THAT SPANNED THREE VOL STYL AND HE SOON IMPRSED THE GROUP'S FOUNR, HARVEY FUQUA. IT WASN'T LONG BEFORE GAYE AND FUQUA BOTH ME TO THE ATTENTN OF DETRO MIC IMPRAR {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}BERRY GORDY JR. AND WERE SIGNED TO GORDY'S LEGENDARY MOTOWN RERDS.MOTOWN RERDSGAYE'S FIRST CERTIFIED H UNR HIS OWN NAME WOULDN'T E UNTIL 1962, BUT HIS EARLY YEARS AT MOTOWN WERE FULL OF BEHD-THE-SCEN SUCCS. HE WAS A SSN DMMER FOR MOTOWN LEGENDS SUCH AS LTLE STEVIE WONR, THE SUPREM, THE MARVELETT AND MARTHA AND THE VANLLAS. SHOWG HIS STRIP AS MOTOWN'S RENAISSANCE MAN, GAYE WENT ON TO BREAK TO THE TOP 40 FOR THE FIRST TIME ON HIS OWN 1962 WH HIS SOLO SGLE "HCH HIKE." THROUGHOUT THE 1960S, GAYE WOULD SHOW HIS IMMENSE RANGE, CHURNG OUT SOLO DANCE HS AND ROMANTIC DUETS WH H-MAKERS LIKE DIANA ROSS AND MARY WELLS. "CAN I GET A WNS" AND "I HEARD THROUGH THE GRAPEVE" WERE SOME OF GAYE'S BIGGT HS OF THE PERD, THE LATTER ACHIEVG S PLACE AS MOTOWN'S BT-SELLG SGLE OF THE 1960S. FOR THREE HIGH-FLYG YEARS, GAYE AND TAMMI TERRELL WOWED THE UNTRY WH THEIR SOARG DUET PERFORMANC OF SONGS LIKE "A'T NO MOUNTA HIGH ENOUGH" AND "IF I COULD BUILD MY WHOLE WORLD AROUND YOU." UNFORTUNATELY, THEIR REIGN AS THE ROYAL COUPLE OF R&B END WHEN TERRELL SUCCUMBED TO A BRA TUMOR 1970. HIS BELOVED PARTNER'S ATH HERED A DARK PERD FOR THE SGER, WHO SWORE NEVER TO PARTNER WH ANOTHER FEMALE VOLIST AND THREATENED TO ABANDON THE STAGE FOR GOOD.POLIL MSAGEIN 1970, SPIRED BY LATG VLENCE AND POLIL UNRT OVER THE VIETNAM WAR, GAYE WROTE THE LANDMARK SONG "WHAT'S GOG ON." DPE CLASH WH MOTOWN OVER THE SONG'S CREATIVE DIRECTN, THE SGLE WAS RELEASED 1971 AND BEME AN STANT SMASH. ITS SUCCS PROMPTED GAYE TO TAKE EVEN MORE RISKS, BOTH MILLY AND POLILLY. WHEN WAS RELEASED THE SPRG OF 1971, THE WHAT'S GOG ON ALBUM SERVED TO OPEN GAYE UP TO NEW DIENC WHILE MATAG HIS MOTOWN FOLLOWG. DEPARTG OM THE TRIED AND TE MOTOWN FORMULA, GAYE WENT OUT ON HIS OWN ARTISTILLY, PAVG THE WAY FOR OTHER MOTOWN ARTISTS LIKE WONR AND MICHAEL JACKSON TO BRANCH OUT LATER YEARS. BEYOND FLUENCG HIS PEERS, THE ALBUM GARNERED WISPREAD CRIL ACCLAIM, WNG THE ROLLG STONE ALBUM OF THE YEAR AWARD.CROSSOVER SUCCSIN 1972, GAYE MOVED TO LOS ANGEL AND SOON MET JANIS HUNTER, WHO WOULD LATER BEE HIS SEND WIFE. INSPIRED PART BY HIS NEWFOUND PENNCE, GAYE RERD ONE OF THE MOST REVERED LOVE ANTHEMS OF ALL TIME, "LET'S GET IT ON." THE SONG BEME HIS SEND NO. 1 BILLBOARD H, CEMENTG HIS CROSSOVER APPEAL ONCE AND FOR ALL. SHORTLY AFTERWARDS, MOTOWN PHED GAYE TO TOURG TO PALIZE ON HIS MOST RECENT SUCCS; RELUCTANTLY THE SGER-SONGWRER RETURNED TO THE STAGE. THROUGH MOST OF THE MID-1970S, GAYE WAS TOURG, LLABORATG OR PRODUCG. WORKG WH DIANA ROSS AND THE MIRACL, HE PUT OFF RELEASG ANOTHER SOLO ALBUM UNTIL 1976. HE NTUED TOURG AFTER THE RELEASE OF I WANT YOU (1976) AND, AFTER SRG A NO. 1 H 1977 WH THE DANCE SGLE "GOT TO GIVE IT UP," RELEASED HIS LAST ALBUM FOR MOTOWN RERDS (HERE, MY DEAR) 1978. (DES LATER, "GOT TO GIVE IT UP" WOULD BEE THE CENTER OF A BIG NTROVERSY. IN 2013, GAYE'S TATE ASSERTED THAT PRODUCER/SONGWRER PHARRELL WILLIAMS AND SGER/SONGWRER ROB THICKE HAD MTED PYRIGHT GEMENT BY TAKG MAJOR MIL ELEMENTS OM THE DIS TRACK FOR THE MEGA-H "BLURRED L." AFTER A SE WHICH THICKE TTIFIED THAT HE'D HAD LTLE TO DO WH THE WRG OF THE SONG, THE JURY LED FAVOR OF GAYE'S FAY, WHO WERE AWARD $7.3 LN DAMAG AND PROF SHAR. THE JURY ALSO LED THAT NEHER WILLIAMS OR THICKE HAD PURPOSELY MTED GEMENT.) AFTER TWO S AT MOTOWN, GAYE SIGNED WH CBS'S COLUMBIA RERDS 1982 AND BEGAN TO WORK ON HIS LAST ALBUM, MIDNIGHT LOVE. THE LEAD SGLE OM THAT ALBUM, "SEXUAL HEALG," BEME A HUGE EBACK H FOR THE R&B STAR AND EARNED HIM HIS FIRST TWO GRAMMY AWARDS AND AN AMERIN MIC AWARD FOR FAVORE SOUL SGLE.PERSONAL LIFEIN 1975, GAYE'S WIFE ANNA GORDY—BERRY GORDY'S SISTER—FILED FOR DIVORCE, AND TWO YEARS LATER GAYE MARRIED HUNTER, WHO HAD BY THEN GIVEN BIRTH TO THEIR DGHTER, NONA (BORN SEPTEMBER 4, 1974) AND THEIR SON FRANKIE (BORN NOVEMBER 16, 1975). GAYE ALSO HAD AN ADOPTED SON (MARV PENTZ GAYE III) OM HIS PREV MARRIAGE. THE SGER'S MARRIAGE TO HUNTER PROVED SHORT LIVED AND TUMULTUO, ENDG DIVORCE 1981.DEATH AND LEGACYDPE HIS SUCCSFUL EBACK THE EARLY 1980S, GAYE STGGLED BADLY WH THE SUBSTANCE ABE AND BOUTS OF PRSN THAT HAD PLAGUED HIM FOR MOST OF HIS LIFE. AFTER HIS LAST TOUR, HE MOVED TO HIS PARENTS' HOE. THERE HE AND HIS FATHER FELL TO A PATTERN OF VLENT FIGHTS AND QUARRELS THAT RELLED NFLICTS THAT HAD HNTED THE FAY FOR S. ON APRIL 1, 1984, MARV GAYE SR. SHOT AND KILLED HIS SON AFTER A PHYSIL ALTERTN; THE FATHER CLAIMED HE ACTED SELF-FENSE BUT WOULD LATER BE NVICTED OF VOLUNTARY MANSLGHTER. THREE YEARS AFTER HIS ATH, GAYE WAS DUCTED TO THE ROCK AND ROLL HALL OF FAME. CREATG BETIFUL ART OM A TROUBLED LIFE, GAYE AGA AND AGA BROUGHT HIS VISN, RANGE AND ARTISTRY TO THE WORLD STAGE. AT THE END OF HIS REER, HE ADMTED HE NO LONGER MA MIC FOR PLEASURE; STEAD, HE SAID, "I RERD SO THAT I N FEED PEOPLE WHAT THEY NEED, WHAT THEY FEEL. HOPEFULLY, I RERD SO THAT I N HELP SOMEONE OVERE A BAD TIME."{BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;MARG:0.9375REM 0 0 0.625REM;PADDG:0 0 0 1.25REM;}@MEDIA(M-WIDTH: 48REM){{MARG:0.9375REM 0;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;} LI{PADDG-BOTTOM:0.625REM;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} LI::MARKER{LOR:#323232;}NAME: MARV GAYEBIRTH YEAR: 1939BIRTH DATE: APRIL 2, 1939BIRTH CY: WASHGTON, D. C.BIRTH COUNTRY: UNED STATGENR: MALEBT KNOWN FOR: MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. HE PRODUCED HIS OWN RERDS AND OFTEN ADDRSED NTROVERSIAL THEM.INDTRIPOPASTROLOGIL SIGN: ARIINTERTG FACTSBEFORE MAKG AS A SOLO ARTIST, MARV GAYE PLAYED DMS FOR ARTISTS SUCH AS STEVIE WONR AND THE SUPREM.DEATH YEAR: 1984DEATH DATE: APRIL 1, 1984DEATH STATE: CALIFORNIADEATH CY: LOS ANGELDEATH COUNTRY: UNED STATFACT CHECKWE STRIVE FOR ACCURACY AND YOU SEE SOMETHG THAT DON'T LOOK RIGHT,NTACT !CITATION INFORMATIONARTICLE TLE: MARV GAYE BGRAPHYAUTHOR: EDORSWEBSE NAME: THE WEBSEURL: ACCS DATE: PUBLISHER: A&E; TELEVISN NETWORKSLAST UPDATED: APRIL 19, 2021ORIGAL PUBLISHED DATE: APRIL 2, 2014QUOTES

As part of the proceedgs surroundg his divorce om his first wife Anna Gordy, Gaye agreed to give half of the money he would earn om his next album to his ex. Great as the whole thg is, the apex is this nearly eight-mute track that balanc his raw anger and rignatn at his ex draggg him through a nasty urt fight wh one of his more sensual vol performanc and a steamy backg track that ces three mut to a duet between Fernando Harkns’ tenor sax and Gaye’s Moog reports.

Gaye had yet to really start wrg songs, or at least start wrg songs that me om ep wh his person (sorry, “Hey Diddle Diddle”) by the time he rerd this. The origal is all punch and fire, but spired by the succs a few years earlier of “I Heard It Through The Grapeve,” Gaye and the Funk Brothers turn to the soulful show of support that songwrers Barrett Strong and Norman Whfield exprsed their lyrics.

But ’s a great showse for all of Gaye’s imprsive vol skills, lettg him growl and croon while reassurg all of that he’s had his heart broken a few too many tim.

MARV GAYE "REMAKE" OF GLENN MILLER'S "IN THE MOOD"? CROSSWORD CLUE

No song better pass the baton om Gaye’s ’60s swgg R&B era to the unbridled Aocentric/bodycentric funk/soul of the next than this track om Let’s Get It On.

If Gaye would have rerd six years or more earlier, also would have lacked that tone of speratn and angst that he brgs to his performance. Try as they might, no other volist uld be those two sensibili as Gaye do here, brgg to life the guy that you wanted to brg home to meet mom and then sneak off to the bathroom for a quickie before dner is served.

The same year that ssns began for this album, Wisns senator Gaylord Nelson clared the first Earth Day for April 22, 1970, a chance for U.S. Wh all that activism the air, ’s no wonr that Gaye wanted to addrs those same ncerns as part of a song cycle that explored what he saw as a broken and bleedg untry.

And goodns knows he’d given his heartach a platform many tim over songs like “Tears Of A Clown” and “Tracks Of My Tears.” What this song required was an earths and slight ht of bterns to give a tthful root to l like “The thgs you do and say are signed to make me blue / It’s a doggone shame my love for you mak all your li seem te.” For as sunny as he sgs , Gaye n’t hi the hurt he’s feelg. The story behd the succs of this song — and Gaye’s rendn of — is one of those tal that lovers of pop mic still marvel at to this day. Wrten by Whfield and Strong, “Grapeve” was rerd twice 1967: first by Gaye and later wh a funkier arrangement by Gladys Knight & The Pips.

When me to Gaye’s translatn, the label founr was reticent to put out another versn, stead optg to tuck away on the sger’s next album.