‎I Want You (Deluxe Edn) by Marv Gaye on Apple Mic

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Updatg his highly percsive but strg-lan groove for the dis set, Gaye clearly vised 1976’s I Want You as a makeout album. And the Ao-Caribbean ngas of “I Want You” and bossa nova lilt of “Sce I Had You” support a mix of rhythm and bety that ref to box self —punctuated by Gaye’s own murmurg, the sound flows like a sweet, sctive stream.

Marv Gaye. I Want You, while a Top Ten smash for Marv Gaye 1976, is not as generally as well-known as s precsors for several reasons.

Third, Gaye hadn't rerd nearly three years and crics were onto somethg else -- exactly what, retrospect is anybody's gus.

From the amazg Ernie Barn ver patg "Back to Sugar Shack" to the Coleridge-Taylor Perkson strg and horn arrangements to Leon Ware's exotic productn that relied on keyboards as well as dms and bass as rhythm stments, I Want You was a giant leap for Gaye.

But the most astonishg thgs about I Want You are s timacy ( was dited to and rerd ont of Gaye's future send wife, Jan), silky elegance, and seamls textur.

Gaye worked wh producer Leon Ware, who wrote all of the origal songs on the album and worked wh Gaye to revise them, th lendg Gaye a -wrg cred. The tle track is a monster two-step groover wh hand percsn playg unterpot to the strgs and horns layered agast a spare electric guar solo, all before Gaye begs to sg on top of the funky backbeat.

Art Stewart's engeerg rounds off all the edg and mak Gaye's already sweet croong stment to the te gra the voice of sctive need. "Feel All My Love Insi" and "I Want to Be Where You Are" are anthems to sensualy wh strgs creepg up unr Gaye's voice as the guars move through a seri of chunky chang and dms punctuate his every syllable.