‘Everythg Marv Gaye do is sexy’: Kathy Sledge’s hont playlist | Mic | The Guardian

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• MARV {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. HE PRODUCED HIS OWN RERDS AND OFTEN ADDRSED NTROVERSIAL {LOR:#323232;MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;LE-HEIGHT:1.6;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:RALAS,GEIA,TIM,SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: APR 19, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;--POSN:ABSOLUTE;HEIGHT:TO;} IMG{MAX-WIDTH:100%;HEIGHT:TO;} A{POSN:ABSOLUTE;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{BACKGROUND:#C92228;BOTTOM:0;PADDG:.5REM;RIGHT:0;}@MEDIA(M-WIDTH: 64REM){{PADDG:0.39REM;}}{DISPLAY:BLOCK;HEIGHT:1REM;WIDTH:1REM;}@MEDIA(M-WIDTH: 64REM){{WIDTH:1.063REM;HEIGHT:1.063REM;}}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{LOR:#595959;PADDG-RIGHT:0.3125REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: NBCU PHOTO BANK/GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}(1939-1984){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS MARV GAYE?MARV GAYE SANG HIS FATHER'S CHURCH AND THE MOONGLOWS BEFORE SIGNG WH MOTOWN. HE RERD SONGS BY SMOKEY ROBSON BEFORE BEG HIS OWN PRODUCER ON THE PROTT ALBUM WHAT'S GOG ON (1971). GAYE'S LATER RERDS VELOPED HIS PRODUCTN STYLE AND YIELD SEVERAL HS, CLUDG "LET'S GET IT ON," "SEXUAL HEALG" AND "I HEARD THROUGH THE GRAPEVE." GAYE WAS KILLED 1984 DURG A DOMTIC DISPUTE WH HIS FATHER.EARLY LIFESGER MARV PENTZ GAYE, JR., ALSO KNOWN AS THE "PRCE OF SOUL," WAS BORN WASHGTON, D.C., ON APRIL 2, 1939. GAYE WAS RAISED UNR THE STRICT NTROL OF HIS FATHER, REVEREND MARV GAY SR.—MARV GAYE JR. ADD THE "E" ON THE END OF HIS NAME LATER LIFE—THE MISTER AT A LOL CHURCH, AGAST A BLEAK BACKDROP OF WISPREAD VLENCE HIS NEIGHBORHOOD. THROUGHOUT HIS CHILDHOOD, GAYE OFTEN FOUND PEACE MIC, MASTERG THE PIANO AND DMS AT A YOUNG AGE. UNTIL HIGH SCHOOL, HIS SGG EXPERIENCE WAS LIMED TO CHURCH REVIVALS, BUT SOON HE VELOPED A LOVE FOR R&B AND DOO-WOP THAT WOULD SET THE FOUNDATN FOR HIS REER. IN THE LATE 1950S, GAYE JOED A VOL GROUP LLED THE NEW MOONGLOWS. THE TALENTED SGER HAD A PHENOMENAL RANGE THAT SPANNED THREE VOL STYL AND HE SOON IMPRSED THE GROUP'S FOUNR, HARVEY FUQUA. IT WASN'T LONG BEFORE GAYE AND FUQUA BOTH ME TO THE ATTENTN OF DETRO MIC IMPRAR {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}BERRY GORDY JR. AND WERE SIGNED TO GORDY'S LEGENDARY MOTOWN RERDS.MOTOWN RERDSGAYE'S FIRST CERTIFIED H UNR HIS OWN NAME WOULDN'T E UNTIL 1962, BUT HIS EARLY YEARS AT MOTOWN WERE FULL OF BEHD-THE-SCEN SUCCS. HE WAS A SSN DMMER FOR MOTOWN LEGENDS SUCH AS LTLE STEVIE WONR, THE SUPREM, THE MARVELETT AND MARTHA AND THE VANLLAS. SHOWG HIS STRIP AS MOTOWN'S RENAISSANCE MAN, GAYE WENT ON TO BREAK TO THE TOP 40 FOR THE FIRST TIME ON HIS OWN 1962 WH HIS SOLO SGLE "HCH HIKE." THROUGHOUT THE 1960S, GAYE WOULD SHOW HIS IMMENSE RANGE, CHURNG OUT SOLO DANCE HS AND ROMANTIC DUETS WH H-MAKERS LIKE DIANA ROSS AND MARY WELLS. "CAN I GET A WNS" AND "I HEARD THROUGH THE GRAPEVE" WERE SOME OF GAYE'S BIGGT HS OF THE PERD, THE LATTER ACHIEVG S PLACE AS MOTOWN'S BT-SELLG SGLE OF THE 1960S. FOR THREE HIGH-FLYG YEARS, GAYE AND TAMMI TERRELL WOWED THE UNTRY WH THEIR SOARG DUET PERFORMANC OF SONGS LIKE "A'T NO MOUNTA HIGH ENOUGH" AND "IF I COULD BUILD MY WHOLE WORLD AROUND YOU." UNFORTUNATELY, THEIR REIGN AS THE ROYAL COUPLE OF R&B END WHEN TERRELL SUCCUMBED TO A BRA TUMOR 1970. HIS BELOVED PARTNER'S ATH HERED A DARK PERD FOR THE SGER, WHO SWORE NEVER TO PARTNER WH ANOTHER FEMALE VOLIST AND THREATENED TO ABANDON THE STAGE FOR GOOD.POLIL MSAGEIN 1970, SPIRED BY LATG VLENCE AND POLIL UNRT OVER THE VIETNAM WAR, GAYE WROTE THE LANDMARK SONG "WHAT'S GOG ON." DPE CLASH WH MOTOWN OVER THE SONG'S CREATIVE DIRECTN, THE SGLE WAS RELEASED 1971 AND BEME AN STANT SMASH. ITS SUCCS PROMPTED GAYE TO TAKE EVEN MORE RISKS, BOTH MILLY AND POLILLY. WHEN WAS RELEASED THE SPRG OF 1971, THE WHAT'S GOG ON ALBUM SERVED TO OPEN GAYE UP TO NEW DIENC WHILE MATAG HIS MOTOWN FOLLOWG. DEPARTG OM THE TRIED AND TE MOTOWN FORMULA, GAYE WENT OUT ON HIS OWN ARTISTILLY, PAVG THE WAY FOR OTHER MOTOWN ARTISTS LIKE WONR AND MICHAEL JACKSON TO BRANCH OUT LATER YEARS. BEYOND FLUENCG HIS PEERS, THE ALBUM GARNERED WISPREAD CRIL ACCLAIM, WNG THE ROLLG STONE ALBUM OF THE YEAR AWARD.CROSSOVER SUCCSIN 1972, GAYE MOVED TO LOS ANGEL AND SOON MET JANIS HUNTER, WHO WOULD LATER BEE HIS SEND WIFE. INSPIRED PART BY HIS NEWFOUND PENNCE, GAYE RERD ONE OF THE MOST REVERED LOVE ANTHEMS OF ALL TIME, "LET'S GET IT ON." THE SONG BEME HIS SEND NO. 1 BILLBOARD H, CEMENTG HIS CROSSOVER APPEAL ONCE AND FOR ALL. SHORTLY AFTERWARDS, MOTOWN PHED GAYE TO TOURG TO PALIZE ON HIS MOST RECENT SUCCS; RELUCTANTLY THE SGER-SONGWRER RETURNED TO THE STAGE. THROUGH MOST OF THE MID-1970S, GAYE WAS TOURG, LLABORATG OR PRODUCG. WORKG WH DIANA ROSS AND THE MIRACL, HE PUT OFF RELEASG ANOTHER SOLO ALBUM UNTIL 1976. HE NTUED TOURG AFTER THE RELEASE OF I WANT YOU (1976) AND, AFTER SRG A NO. 1 H 1977 WH THE DANCE SGLE "GOT TO GIVE IT UP," RELEASED HIS LAST ALBUM FOR MOTOWN RERDS (HERE, MY DEAR) 1978. (DES LATER, "GOT TO GIVE IT UP" WOULD BEE THE CENTER OF A BIG NTROVERSY. IN 2013, GAYE'S TATE ASSERTED THAT PRODUCER/SONGWRER PHARRELL WILLIAMS AND SGER/SONGWRER ROB THICKE HAD MTED PYRIGHT GEMENT BY TAKG MAJOR MIL ELEMENTS OM THE DIS TRACK FOR THE MEGA-H "BLURRED L." AFTER A SE WHICH THICKE TTIFIED THAT HE'D HAD LTLE TO DO WH THE WRG OF THE SONG, THE JURY LED FAVOR OF GAYE'S FAY, WHO WERE AWARD $7.3 LN DAMAG AND PROF SHAR. THE JURY ALSO LED THAT NEHER WILLIAMS OR THICKE HAD PURPOSELY MTED GEMENT.) AFTER TWO S AT MOTOWN, GAYE SIGNED WH CBS'S COLUMBIA RERDS 1982 AND BEGAN TO WORK ON HIS LAST ALBUM, MIDNIGHT LOVE. THE LEAD SGLE OM THAT ALBUM, "SEXUAL HEALG," BEME A HUGE EBACK H FOR THE R&B STAR AND EARNED HIM HIS FIRST TWO GRAMMY AWARDS AND AN AMERIN MIC AWARD FOR FAVORE SOUL SGLE.PERSONAL LIFEIN 1975, GAYE'S WIFE ANNA GORDY—BERRY GORDY'S SISTER—FILED FOR DIVORCE, AND TWO YEARS LATER GAYE MARRIED HUNTER, WHO HAD BY THEN GIVEN BIRTH TO THEIR DGHTER, NONA (BORN SEPTEMBER 4, 1974) AND THEIR SON FRANKIE (BORN NOVEMBER 16, 1975). GAYE ALSO HAD AN ADOPTED SON (MARV PENTZ GAYE III) OM HIS PREV MARRIAGE. THE SGER'S MARRIAGE TO HUNTER PROVED SHORT LIVED AND TUMULTUO, ENDG DIVORCE 1981.DEATH AND LEGACYDPE HIS SUCCSFUL EBACK THE EARLY 1980S, GAYE STGGLED BADLY WH THE SUBSTANCE ABE AND BOUTS OF PRSN THAT HAD PLAGUED HIM FOR MOST OF HIS LIFE. AFTER HIS LAST TOUR, HE MOVED TO HIS PARENTS' HOE. THERE HE AND HIS FATHER FELL TO A PATTERN OF VLENT FIGHTS AND QUARRELS THAT RELLED NFLICTS THAT HAD HNTED THE FAY FOR S. ON APRIL 1, 1984, MARV GAYE SR. SHOT AND KILLED HIS SON AFTER A PHYSIL ALTERTN; THE FATHER CLAIMED HE ACTED SELF-FENSE BUT WOULD LATER BE NVICTED OF VOLUNTARY MANSLGHTER. THREE YEARS AFTER HIS ATH, GAYE WAS DUCTED TO THE ROCK AND ROLL HALL OF FAME. CREATG BETIFUL ART OM A TROUBLED LIFE, GAYE AGA AND AGA BROUGHT HIS VISN, RANGE AND ARTISTRY TO THE WORLD STAGE. AT THE END OF HIS REER, HE ADMTED HE NO LONGER MA MIC FOR PLEASURE; STEAD, HE SAID, "I RERD SO THAT I N FEED PEOPLE WHAT THEY NEED, WHAT THEY FEEL. HOPEFULLY, I RERD SO THAT I N HELP SOMEONE OVERE A BAD TIME."{BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;MARG:0.9375REM 0 0 0.625REM;PADDG:0 0 0 1.25REM;}@MEDIA(M-WIDTH: 48REM){{MARG:0.9375REM 0;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;} LI{PADDG-BOTTOM:0.625REM;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} LI::MARKER{LOR:#323232;}NAME: MARV GAYEBIRTH YEAR: 1939BIRTH DATE: APRIL 2, 1939BIRTH CY: WASHGTON, D. C.BIRTH COUNTRY: UNED STATGENR: MALEBT KNOWN FOR: MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. HE PRODUCED HIS OWN RERDS AND OFTEN ADDRSED NTROVERSIAL THEM.INDTRIPOPASTROLOGIL SIGN: ARIINTERTG FACTSBEFORE MAKG AS A SOLO ARTIST, MARV GAYE PLAYED DMS FOR ARTISTS SUCH AS STEVIE WONR AND THE SUPREM.DEATH YEAR: 1984DEATH DATE: APRIL 1, 1984DEATH STATE: CALIFORNIADEATH CY: LOS ANGELDEATH COUNTRY: UNED STATFACT CHECKWE STRIVE FOR ACCURACY AND YOU SEE SOMETHG THAT DON'T LOOK RIGHT,NTACT !CITATION INFORMATIONARTICLE TLE: MARV GAYE BGRAPHYAUTHOR: EDORSWEBSE NAME: THE WEBSEURL: ACCS DATE: PUBLISHER: A&E; TELEVISN NETWORKSLAST UPDATED: APRIL 19, 2021ORIGAL PUBLISHED DATE: APRIL 2, 2014QUOTES
• HOW A 1979 BOXG MATCH BEME THE FIGHT OF MARV GAYE’S LIFE
• MARV GAYE
• YOU ARE EVERYTHGDIANA ROSS & MARV GAYETRACK 1 ON DIANA & MARV  PRODUCED BYHAL DAVISOCT. 26, 19731 VIEWER6.5K VIEWS8 CONTRIBUTORSYOU ARE EVERYTHG LYRICS[INTRO: MARV GAYE AND DIANA ROSS]OH, DARLGI WANT TO BE YOUR EVERYTHG TO YOUYOU ARE EVERYTHGOOH, OOH, YOU ARE EVERYTHG[VERSE 1: DIANA ROSS]TODAY I SAW SOMEBODYWHO LOOKED JT LIKE YOUHE WALKED LIKE YOU DOI THOUGHT WAS YOUAS HE TURNED THE RNERI LLED OUT YOUR NAMEI FELT SO ASHAMEDWHEN WASN'T YOUWASN'T YOU[CHOS: MARV GAYE, DIANA ROSS, AND BOTH]YOU ARE EVERYTHG (YOU ARE EVERYTHG)AND EVERYTHG IS YOUOH, YOU ARE EVERYTHGAND EVERYTHG IS YOUOH, YOU ARE EVERYTHGAND EVERYTHG IS YOUOH, HEYYOU MIGHT ALSO LIKE[VERSE 2: MARV GAYE]HOW N I FETWHEN EACH FACE THAT I SEEBRGS BACK MEMORIOF BEG WH YOU?OH, DARLG, I JT N'T GO ONLIVG LIFE AS I DOCOMPARG EACH GIRL WH YOUKNOWG THEY JT WON'T DOTHEY'RE NOT YOUNO, NO, BABY[CHOS: MARV GAYE, DIANA ROSS, AND BOTH]YOU ARE EVERYTHG (NO, YOU ARE EVERYTHG)AND EVERYTHG IS YOUOH, YOU ARE EVERYTHG (OOH, OOH)AND EVERYTHG IS YOU (YOU ARE EVERYTHG)OH, YOU ARE EVERYTHGAND EVERYTHG IS YOUEVERYTHG (YOU ARE)HONEY, EVERYTHG (YOU ARE EVERYTHG)EVERYTHG, BABY (OOH, YOU ARE EVERYTHG)HONEY, EVERYTHG IS YOUWOMAN, YOU (OH, OH)YOU ARE EVERYTHG MY LIFE TO ME (BOY, YOU ARE EVERY, EVERYTHG)EVERYTHG (OH OH, YOU ARE EVERYTHG)DARLG, EVERYTHG IS YOUBABY, YOU (OH, OH)YOU'RE EVERYTHG, EVERYTHG, WOMAN (OOH, YOU ARE)NO, BABY, EVERYTHG IS YOU (YOU ARE EVERYTHG)YOU ARE EVERYTHGAND EVERYTHG IS YOUEVERYTHG (YOU ARE EVERYTHG)OH, AND EVERYTHG IS YOU2EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUTHAVE THE SI SOP ON THIS SONG?SIGN UP AND DROP SOME KNOWLEDGESTART THE SONG BASK A QUTN ABOUT THIS SONGASK A QUTN *‌WHO PRODUCED “YOU ARE EVERYTHG” BY DIANA ROSS & MARV GAYE?WHEN DID DIANA ROSS & MARV GAYE RELEASE “YOU ARE EVERYTHG”?WHO WROTE “YOU ARE EVERYTHG” BY DIANA ROSS & MARV GAYE?DIANA & MARV (1973)DIANA ROSS & MARV GAYE1. YOU ARE EVERYTHG2. LOVE TWS3. DON’T KNOCK MY LOVE4. YOU’RE A SPECIAL PART OF ME5. PLEDGG MY LOVE6. JT SAY, JT SAY7. STOP, LOOK, LISTEN (TO YOUR HEART)8. I’M FALLG LOVE WH YOU9. MY MISTAKE (WAS TO LOVE YOU)10. INCLU ME YOUR LIFE11. ALONE (MISSG LYRICS)12. THE THGS I WILL NOT MISS13. I’VE COME TO LOVE YOU SO MUCH14. I’LL KEEP MY LIGHT MY WDOWEXPAND CREDSPRODUCED BYHAL DAVISWRTEN BYLDA CREED & THOM BELLLEAD VOLSDIANA ROSS & MARV GAYEARRANGERDAVE BLUMBERGRERDG ENGEERCAL HARRIS & ART STEWARTMIXG ENGEERRS TERRANARERD ATMOTOWN RERDG STUDS (HOLLYWOOD)RELEASE DATEOCTOBER 26, 1973YOU ARE EVERYTHG IS A COVER OFYOU ARE EVERYTHG BY THE STYLISTICSTAGSR&BPOPCOVERSOUL POPSOULEXPAND COMMENTSADD A MENTSIGN UP AND DROP KNOWLEDGE ?GENI IS THE ULTIMATE SOURCE OF MIC KNOWLEDGE, CREATED BY SCHOLARS LIKE YOU WHO SHARE FACTS AND SIGHT ABOUT THE SONGS AND ARTISTS THEY LOVE.SIGN UPGENI IS THE WORLD’S BIGGT LLECTN OF SONG LYRICS AND MIL KNOWLEDGE
• 50 YEARS AFTER MARV GAYE ASKED, ‘WHAT’S GOG ON?’ AMERI STILL SEARCHG FOR AN ANSWER
• WHAT’S GOG ONMARV GAYETRACK 1 ON WHAT’S GOG ON PRODUCED BYMARV GAYEWHAT’S GOG ON IS AN EXQUISE PLEA FOR PEACE ON EARTH, SUNG BY A MAN AT THE HEIGHT OF CRISIS. IN 1970, MARV GAYE WAS MOTOWN’S TOP MALE VOL STAR, YET HE WAS TRATED… READ MORE JAN. 17, 19711 VIEWER587.3K VIEWS85 CONTRIBUTORSWHAT’S GOG ON LYRICS[INTRO]HEY, HEY-HEYHEY, WHAT'S HAPPEN'?HEY, BROTHER, WHAT'S HAPPEN'?BOY, THIS IS A GROOVY PARTY (HEY, HOW YOU DO'?)MAN, I N DIG YEAH, BROTHER, SOLID, RIGHT ONWHAT'S HAPPEN'?HEY, MAN, WHAT'S HAPPENG?WOOEVERYTHG IS EVERYTHGWE'RE GONNA DO A GET DOWN TODAY, BOY, I'LL TELL YA[VERSE 1]MOTHER, MOTHERTHERE'S TOO MANY OF YOU CRYGBROTHER, BROTHER, BROTHERTHERE'S FAR TOO MANY OF YOU DYGYOU KNOW WE'VE GOT TO FD A WAYTO BRG SOME LOVG HERE TODAY, YEAH[VERSE 2]FATHER, FATHERWE DON'T NEED TO LATEYOU SEE, WAR IS NOT THE ANSWERFOR ONLY LOVE N NQUER HATEYOU KNOW WE'VE GOT TO FD A WAYTO BRG SOME LOVG HERE TODAY, OH (OH)YOU MIGHT ALSO LIKE[CHOS]PICKET L (SISTER) AND PICKET SIGNS (SISTER)DON'T PUNISH ME (SISTER) WH BTALY (SISTER)TALK TO ME (SISTER), SO YOU N SEE (SISTER)OH, WHAT'S GOG ON (WHAT'S GOG ON)WHAT'S GOG ON (WHAT'S GOG ON)YEAH, WHAT'S GOG ON (WHAT'S GOG ON)OH, WHAT'S GOG ON[POST-CHOS]AH-AH-AH-AH (IN THE MEANTIME, RIGHT ON, BABY)WOO (RIGHT ON, BABY), WOOAH-YA-YA-YA-YA-YA-YA, YA-YA-YA-YA-YAWOO (RIGHT ON, BABY, RIGHT ON), WOOAH-YA-YA-YA-YA-YA-YA-YA-YA-YA-YA-YABA-DA-BOO-DOO, BOO-BOO-BOO-DOO, BOO-BOO-BOOBA-DA-BOO-BOO-BOO-DOO, BOO-BOO-BOO-BA-BA-DO[VERSE 3]MOTHER, MOTHEREVERYBODY THKS WE'RE WRONGOH, BUT WHO ARE THEY TO JUDGE SIMPLY 'E OUR HAIR IS LONG?OH, YOU KNOW WE'VE GOT TO FD A WAYTO BRG SOME UNRSTANDG HERE TODAY, OH-OH[CHOS]PICKET L (BROTHER) AND PICKET SIGNS (BROTHER)DON'T PUNISH ME (BROTHER) WH BTALY (BROTHER)COME ON, TALK TO ME (BROTHER), SO YOU N SEE (BROTHER)OH, WHAT'S GOG ON (WHAT'S GOG ON)YEAH, WHAT'S GOG ON (WHAT'S GOG ON)TELL ME WHAT'S GOG ON (WHAT'S GOG ON)I'LL TELL YOU WHAT'S GOG ON (WHAT'S GOG ON)[POST-CHOS]WOO-OOH-OOH-OOH (RIGHT ON, BABY, RIGHT ON)AH-YA-YA-YA-YA-YA-YA, YA-YA-YA-YA-YA-YA-YAWOO, WOO (RIGHT ON)AH-YA-YA-YA-YA-YA-YA-YA-YA-YA-YA-YABA-DA-BOO-DOO, BOO-BOO-BOO-DOOBA-DA-BOO-BOO-BOO-DOO, BA-DA-DA-DA-DA-DA-DA[OUTRO]WOO (RIGHT ON, BABY, E ON, RIGHT ON)AH-YA-YA-YA-YA-YA-YA-YA-YA-YA-YAWOO (RIGHT ON)LISTEN, AH-YA-YA-YA-YA-YA-YA-YADA-BOO-DOO, BOO-BOO-BOO-DOODA-BOO-BOO-DOO, BOO-BOO-BOO49EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUT
• THE GUI TO GETTG INTO MARV GAYE'S GENI
• REMEMBERG MARV GAYE'S INIC 'WHAT'S GOG ON'
• WHAT’S GOG ON AT 50: MARV GAYE’S MASTERPIECE IS STILL SO TE TO LIFE
• HOW DID MARV GAYE DIE? INSI THE MOTOWN LEGEND’S MURR
• MARV GAYE'S 10 GREATT SONGS EVER, RANKED
• 55 YEARS AGO: HOW ‘MOODS OF MARV GAYE’ CHANGED EVERYTHGNICK DERISONICK DERISOPUBLISHED: MAY 29, 2021MOTOWNSHARETWEETMARV GAYE ACTUALLY REVEALED HIMSELF AS MORE THAN THE TYPIL MOTOWN FACTORY DRONE WELL BEFORE 1971'S WHAT'S GOG ON. HE JT HADN'T QUE HARNSED THOSE AMBNS YET.A SIRE TO BREAK THE MOLD, TO NFOUND POPULAR MIC'S BUILT- EXPECTATNS, EVENTUALLY LED GAYE TO ANK MIL DISCSNS ABOUT WAR, THE ENVIRONMENT AND SOCIAL JTICE. WHEN MOODS OF MARV GAYE ARRIVED ON MAY 23, 1966, HOWEVER, HE WAS STILL ENGAGED THE AD-END PURSU OF BEG A CELEBRATED TERPRETER OF THE GREAT AMERIN SONGBOOK.IN SOME WAYS, MA SENSE. HE CERTALY HAD THE STYLE AND GRACE, AND SUCCS WH SOPHISTITED VERS OF AGELS FAVOR POPULARIZED BY THE LIK OF FRANK SATRA, BILLIE HOLIDAY AND NAT "KG" COLE WOULD HAVE PLACED HIM WELL OUTSI ANY R&B NVENTN."MARV ULD SG ANYTHG," MOODS OF MARV GAYE PRODUCER SMOKEY ROBSON TOLD ROLLG STONE 2010, "OM GOSPEL TO GUTBUCKET BLU TO JAZZ TO POP."THE PROBLEM IS HE WANTED TO, BUT DIENC WEREN'T ALL THAT TERTED. NEHER, OF URSE, WERE GAYE'S LABEL BOSS. SO, HE FOLLOWED UP 1965'S A TRIBUTE TO THE GREAT NAT "KG" COLE WH MOODS OF MARV GAYE, AN ALBUM THAT SPL THE DIFFERENCE. HE SANG SONGS BY ROBSON AND STEVIE WONR, WHILE ALSO VERG HAROLD ARLEN AND JOHNNY MERCER.IT QUICKLY BEME BTALLY OBV WHICH ON THE BUYG PUBLIC PREFERRED. GAYE HAD NO PROBLEMS WH THE OLD CHTNUT "ONE FOR MY BABY (AND ONE MORE FOR THE ROAD)" AND EVEN MORE FTLY HANDLED WILLIE NELSON'S TWILIGHT CLASSIC "NIGHT LIFE." BUT ONLY THE R&B STUFF H, AS ROBSON'S "A'T THAT PECULIAR" AND "I'LL BE DOGGONE" BEME GAYE'S FIRST LN SELLERS.LISTEN TO MARV GAYE'S 'A'T THAT PECULIAR'FOR ROBSON, THAT FELT ALMOST PREORDAED. SEEMS HE ALWAYS HAD GAYE MD FOR "A'T THAT PECULIAR": "WE WERE ON TOUR, AND [MIRACL BANDMATE MARV TARPL] ME TO ME BEE HE HAD THAT GUAR RIFF, WHICH I THOUGHT WAS AWOME," ROBSON LATER REMEMBERED. "AND WE WROTE THE SONG RIGHT THERE. IT WAS SPECIFILLY FOR HIM."THE SGLE BEME THE FIRST OF FOUR TOP 20 R&B-THEMED SMASH TO EMERGE OM MOODS OF MARV GAYE. ROBSON, WHO ALSO WROTE "ONE MORE HEARTACHE" (NO. 4) AND "TAKE THIS HEART OF ME" (NO. 16) FOR THE LP, ALREADY REGNIZED SOMETHG EPER MOVG BENEATH THE SURFACE WH GAYE."I SPENT A LOT OF TIME WAG FOR MARV," ROBSON TOLD ROLLG STONE. "SEE, MARV WAS BASILLY LATE G TO THE STUD ALL THE TIME. BUT I NEVER MD, BEE I KNEW THAT WHENEVER MARV DID GET THERE, HE WAS GOG TO SG MY SONG A WAY THAT I HAD NEVER IMAGED . HE WOULD 'MARVIZE' MY SONGS, AND I LOVED ."UNFORTUNATELY, "ONE FOR MY BABY" WAS JT AS QUICKLY FOTTEN – AND THGS WERE EVEN ROUGHER OUT ON THE ROAD. GAYE HAD BEGUN TO FOC MORE ON SUPPER CLUBS RATHER THAN TYPIL NCERT VENU GEARED TO YOUTH. HE WORE A TUXEDO, THE SARTORIAL MANNER OF MID-CENTURY CROONERS, FURTHER SEPARATG HIMSELF OM HIS SOUL-SGG ROOTS.FRANKIE GAYE'S MEMOIR MARV GAYE, MY BROTHER SET THE SCENE FOR A NTEMPORARY APPEARANCE AT BIMBO'S 365 CLUB SAN FRANCIS, AS MARV "STROLLED OUT LOOKG SO SUAVE A TOP HAT AND TAILS, OF ALL THGS, ACTG LIKE ROMEO BUT G ACROSS AS THE DAPPER DANS '30S MOVIE MILS."THAT ENGAGEMENT PRAGED WHAT GAYE MT HAVE IMAGED WOULD BEE A SIGNATURE MOMENT DURG HIS EXTEND STAND THAT AUGT AT THE COPABANA. LOTED ADJACENT TO CENTRAL PARK NEW YORK CY, THE POSH VENUE WELED GAYE'S SURPRISG PENCHANT FOR BARET MATERIAL, BUT THE MOTOWN STUFF WAS MORE LIKELY TO BE MET WH CUR STAR.A TERMED GAYE TOLD BILLBOARD 1966 THAT HE STILL FELT "VERY STRONGLY ABOUT R&B," BUT "I'D LIKE TO BEE KNOWN AS A MORE VERSATILE SGER." THE HEADLE, HOWEVER, SUMMED UP HIS MIL NUNDM: "GAYE, POPPG WH POP, KEEPS EYE ON 'FIRST LOVE.'"LISTEN TO MARV GAYE'S 'I'LL BE DOGGONE'IN TTH, HIS REER DIRECTN WAS ALREADY OBV: MOODS OF MARV GAYE, LIKE 1965'S HOW SWEET IT IS TO BE LOVED BY YOU, BEME A TOP 10 R&B H ALBUM WHILE SONGBOOK-FOCED PROJECTS CLUDG 1964'S HELLO BROADWAY FAILED TO CHART ANYWHERE. MOTOWN RERD GAYE'S 1966 DAT NEW YORK CY WH AN EYE TOWARD RELEASG A LIVE ALBUM BUT END UP SHELVG THE PROJECT FELY.CLEARLY STUNG, GAYE WOULD RERD A FEW OTHER NON-R&B TRACKS BUT NEVER RETURNED TO THE COPABANA. INSTEAD, HE RETREATED EPER TO THE STUD, FOCG ON DUETS WH TAMMI TERRELL THE N UP TO AN IAL CREATIVE BREAKTHROUGH WH 1968'S HEARTBROKEN AND MYSTER "I HEARD IT THROUGH THE GRAPEVE.""I'M NOT PECIALLY AN ENTERTAER," GAYE LATER ADMTED TO THE WASHGTON POST. "I'M AN ARTIST AND AN ENTERTAER, BUT THE TWO ARE PLETELY DIFFERENT. WH ONE I'M EXTREMELY HAPPY AND JOYFUL AND AT PEACE, AND WH THE OTHER I'M ANKLY OUT OF MY ELEMENT. ALTHOUGH I DO OKAY, I DO NICELY AND EVERYTHG, 'S NOT WHERE I GET MY BIGGT KICK."THIS IS WHERE HIS TE LEGACY WOULD SOON BE FED. GAYE WASN'T GOG TO SHAKE OFF MOTOWN'S SHACKL BY LOOKG BACKWARD TO SOME OF THE UNTRY'S MOST TREASURED STANDARDS, NO MATTER HOW TASTEFULLY DONE. (AND NO MATTER HOW UNNIABLY GREAT HE LOOKED A TUXEDO.) MARV GAYE WOULD HAVE TO DIG EPER, TO GET MORE REAL.JT AS CCIALLY, HOWEVER, HE'D ACHIEVE EEDOM ONLY THROUGH FAME. A PLATFORM OF SUCCS WAS NEED ORR TO LNCH ONE OF THE MOST REMARKABLE TRANSFORMATNS ALL OF MIC. GAYE NEED TO BEE UNNIABLE. IN MANY WAYS, THAT STARTED WH MOODS OF MARV GAYE – JT NOT THE TIME OR MANNER HE ONCE HOPED WOULD. PATIENCE FALLY PAID OFF WH WHAT'S GOG ON."MARV WAS MUCH MORE THAN JT A GREAT SGER. HE WAS A GREAT RERD MAKER, A GIFTED SONGWRER, A EP THKER — A REAL ARTIST THE TE SENSE," ROBSON TOLD ROLLG STONE. "MARV WAS ALWAYS WORTH THE WA." TOP 25 SOUL ALBUMS OF THE '70S
• ‘EVERYTHG MARV GAYE DO IS SEXY’: KATHY SLEDGE’S HONT PLAYLIST

MARV {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. HE PRODUCED HIS OWN RERDS AND OFTEN ADDRSED NTROVERSIAL {LOR:#323232;MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;LE-HEIGHT:1.6;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:RALAS,GEIA,TIM,SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: APR 19, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;--POSN:ABSOLUTE;HEIGHT:TO;} IMG{MAX-WIDTH:100%;HEIGHT:TO;} A{POSN:ABSOLUTE;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{BACKGROUND:#C92228;BOTTOM:0;PADDG:.5REM;RIGHT:0;}@MEDIA(M-WIDTH: 64REM){{PADDG:0.39REM;}}{DISPLAY:BLOCK;HEIGHT:1REM;WIDTH:1REM;}@MEDIA(M-WIDTH: 64REM){{WIDTH:1.063REM;HEIGHT:1.063REM;}}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{LOR:#595959;PADDG-RIGHT:0.3125REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: NBCU PHOTO BANK/GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}(1939-1984){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS MARV GAYE?MARV GAYE SANG HIS FATHER'S CHURCH AND THE MOONGLOWS BEFORE SIGNG WH MOTOWN. HE RERD SONGS BY SMOKEY ROBSON BEFORE BEG HIS OWN PRODUCER ON THE PROTT ALBUM WHAT'S GOG ON (1971). GAYE'S LATER RERDS VELOPED HIS PRODUCTN STYLE AND YIELD SEVERAL HS, CLUDG "LET'S GET IT ON," "SEXUAL HEALG" AND "I HEARD THROUGH THE GRAPEVE." GAYE WAS KILLED 1984 DURG A DOMTIC DISPUTE WH HIS FATHER.EARLY LIFESGER MARV PENTZ GAYE, JR., ALSO KNOWN AS THE "PRCE OF SOUL," WAS BORN WASHGTON, D.C., ON APRIL 2, 1939. GAYE WAS RAISED UNR THE STRICT NTROL OF HIS FATHER, REVEREND MARV GAY SR.—MARV GAYE JR. ADD THE "E" ON THE END OF HIS NAME LATER LIFE—THE MISTER AT A LOL CHURCH, AGAST A BLEAK BACKDROP OF WISPREAD VLENCE HIS NEIGHBORHOOD. THROUGHOUT HIS CHILDHOOD, GAYE OFTEN FOUND PEACE MIC, MASTERG THE PIANO AND DMS AT A YOUNG AGE. UNTIL HIGH SCHOOL, HIS SGG EXPERIENCE WAS LIMED TO CHURCH REVIVALS, BUT SOON HE VELOPED A LOVE FOR R&B AND DOO-WOP THAT WOULD SET THE FOUNDATN FOR HIS REER. IN THE LATE 1950S, GAYE JOED A VOL GROUP LLED THE NEW MOONGLOWS. THE TALENTED SGER HAD A PHENOMENAL RANGE THAT SPANNED THREE VOL STYL AND HE SOON IMPRSED THE GROUP'S FOUNR, HARVEY FUQUA. IT WASN'T LONG BEFORE GAYE AND FUQUA BOTH ME TO THE ATTENTN OF DETRO MIC IMPRAR {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}BERRY GORDY JR. AND WERE SIGNED TO GORDY'S LEGENDARY MOTOWN RERDS.MOTOWN RERDSGAYE'S FIRST CERTIFIED H UNR HIS OWN NAME WOULDN'T E UNTIL 1962, BUT HIS EARLY YEARS AT MOTOWN WERE FULL OF BEHD-THE-SCEN SUCCS. HE WAS A SSN DMMER FOR MOTOWN LEGENDS SUCH AS LTLE STEVIE WONR, THE SUPREM, THE MARVELETT AND MARTHA AND THE VANLLAS. SHOWG HIS STRIP AS MOTOWN'S RENAISSANCE MAN, GAYE WENT ON TO BREAK TO THE TOP 40 FOR THE FIRST TIME ON HIS OWN 1962 WH HIS SOLO SGLE "HCH HIKE." THROUGHOUT THE 1960S, GAYE WOULD SHOW HIS IMMENSE RANGE, CHURNG OUT SOLO DANCE HS AND ROMANTIC DUETS WH H-MAKERS LIKE DIANA ROSS AND MARY WELLS. "CAN I GET A WNS" AND "I HEARD THROUGH THE GRAPEVE" WERE SOME OF GAYE'S BIGGT HS OF THE PERD, THE LATTER ACHIEVG S PLACE AS MOTOWN'S BT-SELLG SGLE OF THE 1960S. FOR THREE HIGH-FLYG YEARS, GAYE AND TAMMI TERRELL WOWED THE UNTRY WH THEIR SOARG DUET PERFORMANC OF SONGS LIKE "A'T NO MOUNTA HIGH ENOUGH" AND "IF I COULD BUILD MY WHOLE WORLD AROUND YOU." UNFORTUNATELY, THEIR REIGN AS THE ROYAL COUPLE OF R&B END WHEN TERRELL SUCCUMBED TO A BRA TUMOR 1970. HIS BELOVED PARTNER'S ATH HERED A DARK PERD FOR THE SGER, WHO SWORE NEVER TO PARTNER WH ANOTHER FEMALE VOLIST AND THREATENED TO ABANDON THE STAGE FOR GOOD.POLIL MSAGEIN 1970, SPIRED BY LATG VLENCE AND POLIL UNRT OVER THE VIETNAM WAR, GAYE WROTE THE LANDMARK SONG "WHAT'S GOG ON." DPE CLASH WH MOTOWN OVER THE SONG'S CREATIVE DIRECTN, THE SGLE WAS RELEASED 1971 AND BEME AN STANT SMASH. ITS SUCCS PROMPTED GAYE TO TAKE EVEN MORE RISKS, BOTH MILLY AND POLILLY. WHEN WAS RELEASED THE SPRG OF 1971, THE WHAT'S GOG ON ALBUM SERVED TO OPEN GAYE UP TO NEW DIENC WHILE MATAG HIS MOTOWN FOLLOWG. DEPARTG OM THE TRIED AND TE MOTOWN FORMULA, GAYE WENT OUT ON HIS OWN ARTISTILLY, PAVG THE WAY FOR OTHER MOTOWN ARTISTS LIKE WONR AND MICHAEL JACKSON TO BRANCH OUT LATER YEARS. BEYOND FLUENCG HIS PEERS, THE ALBUM GARNERED WISPREAD CRIL ACCLAIM, WNG THE ROLLG STONE ALBUM OF THE YEAR AWARD.CROSSOVER SUCCSIN 1972, GAYE MOVED TO LOS ANGEL AND SOON MET JANIS HUNTER, WHO WOULD LATER BEE HIS SEND WIFE. INSPIRED PART BY HIS NEWFOUND PENNCE, GAYE RERD ONE OF THE MOST REVERED LOVE ANTHEMS OF ALL TIME, "LET'S GET IT ON." THE SONG BEME HIS SEND NO. 1 BILLBOARD H, CEMENTG HIS CROSSOVER APPEAL ONCE AND FOR ALL. SHORTLY AFTERWARDS, MOTOWN PHED GAYE TO TOURG TO PALIZE ON HIS MOST RECENT SUCCS; RELUCTANTLY THE SGER-SONGWRER RETURNED TO THE STAGE. THROUGH MOST OF THE MID-1970S, GAYE WAS TOURG, LLABORATG OR PRODUCG. WORKG WH DIANA ROSS AND THE MIRACL, HE PUT OFF RELEASG ANOTHER SOLO ALBUM UNTIL 1976. HE NTUED TOURG AFTER THE RELEASE OF I WANT YOU (1976) AND, AFTER SRG A NO. 1 H 1977 WH THE DANCE SGLE "GOT TO GIVE IT UP," RELEASED HIS LAST ALBUM FOR MOTOWN RERDS (HERE, MY DEAR) 1978. (DES LATER, "GOT TO GIVE IT UP" WOULD BEE THE CENTER OF A BIG NTROVERSY. IN 2013, GAYE'S TATE ASSERTED THAT PRODUCER/SONGWRER PHARRELL WILLIAMS AND SGER/SONGWRER ROB THICKE HAD MTED PYRIGHT GEMENT BY TAKG MAJOR MIL ELEMENTS OM THE DIS TRACK FOR THE MEGA-H "BLURRED L." AFTER A SE WHICH THICKE TTIFIED THAT HE'D HAD LTLE TO DO WH THE WRG OF THE SONG, THE JURY LED FAVOR OF GAYE'S FAY, WHO WERE AWARD $7.3 LN DAMAG AND PROF SHAR. THE JURY ALSO LED THAT NEHER WILLIAMS OR THICKE HAD PURPOSELY MTED GEMENT.) AFTER TWO S AT MOTOWN, GAYE SIGNED WH CBS'S COLUMBIA RERDS 1982 AND BEGAN TO WORK ON HIS LAST ALBUM, MIDNIGHT LOVE. THE LEAD SGLE OM THAT ALBUM, "SEXUAL HEALG," BEME A HUGE EBACK H FOR THE R&B STAR AND EARNED HIM HIS FIRST TWO GRAMMY AWARDS AND AN AMERIN MIC AWARD FOR FAVORE SOUL SGLE.PERSONAL LIFEIN 1975, GAYE'S WIFE ANNA GORDY—BERRY GORDY'S SISTER—FILED FOR DIVORCE, AND TWO YEARS LATER GAYE MARRIED HUNTER, WHO HAD BY THEN GIVEN BIRTH TO THEIR DGHTER, NONA (BORN SEPTEMBER 4, 1974) AND THEIR SON FRANKIE (BORN NOVEMBER 16, 1975). GAYE ALSO HAD AN ADOPTED SON (MARV PENTZ GAYE III) OM HIS PREV MARRIAGE. THE SGER'S MARRIAGE TO HUNTER PROVED SHORT LIVED AND TUMULTUO, ENDG DIVORCE 1981.DEATH AND LEGACYDPE HIS SUCCSFUL EBACK THE EARLY 1980S, GAYE STGGLED BADLY WH THE SUBSTANCE ABE AND BOUTS OF PRSN THAT HAD PLAGUED HIM FOR MOST OF HIS LIFE. AFTER HIS LAST TOUR, HE MOVED TO HIS PARENTS' HOE. THERE HE AND HIS FATHER FELL TO A PATTERN OF VLENT FIGHTS AND QUARRELS THAT RELLED NFLICTS THAT HAD HNTED THE FAY FOR S. ON APRIL 1, 1984, MARV GAYE SR. SHOT AND KILLED HIS SON AFTER A PHYSIL ALTERTN; THE FATHER CLAIMED HE ACTED SELF-FENSE BUT WOULD LATER BE NVICTED OF VOLUNTARY MANSLGHTER. THREE YEARS AFTER HIS ATH, GAYE WAS DUCTED TO THE ROCK AND ROLL HALL OF FAME. CREATG BETIFUL ART OM A TROUBLED LIFE, GAYE AGA AND AGA BROUGHT HIS VISN, RANGE AND ARTISTRY TO THE WORLD STAGE. AT THE END OF HIS REER, HE ADMTED HE NO LONGER MA MIC FOR PLEASURE; STEAD, HE SAID, "I RERD SO THAT I N FEED PEOPLE WHAT THEY NEED, WHAT THEY FEEL. HOPEFULLY, I RERD SO THAT I N HELP SOMEONE OVERE A BAD TIME."{BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;MARG:0.9375REM 0 0 0.625REM;PADDG:0 0 0 1.25REM;}@MEDIA(M-WIDTH: 48REM){{MARG:0.9375REM 0;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;} LI{PADDG-BOTTOM:0.625REM;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} LI::MARKER{LOR:#323232;}NAME: MARV GAYEBIRTH YEAR: 1939BIRTH DATE: APRIL 2, 1939BIRTH CY: WASHGTON, D. C.BIRTH COUNTRY: UNED STATGENR: MALEBT KNOWN FOR: MARV GAYE WAS A SOUL SGER-SONGWRER WH MOTOWN THE 1960S AND 1970S. HE PRODUCED HIS OWN RERDS AND OFTEN ADDRSED NTROVERSIAL THEM.INDTRIPOPASTROLOGIL SIGN: ARIINTERTG FACTSBEFORE MAKG AS A SOLO ARTIST, MARV GAYE PLAYED DMS FOR ARTISTS SUCH AS STEVIE WONR AND THE SUPREM.DEATH YEAR: 1984DEATH DATE: APRIL 1, 1984DEATH STATE: CALIFORNIADEATH CY: LOS ANGELDEATH COUNTRY: UNED STATFACT CHECKWE STRIVE FOR ACCURACY AND YOU SEE SOMETHG THAT DON'T LOOK RIGHT,NTACT !CITATION INFORMATIONARTICLE TLE: MARV GAYE BGRAPHYAUTHOR: EDORSWEBSE NAME: THE WEBSEURL: ACCS DATE: PUBLISHER: A&E; TELEVISN NETWORKSLAST UPDATED: APRIL 19, 2021ORIGAL PUBLISHED DATE: APRIL 2, 2014QUOTES

And were signed to Gordy's legendary Motown RerdsGaye's first certified h unr his own name wouldn't e until 1962, but his early years at Motown were full of behd-the-scen succs. "Can I Get a Wns" and "I Heard Through the Grapeve" were some of Gaye's biggt hs of the perd, the latter achievg s place as Motown's bt-sellg sgle of the 1960s. For three high-flyg years, Gaye and Tammi Terrell wowed the untry wh their soarg duet performanc of songs like "A't No Mounta High Enough" and "If I Could Build My Whole World Around You.

HOW A 1979 BOXG MATCH BEME THE FIGHT OF MARV GAYE’S LIFE

Departg om the tried and te Motown formula, Gaye went out on his own artistilly, pavg the way for other Motown artists like Wonr and Michael Jackson to branch out later years. In 2013, Gaye's tate asserted that producer/songwrer Pharrell Williams and sger/songwrer Rob Thicke had mted pyright gement by takg major mil elements om the dis track for the mega-h "Blurred L. Personal LifeIn 1975, Gaye's wife Anna Gordy—Berry Gordy's sister—filed for divorce, and two years later Gaye married Hunter, who had by then given birth to their dghter, Nona (born September 4, 1974) and their son Frankie (born November 16, 1975).

The sger's marriage to Hunter proved short lived and tumultuo, endg divorce and LegacyDpe his succsful eback the early 1980s, Gaye stggled badly wh the substance abe and bouts of prsn that had plagued him for most of his life. IndtriPopAstrologil Sign: AriIntertg FactsBefore makg as a solo artist, Marv Gaye played dms for artists such as Stevie Wonr and The Year: 1984Death date: April 1, 1984Death State: CaliforniaDeath Cy: Los AngelDeath Country: Uned StatFact CheckWe strive for accuracy and you see somethg that don't look right, ntact ! CITATION INFORMATIONArticle Tle: Marv Gaye BgraphyAuthor: EdorsWebse Name: The webseUrl: Date: Publisher: A&E; Televisn NetworksLast Updated: April 19, 2021Origal Published Date: April 2, 2014QUOTESWar is not the answer, bee only love n nquer you nnot fd peace wh yourself, you will never fd anywhere else.

MARV GAYE

Gaye often spoke boxg metaphors, and 1979 — the wake of a stly divorce om his first wife, tranged om his send, gripped by e addictn, and badly bt to the IRS — the image of the pummeled prizefighter beme particularly potent to him. Though much has been wrten about Gaye’s downward spiral the late Seventi and early Eighti, about the rurgence of his reer the wake of “Sexual Healg, ” and his 1984 murr at the hands of his own father at the fay’s home, ltle has been wrten about this event. It’s a story that illtrat so much about Gaye — his fears, his misplaced ias of masculy, his charms, his abily to pull profundy out of pa, his celty, and his lns.

C., Gaye was huiated by his father’s double life, feelgs that led to a lifelong stggle wh his own masculy; he even add the “e” to his last name hop of dispellg mors about his sexualy. Gaye was one of Motown’s most reliable hmakers throughout the Sixti, but wh 1971’s What’s Gog On, he beme somethg more: an ner-cy bard and soul mic’s social nscience.

YOU ARE EVERYTHGDIANA ROSS & MARV GAYETRACK 1 ON DIANA & MARV  PRODUCED BYHAL DAVISOCT. 26, 19731 VIEWER6.5K VIEWS8 CONTRIBUTORSYOU ARE EVERYTHG LYRICS[INTRO: MARV GAYE AND DIANA ROSS]OH, DARLGI WANT TO BE YOUR EVERYTHG TO YOUYOU ARE EVERYTHGOOH, OOH, YOU ARE EVERYTHG[VERSE 1: DIANA ROSS]TODAY I SAW SOMEBODYWHO LOOKED JT LIKE YOUHE WALKED LIKE YOU DOI THOUGHT WAS YOUAS HE TURNED THE RNERI LLED OUT YOUR NAMEI FELT SO ASHAMEDWHEN WASN'T YOUWASN'T YOU[CHOS: MARV GAYE, DIANA ROSS, AND BOTH]YOU ARE EVERYTHG (YOU ARE EVERYTHG)AND EVERYTHG IS YOUOH, YOU ARE EVERYTHGAND EVERYTHG IS YOUOH, YOU ARE EVERYTHGAND EVERYTHG IS YOUOH, HEYYOU MIGHT ALSO LIKE[VERSE 2: MARV GAYE]HOW N I FETWHEN EACH FACE THAT I SEEBRGS BACK MEMORIOF BEG WH YOU?OH, DARLG, I JT N'T GO ONLIVG LIFE AS I DOCOMPARG EACH GIRL WH YOUKNOWG THEY JT WON'T DOTHEY'RE NOT YOUNO, NO, BABY[CHOS: MARV GAYE, DIANA ROSS, AND BOTH]YOU ARE EVERYTHG (NO, YOU ARE EVERYTHG)AND EVERYTHG IS YOUOH, YOU ARE EVERYTHG (OOH, OOH)AND EVERYTHG IS YOU (YOU ARE EVERYTHG)OH, YOU ARE EVERYTHGAND EVERYTHG IS YOUEVERYTHG (YOU ARE)HONEY, EVERYTHG (YOU ARE EVERYTHG)EVERYTHG, BABY (OOH, YOU ARE EVERYTHG)HONEY, EVERYTHG IS YOUWOMAN, YOU (OH, OH)YOU ARE EVERYTHG MY LIFE TO ME (BOY, YOU ARE EVERY, EVERYTHG)EVERYTHG (OH OH, YOU ARE EVERYTHG)DARLG, EVERYTHG IS YOUBABY, YOU (OH, OH)YOU'RE EVERYTHG, EVERYTHG, WOMAN (OOH, YOU ARE)NO, BABY, EVERYTHG IS YOU (YOU ARE EVERYTHG)YOU ARE EVERYTHGAND EVERYTHG IS YOUEVERYTHG (YOU ARE EVERYTHG)OH, AND EVERYTHG IS YOU2EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUTHAVE THE SI SOP ON THIS SONG?SIGN UP AND DROP SOME KNOWLEDGESTART THE SONG BASK A QUTN ABOUT THIS SONGASK A QUTN *‌WHO PRODUCED “YOU ARE EVERYTHG” BY DIANA ROSS & MARV GAYE?WHEN DID DIANA ROSS & MARV GAYE RELEASE “YOU ARE EVERYTHG”?WHO WROTE “YOU ARE EVERYTHG” BY DIANA ROSS & MARV GAYE?DIANA & MARV (1973)DIANA ROSS & MARV GAYE1. YOU ARE EVERYTHG2. LOVE TWS3. DON’T KNOCK MY LOVE4. YOU’RE A SPECIAL PART OF ME5. PLEDGG MY LOVE6. JT SAY, JT SAY7. STOP, LOOK, LISTEN (TO YOUR HEART)8. I’M FALLG LOVE WH YOU9. MY MISTAKE (WAS TO LOVE YOU)10. INCLU ME YOUR LIFE11. ALONE (MISSG LYRICS)12. THE THGS I WILL NOT MISS13. I’VE COME TO LOVE YOU SO MUCH14. I’LL KEEP MY LIGHT MY WDOWEXPAND CREDSPRODUCED BYHAL DAVISWRTEN BYLDA CREED & THOM BELLLEAD VOLSDIANA ROSS & MARV GAYEARRANGERDAVE BLUMBERGRERDG ENGEERCAL HARRIS & ART STEWARTMIXG ENGEERRS TERRANARERD ATMOTOWN RERDG STUDS (HOLLYWOOD)RELEASE DATEOCTOBER 26, 1973YOU ARE EVERYTHG IS A COVER OFYOU ARE EVERYTHG BY THE STYLISTICSTAGSR&BPOPCOVERSOUL POPSOULEXPAND COMMENTSADD A MENTSIGN UP AND DROP KNOWLEDGE ?GENI IS THE ULTIMATE SOURCE OF MIC KNOWLEDGE, CREATED BY SCHOLARS LIKE YOU WHO SHARE FACTS AND SIGHT ABOUT THE SONGS AND ARTISTS THEY LOVE.SIGN UPGENI IS THE WORLD’S BIGGT LLECTN OF SONG LYRICS AND MIL KNOWLEDGE

Acrdg to Divid Soul, Gaye claimed Jan was the flh-and-blood maniftatn of a recurrg dream, which he watched as a young woman tnted him as she had sex wh other men. Penrgrass, steppg out om the shadow of Philly soul group Harold Melv and the Blue Not, strapped himself to the rocket that was the dis-soul craze of the late Seventi and experienced massive succs jt as Gaye’s reer was takg a downturn. ” Wh “Ego Trippg Out, ” Gaye set out to make a mercial rerd, somethg that would reigne his stagnant reer, but stead, he wound up makg somethg much more gut-wrenchg, reflective, and profound.

The fay cid to take a walk on the beach, and as the kids ran ahead and played, Gaye and Jan began to fight over his sire to divorce and her sistence that they first iron out the fancial tails. ” The fight was locked for September, and Gaye agreed to sg ahead of the ma event, a rematch between Larry Holm, fendg his WBC heavyweight tle, and Earnie Shavers. FOLLOWING THE ALTERCATION Hermosa Beach, Gaye was released om ctody, and soon he, his mother, Alberta, his brother, Frankie, and their sister, Zeola, crowd to his ctomized Greyhound b and head to Vegas.

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

“We left … on September 27th, durg a heat wave, only to fd the temperature climbg even higher as we traveled the long, solate highway through the sert, ” Frankie wrote his memoir, Marv Gaye, My Brother.

And standg the center of this maelstrom of garish Amerin imagery was Marv Gaye, wh his black eye and black su, clutchg a microphone wh what looked like tears his ey, as “The Star-Spangled Banner” crept through the PA. Electric piano and a ltle guar gave way to church an and Gaye’s voice, which sailed om velvet whispers to tearful wails, turng an arne hymn to a raw and personal prayer. While livg London, Gaye pleted another brilliant but misunrstood album, 1981’s In Our Lifetime, a darkly sexy, fire-and-brimstone medatn on what he saw as the impendg nuclear holot.

WHAT’S GOG ONMARV GAYETRACK 1 ON WHAT’S GOG ON PRODUCED BYMARV GAYEWHAT’S GOG ON IS AN EXQUISE PLEA FOR PEACE ON EARTH, SUNG BY A MAN AT THE HEIGHT OF CRISIS. IN 1970, MARV GAYE WAS MOTOWN’S TOP MALE VOL STAR, YET HE WAS TRATED… READ MORE JAN. 17, 19711 VIEWER587.3K VIEWS85 CONTRIBUTORSWHAT’S GOG ON LYRICS[INTRO]HEY, HEY-HEYHEY, WHAT'S HAPPEN'?HEY, BROTHER, WHAT'S HAPPEN'?BOY, THIS IS A GROOVY PARTY (HEY, HOW YOU DO'?)MAN, I N DIG YEAH, BROTHER, SOLID, RIGHT ONWHAT'S HAPPEN'?HEY, MAN, WHAT'S HAPPENG?WOOEVERYTHG IS EVERYTHGWE'RE GONNA DO A GET DOWN TODAY, BOY, I'LL TELL YA[VERSE 1]MOTHER, MOTHERTHERE'S TOO MANY OF YOU CRYGBROTHER, BROTHER, BROTHERTHERE'S FAR TOO MANY OF YOU DYGYOU KNOW WE'VE GOT TO FD A WAYTO BRG SOME LOVG HERE TODAY, YEAH[VERSE 2]FATHER, FATHERWE DON'T NEED TO LATEYOU SEE, WAR IS NOT THE ANSWERFOR ONLY LOVE N NQUER HATEYOU KNOW WE'VE GOT TO FD A WAYTO BRG SOME LOVG HERE TODAY, OH (OH)YOU MIGHT ALSO LIKE[CHOS]PICKET L (SISTER) AND PICKET SIGNS (SISTER)DON'T PUNISH ME (SISTER) WH BTALY (SISTER)TALK TO ME (SISTER), SO YOU N SEE (SISTER)OH, WHAT'S GOG ON (WHAT'S GOG ON)WHAT'S GOG ON (WHAT'S GOG ON)YEAH, WHAT'S GOG ON (WHAT'S GOG ON)OH, WHAT'S GOG ON[POST-CHOS]AH-AH-AH-AH (IN THE MEANTIME, RIGHT ON, BABY)WOO (RIGHT ON, BABY), WOOAH-YA-YA-YA-YA-YA-YA, YA-YA-YA-YA-YAWOO (RIGHT ON, BABY, RIGHT ON), WOOAH-YA-YA-YA-YA-YA-YA-YA-YA-YA-YA-YABA-DA-BOO-DOO, BOO-BOO-BOO-DOO, BOO-BOO-BOOBA-DA-BOO-BOO-BOO-DOO, BOO-BOO-BOO-BA-BA-DO[VERSE 3]MOTHER, MOTHEREVERYBODY THKS WE'RE WRONGOH, BUT WHO ARE THEY TO JUDGE SIMPLY 'E OUR HAIR IS LONG?OH, YOU KNOW WE'VE GOT TO FD A WAYTO BRG SOME UNRSTANDG HERE TODAY, OH-OH[CHOS]PICKET L (BROTHER) AND PICKET SIGNS (BROTHER)DON'T PUNISH ME (BROTHER) WH BTALY (BROTHER)COME ON, TALK TO ME (BROTHER), SO YOU N SEE (BROTHER)OH, WHAT'S GOG ON (WHAT'S GOG ON)YEAH, WHAT'S GOG ON (WHAT'S GOG ON)TELL ME WHAT'S GOG ON (WHAT'S GOG ON)I'LL TELL YOU WHAT'S GOG ON (WHAT'S GOG ON)[POST-CHOS]WOO-OOH-OOH-OOH (RIGHT ON, BABY, RIGHT ON)AH-YA-YA-YA-YA-YA-YA, YA-YA-YA-YA-YA-YA-YAWOO, WOO (RIGHT ON)AH-YA-YA-YA-YA-YA-YA-YA-YA-YA-YA-YABA-DA-BOO-DOO, BOO-BOO-BOO-DOOBA-DA-BOO-BOO-BOO-DOO, BA-DA-DA-DA-DA-DA-DA[OUTRO]WOO (RIGHT ON, BABY, E ON, RIGHT ON)AH-YA-YA-YA-YA-YA-YA-YA-YA-YA-YAWOO (RIGHT ON)LISTEN, AH-YA-YA-YA-YA-YA-YA-YADA-BOO-DOO, BOO-BOO-BOO-DOODA-BOO-BOO-DOO, BOO-BOO-BOO49EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUT

When Motown ma chang the mix and released the album whout his nsent, Gaye swore to never work wh the label aga, puttg an end to his workg relatnship wh Gordy. Around this time, Ebony terviewed Gaye, teasg the piece on the ver: “Exiled London, ntroversial sger Marv Gaye talks about: Losg his home and fortune to the IRS; kidnappg his own son …” As if that wasn’t bad enough, that ver featured none other than Sugar Ray Leonard, whose reer had gone supernova sce the Price fight. “Marv didn’t open up to many people right off, but once he heard Freddy relate his Ali story, he had to tell about his failed volvement boxg, ” Frankie Gaye wrote his memoir.

Blsed wh an exceptnally wi range that enpassed three distct vol styl—a piercg falsetto, a smooth mid-range tenor, and a ep gospel growl—Gaye bed great technil prows wh rare mil dividualy. Gaye also displayed dazzlg virtuosy by overdubbg (buildg sound track by track onto a sgle tape) his own voice three or four tim to provi his own rich harmony, a technique he would employ for the rt of his reer.

Here, My Dear (1979) brilliantly alt wh Gaye’s divorce om Gordy’s sister Anna (the first of the sger’s two tumultuo divorc)’s growg addictn to e exacerbated his psychologil stggl. Gaye, who ced his chief fluenc as Ray Charl, Cly McPhatter, Rudy Wt (lead sger for the doo-wop group the Five Keys), and Ltle Willie John, was ducted to the Rock and Roll Hall of Fame 1987.

THE GUI TO GETTG INTO MARV GAYE'S GENI

He received a Grammy Award for lifetime achievement an artist who employed urban soul mic to exprs social and personal ncerns, as well as a sger of exquise sensivy and romantic grace, Gaye left a legacy that has wined sce his mise, and his mic has bee a permanent fixture Amerin pop.

[Intro: Marv Gaye and Diana Ross]Oh, darlgI want to be your everythg to youYou are everythgOoh, ooh, you are everythg[Verse 1: Diana Ross]Today I saw somebodyWho looked jt like youHe walked like you doI thought was youAs he turned the rnerI lled out your nameI felt so ashamedWhen wasn't youWasn't you[Chos: Marv Gaye, Diana Ross, and Both]You are everythg (You are everythg)And everythg is youOh, you are everythgAnd everythg is youOh, you are everythgAnd everythg is youOh, hey[Verse 2: Marv Gaye]How n I fetWhen each face that I seeBrgs back memoriOf beg wh you? Oh, darlg, I jt n't go onLivg life as I doComparg each girl wh youKnowg they jt won't doThey're not youNo, no, baby[Chos: Marv Gaye, Diana Ross, and Both]You are everythg (No, you are everythg)And everythg is youOh, you are everythg (Ooh, ooh)And everythg is you (You are everythg)Oh, you are everythgAnd everythg is youEverythg (You are)Honey, everythg (You are everythg)Everythg, baby (Ooh, you are everythg)Honey, everythg is youWoman, you (Oh, oh)You are everythg my life to me (Boy, you are every, everythg)Everythg (Oh oh, you are everythg)Darlg, everythg is youBaby, you (Oh, oh)You're everythg, everythg, woman (Ooh, you are)No, baby, everythg is you (You are everythg)You are everythgAnd everythg is youEverythg (You are everythg)Oh, and everythg is youHow to Format Lyrics:Type out all lyrics, even repeatg song parts like the chosLyrics should be broken down to dividual lUse sectn hears above different song parts like [Verse], [Chos], alics (<i>lyric</i>) and bold (<b>lyric</b>) to distguish between different volists the same song partIf you don’t unrstand a lyric, e [?

REMEMBERG MARV GAYE'S INIC 'WHAT'S GOG ON'

Gaye and Wton sred big wh "It Tak Two, " which is clud here, but was wh Terrell that Gaye did his bt duet work, and two of the pair's sgl (both of which are clud here), "If I Could Build My Whole World Around You" and "A't Nothg Like the Real Thg, " are undisputed classics. In a recent terview for a new CNN documentary about Gaye’s work, tled “What’s Gog On: Marv Gaye’s Anthem for the Ag, ” the Grammy-nomated artist and activist relled redisverg the album jt before headg to a prott Nashville last summer.

(SOUNDBITE OF SONG, "AIN'T NO MOUNTAIN HIGH ENOUGH")MARVIN GAYE: (Sgg) Listen, baby, a't no mounta high, a't no valley low, a't no river wi enough, TERRELL: (Sgg) If you need me ll me, no matter where you are, no matter how (Sgg) Don't worry, Tammi Terrell's ath 1970 vastated Marv Gaye. (SOUNDBITE OF MARVIN GAYE SONG, "MERCY MERCY ME")CERMAK: The song "Mercy Mercy Me" sort of stood out to me - oil wasted on the ocean and upon our seas, fish full of mercury.

WHAT’S GOG ON AT 50: MARV GAYE’S MASTERPIECE IS STILL SO TE TO LIFE

(SOUNDBITE OF SONG, "MERCY MERCY ME")GAYE: (Sgg) Oil wasted on the oceans and upon our seas, fish full of That one really h me bee I was an environmental science scholar studyg the world's oceans, lerally, and studyg the creatur the oceans and startg to learn that same bad news all over aga. (SOUNDBITE OF SONG, "MERCY MERCY ME")GAYE: (Sgg) Oh, mercy, mercy In the late 2000s, I found myself dog outreach tn wh high schoolers and teachg this environmental science g standardized textbooks and realizg that I wasn't really engagg the stunts - right?

HOW DID MARV GAYE DIE? INSI THE MOTOWN LEGEND’S MURR

(SOUNDBITE OF MARVIN GAYE SONG, "MERCY MERCY ME")JEFFERSON PATERSON: The other song that actually guts me is the song - and I feel like I'm gog to choke up now talkg about , but 's the song "Inner Cy Blu. (SOUNDBITE OF SONG, "INNER CITY BLUES")GAYE: (Volizg) That was Eva Jefferson Paterson, a civil rights lawyer who -found the Equal Jtice Society and also sgs a Motown ver band Oakland, Calif. “He uld have wrten What’s Gog On yterday, ” poet Nikki Gvanni noted an terview last tumn, explag that the ver portra of her 2020 llectn, Make Me Ra, pays homage to Gaye’s album ver, picturg Gvanni a raat, her llar upturned.

The rerd’s endurance – most movgly displayed by Nelson Manla, who, shortly after his release om prison 1990, reced l om the album at Tiger Stadium Detro – has practilly bee a one is wrong, of urse, to say that Gaye’s album cuts as eply today as did 1971. A dively spired work driven by social rage – one that braid doo-wop harmoni, jazz and the hymns Gaye had loved as a child – What’s Gog On was also Gaye’s claratn of creative pennce om Berry Gordy’s Motown mache. ”What’s Gog On remas val, above all, for how turns away om that “Ameri” and stead addrs the tle qutn to a closer-kn group – those people gathered at the hoe party Gaye stag the album’s openg moments; the “mother, mother” and “father father” he lls out to (and that the party settg might emboln him to ndidly addrs).

” the speaker asks What’s Happeng Brother?, checkg the claims of those power agast the thory of everyday Black is one thg to celebrate Gaye’s endurg and prcient mo of creatn; another to appld the ntued ronance of his album’s ncerns. We should not be sangue, for stance, that Gaye’s unrstated blu crique of “trigger-happy policg” has stayed so relevant; or that anti-Black vlence has so persisted over the last 50 years that remas necsary for Black artists and everyday people to approach the task of survivg and thrivg Ameri wh the energy, elegance and grace that Gaye molled this landmark work. Maybe he was tired – was the last song of a long set – but the 40-year-old Gaye, his illed whe shirt and sequned red su jacket, appears to not jt work the crowd but panr to wh some ntempt: “This was our very first No 1 rerd ever the world, ladi and gentlemen.

MARV GAYE'S 10 GREATT SONGS EVER, RANKED

Photograph: US Army/Getty ImagThis is precisely the kd of galvanisg work that Gaye was dog wh What’s Gog On, for his own people his own time – a historil pot that is often obscured when we fixate on the rerd’s timelsns. ”Vcent se Gaye’s actns as “the drivg force” behd Stevie Wonr’s polil turn at Motown, as well as the rigoro funk of Sly and the Fay Stone and the righteo soul of Aretha Frankl’s 1972 album Young, Gifted and Black. The stars, along wh untls ssn micians, were “dog their bt work ever at this ccial moment time” – settg the standard, the se of Gaye and his llaborator David Van De Pte’s meticulo strg, nga, bass and vol arrangements – for what Vcent lls “soul mic as high art” be sure, What’s Gog On is an impecbly posed sue.

55 YEARS AGO: HOW ‘MOODS OF MARV GAYE’ CHANGED EVERYTHGNICK DERISONICK DERISOPUBLISHED: MAY 29, 2021MOTOWNSHARETWEETMARV GAYE ACTUALLY REVEALED HIMSELF AS MORE THAN THE TYPIL MOTOWN FACTORY DRONE WELL BEFORE 1971'S WHAT'S GOG ON. HE JT HADN'T QUE HARNSED THOSE AMBNS YET.A SIRE TO BREAK THE MOLD, TO NFOUND POPULAR MIC'S BUILT- EXPECTATNS, EVENTUALLY LED GAYE TO ANK MIL DISCSNS ABOUT WAR, THE ENVIRONMENT AND SOCIAL JTICE. WHEN MOODS OF MARV GAYE ARRIVED ON MAY 23, 1966, HOWEVER, HE WAS STILL ENGAGED THE AD-END PURSU OF BEG A CELEBRATED TERPRETER OF THE GREAT AMERIN SONGBOOK.IN SOME WAYS, MA SENSE. HE CERTALY HAD THE STYLE AND GRACE, AND SUCCS WH SOPHISTITED VERS OF AGELS FAVOR POPULARIZED BY THE LIK OF FRANK SATRA, BILLIE HOLIDAY AND NAT "KG" COLE WOULD HAVE PLACED HIM WELL OUTSI ANY R&B NVENTN."MARV ULD SG ANYTHG," MOODS OF MARV GAYE PRODUCER SMOKEY ROBSON TOLD ROLLG STONE 2010, "OM GOSPEL TO GUTBUCKET BLU TO JAZZ TO POP."THE PROBLEM IS HE WANTED TO, BUT DIENC WEREN'T ALL THAT TERTED. NEHER, OF URSE, WERE GAYE'S LABEL BOSS. SO, HE FOLLOWED UP 1965'S A TRIBUTE TO THE GREAT NAT "KG" COLE WH MOODS OF MARV GAYE, AN ALBUM THAT SPL THE DIFFERENCE. HE SANG SONGS BY ROBSON AND STEVIE WONR, WHILE ALSO VERG HAROLD ARLEN AND JOHNNY MERCER.IT QUICKLY BEME BTALLY OBV WHICH ON THE BUYG PUBLIC PREFERRED. GAYE HAD NO PROBLEMS WH THE OLD CHTNUT "ONE FOR MY BABY (AND ONE MORE FOR THE ROAD)" AND EVEN MORE FTLY HANDLED WILLIE NELSON'S TWILIGHT CLASSIC "NIGHT LIFE." BUT ONLY THE R&B STUFF H, AS ROBSON'S "A'T THAT PECULIAR" AND "I'LL BE DOGGONE" BEME GAYE'S FIRST LN SELLERS.LISTEN TO MARV GAYE'S 'A'T THAT PECULIAR'FOR ROBSON, THAT FELT ALMOST PREORDAED. SEEMS HE ALWAYS HAD GAYE MD FOR "A'T THAT PECULIAR": "WE WERE ON TOUR, AND [MIRACL BANDMATE MARV TARPL] ME TO ME BEE HE HAD THAT GUAR RIFF, WHICH I THOUGHT WAS AWOME," ROBSON LATER REMEMBERED. "AND WE WROTE THE SONG RIGHT THERE. IT WAS SPECIFILLY FOR HIM."THE SGLE BEME THE FIRST OF FOUR TOP 20 R&B-THEMED SMASH TO EMERGE OM MOODS OF MARV GAYE. ROBSON, WHO ALSO WROTE "ONE MORE HEARTACHE" (NO. 4) AND "TAKE THIS HEART OF ME" (NO. 16) FOR THE LP, ALREADY REGNIZED SOMETHG EPER MOVG BENEATH THE SURFACE WH GAYE."I SPENT A LOT OF TIME WAG FOR MARV," ROBSON TOLD ROLLG STONE. "SEE, MARV WAS BASILLY LATE G TO THE STUD ALL THE TIME. BUT I NEVER MD, BEE I KNEW THAT WHENEVER MARV DID GET THERE, HE WAS GOG TO SG MY SONG A WAY THAT I HAD NEVER IMAGED . HE WOULD 'MARVIZE' MY SONGS, AND I LOVED ."UNFORTUNATELY, "ONE FOR MY BABY" WAS JT AS QUICKLY FOTTEN – AND THGS WERE EVEN ROUGHER OUT ON THE ROAD. GAYE HAD BEGUN TO FOC MORE ON SUPPER CLUBS RATHER THAN TYPIL NCERT VENU GEARED TO YOUTH. HE WORE A TUXEDO, THE SARTORIAL MANNER OF MID-CENTURY CROONERS, FURTHER SEPARATG HIMSELF OM HIS SOUL-SGG ROOTS.FRANKIE GAYE'S MEMOIR MARV GAYE, MY BROTHER SET THE SCENE FOR A NTEMPORARY APPEARANCE AT BIMBO'S 365 CLUB SAN FRANCIS, AS MARV "STROLLED OUT LOOKG SO SUAVE A TOP HAT AND TAILS, OF ALL THGS, ACTG LIKE ROMEO BUT G ACROSS AS THE DAPPER DANS '30S MOVIE MILS."THAT ENGAGEMENT PRAGED WHAT GAYE MT HAVE IMAGED WOULD BEE A SIGNATURE MOMENT DURG HIS EXTEND STAND THAT AUGT AT THE COPABANA. LOTED ADJACENT TO CENTRAL PARK NEW YORK CY, THE POSH VENUE WELED GAYE'S SURPRISG PENCHANT FOR BARET MATERIAL, BUT THE MOTOWN STUFF WAS MORE LIKELY TO BE MET WH CUR STAR.A TERMED GAYE TOLD BILLBOARD 1966 THAT HE STILL FELT "VERY STRONGLY ABOUT R&B," BUT "I'D LIKE TO BEE KNOWN AS A MORE VERSATILE SGER." THE HEADLE, HOWEVER, SUMMED UP HIS MIL NUNDM: "GAYE, POPPG WH POP, KEEPS EYE ON 'FIRST LOVE.'"LISTEN TO MARV GAYE'S 'I'LL BE DOGGONE'IN TTH, HIS REER DIRECTN WAS ALREADY OBV: MOODS OF MARV GAYE, LIKE 1965'S HOW SWEET IT IS TO BE LOVED BY YOU, BEME A TOP 10 R&B H ALBUM WHILE SONGBOOK-FOCED PROJECTS CLUDG 1964'S HELLO BROADWAY FAILED TO CHART ANYWHERE. MOTOWN RERD GAYE'S 1966 DAT NEW YORK CY WH AN EYE TOWARD RELEASG A LIVE ALBUM BUT END UP SHELVG THE PROJECT FELY.CLEARLY STUNG, GAYE WOULD RERD A FEW OTHER NON-R&B TRACKS BUT NEVER RETURNED TO THE COPABANA. INSTEAD, HE RETREATED EPER TO THE STUD, FOCG ON DUETS WH TAMMI TERRELL THE N UP TO AN IAL CREATIVE BREAKTHROUGH WH 1968'S HEARTBROKEN AND MYSTER "I HEARD IT THROUGH THE GRAPEVE.""I'M NOT PECIALLY AN ENTERTAER," GAYE LATER ADMTED TO THE WASHGTON POST. "I'M AN ARTIST AND AN ENTERTAER, BUT THE TWO ARE PLETELY DIFFERENT. WH ONE I'M EXTREMELY HAPPY AND JOYFUL AND AT PEACE, AND WH THE OTHER I'M ANKLY OUT OF MY ELEMENT. ALTHOUGH I DO OKAY, I DO NICELY AND EVERYTHG, 'S NOT WHERE I GET MY BIGGT KICK."THIS IS WHERE HIS TE LEGACY WOULD SOON BE FED. GAYE WASN'T GOG TO SHAKE OFF MOTOWN'S SHACKL BY LOOKG BACKWARD TO SOME OF THE UNTRY'S MOST TREASURED STANDARDS, NO MATTER HOW TASTEFULLY DONE. (AND NO MATTER HOW UNNIABLY GREAT HE LOOKED A TUXEDO.) MARV GAYE WOULD HAVE TO DIG EPER, TO GET MORE REAL.JT AS CCIALLY, HOWEVER, HE'D ACHIEVE EEDOM ONLY THROUGH FAME. A PLATFORM OF SUCCS WAS NEED ORR TO LNCH ONE OF THE MOST REMARKABLE TRANSFORMATNS ALL OF MIC. GAYE NEED TO BEE UNNIABLE. IN MANY WAYS, THAT STARTED WH MOODS OF MARV GAYE – JT NOT THE TIME OR MANNER HE ONCE HOPED WOULD. PATIENCE FALLY PAID OFF WH WHAT'S GOG ON."MARV WAS MUCH MORE THAN JT A GREAT SGER. HE WAS A GREAT RERD MAKER, A GIFTED SONGWRER, A EP THKER — A REAL ARTIST THE TE SENSE," ROBSON TOLD ROLLG STONE. "MARV WAS ALWAYS WORTH THE WA." TOP 25 SOUL ALBUMS OF THE '70S

Listen to how Gaye cranks the volume back up jt as the tle track starts to fa out – a sign of rilience as well as a petty refal to let a track that Gordy hated end whout a fight. Photograph: Jim Brt/Getty ImagWhat I listen for now are moments like the, which, spe repeated plays, ver versns and sampl of Gaye’s songs, still sound disrdant and unrolved. If at first Gaye seems ncerned wh parsg good om bad actors, “those of who simply like to socialise” v “those of who tend the sick and heed the people’s cri, ” he also gathers them all to an affirmative, right-on roll ll that mellows out to an oblique paean to sex: “And my darlg, one more thg / If you let me, I will take you to live where love is kg.

The squawkg tenor saxophone solo wh which Wild Bill Moore tears through Mercy Mercy Me might be the most dramatic performance of the “holler” Gaye sgs about Inner Cy Blu – but which Gaye himself livers, at the end of that song, as a stylised cry: “Owwww! What Gaye performs stead is the virtuosic, ant ntrol required, the midst of panic, of Black people Ameri, no ls than that other war elements are not easily absorbed or nscripted to narrativ about Gaye’s moment or our own; precisely bee they are the rerd’s jagged edg, they keep reachg out to grab listeners through time.

That clus four songs om 1965-1966 sgl, cludg the non-LP B-si "Baby Don'tcha Worry, " all of which were also released as duets wh add Gaye vols; sounds like they're tryg to make her a mi-Mary Wells on "Hold Me Oh My Darlg. Shot his son Marv Gaye at pot-blank range si the fay's Los Angel home on April 1, mic cric Michael Eric Dyson once said, Motown legend Marv Gaye “chased away the mons of lns… wh his heavenly sound and dive art.

‘EVERYTHG MARV GAYE DO IS SEXY’: KATHY SLEDGE’S HONT PLAYLIST

Acrdg to Marv Gaye, his father often wore women’s cloth, and “there have been perds when [my father’s] hair was very long and curled unr, and when he seemed que adamant showg the world the girlish si of himself. As he started to make a name for himself profsnally, Gaye wanted to distance himself om his toxic relatnship wh his father so he changed his name om “Gay” to “Gaye. Gaye eventually moved wh a mil lleague of his to Detro and was able to secure a performance for the biggt name on that cy’s mic scene, Motown Rerds founr Berry Gordy.

By the time Marv Gaye fished what would be his last tour 1983, he had veloped a e addictn to pe wh the prsur of the road as well as his failed marriage to Anna due to his fily and which rulted a ntent legal battle.

Alberta fled horror and her younger son Frankie, who lived a gut hoe on the property wh his wife, was the first one to enter the scene jt after Marv Gaye’s ath. Furthermore, his fense, Gay claimed that his son had bee “somethg like a beastlike person” on e and that the sger beat him terribly before the shootg occurred.