‎Marv Gaye Live! by Marv Gaye on Apple Mic

Contents:

• MARV GAYE LIVE! (EXPAND EDN)
• MARV GAYE LIVE!
• MARV GAYE LIVE!
• BT OF MARV GAYE: LIVE [DIRECT SOURCE]
• MARV GAYE LIVE! (REMASTERED) MARV GAYE

MARV GAYE LIVE! (EXPAND EDN)

Marv Gaye. Released durg Marv Gaye's two-and-a-half-year sabbatil followg the chart-toppg succs of Let's Get It On, Live!

From there Gaye mov toward an 11-mute medley of his '60s classics that across as almost a montage of nostalgia, evokg wistful memori of a more nocent and untated Marv. Regardls, 's still a great snapshot of Gaye at a key pot his reer -- the mid-'70s sabbatil om which he would never return que the same. A nearly 80-mute live album om 1977, Live at the London Palladium effectively prs most of Marv Gaye's numero reer highlights, makg a wonrful retrospective of the jtly mythologized soul sger's acplishments.

" Gaye performs wh a sense of exuberance no doubt fueled by the large, appreciative dience.

MARV GAYE LIVE!

Yet as timate as Gaye is while sgg, he's unniably unfortable when talkg: jt before begng his medley of '60s hs, he stumbl over his mumbled words, nfsg, "I'll tell you, I don't do this so good so, you know, I might jt stop and go right to the song. " The subtle between-song moments prove revealg retrospect, illtratg jt how shaken Gaye is at this troubled pot his reer.

In addn to beg historilly noteworthy, Live at the London Palladium also stands as the bt and most readily available portra of Gaye's live performanc -- a far different and more timate experience than his stud releas and one that every fan should experience. About “Marv Gaye Live! It's black wh four-lor photos of Marv Gaye actn, si ntas a sticker and a small button of the master full roar.

While the actual orig of the 1980 performance is doubt, Maroulis' ler not claim that spe other "reissu" -- bootlegs pure and simple -- of most of this same material beg creded to a gig Miami, this was impossible sce Gaye didn't live on the ntent and didn't tour here eher. Dpe the rather fancy packagg, this set remas one of the many Gaye sets of dub orig. Taken om live performanc, Direct Source's Bt of Marv Gaye: Live do clu many of the songs for which the sger was so revered and beloved, cludg "Let's Get It On, " "How Sweet It Is, " "What's Gog On, " and "Sexual Healg.

MARV GAYE LIVE!

Gaye's voice often sounds muted, and while the band sounds tight, aga, the sound qualy isn't exactly up to par to ntemporary rerdgs or remastergs. Gaye also clus some of his later, more dis-fluenc songs ("After the Dance" and "I Want You") and giv a new treatment to "I Heard It Through the Grapeve, " but none of this is enough to make up for what's lackg on Bt of Marv Gaye: Live.

BT OF MARV GAYE: LIVE [DIRECT SOURCE]

Lost somewhat the bounty of prevly unreleased material distributed across the luxe edns of Marv Gaye's 1971-1981 stud albums, this performance appeared totaly on the send disc for What's Gog On. Eighteen years later, newly mixed by John Moral, gets an appropriate separate release wh -pth ntextualizatn om Gaye bgrapher David Rz.

MARV GAYE LIVE! (REMASTERED) MARV GAYE

's Marv Gaye Day, the events of which culmated the reluctantly prent sger's first ncert four years.

They had ltle practice, and the gig self -- wh a humble and grac Gaye equently mentg and directg mil director Mrice Kg -- is basilly a rehearsal ont of a rapt and vol dience. The tempo on some of the hs is slowed to the pot of soundg tentative, settg the tone for the n-through of Gaye's year-old masterpiece. The set's emotnal peak is therefore reached early wh "Wholy Holy, " one of many stanc where Gaye's voice sounds unaffected by years away om the stage.

Almost two mut to "Inner Cy Blu, " Gaye cis that he wants to start over and "do real groovy. -- Gaye and pany keep rollg through improved rendns of "Inner Cy Blu" and "What's Gog On. Info for Marv Gaye Live!

Marv Gaye Live! Is the send live album issued by soul mician Marv Gaye. In 1973, Gaye released his greatt-sellg album, Let's Get It On, which ma him the biggt-sellg Motown artist durg his lifetime.

Motown Rerds, Gaye's label for over a , had long wanted Gaye to promote his rerdgs wh a natnal tour but the rebell sger, who had begun sufferg om stage ight after the llapse of his beloved sgg duet partner Tammi Terrell October 1967 and whom later died of a bra tumor two and a half years later March 1970, had refed to return to live performg only agreeg to do only at sporadic tim cludg when he was honored his hometown Washgton, D. But wh the succs of Let's Get It On and Gaye's now-creasg spendg hab, he reluctantly agreed to start tourg aga the begng of 1974.

After rchlg the ncert for January 4, 1974, at the Oakland Colism Arena, Gaye took the stage ont of 14, 000-pl screamg fans. Throughout his tours, Gaye began velopg performance anxiety and had feared the public receptn.

The biggt fan rponse on the album me when Gaye retooled his song, "Distant Lover", to a slower-paced versn startg the song out as he segued om "Theme om Trouble Man" (seventh track om his Trouble Man album) to the song self producg female shrieks, which kept up as Gaye ntued his show-stoppg performance of the song.

The performance soon beme a Gaye tramark onstage and the sger ntued to perform the song that siar style until his fal performanc the 1980s. Commercially, the album was a big succs and proved that, spe his fears, Gaye was still as nvcg as a live performer as he was as a rerdg artist durg the early-1970s. The live album earned Gaye his fifth Grammy Award nomatn for Bt Male R&B Vol Performance at the 17th Annual Grammy Awards, losg to "Boogie on Reggae Woman" by fellow Motown artist and close iend Stevie Wonr.

Brilliant, enigmatic, and headstrong, Marv Gaye was an novator. He was born Marv Pentz Gay Jr. Motown founr Berry Gordy enuraged Marv to sg R&B, and once Gaye sang the soulful (and tobgraphil) “Stubborn Kd Of Fellow” 1962, stardom enveloped him.

By 1968′s immortal “I Heard It Through The Grapeve, ” and on a seri of electrifyg duets wh Mary Wells, Kim Wton (“It Tak Two”), and his ultimate sgg partner, the ravishg but ill-fated Tammi Terrell (“A’t No Mounta High Enough, ” et al), Gaye was a mercial force.