‎Marv Gaye on Apple Mic

Contents:

• MARV GAYE
• MARV GAYE
• EVERY GREAT MOTOWN H OF MARV GAYE

MARV GAYE

Ridg high on the succs of the landmark What's Gog On, Marv Gaye won a lucrative rerd ntract and total creative eedom for his next project. Gaye nducts a full orchtra, cludg sci-fi synths and sultry horns, on the mostly stmental tracks, which traverse moods rangg om sctive to spenseful to jt pla ol. Flecked wh Gaye's angelic vols, Trouble Man transcends mere soundtrack fare.

MARV GAYE

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. Marv Gaye.

EVERY GREAT MOTOWN H OF MARV GAYE

Collectg all three Marv Gaye sets Motown's digal download seri to a 45-song sequence, this set is really pretty wonrful, featurg rerdgs om all of Gaye's Motown phas, and reveals aga -- not that was much of a secret -- what a sgular and brilliant artist he was.

It's 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. 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. " 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. 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.