Marv Gaye & Tammi Terrell - Greatt Hs - Mic

Contents:

• MARV GAYE & TAMMI TERRELL: GREATT HS
• MARV GAYE & TAMMI TERRELL - GREATT HS
• MARV GAYE AND TAMMI TERRELL'S GREATT HS
• MARV GAYE & TAMMI TERRELL: GREATT HS/DIANA & MARV
• TAMMI TERRELL: THE TRAGIC LIFE STORY OF A MOTOWN SGER AND HOW MARV GAYE NEVER GOT OVER HER ATH
• MARV GAYE – 10 OF THE BT

MARV GAYE & TAMMI TERRELL: GREATT HS

Marv Gaye / Tammi Terrell. Aid by some excellent songs and productns by Nicholas Ashford and Valerie Simpson, Marv Gaye and Tammi Terrell set a high bar for duets that will be hard to surpass.

MARV GAYE & TAMMI TERRELL - GREATT HS

Marv Gaye & Tammi Terrell: Greatt Hs Review. This is actually a greatt hs LP for Marv Gaye and Tammi Terrell, and there's ltle more that needs to be said about the numbers -- the wrg of Ashford And Simpson and the vols of Gaye and Terrell were an epic llaboratn. Reviewed the Uned Stat on October 22, 2020I love this CD bee I love Marv Gaye and Tammi Terrel love this CD thanks Mary.

Gaye was also taken om this life far too soon. Marv Gaye & Tammi Terrell - Greatt Hs - Mic. 1970 greatt hs album by Marv Gaye & Tammi Terrell / From Wikipedia, the ee encyclopedia Marv Gaye and Tammi Terrell's Greatt Hs is a 1970 pilatn album released by Motown stars Marv Gaye and Tammi Terrell on the Tamla label.

MARV GAYE AND TAMMI TERRELL'S GREATT HS

Marv Gaye.

This two-fer LP, released 1973, ntaed two of Marv Gaye's duet albums, Marv Gaye & Tammi Terrell: Greatt Hs and Diana & Marv. Marv Gaye and Tammi Terrell sang together on many hs.

Tammi Terrell was one of the most popular sgers of Motown's early h factory the 1960s, particularly wh her duet partner and close iend Marv Gaye. Alongsi Gaye, Terrell sred several big hs, cludg 'A't No Mounta High Enough' 'A't Nothg Like the Real Thg' and 'You're All I Need to Get By'. A't No Mounta High Enough (extra HQ) - Marv Gaye & Tammi Terrell.

MARV GAYE & TAMMI TERRELL: GREATT HS/DIANA & MARV

Among her biggt hs clud:- I Cried- A't No Mounta High Enough (wh Marv Gaye)- Your Prec Love (wh Marv Gaye)- If I Could Build My Whole World Around You (wh Marv Gaye)- If This World Were Me (wh Marv Gaye)- A't Nothg Like the Real Thg (wh Marv Gaye)- You're All I Need to Get By (wh Marv Gaye)- Keep On Lov' Me Honey (wh Marv Gaye)- Good Lov' A't Easy to Come By (wh Marv Gaye)- Come On and See Me.

You're All I Need To Get By - Marv Gaye and Tammi Terrell.

When Tammi Terrell had bee a star, she ntued to suffer om migra and headach she had sce October 14, 1967, while performg 'Your Prec Love' wh Marv Gaye at Hampn–Sydney College, Virgia, she llapsed to Gaye's arms onstage.

TAMMI TERRELL: THE TRAGIC LIFE STORY OF A MOTOWN SGER AND HOW MARV GAYE NEVER GOT OVER HER ATH

Dpe her optimism, her tumour worsened, and need more 1969, Terrell had retired om live performanc on orrs by doctors and was too ill to rerd new was claimed that Valerie Simpson had to step for Terrell for her third album wh Gaye, Easy. Gaye later said this was "another moneymakg scheme on BG's [Berry Gordy's] part". However, Simpson claimed that the ailg Terrell was brought to the stud when she was strong enough to rerd over Simpson's gui 1969, Terrell ma her fal public appearance at the Apollo Theater, where Marv Gaye was performg.

When Gaye spotted Terrell, he shed to her si and the duo began sgg 'You're All I Need to Get By', and they were given a standg ovatn. Her funeral was held at the Jan Methodist Church the funeral, Gaye livered a fal logy while 'You're All I Need to Get By' was playg.

Acrdg to Terrell's fiancé Dr Ernt 'Ernie' Garrett, her mother angrily banned everyone at Motown om her funeral, except for Gaye, whom she felt was Terrell's clost iend. Marv Gaye never got over her ath.

MARV GAYE – 10 OF THE BT

Marv Gaye was known to have never fully got over Terrell's ath, acrdg to several has been stated that Terrell's ath saw Gaye go to a prsn and suffered om dg 's classic album What's Gog On was also part a reactn to Terrell's ath. Hch HikeMarv Pentz Gay Jr’s earlit experienc of sgg public me when he was three, performg as a part of his father’s church choir Washgton DC. Gaye ially showed no particular sire to bee an R&B performer, however, and stead strove to succeed as a jazz mician, perhaps bee of his agonisg shyns – a tra that was often evint throughout early live performanc.

Hch Hike was released as a dance song – Gaye rerd the dms and piano himself – showsg the sger’s soulful vol range.

Watch Marv Gaye perform Hch Hike on US televisn 19622.

A’t No Mounta High Enough (wh Tammi Terrell)After havg hs wh duets wh Mary Wells and Kim Wton, Gaye was teamed wh Tammi Terrell, who was hired pecially for the job, 1967. Between 1967 and 1969, Gaye and Terrell went on to rerd three albums together, and released a host of succsful sgl, most of which were also wrten by Ashford and Simpson.

Though their relatnship was purely platonic, Terrell’s impact on Gaye’s life and reer was immeasurable, and her ath led to him to prsn and dg abe – neher of which he ever tly overme, almost g him to qu mic. Gaye’s reactn to Terrell’s ath would also profoundly fluence his future work, particularly his trospective 1971 masterpiece: What’s Gog On. I Heard It Through The Grapeve Durg 1968, Motown worked on a new album wh Gaye, after a uple of years which he had released only sgl.

Though Gladys Knight & the Pips’ 1967 versn of I Heard Through the Grapeve had bee Motown’s biggt sellg sgle so far, Gaye’s rendn om those ssns provid his mercial breakthrough, givg him his first US No 1. Gaye’s paranoid terpretatn of the track is sensatnal, far more omo than Knight’s, wh s slower tempo and broodg vols.

The sgle was so succsful, fact, that Gaye’s 1968 album In the Groove was later reissued and retled I Heard It Through The Grapeve. What’s Gog OnWhat’s Gog On, om 1971, was the first album Gaye produced himself, and proved to be a stark ntrast to his back talogue, as he unveiled a social nscience. The rt of the Tops weren’t terted, but Benson nvced Gaye to take on.

Gaye adopted the song’s ial ncept and reworked , lyrilly and melodilly, addg his own personal experienc to the mix. The Vietnam war experienc of Gaye’s brother Frankie played a val role spirg the album’s overall ncept – the perspective of a veteran returng home to Ameri, only to be greeted by a plague of sufferg and to What’s Gog On by Marv Gaye5.

Mercy, Mercy Me (The Elogy)The send sgle om What’s Gog On, Mercy, Mercy Me (The Elogy), was wrten by Gaye, who also played piano and mellotron on the song. Gaye was mourng mankd’s mistreatment of the world, but also expandg his visn to clu the chemil weapons ed by the US ary Vietnam to stroy the vegetatn ed by the Vietng as ver and the rice paddi they relied on for food.

Sce s origal release, Mercy, Mercy Me has bee one of Gaye’s most famo rerdgs, and to mark the 20th anniversary of s release, 1991, Motown released a new vio for the song which featured gut appearanc om labelmat such as Smokey Robson, Stevie Wonr and Diana Ross. Built upon a bluy atmospheric groove, Inner Cy Blu is the product of a llaboratn between Gaye and Motown songwrer Jam Nyx Jr, who between them njured a timels posn that works as a tale of tratn about the state of Ameri’s ner ci, endg wh a reprise that harks back to the album’s openg.

Instead of beg dignant, Gaye’s livery of the track is both reflective and cynil – ankly discsg issu such as poverty and taxatn (“Money, we make / Before we see , you take ”), crime, lack of opportuny, and “trigger-happy policg”. Let’s Get It OnWhat’s Gog On was Gaye’s first top 10 album the US, rultg Motown offerg him a $1m ntract, makg him the hight-earng black rerdg artist yet, which also granted him a high gree of artistic ntrol. The first u of the al was Gaye’s soundtrack for the film Trouble Man, but he began to suffer om wrer’s block once the time to work on a new stud album me.

Townsend had wrten Let’s Get It On as a relig song after treatment for alholism, but Gaye reworked as a love anthem, the rnerstone of the sexually charged album gave s name to, which beme another huge h and cemented Gaye’s sex-symbol stat. The lyrics were spired by Janis Hunter – who would later bee Gaye’s wife and mother to two of his children – whom he met durg the ssns for the album. What’s most proment about Let’s Get It On, however, is the extraordarily smooth vol livery drenched wh both soul and passn, supported by Gaye’s own multi-tracked backg vols that add an extra Marv Gaye perform Let’s Get It On live Montrx, 1980.

For all the creative ntrol granted by his new ntract, Gaye later admted he felt phed to rerdg the album by the label. Gaye’s next solo effort, I Want You, arrived summer 1976 and showsed his return to his fort zone of sexually charged R&B, wh a set of songs that proved ntroversial on release for their raw tensy (Gaye had difficulti wh sexualy, bee of the censor attus of his abive father, who provid a tormented view on the subject through extreme Christian sect teachgs). Aga spired by his affair wh Janis Hunter, the album’s tle track featur spirual overton that hold the rnaly check, while Lat-spired percsn jos Gaye’s multi-layered vols, the track’s fg feature, to create a languid atmosphere that provis a fe troductn and sight to Gaye’s most sensual body of work.

Got To Give It UpSoon after the release of I Want You, Gaye embarked on his first European tour for more than 10 years. Rather than create a simple pop song, Gaye stead rerd a 12-mute dis parody track that b a sual party atmosphere wh a solid funk posn and falsetto lead vols that showse his astonishg vol range.

Marv Gaye performs Got To Give It Up on Soul Tra10.