Marv Gaye - Classic Motown

Contents:

• MICHAEL JACKSON AND MARV GAYE PIANO/KEYBOARD PLAYER JOHN BARN HAS DIED, SAY REPORTS
• FIVE CLASSICS MOTOWN SONGS FEATURG MARV GAYE ON DMS
• MARV GAYE
• 'THE MAN WAS A GENI': TAL FROM MAKG MARV GAYE'S FAL ALBUM
• FRANKIE GAYE, 60; SGER’S WAR LETTERS INFLUENCED BROTHER’S H ’71 ALBUM
• SHOPALL POSTSARTMICHISTORYDIGNTHE MORE YOU KNOWLERATUREBIZARRESEARCHTHE FATAL RELATNSHIP BETWEEN MARV GAYE AND HIS DISTURBED FATHER
• MARV GAYE: HOW DEMONS TURNED HIS MIC TO HEAVENLY MASTERPIEC
• MARV GAYE

MICHAEL JACKSON AND MARV GAYE PIANO/KEYBOARD PLAYER JOHN BARN HAS DIED, SAY REPORTS

John Barn, who played piano and keyboards for the lik of Michael Jackson, Marv Gaye, Diana Ross and Lnel Richie, has died, acrdg to Los Angel, Barn picked up his first stment - a claret - at the age of six, but only took up piano aged 19. He beme mil director for The Miracl and played atic and Rhos piano wh Marv Gaye on the stud rerdgs that beme the classic 1976 album I Want got the ll om Michael Jackson 1982, after The Kg Of Pop heard one of his stud mos and asked to meet. When Marv Gaye first arrived Detro, he was a man still fdg his footg mic.

FIVE CLASSICS MOTOWN SONGS FEATURG MARV GAYE ON DMS

For Chigo, Gaye entered the halls of Motown Rerds wh the tentn of beg a jazz sger.

Label head Berry Gordy allowed Gaye to follow his ial path, but when his tradnal pop but failed to make a mercial impact, Gaye was put the artistic doghoe.

MARV GAYE

As a rult of his ial failure to kickstart a sgg reer, Gaye had to adapt orr to stay wh the Motown system. Although his primary stment later years would be the piano, Motown’s hoe band The Funk Brothers already had a number of talented pianists who were more advanced on the stment than Gaye was. What Motown really need was a dmmer, and sensg a way to get back Gordy’s good grac, Gaye picked up the sticks spe havg had ltle prr experience wh the dms.

'THE MAN WAS A GENI': TAL FROM MAKG MARV GAYE'S FAL ALBUM

Wh his natural sense of rhythm, Gaye was quickly able to pick up the basics of the dms and even began to rporate more advanced skills like dm roll and diments.

Gaye knew how to hold back orr to stay le wh Gordy’s assembly le attu, but he also was able to throw tertg hs that gave each of his performanc on the dms a different character and sound.

Gaye wouldn’t be stuck behd the k for long. But was his third sgle of 1962, ‘Stubborn Kd of Fool’, that gave Gaye enough succs to allow him to foc on sgg full time. Soon, Gaye would fd his niche sgg duets wh the lik of Mary Wells, Kim Wton, and Tammi Terrell.

FRANKIE GAYE, 60; SGER’S WAR LETTERS INFLUENCED BROTHER’S H ’71 ALBUM

Although Motown’s rerds on which Funk Brothers played which songs were notorly haphazard, there are a few verifiable s of Gaye playg the dms. We’re pickg out five of Gaye’s most memorable dm performanc durg his time the Funk Brothers to highlight how Marv Gaye was much more than jt a revolutnary sger. Here are some of Gaye’s most memorable dm performanc… Five Motown songs featurg Marv Gaye on dms: The Marvelett – ‘Please Mr.

SHOPALL POSTSARTMICHISTORYDIGNTHE MORE YOU KNOWLERATUREBIZARRESEARCHTHE FATAL RELATNSHIP BETWEEN MARV GAYE AND HIS DISTURBED FATHER

Postman’ If you want the cleart distillatn of Gaye’s remarkable skills on the dms, jt listen to The Marvelett’ all-time classic Motown h ‘Please Mr. Dpe beg relatively new to the stment, Gaye unleash a flurry of fills that were some of the bit and most ventive dm patterns ever laid down on a Motown rerd. It was also Gaye’s first number one song, settg a precent for Gaye’s future pop chart succs.

MARV GAYE: HOW DEMONS TURNED HIS MIC TO HEAVENLY MASTERPIEC

Stevie Wonr – ‘Fgertips’ Another number one h for Gaye pre-fame, ‘Fgertips’ reprents a rare post-1961 outg for Gaye behd the dm k. Gaye played on both the stud versn and the live versn of the track that eventually topped the charts the US.

MARV GAYE

Wonr rerd the live versn as part of Motown’s travellg package tour, on which Gaye was a lowly supportg act who still had to play the band orr to jtify beg clud the revue.

The Marvelett – ‘Beechwood 4-5789’ Gaye’s nnectn wh The Marvelett extend beyond his ial dmmg duti. Havg imprsed Gordy wh his micianship, Gaye was soon promoted to songwrg duti wh the Motown mache. Gaye was also let out of the doghoe 1962, rerdg the first songs unr his own name over a year.

One of Gaye’s first posns was ‘Beechwood 4-5789’, a most h for The Marvelett that he also took arrangg duti on. In orr to direct the band, Gaye stepped back behd the dm k to lead the rerdg ssn, buildg up his nfince as a lear the stud.

Martha and the Vanllas – ‘Dancg the Street’ Reprentg one of Motown’s most inic posns, Gaye -wrote ‘Dancg the Street’ wh two of Motown’s other -hoe songwrers, William ‘Mickey’ Stevenson and Ivy Jo Hunter. Dpe havg rerd his own h sgl by this pot, Gaye once aga took on a learship role the stud durg the rerdg, to the creasg nsternatn of Gordy. Steppg back behd the k for the first time nearly two years, Gaye is one of two dmmers who brg the song’s fect rhythms to life, wh the other beg percsnist Jack Ashford.

The Origals – ‘Baby, I’m For Real’ By 1969, Gaye had land his first solo number one h wh ‘I Heard It Thogh the Grapeve’. Now fully rigned om his prr duti as a stud mician, Gaye had enough pull to beg assertg his pennce om Gordy, lookg to make his mic more polil and personal.

Gaye ed his former backg sger The Origals as a bargag chip, assertg that he uld wre hs for them that would allow him to ntrol his own output. Gaye fulfilled his promise wh ‘Baby, I’m For Real’, which reprented the fal time that Gaye stepped behd the dm k on another artist’s mic.