‎The Albums 1960s by Marv Gaye on Apple Mic

Contents:

• MARV GAYE 8-TRACK RTRIDGE TAP PRICE GUI
• 4-TRACK BEATL VS. 8-TRACK MARV GAYE ESSAY
• IN THIS FOM, RPOND TO THE FOLLOWG QUTNS: HOW DID THE TWO RERDG TECHNOLOGI CHANGE THE APPROACH OF THE 1966 4-TRACK BEATL PARED TO THAT, JT 5 YEARS LATER, OF THE 8-TRACK MARV GAYE?
• MIL COMPARISON OF THE BEATL AND MARV GAYE
• MARV GAYE
• MARV GAYE

MARV GAYE 8-TRACK RTRIDGE TAP PRICE GUI

However, Marv Gaye’s song slowly troduc percsns as the ma rhythm livery element, and lacks strg stments (Marv Gaye, 1971). It is pecially relevant bee the Beatl performance is more active and dynamic by nature pared to more relaxed and slow-paced Marv Gaye’s song.

Referenc Marv Gaye. 8-Track Marv Gaye" was wrten and submted by your fellow. Micians rarely have as much fluence on Amerin culture as mic legend Marv Gaye, "CBS noted.

For the past few years, Gay felt creasgly trated by the lack of artistic eedom afford to him by the mercial and pop rivativ of h mache Motown and his tocratic founr Barry Gordy (who was also his brother--law). Then, March 1970, as a bra tumor took on the life of his iend and gay llaborator, Tammy Terrell, he plunged to plete 1965, rads were full of breakthrough sgl like "Satisfactn (I Can't Get No)" and "Like a Rollg Stone.

4-TRACK BEATL VS. 8-TRACK MARV GAYE ESSAY

MARVIN GAYE - What's Gog On TAM M8310 The masterpiece album by the one and only Marv Gaye. The 4-track and 8-track technologi that were ed to produce the Beatl’ Taxman and Marv Gaye’s What’s Gog On are distguishable by the overall richns of sound.

In ntrast, Marv Gaye’s What’s Gog On an 8-track rerdg procs, and the sound has a much richer feel than the Beatl’ song. Although the different stments the Beatl’ song are also distct, there are ls dividual ponents of the song; th, the Beatl’ song might still sound somewhat siar if rerd on the 8-track procs, but Marv Gaye’s song would sound much more limed if rerd on a 4-track system.

Gaye? Marv Gaye. What's Gog On is not only Marv Gaye's masterpiece, 's the most important and passnate rerd to e out of soul mic, livered by one of s ft voic, a man fally ee to speak his md and so move om R&B sex symbol to te rerdg artist.

IN THIS FOM, RPOND TO THE FOLLOWG QUTNS: HOW DID THE TWO RERDG TECHNOLOGI CHANGE THE APPROACH OF THE 1966 4-TRACK BEATL PARED TO THAT, JT 5 YEARS LATER, OF THE 8-TRACK MARV GAYE?

Wh What's Gog On, Gaye medated on what had happened to the Amerin dream of the past -- as related to urban y, environmental wo, ary turbulence, police btaly, unemployment, and poverty.

Fally, late 1970, Gaye cid to rerd a song that the Four Tops' Obie Benson had brought him, "What's Gog On.

MIL COMPARISON OF THE BEATL AND MARV GAYE

" When Berry Gordy cid not to issue the sgle, emg unmercial, Gaye refed to rerd any more material until he relented.

Bis cementg Marv Gaye as one of the most important artists pop mic, What's Gog On was far and away the bt full-length to issue om the sgl-domated Motown factory, and arguably the bt soul album of all time. Conceived as a statement om the viewpot of a Vietnam veteran (Gaye's brother Frankie had returned om a three-year hch 1967), What's Gog On isn't jt the qutn of a baffled soldier returng home to a strange place, but a promise that listeners would be rmed by what they heard (that missg qutn mark the tle certaly wasn't a typo). Instead of releasg listeners om their troubl, as so many of his sgl had the past, Gaye ed the album to reflect on the climate of the early '70s, rife wh civil unrt, dg abe, abandoned children, and the spectre of rts the near past.

MARV GAYE

Alternately prsed and hopeful, angry and jubilant, Gaye saved the most sublime, eply spired performanc of his reer for "Mercy Mercy Me (The Elogy), " "Inner Cy Blu (Make Me Wanna Holler), " and "Save the Children. " The songs and performanc, however, furnished only half of a revolutn; ltle uld've been acplished wh the Motown sound of prev Marv Gaye hs like "Stubborn Kd of Fellow" and "Hch Hike" or even "I Heard It Through the Grapeve. (Much cred go to Gaye himself for seizg on the often tossed-off l as prec; ed, he spent more time down the Snakep than he did the ntrol room.

MARV GAYE

) Jt as he'd hoped would be, What's Gog On was Marv Gaye's masterwork, the most perfect exprsn of an artist's hope, anger, and ncern ever rerd. 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. 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.