45 Years Ago: Marv Gaye Stirs Up a Storm on 'I Want You'

Contents:

• MARV GAYE
• 45 YEARS AGO: MARV GAYE STIRS UP A STORM ON ‘I WANT YOU’MICHAEL GALLUCCIMICHAEL GALLUCCIPUBLISHED: MARCH 16, 2021TAMLASHARETWEETMARV GAYE WAS STILL A PRETTY GOOD PLACE, PERSONALLY AND PROFSNALLY, EARLY 1976 AS HE WAS PREPPG THE RELEASE OF HIS 14TH ALBUM, I WANT YOU.HIS LAST UPLE OF ALBUMS – 1971'S WHAT'S GOG ON AND 1973'S LET'S GET IT ON – WERE CRIL AND MERCIAL HS, WH THE LATTER LP'S TLE TRACK GOG ALL THE WAY TO NO. 1. IN BETWEEN THOSE TWO RERDS, HE WROTE AND PRODUCED THE SOUNDTRACK FOR TROUBLE MAN. A TLY SOLO ACHIEVEMENT, TROUBLE MAN SERVED AS SOME SORT OF NSOLATN AFTER WHAT'S GOG ON'S SEQUEL, YOU'RE THE MAN, WAS SHELVED BEE OF S POLIL LEANGS.GAYE ALSO EMBARKED ON A SUCCSFUL TOUR AND RERD THE LAST OF HIS POPULAR DUET ALBUMS, THIS ONE WH DIANA ROSS, AROUND THIS TIME. WH TWO YEARS, WOULD ALL E TUMBLG DOWN, AS A MSY DIVORCE, DG ABE, ANOTHER NCELED RERD AND DWDLG SAL PILED UP. BUT 1976, ALL WAS STILL RELATIVELY GOOD.BACK 1970, WHEN HE WAS ASSEMBLG THE SONGS AND IAS THAT WOULD RULT WHAT'S GOG ON, GAYE WAS LEADG A NEW ARTIST-DRIVEN MPAIGN AT MOTOWN, WHICH SLOWLY AND TENTATIVELY BEGAN TO LOOSEN S GRIP ON SOME S STABLE OF STARS. GAYE – WHO'D BEEN AROUND OM NEARLY THE START OF THE PANY, SGG ON HIS OWN HS AS WELL AS PENNG SONGS FOR OTHERS – WASN'T GIVEN TOTAL NTROL OF HIS MIC UNTIL TROUBLE MAN, BUT FOR THE MOST PART HE WAS TSTED WH HIS VISN.THG IS, GAYE DIDN'T ALWAYS TST THAT VISN HIMSELF. IN SOME WAYS, THAT LED TO YOU'RE THE MAN REMAG UNRELEASED AT THE TIME ( FALLY GOT AN OFFICIAL RELEASE 2019). AND WHEN HE WAS PUTTG TOGETHER MIC FOR HIS NEXT ALBUM 1975, HE SOUGHT HELP OM PRODUCER LEON WARE, A MOTOWN STAFFER WHO'D RECENTLY SRED SOLO HS FOR MICHAEL JACKSON AND THE SMOKEY ROBSON-LS MIRACL. HE END UP PLAYG A BIG PART  SHAPG WHAT EVENTUALLY BEME I WANT YOU.BUT THE ALBUM'S RE – LIKE LET'S GET IT ON, THE SONGS WERE ABOUT SEX – WAS ALL GAYE. HIS MARRIAGE TO THE SISTER OF HIS MOTOWN BOSS BERRY GORDY WAS GOG THROUGH S FAL STAG AS HIS RELATNSHIP WH JANIS HUNTER, WHOM HE MET DURG THE LET'S GET IT ON SSNS WHEN SHE WAS 17, WAS HEATG UP. TRACKS LIKE "FEEL ALL MY LOVE INSI" AND "SOON I'LL BE LOVG YOU AGA" (WHICH CLUD THE LE "I'M GONNA GIVE YOU SOME HEAD") REFLECTED HIS TENTNS.LISTEN TO MARV GAYE'S 'I WANT YOU'GAYE AND WARE HOLED UP THE ARTIST'S NEWLY OPENED MARV'S ROOM STUD LOS ANGEL, WHERE THEY, ALONG WH MOTOWN'S FUNK BROTHERS SSN MICIANS, SPENT CHUNKS OF 1975 AND EARLY 1976 WORKG ON THE ALBUM. LIKE HE'D BEEN DOG ON HIS PREV RERDS, GAYE MULTI-TRACKED HIMSELF SGG DIFFERENT PARTS.HE ALSO BEGAN EXPERIMENTG WH A SYNTHIZER, WHICH PLEMENTED THE NEW MIL DIRECTN WARE STARTED STEERG TOWARD. MORE EXPANSIVE AND SWEEPG THAN MUCH OF GAYE'S PREV WORK, MANY OF THE SONGS ON I WANT YOU TOOK A SLOW-BURN APPROACH TO S MELDG OF SOUL, FUNK AND DIS. (THE OPENG TLE TRACK, FOR EXAMPLE, IS A THIRD OVER BEFORE GAYE STARTS SGG.) ELEMENTS OF JAZZ AND DOO-WOP ALSO FOUND THEIR WAY TO THE MATERIAL, BRIDGG GAYE'S '60S AND EARLY '70S MIC WH A NEW FUTURE.THIS ALL ADD UP TO A SLIGHTLY DISJOTED BUT MOSTLY PTIVATG ALBUM THAT SEEMED LIKE ANOTHER TURNG POT FOR THE ARTIST, EVEN UPON S RELEASE ON MARCH 16, 1976. THE THREE-YEAR BREAK SCE HIS LAST LP CERTALY HAD SOME EFFECT HERE, BUT THE MIL LEAP HAD ALMOST AS MUCH TO DO WH GAYE AND WARE'S BED VISN.THERE WEREN'T A WHOLE LOT OF ALBUMS THAT SOUND LIKE I WANT YOU AT THE TIME, BUT THE S SCE, THE ALBUM'S "QUIET STORM" SOUND SPIRED A GENRE, AS WELL AS AN ENTIRE MOVEMENT OF NEO-SOUL ARTISTS THE '90S AND BEYOND. THE EP BASS, SPACEY SOUNDSP AND GROOVE-BASED BEATS A WAY WERE JT A STEP OR TWO AHEAD OF THE BURGEONG DIS SCENE, BUT THE OVERALL PICTURE SEEMS MUCH WIR NOW.NOT THAT THE ALBUM WAS APPRECIATED AS MUCH BACK THEN. IT H NO. 1 ON BILLBOARD'S SOUL CHART AND NO. 4 ON THE LP CHART (AS THEY WERE LLED AT THE TIME) AND DID MANAGE TO SELL A LN PI. SOMEONE OF GAYE'S STATURE ALMOST ALWAYS CHARTED WELL G OFF A PREV SUCCS, AND THE ALBUM'S FIRST SGLE, THE TLE TRACK, MA TO NO. 1 AND 15, ON THE RPECTIVE SOUL AND POP CHARTS – WHICH ALSO HELPED STIR TERT.BUT I WANT YOU DIDN'T CLICK WH FANS THE WAY WHAT'S GOG ON AND LET'S GET IT ON DID. THOSE NTROVERSIAL LYRICS CERTALY DIDN'T HELP SPREADG THE WORD ON RAD OR NNECTG WH MORE NSERVATIVE-MD LISTENERS. AND SPE THE NO. 1 STUD SGLE "GOT TO GIVE IT UP" OM THE OTHERWISE LIVE AT THE LONDON PALLADIUM ALBUM 1977, THE NEXT YEAR'S HERE, MY DEAR AND 1981'S IN MY LIFETIME NTUED A DOWNWARD TURN GAYE'S REER THAT EVENTUALLY PICKED UP WH 1982'S MIDNIGHT LOVE AND PECIALLY THE "SEXUAL HEALG" SGLE BEFORE HIS 1984 ATH.IT WASN'T LONG, THOUGH, BEFORE I WANT YOU AND, EVEN MORE NOTABLY, HERE, MY DEAR BEME RNERSTONE RERDS GAYE'S LATE REER. THE LATTER WAS AN TENTNALLY UNMERCIAL DOUBLE RERD SIGNED TO NTRACTUALLY FULFILL A DIVORCE-SETTLEMENT AGREEMENT. I WANT YOU, AT TIM, N SOUND LIKE A SIAR MERCIAL KISS-OFF, BUT ME OM AN ENTIRELY OPPOSE SPOT GAYE'S LIFE, WHEN HE WAS A MUCH BETTER PLACE. IT'S DIFFICULT, 'S HORNY AND 'S FELY NOT FOR EVERYONE. BUT 'S ALSO ON THE VERGE OF SOMETHG REALLY EXCG AT TIM. TOP 100 '70S ROCK ALBUMS
• 45 YEARS AGO: MARV GAYE STIRS UP A STORM ON ‘I WANT YOU’MICHAEL GALLUCCIMICHAEL GALLUCCIPUBLISHED: MARCH 16, 2021TAMLASHARETWEETMARV GAYE WAS STILL A PRETTY GOOD PLACE, PERSONALLY AND PROFSNALLY, EARLY 1976 AS HE WAS PREPPG THE RELEASE OF HIS 14TH ALBUM, I WANT YOU.HIS LAST UPLE OF ALBUMS – 1971'S WHAT'S GOG ON AND 1973'S LET'S GET IT ON – WERE CRIL AND MERCIAL HS, WH THE LATTER LP'S TLE TRACK GOG ALL THE WAY TO NO. 1. IN BETWEEN THOSE TWO RERDS, HE WROTE AND PRODUCED THE SOUNDTRACK FOR TROUBLE MAN. A TLY SOLO ACHIEVEMENT, TROUBLE MAN SERVED AS SOME SORT OF NSOLATN AFTER WHAT'S GOG ON'S SEQUEL, YOU'RE THE MAN, WAS SHELVED BEE OF S POLIL LEANGS.GAYE ALSO EMBARKED ON A SUCCSFUL TOUR AND RERD THE LAST OF HIS POPULAR DUET ALBUMS, THIS ONE WH DIANA ROSS, AROUND THIS TIME. WH TWO YEARS, WOULD ALL E TUMBLG DOWN, AS A MSY DIVORCE, DG ABE, ANOTHER NCELED RERD AND DWDLG SAL PILED UP. BUT 1976, ALL WAS STILL RELATIVELY GOOD.BACK 1970, WHEN HE WAS ASSEMBLG THE SONGS AND IAS THAT WOULD RULT WHAT'S GOG ON, GAYE WAS LEADG A NEW ARTIST-DRIVEN MPAIGN AT MOTOWN, WHICH SLOWLY AND TENTATIVELY BEGAN TO LOOSEN S GRIP ON SOME S STABLE OF STARS. GAYE – WHO'D BEEN AROUND OM NEARLY THE START OF THE PANY, SGG ON HIS OWN HS AS WELL AS PENNG SONGS FOR OTHERS – WASN'T GIVEN TOTAL NTROL OF HIS MIC UNTIL TROUBLE MAN, BUT FOR THE MOST PART HE WAS TSTED WH HIS VISN.THG IS, GAYE DIDN'T ALWAYS TST THAT VISN HIMSELF. IN SOME WAYS, THAT LED TO YOU'RE THE MAN REMAG UNRELEASED AT THE TIME ( FALLY GOT AN OFFICIAL RELEASE 2019). AND WHEN HE WAS PUTTG TOGETHER MIC FOR HIS NEXT ALBUM 1975, HE SOUGHT HELP OM PRODUCER LEON WARE, A MOTOWN STAFFER WHO'D RECENTLY SRED SOLO HS FOR MICHAEL JACKSON AND THE SMOKEY ROBSON-LS MIRACL. HE END UP PLAYG A BIG PART  SHAPG WHAT EVENTUALLY BEME I WANT YOU.BUT THE ALBUM'S RE – LIKE LET'S GET IT ON, THE SONGS WERE ABOUT SEX – WAS ALL GAYE. HIS MARRIAGE TO THE SISTER OF HIS MOTOWN BOSS BERRY GORDY WAS GOG THROUGH S FAL STAG AS HIS RELATNSHIP WH JANIS HUNTER, WHOM HE MET DURG THE LET'S GET IT ON SSNS WHEN SHE WAS 17, WAS HEATG UP. TRACKS LIKE "FEEL ALL MY LOVE INSI" AND "SOON I'LL BE LOVG YOU AGA" (WHICH CLUD THE LE "I'M GONNA GIVE YOU SOME HEAD") REFLECTED HIS TENTNS.LISTEN TO MARV GAYE'S 'I WANT YOU'GAYE AND WARE HOLED UP THE ARTIST'S NEWLY OPENED MARV'S ROOM STUD LOS ANGEL, WHERE THEY, ALONG WH MOTOWN'S FUNK BROTHERS SSN MICIANS, SPENT CHUNKS OF 1975 AND EARLY 1976 WORKG ON THE ALBUM. LIKE HE'D BEEN DOG ON HIS PREV RERDS, GAYE MULTI-TRACKED HIMSELF SGG DIFFERENT PARTS.HE ALSO BEGAN EXPERIMENTG WH A SYNTHIZER, WHICH PLEMENTED THE NEW MIL DIRECTN WARE STARTED STEERG TOWARD. MORE EXPANSIVE AND SWEEPG THAN MUCH OF GAYE'S PREV WORK, MANY OF THE SONGS ON I WANT YOU TOOK A SLOW-BURN APPROACH TO S MELDG OF SOUL, FUNK AND DIS. (THE OPENG TLE TRACK, FOR EXAMPLE, IS A THIRD OVER BEFORE GAYE STARTS SGG.) ELEMENTS OF JAZZ AND DOO-WOP ALSO FOUND THEIR WAY TO THE MATERIAL, BRIDGG GAYE'S '60S AND EARLY '70S MIC WH A NEW FUTURE.THIS ALL ADD UP TO A SLIGHTLY DISJOTED BUT MOSTLY PTIVATG ALBUM THAT SEEMED LIKE ANOTHER TURNG POT FOR THE ARTIST, EVEN UPON S RELEASE ON MARCH 16, 1976. THE THREE-YEAR BREAK SCE HIS LAST LP CERTALY HAD SOME EFFECT HERE, BUT THE MIL LEAP HAD ALMOST AS MUCH TO DO WH GAYE AND WARE'S BED VISN.THERE WEREN'T A WHOLE LOT OF ALBUMS THAT SOUND LIKE I WANT YOU AT THE TIME, BUT THE S SCE, THE ALBUM'S "QUIET STORM" SOUND SPIRED A GENRE, AS WELL AS AN ENTIRE MOVEMENT OF NEO-SOUL ARTISTS THE '90S AND BEYOND. THE EP BASS, SPACEY SOUNDSP AND GROOVE-BASED BEATS A WAY WERE JT A STEP OR TWO AHEAD OF THE BURGEONG DIS SCENE, BUT THE OVERALL PICTURE SEEMS MUCH WIR NOW.NOT THAT THE ALBUM WAS APPRECIATED AS MUCH BACK THEN. IT H NO. 1 ON BILLBOARD'S SOUL CHART AND NO. 4 ON THE LP CHART (AS THEY WERE LLED AT THE TIME) AND DID MANAGE TO SELL A LN PI. SOMEONE OF GAYE'S STATURE ALMOST ALWAYS CHARTED WELL G OFF A PREV SUCCS, AND THE ALBUM'S FIRST SGLE, THE TLE TRACK, MA TO NO. 1 AND 15, ON THE RPECTIVE SOUL AND POP CHARTS – WHICH ALSO HELPED STIR TERT.BUT I WANT YOU DIDN'T CLICK WH FANS THE WAY WHAT'S GOG ON AND LET'S GET IT ON DID. THOSE NTROVERSIAL LYRICS CERTALY DIDN'T HELP SPREADG THE WORD ON RAD OR NNECTG WH MORE NSERVATIVE-MD LISTENERS. AND SPE THE NO. 1 STUD SGLE "GOT TO GIVE IT UP" OM THE OTHERWISE LIVE AT THE LONDON PALLADIUM ALBUM 1977, THE NEXT YEAR'S HERE, MY DEAR AND 1981'S IN MY LIFETIME NTUED A DOWNWARD TURN GAYE'S REER THAT EVENTUALLY PICKED UP WH 1982'S MIDNIGHT LOVE AND PECIALLY THE "SEXUAL HEALG" SGLE BEFORE HIS 1984 ATH.IT WASN'T LONG, THOUGH, BEFORE I WANT YOU AND, EVEN MORE NOTABLY, HERE, MY DEAR BEME RNERSTONE RERDS GAYE'S LATE REER. THE LATTER WAS AN TENTNALLY UNMERCIAL DOUBLE RERD SIGNED TO NTRACTUALLY FULFILL A DIVORCE-SETTLEMENT AGREEMENT. I WANT YOU, AT TIM, N SOUND LIKE A SIAR MERCIAL KISS-OFF, BUT ME OM AN ENTIRELY OPPOSE SPOT GAYE'S LIFE, WHEN HE WAS A MUCH BETTER PLACE. IT'S DIFFICULT, 'S HORNY AND 'S FELY NOT FOR EVERYONE. BUT 'S ALSO ON THE VERGE OF SOMETHG REALLY EXCG AT TIM. TOP 100 '70S ROCK ALBUMS
• MARV GAYE(1939-1984)
• MARV GAYE CONCERT HISTORY
• QUIET STORM GREATEST 80S 90S R B SLOW JAMS MARV GAYE CHAMPAIGN LUTHER VANDROSS AND MORE

MARV GAYE

Quiet Storm also drew spiratn om Marv Gaye's lh Let's Get It On LP, the orchtratns of Philly soul, and the gentle, ultra-smooth rerdgs of Al Green. Luther Vandross, Teddy Penrgrass, and Marv Gaye are all right up there, wh dozens of classic bedroom anthems between them.

Marv Gaye. Few figur Amerin mic the 20th century n pare to Marv Gaye.

45 YEARS AGO: MARV GAYE STIRS UP A STORM ON ‘I WANT YOU’MICHAEL GALLUCCIMICHAEL GALLUCCIPUBLISHED: MARCH 16, 2021TAMLASHARETWEETMARV GAYE WAS STILL A PRETTY GOOD PLACE, PERSONALLY AND PROFSNALLY, EARLY 1976 AS HE WAS PREPPG THE RELEASE OF HIS 14TH ALBUM, I WANT YOU.HIS LAST UPLE OF ALBUMS – 1971'S WHAT'S GOG ON AND 1973'S LET'S GET IT ON – WERE CRIL AND MERCIAL HS, WH THE LATTER LP'S TLE TRACK GOG ALL THE WAY TO NO. 1. IN BETWEEN THOSE TWO RERDS, HE WROTE AND PRODUCED THE SOUNDTRACK FOR TROUBLE MAN. A TLY SOLO ACHIEVEMENT, TROUBLE MAN SERVED AS SOME SORT OF NSOLATN AFTER WHAT'S GOG ON'S SEQUEL, YOU'RE THE MAN, WAS SHELVED BEE OF S POLIL LEANGS.GAYE ALSO EMBARKED ON A SUCCSFUL TOUR AND RERD THE LAST OF HIS POPULAR DUET ALBUMS, THIS ONE WH DIANA ROSS, AROUND THIS TIME. WH TWO YEARS, WOULD ALL E TUMBLG DOWN, AS A MSY DIVORCE, DG ABE, ANOTHER NCELED RERD AND DWDLG SAL PILED UP. BUT 1976, ALL WAS STILL RELATIVELY GOOD.BACK 1970, WHEN HE WAS ASSEMBLG THE SONGS AND IAS THAT WOULD RULT WHAT'S GOG ON, GAYE WAS LEADG A NEW ARTIST-DRIVEN MPAIGN AT MOTOWN, WHICH SLOWLY AND TENTATIVELY BEGAN TO LOOSEN S GRIP ON SOME S STABLE OF STARS. GAYE – WHO'D BEEN AROUND OM NEARLY THE START OF THE PANY, SGG ON HIS OWN HS AS WELL AS PENNG SONGS FOR OTHERS – WASN'T GIVEN TOTAL NTROL OF HIS MIC UNTIL TROUBLE MAN, BUT FOR THE MOST PART HE WAS TSTED WH HIS VISN.THG IS, GAYE DIDN'T ALWAYS TST THAT VISN HIMSELF. IN SOME WAYS, THAT LED TO YOU'RE THE MAN REMAG UNRELEASED AT THE TIME ( FALLY GOT AN OFFICIAL RELEASE 2019). AND WHEN HE WAS PUTTG TOGETHER MIC FOR HIS NEXT ALBUM 1975, HE SOUGHT HELP OM PRODUCER LEON WARE, A MOTOWN STAFFER WHO'D RECENTLY SRED SOLO HS FOR MICHAEL JACKSON AND THE SMOKEY ROBSON-LS MIRACL. HE END UP PLAYG A BIG PART  SHAPG WHAT EVENTUALLY BEME I WANT YOU.BUT THE ALBUM'S RE – LIKE LET'S GET IT ON, THE SONGS WERE ABOUT SEX – WAS ALL GAYE. HIS MARRIAGE TO THE SISTER OF HIS MOTOWN BOSS BERRY GORDY WAS GOG THROUGH S FAL STAG AS HIS RELATNSHIP WH JANIS HUNTER, WHOM HE MET DURG THE LET'S GET IT ON SSNS WHEN SHE WAS 17, WAS HEATG UP. TRACKS LIKE "FEEL ALL MY LOVE INSI" AND "SOON I'LL BE LOVG YOU AGA" (WHICH CLUD THE LE "I'M GONNA GIVE YOU SOME HEAD") REFLECTED HIS TENTNS.LISTEN TO MARV GAYE'S 'I WANT YOU'GAYE AND WARE HOLED UP THE ARTIST'S NEWLY OPENED MARV'S ROOM STUD LOS ANGEL, WHERE THEY, ALONG WH MOTOWN'S FUNK BROTHERS SSN MICIANS, SPENT CHUNKS OF 1975 AND EARLY 1976 WORKG ON THE ALBUM. LIKE HE'D BEEN DOG ON HIS PREV RERDS, GAYE MULTI-TRACKED HIMSELF SGG DIFFERENT PARTS.HE ALSO BEGAN EXPERIMENTG WH A SYNTHIZER, WHICH PLEMENTED THE NEW MIL DIRECTN WARE STARTED STEERG TOWARD. MORE EXPANSIVE AND SWEEPG THAN MUCH OF GAYE'S PREV WORK, MANY OF THE SONGS ON I WANT YOU TOOK A SLOW-BURN APPROACH TO S MELDG OF SOUL, FUNK AND DIS. (THE OPENG TLE TRACK, FOR EXAMPLE, IS A THIRD OVER BEFORE GAYE STARTS SGG.) ELEMENTS OF JAZZ AND DOO-WOP ALSO FOUND THEIR WAY TO THE MATERIAL, BRIDGG GAYE'S '60S AND EARLY '70S MIC WH A NEW FUTURE.THIS ALL ADD UP TO A SLIGHTLY DISJOTED BUT MOSTLY PTIVATG ALBUM THAT SEEMED LIKE ANOTHER TURNG POT FOR THE ARTIST, EVEN UPON S RELEASE ON MARCH 16, 1976. THE THREE-YEAR BREAK SCE HIS LAST LP CERTALY HAD SOME EFFECT HERE, BUT THE MIL LEAP HAD ALMOST AS MUCH TO DO WH GAYE AND WARE'S BED VISN.THERE WEREN'T A WHOLE LOT OF ALBUMS THAT SOUND LIKE I WANT YOU AT THE TIME, BUT THE S SCE, THE ALBUM'S "QUIET STORM" SOUND SPIRED A GENRE, AS WELL AS AN ENTIRE MOVEMENT OF NEO-SOUL ARTISTS THE '90S AND BEYOND. THE EP BASS, SPACEY SOUNDSP AND GROOVE-BASED BEATS A WAY WERE JT A STEP OR TWO AHEAD OF THE BURGEONG DIS SCENE, BUT THE OVERALL PICTURE SEEMS MUCH WIR NOW.NOT THAT THE ALBUM WAS APPRECIATED AS MUCH BACK THEN. IT H NO. 1 ON BILLBOARD'S SOUL CHART AND NO. 4 ON THE LP CHART (AS THEY WERE LLED AT THE TIME) AND DID MANAGE TO SELL A LN PI. SOMEONE OF GAYE'S STATURE ALMOST ALWAYS CHARTED WELL G OFF A PREV SUCCS, AND THE ALBUM'S FIRST SGLE, THE TLE TRACK, MA TO NO. 1 AND 15, ON THE RPECTIVE SOUL AND POP CHARTS – WHICH ALSO HELPED STIR TERT.BUT I WANT YOU DIDN'T CLICK WH FANS THE WAY WHAT'S GOG ON AND LET'S GET IT ON DID. THOSE NTROVERSIAL LYRICS CERTALY DIDN'T HELP SPREADG THE WORD ON RAD OR NNECTG WH MORE NSERVATIVE-MD LISTENERS. AND SPE THE NO. 1 STUD SGLE "GOT TO GIVE IT UP" OM THE OTHERWISE LIVE AT THE LONDON PALLADIUM ALBUM 1977, THE NEXT YEAR'S HERE, MY DEAR AND 1981'S IN MY LIFETIME NTUED A DOWNWARD TURN GAYE'S REER THAT EVENTUALLY PICKED UP WH 1982'S MIDNIGHT LOVE AND PECIALLY THE "SEXUAL HEALG" SGLE BEFORE HIS 1984 ATH.IT WASN'T LONG, THOUGH, BEFORE I WANT YOU AND, EVEN MORE NOTABLY, HERE, MY DEAR BEME RNERSTONE RERDS GAYE'S LATE REER. THE LATTER WAS AN TENTNALLY UNMERCIAL DOUBLE RERD SIGNED TO NTRACTUALLY FULFILL A DIVORCE-SETTLEMENT AGREEMENT. I WANT YOU, AT TIM, N SOUND LIKE A SIAR MERCIAL KISS-OFF, BUT ME OM AN ENTIRELY OPPOSE SPOT GAYE'S LIFE, WHEN HE WAS A MUCH BETTER PLACE. IT'S DIFFICULT, 'S HORNY AND 'S FELY NOT FOR EVERYONE. BUT 'S ALSO ON THE VERGE OF SOMETHG REALLY EXCG AT TIM. TOP 100 '70S ROCK ALBUMS

" That list also shows how the entire history of postwar R&B n be seen through the reer of Marv Gaye. As the 1970s dawned, Gaye grappled wh social prott on What's Gog On, the 1971 album that found the sger/songwrer chartg his own idsyncratic urse. From that pot, Gaye lved to funk, blaxploatn, and dis, eventually settlg to the smooth environs of quiet storm.

Throughout this perd, Gaye battled personal mons, often creatg powerful art through his stggl, but they ught up wh him tragilly 1984, when he was murred by his father. Gaye's legacy ronated over the s -- he was a touchstone for soul and pop mic that was eher sensual or polil -- but his early ath leav hangg the qutn of what he uld've achieved if he were alive.

Marv Pentz Gay, Jr.

45 YEARS AGO: MARV GAYE STIRS UP A STORM ON ‘I WANT YOU’MICHAEL GALLUCCIMICHAEL GALLUCCIPUBLISHED: MARCH 16, 2021TAMLASHARETWEETMARV GAYE WAS STILL A PRETTY GOOD PLACE, PERSONALLY AND PROFSNALLY, EARLY 1976 AS HE WAS PREPPG THE RELEASE OF HIS 14TH ALBUM, I WANT YOU.HIS LAST UPLE OF ALBUMS – 1971'S WHAT'S GOG ON AND 1973'S LET'S GET IT ON – WERE CRIL AND MERCIAL HS, WH THE LATTER LP'S TLE TRACK GOG ALL THE WAY TO NO. 1. IN BETWEEN THOSE TWO RERDS, HE WROTE AND PRODUCED THE SOUNDTRACK FOR TROUBLE MAN. A TLY SOLO ACHIEVEMENT, TROUBLE MAN SERVED AS SOME SORT OF NSOLATN AFTER WHAT'S GOG ON'S SEQUEL, YOU'RE THE MAN, WAS SHELVED BEE OF S POLIL LEANGS.GAYE ALSO EMBARKED ON A SUCCSFUL TOUR AND RERD THE LAST OF HIS POPULAR DUET ALBUMS, THIS ONE WH DIANA ROSS, AROUND THIS TIME. WH TWO YEARS, WOULD ALL E TUMBLG DOWN, AS A MSY DIVORCE, DG ABE, ANOTHER NCELED RERD AND DWDLG SAL PILED UP. BUT 1976, ALL WAS STILL RELATIVELY GOOD.BACK 1970, WHEN HE WAS ASSEMBLG THE SONGS AND IAS THAT WOULD RULT WHAT'S GOG ON, GAYE WAS LEADG A NEW ARTIST-DRIVEN MPAIGN AT MOTOWN, WHICH SLOWLY AND TENTATIVELY BEGAN TO LOOSEN S GRIP ON SOME S STABLE OF STARS. GAYE – WHO'D BEEN AROUND OM NEARLY THE START OF THE PANY, SGG ON HIS OWN HS AS WELL AS PENNG SONGS FOR OTHERS – WASN'T GIVEN TOTAL NTROL OF HIS MIC UNTIL TROUBLE MAN, BUT FOR THE MOST PART HE WAS TSTED WH HIS VISN.THG IS, GAYE DIDN'T ALWAYS TST THAT VISN HIMSELF. IN SOME WAYS, THAT LED TO YOU'RE THE MAN REMAG UNRELEASED AT THE TIME ( FALLY GOT AN OFFICIAL RELEASE 2019). AND WHEN HE WAS PUTTG TOGETHER MIC FOR HIS NEXT ALBUM 1975, HE SOUGHT HELP OM PRODUCER LEON WARE, A MOTOWN STAFFER WHO'D RECENTLY SRED SOLO HS FOR MICHAEL JACKSON AND THE SMOKEY ROBSON-LS MIRACL. HE END UP PLAYG A BIG PART  SHAPG WHAT EVENTUALLY BEME I WANT YOU.BUT THE ALBUM'S RE – LIKE LET'S GET IT ON, THE SONGS WERE ABOUT SEX – WAS ALL GAYE. HIS MARRIAGE TO THE SISTER OF HIS MOTOWN BOSS BERRY GORDY WAS GOG THROUGH S FAL STAG AS HIS RELATNSHIP WH JANIS HUNTER, WHOM HE MET DURG THE LET'S GET IT ON SSNS WHEN SHE WAS 17, WAS HEATG UP. TRACKS LIKE "FEEL ALL MY LOVE INSI" AND "SOON I'LL BE LOVG YOU AGA" (WHICH CLUD THE LE "I'M GONNA GIVE YOU SOME HEAD") REFLECTED HIS TENTNS.LISTEN TO MARV GAYE'S 'I WANT YOU'GAYE AND WARE HOLED UP THE ARTIST'S NEWLY OPENED MARV'S ROOM STUD LOS ANGEL, WHERE THEY, ALONG WH MOTOWN'S FUNK BROTHERS SSN MICIANS, SPENT CHUNKS OF 1975 AND EARLY 1976 WORKG ON THE ALBUM. LIKE HE'D BEEN DOG ON HIS PREV RERDS, GAYE MULTI-TRACKED HIMSELF SGG DIFFERENT PARTS.HE ALSO BEGAN EXPERIMENTG WH A SYNTHIZER, WHICH PLEMENTED THE NEW MIL DIRECTN WARE STARTED STEERG TOWARD. MORE EXPANSIVE AND SWEEPG THAN MUCH OF GAYE'S PREV WORK, MANY OF THE SONGS ON I WANT YOU TOOK A SLOW-BURN APPROACH TO S MELDG OF SOUL, FUNK AND DIS. (THE OPENG TLE TRACK, FOR EXAMPLE, IS A THIRD OVER BEFORE GAYE STARTS SGG.) ELEMENTS OF JAZZ AND DOO-WOP ALSO FOUND THEIR WAY TO THE MATERIAL, BRIDGG GAYE'S '60S AND EARLY '70S MIC WH A NEW FUTURE.THIS ALL ADD UP TO A SLIGHTLY DISJOTED BUT MOSTLY PTIVATG ALBUM THAT SEEMED LIKE ANOTHER TURNG POT FOR THE ARTIST, EVEN UPON S RELEASE ON MARCH 16, 1976. THE THREE-YEAR BREAK SCE HIS LAST LP CERTALY HAD SOME EFFECT HERE, BUT THE MIL LEAP HAD ALMOST AS MUCH TO DO WH GAYE AND WARE'S BED VISN.THERE WEREN'T A WHOLE LOT OF ALBUMS THAT SOUND LIKE I WANT YOU AT THE TIME, BUT THE S SCE, THE ALBUM'S "QUIET STORM" SOUND SPIRED A GENRE, AS WELL AS AN ENTIRE MOVEMENT OF NEO-SOUL ARTISTS THE '90S AND BEYOND. THE EP BASS, SPACEY SOUNDSP AND GROOVE-BASED BEATS A WAY WERE JT A STEP OR TWO AHEAD OF THE BURGEONG DIS SCENE, BUT THE OVERALL PICTURE SEEMS MUCH WIR NOW.NOT THAT THE ALBUM WAS APPRECIATED AS MUCH BACK THEN. IT H NO. 1 ON BILLBOARD'S SOUL CHART AND NO. 4 ON THE LP CHART (AS THEY WERE LLED AT THE TIME) AND DID MANAGE TO SELL A LN PI. SOMEONE OF GAYE'S STATURE ALMOST ALWAYS CHARTED WELL G OFF A PREV SUCCS, AND THE ALBUM'S FIRST SGLE, THE TLE TRACK, MA TO NO. 1 AND 15, ON THE RPECTIVE SOUL AND POP CHARTS – WHICH ALSO HELPED STIR TERT.BUT I WANT YOU DIDN'T CLICK WH FANS THE WAY WHAT'S GOG ON AND LET'S GET IT ON DID. THOSE NTROVERSIAL LYRICS CERTALY DIDN'T HELP SPREADG THE WORD ON RAD OR NNECTG WH MORE NSERVATIVE-MD LISTENERS. AND SPE THE NO. 1 STUD SGLE "GOT TO GIVE IT UP" OM THE OTHERWISE LIVE AT THE LONDON PALLADIUM ALBUM 1977, THE NEXT YEAR'S HERE, MY DEAR AND 1981'S IN MY LIFETIME NTUED A DOWNWARD TURN GAYE'S REER THAT EVENTUALLY PICKED UP WH 1982'S MIDNIGHT LOVE AND PECIALLY THE "SEXUAL HEALG" SGLE BEFORE HIS 1984 ATH.IT WASN'T LONG, THOUGH, BEFORE I WANT YOU AND, EVEN MORE NOTABLY, HERE, MY DEAR BEME RNERSTONE RERDS GAYE'S LATE REER. THE LATTER WAS AN TENTNALLY UNMERCIAL DOUBLE RERD SIGNED TO NTRACTUALLY FULFILL A DIVORCE-SETTLEMENT AGREEMENT. I WANT YOU, AT TIM, N SOUND LIKE A SIAR MERCIAL KISS-OFF, BUT ME OM AN ENTIRELY OPPOSE SPOT GAYE'S LIFE, WHEN HE WAS A MUCH BETTER PLACE. IT'S DIFFICULT, 'S HORNY AND 'S FELY NOT FOR EVERYONE. BUT 'S ALSO ON THE VERGE OF SOMETHG REALLY EXCG AT TIM. TOP 100 '70S ROCK ALBUMS

C., the send child of Reverend Marv Gay and Alberta Gay. A mister the Hoe of God, Reverend Marv Gay ran a strict hoehold and his son -- who would add an "e" to his surname when he signed to Motown/Tamla, partially tribute to his idol Sam Cooke -- sought refuge mic. Marv Gaye sang his father's church at the age of three and quickly rose through s ranks as a soloist.

Followg his high school graduatn, Gaye enlisted the U. Notable among the was 1959's "Mama Loocie, " the first song to feature Gaye sgg lead.

The Moonglows spl 1960, and Gaye followed Fuqua to Detro, workg wh Tri-Phi Rerds as a hoe mician. At the end of the year, Gaye ught the attentn of Motown founr Berry Gordy, who negotiated a al wh Fuqua for Gaye to sign to the Motown subsidiary Tamla.

MARV GAYE(1939-1984)

Inially, Gaye planned to be a supper-club sger specializg standards and jazz, but Gordy wanted him to aim toward a younger dience. His 1961 but sgle, "Let Your Conscience Be Your Gui, " satisfied Gordy's needs, while the full-length The Soulful Moods of Marv Gaye skewed toward the sger's preferenc. Over the next few years, there was tensn between Gaye's nceptn of himself as a sger and Motown/Tamla's mil directn, and the volist slowly gravated Gordy's directn.

Durg this transn, Gaye earned money by playg ssns as a dmmer, which led to him penng origal songs. Gaye stck gold himself not much later, when "Stubborn Kd of Fellow" went to eight on Billboard's R&B charts.

In parison, 1966 was relatively quiet for Gaye -- while "One More Heartache" reached number four on the R&B chart, was his only pop Top 40 h that year -- but 1967 began wh the immortal Kim Wton duet "It Tak Two, " which peaked at 14 pop and four R&B. Gaye's partnership wh Tammi Terrell was unveiled next via "A't No Mounta High Enough.

MARV GAYE CONCERT HISTORY

Teamg wh Terrell was a boon to Gaye's mercial succs. "A't No Mounta High Enough" was the first of a seri of smash rerd by Gaye & Terrell which were wrten by Nickolas Ashford and Valerie Simpson. Durg this flh of succs, Terrell suffered om migrae headach, culmatg an on-stage llapse at an October 14, 1967 ncert wh Gaye.

Gaye took Terrell's ath hard, but he ially worked through the grief, srg some of his greatt hs along the way. Gaye retreated om the spotlight the 1970, the rult of personal problems and profsnal disillnment.

QUIET STORM GREATEST 80S 90S R B SLOW JAMS MARV GAYE CHAMPAIGN LUTHER VANDROSS AND MORE

He returned 1971 wh "What's Gog On, " a sgle where Gaye liberately embraced progrsive polics and expansive mic.

Motown head Berry Gordy wasn't eager to embrace this change and refed to release "What's Gog On, " but after Gaye refed to rerd any other new material, Gordy relented. "What's Gog On" reached number one on the R&B charts and two on pop, leadg Gaye to rerd the rt of the album that March.