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
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MARV GAYE
Listen to mic om Marv Gaye like A't No Mounta High Enough, What's Gog On & more. Fd the latt tracks, albums, and imag om Marv Gaye. * play marvin gaye music *
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Marv Gaye on Jango Rad | Songs, Vios, B.
In addn to beg a righteo prott sger and a funk pneer, Marv Gaye was Motown's great poet of love. In the '60s, Gaye ma you feel the sweetns of love and the power of votn, pecially on his strg of upliftg duets wh Tammi Terrell. In the '70s, Gaye's love songs grew more sensual and explic, but they're also eply spirual, shockgly personal, and tensely movg.
MARV GAYE: LOVE SONGS
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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. 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.
EVERY GREAT MOTOWN H OF MARV GAYE
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” 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.
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When Marv Gaye brought the tle track of 1971’s What’s Gog On to Motown founr Berry Gordy, Gordy reportedly said was the worst thg he’d ever heard. Gaye untered. Even Elvis was sgg prott songs (1969’s “In the Ghetto”)—why uldn’t Marv Gaye?
As Sly & The Fay Stone channeled their anger to to bter funk (1971’s There’s a Rt Go’ On), Gaye sublimated his lh strg sectns and Lat percsn—signals not jt of mil gentlens, but cultural sophistitn. The revelatn is that polil mic don’t have to be nontatnal— n be mellow and vg too, the provce not jt of radils, but the same mixed, middle-class dienc that had been buyg Gaye’s albums all along.
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You tch more fli wh honey than wh vegar, and as Gaye seems to say on What’s Gog On, you don’t have to be a hippie to be worried by what you see—you jt have to be human. Marv Gaye. Marv Gaye / Tammi Ter ….
Moods of Marv Gaye.
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