‎Marv Gaye on Apple Mic

Contents:

• MARV GAYE
• MARV GAYE
• ‘MORE LIKE A STORY THAN A SONG’: HOW MARV GAYE’S ‘WHAT’S GOG ON’ REMAS RELEVANT 50 YEARS LATER
• MARV GAYE
• MARV GAYE
• MARV GAYE

MARV GAYE

Marv Gaye.

Marv Pentz Gay, Jr. Marv Gaye, byname of Marv Pentz Gay, Jr., (born April 2, 1939, Washgton, D. Gaye sang his father’s Evangelil church Washgton, D.

When doo-wop dissipated the late 1950s, Gaye had already absorbed Fuqua’s lsons close harmony. After disbandg the Moonglows, Fuqua took the 20-year-old Gaye to Detro, where Berry Gordy, Jr., was formg Motown Rerds.

MARV GAYE

Gaye, who also played dms and piano, bucked the Motown system and s emphasis on teen hs. Gaye also enjoyed a seri of succsful duets, most notably wh Tammi Terrell (“A’t Nothg Like the Real Thg” [1968]). 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. ”Other major artists—most importantly Stevie Wonr—followed Gaye’s lead and acted as producer of their own efforts. In 1972 Gaye wrote the soundtrack for the film Trouble Man, wh lyrics that mirrored his own sense of secury.

Let’s Get It On, released 1973, displayed Gaye’s sensuo si. 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. On April 1, 1984, durg a fay dispute, Gaye iated a vlent fight wh his father, who shot him to ath.

‘MORE LIKE A STORY THAN A SONG’: HOW MARV GAYE’S ‘WHAT’S GOG ON’ REMAS RELEVANT 50 YEARS LATER

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. 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.

Dpe havg a short reer together due to personal tragedy, the partnership of Marv Gaye & Tammi Terrell created inic soul mi… read more. Fifty years ago, vibratg wh agatn and energy, Marv Gaye head down the wood steps to a Detro stud and ma his anthem for the ag.

Racial tensns, police ntroversy, environmental anxieti, a globe on edge — they were the topics on the ont burner when Gaye rebooted his mil reer and took ntrol of his creative visn si Motown. The song wh the silky, layered vols and an emphatic prott msage was topil when Gaye cut  1970.

MARV GAYE

Three years after the 1967 rt and rebelln that transformed his adopted hometown, the 31-year-old Gaye was a ep and evolvg head space. Shaken by the ath of sgg partner Tammi Terrell, hnted by the Vietnam War stori of his younger Army vet brother, Gaye was an emotnal lightng rod wag to be zapped wh creative energy when Motown’s Obie Benson and Al Cleveland brought him their new posn about troubl across the land. A full album was quickly missned, and four months later, Gaye’s groundbreakg LP of the same name was out.

And Gaye’s song, he says, has special meang as a homegrown treasure. A box ntag the master tape of Marv Gaye's "What's Gog On" om May 1971. Gaye's masterwork is assertive but not aggrsive.

Gaye was the ial msenger for that job.

MARV GAYE

He would talk about beg aaid, ” relled Louva Demps, a member of the Andant vol group and a longtime iend of Gaye. The song had arrived “by some sort of dive guidance, ” as Gaye told the Detro Free Prs 1971. As Benson reflected for Ben Edmonds’ 2001 book, “Marv Gaye: What’s Gog On, ” an dispensable acunt of the song and album:.

Benson's own Four Tops didn’t want the song and he thought  would be perfect for Gaye.

MARV GAYE

Feelg through the posn  the livg room of the latter’s northwt Detro hoe — Benson on guar, Gaye on piano — Gaye was moved, but was eager to prent  to the Origals, a Motown group he was now producg. He offered Gaye a songwrg cred.

Gaye relented, mted and promptly “fe-tuned the tune, ” as Benson put , tackg on jazzy flourish and a sense of realism. Then a to his Motown tenure, Gaye was at a reer crossroads, rtls to grow. Unable to read or wre mic, Gaye tailed his sonic visn to jazz arranger Dave Van De Pte, who set about translatg to the micians.

Marv Gaye, photographed the Motown stud nsole room early 1971 by Gordon Stapl, ncertmaster of the Detro Symphony Orchtra. In July, Gaye did four days of vol work, stumblg onto an effect that would bee his signature productn technique. Havg cut multiple lead vols, Gaye asked engeer Ken Sands to create a stereo tape wh two strong tak — one the left channel, one on the right — so he uld take not.

A pair of velvety Marv Gaye voic now ro along together. Gaye set a ftg mood that night  the stud, soprano Demps reunted.

Gaye had been “all over the cy, soakg up Detro’s vib and moods as he was rerdg, ” wrote the Freep’s Bob Talbert, who was tight wh Gaye at the time. If Gaye was snng the ont pag of the Detro Free Prs landg on his doorstep  July 1970, he saw plenty of headl settg the mood he would take to the vol booth — a daily dmbeat of stori about protters clashg wh police, Detro air pollutn, ngrsnal battl over the Vietnam draft. Marv Gaye at home wh his son Marv Gaye III.

“Wh that ntext, people like Marv Gaye were sayg ‘Black liv matter’ before beme part of the Amerin lexin. Though Motown had recently h big wh a pair of polilly tged Norman Whfield productns — the Temptatns’ “Ball of Confn” and Edw Starr’s “War” — Gaye’s leap ma the label chief nervo. Gordy worried Gaye’s move to social mentary would rail a long-cultivated image as a romantic crooner.