Marv Gaye - Live at the London Palladium Album Reviews, Songs & More | AllMic

Contents:

• MARV GAYE LIVE! (EXPAND EDN)
• MARV GAYE LIVE! (REMASTERED) MARV GAYE
• MARV GAYE LIVE!
• MARV GAYE
• 50 YEARS AFTER MARV GAYE ASKED, ‘WHAT’S GOG ON?’ AMERI STILL SEARCHG FOR AN ANSWER
• MARV GAYE LIVE! (REMASTERED) MARV GAYE
• WHY WASN’T MARV GAYE’S FATHER CONVICTED OF HIS MURR?

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.

MARV GAYE LIVE! (REMASTERED) MARV GAYE

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. 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.

MARV GAYE LIVE!

" 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.

MARV GAYE

Info for Marv Gaye Live!

Marv Gaye Live!

50 YEARS AFTER MARV GAYE ASKED, ‘WHAT’S GOG ON?’ AMERI STILL SEARCHG FOR AN ANSWER

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.

MARV GAYE LIVE! (REMASTERED) MARV GAYE

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.

WHY WASN’T MARV GAYE’S FATHER CONVICTED OF HIS MURR?

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. 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.

” 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. “What’s Gog On: Marv Gaye’s Anthem for the Ag, ” hosted by Don Lemon, buts Sunday at 8 p.