Marvin Gaye

The Complete Guide

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Contents
Articles
Overview
Marvin Gaye 1 1 18 18 25 25 27 28 30 31 32 34 36 38 40 42 51 62 71 76 81 85 88 89 92 92 95 95 97 98

Discography
Marvin Gaye discography

Studio albums
The Soulful Moods of Marvin Gaye That Stubborn Kinda Fellow When I'm Alone I Cry Hello Broadway How Sweet It Is to Be Loved by You A Tribute to the Great Nat "King" Cole Moods of Marvin Gaye I Heard It Through the Grapevine M.P.G. That's the Way Love Is What's Going On Let's Get It On I Want You Here, My Dear In Our Lifetime Midnight Love Dream of a Lifetime Romantically Yours Vulnerable

Soundtrack albums
Trouble Man

Duet albums
Together Take Two United

You're All I Need Easy Diana & Marvin

100 103 105 110 110 111 113 118 120 120 122 123 125 126 127 128 129 132 133 136 139 142 143 146 146 148 150 150 151 151 153 155 155

Live albums
Marvin Gaye Recorded Live on Stage Marvin Gaye Live! Live at the London Palladium Marvin Gaye at the Copa

Compilation albums
Greatest Hits Greatest Hits, Vol. 2 Marvin Gaye and His Girls Super Hits Marvin Gaye and Tammi Terrell's Greatest Hits Marvin Gaye's Greatest Hits Motown Remembers Marvin Gaye: Never Before Released Masters The Marvin Gaye Collection The Norman Whitfield Sessions The Very Best of Marvin Gaye The Master Anthology: Marvin Gaye Marvin Gaye: The Love Songs The Complete Duets

Associated albums
Irresistible The Essential Collection

Tribute albums
Inner City Blues: The Music of Marvin Gaye

Tribute songs
"Missing You" "Nightshift"

Singles
"Let Your Conscience Be Your Guide"

"Mr. Sandman" "Soldier's Plea" "Stubborn Kind of Fellow" "Hitch Hike" "Pride and Joy" "Can I Get a Witness" "I'm Crazy 'Bout My Baby" "You're a Wonderful One" "Once Upon a Time" "What's the Matter with You Baby" "Try It Baby" "Baby Don't You Do It" "What Good Am I Without You" "How Sweet It Is (To Be Loved by You)" "I'll Be Doggone" "Pretty Little Baby" "Ain't That Peculiar" "One More Heartache" "Take This Heart of Mine" "Little Darling (I Need You)" "It Takes Two" "Ain't No Mountain High Enough" "Your Unchanging Love" "Your Precious Love" "You" "If I Could Build My Whole World Around You" "If This World Were Mine" "Ain't Nothing Like the Real Thing" "You're All I Need to Get By" "Chained" "Keep On Lovin' Me Honey" "You Ain't Livin' till You're Lovin'" "His Eye Is on the Sparrow" "I Heard It Through the Grapevine" "Good Lovin' Ain't Easy to Come By" "Too Busy Thinking About My Baby" "That's the Way Love Is" "Abraham, Martin and John"

156 160 161 163 165 167 168 169 170 171 172 173 176 177 179 181 182 184 186 187 188 190 194 195 196 198 199 200 203 206 207 208 209 210 217 218 220 222

"What You Gave Me" "How Can I Forget" "Gonna Give Her All the Love I've Got" "The Onion Song" "California Soul" "The End of Our Road" "What's Going On" "Mercy Mercy Me (The Ecology)" "Inner City Blues (Make Me Wanna Holler)" "Save the Children" "You're the Man" "Trouble Man" "I Want to Come Home for Christmas" "Let's Get It On" "You're a Special Part of Me" "Stop, Look, Listen (To Your Heart)" "Come Get to This" "You Sure Love to Ball" "My Mistake (Was to Love You)" "Don't Knock My Love" "You Are Everything" "Distant Lover" "I Want You" "After the Dance" "Since I Had You" "Got to Give It Up" "Pops, We Love You (A Tribute to Father)" "A Funky Space Reincarnation" "Anger" "Ego Tripping Out" "Praise" "Heavy Love Affair" "Sexual Healing" "My Love Is Waiting" "'Til Tomorrow" "Joy" "Sanctified Lady" "It's Madness"

224 224 226 227 228 229 229 238 240 244 245 246 247 249 253 254 256 258 260 261 262 265 268 272 274 275 281 282 284 286 287 288 289 296 298 300 301 302

"Just Like" "The World Is Rated X" "My Last Chance" "Lucky, Lucky Me" "Music"

303 304 305 306 307 309 309 313 317 319 321 321 324 325 327 330 332 349 351 353 353 355 359 366 371 373 384 396 416 421 428 434 436 436 438

Videography
T.A.M.I. Show Motown 25: Yesterday, Today, Forever Marvin Gaye: Live in Montreux 1980 The Real Thing: In Performance (19641981)

Family
Marvin Gay, Sr. Alberta Gay Frankie Gaye Anna Gordy Gaye Denise Gordy Janis Gaye Nona Gaye Gordon Banks

Associated acts
Harvey Fuqua The Moonglows The Marvelettes The Originals Barbara Randolph Diana Ross The Supremes The Temptations Tammi Terrell Martha and the Vandellas Mary Wells Kim Weston

Associated people
Lem Barney Mel Farr

David Ritz Elgie Stover Kenneth Stover Ed Townsend

440 442 442 443 445 445 448 449 450

Related articles
Death of Marvin Gaye Divided Soul: The Life of Marvin Gaye Marvin's Room 1983 NBA All-Star Game

References
Article Sources and Contributors Image Sources, Licenses and Contributors 454 463

Article Licenses
License 464

Overview
Marvin Gaye
Marvin Gaye
Marvin Gaye in 1973 Background information Birth name Also known as Born Marvin Pentz Gay, Jr. [1]

Prince of Soul, Prince of Motown

April 2, 1939 Washington, D.C. April 1, 1984 (aged44) Los Angeles, California R&B, soul, doo-wop, funk, quiet storm Singer-songwriter, composer, musician, record producer Vocals, keyboards, drums, percussion, clavinet, synthesizers, piano 19581984 Motown (Tamla-Motown), Columbia The Moonglows, Martha and the Vandellas, Tammi Terrell, The Originals, Mary Wells, Kim Weston, Diana Ross, Harvey Fuqua, Stevie Wonder, Smokey Robinson, Berry Gordy, Don Hussein

Died

Genres Occupations Instruments Years active Labels Associated acts

Marvin Pentz Gay, Jr. (April 2, 1939 April 1, 1984), better known by his stage name Marvin Gaye (he added the 'e' as a young man), was an American singer-songwriter and musician with a three-octave vocal range.[2] Starting his career as a member of the doo-wop group The Moonglows in the late 1950s, he ventured into a solo career after the group disbanded in 1960, signing with Motown Records subsidiary, Tamla. He started off as a session drummer, but later ranked as the label's top-selling solo artist during the 1960s. He was crowned "The Prince of Motown"[3] and "The Prince of Soul".[4] because of solo hits such as "How Sweet It Is (To Be Loved by You)", "Ain't That Peculiar", "I Heard It Through the Grapevine," and his duet singles with singers such as Mary Wells and Tammi Terrell. His work in the early and mid-1970s included the albums, What's Going On, Let's Get It On, and I Want You, which helped influence the quiet storm, urban adult contemporary, and slow jam genres. After a self-imposed European exile in the early 1980s, Gaye returned on the 1982 Grammy-Award winning hit, "Sexual Healing" and the Midnight Love album before his death. Gaye was shot dead by his father on April 1, 1984. He was posthumously inducted into the Rock and Roll Hall of Fame in 1987.[5] In 2008, the American music magazine Rolling Stone ranked Gaye at number 6 on its list of the Greatest Singers of All Time,[6] and ranked at number 18 on 100 Greatest Artists of All Time.[7] He was also ranked at number 20 on VH1's list of 100 Greatest Artists of All Time.[8]

Marvin Gaye

Biography
Early life (19391957)
Marvin Pentz Gay, Jr.[1] was born on April 2, 1939 at Freedman's Hospital in Washington, D.C.. His father, Marvin Gay, Sr., was a minister at the House of God (the House of God headquarters is located in Lexington, Kentucky), which advocated strict conduct and taught and believed in both the old and new Testament. His mother, Alberta Gay (ne Cooper), was a domestic and schoolteacher. Gaye was the second eldest of four children. His younger brother, Frankie (19412001), would be one of the main sources of Gaye's musical development and later served as a soldier in the Vietnam War and embarked on a singing career upon his return to civilian life to follow in his elder brother's footsteps. His youngest sister, Zeola "Sweetsie" Gay (born 1945), would later become the main choreographer of her brother's live shows. As a child, Gaye was raised in the Benning Terrace projects in southeast D.C.[9] Gaye's father was minister of a local Seventh-day Adventist Church for a time. By the time his eldest son was five, Marvin Sr. was bringing Gaye with him to church revivals to sing for church congregations. Gaye's father was assured all four of his children would follow him into the ministry and would later use his strict domineering to get his children to avoid secular activities including sports and secular music. Gaye's early home life was marked by violence as his father would often strike him for any shortcoming. Gaye and his three siblings were bed-wetters as children.[10] Gaye would later call his father a "tyrannical and powerful king" and said he was depressed as a child, convinced that he would eventually "become one of those child statistics that you read in the papers" had he not been encouraged to pursue his dreams by his mother.[10] By age fourteen, Gaye's parents moved to the Deanwood neighborhood of northeast D.C. The following year, Gaye's father quit the ministry after a disappointment over not being promoted as the Chief Apostle (head overseer) of the House of God Inc. Gaye said his father later developed alcoholism, which furthered tension between father and son. Developing a love for music at an early age, Gaye began playing instruments, including piano and drums. Upon arriving to Cardozo High School, he discovered doo-wop and harder-edged rhythm and blues and began running away from home to attend R&B concerts and dance halls, defying his father's rules. Gaye joined several groups in the D.C. area, including the Dippers with his best friend, Johnny Stewart, brother of R&B singer Billy Stewart. He then joined the D.C. Tones, whose members included another close friend, Reese Palmer, and Sondra Lattisaw, mother of R&B singer Stacy Lattisaw.[10] Gaye's relationship with his father led him to run away from home and join the United States Air Force in the hope of becoming an aviator. However, discovering his growing hatred for authority, he began defying orders and skipped practices. Faking mental illness, he was discharged.[10] His sergeant stated that Gaye refused to follow orders.[11] Upon returning to his hometown, Gaye worked as a dishwasher to make ends meet. He still dreamed of a show-business career, and rejoining Reese Palmer, the duo formed a four-member group calling themselves the Marquees.

Early career (19581962)

In 1958, the Marquees were discovered singing at a D.C. club by Bo Diddley, who signed them to Okeh Records, where they recorded "Wyatt Earp", with "Hey Little Schoolgirl" as its B-side. It received moderate success, but not the success Gaye and his band mates had hoped for. Later that year Harvey Fuqua, founder and co-lead singer of the landmark doo-wop group The Moonglows, recruited them, after the breakup of the original members, to be "The New Moonglows" which moved the formerly-named Marquees from Okeh to Chess Records. While there, the "new Moonglows" recorded background vocals for Chess recording stars Chuck Berry and Etta James. After "The Twelve Months of the Year", which featured a spoken monologue by Gaye, became a regional hit, the group issued "Mama Loochie", which was the first time Gaye sang lead on a record. The record was issued in late 1959 and became a hit in Detroit. Following a concert performance there, Gaye and other band members were arrested for small possession of marijuana. Afterwards, Fuqua decided to disband the group, keeping Gaye with him, as he favored him over the other members. In 1960, Harvey Fuqua had met Gwen Gordy and the couple embarked on both a personal and

Marvin Gaye professional relationship. That year, the couple formed two record labels, the self-named Harvey Records, and Tri-Phi Records. Gaye was signed to the former label, whose other members included a young David Ruffin and Junior Walker. He provided drums for The Spinners' first hit, "That's What Girls Are Made For", which was released on Tri-Phi. Stories on how Gaye eventually met Berry Gordy and how he signed to Motown Records vary. One early story stated that Gordy discovered Gaye singing at a local bar in Detroit and that Gordy offered to sign Gaye on the spot. Gaye's recollection, and a story Gordy later reiterated, was that Gaye invited himself to Motown's annual Christmas party inside the label's Hitsville USA studios and played on the piano, singing "Mr. Sandman". Gordy saw Gaye from afar and, noting that Gaye was connected with Fuqua, began to make arrangements to absorb Fuqua's labels and bring all of the label's acts to Motown. Gordy said he immediately wanted to bring Gaye to Motown after seeing him perform, impressed by his vocals and piano playing. While working out negotiations, Fuqua would sell a 50 percent interest in Gaye to Gordy, as Gaye would find out later.[12] After Gordy absorbed Anna and Harvey in March 1961, Gaye was assigned to Motown's Tamla division. Gaye and Motown immediately clashed over material. While Motown was yet a musical force, Gaye set on singing standards and jazz rather than the usual rhythm and blues that fellow label mates were recording. Struggling to come to terms with what to do with his career, Gaye worked mainly behind the scenes, becoming a janitor, and also settled for session work playing drums on several recordings, which continued for several years. One of Gaye's first professional gigs for Motown was as a road drummer for The Miracles. Gaye developed a close friendship with the label's lead singer Smokey Robinson and they'd later work together. Though already a seasoned veteran of the road and almost exempt from Gordy's Artist Development, which began operating in 1961, Gaye was still required to attend schooling, which he refused. He eventually took advice from grooming director Maxine Powell to keep his eyes open while performing because "it looks like you're sleeping when you're performing".[10] Gaye would later regret skipping the school saying he could've benefited more from it.[10] Before releasing his first single in May 1961, he altered his last name to "Gaye", later stating that he added the "e" because "it sounded more professional" and to emulate what Sam Cooke had done before releasing his first secular record following his split from the Soul Stirrers. A famous story about the name change came from author David Ritz, Gaye's confidant in later years, who said Gaye had said that he wanted to "quiet the gossip" of his last name and to distance himself from his father.[13] In May 1961, Tamla released Gaye's first single, "Let Your Conscience Be Your Guide". The single flopped as a national release but was a regional hit in the Midwest, as was a follow-up single, the cover of "Mr. Sandman" (titled as just "Sandman" in Gaye's release in early 1962). In June 1961, Motown issued Gaye's first album, The Soulful Moods of Marvin Gaye compromising Gaye's jazz interests with a couple of R&B songs. The album tanked and no hit single came of it. A third regional hit, "Soldier's Plea", an answer to The Supremes' "Your Heart Belongs to Me", was the next release in the spring of 1962. Gaye had more success behind the scenes than in front. Gaye applied drumming on several Motown records for artists such as the Miracles, Mary Wells, The Contours and The Marvelettes. Gaye was also a drummer for early recordings by The Supremes, Martha and the Vandellas and Little Stevie Wonder. Gaye drummed on the Marvelettes hits, "Please Mr. Postman", "Playboy" and "Beechwood 4-5789" (a song he co-wrote). Later on, Gaye would be noted as the drummer in both the studio and live recordings of Wonder's "Fingertips" and as one of two drummers behind Martha and the Vandellas' landmark hit, "Dancing in the Street", another composition by Gaye, originally intended for Kim Weston. Gaye said he continued to play drums for Motown acts even after gaining fame on his own merit. For Gaye's fourth single, the singer was inspired to write lyrics to a song after an argument with his wife, Anna Gordy Gaye (ne Anna Gordy). While working out the song, Gaye mentioned he had his first "major" power struggle with Motown head Berry Gordy over its composition. Gordy insisted on a chord change though Gaye was comfortable with how he wrote it, eventually Gaye changed the chord and the song was issued as "Stubborn Kind of Fellow" in September 1962. The song became a hit on the Hot Rhythm and Blues Sides chart reaching number 8 and eventually peaked at number 46 on the Billboard Hot 100 in early 1963. A parent album, That Stubborn Kinda Fellow, was released in December 1962, the same month that Gaye's fifth single, "Hitch Hike", was released. That song reached number 30 on the Billboard Hot 100, bringing Gaye his first top 40 single. His early success confirmed his arrival as a hit maker, and he landed on his first major

Marvin Gaye tour as a performer on Motown's Motortown Revue.

Early success (196366)

Gaye's career following his performances with the Motortown Revue assured him success. Gaye's next single, "Pride & Joy", became a major hit in the spring of 1963, reaching number-ten on the Billboard Hot 100, selling nearly one million copies. Later that year, Gaye repeated the success with the top 30 hit, "Can I Get a Witness", which found some leverage in the United Kingdom upon its release on Motown's UK label Stateside Records. Many of Gaye's early hits would later be heavily covered by acts such as The Rolling Stones, Dusty Springfield and The Who, performers who admired Gaye and American R&B music in general. Gaye's hits also was a big influence on the UK's mod scene with several mod groups including the future Elton John's Bluesology and Rod Stewart's Steampacket covering Gaye's hits there. Gaye's early hits were also a big influence on American producers, including Phil Spector, who nearly had a car accident while pulling over upon hearing "Stubborn Kind of Fellow" for the first time. Gaye's hits continued throughout 1964. Several top 20 pop hits from this period included "You Are a Wonderful One", "Try It Baby" and "Baby Don't You Do It" kept Gaye's momentum building. Gaye made his first public TV performance on American Bandstand in 1964 and later became a fixture on the show and on other programs such as Shindig! and Hullaballoo. His popularity further increased after Motown released his first duet project, an album with Mary Wells entitled Together. The duo had two hit singles, "Once Upon a Time" and "What's the Matter with You Baby". In late 1964, Gaye also appeared in the concert film The T.A.M.I. Show, where he performed his hits to an enthusiastic audience (with backing vocals by The Blossoms). Gaye reached the top 10 in early 1965 with "How Sweet It Is (To Be Loved By You)", which sold close to a million copies. Gaye eventually scored his first immediate million-sellers in 1965 with the Smokey Robinson compositions, "Ain't That Peculiar" and "I'll Be Doggone". These songs and other singles released during the 196566 period would be the result of Gaye's next release, Moods of Marvin Gaye. Gaye struggled with his success. While deemed a "smooth song-and-dance ladies' man", he still aspired to perform more jazz work in his catalog. Because of his success, Motown allowed him to work on such recordings including When I'm Alone I Cry, Hello Broadway and a Nat King Cole tribute album, A Tribute to the Great Nat "King" Cole. All three albums flopped. Gaye tried performing the songs onstage but soon stopped once he discovered that the crowds weren't too appreciative of the material. One proposed standards project, which took over two years to record, was shelved due to session problems. Gaye's performances at the Copacabana in 1966 also led to conflict between Gaye and Gordy as Motown had recorded the album for purposes of releasing it in early 1967. However due to a struggle, Motown eventually shelved it until it was later released three decades later. In early 1967, Gaye scored his first international hit with the duet, "It Takes Two", with Kim Weston, who ironically had already left the label when it became a hit. Only one televised performance of the song showed Gaye singing the song to a puppet. That year, Motown hooked Gaye up with veteran Philadelphia-based singer Tammi Terrell, who had an early stint with James Brown. Gaye would later say of Terrell that she was his "perfect partner" musically.

Tammi Terrell and I Heard It Through the Grapevine (196769)

Terrell and Gaye's first major hit was the Nick Ashford and Valerie Simpson composition, "Ain't No Mountain High Enough". The duo quickly followed up with the top five hit ballad, "Your Precious Love". Despite rumors of a romantic relationship Gaye was married to Anna Gordy and Terrell was dating Temptations lead vocalist David Ruffin both singers denied such a relationship with Gaye saying later that they had a brother-and-sister relationship, a statement reiterated by Ashford & Simpson. Other hit singles the duo scored within an eighteen-month period included "If I Could Build My Whole World Around You", "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". Other hits such as "You Ain't Livin' till You're Lovin'" and "The Onion Song" found success in Europe. The duo's recording of "If This World Were Mine", the b-side of "If I Could Build

Marvin Gaye My Whole World Around You", found modest success on the charts, the first sole Gaye composition to do so. The song later found major R&B success when Luther Vandross covered it with Cheryl Lynn over a decade later. The duo was also a success together onstage, Terrell's easy-going nature with the audience contrasting from Gaye's laid-back approach. However, that success was short-lived. On October 14, 1967, while performing at Virginia's Hampden-Sydney College, Terrell collapsed in Marvin's arms. She had been complaining of headaches in the weeks leading up to the concert, but had insisted she was all right. However, after she was rushed to Southside Community Hospital, doctors found that Terrell had a malignant brain tumor.[14] The diagnosis ended her performing career, though she still occasionally recorded, often with guidance and assistance. Terrell ceased recordings in 1969 and Motown struggled with recording of a planned third Gaye and Terrell album. Gaye initially had refused to go along with it saying that he felt Motown was taking unnecessary advantage of Terrell's illness. Gaye only reluctantly agreed because Motown assured him recordings would go to insure Terrell's health as she continued to have operations to remove the tumor, all of which were unsuccessful. In September 1969, the third Gaye and Terrell duet album, Easy was released, with many of the songs saaid to have been subbed by Valerie Simpson, while solo songs recorded years earlier by Terrell, had overdubbed vocals by Gaye. Terrell's illness put Gaye in a depression; at one point he attempted suicide but was stopped by Berry Gordy's father. He refused to acknowledge the success of his song "I Heard It Through the Grapevine", released in 1967 by Gladys Knight & The Pips (his version was recorded before, but released after theirs), his first number-one hit and the biggest selling single in Motown history to that point, with four million copies sold. His work with producer Norman Whitfield, who produced "Grapevine", resulted in similar success with the singles "Too Busy Thinking About My Baby" and "That's the Way Love Is". Meanwhile, Gaye's marriage was crumbling and he was bored with his music. Wanting creative control, he sought to produce singles for Motown session band The Originals, whose Gaye-produced hits, "Baby, I'm for Real" and "The Bells", brought success.

What's Going On (197072)

Tammi Terrell died of a brain tumor on March 16, 1970. Gaye was so emotional at her funeral that he talked to her lying in state as if she was going to respond. Gaye insisted, following Terrell's death, that he would no longer record duets with any other female performer, nor was he ever going to perform on stage again since Terrell's collapse and subsequent death had spooked him. He already had apprehensions about performing, suffering bouts of stage fright throughout his performing career. Prior to Terrell's death, he had withdrawn from a scheduled performance citing an illness and was later sued for failure to appear. After Terrell's death he stopped doing any more live gigs and never really recovered completely from her death. He had an inspiration, dating back to 1968, to try out for the Detroit Lions football team.[15] After he gained friendships with two of the Lions' players, Mel Farr and Lem Barney they encouraged him to get in shape and tryout, although the team ultimately wouldn't let him because they feared injuring one of the city's greatest singers.[16]. After helping to collaborate what became "What's Going On", he returned to Hitsville on June 1, 1970 to record the song, which was inspired by Gaye's brother's accounts of his experience at the Vietnam War and co-writer Renaldo "Obie" Benson of the Four Tops' disgust of police brutality after seeing anti-war protesters attacked in San Francisco. Despite releases of several anti-war songs by The Temptations and Edwin Starr, Motown CEO Berry Gordy prevented Gaye from releasing the song, fearing a backlash against the singer's image as a sex symbol and openly telling him and others that the song "was the worst record I ever heard". Gaye, however, refused to record anything that was Motown's or Gordy's version of him. He later said that recording the song and its parent album "led to semi-violent disagreements between Berry and myself, politically speaking." Eventually the song was released with little promotion on January 17, 1971. The song soon shot up the charts topping the R&B chart for five weeks.[17][18] Eventually selling more than two million copies, an album was requested, and Gaye again defied Gordy by producing an album featuring lengthy singles that talked of other issues such as poverty, taxes, drug abuse and

Marvin Gaye pollution. Released on May 21, 1971, the What's Going On album instantly became a million-seller crossing him over to young white rock audiences while also maintaining his strong R&B fan base. Because of its lyrical content and its mixture of funk, jazz, classical and Latin soul arrangements which departed from the then renowned "Motown Sound", it became one of Motown's first autonomous works, without help of Motown's staff producers. Based upon its themes and a segue flow into each of the songs sans the title track, the concept album became the new template for soul music. Other hit singles that came out of the album included "Mercy Mercy Me (The Ecology)" and "Inner City Blues (Make Me Wanna Holler)", making Gaye the first male solo artist to have three top ten singles off one album on the Billboard Hot 100. All three singles sold over a million copies and were all number-one on the R&B chart. International recognition of the album was slow to come at first though eventually the album would be revered overseas as a "landmark pop record". It has been called "the most important and passionate record to come out of soul music, delivered by one of its finest voices".[19] The success of the title track influenced Stevie Wonder to release an album with similar themes, Where I'm Coming From, in April that year. Following the release of the album and its subsequent success, Wonder rejected a renewing offer with Motown unless he was allowed creative control on his recordings, which was granted a year later. Gaye's independent success not only related to Motown recording artists, other R&B artists of the era also began to rebel against labels to produce their own conceptual albums. The Jackson 5, one of Motown's final acts to benefit from the label's "glory years" (195972), tried unsuccessfully to get creative control for their own recordings and as a result left in 1975 for CBS Records. Gaye's success was nationally recognized: Billboard magazine awarded him the Trendsetter of the Year award, while he won several NAACP Image Awards including Favorite Male Singer. Rolling Stone named it Album of the Year, and was nominated for a couple of Grammy Awards though inexplicably wasn't nominated for Album of the Year. In 1972, Gaye reluctantly stepped out of his stage retirement to perform selected concerts, including one at his hometown of Washington, D.C. performing at the famed Kennedy Center, a recording of the performance was issued on a deluxe edition re-release of the What's Going On album. Also in 1972, Gaye performed for Jesse Jackson's PUSH organization and also for a Chicago-based benefit concert titled Save the Children aimed at removing the plight of urban violence in Chicago's inner city. The latter performance was issued as part of a concert film released in early 1973, also titled Save the Children. Following its success, Gaye signed a new contract with Motown Records for a then record-setting $1million, then the most lucrative deal by a black recording artist.[10] With creative control, Gaye attempted to produce several albums throughout 1972 and early 1973 including an instrumental album, a jazz album, another conceptually-produced album of social affairs (the canceled You're the Man project) and an album with Willie Hutch co-producing. In late 1972, Gaye produced the score for the Trouble Man film and later produced the soundtrack of the same name. The title track was the only full vocal work of the album and was released as a single in the fall of 1972 eventually reaching number seven on the pop chart in the spring of 1973.

Let's Get It On and continued success in music (197377)

In late 1972, Gaye left Detroit and moved to Los Angeles but relocated to an area where he was far away from Motown, purchasing a house at the so-called "bohemian hippie" Topanga Canyon Boulevard district, which was a hotbed for musicians looking to get away from the trappings of the music industry and Hollywood itself. He continued to record music at Los Angeles' Motown studios (Hitsville West) and on March 18, 1973, recorded "Let's Get It On", reputedly inspired by Gaye's new-found independence, after separating from Anna Gordy the previous year. The single was released as a single in June of the year and became Gaye's second number-one single on the Billboard Hot 100. It also was a modest success internationally reaching number 31 in the United Kingdom. With the success of its recording, Gaye decided to switch completely from the social topics that were on What's Going On to songs with sensual appeal. Released in August 1973, Let's Get It On consisted of material Gaye had initially recorded during the sessions of What's Going On. It was hailed as "a record unparalleled in its sheer sensuality and carnal energy."[20] Other singles

Marvin Gaye from the album included "Come Get to This", which recalled Gaye's early Motown soul sound of the previous decade, while the then-controversial "You Sure Love to Ball" reached modest success but was kept from being promoted by Motown due to its sexually explicit nature. With the success of What's Going On and Let's Get It On, Motown demanded a tour. Gaye only reluctantly agreed when demand from fans reached a fever pitch. After a delay, Gaye made his official return to touring on January 4, 1974 at the Oakland Coliseum in Oakland, California. The recording of the performance, held by several music executives as "an event", was later issued as the live album, Marvin Gaye Live!. Due to Gaye's growing popularity with his increasing crossover audience and the reaction of the performance of "Distant Lover", which Motown later released as a single in late 1974, the album sold over a million copies. Gaye's subsequent 10-city tour, which took off that August, was sold out and demand for more dates continued into 1975 while Gaye had struggled with subsequent recordings. A renewed contract with Motown in 1975 gave Gaye his own custom-made recording studio. To keep up with demand and hype, Motown released Gaye's final duet project, Diana & Marvin, an album with Diana Ross, which helped to increase Gaye's audience overseas with the duo's recording of "You Are Everything" reaching number-five in the UK, number-thirteen on the Dutch chart, and number 20 in Ireland, while the album itself sold over a million copies overseas with major success in the UK. The recording of Diana & Marvin had started in late 1971 and overdubbed sessions took place in 1972 but was shelved from a release until late 1973 following the release of Let's Get It On. Gaye toured throughout 1975 without new releases and collaborated in the studio producing songs for the likes of The Miracles (now without Smokey Robinson) and Yvonne Fair, helping to produce her version of Norman Whitfield's "Funky Music Sho Nuff Turns Me On", featured on Fair's The Bitch is Black, while also assisting her in the background with his vocals. Later in 1975, Gaye shaved his head bald in protest to Rubin Carter's prison sentence. Gaye initially insisted he would remain bald until Carter's release though Gaye's hair and beard returned within a few months. In 1976, Gaye released his first solo album in three years with I Want You. The title track became a number-one R&B hit, also reaching the top 20 of the national pop chart. The first of his albums to embrace the then popular disco sound of the time, Motown released a double-A 12' of "I Want You" alongside another smooth dancer, "After the Dance". The songs found success as a unit on the Billboard Hot Disco chart, reaching number-ten. By itself "After the Dance", which wasn't intended as a second single, eventually reached number fourteen on the R&B chart with minor pop traction, eventually reaching number 74. That year, Gaye faced several lawsuits with former musicians and also faced prison time for falling behind on alimony payments ordered by law following his first wife Anna Gordy filing legal separation after a 15-year marriage. Gaye avoided imprisonment after agreeing to do a tour of Europe, his first tour of such in little over a decade. His first stop was at London's Royal Albert Hall and then at the city's London Palladium, where a recording was later released in early 1977 as Live at the London Palladium. Gaye performed in France, Holland, Switzerland and Italy to packed audiences and then returned for several US tour dates though he often suffered from exhaustion from some of the US dates. Between 1975 and 1976, Gaye was recognized by major corporations including the United Nations for charitable work dedicated to children and to affairs related to black culture. In the spring of 1977, Gaye released "Got to Give It Up, Pt. 1", which gave him his third number-one US pop hit, the final one Gaye released in his lifetime. The song also topped the R&B and dance singles chart and also found some international success reaching the top ten in England. Released as the only studio track from the Palladium album, its success kept Palladium on the charts for a year eventually selling over two million copies. It was recognized by Billboard as one of the top-ten selling albums of all time that year.

Marvin Gaye

Here, My Dear and his final days at Motown (197881)

In March 1977, his long, drawn-out court battle with former wife Anna Gordy ended. As a compromise to settle matters between the ex-couple over issues of alimony payments for their adopted son, Gaye's attorney until his death, Curtis Shaw, advised Gaye to remit a portion of the revenue that he was to get for his next studio album. Gaye entered the recording studio intending to produce a "lazy" album, but ended up with the sprawling double-album set, Here, My Dear, which was held up from release for over a year. Finally released after Motown's demand for new product in late 1978, the album was initially a flop, tanking after only a couple months on the charts. Its only single, "A Funky Space Reincarnation", peaked at number 23 on the R&B chart, in early 1979, becoming Gaye's first single since "Soldier's Plea" 17 years earlier to not hit the Billboard Hot 100. Gaye became a figure on talk show circuits for most of 1979, mostly appearing on Dinah Shore's Dinah & Friends. He also toured in 1979, first in the United States, then in England and in Japan, the latter being the first time (and, as it turned out, the only time) he ever toured that country. As the year continued, Gaye found himself in trouble financially, and at home with second wife, Janis Hunter. The couple split up in 1979, nearly eighteen months after marrying, and by that fall, following a performance in Hawaii, Gaye decided to remain in the state, fearing he might be imprisoned for failing to pay the IRS millions in back taxes; in court, his attorney claimed that several items within the singer's luggage, including tax returns, were stolen from him while at an airport. Meanwhile, Gaye, now heavily in the throes of drug addiction, struggled to record. Reports stated that while in Hawaii, Gaye lived inside a bread truck. He initially had planned to release a standards album titled The Ballads but discarded it, fearing fans would be disappointed by no recognizable hits on it. The singer then intended to release an album of love songs aimed for the disco audience titled Love Man, but within a year, however, Gaye thought of expressing his feelings about a possible Armageddon, as well as his battles of the heart. Gaye changed the titles of all the songs, rewrote lyrics, and retitled the album, In Our Lifetime, recording the album tracks while living in London in the middle of his exile. A 1980 European tour followed, after Gaye made a deal with British promoter Jeffrey Kruger, who had looked after Gaye's 197677 European tour and his Japanese engagement in 1979. Almost immediately, controversy arose, after Gaye failed to make the stage for Princess Margaret at the Royal Gala Charity Show. While Kruger recalls that Gaye showed up just as audiences were leaving, Gaye's musicians recalled that Gaye performed to the few that stayed for the performance though Princess Margaret had already left. Though Princess Margaret denied it, the international press printed the news as an "embarrassing snub", claiming that Gaye had deliberately arrived late. This led to a lawsuit between Gaye and Kruger that eventually settled out of court. While still in London, Gaye ran into problems when recordings of In Our Lifetime? were sent to Motown's offices back in Los Angeles, initially as rough mixes, to get Motown's response rather than intending to release it. However, desperate to release Marvin Gaye product, the label rushed the album out on January 15, 1981. Gaye was upset at the news, and accused the label of editing and remixing the album without his consent, putting out an unfinished song ("Far Cry"), altering the album art he requested, and removing the question mark from the title, muting its irony. Gaye vowed to never record another record for Motown. That summer, negotiations began to be made to release Gaye from the label. After several offers landed, Gaye accepted a deal for CBS Records, a deal that was finalized in March 1982.

Comeback and sudden death (198284)

On the advice of Belgian concert promoter Freddy Cousaert, Gaye moved to Ostend, Belgium, in February 1981 where for a time he cut down on drugs and began to get back in shape both physically and emotionally. While in Belgium, Gaye began to make plans to renew his declining fortunes in his professional career, starting with a tour he titled "The Heavy Love Affair Tour" in England where he was greeted more warmly by the same London press that had criticized him of the Princess Margaret snub the previous year. The tour ended with two concert dates in Ostend. A documentary leading up to his Belgian concert performances titled Transit Ostend was initially released to just Belgian fans, and was later issued on VHS in bootleg copies following Gaye's death.

Marvin Gaye After signing with CBS' Columbia Records division in 1982, Gaye worked on what became the Midnight Love album. Gaye reconnected with Harvey Fuqua while recording the album and Fuqua served as a production adviser on the album, which was released in October 1982. The parent single, "Sexual Healing", was released to receptive audiences globally, reaching number-one in Canada, New Zealand and the US R&B singles chart, while becoming a top ten US pop hit and hitting the top ten in three other selected countries including the UK. The single became the fastest-selling and fastest-rising single in five years on the R&B chart staying at number-one for a record-setting ten weeks. Gaye wrote "Sexual Healing" while in Ostend. Curtis Shaw later said that Gaye's Ostend period was "the best thing that ever happened to Marvin." The now-famous video of "Sexual Healing" was shot at the Casino-Kursaal in Ostend.[21] "Sexual Healing" won Gaye his first two Grammy Awards including Best Male Vocal Performance, in February 1983, and also won Gaye an American Music Award for Favorite Soul Single. It was called by People magazine "America's hottest musical turn-on since Olivia Newton John demanded we get "Physical".

I don't make records for pleasure. I did when I was a younger artist, but I don't today. I record so that I can feed people what they need, what they feel. Hopefully, I record so that I can help someone overcome a bad time.

NME December 1982[22] The following year, he was nominated for Best Male R&B Vocal Performance again, this time for the Midnight Love album. In February 1983, Gaye performed "The Star-Spangled Banner" at the NBA All-Star Game, held at The Forum in Inglewood, California, accompanied by Gordon Banks who played the studio tape from stands.[23] In March 1983, he gave his final performance in front of his old mentor Berry Gordy and the Motown label for Motown 25, performing "What's Going On". He then embarked on a US tour to support his album. The tour, ending in August 1983, was plagued by Gaye's returning drug addictions and bouts with depression. When the tour ended, he attempted to isolate himself by moving into his parents' house in Los Angeles. As documented in the PBS "American Masters" 2008 expos, several witnesses claimed Marvin's mental and physical condition spiraled out of control. Groupies and drug dealers hounded Marvin night and day. He threatened to commit suicide several times after bitter arguments with his father. On April 1, 1984, Gaye's father fatally shot him when Gaye intervened in an argument between his parents over misplaced business documents. Ironically, the gun had been given to his father by Marvin Jr. four months previously. Marvin Gaye would have celebrated his 45th birthday the next day. Doctors discovered Marvin Sr. had a brain tumor but he was deemed fit for trial and was sentenced to five years of probation after pleading guilty to voluntary manslaughter. Charges of first-degree murder were dropped when it was revealed that Gaye had beaten Marvin Sr. before the killing. Spending his final years in a retirement home, he died of pneumonia in October 1998.[24] In 1987, Marvin Gaye Jr. was posthumously inducted into the Rock and Roll Hall of Fame. He was also honored by Hollywood's Rock Walk in 1989 and was given a star on the Hollywood Walk of Fame in 1990. In 2005, Marvin Gaye Jr. was admitted into the Michigan Rock and Roll Legends Hall of Fame. In 2007, two of Gaye's most important recordings, "I Heard It Through The Grapevine" and "What's Going On", were voted Legendary Michigan Songs. "Ain't No Mountain High Enough", his hit duet with Tammi Terrell, was voted a Legendary Michigan Song in 2011.[25]

Personal life
Gaye married twice. His first marriage was to Berry Gordy Jr.'s sister, Anna Gordy, who was 18 years his senior. Marvin and Anna were married on January 8, 1964 when Gaye was 24 and Gordy was 42. The marriage imploded after Marvin began courting Janis Hunter, the daughter of Slim Gaillard, in 1973. Anna filed for divorce in 1975; the divorce was finalized in March 1977. Gaye's erotic and disco-tinged studio album I Want You was based on his relationship with Hunter. In his book Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye, author and music writer Michael Eric Dyson elaborated on the relationship between I Want You and the relationship Gaye had with Hunter, which influenced his music:

Marvin Gaye "I Want You" is unmistakably a work of romantic and erotic tribute to the woman he deeply loved and would marry shortly, Janis Hunter (Janis Gaye). Gaye's obsession with the woman in her late teens is nearly palpable in the sensual textures that are the album's aural and lyrical signature. Their relationship was relentlessly passionate and emotionally rough-hewn; they played up each other's strengths, and played off each other's weaknesses.[26] In October 1976, he married Janis, who was 17 years old when they met. However, the marriage dissolved within a year. After attempts at reconciliation, Janis filed for divorce in 1979. The divorce was finalized in February 1981. During this time, Marvin began dating a model from the Netherlands named Eugenie Vis.[27] In 1982 Gaye became involved with Lady Edith Foxwell, former wife of the British movie director Ivan Foxwell, and spent time with her at Sherston, her Wiltshire estate. Foxwell ran the fashionable Embassy Club and was referred to in the media as "the queen of London cafe society." The story of their affair was told by Stan Hey in the April 2004 issue of GQ. The report quoted writer/composer Bernard J. Taylor as saying he was told by Foxwell that she and Gaye had discussed marriage. Marvin Gaye was killed by his father on April 1, 1984; during an argument.[28] Gaye had three children. Marvin Pentz Gaye III (born 1965), by Denise Gordy, the niece of his first wife Anna Gordy. Marvin III was also adopted by his first wife Anna. The singer disclosed this in David Ritz's biography on Gaye, Divided Soul: The Life of Marvin Gaye, saying he was afraid of being criticized for not producing a child. Later, Gaye had two children with Janis Hunter, Nona Marvisa, nicknamed "Pie" by her dad (born September 4, 1974) and Frankie "Bubby" Christian Gaye (born November 16, 1975). Gaye introduced his daughter to a national audience during a show in 1975. Nona would do the same eight years later when her father was given a tribute by Soul Train. Nona has gone on to find success as a singer and actress. Gaye's eldest son was a music producer. Frankie is said to have taken work as an artist. Gaye also has two grandchildren: Marvin Pentz Gaye IV (born 1995), born on the anniversary of his grandfather's death;[29] and Nolan Pentz Gaye (born 1997).

10

Musicianship
Marvin Gaye's musical style changed in various ways throughout his 26-year career. Upon his early recordings as member of The Marquees and Harvey & the New Moonglows in the late 1950s, Marvin recorded in a doo-wop vocal style. After signing his first solo recording contract with Motown, Marvin persuaded Motown executives to allow him to record an adult album of standards and jazz covers. His first album, The Soulful Moods of Marvin Gaye, conveyed those genres including several doo-wop and blues songs.

The Motown Sound and psychedelic soul

Starting with his first charted hit, 1962's "Stubborn Kind of Fellow" through 1967's "Your Unchanging Love", Marvin's music featured a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Marvin's 196264 hits reflected a dance-pop/rock 'n' roll approach while his 196569 recordings reflected a pop-soul style. Backed by Motown's in-house band The Funk Brothers, pre-1970 Marvin Gaye recordings were built around songs with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. Marvin's early hits were conceived by Berry Gordy, Smokey Robinson, Mickey Stevenson and Holland-Dozier-Holland. Marvin's sound started to change slightly in 1967 after he began working with producers Norman Whitfield, Ashford & Simpson and Frank Wilson. Whereas Marvin's early sound reflected a youthful exterior, later songs during that period including "You", "Chained", "I Heard It Through the Grapevine", "Too Busy Thinking About My Baby" and "That's the Way Love Is" were all recorded under the psychedelic soul sound of the late sixties and early seventies. "Psychedelic soul" mixed guitar-driven rock with soul-based grooves. Marvin's vocal style also changed during that period where he began singing in a gospel texture that had been only hinted at in previous recordings.

Marvin Gaye

11

Social commentary and conceptual albums

In 1971, Marvin issued his landmark album, What's Going On. The album and its tracks were responsible in the changing landscape of rhythm and blues music as the album presented a full view of social ills in America, including war, police brutality, racism, drug addiction, environmentalism, and urban decay. Beforehand, recordings of social unrest had been recorded by the likes of (Curtis Mayfield &) The Impressions, The Temptations, Sam Cooke, Sly and the Family Stone and James Brown, but this was the first album fully devoted to those issues. The album was produced under what is called a song cycle and because of its theme of "what's going on" was considered one of the first concept albums to be released in soul music. Marvin's 1972 soundtrack Trouble Man, based on the blaxploitation film of the same name, mainly featured instrumentals with a few vocal runs, including songs with social commentary. Marvin's 1972 recordings outside that album including "Where Are We Going", "Piece of Clay", "You're the Man" and "The World Is Rated X" also raised social issues and was personal in nature. The songs were to be included in the unreleased 1972 album, You're the Man, which was canceled after the modest reception of the title single. Marvin issued his next "concept album" with 1973's Let's Get It On, based on the spiritual and erotic side of love and sex. Marvin released a similarly themed funk album in 1976, I Want You, before switching to personal issues with the albums Here, My Dear (1978) and In Our Lifetime (1981). The former album focused on Marvin's problems in his first marriage, while the latter focused on his own life struggles. Marvin's albums between 1971 and 1981 reflected a period where, as an Allmusic writer said, his music "not only redefined soul music as a creative force but also expanded its impact as an agent for social change".[30]

From funk to disco to contemporary R&B

Starting in the early-seventies, Marvin's sound began to reflect the emerging sounds of funk and the later disco movement of the late 1970s. Marvin's double-sided 1976 single, "I Want You/After the Dance" and his 1977 hit, "Got to Give It Up" were his only successful attempts at recording disco-styled dance music whereas the 1978 single "A Funky Space Reincarnation", 1979's "Ego Tripping Out" and the 1981 singles "Praise" and "Heavy Love Affair" aimed at the funk-based urban audience. By itself, "I Want You", mixed funk with disco, soul and lite rock elements. With the release of 1982's triple-platinum Midnight Love and the massive platinum selling smash hit, "Sexual Healing", Marvin mixed the styles of funk and post disco with Caribbean and European-flavored pop music creating a mix that influenced the modern R&B sound. "Sexual Healing" was the biggest R&B hit of the 1980s No.1 for 10 consecutive weeks. Some of Marvin's posthumous releases have been varied in nature: 1985's Dream of a Lifetime was produced mostly in an electro funk sound mostly in the first half of the album, while his posthumous "featuring" on rapper Erick Sermon's 2001 hit, "Music" brought him to a younger hip-hop audience.

Legacy and influence

According to several historians, Marvin Gaye's career "spanned the entire history of rhythm and blues from fifties doo-wop to eighties contemporary soul." [31] Critics stated that Gaye's music "signified the development of black music from raw rhythm and blues, through sophisticated soul to the political awareness of the 1970s and increased concentration on personal and sexual politics thereafter."[32] Marvin's usage of multi-tracked vocalizing, recording songs of social, political and sexual issues, and producing albums of autobiographical nature have influenced a generation of recording artists of various genres. As an artist who broke away from the controlled atmosphere of Motown Records in the 1970s, he influenced the careers of label mates such as Stevie Wonder, The Isley Brothers and, later in Epic Records, Michael Jackson to gain creative control and produce/co-produce their own albums. The careers of later R&B stars such as Rick James, Prince, R. Kelly, D'Angelo, Raheem DeVaughn, Maxwell, Janet Jackson, George Michael, Justin Timberlake, Usher, Bobby V,Trey Songz and J. Holiday also were influenced by the music of Marvin Gaye. Marvin's erotically concept albums such as Let's Get It On and I Want You inspired similar albums released by Smokey Robinson, Barry White and his co-producer on I Want You, Leon Ware. Modern-day artists such as Teena Marie and Mary J. Blige have also referenced Marvin in their own songs. In 2004,

Marvin Gaye Rolling Stone ranked him No.18 on their list of the "100 Greatest Artists of All Time".[33]

12

Tributes and covers

In 1983, Spandau Ballet recorded the single "True" as a tribute to Marvin and the Motown sound he helped established. That same year, electro-funk group R. J.'s Latest Arrival mentioned him with their dance hit, "Shackles on My Feet". DeBarge's 1983 hit, "All This Love" was musically influenced by Marvin's sound and was rumored that they had wanted Marvin to record the song himself. However, Marvin had left the label before they could approach him. On April 2, 1984, the day after Marvin's death, Duran Duran dedicated their live performance of "Save a Prayer" while on their Sing Blue Silver tour and appearing on their Arena album to him. Tribute songs to the singer included Diana Ross' "Missing You" and The Commodores' "Nightshift" became hits with each song reaching number-one on the Billboard Hot R&B Singles chart. Other artists who have either paid tribute to Marvin in a song or referenced him have included close friend and former Motown label-mate Edwin Starr, who released "Marvin" the month after his death, Teena Marie's "My Dear Mr. Gaye", Todd Rundgren's "Lost Horizon", the Violent Femmes' 1988 single "See My Ships", Maze featuring Frankie Beverly's 1989 R&B hit, "Silky Soul", ABC's 1987 single "When Smokey Sings" (Gaye's "What's Going On (song)" is sampled for the Miami Mix) and George Michael's "John and Elvis Are Dead" where Marvin is mentioned in one the final lines from the repeated chorus. Stevie Wonder wrote the song "Lighting Up the Candles" as a tribute to Gaye following his death and performed the song originally at Gaye's funeral service. Wonder later recorded the song for the Jungle Fever soundtrack. In 1992, Israeli artist Izhar Ashdot dedicated his song "Eesh Hashokolad" to Gaye. Two tribute albums, 1995's Inner City Blues: The Music of Marvin Gaye (which featured Nona's version of "Inner City Blues") and 1999's Marvin Is 60 featured covers of Marvin's most famous material. Since the 1960s, Marvin's songs have been covered by a variety of artists. The Rolling Stones recorded "Baby Don't You Do It" early in their career. The Band also recorded "Baby Don't You Do It" numerous times under the title "Don't Do It"; the different versions, both studio and live, appear on several of their albums and box sets (the only one to be released as a single came from Rock of Ages), as well as in their 1976 concert film The Last Waltz. Rod Stewart during his early tenure with Steampacket covered "Can I Get a Witness". His 1965 hit, "How Sweet It Is (To Be Loved By You)" was covered three times by Junior Walker in 1966, again in 1975 by James Taylor, and again in 2002 by gospel singer Helen Baylor. In Baylor's version she substituted the word "baby" for Jesus. Gaye's 1968 hit "I Heard It Through the Grapevine" has been frequently covered with versions recorded by Creedence Clearwater Revival, Roger Troutman, Edwin Starr and The California Raisins. Donny Hathaway performed a live version of "What's Going On" for his 1972 Live album while Cyndi Lauper recorded a top forty version of "What's Going On" in 1987, the song was re-recorded by a variety of contemporary pop, R&B and rap artists in 2001(again, including Nona) for AIDS benefit and was later dedicated to the events of the September 11, 2001 attacks. A few years after that, rock band A Perfect Circle covered the song in their own hard rock version. The singer's "Mercy Mercy Me (The Ecology)" was covered by rock band The Strokes which featured Eddie Vedder on lead vocals. R&B singer Angela Winbush covered "Inner City Blues" in 1994 and was recorded in a slightly different version by Gil-Scott Heron in the 1970s. Aaliyah covered "Got to Give It Up" on her album One in a Million. Gospelsoul legends Mavis Staples and Aretha Franklin have each covered "Wholy Holy" from the What's Going On album while "Let's Get It On" was famously sampled by Shaggy on his breakthrough single, 1994's "Boombastic". Versions of "Sexual Healing" have been recorded by Soul Asylum, Ben Harper, Max-A-Million, Kate Bush, Neil Finn, Sarah Connor and Ne-Yo. Michael McDonald, Diana Ross and Amy Winehouse have all covered or redone their own versions of "Ain't No Mountain High Enough", Marvin's 1967 hit with Tammi Terrell while Luther Vandross and Cheryl Lynn reinterpreted the Marvin/Tammi single, "If This World Were Mine" in 1982. Mary J. Blige and Method Man, with permission, sampled an interpolation of "You're All I Need to Get By" for their

Marvin Gaye 1995 hit, "You're All I Need/I'll Be There for You". In June 2008, D'Angelo alongside Erykah Badu recorded Gaye's hit duo with Terrell, "Your Precious Love" for his "The Best So Far"...compilation album. On April 2, 2006, on what would have been the singer's 67th birthday, a park near the neighborhood where Marvin grew up at in Washington, D.C. was renamed after him after a discussion with the City Council. "Inner City Blues (Make Me Wanna Holler)" was covered by John Mayer in his Album As/Is, released in 2004. The cover also featured DJ Logic. Elton John's song "Club at the End of the Street" also mentions Marvin Gaye. On the 25th anniversary of Marvin Gaye's death, the singer's hometown of Washington, D.C. again honored the singer by renaming a street he grew up on called "Marvin Gaye Way".

13

Musical achievements and posthumous releases

Gaye scored 41 Top 40 hit singles on Billboard's Pop Singles chart between 1963 and 2001, 60 Top 40 R&B singles chart hits from 1962 to 2001, 18 Top Ten pop singles on the pop chart, 38 Top 10 singles on the R&B chart,[34] three number-one pop hits and thirteen number-one R&B hits and tied with Michael Jackson in total as well as the fourth biggest artist of all-time to spend the most weeks at the number-one spot on the R&B singles chart (52 weeks). In all, Gaye produced a total of 67 singles on the Billboard charts in total, spanning five decades, including five posthumous releases. The year a remix of "Let's Get It On" was released to urban adult contemporary radio, "Let's Get It On" was certified gold by the RIAA for sales in excess of 500,000, making it the best-selling single on Motown in the United States. Gaye's "I Heard It Through the Grapevine" is the best-selling international Motown single, explained by a re-release in Europe following a Levi 501 Jeans commercial in 1986. On June 19, 2007, Hip-O Records reissued Gaye's final Motown album, In Our Lifetime as an expanded two-disc edition titled In Our Lifetime?: The Love Man Sessions, bringing back the original title with the question mark and included a different mix of the album, which was recorded in London and also including the original songs from the Love Man album, which were songs later edited lyrically for the songs that made the In Our Lifetime album. The same label released a deluxe edition of Gaye's Here, My Dear album, which included a re-sequencing of tracks from the album from producers such as Salaam Remi and Bootsy Collins. His 1983 NBA All-Star performance[35] of the national anthem was used in a Nike commercial featuring the 2008 US Olympic basketball team. Also, on CBS Sports' final NBA telecast to date (before the contract moved to NBC) at the conclusion of Game 5 of the 1990 Finals, they used Gaye's 1983 All-Star Game performance over the closing credits. When VH1 launched on January 1, 1985, Gaye's 1983 rendition of the national anthem was the very first video to be aired. Most recently, it was used in the intro to Ken Burns' Tenth Inning documentary on the game of baseball. In 2008, Gaye earned $3.5million, and took 13th place in 'Top-Earning Dead Celebrities' in Forbes Magazine.[36] "I Heard It Through the Grapevine" one of his most famous songs, voted No.1 and greatest Motown song and his "What's Going On" is on the top five.[37]

Documentaries and movies

A documentary about Gaye What's Going On: The Marvin Gaye Story was a UK/PBS US co-production, directed by Jeremy Marre and was first broadcast in 2006; two years later, the special re-aired with a different production and newer interviews after it was re-broadcast as an American Masters special. Gaye is referenced as one of the supernatural acts to appear in the short story and later television version of Stephen King's Nightmares and Dreamscapes in "You Know They Got a Hell of a Band". A play by Caryl Phillips called A Long Way from Home, focusing on Gaye's relationship with his father and his last years in Ostend, was broadcast by BBC Radio 3 in March 2008. It featured O. T. Fagbenle as Gaye and Kerry Shale as Marvin Gay Sr., with Rhea Bailey, Rachel Atkins, Damian Lynch, Alibe Parsons, Ben Onwukwe and Major

Marvin Gaye Wiley. It was directed by Ned Chaillet and produced by Chris Wallis. So far, three movies are currently being planned on Marvin Gaye's life. One movie, Sexual Healing, is based on the post-Motown career of his later years, with Jesse L. Martin playing Marvin and James Gandolfini playing Marvin's Belgium-based mentor, concert promoter Freddy Cousaert.[38] Another film, simply titled, Marvin, is also in plans for production with F. Gary Gray in helm to direct the film.[39] This film, unlike Sexual Healing, will focus on Marvin's entire life story because unlike Sexual Healing, the second film was allowed rights to Marvin's Motown catalog. Musicians Common and Usher and actor Will Smith have either been rumored to or have aspired to play the singer possibly in the second film. A third film on Gaye is reportedly being produced by Motown with director Cameron Crowe.[40]

14

Filmography
1965: T.A.M.I. Show (documentary) 1969: The Ballad of Andy Crocker (television movie) 1971: Chrome & Hot Leather (television movie) 1972: Trouble Man (cameo; soundtrack) 1973: Save the Children (documentary)

Videography
Marvin Gaye: Live in Montreux 1980 (2003)[41] The Real Thing: In Performance (19641981) (2006)

Marvin Gaye in popular culture

In advertising
During the 2008 Summer Olympics, Nike ran ads focused on the United States' Men's Basketball Team featuring Marvin Gaye's 1983 performance of "The Star-Spangled Banner" during the NBA All-Star Game. The message is: the team found inspiration in the way Marvin Gaye performed the song. "A Funky Space Reincarnation," from his 1978 album "Here, My Dear," was used in the Dior J'Adore perfume commercial that features Charlize Theron.

In music
Singer Diana Ross honors Marvin Gaye in the 1984 song titled "Missing You." Singer Teena Marie pays tribute to Marvin Gaye with her song titled "My Dear Mr. Gaye." In 1997, R&B singer Aaliyah did a cover to Marvin Gaye's "Got To Give It Up" which featured Slick Rick. In the song "Hrst Du mich?" by German Hip Hop band Fettes Brot, the first verse is dedicated to Marvin Gaye.[42] The Commodores paid tribute to Marvin Gaye and Jackie Wilson on their hit "Nightshift" in 1985. The Prefab Sprout song "When the angels", from their 1985 album Steve McQueen, is a tribute to Marvin Gaye.[43] "See My Ships", a song from 3 (the 1989 Violent Femmes album), the shooting of Marvin Gaye is used in a double-entendre to express anxiety about a final judgement by God (the 'father'): "Mercy mercy me, Marvin Gaye, he was shot by his father, O my father have mercy on me"[44] The Avett Brothers reference Marvin Gaye in their song "The Day Marvin Gaye Died".

Rapper Big Sean recorded a song used on his Finally Famous album titled "Marvin & Chardonnay" featuring Kanye West and Roscoe Dash.

Marvin Gaye Rapper Drake recorded "Marvin's Room" in reference to producing the song in Marvin Gaye's studio. Rapper Charles Hamilton referenced Marvin in his song "Stay On Your Level": Rapper Tyler, The Creator referenced Marvin in his song "Yonkers". Rapper Immortal Technique referenced Marvin and "What's Going On" in his song "Crossing the Boundary". Rapper Cormega referenced Marvin in his song "Journey".

15

Onscreen
Film He played "Jim" in the 1971 biker film Chrome and Hot Leather, which also featured Larry Bishop. Television In The Sopranos season 6, episode 1 ("Members Only"), Uncle Junior shoots Tony Soprano and Vito Spatafore later remarks: "He Marvin Gaye'd his own nephew.

In poetry
On multi-genre performer B. Dolan's 2010 album, Fallen House Sunken City (Strange Famous Records), "Marvin" is a poem about the last days of Marvin Gaye.

References
[1] Simmonds, Jeremy (2008). The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches. Chicago Review Press. p.190. ISBN1-55652-754-3. [2] "Marvin Gaye Studio Vocal Range &" (http:/ / wn. com/ marvin_gaye_studio_vocal_range_& #91;d2-eb6& #93;& #91;note_by_note& #93;) (video). World News Network. . Retrieved December 23, 2010. [3] Edmonds, Ben (2003). What's Going On?: Marvin Gaye and the Last Days of the Motown Sound. Canongate U.S.. p.12. ISBN1-84195-314-8. [4] Ritz, David (1985, rev. 1991). Divided Soul: The Life of Marvin Gaye. Da Capo Press. ISBN978-0-306-80443-4. [5] "Marvin Gaye Timeline" (http:/ / rockhall. com/ story-of-rock/ timelines/ marvin-gaye/ ). The Rock and Roll Hall of Fame. January 21, 1987. . Retrieved December 23, 2010. [6] "Rolling Stone: 100 Greatest Singers Of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 24161972/ page/ 6). p.6. . Retrieved December 23, 2010. [7] "Rolling Stone: The Immortals, The first 50" (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty/ ). . Retrieved December 23, 2010. [8] "VH1 100 Greatest Artists of All Time." (http:/ / stereogum. com/ 495331/ vh1-100-greatest-artists-of-all-time/ list/ ). . [9] Gaye, Frankie; Basten, Fred E. (2003). Marvin Gaye, My Brother. Backbeat Books. p.4. ISBN0-87930-742-0. [10] "Marvin Gaye Singer/Songwriter" (http:/ / www. bbc. co. uk/ dna/ h2g2/ A23192868). BBC h2g2. June 5, 2007. . Retrieved August 23, 2008. [11] "Marvin Gaye No Military Hit" (http:/ / www. thesmokinggun. com/ archive/ 0913051_marvin_gaye_1. html). September 13, 2005. . Retrieved December 23, 2010. [12] Edmonds, Ben (2003). What's Going On?: Marvin Gaye and the Last Days of the Motown Sound. Canongate U.S.. p.22. ISBN1-84195-314-8. [13] "The Stars of Motown" (http:/ / www. bbc. co. uk/ dna/ hg2g/ A10508384). BBC. . Retrieved December 23, 2010. [14] "Marvin Gaye & Tammi Terrell: Perfect Together" (http:/ / www. tammiterrell. com/ perfect_together. html). . Retrieved January 22, 2009. [15] Jason Plautz (June 30, 2011). "Marvin Gaye, Detroit Lions Wide Receiver?" (http:/ / www. mentalfloss. com/ blogs/ archives/ 92596). Mental Floss. . Retrieved March 1, 2012. [16] http:/ / legendsrevealed. com/ entertainment/ 2009/ 07/ 29/ music-legends-revealed-16/ [17] Vincent, Rickey; Clinton, George (1996). Funk: The Music, the People, and the Rhythm of the One. Macmillan. p.129. ISBN0-312-13499-1. [18] Whitburn, Joel (2004). The Billboard Book of Top 40 Hits: Complete Chart Information About America's Most Popular Songs and Artists, 19552003. Billboard Books. p.250. ISBN0-8230-7499-4. [19] John Bush. It also was sixth greatest album by Rolling Stone magazine. What's Going On remains one of the few examples in modern music where critical acclaim and immediate commercial success occurred simultaneously. What's Going On was the first in a series of Motown albums in which albums overtook singles in commercial importance as well as cultural significance. review of What's Going On (http:/ / www. allmusic. com/ album/ r8079/ review), by Marvin Gaye, allmusic.com (accessed June 10, 2005).

Marvin Gaye
[20] Jason Ankeny, review of Let's Get It On (http:/ / www. allmusic. com/ album/ r8081), by Marvin Gaye, allmusic.com (accessed June 10, 2005). [21] "What's On in Ostend" (http:/ / blog. ramada-ostend. com/ ostendblog/ ). . Retrieved November 16, 2010. [22] Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p.373. CN 5585. [23] Batchelor, Bob (2005). Basketball in America: From the Playgrounds to Jordan's Game and Beyond. Haworth Press. pp.4143. ISBN0-7890-1613-3. [24] "Marvin Gaye's father and killer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 200833. stm). news.bbc.co.uk. October 25, 1998. . Retrieved October 27, 2008. [25] www.michiganrockandrolllegends.com [26] Michael Eric Dyson (2005). Mercy, Mercy Me: The Art, Loves and Demons of Marvin Gaye (http:/ / books. google. com/ books?id=EL5_I4Dkx7IC& pg=RA1-PA164& dq=marvin+ gaye+ janis& sig=ACfU3U2q-LTCmmmZSpFPM21J8woC-eE8Og). Basic Civitas Books. p.164. . Retrieved July 8, 2011. [27] "The Life and Tragic Death of Motown's - Crime Library To Europe Crime Library on" (http:/ / www. trutv. com/ library/ crime/ notorious_murders/ celebrity/ marvin_gaye/ 10b. html). Trutv.com. February 15, 2012. . Retrieved March 1, 2012. [28] "The Domestic Dispute that ended the life of Marvin Gaye - Crime Library The Final Fight Crime Library on" (http:/ / www. trutv. com/ library/ crime/ notorious_murders/ celebrity/ marvin_gaye/ 13. html). Trutv.com. March 31, 1984. . Retrieved March 1, 2012. [29] Brozan, Nadine (April 1, 1995). "Chronicle: New York Times" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=990CE3DD173FF937A35757C0A963958260). The New York Times. . Retrieved August 29, 2008. [30] "Allmusic (((Marvin Gaye Overview)))" (http:/ / www. allmusic. com/ artist/ p4344/ biography). . Retrieved January 9, 2009. [31] "Marvin Gaye" (http:/ / www. history-of-rock. com/ marvin_gaye. htm). History-of-Rock. . Retrieved August 23, 2008. [32] "Marvin Gaye" (http:/ / www. classicbands. com/ gaye. html). Classic Bands. . Retrieved August 23, 2008. [33] "The Immortals: The First Fifty" (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty). Rolling Stone Issue 946. . [34] Joel Whitburns Top R&B/Hip-Hop Singles: 19422004, 2004 [35] "Marvin Gaye's 'National Anthem'" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=985241). Npr.org. February 7, 2003. . Retrieved July 8, 2011. [36] "Elvis, Marvin Gaye shake moneymakers in afterlife" (http:/ / www. cnn. com/ 2008/ SHOWBIZ/ Music/ 10/ 29/ dead. celebrities/ index. html). CNN. October 29, 2008. . Retrieved July 8, 2011. [37] Music Radar (http:/ / www. musicradar. com/ news/ tech/ marvin-gayes-grapevine-voted-greatest-motown-song-183075): Marvin Gaye's Grapevine voted greatest Motown song [38] Sexual Healing (2010) (http:/ / www. imdb. com/ title/ tt0760183/ ) [39] Marvin: The Life Story of Marvin Gaye (2009) (http:/ / www. imdb. com/ title/ tt0806117) [40] "Legends come together to celebrate 50th anniversary" (http:/ / www. macombdaily. com/ articles/ 2009/ 11/ 20/ entertainment/ srv0000006871169. txt). . Retrieved November 24, 2009. [41] "Marvin Gaye Live in Montreux 1980: Marvin Gaye: Movies & TV" (http:/ / www. amazon. com/ Marvin-Gaye-Live-Montreux-1980/ dp/ B000094J89). Amazon.com. . Retrieved July 8, 2011. [42] "Songtext: Fettes Brot 1 Hrst Du Mich?" (http:/ / www. magistrix. de/ lyrics/ Fettes Brot 1/ Hoerst-Du-Mich-257532. html). Magistrix.de. . Retrieved July 8, 2011. [43] Buckley, Peter (2003). The rough guide to rock. Rough Guides. ISBN978-1-85828-457-6. [44] "Violent Femmes:See My Ships Lyrics" (http:/ / lyrics. wikia. com/ Violent_Femmes:See_My_Ships). Wikia.com. . Retrieved November 2, 2011.

16

Further reading
Davis, Sharon (1991). Marvin Gaye: I Heard It Through The Grapevine. Croydon, Surrey: Bookmarque Ltd. ISBN 1-84018-320-9 Dyson, Michael Eric (2004). Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye. New York/Philadelphia: Basic Civitas. ISBN 0-465-01769-X. Gambaccini, Paul (1987). The Top 100 Rock 'n' Roll Albums of All Time. New York: Harmony Books. Garofalo, Reebee (1997). Rockin' Out: Popular Music in the USA. Allyn & Bacon. ISBN0-205-13703-2. Gaye, Frankie with Basten, Fred E. (2003). Marvin Gaye: My Brother. Backbeat Books, ISBN 0-87930-742-0 Heron, W. Kim (April 8, 1984). Marvin Gaye: A Life Marked by Complexity. Detroit Free Press. Posner, Gerald (2002). Motown : Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. Ritz, David (1986). Divided Soul: The Life of Marvin Gaye. Cambridge, Mass: Da Capo Press. ISBN 0-306-81191-X

Marvin Gaye Turner, Steve (1998). Trouble Man: The Life and Death of Marvin Gaye. London: Michael Joseph. ISBN 0-7181-4112-1 Ward, Ed, Geoffrey Stokes and Ken Tucker (1986). Rock of Ages: The Rolling Stone History of Rock and Roll. Rolling Stone Press. ISBN0-671-54438-1. White, Adam (1985). The Motown Story. London: Orbis. ISBN 0-85613-626-3

17

External links
Marvin Gaye (http://www.allrovi.com/name/pmarvin-gaye-mn0000316834) at AllRovi Marvin Gaye (http://www.allmusic.com/artist/p4344) at Allmusic Marvin Gaye (http://www.imdb.com/name/nm0310848/) at the Internet Movie Database Marvin Gaye Biography (http://marvin-gaye.guidechart.com/marvin-gaye-biography.php) Marvin Gaye Life & Legacy (http://www.marvin-gaye.co.uk/) Additional archives (http://www.marvingayepage.net/)

18

Discography
Marvin Gaye discography
Marvin Gayediscography Releases Studio albums Live albums Compilation albums Singles Video albums Music videos Soundtracks 25 4 24 83 3 2 1

Tribute and cover albums 2

This is a listing of all of the singles and albums released by the American musician, Marvin Gaye. Forty-one of his singles reached the Billboard Top 40 in the US; eighteen reached the Billboard Top 10 and three of them reached #1.

Albums
Studio albums
Year Title Peak chart positions US US R&B UK[1] 1961 The Soulful Moods of Marvin Gaye 1962 That Stubborn Kinda Fellow 1964 When I'm Alone I Cry Hello Broadway 1965 How Sweet It Is to Be Loved by You A Tribute to the Great Nat "King" Cole 1966 Moods of Marvin Gaye 1968 I Heard It Through the Grapevine 1969 M.P.G. 1970 That's the Way Love Is 1971 What's Going On 1972 Trouble Man 1973 Let's Get It On 1976 I Want You 128 118 63 40 189 6 14 2 4 4 8 2 1 17 1 3 1 1 56* 39 22 Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Label

Marvin Gaye discography

19
1978 Here, My Dear 1981 In Our Lifetime 1982 Midnight Love 1985 Dream of a Lifetime (posthumous) Romantically Yours (posthumous) 1997 Vulnerable (posthumous) 26 32 7 41 4 6 1 8 48 10 46 Tamla Tamla Columbia Columbia Columbia Motown

"" denotes releases that did not chart

* The album charted in the UK in 1996.

Duet albums
Year Title Peak chart positions US US R&B UK[1] 1964 Together (with Mary Wells) 1966 Take Two (with Kim Weston) 1967 United (with Tammi Terrell) 1968 You're All I Need (with Tammi Terrell) 1969 Easy (with Tammi Terrell) 1973 Diana & Marvin (with Diana Ross) 1980 Motown Superstar Series (with Tammi Terrell) 42 69 60 184 26 7 4 7 6 Motown Tamla Tamla Tamla Tamla Motown Motown Label

"" denotes releases that did not chart

Live albums
Year Title Peak chart positions US US R&B UK[1] 1963 Marvin Gaye Recorded Live on Stage 1974 Marvin Gaye Live! 1977 Live at the London Palladium 2005 Marvin Gaye at the Copa 8 3 1 1 Tamla Tamla Tamla Hip-O Select Label

"" denotes releases that did not chart

Compilation albums

Marvin Gaye discography

20

Year

Title

Peak chart positions US US R&B UK[1]

Certifications (sales threshold)

1964 Greatest Hits 1967 Greatest Hits, Vol. 2 1969 Marvin Gaye and His Girls 1970 Super Hits Greatest Hits 1974 Anthology (version one) 1976 Marvin Gaye's Greatest Hits 1983 Every Great Motown Hit of Marvin Gaye 1984 Anthology (version two) 1986 Motown Remembers Marvin Gaye: Never Before Released Masters 1988 A Musical Testament: 1964-1984 18 Greatest Hits 1990 The Marvin Gaye Collection 1994 The Norman Whitfield Sessions Love Starved Heart: Rare and Unreleased 1995 Anthology (version three) The Master: 1961/1984 (box set) 1999 Love Starved Heart (Expanded Edition) 2000 20th Century Masters - The Millennium Collection: The Best of Marvin Gaye, Vol. 1 - the 1960s 2001 20th Century Masters - The Millennium Collection: The Best of Marvin Gaye, Vol. 2 - the 1970s 20th Century Masters - The Millennium Collection: The Best of Marvin Gaye & Tammi Terrell The Complete Duets (with Tammi Terrell) Love Songs: Greatest Duets 2002 Love Songs: Bedroom Ballads The Very Best of Marvin Gaye (re-released in 2005 as Marvin Gaye: Gold) 2005 Marvin Gaye: Gold (re-released title of above album) 2008 Playlist Your Way 2010 Icon "" denotes releases that did not chart

72 178 183 117 171 61 44 80 193 167

19 16 19 17 10 17 48 69 67 85 95 77

40 60 13 US: Platinum US: Platinum

Re-release albums

Marvin Gaye discography

21

Year

Title Legacy

Label

1998 Midnight Love and the Sexual Healing Sessions 2001 What's Going On (Deluxe Edition) Let's Get It On (Deluxe Edition) 2003 I Want You (Deluxe Edition)

Universal Universal Universal

2007 In Our Lifetime (Expanded Love Man Deluxe Edition) Hip-O Select Midnight Love: The 25th Anniversary Legacy Edition Legacy 2008 Here, My Dear (Expanded Edition) Universal/Hip-O Select

Singles
The Marquees 1957: "Baby You're the Only One" 1958: "Wyatt Earp" The Moonglows 1958: "Twelve Months of the Year" 1959: "Mama Loocie" 1959: "Blue Skies" 1959: "Beatnik"
Title Peak chart positions US US R&B UK[1] 1961 "Let Your Conscience Be Your Guide" 1962 "Sandman" "Soldier's Plea" "Stubborn Kind of Fellow" "Hitch Hike" 1963 "Pride and Joy" "Can I Get a Witness" "I'm Crazy 'Bout My Baby" 1964 "You're a Wonderful One" "Once Upon a Time" (with Mary Wells) "What's the Matter with You Baby" (with Mary Wells) "Try It Baby" "Baby Don't You Do It" "What Good Am I Without You" (with Kim Weston) "How Sweet It Is (To Be Loved by You)" 1965 "I'll Be Doggone" "Pretty Little Baby" "Ain't That Peculiar" 46 30 10 22 77 15 19 17 15 27 61 6 8 25 8 8 12 2 3* 3* 3* 2* 6* 14* 28* 3 1 16 1 50 49 Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Motown Motown Tamla Tamla Tamla Tamla Tamla Tamla Tamla Label

Year

Marvin Gaye discography

22
29 44 47 14 19 33 5 34 10 68 8 7 32 24 1 30 4 7 49 41 67 50 56 40 2 4 9 50 7 1 12 21 4 16 10 4 3 7 2 7 2 27 1 1 8 11 1 11 1 2 6 18 26 18 7 1 1 1 7 4 1 4 3 50 16 41 34 19 21 1 26 5 9 9 41 31 25 Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Motown Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Tamla Motown Motown Tamla

1966 "One More Heartache" "Take This Heart of Mine" "Little Darling (I Need You)" "It Takes Two" (with Kim Weston) 1967 "Ain't No Mountain High Enough" (with Tammi Terrell) "Your Unchanging Love" "Your Precious Love" (with Tammi Terrell) "You" "If I Could Build My Whole World Around You" (with Tammi Terrell) 1968 "If This World Were Mine" (with Tammi Terrell) "Ain't Nothing Like the Real Thing" (with Tammi Terrell) "You're All I Need to Get By" (with Tammi Terrell) "Chained" "Keep On Lovin' Me Honey" (with Tammi Terrell) "You Ain't Livin' till You're Lovin'" (with Tammi Terrell) "His Eye Is on the Sparrow" "I Heard It Through the Grapevine" 1969 "Good Lovin' Ain't Easy to Come By" (with Tammi Terrell) "Too Busy Thinking About My Baby" "That's the Way Love Is" "Abraham, Martin and John" "What You Gave Me" (with Tammi Terrell) "How Can I Forget" 1970 "Gonna Give Her All the Love I've Got" "The Onion Song" (with Tammi Terrell) "California Soul" (with Tammi Terrell) "The End of Our Road" 1971 "What's Going On" "Mercy Mercy Me (The Ecology)" "Inner City Blues (Make Me Wanna Holler)" "Save the Children" 1972 "You're the Man" "Trouble Man" "I Want to Come Home for Christmas" 1973 "Let's Get It On" "You're a Special Part of Me" (with Diana Ross) "Stop, Look, Listen (To Your Heart)" (with Diana Ross) "Come Get to This"

Marvin Gaye discography

23
50 19 46 28 15 74 1 59 106 101 3 101 21 "" denotes releases that did not chart 13 15 25 12 1 14 1 26 23 17 18 61 1 78 31 2 55 16 2 94 5 7 66 4 34 51 67 36 Tamla Motown Motown Motown Tamla Tamla Tamla Tamla Tamla Motown Tamla Tamla Tamla Tamla Tamla Columbia Columbia Columbia Columbia

1974 "You Sure Love to Ball" "My Mistake (Was to Love You)" (with Diana Ross) "Don't Knock My Love" (with Diana Ross) "You Are Everything" (with Diana Ross) "Distant Lover (Live)" 1976 "I Want You" "After the Dance" "Since I Had You" 1977 "Got to Give It Up" 1978 "Pops, We Love You (A Tribute to Father)" (with Diana Ross, Stevie Wonder & Smokey Robinson) 1979 "A Funky Space Reincarnation" "Anger" (Canadian release) "Ego Tripping Out" 1981 "Praise" "Heavy Love Affair" 1982 "Sexual Healing" 1983 "My Love Is Waiting" "'Til Tomorrow" "Joy" 1985 "Sanctified Lady"1 "It's Madness"1 "Just Like"1 1986 "The World Is Rated X"1 1991 "My Last Chance"1 1994 "Lucky, Lucky Me"1 2001 "Music"1 (with Erick Sermon) 2005 "Let's Get It On (The M.P.G. Groove Mix)"1

* November 1963 to January 1965 R&B Singles chart positions come from Cash Box. 1 All singles after 1984 were posthumous releases.

Videography
Video albums

Marvin Gaye discography

24

Year

Title

Format DVD

2003 Marvin Gaye: Live in Montreux 1980

2006 The Real Thing: In Performance (19641981) DVD 2006 What's Going On DVD

Music videos
Year Title

1979 "A Funky Space Reincarnation" 1982 "Sexual Healing"

Other appearances
Year Song Album

1994 "Sexual Healing" (live version) Grammy's Greatest Moments Volume I[2]

References
[1] Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p.223. ISBN1-904994-10-5. [2] "Grammy's Greatest Moments, Volume 1: Various Artists" (http:/ / www. amazon. com/ gp/ product/ B000002IXZ/ ). Amazon.com. . Retrieved 2011-11-21.

External links
Marvin Gaye - The Early Years: a detailed list of singles released by Marvin Gaye in the mid-to-late-1950s (http:/ /web.archive.org/web/20050428141707/www.ritchie-hardin.com/soul/det-mg50s.html) Marvin Gaye - US singles: 1961-1990 (http://web.archive.org/web/20050428141542/www.ritchie-hardin. com/soul/det-mg45a.html) Marvin Gaye - US albums: 1961-1985 (http://web.archive.org/web/20050428141652/www.ritchie-hardin. com/soul/det-mg33.html)

25

Studio albums
The Soulful Moods of Marvin Gaye
The Soulful Moods of Marvin Gaye
Studio album by Marvin Gaye Released Recorded Genre Length Label June 8, 1961 1961 Jazz, pop, R&B 33:04 Tamla TM-221 Berry Gordy Marvin Gaye chronology

Producer

The Soulful Moods of Marvin Gaye (1961)

That Stubborn Kinda Fellow (1962)

The Soulful Moods of Marvin Gaye is Marvin Gaye's 1961 debut album, and the second long-playing album (TM-221) released by Motown. The first was Hi... We're The Miracles (TM-220). It's most notable as the album that caused the first known struggle of Gaye's turbulent tenure with the label.

Background
History
Between his release from the U.S. Air Force in 1957 and signing with Motown Records' Tamla imprint in 1961, Marvin Pentz Gay, Jr. was struggling to find his identity in the music business. A long admirer of different forms of music from early rock 'n' roll, blues, jazz and doo-wop, Gaye sought to mix the styles of Nat King Cole, Billy Eckstine, Little Willie John and Jesse Belvin, first getting involved in groups such as the Marquees, which he joined following his honorable discharge from a tenure in the Air Forces, which soon replaced the original members of Harvey Fuqua's group The Moonglows under the moniker, Harvey and the New Moonglows, with Reese Palmer doing most of the leads though Marvin did take some lead vocal parts, including speaking in the intro and ending of the single, "The Twelve Months of the Year", and sung all lead in the song, "Mama Loochie". Both songs were released on the Chess label in 1959 and during this period the group sung background for notable Chess acts including Chuck Berry on the song "Almost Grown", and Etta James' "Chained to My Rocking Chair". After living in Chicago for two years and following a tour in Detroit, Fuqua decided to split up the group and take Marvin with him to help get him work in the musically-developing city. Fuqua then signed Marvin to a contract with his Harvey and Tri-Phi Records and also assigned him to work with his then-girlfriend Gwen Gordy's Anna label. Gaye would do drumming work for acts on Tri-Phi and Harvey including, most notably, The Spinners, on their debut hit, "That's What Girls Are Made For". In December of 1960, Marvin introduced himself to Motown CEO Berry Gordy at

The Soulful Moods of Marvin Gaye Motown's annual Christmas party by playing piano and singing "Mr. Sandman". Gordy was impressed with Marvin and later began working out a negotiation deal with Fuqua to sign the young singer to Gordy's Motown empire. Fuqua agreed to sell 50% of his interest in Marvin to Gordy, which led to Gordy presenting Gaye with a lucrative deal, which he signed with the following month. Marvin was then assigned to Motown's Tamla imprint, an imprint he'd record with for the 20 years he recorded with the label. In the meantime, Marvin met and fell in love with one of Gordy's sisters, Anna Gordy and the couple would begin dating during the spring of 1961, marrying within a year

26

Recording and release

As great as it was to sign Marvin to Motown, the label and the young singer soon clashed with musical direction. While the label was recording R&B music for teenagers, Marvin, who admired Nat King Cole and Ray Charles, wanted to record more "adult" music, including jazz and pop standards. Gaye had noted that Cole and Charles had found bigger success recording more adult music, and after seeing that Charles had had success recording jazz music, rather than just R&B, he felt he could do similar. Marvin, who later admitted that growing up, he was told not to dance, also wanted to, in his words, "sit on a stool and croon" rather than "shake my ass onstage" saying that his voice was what people paid attention to and not his dancing. After much push, Marvin finally was allowed to record an album of jazz standards with a compromise that he'd record a couple of R&B-sounding songs. Singing in a laid-back, soulful tenor, Gaye also played drums and piano on the album while Berry Gordy overlooked much of the album's production. Anna Gordy was another collaborator, co-writing the R&B song, "Never Let You Go (Sha-Lu-Bop)" for her boyfriend. The album was recorded for two weeks and was released on June 8, 1961. Before the release of his first single, the Berry Gordy-composed ballad "Let Your Conscience Be Your Guide", Marvin added an extra 'e' to his last name, to look "more professional". Attention wasn't given much on the album upon its release and "Let Your Conscience Be Your Guide" failed to become a major hit, though it was a regional hit in the Midwest and West Coast. The label released two more singles afterwards, which featured Gaye still singing in a smooth tenor. His style soon changed to include gospel infections, which helped to bring success after he released his first hit, "Stubborn Kind of Fellow", in 1962. Motown Records, at that particular time of this album's release was still fledgling with success just from The Miracles and Mary Wells. Gaye's jazz ambitions continued after the album's release, throughout the 1960s, he recorded three more albums featuring jazz covers, which didn't go well with audiences used to the singer's grittier R&B work during the sixties.

Track listing
1. "(I'm Afraid) The Masquerade Is Over" (Herbert Magidson, Allie Wrubel) 5:08 2. "My Funny Valentine" (Richard Rodgers, Lorenz Hart) 3:26 3. "Witchcraft" (Cy Coleman, Carolyn Leigh) 2:22 4. "Easy Living" (Ralph Rainger, Leo Robin) 3:05 5. "How Deep Is The Ocean (How High Is The Sky)" (Irving Berlin) 3:08 6. "Love For Sale" (Cole Porter) 2:54 7. "Always" (Irving Berlin) 2:58 8. "How High the Moon" (Nancy Hamilton, Morgan Lewis) 2:28 9. "Let Your Conscience Be Your Guide" (Berry Gordy) 3:01 10. "Never Let You Go" (Harvey Fuqua, Anna Gordy Gaye) 2:41 11. "You Don't Know What Love Is " (Gene DePaul, Don Raye) 3:53

That Stubborn Kinda Fellow

27

That Stubborn Kinda Fellow

That Stubborn Kinda Fellow
Studio album by Marvin Gaye Released Recorded Genre Length Label December, 1962 1962, Hitsville USA, Detroit, Michigan, USA Rock and roll, soul N/A Tamla TM-239 William "Mickey" Stevenson Marvin Gaye chronology

Producer

The Soulful Moods of Marvin Gaye (1961)

That Stubborn Kinda Fellow (1962)

Marvin Gaye Recorded Live on Stage (1963)

That Stubborn Kinda Fellow is an album by Marvin Gaye, released on the Tamla label in 1962. The LP yielded several hit singles including "Stubborn Kind of Fellow", "Hitch Hike" and "Pride and Joy" and helped to establish Marvin as a rising star on the R&B music scene. An unreleased single, "Wherever I Lay My Hat (That's My Home)", became a popular standard and was later covered by British singer Paul Young and his version became a hit in the UK in 1982.

Track listing
Side one
1. 2. 3. 4. 5. "Stubborn Kind of Fellow" (Gaye, William "Mickey" Stevenson, George Gordy) "Pride and Joy" (Gaye, Stevenson, Norman Whitfield) "Hitch Hike" (Gaye, Stevenson, Clarence Paul) "Got to Get My Hands on Some Lovin'" (Gaye, Stevenson) "Wherever I Lay My Hat (That's My Home)" (Gaye, Norman Whitfield, Barrett Strong)

Side two
1. 2. 3. 4. 5. "Soldier's Plea" (Stevenson) "It Hurt Me Too" (Gaye, Stevenson, Junior Knight) "Taking My Time" (Stevenson) "Hello There Angel" (Stevenson) "I'm Yours You're Mine" (Stevenson, Anna Gordy Gaye)

That Stubborn Kinda Fellow

28

Personnel
Lead vocals by Marvin Gaye Background vocals by Martha and the Vandellas, The Rayber Voices, The Love Tones, The Temptations, The Supremes, and The Andantes Instrumentation by The Funk Brothers Produced by William "Mickey" Stevenson

When I'm Alone I Cry

When I'm Alone I Cry
Studio album by Marvin Gaye Released Recorded Genre Label April 1, 1964 196364 Soul, jazz Tamla TM-251 Marvin Gaye chronology

Marvin Gaye Recorded Live on Stage (1963)

When I'm Alone I Cry (1964)

Greatest Hits (1964)

When I'm Alone I Cry is the third studio album by Marvin Gaye, released in 1964. It was one of several attempts of the singer to make a name for himself as a jazz vocalist. After When I'm Alone I Cry was unsuccessful upon its release, Gaye finally balked under pressure to record more R&B and soul material. By the end of the decade he had become one of the best-selling and most revered soul artists of his generation.

Professional ratings Review scores

Source Allmusic Rating link [1]

When I'm Alone I Cry

29

Track listing
Side one
1. 2. 3. 4. 5. "You've Changed" (Bill Carey, Carl Fischer) "I Was Telling Her About You" "I Wonder" "I'll Be Around" "Because of You"

Side two
1. 2. 3. 4. 5. "I Don't Know Why" "I've Grown Accustomed to Her Face" (Alan Jay Lerner, Frederick Loewe) "When Your Lover Has Gone" (Einar Aaron Swan) "When I'm Alone I Cry" (Avery Vandenberg, Morris Broadnax) "If My Heart Could Sing" (Vandenberg, Broadnax)

References
[1] http:/ / www. allmusic. com/ album/ r8066

Hello Broadway

30

Hello Broadway
Hello Broadway
Studio album by Marvin Gaye Released Recorded Genre Length Label November 12, 1964 1964 Graystone Ballroom, Detroit Soul/Broadway 33:20 Tamla TS 259 Hal Davis, Marc Gordon Marvin Gaye chronology

Producer

Together (with Mary Wells) (1964)

Hello Broadway (1964)

How Sweet It Is to Be Loved by You (1965)

Hello Broadway is the fifth studio by soul singer Marvin Gaye, released in 1964. It's an album of standards and Broadway material recorded. Released during the middle of Gaye's coming-of-age as Motown's premier male solo star, the album showcases more of Gaye's personal desire to be a Nat King Cole/Frank Sinatra styled crooner rather than the R&B hitmaker Motown was grooming him into. Hello Broadway and Gaye's When I'm Alone I Cry albums were released at a time when Motown executives wanted Gaye to record for strictly the young R&B crowds rather than capture a more mature audience. It would take Gaye years to craft an album of standards that were more of his making, rather than the Cole-styled vocals he laid during this earlier period.

Track listing
1. "Hello Broadway" 2. "People" (Bob Merrill, Jule Styne) 3. "The Party's Over" (Betty Comden, Adolph Green, Jule Styne) 4. "On the Street Where You Live" (Frederick Loewe, Alan Jay Lerner) 5. "What Kind of Fool Am I?" (Leslie Bricusse, Anthony Newley) 6. "My Kind of Town" (Sammy Cahn, Jimmy Van Heusen) 7. "Days of Wine and Roses" (Henry Mancini, Johnny Mercer) 8. "This Is the Life" (Charles Strouse, Lee Adams) 9. "My Way" 10. "Hello Dolly!" (Jerry Herman) 11. "Walk on the Wild Side" (Mack David, Elmer Bernstein) Jerry Long - arranger

How Sweet It Is to Be Loved by You

31

How Sweet It Is to Be Loved by You

How Sweet It Is to Be Loved by You
Studio album by Marvin Gaye Released Recorded Genre Label January 1965 1964, Hitsville, USA, Detroit, Michigan Soul, R&B Tamla TS-258 Brian Holland Lamont Dozier Berry Gordy Marvin Gaye chronology

Producer

Hello Broadway (1964)

How Sweet It Is to Be Loved by You (1965)

A Tribute to the Great Nat "King" Cole (1965)

How Sweet It Is to Be Loved by You is the sixth studio album released by soul music artist Marvin Gaye, released in 1965. The album features a successful title track, which at the time was his best-selling single. Other hits include "Try It Baby" (which features David Ruffin of The Temptations) and "Baby Don't You Do It" (with backing vocals provided by The Andantes). The song "How Sweet It Is (To Be Loved by You)" has been covered by many notable musicians, including James Taylor, Joan Osborne, Michael McDonald and Michael Bubl.

Track listing
Side one
1. 2. 3. 4. 5. 6. "You're a Wonderful One" (Holland-Dozier-Holland) "How Sweet It Is (To Be Loved by You)" (Holland-Dozier-Holland) "Try It Baby" (Berry Gordy, Jr.) "Baby Don't You Do It" (Holland-Dozier-Holland) "Need Your Lovin' (Want You Back)" (Marvin Gaye, Clarence Paul) "One of These Days" (William "Mickey" Stevenson)

How Sweet It Is to Be Loved by You

32

Side two
1. 2. 3. 4. 5. 6. "No Good Without You" (William "Mickey" Stevenson) "Stepping Closer to Your Heart" (Marvin Gaye, Harvey Fuqua) "Need Somebody" (Ivy Hunter, William "Mickey" Stevenson) "Me and My Lonely Room" (Barrett Strong, Norman Whitfield) "Now That You've Won Me" (Smokey Robinson) "Forever" (Lamont Dozier, Brian Holland, Freddie Gorman)

Credits
Lead vocals by Marvin Gaye Background vocals by Martha and the Vandellas, The Temptations, The Supremes, The Four Tops and The Andantes Instrumentation by The Funk Brothers

A Tribute to the Great Nat "King" Cole

A Tribute to the Great Nat "King" Cole
Studio album by Marvin Gaye Released Recorded Genre Length Label November 1, 1965 1965 Vocal jazz, traditional pop, R&B 35:53 Tamla Marvin Gaye chronology

How Sweet It Is To Be Loved By You (1965)

A Tribute to the Great Nat "King" Cole (1965)

Moods of Marvin Gaye (1966)

A Tribute to the Great Nat "King" Cole is a tribute album released by Marvin Gaye on the Tamla (Motown) label on November 1, 1965, dedicated to his idol, late jazz/R&B performer Nat "King" Cole. An Allmusic writer said the album was "a fine album that got lost after its release". Marvin was a vocal admirer of Nat King Cole and told interviewers Cole's vocals and performing style influenced his.

A Tribute to the Great Nat "King" Cole

33

Professional ratings Review scores

Source Allmusic Rating link [1]

Track listing
1. "Nature Boy" (Eden Ahbez) 2:49 2. "Ramblin' Rose" (Joe Sherman, Noel Sherman) 2:50 3. "Too Young" (Sylvia Dee, Sidney Lippman) 3:47 4. "Pretend" (Cliff Parman, Frank Lavere, Lew Douglas) 2:53 5. "Straighten Up and Fly Right" (Nat King Cole, Irving Mills) 2:22 6. "Mona Lisa" (Ray Evans, Jay Livingston) 3:01 7. "Unforgettable" (Irving Gordon) 3:40 8. "To the Ends of the Earth" (Joe Sherman, Noel Sherman) 2:18 9. "Sweet Lorraine" (Cliff Burwell, Mitchell Parish) 2:47 10. "It's Only a Paper Moon" (Harold Arlen, E.Y. "Yip" Harburg, Billy Rose) 2:25 11. "Send for Me" (Ollie Jones) 2:57 12. "Calypso Blues" (Don George, Nat King Cole) 4:04

Credits
All vocals by Marvin Gaye All instrumentation by The Funk Brothers

References
[1] http:/ / www. allmusic. com/ album/ r8061

Moods of Marvin Gaye

34

Moods of Marvin Gaye

Moods of Marvin Gaye
Studio album by Marvin Gaye Released Recorded May 23, 1966 1965-66 Hitsville U.S.A., Detroit Soul 36:12 Tamla TS-266 Smokey Robinson, Brian Holland, Lamont Dozier, Clarence Paul Marvin Gaye chronology

Genre Length Label

Producer

A Tribute to the Great Nat "King" Cole (1966)

Moods of Marvin Gaye (1966)

Take Two (with Kim Weston) (1966)

Moods of Marvin Gaye is a 1966 album by Marvin Gaye released on the Tamla label. The album's plan was to establish the singer as a strong albums-oriented artist, as well as a hit maker, although Gaye was still uncomfortable with performing strictly R&B. He had begun work on a standards album around this time after meeting musician Bobby Scott. However, sessions were unsuccessful. As a matter of fact, Gaye would successfully complete a standards album only in his later years, an album which would be released after his death. For the time being, Gaye was winning more fans and had become a crossover teen idol. Six songs from Moods of Marvin Gaye were released as singles: impressively, all reached the Top 40 on the R&B singles chart and four of them reached the Top 40 on the Pop Singles Chart, a rare feat for a solo R&B artist even at that time. Gaye also scored his first two #1 R&B singles, "I'll Be Doggone" and "Ain't That Peculiar", both co-written by Gaye's friend, Berry Gordy's right-hand man Smokey Robinson.

Professional ratings Review scores

Source Allmusic Rating link [1]

Moods of Marvin Gaye

35

Track listing
Side one
1. 2. 3. 4. 5. 6. "I'll Be Doggone" (Warren Moore, Smokey Robinson, Marvin Tarplin) - 2:47 "Little Darling (I Need You)" (Holland-Dozier-Holland) - 2:35 "Take This Heart of Mine" (Warren "Pete" Moore, Robinson, Tarplin) - 2:49 "Hey Diddle Diddle" (Johnny Bristol, Harvey Fuqua, Gaye) - 2:30 "One More Heartache" (Moore, Robinson, Bobby Rogers, Tarplin) - 2:42 "Ain't That Peculiar" (Moore, Robinson, Rogers, Tarplin) - 3:00

Side two
1. 2. 3. 4. 5. 6. "Night Life" (Walt Breeland, Paul Buskirk, Willie Nelson) - 3:05 "You've Been a Long Time Coming" (Holland-Dozier-Holland) - 2:13 "Your Unchanging Love" (Holland-Dozier-Holland) - 3:13 "You're the One For Me" (Morris Broadnax, Clarence Paul, Stevie Wonder) - 3:24 "I Worry 'Bout You" (Norman Mapp) - 3:24 "One for My Baby (and One More for the Road)" (Harold Arlen, Johnny Mercer) - 4:30

Credits
Lead vocals - Marvin Gaye Background vocals - Martha and the Vandellas, The Temptations, The Supremes, The Four Tops, The Andantes, and The Miracles Instrumentation - The Funk Brothers

References
[1] http:/ / www. allmusic. com/ album/ r8071

I Heard It Through the Grapevine

36

I Heard It Through the Grapevine

In the Groove/I Heard It Through the Grapevine
Studio album by Marvin Gaye Released Recorded Genre Length Label August 26, 1968 1967-68 Soul 27:08 Tamla TS-285 Norman Whitfield, Ivy Jo Hunter, Frank Wilson Marvin Gaye chronology

Producer

You're All I Need (with Tammi Terrell) (1968)

I Heard It Through the Grapevine (1968)

Marvin Gaye and His Girls (1969)

I Heard It Through the Grapevine is the ninth solo studio album by soul musician Marvin Gaye, released on August 26, 1968 on the Motown-subsidiary label Tamla Records. Originally released as In the Groove, it was the first solo studio album Gaye released in two years, in which during that interim, the singer had emerged as a successful duet partner with female R&B singers such as Kim Weston and Tammi Terrell. The album and its title track are considered both as Gaye's commercial breakthrough.

Conception
By 1968, Marvin Gaye had released only a few solo singles in three years. Between his Kim Weston duet, "It Takes Two" and his Tammi Terrell duets, "Ain't No Mountain High Enough" and "Your Precious Love" among others, Gaye released only one single, "Your Unchanging Love", which peaked at number 33 on the Billboard Hot 100. Motown brought Gaye back to the studio to record a solo album. Recording difficulties aside, Gaye's vocals went through a transition through this period. Perhaps done on purpose, Gaye's earlier collaborator Norman Whitfield and his pupil, Frank Wilson, began to write songs they felt fit the singer's chaotic personal life: Gaye's marriage to Anna Gordy was turbulent as was life on the road in which Gaye grew a constant dislike to live performances and his personal disagreements with Motown CEO Berry Gordy had started to create strain in his relationship with the Motown label. On top of that, during an October 1967 engagement at Hampden-Sydney College with Terrell, the younger Terrell collapsed from exhaustion into Gaye's waiting arms. Terrell was later diagnosed at the end of the year with having a brain tumor, which depressed Gaye. Some speculate Terrell's illness and subsequent death two and a half years later affected Gaye's performances in which he went from being a soul stylist in the same way his idol Sam Cooke had been into a more gospel-influenced soul vocalist who sounded more in par with Otis Redding, James Brown, and Temptations lead singer David Ruffin. However, during the recording of what would become Gaye's biggest-selling and signature single of his career, "I Heard It Through the Grapevine", Whitfield decided to force Gaye to raise his vocal register higher than what he was used to, which Whitfield already tried successfully on Ruffin during the recording of the Temptations hit, "Ain't Too Proud to Beg". Though Gaye and Whitfield reportedly argued over the sessions of "Grapevine", Whitfield was able to get what he wanted from Gaye, and the duo started a collaboration

I Heard It Through the Grapevine that lasted into the beginning of 1970. When Whitfield presented "Grapevine" to Berry Gordy, the producer was stunned when Gordy turned it down sensing the song "wasn't a hit" and that "it sucked". Nevertheless, Whitfield released a version of the song by Gladys Knight & the Pips in an attempt to "out-funk Aretha Franklin's "Respect".

37

Release and reception

Professional ratings Review scores
Source Allmusic Rating link [1]

Gordy eventually agreed to allow "Grapevine" in the album, now titled In the Groove. But Whitfield was still determined to get Gaye's version of the song released as a single. Motown instead issued the Ivy Jo Hunter-produced "You", which was recorded after "Grapevine" and showcased Gaye hollering in falsetto for the first time. Another single, "Chained", would peaked at number 32 on the pop chart. The latter song was climbing the chart when radio deejays began playing "Grapevine", much to Berry Gordy's chagrin. To everyone's surprise, when Gordy finally allowed the release of Gaye's version of "I Heard It Through the Grapevine", the song blew up on the charts upon its October 1968 release. By the end of the year, the song had hit number-one on both the Billboard Hot 100 and the Hot-Selling Soul Singles charts and by 1969 had reached number one on the UK Singles chart becoming Gaye's first international smash. However, when Gaye heard about its success, he acted coldly to it due to his depressed state over Tammi Terrell. He later told a biographer he felt the song's success was "undeserved". Nevertheless, Motown re-released the album as I Heard It Through the Grapevine and, due to the song's success, the album shot up to number 2 on the R&B albums chart and peaked at number 63 on the pop albums chart. Gaye's album wasn't the only album to be re-released after a hit single: in 1970, The Miracles' Make It Happen album, initially released in 1967, was re-released in 1970 as Tears of a Clown, after that song hit number-one in the US and internationally. That same year, Diana Ross' self-titled debut album was re-released as Ain't No Mountain High Enough after that song's success. Though Whitfield only produced just one song on the album (producers included Ivy Jo Hunter, Ashford & Simpson and Frank Wilson), Gaye and Whitfield will embark on a two-album collaboration. However, after "That's the Way Love Is" became a hit for Gaye in 1969, Motown released the song a second time on the album of the same name. This album also marked Gaye's first attempts at producing himself in the studio with his own self-penned songs, the funky gospel dancer, "At Last I Found a Love", and the smoother "Change What You Can".

Track listing
1. "You" (Jeffrey Bowen, Jack Coga, Ivy Jo Hunter) 2:25 2. "Tear It On Down" (Nickolas Ashford, Valerie Simpson) 2:35 3. "Chained" (Frank Wilson) 2:38 4. "I Heard It Through the Grapevine" (Barrett Strong, Norman Whitfield) 3:14 5. "At Last (I Found a Love)" (Gaye, Anna Gordy Gaye, Elgie Stover) 2:37 6. "Some Kind of Wonderful" (Gerry Goffin, Carole King) 2:19 7. "Loving You Is Sweeter Than Ever" (Ivy Jo Hunter, Stevie Wonder) 2:43 8. "Change What You Can" (Gaye, Anna Gordy Gaye, Elgie Stover) 2:37 9. "It's Love I Need" (Stephen Bowden, Ivy Jo Hunter) 2:54 10. "Every Now And Then" (Eddie Holland, Frank Wilson) 3:06 11. "You're What's Happening in the World Today" (George Gordy, Robert Gordy, Allen Story) 2:19

I Heard It Through the Grapevine 12. "There Goes My Baby" (Benjamin Nelson, Lover Patterson, George Treadwell) 2:24

38

Personnel
Lead vocals: Marvin Gaye Background vocals: The Andantes Marlene Barrow Jackie Hicks Louvain Demps The Originals Freddie Gorman Walter Gaines Henry Dixon Joe Stubbs C.P. Spencer Instrumentation by The Funk Brothers Production by Norman Whitfield, Ivy Jo Hunter and Frank Wilson

References
[1] http:/ / www. allmusic. com/ album/ r8074

M.P.G.
M.P.G.
Studio album by Marvin Gaye Released Recorded Genre Length Label April 30, 1969 1968-69 Soul, psychedelic soul, R&B 36:15 Tamla TS-292 Norman Whitfield Marvin Gaye chronology

Producer

Marvin Gaye and His Girls (1969)

M.P.G. (1969)

Easy (with Tammi Terrell) (1969)

M.P.G. is a 1969 album by Marvin Gaye for the Tamla label, his best-selling album of the 1960s. Released on April 30, 1969, the album became Gaye's first solo album to reach the Top 40 on the Billboard Pop Albums chart, peaking at #33, and also became his first #1 album on the Soul Albums Chart. The album's title is derived from Gaye's own initials (Marvin Pentz Gay, Jr.)

M.P.G. The songs showcased Gaye's vocal and musical growth, as he headed into a crossroads in his music career. The album featured three top 40 hits as well as Norman Whitfield compositions "Too Busy Thinking About My Baby" (originally recorded by labelmates The Temptations), "That's The Way Love Is" (originally recorded by The Isley Brothers) and a cover of Gladys Knight and the Pips' "The End of Our Road". The singles "Too Busy Thinking About My Baby", the longest-running #1 hit on the R&B charts in 1969 and a #4 Pop hit, and "That's The Way Love Is" (#2 and #7 on the soul and pop charts, respectively) became consecutive million-sellers. These records were among Whitfield's many psychedelic soul productions of the time, and recalled the arrangement of Gaye's #1 hit "I Heard It Through the Grapevine". "That's the Way Love Is" would also be included on Gaye's next solo album, also titled That's the Way Love Is, which was the final LP from the pre-What's Going On period of his career.

39

Professional ratings Review scores

Source Allmusic Rolling Stone Rating link (favorable) link [1]

[2]

Track listing
1. "Too Busy Thinking About My Baby" (Janie Bradford, Norman Whitfield, Barrett Strong) - 2:56 2. "This Magic Moment" (Doc Pomus, Mort Shuman) - 2:44 3. "That's the Way Love Is" (Strong, Whitfield) - 3:35 4. "The End of Our Road" (Roger Penzabene, Strong, Whitfield) - 2:47 5. "Seek and You Shall Find" (Ivy Hunter, William "Mickey" Stevenson) - 3:40 6. "Memories" (Lawrence Brown, Gaye, Anna Gordy, Allen Story) - 2:47 7. "Only a Lonely Man Would Know" (Hunter, Beatrice Verdi) - 3:02 8. "It's a Bitter Pill to Swallow" (Warren Moore, Smokey Robinson) - 3:15 9. "More Than a Heart Can Stand" (Hunter, Stevenson) - 2:57 10. "Try My True Love" (Henry Cosby, James Dean, Stevie Wonder) - 3:00 11. "I Got to Get to California" (Shena DeMell, Hunter) - 2:53 12. "It Don't Take Much to Keep Me" (Holland-Dozier-Holland) - 2:39

Credits
Lead vocals - Marvin Gaye Background vocals - The Andantes: Marlene Barrow, Jackie Hicks and Louvain Demps Instrumentation - The Funk Brothers

References
[1] http:/ / www. allmusic. com/ album/ r8076 [2] http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 158344/ review/ 5946028/ mpg

That's the Way Love Is

40

That's the Way Love Is

That's the Way Love Is
Studio album by Marvin Gaye Released Recorded Genre Label Producer January 8, 1970 1969 Soul, psychedelic soul Tamla Norman Whitfield Marvin Gaye chronology

Easy (with Tammi Terrell) (1969)

That's the Way Love Is (1970)

What's Going On (1971)

That's the Way Love Is is an album by soul musician Marvin Gaye, released on January 8, 1970 on the Tamla (Motown) label. Built off the success of the title track (#7 Pop; #2 R&B in late 1969) originally taken from M.P.G., and much like Gaye's "I Heard It Through the Grapevine" after its success, was released with intent to sell albums based on the success of one particular single (a Motown trademark). Gaye was showing signs of disillusionment from the label's powers-that-be mentality but it didn't affect the singer's performance as he gave a powerful vocal in the title track and was especially impressive with his version of The Beatles' "Yesterday". It also features the modest hits, "Gonna Give Her All the Love I Got" and "How Can I Forget". It also featured Gaye's classic rendition of the socially conscious tune, "Abraham, Martin & John" which became a huge hit in the UK, peaking at #9 in June 1970. The single (and that of his duet single with Tammi Terrell titled "The Onion Song") is widely regarded as a hint of what would follow a year later with his epochal What's Going On. He also covered The Temptations' hits "I Wish It Would Rain" and "Cloud Nine".

Professional ratings Review scores

Source Allmusic Rolling Stone Rating link (mixed) link [1]

[2]

That's the Way Love Is

41

Track listing
1. "Gonna Give Her All the Love I've Got" (originally by Jimmy Ruffin) (Barrett Strong, Norman Whitfield) 2. "Yesterday" (originally by The Beatles) (John Lennon, Paul McCartney) 3. "Groovin'" (originally by The Young Rascals) (Eddie Brigati, Felix Cavaliere) 4. "I Wish It Would Rain" (originally by The Temptations) (Roger Penzabene, Strong, Whitfield) 5. "That's the Way Love Is" (Strong, Whitfield) 6. "How Can I Forget" (originally by The Temptations) (Strong, Whitfield) 7. "Abraham, Martin & John" (originally by Dion) (Dick Holler) 8. "Gonna Keep on Tryin' Till I Win Your Love" (Strong,Whitfield) 9. "No Time for Tears" (Holland, Whitfield) 10. "Cloud Nine" (originally by The Temptations) (Strong, Whitfield) 11. "Don't You Miss Me a Little Bit Baby" (Penzabene, Strong, Whitfield) 12. "So Long" (Eddie Holland, Dean Taylor, Whitfield)

Credits
Lead vocals by Marvin Gaye Background vocals by The Andantes: Marlene Barrow, Jackie Hicks and Louvain Demps; and The Originals: Freddie Gorman, Walter Gaines, Henry Dixon and C.P. Spencer Instrumentation by The Funk Brothers

References
[1] http:/ / www. allmusic. com/ album/ r8078 [2] http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 137612/ review/ 5940341/ thats_the_way_love_is

What's Going On

42

What's Going On
What's Going On
Studio album by Marvin Gaye Released Recorded May 21, 1971 June 1970; MarchMay 1971 Hitsville U.S.A. Golden World United Sound Studios (Detroit, Michigan) The Sound Factory (West Hollywood, California) Soul 35:38 Tamla Marvin Gaye Marvin Gaye chronology

Genre Length Label Producer

That's the Way Love Is (1970)

What's Going On (1971)

Trouble Man (1972)

Singles from What's Going On 1. 2. 3.

"What's Going On"

Released: January 20, 1971

"Mercy Mercy Me (The Ecology)"

Released: June 10, 1971

"Inner City Blues (Make Me Wanna Holler)"

Released: September 1971

What's Going On is the eleventh studio album by soul musician Marvin Gaye, released May 21, 1971, on the Motown-subsidiary label Tamla Records.[1] Recording sessions for the album took place in June 1970 and MarchMay 1971 at Hitsville U.S.A., Golden World and United Sound Studios in Detroit, Michigan and at The Sound Factory in West Hollywood, California. The first Marvin Gaye album credited as produced solely by the artist himself, What's Going On is a unified concept album consisting of nine songs, most of which lead into the next. It has also been categorized as a song cycle; the album ends on a reprise of the album's opening theme. The album is told from the point of view of a Vietnam War veteran returning to the country he had been fighting for, and seeing nothing but injustice, suffering and hatred. What's Going On was the first album on which Motown Records' main studio band, the group of session musicians known as the Funk Brothers, received an official credit. The album features introspective lyrics and socially-conscious themes about drug abuse, poverty, and the Vietnam War. What's Going On was both an immediate commercial and critical success and has endured as a classic of early-1970s soul. A deluxe edition set of the album was released on February 27, 2001, and featured a rare live concert shot at Washington, D.C.'s Kennedy Center where the singer was given the key to the city.

What's Going On In worldwide critics', artists' and public surveys, it has been voted one of the landmark recordings in pop music history and is considered to be one of the greatest albums ever made.[2] In 2003, the album was ranked number 6 on Rolling Stone magazine's list of the 500 greatest albums of all time.[3]

43

Background and recording

In late March 1970, Marvin Gaye had fallen into a deep depression following the death of his singing partner and fellow Motown artist Tammi Terrell, who had died of a brain tumor earlier that month. Gaye refused to record or perform, going as far as to attempt an athletic career in football with the Detroit Lions of the NFL. After an unsuccessful tryout for the team, Gaye came in contact with musician Al Cleveland and the Four Tops' Renaldo "Obie" Benson, who were working on a politically conscious song called "What's Going On". Gaye assisted Cleveland and Benson in completing the composition, and planned to produce the song as a recording for the Motown act The Originals. However, Cleveland and Benson persuaded Gaye to record the song himself. In June 1970, Gaye recorded "What's Going On" and his own composition, "God Is Love", which further expanded his inclusion of his spirituality in his music. Recording such material was a different direction for Gaye, who had previously performed and recorded radio-formatted and contemporary songs that were more representative of the Gordy-produced Motown Sound rather than politically or socially conscious music. When Gaye delivered the songs as the sides for his next 45-rpm single, his brother-in-law, Motown Records CEO Berry Gordy, Jr., objected to the material and refused to release the recordings. Though he had already permitted other Motown artists to record and release material that hinted at social and political themes Edwin Starr's "War", The Temptations' "Ball of Confusion", both released earlier in 1970, and Stevie Wonder's "Heaven Help Us All", released later in the year Gordy considered "What's Going On" far too political to be promoted on radio and too unusual compared with the popular music sound of that time to be commercially successful.[4] Gaye, however, stood his ground and continued to lobby his case to label executives and to Gordy, as he did not want to be bound by Gordy's or Motown's version of music. In an interview for Rolling Stone magazine, Marvin Gaye discussed what had shaped his view on more socially conscious themes in music and the conception of his eleventh full-length, non-duets studio album: In 1969 or 1970, I began to re-evaluate my whole concept of what I wanted my music to say... I was very much affected by letters my brother was sending me from Vietnam, as well as the social situation here at home. I realized that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world.[5] Marvin Gaye Gordy eventually gave in, certain that the record would flop. Upon its release in January 1971, "What's Going On" became Motown's fastest selling single at that point, going to the number-one spot on the R&B charts for five weeks and number-two for three weeks on the Pop listings, with "Joy to the World" by Three Dog Night retaining the top spot. After this success, Berry Gordy requested an entire accompanying album. Gaye began recording the tracks that would eventually comprise his best-known work, the What's Going On album, handling all of his own production and some of his own songwriting. The entire album was originally mixed in Detroit, with Marvin Gaye out of town and not present. This mix, dubbed "The Detroit Mix", was scrapped and redone, with Gaye present, in Los Angeles.

Music
The content of What's Going On was that of a politically charged and deeply personal Motown album, and was notable for including elements of jazz and classical music instrumentation and arrangements. The record was among the first soul albums to place heavy emphasis on political and social concerns such as environmentalism, political corruption, drug abuse, and the Vietnam War, in which Gaye's brother, Frankie Gaye, had served for three years for the U.S. Army.[3] However, after hearing a preliminary mix of the record, Berry Gordy was not offended by Gaye's

What's Going On embrace of countercultural politics, but was bothered by the album's format, which had each song leading to the next.[4] This flow of sound was unconventional and not suited for radio airplay, conflicting with Gordy's main focus - the commercial aspect. The album's stylistic use of a song cycle gave it a cohesive feel and led What's Going On to become known as the first soul music concept album.

44

Reception
Initial reaction Professional ratings Review scores
Source Allmusic Billboard Chicago Tribune Robert Christgau The Observer Q Rolling Stone Rolling Stone Slant Magazine Uncut (B+) [9] [10] [11] (favorable) 1971 [12] [13] (favorable) Rating [6] [7]

[8]

2004

[14] [15]

The critical and commercial success of the album was immediate and significant. What's Going On remained on the Billboard Pop Album Charts for over a year and sold over two million copies until the end of 1972, making it Marvin Gaye's best-selling album to that date until he released Let's Get It On in 1973. In addition, What's Going On received the highest ratings from several leading American publications, including Time, Rolling Stone (who named it "Album of the Year"), The New York Times, and Billboard, who gave it the Billboard Trend setter Award of 1971. Upon release, Rolling Stone magazine music critic Vince Aletti praised What's Going On for its thematic approach towards social and political concerns, while also mentioning the surprise of Motown releasing such an album. In a review of the album and Stevie Wonder's Where I'm Coming From, Aletti wrote: Ambitious, personal albums may be a glut on the market elsewhere, but at Motown they're something new... the album as a whole takes precedence, absorbing its own flaws. There are very few performers who could carry a project like this off. I've always admired Marvin Gaye, but I didn't expect that he would be one of them. Guess I seriously underestimated him. It won't happen again.[5] Vince Aletti Later on, many artists from different musical genres covered songs from the album, most notably live recordings by Aretha Franklin ("Wholy Holy" on Amazing Grace) and Donny Hathaway ("What's Going On" on Donny Hathaway Live), as well as Robert Palmer's medley of "Mercy Mercy Me/I Want You", among others. "Mercy Mercy Me" was featured as the b-side to The Strokes' single "You Only Live Once". What's Going On has been reissued on cassette tape and compact disc as well. In 2001, a "Deluxe Edition" 2-CD version of the album was released by Motown, which included the original LP as released, the discarded "Detroit

What's Going On Mix" of the album, and the mono 45 rpm mixes of the singles. Also included was a recording of Gaye's first live concert performance after two years away from the stage following Tammi Terrell's illness and death, performed at The Kennedy Center Auditorium in his native Washington, D.C., on June 1, 1972. In 2011, the "Super Deluxe Edition" of What's Going On released by Motown the 40th anniversary edition.

45

Accolades
In 1985, writers on British music weekly the NME voted it best album of all time.[16] In 2004, the album's title track was ranked number 4 on Rolling Stone's list of the 500 greatest songs of all time.[17] A 1999 critics poll conducted by British newspaper Guardian/Observer named it the "Greatest Album of the 20th Century". In 1997, What's Going On was named the 17th greatest album of all time in a Music of the Millennium [18] poll conducted in the United Kingdom by HMV Group, Channel 4, The Guardian and Classic FM. In 1997, The Guardian ranked the album number one on its list of the 100 Best Albums Ever.[19] In 1998 Q magazine readers placed it at number 97, while in 2001 the TV network VH1 placed it at number 4. In 2003, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. What's Going On was ranked #6 on Rolling Stone magazine's 2003 list of the 500 Greatest Albums of All Time, one of three Gaye albums to be included, preceded by 1973's Let's Get It On (#165) and 1978's Here My Dear (#462).[20] The album is Gaye's highest-ranking entry on the list, as well as several other publications' lists.

Track listing
All songs produced by Marvin Gaye.

Original LP
Side one 1. 2. 3. 4. 5. 6. "What's Going On" (Al Cleveland, Marvin Gaye, Renaldo "Obie" Benson) 3:53 "What's Happening Brother" (James Nyx, M. Gaye) 2:43 "Flyin' High (In the Friendly Sky)" (M. Gaye, Anna Gordy Gaye, Elgie Stover) 3:49 "Save the Children" (Cleveland, M. Gaye, Benson) 4:03 "God Is Love" (M. Gaye, A. Gaye, Stover, Nyx) 1:41 "Mercy Mercy Me (The Ecology)" (M. Gaye) 3:16

Side two 1. "Right On" (Earl DeRouen, M. Gaye) 7:31 2. "Wholy Holy" (Benson, Cleveland, M. Gaye) 3:08 3. "Inner City Blues (Make Me Wanna Holler)" (M. Gaye, Nyx) 5:26

What's Going On

46

2001 Deluxe Edition

Disc one (bonus tracks) "What's Going On" (Detroit Mix) 4:08 2. "What's Happening Brother" (Detroit Mix) 2:43 3. "Flyin' High (In the Friendly Sky)" (Detroit Mix) 3:49 4. "Save the Children" (Detroit Mix) 4:02 5. "God Is Love" (Detroit Mix) 1:47 6. "Mercy Mercy Me (The Ecology)" (Detroit Mix) 3:08 7. "Right On" (Detroit Mix) 7:32 8. "Wholy Holy" (Detroit Mix) 3:08 9. "Inner City Blues (Make Me Wanna Holler)" (Detroit Mix) 5:46 10. "What's Going On" (Rhythm 'n' Strings Mix) 3:50 Disc two 1. Sixties Medley (Live At The Kennedy Center) 13:23 "That's the Way Love Is" / "You" / "I Heard It Through the Grapevine" / "Little Darling (I Need You)" / "You're All I Need to Get By" / "Ain't Nothing Like the Real Thing" / "Your Precious Love" / "Pride and Joy" / "Stubborn Kind of Fellow" "Right On" (Live At The Kennedy Center) 7:33 2. "Wholy Holy" (Live At The Kennedy Center) 3:32 3. "Inner City Blues (Make Me Wanna Holler)" (Live At The Kennedy Center) 9:06 4. "What's Going On" (Live At The Kennedy Center) 5:42 5. "What's Happening Brother" (Live At The Kennedy Center) 2:54 6. "Flyin' High (In The Friendly Sky) (Live At The Kennedy Center) 3:51 7. "Save The Children" (Live At The Kennedy Center) 4:22 8. "God Is Love" (Live At The Kennedy Center) 1:43 9. "Stage Dialogue" (Live At The Kennedy Center) 2:34 10. "Inner City Blues (Make Me Wanna Holler)" (Reprise) (Live At The Kennedy Center) 5:12 11. "What's Going On" (Reprise) (Live At The Kennedy Center) 4:07 12. "What's Going On" (Single Version) 3:56 13. "God Is Love" (Single Version) 2:56 14. "Sad Tomorrows" 2:27 15. "Head Title (AKA "Distant Lover")" 4:07

2002 remaster
"God Is Love" (Single Version) 2:48 2. "Sad Tomorrows" 2:22

2011 Super Deluxe Edition Professional ratings 2011 deluxe edition Review scores
Source Allmusic BBC Music The Independent No Ripcord Pitchfork Media Rolling Stone (10/10) (favorable) Rating [21] [22] [23] [24] [25] [26]

(9.5/10)

What's Going On
[27] [28]

47
Spin Uncut

(9/10)

What's Going On was reissued and remastered in a deluxe edition with 28 additional tracks.[29] It was released on May 31, 2011 and received general acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 100, based on nine reviews, which indicates "universal acclaim".[29] "Whats Going On" (Original Rejected Single Mix) 2. "Head Title (Distant Lover)" (Demo) 3. "Symphony" (Demo) 4. "I Love the Ground You Walk On" (Instrumental) 5. "Whats Going On" (Mono Single Version) 6. "God is Love" (Mono Single Version) 7. "Mercy Mercy Me" (The Ecology) (Mono Single Version) 8. "Sad Tomorrows" (Mono Single Version) 9. "Inner City Blues (Make Me Wanna Holler)" (Mono Single Version) 10. "Wholly Holy" (Mono Single Version)
Disc 2 1. "Checking Out (Double Clutch)" 2. "Chained" 3. "Country Stud" 4. "Help the People" 5. "Running from Love" (Version 1) 6. "Daybreak" 7. "Doing My Thing" 8. "T Stands for Time" 9. "Jesus is Our Love Song" 10. "Funky Nation" 11. "Infinity" 12. "Mandota" (Instrumental) 13. "Struttin the Blues" 14. "Running from Love" (Version 2 with Strings) 15. "Im Going Home (Move)" 16. "Youre the Man" (Parts I & II) 17. "Youre the Man" (Alternate Version 1) 18. "Youre the Man" (Alternate Version 2) LP (Original Detroit Mix April 5, 1971) 1. 2. 3. 4. 5. 6. 7. 8. 9. "What's Going On" (Detroit Mix) 4:08 "What's Happening Brother" (Detroit Mix) 2:43 "Flyin' High (In the Friendly Sky)" (Detroit Mix) 3:49 "Save the Children" (Detroit Mix) 4:02 "God Is Love" (Detroit Mix) 1:47 "Mercy Mercy Me (The Ecology)" (Detroit Mix) 3:08 "Right On" (Detroit Mix) 7:32 "Wholy Holy" (Detroit Mix) 3:08 "Inner City Blues (Make Me Wanna Holler)" (Detroit Mix) 5:46

What's Going On

48

Personnel
All lead vocals by Marvin Gaye Instrumentation by The Funk Brothers and Solo Horns Eli Fountain alto saxophone Wild Bill Moore tenor saxophone Marvin Gaye piano, box drum "What's Going On" Johnny Griffith celeste, keyboards Earl Van Dyke keyboards Jack Brokensha vibraphone, percussion Joe Messina, Robert White electric guitars James Jamerson bass guitar "What's Going On," "What's Happening Brother," "Flyin' High," "Save the Children," "God Is Love," and the b-side "Sad Tomorrows" "Right On," "Wholly Holy" Bob Babbitt bass guitar "Mercy, Mercy Me," and "Inner City Blues" Chet Forest drums Jack Ashford tambourine, percussion Eddie "Bongo" Brown bongos, congas Earl DeRouen bongos, congas Bobbye Hall bongos "Inner City Blues (Make Me Wanna [30] Holler)"

Produced by Marvin Gaye Members of the Detroit Symphony Orchestra Conducted and Arranged by David Van De Pitte Background Voices: Marvin Gaye The Andantes (Jackie Hicks, Marlene Barrow, and Louvain Demps) Mel Farr and Lem Barney of the Detroit Lions Bobby Rogers of The Miracles Elgie Stover Kenneth Stover

Katherine Marking graphic design Alana Coghlan graphic design John Matousek mastering

Strings, Woodwinds and Brass Gordon Staples, Zinovi Bistritzky, Beatriz Budinzky, Richard Margitza, Virginia Halfmann, Felix Resnick, Alvin Score, Lillian Downs, James Waring violins Edouard Kesner, Meyer Shapiro, David Ireland, Nathan Gordon violas Italo Babini, Thaddeus Markiewicz, Edward Korkigan cellos Max Janowsky double bass Carole Crosby harp Dayna Hardwick, William Perich flutes Larry Nozero, Angelo Carlisi, George Benson, Tate Houston saxophones John Trudell, Maurice Davis trumpets Carl Raetz trombone

James Hendin Photography

Curtis McNair Art Direction

What's Going On

49

Charts
Album
Title What's Going On Information US Pop Albums #6 (1971) US Pop Albums #154 (1984) Top R&B Albums #1 (9 weeks)

Singles
Title "What's Going On" Information Tamla single 54201, January 20, 1971 B-side: "God Is Love" (alt. version) US Billboard Hot 100 #2 US R&B Singles #1 (5 weeks) Tamla single 54207, June 10, 1971 B-side: "Sad Tomorrows" (alt. version of "Flyin' High (In the Friendly Sky)") US Pop Singles #4 US R&B Singles #1 (2 weeks) Tamla single 54209, September 16, 1971 B-side: "Wholy Holy" US Pop Singles #9 US R&B Singles #1 (2 weeks)

"Mercy Mercy Me (The Ecology)"

"Inner City Blues (Make Me Wanna Holler)"

References
[1] Discogs.com - What's Going On (US LP) (http:/ / www. discogs. com/ release/ 359107). Discogs. Retrieved on 2008-08-17. [2] Acclaimed Music - What's Going On (http:/ / www. acclaimedmusic. net/ Current/ A211. htm). www.acclaimedmusic.net. Retrieved on 2008-08-23. [3] Rolling Stone's 500 Greatest Albums of All Time (http:/ / www. rollingstone. com/ news/ story/ 6599121/ 165_lets_get_it_on). Rolling Stone. Retrieved on 2008-08-17. [4] Slant Magazine Music Review: Marvin Gaye: What's Going On (http:/ / www. slantmagazine. com/ music/ music_review. asp?ID=375) [5] Marvin Gaye: What's Going On : Music Reviews (http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 104756/ review/ 6210167/ whats_going_on). Rolling Stone. Retrieved on 2008-08-23. [6] Bush, John. Review: What's Going On (http:/ / www. allmusic. com/ album/ r8079). Allmusic. Retrieved on 2010-01-17. [7] Columnist. " Review: What's Going On (http:/ / www. superseventies. com/ spgayemarvin2. html)". Billboard: 1971. [8] Kot, Greg. " Review: What's Going On (http:/ / pqasb. pqarchiver. com/ chicagotribune/ access/ 24091617. html?dids=24091617:24091617& FMT=ABS& FMTS=ABS:FT& date=Jul+ 22,+ 1994& author=Greg+ Kot. & pub=Chicago+ Tribune+ (pre-1997+ Fulltext)& desc=GAYE+ IS+ STILL+ WHAT'S+ GOIN'+ ON+ MASSIVE+ MOTOWN+ REISSUE+ CELEBRATES+ SINGER'S+ LASTING+ LEGACY& pqatl=google)". Chicago Tribune: 4. July 22, 1994. (Transcription of original review at talk page) [9] Christgau, Robert. Review: What's Going On (http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye). Robert Christgau. Retrieved on 2010-01-17. [10] Benson, George. Review: What's Going On (http:/ / observer. guardian. co. uk/ omm/ reviews/ story/ 0,,1150787,00. html). The Observer. Retrieved on 2010-01-17. [11] Columnist. "Review: What's Going On". Q: June 2001. [12] Aletti, Vince. Review: What's Going On (http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 104756/ review/ 6210167/ whats_going_on). Rolling Stone. Retrieved on 2010-01-17. [13] Hoard, Christian. " Review: What's Going On (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA324& dq=)". Rolling Stone: 324325. Retrieved on 2010-01-17. [14] Henderson, Eric. Review: What's Going On (http:/ / www. slantmagazine. com/ music/ music_review. asp?ID=375). Slant. Retrieved on 2010-01-17. [15] Columnist. "Review: What's Going On". Uncut: 116 May 2003.

What's Going On
[16] "NME Writers Top 100 Albums Of All Time" (http:/ / www. rocklistmusic. co. uk/ nme_writers. htm#100_85). NME. 1985-30-11. . Retrieved 2011-05-19. [17] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 500songs). Rolling Stone. 2004-12-09. . Retrieved 2008-04-10. [18] http:/ / news. bbc. co. uk/ 1/ hi/ uk/ 50266. stm [19] "The Guardian 100 Best Albums Ever List, 1997" (http:/ / www. rocklistmusic. co. uk/ guardian100. htm). rocklistmusic.co.uk. . Retrieved 13 March 2012. [20] The RS 500 Greatest Albums of All Time (http:/ / www. rollingstone. com/ news/ story/ 5938174/ the_rs_500_greatest_albums_of_all_time). Rolling Stone. Retrieved on 2008-08-23. [21] Bush, John (August 2, 2011). "What's Going On [40th Anniversary Edition] - Marvin Gaye" (http:/ / www. allmusic. com/ album/ whats-going-on-40th-anniversary-edition-r2180694/ review). Allmusic. Rovi Corporation. . Retrieved 2011-08-04. [22] Katz, David (June 20, 2011). "Review of Marvin Gaye - Whats Going On 40th Anniversary Edition" (http:/ / www. bbc. co. uk/ music/ reviews/ pq9p). BBC Music. BBC. . Retrieved 2011-08-04. [23] Gill, Andy (July 1, 2011). "Album: Marvin Gaye, What's Going On: 40th Anniversary Super Deluxe Edition (Motown) - Reviews, Music" (http:/ / www. independent. co. uk/ arts-entertainment/ music/ reviews/ album-marvin-gaye-whats-going-on-40th-anniversary-super-deluxe-edition-motown-2304914. html). The Independent. Independent Digital News and Media Limited. . Retrieved 2011-08-04. [24] Fowler, Paul (July 1, 2011). "Marvin Gaye: What's Going On (40th Anniversary Edition) - Music Review" (http:/ / www. noripcord. com/ reviews/ music/ marvin-gaye/ whats-going-40th-anniversary-edition). No Ripcord. . Retrieved 2011-08-04. [25] Dombal, Ryan (July 28, 2011). "Album Reviews: Marvin Gaye: What's Going On [40th Anniversary Edition]" (http:/ / pitchfork. com/ reviews/ albums/ 15679-whats-going-on-40th-anniversary-edition/ ). Pitchfork Media. . Retrieved 2011-08-04. [26] Rosen, Jody (May 31, 2011). "What's Going On - Super Deluxe Edition Reissue by Marvin Gaye" (http:/ / www. rollingstone. com/ music/ albumreviews/ whats-going-on-super-deluxe-edition-reissue-20110531). Rolling Stone. Wenner Media. . Retrieved 2011-08-04. [27] Hultkrans, Andrew (June 7, 2011). "Marvin Gaye, 'What's Going On: 40th Anniversary Super Deluxe Edition' (Motown/UME)" (http:/ / www. spin. com/ reviews/ marvin-gaye-whats-going-40th-anniversary-super-deluxe-edition-motownume). Spin. Spin Media LLC. . Retrieved 2011-08-04. [28] Columnist (August 2011). "What's Going On [40th Anniversary Edition] (Motown/UME)". Uncut (IPC Media) (171): 95. [29] "What's Going On [40th Anniversary Edition] Reviews, Ratings, Credits, and More at Metacritic" (http:/ / www. metacritic. com/ music/ whats-going-on-40th-anniversary-edition). Metacritic. CBS Interactive. . Retrieved 2011-08-04. [30] Sounes, Howard (2006). Seventies: the sights, sounds and ideas of a brilliant decade. Simon & Schuster. p.134. ISBN0-7432-6859-8. "...such as Bobbye Hall whose insistent bongos can be heard..."

50

External links
What's Going On (http://www.acclaimedmusic.net/Current/A211.htm) at Acclaimed Music What's Going On (http://www.discogs.com/Marvin-Gaye-Whats-Going-On/master/66631) at Discogs Marvin Gaye's 'What's Going On': Songs We Love (http://www.npr.org/2011/05/21/136459286/ marvin-gayes-whats-going-on-songs-we-love) at NPR

Let's Get It On

51

Let's Get It On
Let's Get It On
Studio album by Marvin Gaye Released Recorded August 28, 1973 June 1, 1970 April 11, 1972 Hitsville U.S.A., Golden World (Detroit, Michigan) February 1 July 26, 1973 Hitsville West (Los Angeles, California) Soul, funk 31:36 Tamla T-329V1 Marvin Gaye, Ed Townsend Marvin Gaye chronology

Genre Length Label

Producer

What's Going On (1971)

Let's Get It On (1973)

Diana & Marvin (1973)

Singles from Let's Get It On 1. 2. 3.

"Let's Get It On"

Released: June 15, 1973

"Come Get to This"

Released: October 11, 1973

"You Sure Love to Ball"

Released: January 2, 1974

Let's Get It On is the twelfth studio album by American recording artist Marvin Gaye, released August 28, 1973, on Tamla Records. Recording sessions for the album took place during June 1970 to July 1973 at Hitsville U.S.A. and Golden World Studio in Detroit, and at Hitsville West in Los Angeles. Serving as Gaye's first venture into the funk genre and romance-themed music, Let's Get It On incorporates smooth soul, doo-wop, and quiet storm. It has been noted by critics for its sexually suggestive lyrics, and was cited by one writer as "one of the most sexually charged albums ever recorded". Following the breakthrough success of his socially conscious album What's Going On (1971), the album helped establish Marvin Gaye as a sex icon and furthered his mainstream appeal. It spawned three singles, "Let's Get It On", "Come Get to This", and "You Sure Love to Ball", that each attained Billboard chart success. Let's Get It On became the most commercially successful album of Gaye's recording career, and it further expanded his creative control during his tenure with Motown. Its sexual balladry, multi-tracking of Gaye's vocals, and seductive, funk sound influenced later R&B artists and production. The album has been regarded by many music writers and critics as a landmark recording in soul music. It furthered funk music's popularity during the 1970s, and its smooth soul sound marked a change for his record label's previous success with the "Motown Sound" formula. In 2001, Let's Get It On was reissued by Motown Records as a two-disc

Let's Get It On deluxe edition release featuring extensive liner notes and digital remastering, as well as several material from the initial recording sessions. In 2003, the album was ranked number 165 on Rolling Stone magazine's list of the 500 greatest albums of all time.

52

Background
In the spring of 1972, Marvin Gaye was suffering from writer's block.[1] Following the release of his most commercially successful album up to that point, What's Going On (1971), and the soundtrack album to the blaxploitation film Trouble Man (1972), Gaye had struggled to come up with new material after Motown Records had renegotiated a new contract with him. The contract provided him with more creative control over his recordings. The deal was worth $1 million, making him the highest-earning soul artist, as well as the highest-earning black artist, at the time.[2] He was also struggling with deciding whether or not to relocate to Los Angeles, following Motown-CEO Berry Gordy's move of the record label and replacement of the Detroit-based Hitsville U.S.A. (Motown Studio A) recording studio with the Hitsville West studio in Los Angeles. Amid relocation and his lack of material, Gaye was struggling with his conscience, as well as dealing with expectations from his wife, Gordy's sister Anna. Gaye's separation from Gordy pressured him emotionally. During this time, he had also been attempting to cope with past issues that had stemmed from his childhood.[1] During his childhood, Gaye had been physically abused by his preacher father Marvin Gay, Sr., who disciplined his son under extremely moralistic and fundamentalist Christian teachings. As a result, the meaning and practice of sex had later become a disturbing question for Gaye. As an adult, he suffered with sexual impotence and became plagued by sadomasochistic fantasies, which haunted him in his dreams and provoked some guilt in his conscience. According to Gaye's biographer David Ritz, "his view of sex was unsettled, tormented, riddled with pain".[3] Gaye learned to cope with his personal issues with a newly found spirituality. He began incorporating his new outlook into his music, as initially expressed through the socially conscious album What's Going On, along with promotional photos of him wearing a kufi in honor of African traditional religions and his faith.[1]

Concept and recording

By winning over record executives with the success of his previous studio album, Gaye had also achieved artistic freedom, which he would use, following his brief separation from wife Anna Gordy, to record a studio album that was meant, according to Gaye's intentions, to surface themes beyond sex.[3] As with What's Going On, the album was also intended to have a deeper meaning than the general theme that was used to portray it; in the case of the former, politics, and with its follow-up effort, love and romance, which would be used by Gaye as a metaphor for God's love.[3] In his book Divided Soul: The Life of Marvin Gaye, David Ritz wrote of Gaye and the musical inspiration behind Gaye's second landmark record: If the most profound soul songs are prayers in secular dress, Marvin's prayer is to reconcile the ecstasy of his early religious epiphany with a sexual epiphany. The hope for such a reconciliation, the search for sexual healing, is what drives his art... The paradox is this: The sexiest of Marvin Gaye's work is also his most spiritual. That's the paradox of Marvin himself. In his struggle to wed body and soul, in his exploration of sexual passion, he expresses the most human of hungersthe hunger for God. In those songs of loss and lamentthe sense of separation is heartbreaking. On one level, the separation is between man and woman. On a deeper level, the separation is between man and God.[4] David Ritz Gaye proceeded to record some more politically-conscious material at the Golden World Records studio, known as Motown's Studio B, as well as the preliminary vocals and instrumentation for some of the material to be featured on Let's Get It On.[5] Following the earlier sessions in Detroit at Golden World, Gaye recorded at Hitsville West in Los Angeles from February to July 1973.[5] Accompanied by an experienced group of session musicians called The Funk

Let's Get It On Brothers, who had contributed to Gaye's What's Going On, and received their first official credit, Gaye recorded the unreleased songs "The World is Rated X" and "Where Are We Going" and the single "You're the Man" (1972) at Golden World.[5] "Where Are We Going" was later covered by trumpeter Donald Byrd. Gaye had planned the release of an album titled You're the Man, but it was later shelved for unknown reasons. The songs that were to be included on it, along with other unreleased recordings from Hitsville West and Golden World, were later featured on the 2001 re-release of Let's Get It On.[6] The album's first recording, "Let's Get It On", was composed by Gaye with friend and former Motown label mate, singer-songwriter Ed Townsend, of "For Your Love" fame.[1] Following a brief discussion with him, Gaye agreed to record the rough draft of a song the two artists had worked on together.[1] Townsend assisted Gaye with production for the rest of the album, which was to be titled after the former song. Let's Get It On was recorded at several sessions throughout 1970 to 1973.[5]

53

Music
Title track
Originally, the opening song and title track on Let's Get It On was written as a religious ode to life, but was later re-written as a more political first draft of the song by Motown songwriter, producer and singer Kenneth Stover.[1] Upon hearing Gaye's preliminary mix of the political version of "Let's Get It On", Townsend protested and claimed that the song would sound and fare better with sexual and romantic overtones. In his words, he thought the song "should be about making sweet love."[7] Gaye and Townsend then rewrote the song's lyrics together with the original arrangements and musical accompaniment of the demo intact. The well-known single version of "Let's Get It On" was inspired by Janis Hunter, whom Gaye had become infatuated with, following their introduction to each other by Ed Townsend during the initial sessions.[1] Townsend later cited Hunter's presence during recording of the album as motivational for Gaye's emotional input.[8] Gaye's intimate relationship with Hunter later would become the basis for his next studio album I Want You (1976).[9] The single version of "Let's Get It On" featured soulful and emotional vocalizing and performing by Gaye with multi-tracked background singing, also provided by Gaye, accompanied by the song's signature, and most notable feature, the funky guitar instrumentation by studio session player Melvin "Wah-Wah Watson" Ragin.[10] Music journalist Jon Landau has dubbed the song "a classic Motown single, endlessly repeatable and always enjoyable".[10] In a 1973 article on Let's Get It On for Rolling Stone, Landau elaborated on the song's notable style and sound, as he wrote: It begins with three great wah-wah notes that herald the arrival of a vintage Fifties melody. But while the song centers around classically simple chord changes, the arrangement centers around a slightly eccentric rhythm pattern that deepens the song's power while covering it with a contemporary veneer. Above all, it has Marvin Gaye's best singing at its center, fine background voices on the side, and a long, moody fade-out...[10] Jon Landau "Let's Get It On" was reprised on the fourth track of the album as "Keep Gettin' It On", also known as "Let's Get It On, Pt. 2", which served as the sequel and continuation of the original song. While continuing with the title track's overall sensual theme, it also carried some political, as demonstrated in the line "won't you rather make love, children/as opposed to war, like you know you should." The track ended the first side of the album, which was entirely produced by Townsend and Gaye together.[10] Throughout the recording of the title track, Gaye became inspired to revive previous recordings from his 1970 sessions at the Hitsville U.S.A. Studio, which he had yet to finish.[1]

Let's Get It On

54

Content
The tracks from the earlier sessions includes the doo-wop-leaning "Come Get to This", "Distant Lover", and "Just to Keep You Satisfied". "Distant Lover" has Gaye crooning over serene instrumentation, leading to soulful screams near the end; from a heartbroken croon to an impassioned wail.[11] The song's lyrics chronicled the yearning its narrator feels for a lover who is "so many miles away", as he pleads for her return and laments the emptiness he feels without her. Music writer Donarld A. Guarisco later wrote of the song's sound, in that "Marvin Gaye's studio recording enhances the dreamy style of the song with stately horn and strings, tumbling drum fills that gently nudge the song along, and mellow, doo wop-styled background vocals that echo "love her, you love her" under his romantic pleas.[11] The song later became a concert favorite for Gaye and a live concert version, featuring female fans screaming in the background, was released as a single off of his Marvin Gaye Live! album in 1974.[11] Gaye and Townsend worked on four songs together, including the ballad "If I Should Die Tonight", while Gaye composed the majority of the remaining four songs, re-examining older songs.[6] The smooth soul album closer "Just to Keep You Satisfied" was originally recorded by Motown groups, including The Originals and The Monitors, and had been originally recorded as a song dedicated to long-standing love.[6] By the time Gaye recorded his own version, he had re-written the lyrics and arrangement of the song to talk about the demise of his volatile marriage to Anna Gordy Gaye, who was, ironically, the original song's co-writer.[1] Background vocals for the material on Let's Get It On were contributed by Marvin Gaye with the exception of "Just to Keep You Satisfied", which were done by The Originals, and featured a classic doo-wop vocalizing style. Most of the instrumentation for the album was done by members of The Funk Brothers, including bassist James Jamerson, guitarists Robert White and Eddie Willis, and percussionist Eddie "Bongo" Brown. Marvin also contributed on piano during the recording sessions.[12] "You Sure Love to Ball", recorded at Hitsville West, is one of Gaye's most sexually overt and controversial singles, with its intro and outro featuring moaning sounds made by a man and woman engaged in sex.[13] The sexual-explicit and risqu nature of the album's content were, at the time, controversial, and the recording of such an album was deemed as a commercial risk by Motown A&R's (Artists and Repertoire) and label executives.[13] In the album's liner notes, Gaye explained his views on the themes of sex and love, stating "I can't see anything wrong with sex between consenting anybodies. I think we make far too much of it. After all, one's genitals are just one important part of the magnificent human body ... I contend that SEX IS SEX and LOVE IS LOVE. When combined, they work well together, if two people are of about the same mind. But they are really two discrete needs and should be treated as such. Time and space will not permit me to expound further, especially in the area of the psyche. I don't believe in overly moralistic philosophies. Have your sex, it can be exciting, if you're lucky. I hope the music that I present here makes you lucky."[14]

Reception
Commercial performance
Released on August 28, 1973, Let's Get It On surpassed Gaye's previous studio effort, What's Going On, as the best-selling record of his tenure with Motown.[15] The album peaked at number two on the US Billboard Top LPs chart, succeeded by The Rolling Stones's Goats Head Soup (1973),[16] while it also managed to reach number one in Cash Box for one week, as well as two weeks at the top of Record World's music charts.[17] Let's Get It On charted for 61 weeks on the Billboard charts,[18] and remained at the top of the Billboard Soul Albums for 11 weeks, becoming the best-selling soul album of 1973.[19] The album's lead single, "Let's Get It On", became one of Gaye's most successful singles, as it reached number one on the Billboard Hot 100 chart on September 8, 1973.[20] It remained at number one for two weeks, while also remaining at the top of the Billboard Soul Singles chart for eight weeks.[19] The single was at that time Motown's largest-selling recording ever, selling over three million copies between 1973 and 1975.[21] On June 25, 2007, it was certified platinum by the Recording Industry Association of

Let's Get It On America for shipments of one million copies in the United States.[22] Two of the album's singles reached the top 40 of the Billboard Hot 100, including "Let's Get It On", which became Gaye's second number-one US single, and the top-30 hit "Come Get to This", which peaked at number 23 on the chart.[23] The album's third single, "You Sure Love to Ball", charted at number 50 on the Hot 100 and at number 13 on the Soul Singles chart.[23] Along with the album's music and sexual content, Let's Get It On's commercial success and promotion helped establish Marvin Gaye as a sex icon, while helping further expand his artistic control during his tenure at Motown.[24] This commercial success also lead to a much publicized tour for Gaye to promote Let's Get It On and expand on his repertoire as a live performer.[19] Successful concert performances of the album's material helped Gaye gain an increasing popularity and fan base in the pop market, while earning him a reputation as one of the top live performers of the time.[19] His performance at the Oakland Coliseum during the 1973-1974 tour was released on the 1974 LP Live!, which would serve as Gaye's only release during his sabbatical period in the mid-1970s.[25]

55

Critical response Professional ratings Review scores

Source Allmusic Billboard Chicago Tribune Robert Christgau PopMatters Q Rolling Stone Rolling Stone Virgin Encyclopedia Yahoo! Music (favorable) A (favorable) Rating [15] [26]

[27] [28] [29] [30] (favorable) 1973 [10] [31]

(favorable)

2004

[32] [33]

Upon its release, Let's Get It On received positive reviews from music critics, who praised its seductive sound, groove, sexual innuendo, and lyrics.[18] Billboard called it "fine in terms of vocal attack and material [...] touches on the excellent in terms of instrumental support", while citing the title track and "Distant Lover" as the album's best recordings.[18] Jon Landau of Rolling Stone found Gaye's performance on-par with that of What's Going On and complimented its themes of love and sex, stating "he continues to transmit that same degree of intensity, sending out near cosmic overtones while eloquently phrasing the sometimes simplistic lyrics".[10] Landau found its second side "more daring and self-conscious" than the first and concluded, "Let's Get It On is as personal as What's Goin' On but lacks that album's series of highpoints. Instead, it ebbs and flows, occasionally threatening to spend itself on an insufficiency of ideas, but always retrieved, just in time, by Gaye's performance. From first note to last, he keeps pushing and shoving, and if he sometimes takes one step back for every two ahead, he gets there just the same and with style and spirit to spare".[10] In his consumer guide for The Village Voice, critic Robert Christgau called the album "post-Al Green What's Going On, which means it's about fucking rather than the human condition, thank the wholly holey".[28] He viewed its title track "as much a masterpiece as 'Inner City Blues'" and stated, "this album

Let's Get It On prolongs its seductive groove to an appropriate thirty minutes plus".[28]

56

Retrospect
Since its initial reception, Let's Get It On has been viewed by writers as a milestone in soul music.[31] In his book The Best Rock 'n' Roll Records of All Time, music critic Jimmy Guterman stated, "Let's Get It On was a bit more conventional musically (soul crossing into mild funk) and much more focused lyrically than its predecessor, What's Going On".[18] Chicago Tribune writer Greg Kot commended Gaye for using "the multi-tracked vocals perfected on 'What's Going On', this time to convey his most intimate desires", commenting that "while the album is replete with erotic imagery, both implied and explicit, it is also as much preoccupied with distance and unfulfilled need".[27] Jason Ankeny of Allmusic called it "a record unparalleled in its sheer sensuality and carnal energy", writing that "Always a sexually charged performer, Gaye's passions reach their boiling point [...] With each performance laced with innuendo, each lyric a come-on, and each rhythm throbbing with lust, perhaps no other record has ever achieved the kind of sheer erotic force of Let's Get It On, and it remains the blueprint for all of the slow jams to follow decades later much copied, but never imitated."[15] Ankeny dubbed it "one of the most sexually charged albums ever recorded."[24] Allmusic's Lindsey Planer has cited the album as a "hedonistic R&B masterpiece."[6] BBC Online's Daryl Easlea found Gaye "in supreme command of his material", and viewed it as "much more than an album about simple lust [...] an iconic, rapturous work, but one very much laced with Gayes doubt and uncertainty. That said, many will be too busy basking in the glorious mood that the album creates to notice any dissent whatsoever".[34] Much like What's Going On, Let's Get It On has been included in a significant amount of "best album" lists by critics and publications.[35] It was ranked number 58 on The Times's 1993 publication of the 100 Best Albums of All Time.[36] Blender magazine ranked the album number 15 on its list of the 100 Greatest American Albums of All Time.[35] In 2003, it was ranked number 165 on Rolling Stone's 500 Greatest Albums of All Time publication, his second highest entry on the list,[37] as well as one of three Marvin Gaye albums to be included; What's Going On (number 6) and Here, My Dear (number 462).[38] In 2004, Let's Get It On was inducted into the Grammy Hall of Fame and cited by The Recording Academy as a recording of "historical significance".[39]

Legacy and influence

Motown
Because of the album and its singles' initial sales and response, Let's Get It On marked a change and transition in sound and production for Motown, which had previously enjoyed success with its trademark "Motown Sound". The label's well-known sound, however, was beginning to fade in popularity among the majority of R&B and soul listeners, while experiencing commercial pressure from contemporary styles that incorporated more diverse elements, such as Philly soul and funk.[8] The Motown sound was typified by characteristics such as the use of tambourines to accent the back beat, prominent and often melodic electric bass guitar lines, distinctive melodic and chord structures, and a call and response singing style that originated in gospel music. In addition, pop production techniques were simpler than that of Gaye's 1970s concept albums. Complex arrangements and elaborate, melismatic vocal riffs were avoided by Motown musicians.[8] Following his breakthrough with What's Going On, an "experiment in collating a pseudo-classical suite of free-flowing songs",[40] Gaye used his artistic control to modify the sound and incorporate funky instrumentation, melismatic vocalization, and heavy vocal multi-tracking, in much contrast to the established production style at the label. In contrast to Motown's previously successful process of emphasizing an artist's single releases rather than their album, Gaye and fellow producer Ed Townsend followed a similar formula previously used on What's Going On, in which the album's songs flow together in a suite-form arrangement,[41] opposing label CEO Berry Gordy's strong emphasis on hit single success.[40]

Let's Get It On

57

R&B and soul

The album has affirmed Gaye's influence over later R&B styles and artists.[31] Gaye's change of musical style and production soon became contemporary and popular, prior to the disco era of the late 1970s. Several successful Motown artists, including Lionel Richie and Rick James, were influenced by much of the elements of Gaye's recording style for their work in the late 1970s and early 1980s.[8] The slow jam sound and modern soul music production in general were greatly influenced by the album's use of vocal multi-tracking and instrumentation. Renown engineer Russell Elevado's work in the neo soul genre, including his production for D'Angelo's Voodoo (2000) and Erykah Badu's Mama's Gun (2000), has been influenced by Gaye's and Townsend's production techniques and sound.[8][42] The music atmosphere of the 1970s was heavily influenced by its success and sexual content, as its sexual-explicitness bended creative barriers in the music industry and led to an increased popularity of sexual themes in music at the time.[8] Music writer Rob Bowman later cited Let's Get It On as "one of the most erotic recordings known to mankind."[18] The album's success helped spark a series of similarly-styled releases by such smooth soul artists as Barry White (Can't Get Enough), Smokey Robinson (A Quiet Storm) and Earth, Wind & Fire (That's the Way of the World).[8] The commercial success of such recording artists led to a change of trend from socially-conscious aesthetics to more mainstream, sensually-themed music.[43] Gaye himself experienced subsequent success with his follow-up release I Want You (1976), featuring more sexually-explicit lyrics and expanded use of vocal multi-tracking, and with Here, My Dear (1978), which he based entirely on his tumultuous marriage to Anna Gordy.[8] In an interview with music author Michael Eric Dyson, hip hop artist Q-Tip discussed the album's influence and significance to its time period, stating: Although there was a 'conscious' revolution, there was also a great sexual revolution ... I think Let's Get It On was Marvin wanting to make commentary on what was happening. I think there was a big 'love-in' that was going on. And with him quoting T.S. Elliot [in his liner notes, that life amounts to "Birth, copulation and death"], and the young lady moaning [on the album], we hadn't heard that before. That was another first, as well as him capturing erotica like that, and weaving it into the music the way he did; it was mind blowing. I think it was a natural progression, because we were having a revolution with our minds, and then with our bodies at that time.[43] Q-Tip Following the success of funk records such as Sly & the Family Stone's There's a Riot Goin' On (1971) and James Brown's late 1960s and early 1970s singles, Gaye's Let's Get It On helped further the funk genre's reach and influence in the music industry, as well as increase its mainstream appeal. Several contemporary R&B musicians, such as Prince, D'Angelo and R. Kelly, were greatly influenced by its vintage sound and seductive themes, incorporating much of Gaye's musical style into their music.[8]

Track listing
Original LP

Let's Get It On

58

Side one No. Title 1. "Let's Get It On" Writer(s) Marvin Gaye, Ed Townsend Length 4:44 3:32 3:57 3:12

2. "Please Stay (Once You Go Away)" Gaye, Townsend 3. "If I Should Die Tonight" 4. "Keep Gettin' It On" Gaye, Townsend Gaye, Townsend

Side two No. Title 5. "Come Get to This" 6. "Distant Lover" 7. "You Sure Love to Ball" Writer(s) Gaye Gaye, Gwen Gordy, Sandra Greene Gaye Length 2:40 4:15 4:43 4:35

8. "Just to Keep You Satisfied" Gaye, Anna Gordy Gaye, Elgie Stover

Deluxe edition
On September 18, 2001, Let's Get It On was reissued by Motown as a two-disc deluxe edition release, featuring 24-bit digital remastering of the original album's recordings, previously unissued material and a 24-page booklet which contains the original LP liner notes by Marvin Gaye, as well as essays from Gaye biographers David Ritz and Ben Edmunds.[6]
Original album & sessions (Disc one) 1. "Let's Get It On" (Gaye, Townsend) 4:51 2. "Please Stay (Once You Go Away)" (Gaye, Townsend) 3:27 3. "If I Should Die Tonight" (Gaye, Townsend) 4:01 4. "Keep Getting' It On" (Gaye, Townsend) 3:13 5. "Come Get to This" (Gaye) 2:41 6. "Distant Lover" (Gaye, G. Gordy, Greene) 4:17 7. "You Sure Love to Ball" (Gaye) 4:46 8. "Just to Keep You Satisfied" (Gaye, Gordy-Gaye, Stover) 4:27 9. "Song #3" (instrumental) (DePitte, Gaye) 5:28 10. "My Love Is Growing" (Gaye) 4:20 11. "Cakes" (DePitte, Gaye) 3:14 12. "Symphony" (undubbed version) (Gaye, Robinson) 2:51 13. "I'd Give My Life for You" (alternate mix) (Gaye) 3:29 14. "I Love You Secretly" (The Miracles version) (Gaye, Gordy-Gaye, E. Stover) 4:18 15. "You're the Man" (alternate version 1) (K. Stover, Gaye) 7:24 16. "You're the Man" (alternate version 2) (K. Stover, Gaye) 4:44 17. "Symphony" (demo vocal) (Gaye, Robinson) 2:48 Demos, alternate mixes & more (Disc two) 1. "Let's Get It On" (demo) (Gaye, Townsend) 5:12 2. "Let's Get It On, Pt. 2" (aka "Keep Gettin' It On") (Gaye, Townsend) 3:13 3. "Please Stay (Once You Go Away)" (alternate mix) (Gaye, Townsend) 3:52 4. "If I Should Die Tonight" (demo) (Gaye, Townsend) 4:13 5. "Come Get to This" (alternate mix) (Gaye) 3:07 6. "Distant Lover" (alternate mix) (G. Fuqua, Gaye, Greene) 4:32 7. "You Sure Love to Ball" (alternate mix w/alternate vocal) (Gaye) 5:06 8. "Just to Keep You Satisfied" (a capella w/alternate vocal) (Gaye, Gordy-Gaye, Stover) 4:38 9. "Just to Keep You Satisfied" (The Originals 1970 version) (Gaye, Gordy-Gaye, Stover) 4:00 10. "Just to Keep You Satisfied" (The Monitors 1968 version) (Gaye, Gordy-Gaye, Stover) 3:10 11. "Where Are We Going?" (alternate mix) (Gordon, Mizell) 3:56 12. "The World Is Rated X" (alternate mix) (Bolton, Bolton, Gordy, McLeod) 3:52 13. "I'm Gonna Give You Respect" (Hutch) 2:56 14. "Try It, You'll Like It" (Hutch, Wakefield) 3:57 15. "You Are That Special One" (Hutch) 3:38 16. "We Can Make It Baby" (Hutch) 3:22 17. "Running from Love" (instrumental version 1) (Bohannon, Gaye, Henderson) 3:47 18. "Mandota" (Bohannon, Gaye) 3:26 19. "Running from Love" (instrumental version 2) (Bohannon, Gaye, Henderson) 3:54 20. "Come Get to This" (live from Oakland) (Gaye) 3:00

Let's Get It On

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Personnel
Arrangement, Conduction (Orchestra): David Van DePitte (tracks: B1 to B4), Gene Page (tracks: B1), Rene Hall (tracks: A4) Bass: James Jamerson, Wilton Felder Bongos: Bobbye Hall Porter Bongos, Drums: Eddie "Bongo" Brown Drums: Paul Humphrey, Uriel Jones Engineer: William McKeekin, Art Stewart, Steve Smith, Lawrence Miles, Cal Harris Guitar: David T. Walker, Eddie Willis, Lewis Shelton, Melvin Ragin, Robert White Percussion (Mallettes): Emil Richards Percussion (Special Treatment): Bobbye Hall Porter, Ernie Watts, Plas Johnson Piano: Joe Sample, Marvin Gaye, Marvin Jerkins Photography: Jim Britt, Motown Archives Production, Lead vocals, Background vocals: Marvin Gaye, except where noted: Background vocals: The Originals ("Just to Keep You Satisfied") Co-production: Ed Townsend (tracks: A1 to A4) Vibraphone: Emil Richards, Victor Feldman

Charts
Chart (1973) Peak position 2 1 Peak position [44] 127

[44] US Billboard Top LPs US Billboard Soul LPs Chart (1984) [44]

US Billboard Top 200

Accolades
The information regarding accolades attributed to Let's Get It On is adapted from AcclaimedMusic.net.[35]
Publication Bill Shapiro Blender Dave Marsh & Kevin Stein Elvis Costello (Vanity Fair, Issue No. 483) Infoplease.com Jimmy Guterman Kitsap Sun Paul Gambaccini The Recording Academy Robert Dimery Country U.S. U.S. U.S. U.S. U.S. U.S. U.S. U.S. U.S. U.S. Accolade The Top 100 Rock Compact Discs The 100 Greatest American Albums of All time The 40 Best of Album Chartmakers by Year 500 Albums You Need Must-Have Recordings The 100 Best Rock and Roll Records of All Time Top 200 Albums of the Last 40 Years The World Critics Best Albums of All Time Grammy Hall of Fame Albums and Songs 1001 Albums You Must Hear Before You Die Year Rank 1991 2002 1981 2005 1998 1992 2005 1987 2004 2005 * 15 6 * * 27 67 84 * *

Let's Get It On

60
U.S. U.S. U.S. Ireland Steve Pond's 50 (+27) Essential Albums of the 70s The 500 Greatest Albums of All Time 1990 2003 39 165 * 32 * 46 145 27 24 58 3 * 101 101 41 * 93 39 53

Rolling Stone (Steve Pond) Rolling Stone Vibe Hot Press Mojo New Musical Express New Musical Express The New Nation Sounds The Times Time Out The Wire Adresseavisen Pop OOR VPRO Spex Rock de Lux Rock de Lux

51 Albums representing a Generation, a Sound and a Movement 2004 The 100 Best Albums of All Time 1989 2001 1985 1993 2005 1986 1993 1989 1992 1995 1994 1973 2006 1999 1988 2002

United Kingdom Mojo 1000, the Ultimate CD Buyers Guide U.K. U.K. U.K. U.K. U.K. U.K. U.K. Norway Sweden Netherlands Netherlands Germany Spain Spain All Times Top 100 Albums All Times Top 100 Albums + Top 50 by Decade Top 100 Albums by Black Artists The 100 Best Albums of All Time The 100 Best Albums of All Time The 100 Best Albums of All Time The 100 Most Important Records Ever Made The 100 (+23) Best Albums of All Time The World's 100 Best Albums + 300 Complements Albums of the Year 299 Nominations of the Best Album of All Time The 100 Albums of the Century The 100 Best Albums of the 1970s The 200 Best Albums of All Time

(*) designates lists that are unordered.

Notes
[1] Edmonds (2001), pp. 78. [2] Marvin Gaye - Singer/Songwriter (http:/ / www. bbc. co. uk/ dna/ h2g2/ A23192868). BBC - h2g2. Retrieved on 2008-08-24. [3] Ritz a (2001), p. 2. [4] Ritz b (1991), p. 203 [5] Deluxe edition liner notes (2001), pp. 1920. [6] allmusic Let's Get It On (Deluxe Edition) - Overview (http:/ / www. allmusic. com/ album/ r551939). All Media Guide, LLC. Retrieved on 2008-08-17. [7] Townsend (2001), p. 4. [8] Edmonds (2001), pp. 1518. [9] Dyson (2005), p. 164. [10] Landau, Jon (December 6, 1973). Review: Let's Get It On (http:/ / www. rollingstone. com/ music/ albumreviews/ lets-get-it-on-19731206). Rolling Stone. Retrieved on 2011-01-28. [11] allmusic Distant Lover - Song Review (http:/ / www. allmusic. com/ song/ t5080821). All Media Guide. Retrieved on 2008-08-17. [12] Discogs.com - Let's Get It On (WL 720885) (http:/ / www. discogs. com/ release/ 508613). Discogs. Retrieved on 2008-08-17. [13] Edmonds (2001), pp. 89. [14] Gaye (2001), liner excerpt [15] Ankeny, Jason. Review: Let's Get It On (http:/ / www. allmusic. com/ album/ r8081). Allmusic. Retrieved on 2008-08-17. [16] US number two albums (http:/ / freespace. virgin. net/ sharon. persky/ US number two albums. html). Sharon Persky. Retrieved on 2009-03-28. [17] Billboard, CASHBOX & Record World 1 ALBUMS(1973) (http:/ / msdb. hp. infoseek. co. jp/ cb& bb/ album no1/ 1973. htm). MS-Database. Retrieved on 2009-03-28. [18] Super Seventies: Marvin Gaye - Let's Get It On (http:/ / www. superseventies. com/ spgayemarvin. html). Super Seventies RockSite!. Retrieved on 2008-08-26. [19] Edmonds (2001), p. 14.

Let's Get It On
[20] Billboard - Hot 100 (http:/ / www. billboard. com/ bbcom/ specials/ hot100/ charts/ top100-titles-40. shtml). Nielen Business Media. Retrieved on 2008-10-04. [21] Super Seventies - "Let's Get It On" (http:/ / www. superseventies. com/ 1973_5singles. html). Super Seventies. Retrieved on 2008-08-17. [22] RIAA Searchable Database (http:/ / www. riaa. com/ goldandplatinumdata. php?table=SEARCH_RESULTS). Recording Industry Association of America. Retrieved on 2008-08-18. [23] allmusic Let's Get It On - Charts & Awards (http:/ / www. allmusic. com/ album/ r8081). Retrieved on 2008-08-17. [24] Ankeny, Jason. allmusic Marvin Gaye - Biography (http:/ / www. allmusic. com/ artist/ marvin-gaye-p4344/ biography). All Media Guide, LLC. Retrieved on 2008-08-17. [25] allmusic: Live! (http:/ / www. allmusic. com/ album/ r8048). All Media Guide, LLC. Retrieved on 2008-10-26. [26] Columnist. " Review: Let's Get It On (http:/ / books. google. com/ books?id=IwkEAAAAMBAJ& pg=RA1-PA56& dq=)". Billboard: 56. September 8, 1973. [27] Kot, Greg. " Review: Let's Get It On (http:/ / pqasb. pqarchiver. com/ chicagotribune/ access/ 24091617. html?dids=24091617:24091617& FMT=ABS& FMTS=ABS:FT& date=Jul+ 22,+ 1994& author=Greg+ Kot. & pub=Chicago+ Tribune+ (pre-1997+ Fulltext)& desc=GAYE+ IS+ STILL+ WHAT'S+ GOIN'+ ON+ MASSIVE+ MOTOWN+ REISSUE+ CELEBRATES+ SINGER'S+ LASTING+ LEGACY& pqatl=google)". Chicago Tribune: 4. July 22, 1994. (Transcription of original review at talk page) [28] Christgau, Robert (December 1973). Consumer Guide: Let's Get It On (http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye). The Village Voice. Retrieved on 2011-01-29. [29] Rogers, Matt. Review: Let's Get It On (http:/ / www. popmatters. com/ pm/ review/ gayemarvin-letsgetitonsacd2/ ). PopMatters. Retrieved on 2009-07-22. [30] Columnist. "Review: Let's Get It On". Q: 120. August 2003. [31] Hoard, Christian. " Review: Let's Get It On (http:/ / books. google. com/ books?id=lRgtYCC6OUwC& pg=PA324& dq=)". Rolling Stone: 324325. November 2, 2004. [32] Larkin, Colin. " Review: Let's Get It On (http:/ / www. acclaimedmusic. net/ Current/ A276. htm)". Virgin Encyclopedia of Popular Music: March 1, 2002. [33] Waller, Don. Review: Let's Get It On (http:/ / ca. music. yahoo. com/ release/ 357). Yahoo! Music. Retrieved on 2009-07-22. [34] Easlea, Daryl (August 26, 2009). Review: Let's Get It On (http:/ / www. bbc. co. uk/ music/ reviews/ 5crg). BBC Online. Retrieved on 2011-01-29. [35] Acclaimed Music - Let's Get It On (http:/ / www. acclaimedmusic. net/ Current/ A276. htm). www.acclaimedmusic.net. Retrieved on 2008-08-17. [36] The Times All Time Top 100 Albums - 1993 (http:/ / www. rocklistmusic. co. uk/ times100. htm). Rocklist. Retrieved on 2008-08-17. [37] RS500: 165) Let's Get It On (http:/ / www. rollingstone. com/ news/ story/ 6599121/ 165_lets_get_it_on). Rolling Stone. Retrieved on 2008-08-17. [38] The RS 500 Greatest Albums of All Time (http:/ / www. rollingstone. com/ news/ story/ 5938174/ the_rs_500_greatest_albums_of_all_time). Rolling Stone. Retrieved on 2008-08-23. [39] Grammy.com - Hall of Fame inductees (http:/ / www. grammy. org/ recording-academy/ awards/ hall-of-fame#l). The Recording Academy. Retrieved on 2008-08-13. [40] Slant Magazine Music Review: Marvin Gaye: What's Going On (http:/ / www. slantmagazine. com/ music/ music_review. asp?ID=375). Slant Magazine. Retrieved on 2008-11-29. [41] Johnstone (1999), p. 193. [42] Neal, Mark Anthony. Review: Voodoo (http:/ / www. popmatters. com/ music/ reviews/ d/ dangelo-voodoo. shtml). PopMatters. Retrieved on 2008-08-09. [43] Dyson (2005), p. 98. [44] Charts & Awards Billboard Albums: Let's Get It On (http:/ / www. allmusic. com/ album/ lets-get-it-on-r8081/ charts-awards). Allmusic. Retrieved on 2011-01-29.

61

References
David Ritz (1991). Divided Soul: The Life of Marvin Gaye. New York: Da Capo Press. ISBN0-30680-443-3. Marvin Gaye, David Ritz, Ed Townsend, Ben Edmonds, Harry Weinger (2001). Let's Get It On (Deluxe edition). booklet liner notes. Motown Records, a Division of UMG Recordings, Inc. MOTD 4757. Nick Johnstone (1999). Melody Maker History of 20th Century Popular Music. Bloomsbury, London, UK. ISBN0747541906. Michael Eric Dyson (2005). Mercy, Mercy Me: The Art, Loves and Demons of Marvin Gaye. Basic Civitas Books. ISBN0-46501-770-3. Nathan Brackett, Christian Hoard (2004). The New Rolling Stone Album Guide. Completely Revised and Updated 4th Edition. Simon and Schuster. ISBN0-74320-169-8. Colin Larkin (2002). Virgin Encyclopedia of Popular Music. Edition 4. Virgin Books. ISBN1852279230.

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External links
Let's Get It On (http://www.discogs.com/Marvin-Gaye-Lets-Get-It-On/master/66602) at Discogs Let's Get It On (Deluxe Edition) (http://www.allmusic.com/album/r551939) at Allmusic

I Want You
I Want You
Studio album by Marvin Gaye Released March 16, 1976

Recorded 19751976 Marvin's Room, Hitsville West (Los Angeles, California) Genre Length Label Soul, funk, quiet storm, jazz-funk 37:43 Tamla T6-342S1

Producer Marvin Gaye, Leon Ware, Arthur "T-Boy" Ross Marvin Gaye chronology

Let's Get It On (1973)

I Want You (1976)

Here, My Dear (1978)

Singles from I Want You 1. 2. 3.

"I Want You (Vocal)"

Released: 1976

"After the Dance (Vocal)"

Released: 1976

"Since I Had You"

Released: 1976

I Want You is the thirteenth studio album by American soul musician Marvin Gaye, released March 16, 1976, on Motown-subsidiary label Tamla Records. Recording sessions for the album took place throughout 1975 and 1976 at Motown Recording Studios, also known as Hitsville West, and Gaye's personal studio Marvin's Room in Los Angeles, California. The album has often been noted by critics for producer Leon Ware's exotic, low-key production and the erotic, sexual themes in his and Gaye's songwriting. The album's cover artwork adapts neo-mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971). I Want You consisted of Marvin Gaye's first recorded studio material since his highly successful and well-received album Let's Get It On (1973). While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo-wop-influenced sound for funky, light-disco soul, the album maintained and expanded on his previous work's sexual themes. Following an initial mixed response from critics, I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul.

I Want You

63

Background
By 1975, Marvin Gaye had come off of the commercial and critical success of his landmark studio album Let's Get It On (1973), its successful supporting tour following the album's release, and Diana & Marvin (1973), a duet project with Diana Ross. However, similar to the conception and recording of Let's Get It On, Gaye had struggled to come up with an album to compete it with. And much like Let's Get It On, outside help and assistance came in the form of Leon Ware, a singer and songwriter who had found previous success writing hits for fellow Motown alum, including pop singer Michael Jackson and the rhythm and blues group The Miracles.[1] Ware had been working on songs for his own album which he later titled Gaye's relationship with Janis Hunter inspired him at the Musical Massage, a collection of sexually erotic singles Ware time. had composed with a variety of writers, including Jacqueline Hillard and Arthur "T-Boy" Ross, brother of Diana Ross.[1] When Motown CEO Berry Gordy paid a visit to Ware, the songwriter was more than happy to play Gordy his selection of tracks. After hearing a preliminary mix of the songs, however, Gordy figured that Ware let Gaye handle his material.[1] While the majority of the album's songs were conceived by Ware, I Want You had been transformed into a biographical centerpiece for Gaye, who was then in a volatile marriage with Anna Gordy, sister to Berry Gordy, and also in a long-standing affair with Janis Hunter, who would later become the mother of his two youngest children.[2] Gaye and Hunter were introduced to each other by producer Ed Townsend, while him and Gaye were recording Let's Get It On in early 1973 at Hitsville West. In his book Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye, literary author and music writer Michael Eric Dyson elaborated on the relationship between I Want You and Gaye's affair with Hunter that had influenced the music on the album, stating "I Want You is unmistakably a work of romantic and erotic tribute to the woman he deeply loved and would marry shortly, Janis Hunter. Gaye's obsession with the woman in her late teens is nearly palpable in the sensual textures that are the album's aural and lyrical signature. Their relationship was relentlessly passionate and emotionally rough-hewn; they played up each other's strengths, and played off each other's weaknesses."[3] Though it was often hinted that Let's Get It On was the album Gaye had dedicated to her, Marvin cited this album as being dedicated to Hunter, with whom is believed to have been in the studio when Marvin recorded the project. Her presence may have increased the emotion in Ware's and Gaye's conception of I Want You, according to music critics.[2]

Recording and production

Gaye and Ware recorded and mixed the album at Marvin's newly-christened "Marvin's Room Studio", located on Sunset Boulevard in Los Angeles and at Motown Recording Studios.[1] The recording sessions took place throughout 1975 and 1976.[4] Much like Gaye's previous studio effort Let's Get It On, I Want You featured Gaye's contribution of background vocals and their heavy multi-tracking. The style of Gaye's vocalizing was in classic doo-wop tradition accompanied by the low tempo of string arrangements and other instrumentation, which was provided by The Funk Brothers, the same group of studio musicians who had backed Gaye up on his breakthrough album What's Going On and its follow up Let's Get It On.[5] The production of Gaye's albums, especially Ware's production for I Want You, has been influential on modern soul music and contemporary R&B.[2] EMI Artists and Repertoire executive Gary Harris, who later assisted neo soul singer D'Angelo in recording his highly acclaimed debut album Brown Sugar (1995), later commented on Gaye's

I Want You significant artistry on I Want You and its opening title track.[5] In an interview with writer Michael Eric Dyson, Harris said: With the opening, with the congas and the strings; it's like the sun is rising. It's a very cinemtatic approach to the whole thing. It shows a thing Quincy Jones called "ear candy." The voicings and the arrangements convey not only mood but time, place and image. He's talking about "dreamed of you this morning." It's crazy. The other thing about Marvin and the song is he always, no matter what he was doing, how many risks he would take, he was a radical traditionalist and always held onto his doo-wop upbringing. Those background harmonies ... no matter how increasingly percussive he got, how funky, the background vocals were always steeped in that tradition.[5] Garry Harris Another significant feature of the recording sessions for I Want You was Gaye's use of the synthesizer in his music.[1] During the time of recording, the instrument had entered its modern period of use and had been included in the music of such popular acts as Stevie Wonder and Led Zeppelin. For the instrumental version of "After the Dance", Gaye implented it for a more spacey sound than his previous recordings had featured. Other recordings from these sessions to feature Gaye's synthesizer were later featured on the deluxe edition re-release of I Want You.[1]

64

Artwork
The original Sugar Shack painting, which was later used for the front album cover of I Want You, was painted and released by neo-mannerist artist Ernie Barnes in 1971.[6] In 1974, Barnes redesigned the painting for use by television producer Norman Lear for the opening credits of Good Times, his hit CBS sitcom that ran from 1974 to 1979.[7] The Sugar Shack portrays a cultural image of a shack full of black people dancing. The Sugar Shack was painted by Barnes in his signature post-mannerist style, using serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes. This style of technique and composition is similar to the mannerist style of 16th century artists such as Michelangelo and Raphael, which has led Barnes to be credited as the founder of the Neo-Mannerism movement.[8] Art critic Frank Getlein later called The Sugar Shack a "stunning demonstration of the fusion of Neo-Mannerism and Genre painting that Barnes alone has perfected and practices", and went on to say: The dances of ordinary people have been a standard subject of Genre painting since it was invented by Breughel. The perfectly-controlled lighting and the elaborate poses of the elongated figures are class Mannerism. Sugar Shack effortlessly combines the two heritages in Neo-Mannerism Genre painting. Any Mannerist painter would be proud of the succession of figures in the main, central group of dancers, but the whole is infused with the innocent exuberance of Breughel and his fellow Flemings.[8] Frank Getlein The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic", which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' circuit."[9] According to Barnes, he created the original version after reflecting upon his childhood, during which he was not "able to go to a dance."[10] In an interview with SoulMuseum.net, Barnes was asked whether there were any messages he was attempting to express through the painting. He stated "'Sugar Shack' is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension"[6] Marvin Gaye was initially introduced to Barnes by colleague Barbara Hunter, which led to him buying eight Barnes originals, including The Sugar Shack. After Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye's album, including banners hanging from the ceiling of the shack promoting the album's singles.[1][9] Since receiving wide acclaim for The Sugar Shack,

I Want You Barnes has gained recognition from art critics as one of the best black painters of his time and was cited by the Oakland Tribune as the "Picasso of the black art world."[8][10]

65

Reception
Commercial performance
I Want You was released March 16, 1976 in the United States on the Motown-subsidiary label Tamla Records.[11] While not as successful sales-wise as Gaye's previous landmark albums What's Going On and Let's Get It On, I Want You sold in excess of 1 million copies in the United States with help mostly coming from its first single "I Want You". The single topped the Billboard Soul Singles chart, quickly becoming Marvin Gaye's eleventh number-one hit on that chart, while peaking at number fifteen on the Billboard Pop Singles chart.[2] The album's second single, the quiet storm track "After the Dance (Vocal)", charted modestly, peaking at #14 on the Soul Singles chart and #74 on the Pop Singles chart, while another single release version of the song, a double A-sided vinyl record for dance clubs and discothques, hit the top ten of the Billboard Disco Singles chart. The song became a staple of dance clubs and discothques during the late 1970s.[2] "After the Dance" was hailed as one of Marvin's signature songs during the late 1970s and was later described by Gaye-biographer David Ritz as "emblematic for the final chapter of his career."[2] I Want You became his fourth album to reach the top ten of the Billboard 200 chart and his fifth number-one album on the Soul Albums chart.

Critical response Professional ratings Review scores

Source Allmusic Chicago Tribune Robert Christgau NME PopMatters Q Rolling Stone Sounds Uncut The Wall Street Journal (favorable) (mixed) C+ Rating [12] [13] [14] [15] [9] [16] [17] [18] [19] [20]

(mixed)

(favorable)

Despite its chart success, I Want You initially received mixed reviews from music critics.[2] It has been noted by music writers that the critical reception of disco music in general had been poor and ill-conceived, which may have caused the slightly disco-styled I Want You to suffer critically, in comparison to Gaye's previous albums.[2] Los Angeles Times writer Dennis Hunt called the album "disappointing" and "only partially commendable".[21] Rolling Stone's Vince Aletti criticized Leon Ware's production for being too low-key, and perceived that Gaye lacks the certain passion in his lyricism and singing from his previous records.[17] Aletti compared the album to Gaye's previous work, writing "Gaye seems determined to take over as soul's master philosopher in the bedroom, a position

I Want You that requires little but an affectation of constant, rather jaded horniness. The pose has already been established in Let's Get It On, on which Gaye was hot, tender, aggressive, soothing and casually raunchythe modern lover with all his contradictions. I Want You continues in the same vein but with only the faintest traces of the robust passion that shot through and sustained the earlier album... one expects something with a little more substance and spirit. But there's no fire here, only a well-concealed pilot light."[17] Cliff White of NME called the album "almost a voyeur's delight", and was not favorable of Gaye's sensual themes, stating "Although getting down, getting mellow, and getting it on are paramount considerations in the privacy of my own home, I don't particularly want to be party to someone else's night life. Not on record anyway ... Like peeking through the windows of the Gaye residence in the wee wee hours. Perhaps that's your kick, but personally I find it a mite frustrating."[15] White also criticized the album's sound, describing the songs as "all expressions of the same mood. Sensual, satisfied, and spaced out", and calling I Want You "simply the explorative aftermath of Let's Get It On. The sweet nuthin's of a drowsy, sweat-streaked lover."[15] Rock critic Robert Christgau of The Village Voice wrote favorably of the album's sound quality.[14] However, he criticized the lyrical content, as well as Ware's involvement in songwriting, stating "was it Ware who instructed Marvin to eliminate all depth and power from his voice? I mean, if you're into insisting on sex it's in bad taste to whine about it."[14] Following the release of I Want You, Ware released his second studio album, Musical Massage (1976), which received little mainstream notice.[2] Despite this, the album became a cult hit among soul music fans who were intrigued by I Want You and songs from that album's producer.[2] Critical recognition of Ware's album later improved, with it being cited by Allmusic as "the perfect mix of soul, light funk, jazz, and what was about to become the rhythmic foundation for disco."[22]

66

Legacy and influence

After critical re-examination of the album, I Want You has been recognized by writers and music writers as one of Marvin Gaye's most controversial and influential works, and, much like its predecessor Let's Get It On, has served as a major influence on the quiet storm and contemporary R&B genres.[23] Its standing has also improved among critics following an expanded edition release of the album in 2003, which featured extensive liner notes and photography by Ryan Null. Following the expanded edition release on July 29, 2003, Allmusic reviewed I Want You, praising Gaye's different direction in music and the eroticism portrayed in Leon Ware's smooth-tempo production and Gaye's intimate lyricism. Reviewer Thom Jurek wrote: Its subject matter is as close to explicit as pop records got in 1976... The feel of the album was one of late-night parties in basements and small clubs, and the intimacy of the music evokes the image of people getting closer as every hour of a steamy night wears on... the most astonishing things about I Want You are its intimacy, silky elegance, and seamless textures... I Want You and its companion, Ware's Musical Massage, are the pre-eminent early disco concept albums. They are adult albums about intimacy, sensuality, and commitment, and decades later they still reverberate with class, sincerity, grace, intense focus, and astonishingly good taste. I Want You is as necessary as anything Gaye ever recorded, and is as compelling in the 21st century as when it was first issued.[12] Thom Jurek I Want You has also been noted as influential by musicians such as from Todd Rundgren, Robert Palmer, Madonna, while songs from the album have sampled by hip hop artists ranging from EPMD to Mary J. Blige, who sampled the title track for her hit song "Be Happy".[24] The careers of neo soul and R&B musicians such as D'Angelo, Musiq Soulchild, R. Kelly, Maxwell, Sade, and Prince show influence from the soulful sound and equally romantic and erotic lyrics of I Want You, as well as Gaye's previous studio effort Let's Get It On and Leon Ware's Musical Massage.[5] Maxwell's debut album Urban Hang Suite (1996) shows a presence of Gaye's and Ware's musical style on I Want You and Musical Massage.[25] According to one critic, Ware's arrangements "solidified the suite-like theme for the album."[25] Much like Let's Get It On, slow jam music, as well as modern soul and the quiet storm

I Want You genre, have been seen by critics to have been engendered by I Want You and by Gaye.[23]

67

Track listing
Original LP
Side one No. Title 1. "I Want You (Vocal)" 2. "Come Live with Me Angel" Writer(s) Arthur "T-Boy" Ross, Leon Ware Jacqueline Hilliard, Ware Length 4:35 6:28 4:21 3:23 1:17

3. "After the Dance (Instrumental)" Marvin Gaye, Ware 4. "Feel All My Love Inside" 5. "I Wanna Be Where You Are" Gaye, Ware Ross, Ware

Side two No. Title 1. "I Want You (Intro Jam)" 2. "All the Way Round" 3. "Since I Had You" Writer(s) Ross, Ware Ross, Ware Gaye, Ware Length 0:20 3:50 4:05 3:14 1:41 4:40

4. "Soon I'll Be Loving You Again" Gaye, Ross, Ware 5. "I Want You (Jam)" 6. "After the Dance (Vocal)" Ross, Ware Gaye, Ware

Deluxe edition
On July 29, 2003, I Want You was reissued by Motown as a two-disc expanded edition release, featuring 24-bit digital remastering of the original album's recordings, previously unissued material, and a 24-page booklet, which contains the original LP liner notes by Marvin Gaye, as well as comprehensive essays by writers including David Ritz.[26]
Original LP (Disc one) 1. "I Want You (Vocal) 4:36 2. "Come Live With Me Angel 6:30 3. "After the Dance (Instrumental)" 4:25 4. "Feel All My Love Inside" 3:23 5. "I Wanna Be Where You Are" 1:17 6. "I Want You (Intro Jam)" 0:19 7. "All the Way Around" 3:50 8. "Since I Had You" 4:05 9. "Soon I'll Be Loving You Again" 3:13 10. "I Want You (Intro Jam) Ross, Ware" 1:40 11. "After the Dance (Vocal)" 4:42 12. "I Want You (Vocal) (Promo Only Version)" 3:38 13. "I Want You (Instrumental)" 4:39 14. "Strange Love (Feel All My Love Inside) (Instrumental)" 2:57 The Sessions: alternate mixes, vocals & outtakes (Disc two) 1. "I Want You (Vocal & Rhythm)" 5:05 2. "Come Live With Me Angel (Alternate Version)" 7:37 3. "After the Dance (Instrumental)" 5:33 4. "Feel All My Love Inside (Alternate Version)" 3:52 5. "I Wanna Be Where You Are (Alternate Version)" 6:07 6. "I Want You (Guitar Jam)" 0:29 7. "All the Way Around (Alternate Version)" 3:52 8. "Since I Had You (Alternate Version)" 4:16 9. "Soon I'll Be Loving You Again (Alternate Version)" 4:30 10. "I Want You (Jam) (Undubbed)" 4:52 11. "After the Dance (Vocal) (Alternate Version)" 5:14 12. "I Wanna Be Where You Are (After the Dance)" 4:01 13. "You Are the Way You Are (Instrumental)" 4:26 14. "Is Anybody Thinking About Their Living?" 4:23

I Want You

68

Personnel
Artwork by: Ernie Barnes, Frank Mulvey Arranged by (Strings, Horns): Coleridge-Taylor Perkinson Bass: Chuck Rainey, Henry Davis, Ron Brown, Wilton Felder Bongos, Congas: Bobbye Hall Porter, Eddie "Bongo" Brown Drums: James Gadson Electric Piano (Fender Rhodes), Piano: Jerry Peters, John Barnes, Sonny Burke Engineer: Fred Ross, Art Stewart Executive Producer: Berry Gordy, Marvin Gaye Guitar: David T. Walker, Dennis Coffey, Jay Graydon, Melvin "Wah Wah" Watson, Ray Parker, Jr. Percussion: Gary Coleman, Jack Arnold Producer: Leon Ware, Marvin Gaye, Arthur "T-Boy" Ross (co-produced tracks: A1, A3, B1, B2, B4-B6) Vocals: Marvin Gaye

Charts
Album
Title I Want You Information US Pop Albums (1976) #4 US Soul Albums #1

Singles
Title "I Want You (Vocal)" "After the Dance" Information [27] Tamla single 54264F, 1976 B-side: "I Want You (Instrumental)" US Pop Singles #15 US Soul Singles #1 [28] Tamla single LTD-38, 1976 B-side: "After the Dance (Instrumental)" US Pop Singles #74 US Soul Singles #14 US Hot Dance/Disco #10 [29] Tamla single LTD-39, 1976 B-side: "Soon I'll Be Loving You Again" Did not chart

"Since I Had You"

I Want You

69

Sample use
The information regarding sampling of songs from I Want You is adapted from TheBreaks.com[24]
"I Want You" "I Want You" by Madonna from the compilation Something to Remember "I Want You" by Diana Ross from the album I Love You "I Want You" by Robert Palmer from the album Don't Explain "I Want You" by Toni Pearen from the album Intimate "Can't Stop Us" by Little Brother from the mixtape And Justus For All "Aftermath" by Christion "Sticky Situation" by Conscious Daughters "It's Going Down" by EPMD "Be Happy" by Mary J. Blige from the album, My Life "Don't Give Me No Bammer" by RBL Posse "Tash Rules" by Tash "Long Nite" by Three 6 Mafia "After the Dance" "After the Dance" by El DeBarge from the album In the Storm "With Me" by De La Soul from the album Art Official Intelligence: Mosaic Thump "Play on Playa" by Nas from the album Hip Hop Is Dead "Steady Mobbin'" by Ice Cube from the album Death Certificate "Get Retarded" by Canibus "Spelunking" by Recloose

"Since I Had You" "Otha Fish" (remix) by The Pharcyde from the album Bizarre Ride II the Pharcyde

"Soon I'll Be Loving You Again" "American Dreamin'" by Jay-Z from the album American Gangster

"Come Live with Me Angel" "Wanna Get to Know You" by G-Unit from the album Beg for Mercy

Notes
[1] [2] [3] [4] [5] Ritz (2003), pp. 2-3. Ritz (2003), pp. 8-10. Dyson (2005), p. 164. Marvin Gaye - I Want You (1976 US LP) (http:/ / www. discogs. com/ release/ 412985). Discogs. Retrieved on 2008-08-29. Dyson (2005), p. 171.

[6] Ernie Barnes Interview ( ) (http:/ / www. soulmuseum. net/ ernie_barnes/ ernie_barnes_interview_english. html). Soul Museum: Ernie Barnes. Retrieved on 2008-08-29. [7] The Collection Shop - Ernie Barnes Sugar Shack (http:/ / www. thecollectionshop. com/ Ernie_Barnes_collection. asp). The Collection Shop Inc. Retrieved on 2008-08-29. [8] Ernie Barnes Limited Edition Prints (http:/ / www. erniebarnes. net/ about_Ernie_Barnes. html). The Collection Shop Inc. Retrieved on 2008-08-29. [9] Neal, Mark Anthony. Review: I Want You (http:/ / www. popmatters. com/ music/ features/ 031103-rkelly. shtml). PopMatters. Retrieved on 2009-08-01. [10] Oakland Tribune - Top Black Painter Exhibits in Oakland - August 14, 2002 (http:/ / www. erniebarnes. com/ PressReleases/ OakTrib081402. htm). oaklandtribune.com. Retrieved on 2008-08-29. [11] allmusic {{{I Want You > Overview}}} (http:/ / www. allmusic. com/ album/ r650723). All Media Guide, LLC. Retrieved on 2008-08-29. [12] Jurek, Thom. Review: I Want You (http:/ / www. webcitation. org/ 5pVtdoRg2). Allmusic. Archived from the original (http:/ / www. allmusic. com/ album/ r650723/ review) on 2009-08-01. [13] Kot, Greg. " Review: I Want You (http:/ / pqasb. pqarchiver. com/ chicagotribune/ access/ 24091617. html?dids=24091617:24091617& FMT=ABS& FMTS=ABS:FT& date=Jul+ 22,+ 1994& author=Greg+ Kot. & pub=Chicago+ Tribune+ (pre-1997+ Fulltext)& desc=GAYE+ IS+ STILL+ WHAT'S+ GOIN'+ ON+ MASSIVE+ MOTOWN+ REISSUE+ CELEBRATES+ SINGER'S+ LASTING+ LEGACY& pqatl=google)". Chicago Tribune: 4. July 22, 1994. (Transcription of original review at talk page) [14] Christgau, Robert. " Consumer Guide: I Want You (http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye)". The Village Voice: April 26, 1976. Archived from the original (http:/ / www. robertchristgau. com/ xg/ cg/ cgv4-76. php) on 2009-08-01. [15] White, Cliff. " Review: I Want You (http:/ / www. rocksbackpages. com/ article. html?ArticleID=2323)". NME: May 8, 1976. [16] Columnist. "Review: I Want You". Q: 132. November 2003. [17] Aletti, Vince. Review: I Want You (http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 110974/ review/ 5945235/ i_want_you). Rolling Stone. Retrieved on 2009-08-01. [18] Columnist. " Review: I Want You (http:/ / www. rocksbackpages. com/ article. html?ArticleID=7780)". Sounds: May 1, 1976. [19] Columnist. Review: I Want You (http:/ / www. uncut. co. uk/ music/ marvin_gaye/ reviews/ 6350). Uncut. Retrieved on 2009-10-24. [20] Johnson, Martin. Review: I Want You (http:/ / online. wsj. com/ article/ SB106125129274264900. html?mod=googlewsj). The Wall Street Journal. Retrieved on 2009-08-01.

I Want You
[21] Hunt, Dennis. " Review: I Want You (http:/ / pqasb. pqarchiver. com/ latimes/ access/ 692100342. html?dids=692100342:692100342& FMT=ABS& FMTS=ABS:AI& type=historic& date=Apr+ 09,+ 1976& author=& pub=Los+ Angeles+ Times& desc=POP+ RECORD+ REVIEWS& pqatl=google)". Los Angeles Times: E22. April 9, 1976. [22] allmusic ((( Musical Massage > Overview ))) (http:/ / www. allmusic. com/ album/ r688089). All Media Guide, LLC. Retrieved on 2008-08-29. [23] Weisbard, Eric; Marks, Craig (1995-10-10). Spin Alternative Record Guide (Ratings 1-10) (http:/ / books. google. com/ books?id=50cEAAAACAAJ& dq=spin's+ alternative+ record) (1st edi. ed.). New York, NY: Vintage Books. pp.s. 202205. ISBN0679755748. OCLC32508105. . Retrieved 2008-09-22. [24] TheBreaks.com album samples - Search results: I Want You (http:/ / www. the-breaks. com/ search. php?term=I+ Want+ You& type=1). TheBreaks.com. Retrieved on 2008-08-29. [25] Musical Massage: Review (http:/ / www. popmatters. com/ music/ reviews/ w/ wareleon-musicalmassage. shtml). PopMatters. Retrieved on 2009-03-31. [26] Discogs.com - I Want You (Deluxe edition) (http:/ / www. discogs. com/ release/ 632951). Discogs. Retrieved on 2008-08-17. [27] Marvin Gaye - I Want You (http:/ / www. discogs. com/ release/ 1036215). Discogs. Retrieved on 2008-08-29. [28] Marvin Gaye - After the Dance (http:/ / www. discogs. com/ release/ 522747). Discogs. Retrieved on 2008-08-29. [29] Marvin Gaye - Since I Had You (http:/ / www. discogs. com/ release/ 522751). Discogs. Retrieved on 2008-08-29.

70

References
David Ritz (2003). I Want You. Deluxe edition liner notes. UMG Recordings, Inc.. Michael Eric Dyson (2005). Mercy, Mercy Me: The Art, Loves and Demons of Marvin Gaye. New York, NY: Basic Civitas Books. ISBN0-46501-770-3. Nathan Brackett, Christian Hoard (2004). The New Rolling Stone Album Guide. Completely Revised and Updated 4th Edition. Simon and Schuster. ISBN0-74320-169-8.

External links
I Want You (http://www.discogs.com/Marvin-Gaye-I-Want-You/master/66739) at Discogs Album Review (http://www.bbc.co.uk/music/reviews/98gb) at BBC Online "I Want You" music video (http://www.youtube.com/watch?v=dyIUR9l5pWI) at YouTube

Here, My Dear

71

Here, My Dear
Here, My Dear
Studio album by Marvin Gaye Released December 15, 1978

Recorded 19761977 Marvin's Room (Hollywood, California) Genre Length Label Soul, funk, quiet storm, jazz-funk, disco 73:10 Tamla T-364LP2

Producer Marvin Gaye, Ed Townsend Marvin Gaye chronology

I Want You (1976)

Here, My Dear (1978)

In Our Lifetime (1981)

Here, My Dear is a studio double album by soul musician Marvin Gaye, released December 15, 1978 on Tamla Records.[1] Recording sessions for the album took place at Marvin's Room in Hollywood, California from 1976 to 1977. A deeply personal and controversial album, Here, My Dear is notable for chronicling Gaye's ill-fated first marriage to Anna Gordy. Here, My Dear was initially a commercial failure, while receiving some critical favor from music writers. However, critical recognition of the album has improved significantly following further examinations by critics and compact disc-reissues. In 2003, the album was ranked number 462 on Rolling Stone magazine's list of the 500 greatest albums of all time.[2]

Conception
Soul music doesn't get any deep, darker, or more personal than this. David Ritz, liner note essay, 2008
[3]

By 1976, the relationship between Marvin Gaye and his first wife, Anna Gordy, had become estranged and was far from being repaired. Marvin and Anna often accused each other of infidelity over the years before his relationship with Janis Hunter. Shortly after Marvin and Janis welcomed the second of their two children, Frankie, in November 1975, Anna filed for divorce. At this time, Marvin was running low on money because of an extravagant spending habit to support his lifestyle which included, among other things, a fleet of cars, several homes in and outside the country, and an increasing cocaine habit. Marvin's spending habits had made it impossible for the singer to pay Anna money for alimony and child support for the couple's only son, Marvin III. Marvin's attorney Curtis Shaw came up with a solution to Marvin to give half the royalties he would earn from his next project to Anna. After agreeing to the deal, the singer went into his recording studio in an effort to give Motown a "lazy, bad" album starting sessions in the spring of 1976. However, as Marvin set on making the "lazy" album, the singer's deep emotions and bittersweet feelings for his soon-to-be former wife took over the music. Songs included in the album didn't just deal with the singer's troubling marriage ("I Met a Little Girl", "Anna's Song", "You Can Leave, But It's Going To Cost You") but with other deep issues including anger management

Here, My Dear ("Anger"), Jesus ("Everybody Needs Love", "Time to Get It Together"), solace ("Sparrow"), space (the loosely funky "A Funky Space Reincarnation") and new love ("Falling In Love", the one song dedicated to Marvin's new wife, Janis). An Allmusic reviewer later wrote of the music: ...the sound of divorce on record exposed in all of its tender-nerve glory for the world to consume... Gaye viciously cuts with every lyric deeper into an explanation of why the relationship died the way it did... Musically the album retains the high standards Gaye set in the early '70s, but you can hear the agonizing strain of recent events in his voice, to the point where even several vocal overdubs can't save his delivery.[1] Allmusic The project was worked on for a year and was initially held back by Marvin, fearing that the project was too personal to be released. However, because of Motown's demands for Marvin to put out an album, as he had often delayed releases and it had been over two years since his last record, the sensually erotic I Want You, the singer decided to put out the album as promised in December 1978.

72

Release and reception

Professional ratings Review scores
Source Allmusic Blender Chicago Tribune Robert Christgau The Guardian The New York Times PopMatters Rolling Stone Uncut Vibe (favorable) (favorable) (9/10) B+ [7] [8] [9] Rating [4] [5] [6]

[10] [11] [12] [13]

(favorable)

When Here, My Dear was released in the end of 1978, it was panned by consumers and critics alike, who called the album "bizarre" and "un-commercial". The album's lack of success angered Gaye to the point that he refused to promote it any further. Motown stopped promoting Here, My Dear in early 1979, by which point Gaye had gone into self-imposed exile. Around the same time, Marvin's relationship with second wife, Janis, had also fallen apart and the couple separated sometime in 1979. Upon hearing the album, a visibly upset Anna Gordy considered suing Marvin for invasion of privacy but, according to People magazine, later recanted that decision. In 1994, the album was re-released due to increased attention on Marvin's life to commemorate the tenth anniversary of the singer's untimely death, and reached number-one on Billboard's R&B catalog chart. The original album peaked at number four R&B and number twenty-six pop becoming Gaye's lowest-charting studio album of the 1970s. Initial response to the album was mixed, as most critics described it as weird. However, Gaye's lyrical honesty over the laid back disco grooves of Here, My Dear was praised by many. Robert Christgau, of The Village Voice, wrote of the album: ...this is a fascinating, playable album. Its confessional ranges from naked poetry ("Somebody tell me please/Why do I have to pay attorney fees?" is a modernist trope that ranks with any of Elvis Costello's) to

Here, My Dear rank jive, because Gaye's self-involvement is so open and unmediated, guileless even at its most insincere, it retains unusual documentary charm. And within the sweet, quiet, seductive, and slightly boring mood Gaye is at such pains to realize, his rhythmic undulations and whisper-to-a-scream timbral shifts can engross the mind, the body, and above all the ear. Definitely a weird one.[14] Robert Christgau The album was re-evaluated in the years following its original release, and is today seen as a landmark in Gaye's career. It was voted one of the greatest albums in music history by Mojo Magazine (1995) and Rolling Stone magazine's critics poll (500 Greatest Albums of All-Time) (2003), among others. This reassessment was influenced by the album's subsequent re-release. On February 15, 2008, Hip-O Select reissued Here, My Dear as a two-disc Expanded Edition including a song cut from the original album, "Ain't It Funny How Things Turn Around", which was remixed by funk legend Bootsy Collins. Disc two featured remastered and alternate versions of the songs from the album remixed by contemporary soul producers such as Salaam Remi, Questlove, Prince Paul, DJ Smash and others.

73

Track listing
All songs written by Marvin Gaye except where noted.

Original LP
Side one 1. 2. 3. 4. "Here, My Dear" 2:48 "I Met a Little Girl" 5:03 "When Did You Stop Loving Me, When Did I Stop Loving You" 6:17 "Anger" (Delta Ashby, Gaye) 4:04

Side two 1. "Is That Enough" 7:47 2. "Everybody Needs Love" (Ed Townsend, Gaye) 5:48 3. "Time to Get It Together" 3:55 Side three 1. "Sparrow" (Ed Townsend, Gaye) 6:12 2. "Anna's Song" 5:56 3. "When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental)" 6:03 Side four 1. 2. 3. 4. "A Funky Space Reincarnation" 8:18 "You Can Leave, but It's Going to Cost You" 5:32 "Falling in Love Again" 4:39 "When Did You Stop Loving Me, When Did I Stop Loving You (Reprise)" 0:47

Here, My Dear

74

2007 expanded edition

Bonus material for the 2007 Hip-O Select Expanded Edition, with first disc of the original album with bonus tracks and second disc of recordings from the sessions for Here, My Dear. Disc one (bonus track) "Ain't It Funny (How Things Turn Around)" alternate mix - 4:04 Mix produced by Bootsy Collins
Disc two (Hear, My Dear Sessions 1976-78) 1. "Here, My Dear" alternate mix 2:50 Mix produced and engineered by Mocean Walker 2. "I Met a Little Girl" alternate version 5:04 Mix produced by Easy Mo Bee 3. "When Did You Stop Loving Me, When Did I Stop Loving You" alternate version 6:57 Mix produced by Leon Ware and Gerry "The Gov" Brown 4. "Anger" alternate extended mix 5:53 Mix produced by Marcus Miller 5. "Is That Enough?" (Instrumental) alternate version 4:06 Mix produced by Montez Payton 6. "Everybody Needs Love" alternate version 6:09 Mix produced and engineered by Prince Paul "Time to Get It Together" alternate extended mix 6:20

Remix by Wayne "DJ Smash" Hunter 2. "Sparrow" alternate version 6:08 Mixed and engineered by the Randy Watson Experience 3. "Anna's Song" (Instrumental) alternate version 6:08 Mix produced and engineered by John Rhone 4. "A Funky Space Reincarnation" alternate extended mix 9:10 Mix produced by John Morales and Paul Simpson 5. "You Can Leave, But It's Going to Cost You" alternate extended mix 6:43 Mix produced and engineered by John Rhone 6. "Falling in Love Again" alternate version 6:26 ReMix produced by SALAAMREMI.COM 7. "A Funky Space Reincarnation" (Instrumental) (Original 12-Inch) - 8:19

Chart history
Album
Year Chart 1979 Pop Albums Position 26

1979 Black Albums 4

Singles
Year Title Chart Position

1979 "A Funky Space Reincarnation" Black Singles 23

Here, My Dear

75

Personnel
Marvin Gaye - vocals, synthesizer, drums Charles Owens - tenor saxophone Wally Ali - guitar Gordon Banks - guitar Frank Blair - bass Elmira Collins - percussion Ernie Fields, Jr. - alto saxophone Fernando Harkness - tenor saxophone Gary Jones - percussion Nolan Andrew Smith - trumpet Bugsy Wilcox - drums David Ritz - liner notes Michael Bryant - illustrations

Notes
[1] allmusic - Here, My Dear overview (http:/ / www. allmusic. com/ album/ r8087) [2] [3] [4] [5] [6] RS 500 Albums - 462) Here, My Dear (http:/ / www. rollingstone. com/ news/ story/ 6627018/ 462_here_my_dear) David Ritz (2008), p. 4. Theakston, Rob. Review: Here, My Dear (http:/ / www. allmusic. com/ album/ r8087). Allmusic. Retrieved on 2010-05-05. Christgau, Robert. Review: Here, My Dear (http:/ / www. blender. com/ guide/ reviews. aspx?id=4951). Blender. Retrieved on 2010-05-05. Kot, Greg. " Review: Here, My Dear (http:/ / pqasb. pqarchiver. com/ chicagotribune/ access/ 24091617. html?dids=24091617:24091617& FMT=ABS& FMTS=ABS:FT& date=Jul+ 22,+ 1994& author=Greg+ Kot. & pub=Chicago+ Tribune+ (pre-1997+ Fulltext)& desc=GAYE+ IS+ STILL+ WHAT'S+ GOIN'+ ON+ MASSIVE+ MOTOWN+ REISSUE+ CELEBRATES+ SINGER'S+ LASTING+ LEGACY& pqatl=google)". Chicago Tribune: 4. July 22, 1994. (Transcription of original review at talk page) [7] Christgau, Robert. " Consumer Guide: Here, My Dear (http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye)". The Village Voice: April 30, 1979. Archived from the original (http:/ / www. robertchristgau. com/ xg/ cg/ cgv4b-79. php) on 2010-05-05. [8] Simpson, Dave. Review: Here, My Dear (http:/ / www. guardian. co. uk/ music/ 2008/ feb/ 08/ urban. shopping). The Guardian. Retrieved on 2010-05-05. [9] Palmer, Robert. " Review: Here, My Dear (http:/ / select. nytimes. com/ gst/ abstract. html?res=FB0E11FA3C5D12718DDDAC0A94DB405B898BF1D3)". The New York Times: D20. March 25, 1979. (Transcription of original review at talk page) [10] Joseph, Mike. Review: Here, My Dear (http:/ / www. popmatters. com/ pm/ music/ reviews/ 56427/ marvin-gaye-here-my-dear/ ). PopMatters. Retrieved on 2010-05-05. [11] Columnist. Review: Here, My Dear (http:/ / www. rollingstone. com/ news/ story/ 6627018/ 462_here_my_dear). Rolling Stone. Retrieved on 2010-05-05. [12] Columnist. " Review: Here, My Dear (http:/ / www. cduniverse. com/ search/ xx/ music/ pid/ 1050664/ a/ Here,+ My+ Dear. htm)". Uncut: 102. 2008. [13] Columnist. " Review: Here, My Dear (http:/ / www. vibe. com/ music/ revolutions/ 2008/ 04/ marvin_gaye_here_my_dear/ )". Vibe: 105. May 1994. [14] Robert Christgau: CG: Marvin Gaye (http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye)

References
Here, My Dear album liner notes by David Ritz & Harry Weinger. UMG Recordings, Inc.. 2008.

In Our Lifetime

76

In Our Lifetime
In Our Lifetime
Studio album by Marvin Gaye Released Recorded January 15, 1981 19791980 Marvin's Room, Los Angeles, California Seawest Recording Studio, Honolulu, Hawaii Odyssey Studios, London, England Soul, funk 41:30 (original album) 40:07 (1994 re-release) 138:01 (2007 edition, two-disc) Tamla Marvin Gaye Marvin Gaye chronology

Genre Length

Label Producer

Here, My Dear (1978)

In Our Lifetime (1981)

Midnight Love (1982)

In Our Lifetime is a studio album by soul musician Marvin Gaye, released January 15, 1981 on Motown-subsidiary label Tamla Records. Recording sessions for the album took place at Marvin's Room in Los Angeles, California, Seawest Recording Studio in Honolulu, Hawaii, and at Odyssey Studios in London, England throughout 1979 and 1980.[1] The album cover was designed by Neil Breeden. Gaye's final album for Motown before leaving for Columbia Records, the album was the follow-up to the commercial failure of Here, My Dear, a double album which chronicled the singer's divorce from Anna Gordy.[2] Entirely written, produced, arranged, and mixed by Gaye, In Our Lifetime was a departure for Gaye from the disco stylings of his previous two studio efforts and was seen as one of the best albums of the singer's late-Motown period.[3]

Conception
By 1979, Marvin Gaye was at a professional ebb in his career with mounting personal problems. He was two years without a hit after the release of "Got to Give It Up". His 1978 album, Here, My Dear, which was an autobiographical look at the singer's damaging relationship with his former wife, Anna Gordy, had bombed due to problems between the artist and Motown and Marvin was determined to regain the audience he felt he had lost with the album. Recording initial demos to what was supposed to be a "party" record titled Love Man, Marvin fell into more problems after the IRS foreclosed on his properties after he failed to pay them back taxes. Feeling unloved in his country, Marvin left Los Angeles first settling in Hawaii where he tried continuing work on Love Man, then after being brought to London by a British musical promoter for a European tour, he settled there to finish recording the album, which underwent a reinvention in the middle of sessions. Feeling that the original mix of Love Man was too limiting to his style, he redid the album where he talked about his personal problems and expose a religious and psychological view into his cathartic life while ironically keeping the funk atmosphere of the original

In Our Lifetime album. In the fall of 1980, having cut records that were going to be In Our Lifetime?, Marvin had felt confident that eventually he would finally be done with the album. However, as it turned out, when Marvin's bassist Frank Blair presented the rough draft of the album, Motown decided to mix the album differently than Marvin initially intended, include an unreleased cut (the lyrically-conscious "Far Cry") - in which a jazz vocal was mostly edited out, and deleted the question mark from the album's title, which Marvin said he had included to ask whether "Armageddon would come in our lifetime?".

77

Reception
Professional ratings Review scores
Source Allmusic BBC Chicago Tribune Robert Christgau Stylus A [7] (favorable) Rating [4] [5]

[6]

[8] C

When In Our Lifetime was finally issued in recording stores on January 15, 1981, Marvin was angry over its rush release. Upon hearing it, he said the label had reedited the album without his rightful permission in which Motown admitted to try to make the album commercially viable. However, sales for the album were low despite its critical success producing a sole R&B hit with the Stevie Wonder tribute/religious ode, "Praise" and peaking at number thirty-two on the Billboard Top 200 album charts. After its release, Marvin asked to be let go from his contract. It was finally granted after CBS Records' urban division president Larkin Arnold bought Marvin out of his Motown contract, thus ending the singer's 21-year relationship with the company in 1982 (Gaye then eventually recorded his final album, Midnight Love, in Belgium). Over the years, the album was forgotten until the album was re-released by Motown on compact disc in 1994 to coincide with the tenth anniversary of Marvin's death, including the song "Ego Tripping Out" as part of the track listing. On June 19, 2007, twenty-six years after the album's release, Hip-O Records re-released the album as an expanded edition which included not only the album as it was in its original release but also included alternate cuts from different studio recordings from London's Air and Odyssey Studios, featuring the original 1979 single of "Ego Tripping Out" including an alternate cut from the "In Our Lifetime" sessions. The second disc released what was from the "Love Man" sessions with instrumental productions that were included in "Lifetime" under different lyrics and different titles. The reissue restored the question mark at the end of the title and was limited to 5,000 copies.[9]

In Our Lifetime

78

Track listings
All songs were written, arranged, composed and produced by Marvin Gaye.

Original 1981 release

1. 2. 3. 4. 5. 6. 7. 8. "Praise" - 4:51 "Life is for Learning" - 3:39 "Love Party" - 4:58 "Funk Me" - 5:34 "Far Cry" - 4:28 "Love Me Now or Love Me Later" - 4:59 "Heavy Love Affair" - 3:45 "In Our Lifetime" - 6:57

1994 re-release
1. "Ego Tripping Out"1 7:18 2. "Praise" 4:54 3. 4. 5. 6. 7. 8. 9. "Life Is For Learning" 3:41 "Love Party" 5:01 "Funk Me" 5:30 "Far Cry" 4:34 "Love Me Now or Love Me Later" 5:00 "Heavy Love Affair" 3:49 "In Our Lifetime" 7:00

Expanded edition
Disc one 1. "Praise" (Air Studios Mix) - 4:51 2. "Life Is For Learning" (Air Studios Mix) - 3:39 3. "Love Party" (Air Studios Mix) - 4:58 4. "Funk Me" (Air Studios Mix) - 5:34 5. "Far Cry" (Air Studios Mix) - 4:28 6. "Love Me Now or Love Me Later" (Air Studios Mix) - 4:59 7. "Heavy Love Affair" (Air Studios Mix) - 3:45 8. "In Our Lifetime" (Air Studios Mix) - 6:57 9. "Nuclear Juice" (Air Studios Mix Outtakes) - 5:46 10. "Ego Tripping Out" (Air Studios Mix Outtakes) - 4:55 11. "Far Cry" (Air Studios Mix Outtakes) - 6:21 12. "Ego Tripping Out" (Love Man: The Single) - 5:13 13. "Ego Tripping Out - Instrumental" (Love Man: The Single) - 3:43

In Our Lifetime Disc two 1. "Praise" (Odyssey Studios Mix) - 5:09 2. "Life Is For Learning" (Odyssey Studios Mix) - 3:53 3. "Heavy Love Affair" (Odyssey Studios Mix) - 4:40 4. "Love Me Now or Love Me Later" (Odyssey Studios Mix) - 5:43 5. "Ego Tripping Out" (Odyssey Studios Mix) - 4:37 6. "Funk Me" (Odyssey Studios Mix) - 5:13 7. "In Our Lifetime" (Odyssey Studios Mix) - 5:51 8. "Love Party" (Odyssey Studios Mix) - 5:18 9. "Life's a Game of Give and Take" (The Love Man Sessions) - 4:57 10. "Life Is Now in Session" (The Love Man Sessions) - 4:04 11. "I Offer You Nothing But Love" (The Love Man Sessions) - 6:03 12. "Just Because You're So Pretty" (The Love Man Sessions) - 5:06 13. "Dance 'N' Be Happy" (The Love Man Sessions) - 6:49 14. "Funk Me, Funk Me, Funk Me" (The Love Man Sessions) - 5:49 15. "A Lover's Plea" (The Love Man Sessions) - 6:10

79

Personnel
Marvin Gaye - vocals, keyboards, drums Robert Ahwry - guitar Gordon Banks - guitar Frank Bates - bass, background vocals Frank Blair - bass, drums Candace Bond - Executive Producer Ray Brown - trumpet William Bryant - drums, keyboards Elmira Collins - vibraphone, background vocals Raymond Crossley - keyboards Fernando Harkness - saxophone Joe James - percussion Gary Jones - percussion, conga Lee Kentle - drums, background vocals Nigel Martinez - drums Kenny Mason - trumpet Joe Mayo - percussion Sidney Muldrew - French horn Curtis Anthony Nolen - guitar Raphael Ravenscroft - alto saxophone Dr. George Shaw - trumpet Nolan Andrew Smith - trumpet Bugsy Wilcox - drums David Ritz - liner notes Preston "Bugsy" Wilcox - drums Ron Slenzak - photography

In Our Lifetime

80

Chart history
Album
Year Chart 1981 Pop Albums Position 32

1981 Black Albums 6

Singles
Year Title Chart Position

1981 "Heavy Love Affair" Black Singles 61 1981 "Praise" Black Singles 18

References
[1] Tower.com: In Our Lifetime: The Final Motown Sessions (CD) by ... (http:/ / www. tower. com/ in-our-lifetime-final-motown-sessions-marvin-gaye-cd/ wapi/ 105809381). Tower.com. Retrieved on 2008-08-29. [2] RS Biography of Marvin Gaye (http:/ / www. rollingstone. com/ artists/ marvingaye/ biography). Rolling Stone. Retrieved on 2008-08-29. [3] Allmusic critic Jason Elias says In Our Lifetime was "one of his finest later albums and captures him at his craft was maturing and becoming more multifaceted" (http:/ / www. allmusic. com/ album/ r8090). All Media Guide, LLC. Retrieved on 2008-08-29. [4] Allmusic review (http:/ / www. allmusic. com/ album/ r8090) [5] BBC review (http:/ / www. bbc. co. uk/ music/ release/ mrmq/ ) [6] Kot, Greg. " Review: In Our Lifetime (http:/ / pqasb. pqarchiver. com/ chicagotribune/ access/ 24091617. html?dids=24091617:24091617& FMT=ABS& FMTS=ABS:FT& date=Jul+ 22,+ 1994& author=Greg+ Kot. & pub=Chicago+ Tribune+ (pre-1997+ Fulltext)& desc=GAYE+ IS+ STILL+ WHAT'S+ GOIN'+ ON+ MASSIVE+ MOTOWN+ REISSUE+ CELEBRATES+ SINGER'S+ LASTING+ LEGACY& pqatl=google)". Chicago Tribune: 4. July 22, 1994. (Transcription of original review at talk page) [7] Robert Christgau review (http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye) [8] Stylus review (http:/ / www. stylusmagazine. com/ reviews/ marvin-gaye/ in-our-lifetime. htm) [9] Page on In Our Lifetime re-release (http:/ / www. hip-oselect. com/ scr. public. product. asp?product_id=AB6A0D4D-036E-4D30-BE1E-BF1BF02557A6). Hip-O Select. Retrieved on 2008-08-29.

Midnight Love

81

Midnight Love
Midnight Love
Studio album by Marvin Gaye Released Recorded October 1982 December 1981-August 1982 Studio Katy, Ohain, Belgium Soul, funk, quiet storm 46:29 Columbia Marvin Gaye Marvin Gaye chronology

Genre Length Label Producer

In Our Lifetime (1981)

Midnight Love (1982)

Dream of a Lifetime (1985)

Professional ratings Review scores

Source Allmusic Robert Christgau Rolling Stone RS Album Guide A [2] [3] [4] Rating [1]

Midnight Love is the final studio album recorded and issued by American soul singer Marvin Gaye and was the singer's first release from Columbia months after leaving his longtime label, Motown. It claimed the number one slot on NME Album of the Year.

History
Background
By the late winter of 1980, Marvin Gaye was in a personal and professional doldrums. Weakened by a debilitating drug problem, an increasing debt to the IRS which had now extended to $4 million, two failed marriages and losing all of his equipment, Gaye, who had filed for voluntary bankruptcy, had moved away from the continental United States first settling in a bread truck in Hawaii then settling in London after agreeing with British-based music promoter Jeffrey Kruger to begin a European tour. After the tour ended, Gaye settled in London where he was trying to finish his last record with Motown titled In Our Lifetime. However, the album was leaked to Motown offices in Los Angeles by one of Gaye's bass players, which resulted in the singer finally cutting all ties with the label after they edited In Our Lifetime and released it in January 1981.

Midnight Love By that point, Gaye was advised by Belgian concert promoter Freddy Couseart to move away from London to his native country, Belgium, to get his life in order. Settling in Ostend, Belgium, Gaye was motivated by the beaches of the city's coastal port and was inspired to control his drug addictions cutting down on his use of marijuana and cocaine until eventually gaining brief sobriety. That late summer, the 42 year-old singer launched a comeback tour. Hearing of Gaye's tour inspired a number of record labels to visit him to sign with them. Gaye eventually decided to sign with CBS Records becoming the fifth Motown-associated artist (after Michael Jackson, Mary Wells, The Miracles, and Teena Marie) to do so. Before a deal could be set, however, Gaye had to finish negotiations to get out of his Motown contract settling with them in March 1982. That month, he signed a three-album contract with CBS' Columbia division.

82

Recording
Always a perfectionist, Gaye struggled to record material for the album. In the early summer of 1982, Larkin Arnold was anxiously awaiting word on Gaye's album. When he received no responses to his inquiries, he visited Gaye again in Belgium to learn of progress with the album. Gaye and Larkin butted heads during the conversation until Gaye's friend and collaborator of an upcoming autobiography, David Ritz, presented Larkin an audio tape demo of a song Gaye, Ritz and musician Odell Brown had worked on titled, "Sexual Healing". Arnold gave Gaye the OK on the song sensing it to be a hit. Other songs came with the help of Gaye's guitarist and brother-in-law, Gordon Banks. The album was recorded between April and August 1982 in Ohain, Belgium. Gaye originally had intentions of recording a personal album depicting his emergence from drug addiction to celebrate his brief sobriety, but his longtime friend and original mentor, Harvey Fuqua convinced him to make songs he had written to fit the landscape of the times in the music industry. Inspired by the success of rivals like former label-mates Lionel Richie and Rick James as well as emerging megastar Michael Jackson, whom he felt was the greatest threat to his fan base, he decided to cut what he felt was "commercial enough" to grant him a comeback after years of chart inactivity. At the end of September 1982, Marvin was finally ready to release the album. That month, CBS released the first new Marvin Gaye single in over a year with "Sexual Healing".

Release and reaction

That September, CBS issued "Sexual Healing" as a single, which caught on to R&B radio listeners. Sales and airplay of the single reached a fever pitch by late October, when Midnight Love was released to record stores. The song then rose to number-one on the Hot Black Singles Chart becoming the fastest-rising R&B single in five years and Gaye's first major big hit since his disco smash, "Got to Give It Up". Upon his return to the United States, Gaye cut his first physical music video for the song in Ostend. The song successfully crossed over to pop audiences and by January had risen to number-three on the Billboard Hot 100. Later on, Billboard commented that among only two other singers - Aretha Franklin and Madonna - Gaye became the only male artist to place a song on every position of the Hot 100's top ten listings. Eventually staying at number-one on the R&B chart for a total of ten consecutive weeks, the song would become the longest-running number-one single on that chart during the entire decade later selling over a million copies. The RIAA would later certified "Sexual Healing" as a platinum single. Midnight Love was released in October 1982 and peaked at number-seven on the Billboard 200 and number-one on the Black Albums chart becoming Gaye's eighth number-one album on that chart and his first number-one on that chart since 1977's Live at the London Palladium. It eventually sold over three million US copies certifying the album as triple -platinum while selling a total of six million albums worldwide, it also became a worldwide hit peaking at number-four on the UK Albums chart. The album yielded a few R&B-charted singles - "Joy", which peaked at number-thirty-one on the chart while the album's lone ballad, "'Til Tomorrow", rose as high as number-seventy-eight. "My Love is Waiting", the final track on the album, was issued initially as a b-side to "Sexual Healing" in the UK but the song received a positive response from UK fans that it was also issued as a single eventually peaking at number-thirty-four. The album was ranked #37 on Rolling Stone's list of the 100 greatest

Midnight Love albums of the 80's.

83

Aftermath
Despite the international success of Midnight Love, which earned a Grammy nomination for Best R&B Male Vocal Performance in February 1984, Gaye was not able to shake the demons that caused him to move to Europe. Back to abusing drugs, Gaye struggled with a relatively successful North American tour, which ended in August 1983. During the tour, friends commented that during the performance of "Sexual Healing", Gaye felt as if he had to please his female fans' sexual desires of him. He came on stage wearing a robe and pajamas and at times stripped down to his underwear resulting in what David Ritz later described as "a sad parody of himself".[5] After the tour's end, Gaye, who still owed the IRS $4 million in back payments at the time, settled down at the Tudor-styled mansion he bought for his parents located at the Crenshaw district of Los Angeles where he continued to abuse drugs and struggled to get out of the house becoming a recluse. Several musicians such as Barry White and Jermaine Jackson later commented that they were billed to work with Gaye on his follow-up to Midnight Love but never got a chance to. Friends and family members also tried to get Gaye to leave the house, a few including his brother Frankie, also were attempting to take Gaye back to Belgium, where he reportedly told his mother he was going after repeated arguments with his father Marvin Gaye, Sr. On April 1, 1984, the day before his 45th birthday, after one violent argument, Marvin Gaye, Sr. fatally shot his son in the heart. Marvin Gaye died from his gunshot wounds later that day. After Gaye's death, CBS Records and Motown issued two posthumous releases and later on in the next decade, Motown re-released several of Marvin's conceptual 1970s masterworks. In 1998, CBS reissued Midnight Love under the double-album, Midnight Love and the Sexual Healing Sessions, which included not only the original album but instrumentals of several of the album's dance tracks, an acappella of "Sexual Healing", an alternate vocal featuring a deleted verse from the song, and a homemade Belgian demo of the song recorded on tape. The album also featured two versions of the song, "Turn On Some Music", one of the outtakes, an a cappella version of the song titled "I've Got My Music", was later sampled by Erick Sermon for his song, "Music", adding another posthumous chart hit for Marvin in 2001. In 1989, Midnight Love was ranked #37 on Rolling Stone magazine's list of the The 100 Greatest Albums of the 80's.

Track listing
All tracks composed by Marvin Gaye; except where indicated. 1. 2. 3. 4. 5. 6. 7. 8. "Midnight Lady" 5:17 "Sexual Healing" (Odell Brown, Gaye, David Ritz) 3:59 "Rockin' After Midnight" 6:04 "'Til Tomorrow" 4:57 "Turn On Some Music" 5:08 "Third World Girl" 4:36 "Joy" 4:22 "My Love Is Waiting" (Gordon Banks) 5:07

Deluxe bonus disc (The Sexual Healing Sessions) 1. 2. 3. 4. 5. Clique Games/Rick James (Original Version Of "Midnight Lady") - 5:38 Sexual Healing (Alternate 12-inch Instrumental) - 4:38 Sexual Healing (Original Vocal Version) - 4:39 Sexual Healing (Alternate Vocal/Mix) - 4:49 I Bet You Wonder (Original Version Of "Rockin' After Midnight") - 6:42

6. Rockin' After Midnight (Instrumental) - 7:00 7. Baby, Baby, Baby (Original Version Of "'Til Tomorrow") - 6:54

Midnight Love 8. I've Got My Music (Original Version Of "Turn On Some Music") - 5:33 9. Turn On Some Music (Alternate Vocal/Mix) - 5:16 10. Third World Girl (Original Reggae Version) - 8:00 11. Third World Girl (Alternate Vocal/Mix) - 6:34 12. My Love Is Waiting (Alternate Vocal/Mix) - 5:15 13. Marvin's Message To The CBS Record Staff - 1:01 14. Sexual Healing (Rehearsal Tape Courtesy Of David Ritz) - 2:14

84

Personnel
Marvin Gaye - vocals, drums, Fender Rhodes piano, synthesizer, organ, bells, glockenspiel, vibraphone, finger cymbals, bongos, congas Gordon Banks - guitar, bass, background vocals, drums, Fender Rhodes piano James Gadson - drums on "Midnight Lady" Bobby Stern - tenor saxophone, harmonica Joel Peskin - alto & tenor saxophone Harvey Fuqua - backing vocals on "Sexual Healing", editing, mixing, production advisor David Stout And The L.A. Horn Section - horns McKinley T. Jackson - horn arrangement Larkin Arnold - executive producer Mike Butcher - engineer, mixing Brian Gardner, Alan Zentz - mastering John Kovarek - engineer Henri Van Durme - engineer

Chart history
Album
Year 1982 1982 Chart Pop Albums Black Albums Position 7 1 103

1984 The Billboard 200 (with bonus tracks)

1984 Top R&B/Hip-Hop Albums 52 (with bonus tracks)

Singles

Midnight Love

85

Year Title

Chart

Position

1982 "Sexual Healing" Adult Contemporary 34 1982 "Sexual Healing" Black Singles 1982 "Sexual Healing" Club Play Singles 1983 "'Til Tomorrow" 1983 "Joy" Black Singles Black Singles 1 12 78 31 3

1983 "Sexual Healing" Pop Singles

References
[1] [2] [3] [4] [5] Allmusic review (http:/ / www. allmusic. com/ album/ r8091) Robert Christgau review (http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye) Rolling Stone review (http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 115825/ review/ 6067353/ midnight_love) RS Album Guide review (http:/ / www. rocklistmusic. co. uk/ rs5star_ed1. htm) What's Going On: The Life and Death of Marvin Gaye

Dream of a Lifetime
Dream Of A Lifetime
Studio album by Marvin Gaye Released Recorded Genre Length Label Producer May 1985 1972-85 Funk, soul, dance-pop, synthpop, smooth soul 36:13 Columbia Marvin Gaye, Gordon Banks, Harvey Fuqua Marvin Gaye chronology

Midnight Love (1982)

Dream Of A Lifetime (1985)

Romantically Yours (1985)

Dream of a Lifetime was the first posthumously released compilation of music by American soul singer Marvin Gaye. It spawned the #2 R&B hit, "Sanctified Lady".

Background
Marvin Gaye had been planning to finally end his seclusion at his home in Crenshaw when a final argument with his father Marvin Gay, Sr., ended with Gaye being shot to death on April 1, 1984. Prior to his death, Gaye was working on an album full of collaborations with the likes of Stevie Wonder, Barry White and Jermaine Jackson. However, none of the songs were recorded as Gaye rarely left his home in the months leading to his death. Afterwards, Gaye's label Columbia struggled to finish the contractual obligations as Gaye had agreed to do three albums with the label. This was the first of two projects Columbia - and Gaye's former label Motown - would work on to complete the

Dream of a Lifetime contract and to help secure money earnings for Gaye's estate. Gaye, who was in debt at the time of his death, left no will. After this album's release, Columbia fulfilled the contract with the release of a covers album, Romantically Yours, culled from sessions Gaye had with Bobby Short from 1967 through 1978.

86

Recording
Gaye's confidant in his later years, collaborator and brother-in-law Gordon Banks and longtime mentor Harvey Fuqua, assembled a collection of unreleased and unfinished songs Gaye left behind after his death. Gaye had recorded several songs for the Midnight Love album but Gaye left the songs from the final track listing as he had yet to finish them. Among the songs left off were "Sanctified Lady" (which was modified from Gaye's original title, "Sanctified Pussy") and the S&M ode, "Masochistic Beauty". Both songs were co-written by Gaye and Banks. In the former song, Gaye tells listeners he wanted a "sanctified woman" he can love for life rather than just have her for sexual favors, which was a contrast with the latter song, as Gaye, speaking in a mock-British tone, plays a dominatrix. The other songs were culled from leftover Motown sessions including the self-parodying "Savage in the Sack" (which included the vamp lyric, "dem niggers," which was changed in the final version by background vocalists, the Waters to "it's gettin' bigger."). Gaye told David Ritz that he had no intention to seriously release the record, as he was high when he wrote it and recorded portions of the song. Inexplicably Harvey Fuqua helped to "finish" the recording. "Savage in the Sack" was recorded in a late 1978 recording session. The mellow track, "Ain't It Funny How Things Turn Around", was recorded in 1977 for the Here, My Dear album, but was left off its release. After it was issued on this album, Bootsy Collins would produce a remix of the track, featured on a deluxe edition issue of Here, My Dear, with extra verses from Gaye. Other songs went back as far as 1972 including "Dream of a Lifetime" and "Life's Opera", though the latter was written in 1972, it wouldn't be recorded by Marvin until 1976 though it remained unreleased. Finally, Fuqua gave the song a new production and had it issued on the album. "Dream of a Lifetime", according to Gaye, was inspired by hearing that Sammy Davis Jr. had signed with Motown, however, Davis never got to record the song. "It's Madness" and the Gaye/Smokey Robinson composition, "Symphony", were recorded during the Let's Get It On sessions in 1973. The original version of "Symphony" was included in the deluxe edition issue of Let's Get It On whereas the 1985 version included hip-hop-emulated sounds.

Charts
Dream of a Lifetime found modest success after its release in May 1985. The leading single, "Sanctified Lady", reached #2 on the Hot R&B Singles chart, while "It's Madness" peaked at #55 on that chart. The album itself peaked at #8 on the R&B chart and #41 on the Billboard 200.

Professional ratings Review scores

Source Rating Rolling Stone (mixed) link [1]

Dream of a Lifetime

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Track listing
1. 2. 3. 4. 5. 6. 7. 8. "Sanctified Lady" (Gordon Banks, Gaye) 5:25 "Savage in the Sack" (Gaye) 3:20 "Masochistic Beauty" (Banks, Gaye) 4:39 "It's Madness" (Gaye) 3:21 "Ain't It Funny (How Things Turn Around)" (Gaye) 4:54 "Symphony" (Gaye, Smokey Robinson) 2:50 "Life's Opera" (Gaye, Ivy Hunter) 7:42 "Dream of a Lifetime" (Gaye) 3:49

Personnel
Larkin Arnold liner notes Gordon Banks synthesizer, bass, percussion, drums, background vocals, producer, engineer William Bryant percussion Harvey Fuqua synthesizer, bass, percussion, drums, background vocals, producer Marvin Gaye synthesizer, drums, keyboards, vocals, background vocals, producer Connie Howard & The Waters background vocals John Kovarek engineer Barney Perkins engineer Preston Wilcox drums

References
[1] http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 118253/ review/ 5946697/ dream_of_a_lifetime

Romantically Yours

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Romantically Yours
Romantically Yours
Studio album by Marvin Gaye Released Recorded Genre Length Label Producer 1985 1968-79 Soul 33:22 Columbia Marvin Gaye Marvin Gaye chronology

Dream Of A Lifetime (1985)

Romantically Yours (1985)

Vulnerable (1997)

Romantically Yours was the second posthumous release for American soul music legend Marvin Gaye, also released by Columbia Records in 1985. While his previous posthumous album, Dream Of A Lifetime, showcased some of Marvin's appetite for funk rhythms and soul balladry, this album focused on his attempts at being a crooner. The collection showcased a growth in Gaye's vocal styling as he slowly found his footing as a crooner with songs such as "Just Like", "Why Did I Choose You" - a track he had originally recorded in 1968 to failed result and later revived for an album he was working on in 1978 titled Ballads (later released as Vulnerable in 1997) and "Walking in the Rain" which showcased his perfecting falsetto croon to a jazz setting. Songs such as the revived 1978 recordings of "Why Did I Choose You" and "I Won't Cry Anymore" and a different 1978 version of "The Shadow of Your Smile" later made it on Vulnerable.

Professional ratings Review scores

Source Allmusic Rating link [1]

Track listing
1. 2. 3. 4. 5. 6. 7. "More" (Norman Newell, Nino Oliviero, Riz Ortolani) 2:40 "Why Did I Choose You" (Michael Leonard, Herbert Martin) 2:36 "Maria" (Leonard Bernstein, Stephen Sondheim) 3:06 "The Shadow of Your Smile" (Johnny Mandel, Paul Francis Webster) 3:03 "Fly Me To The Moon" (Bart Howard) 3:19 "I Won't Cry Anymore" (Al Frisch, Fred Wise) 2:40 "Just Like" (Gaye) 4:08

8. "Walkin' In The Rain" (Gaye) 2:54 9. "I Live For You" (Gaye) 2:40

Romantically Yours 10. "Stranger In My Life" (Gaye) 3:41 11. "Happy Go Lucky" (Eddie Holland, Norman Whitfield) 2:35

89

References
[1] http:/ / www. allmusic. com/ album/ r8057

Vulnerable
Vulnerable
Studio album by Marvin Gaye Released April 22, 1997

Recorded 1967-79 at Marvin Gaye's Studios (Hollywood, California) Genre Length Label R&B, soul 28:30 Motown

Producer Marvin Gaye, Bobby Scott, Amy Herot Marvin Gaye chronology

Romantically Yours (1985)

Vulnerable (1997)

Vulnerable is a posthumous album which was recorded by American singer Marvin Gaye in the late 1970s and set to be released under the tentative title of The Ballads. Shelved in 1979, the album was released by Motown in 1997.

Overview
Background
By 1967, Marvin Gaye was Motown's best-selling male artist. Since starting his solo career and inspired by pop/jazz vocalists such as Frank Sinatra and Billy Eckstine, Marvin tried several times to record jazz albums. His debut, 1961's The Soulful Moods of Marvin Gaye featured Marvin doing covers of Broadway standards and covers of jazz singles by Sinatra and Nat King Cole, failed to attract listeners. Two similar albums, 1964's When I'm Alone I Cry and Hello Broadway also failed to attract much attention. A 1965 tribute album to Nat King Cole was also released to little praise. Despite Motown's initial disappointment in Marvin's jazz ambitions, the singer still felt confident enough that he could record a convincing jazz record. Collaborating with Bobby Scott and his orchestra in 1968, Marvin set on recording a ballads album. The sessions, however, weren't successful and halfway through sessions, Marvin decided to put his jazz ambitions on hold as he focused on duet work with the likes of Kim Weston and Tammi Terrell and continued his successful career as a soul artist. Marvin started to embellish some jazz in his work after the release of his landmark 1971 album, What's Going On, and from then on used jazz musicians to help him in his albums. By the late 1970s, he had created his own recording studio, Marvin's Room, and recorded a string of ambitious projects. After a tumultuous period in his personal life, Marvin decided to revive his collaborations with Scott and release an album he called The Ballads.

Vulnerable

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Recording
Recording sessions for the album started in 1977 at Marvin's recording studio. Among the songs recorded were "Why Did I Choose You", a song he had sung once live on television a decade previously, "She Needs Me", "Funny Not Much", "This Will Make You Laugh" and "The Shadow of Your Smile". Album sessions were completed in 1979 but Marvin, upset that his concept album, Here, My Dear, tanked on the charts mainly due to the album's subject matter, decided to shelve the project despite later telling author David Ritz that he felt the album was "the best stuff I ever did". Marvin set on working on a disco album he'd title Love Man, though that album was reinvented in 1980 as In Our Lifetime, an album that focused on Gaye's personal struggles with love and his faith in God. After that album's rush release, Marvin left Motown Records. By the time of the completion of Ballads, Marvin's studio was shut down due to foreclosure due to the singer's troubling financial state. He'd later file for voluntary bankruptcy and left the United States at the dawn of the eighties.

Romantically Yours and the release of Vulnerable

In 1985, Columbia, which had signed Marvin to a contract in early 1982 after he left Motown and where he recorded his last hit "Sexual Healing" and the album Midnight Love released the third and last Marvin Gaye album featured on the contract Marvin had signed. Columbia's parent label, CBS worked together with Motown to issue lost recordings from sessions from lost material. Releasing Romantically Yours, the album featured the 1968 version of "Why Did I Choose You" and two alternate 1977 recorded versions of "I Won't Cry Anymore" and "The Shadow of Your Smile" among others. In April 1997, Motown finally issued the long-awaited 1970s sessions from The Ballads, renaming it Vulnerable, featuring the cover of Gaye in a picture culled from the photo sessions of What's Going On and had the background animated to black with just his face. Three alternate versions of "Why Did I Choose You", "I Wish I Didn't Love You So" and "I Won't Cry Anymore" were featured on the album in which Marvin produced vocal ad-libs especially on "I Wish I Didn't Love You So". Gaye improvised his own lyrics for the alternate version of "I Won't Cry Anymore".

Professional ratings Review scores

Source Rolling Stone Allmusic Rating link link [1] [2]

Track listing
1. "Why Did I Choose You?" (Michael Leonard, Herbert Martin) - 2:38 2. "She Needs Me" (Jody Emerson, Earl Montgomery) - 3:26 3. "Funny (Not Much)" (Scott Edward, Larry Holofcener) - 2:44 4. "This Will Make You Laugh" (Irene Higgenbotham) - 2:53 5. "The Shadow of Your Smile" (Johnny Mandel, Paul Francis Webster) - 3:08 6. "I Wish I Didn't Love You So" (Frank Loesser) - 2:35 7. "I Won't Cry Anymore" (Al Frisch, Fred Wise) - 3:00 8. "Why Did I Choose You?" (Alternate vocal) (Michael Leonard, Herbert Martin) - 2:37 9. "I Wish I Didn't Love You So" (Alternate vocal) (Frank Loesser) - 2:36 10. "I Won't Cry Anymore" (Alternate vocal) (Al Frisch, Fred Wise) - 2:53

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Credits
Ramon Aninag - Project Assistant Candace Bond - Executive Producer Koji Egawa - Assistant Engineer Carol Friedman - Art Direction, Photography, Still Pictures Marvin Gaye - Vocals, Producer, Vocal Producer David Harley - Art Direction John Hendrickson - Engineer Amy Herot - Producer Gavin Lurssen - Mastering David Moss - Tape Archivist, Librarian David Ritz - Liner Notes, Essay Bob Schaper - Editing, Editing Engineer Bill Schnee - Mixing Bobby Scott - Arranger, Producer, Orchestral Arrangements, Orchestra Production Dana Smart - Production Coordination, Project Coordinator Art Stewart - Producer

Georgia Ward - Tape Archivist

References
[1] http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 320554/ review/ 6068241/ vulnerable [2] http:/ / www. allmusic. com/ album/ r256574

92

Soundtrack albums
Trouble Man
Trouble Man
Soundtrack album by Marvin Gaye Released December 8, 1972

Recorded 1972 at Hitsville U.S.A. (Detroit, Michigan), Hitsville West, (Los Angeles, California) Genre Length Label Soul, funk, jazz 38:25 Tamla

Producer Marvin Gaye Marvin Gaye chronology

What's Going On (1971)

Trouble Man (1972)

Let's Get It On (1973)

Trouble Man is a soundtrack album by soul singer Marvin Gaye, released December 8, 1972 on Motown-subsidiary label Tamla Records. As the soundtrack to the 1972 blaxploitation film of the same name, the Trouble Man soundtrack was a more contemporary move for Gaye, following his landmark politically-charged album What's Going On.

History
Fresh off the success of his classic 1971 album, What's Going On, Gaye was intrigued by Hollywood. Gaye had acted in two films, The Ballad of Andy Crocker and Chrome and Hot Leather. The singer moved to Los Angeles in 1972 after he accepted the offer to do a soundtrack album. Like Isaac Hayes and Curtis Mayfield, Gaye took to recording a soundtrack for a blaxploitation film. Trouble Man, a thriller based in the ghetto, was made solely for the soundtrack Gaye composed and produced himself. Unlike Super Fly and Shaft, the soundtrack to Trouble Man does not feature love songs; except for a few vocal jabs by Gaye, it is made up entirely of instrumental pieces. The title track was released in several different mixes. The song was also Gaye's venture into a more blues-influenced sound missing from his previous work. According to Gaye, the song was autobiographical to his nature. The vocal version became another big hit for Gaye, reaching #7 on the Billboard Pop Singles Chart in 1973. The song was later covered by long-time Gaye admirer and Motown artist, Chico DeBarge. Critics deemed Trouble Man on par with Hayes and Mayfield's albums. Gaye was soon followed by other contemporaries including James Brown (Black Caesar), Willie Hutch (The Mack; Foxy Brown) and Barry White (The Together Brothers).

Trouble Man

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Professional ratings Review scores

Source Allmusic Robert Christgau MusicHound Rolling Stone (C) link Rating link [2] link (mixed) 3/01/73 [3] [1]

[4]

Track listing
All songs written by Marvin Gaye. 1. "Main Theme From Trouble Man (2)" 2:30 2. "'T' Plays It Cool" 4:27 3. "Poor Abbey Walsh" 4:13 4. "The Break In (Police Shoot Big)" 1:57 5. "Cleo's Apartment" 2:10 6. "Trouble Man" 3:49 7. "Theme From Trouble Man" 2:01 8. "'T' Stands For Trouble" 4:48 9. "Main Theme From Trouble Man (1)" 3:52 10. "Life is a Gamble" 2:32 11. "Deep in It" 1:25 12. "Don't Mess with Mister 'T'" 3:04 13. "There Goes Mister 'T'" 1:37

Personnel
Musicians
Marvin Gaye: vocals, drums, keyboards, piano Trevor Lawrence: alto, tenor and baritone saxophone Dale Oehler: horns Gene Page: strings Bob Ragland: piano, strings James Anthony Carmichael: horns

Trouble Man

94

Additional personnel
Composed, written and produced by Marvin Gaye Arranged by Dale Oehler, Marvin Gaye, Gene Page, Jack Hayes, J.J. Johnson, Bob Ragland and Leo Shunker

References
[1] [2] [3] [4] http:/ / www. allmusic. com/ album/ r8062 http:/ / www. robertchristgau. com/ get_artist. php?name=Marvin+ Gaye http:/ / www. acclaimedmusic. net/ Current/ A1368. htm http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 232776/ review/ 6067782/ trouble_man

95

Duet albums
Together
Together
Studio album by Marvin Gaye and Mary Wells Released April 15, 1964

Recorded February April 1963 at Hitsville U.S.A. (Detroit, Michigan) Genre Length Label Soul 24:38 Motown MT-613

Producer William "Mickey" Stevenson, Clarence Paul Marvin Gaye chronology

Greatest Hits (1963)

Together (1964)

Hello Broadway (1964)

Mary Wells chronology

Greatest Hits (1964)

Together (1964)

Mary Wells (1965)

Together was the first and only studio album released by the duo team of American Motown artists Marvin Gaye and Mary Wells. It was released on Motown's Tamla label on April 15, 1964. The album brought together the rising star Gaye with Wells, an established star with a number-one pop hit to her name (1964's "My Guy"), in hopes that Gaye would benefit from the exposure. This album became the first charted album credited to Gaye, peaking at number forty-two on the Billboard Pop Albums chart and yielding two top twenty singles, "Once Upon a Time" and "What's the Matter with You Baby". Shortly afterwards, Wells, who was frustrated with the direction the label wanted her to go, left Motown. The label had to find another duet partner for Gaye, enlisting Kim Weston for one album, Take Two, but later yielding a longer-lasting paring of Gaye with Tammi Terrell.

Together

96

Professional ratings Review scores

Source Allmusic Rating link [1]

Track listing
1. "Once Upon a Time" (Barney Ales, Dave Hamilton, Clarence Paul, William "Mickey" Stevenson) 2:32 2. "'Deed I Do" (Walter Hirsch, Fred Rose) 2:53 3. "Until I Met You" (Freddie Green, Don Wolf) 3:21 4. "Together" (Buddy G. DeSylva, Lew Brown, Ray Henderson) 2:42 5. "(I Love You) For Sentimental Reasons (William Best, Deek Watson) 2:35 6. "The Late, Late Show" (Roy Alfred, Murray Berlin) 2:42 7. "After the Lights Go Down Low" (Phil Belmonte, Leroy Lovett, Allen White) 2:53 8. "Just Squeeze Me (Don't Tease Me)" (Duke Ellington, Lee Gaines) 2:32 9. "What's the Matter with You Baby" (Ales, Paul, Stevenson) 2:24 10. "You Come a Long Way from St. Louis" (John Brooks, Bob Russel) 2:52

Credits
Lead (and additional background) vocals by Marvin Gaye and Mary Wells Background vocals by The Love Tones and The Andantes Instrumentation by The Funk Brothers

References
[1] http:/ / www. allmusic. com/ album/ r38706

Take Two

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Take Two
Take Two
Studio album by Marvin Gaye and Kim Weston Released Recorded Genre Label August 25, 1966 1964-1966; Hitsville USA, Detroit, Michigan, USA Pop/Soul Tamla T270 Harvey Fuqua William "Mickey" Stevenson Marvin Gaye chronology

Producer

Moods of Marvin Gaye (1966)

Take Two (w/Kim Weston) (1966)

United (w/Tammi Terrell) (1967)

Kim Weston chronology

Take Two (w/Marvin Gaye) (1966)

For the First Time (1967)

Take Two was a duet album by Motown label mates Marvin Gaye and Kim Weston, released August 25, 1966 on the Motown's Tamla label. The album was titled after its most successful selection, the Top 5 R&B/Top 20 Pop hit "It Takes Two", which was to this point Gaye's most successful duet with another singer. The album also featured the modest hit "What Good Am I Without You?". Shortly after this album was released, Weston left Motown in a dispute over royalties (coincidentally, Mary Wells had departed from Motown two years prior after also recording a duets album - Together - with Gaye). Weston's replacement as Gaye's duet partner was Tammi Terrell, who recorded several successful hit singles with Gaye during the late 1960s.

Track listing
Side one
1. 2. 3. 4. 5. 6. "It Takes Two" (Sylvia Moy, William "Mickey" Stevenson) "I Love You, Yes I Do" (Glover, Nix) "Baby I Need Your Loving" (Holland-Dozier-Holland) "It's Got to Be a Miracle (This Thing Called Love)" (Bullock, Moy, Stevenson) "Baby Say Yes" (Stevenson, Weston) "What Good Am I Without You" (Higdon, Stevenson)

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Side two
2. 3. 4. 5. 6. "'Til There Was You" (Wilson) "Love Fell on Me" (Moy, Stevenson) "Secret Love" (Fain, Webster) "I Want You 'Round" (Robinson, Stevenson) "Heaven Sent You, I Know" (Bullock, Moy, Stevenson) "When We're Together" (Bullock, Moy)

Credits
Lead (and additional background) vocals by Marvin Gaye and Kim Weston Background vocals by The Andantes and The Spinners Instrumentation by The Funk Brothers

United
United
Studio album by Marvin Gaye & Tammi Terrell Released Recorded Genre Length Label August 29, 1967 1967 Soul 32:11 Tamla TS-277 Harvey Fuqua Johnny Bristol Hal Davis Berry Gordy, Jr. Marvin Gaye chronology

Producer

Take Two (with Kim Weston) (1966)

United Greatest Hits, Vol. (1967) 2 (1967)

Tammi Terrell chronology

United (1967)

You're All I Need (with Marvin Gaye) (1968)

United

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Professional ratings Review scores

Source Allmusic Rating [1]

United is a studio album by soul musicians Marvin Gaye and Tammi Terrell, released August 29, 1967 on the Motown-subsidiary label Tamla Records.[2] Harvey Fuqua and Johnny Bristol produced all of the tracks on the album, with the exception of "You Got What It Takes" (produced by Motown CEO Berry Gordy, Jr.) and "Oh How I'd Miss You" (produced by Hal Davis).[3] Fuqua and Bristol produced "Hold Me Oh My Darling" and "Two Can Have a Party" as Tammi Terrell solo tracks in 1965 and 1966, and had Gaye overdub his vocals to them in order to create duet versions of the songs.[3] United yielded four Top 100 Billboard chart hits, including the two Top 10 singles "Your Precious Love," "If I Could Build My Whole World Around You," the Top 20 single, "Ain't No Mountain High Enough" and If This World Were Mine. United peaked at #69 on the U.S. Billboard 200 album chart and #7 on the U.S.Billboard R&B albums chart upon its release.[2] The album was the first of three collaborative albums by Gaye and Terrell.

Track listing
Side one
1. 2. 3. 4. 5. 6. "Ain't No Mountain High Enough" (Nickolas Ashford, Valerie Simpson) "You Got What It Takes" (Berry Gordy, Jr., Gwen Gordy, Tyran Carlo) "If I Could Build My Whole World Around You" (Harvey Fuqua, Johnny Bristol, Vernon Bullock) "Somethin' Stupid" (C. Carson Parks) "Your Precious Love" (Ashford, Simpson) "Hold Me Oh My Darling" (Fuqua)

Side two
1. 2. 3. 4. 5. 6. "Two Can Have a Party" (Bristol, Fuqua, Thomas Kemp) "Little Ole Boy Little Ole Girl" (Fuqua, Etta James, Brook Benton) "If This World Were Mine" (Marvin Gaye) "Sad Wedding" (Bristol, Jackey Beavers) "Give a Little Love" (Bristol, Fuqua, Clyde Wilson) "Oh How I'd Miss You" (Hal Davis, Frank Wilson, Vance Wilson)

Chart history
Billboard (North America) United

United

100

Year

Chart

Position 69 7

1967 Pop Albums Black Albums

Personnel
Lead vocals: Marvin Gaye, Tammi Terrell Background vocals: Marvin Gaye, Tammi Terrell, Harvey Fuqua, Johnny Bristol, The Originals, The Andantes, The Spinners Production: Harvey Fuqua, Johnny Bristol, Hal Davis, Berry Gordy, Jr. Instrumentation: The Funk Brothers (uncredited)

Notes
[1] Allmusic review (http:/ / www. allmusic. com/ album/ r38709) [2] allmusic - United overview (http:/ / www. allmusic. com/ album/ r38709) [3] Chin, Brian (2001). Liner notes for Marvin Gaye & Tammi Terrell: The Complete Duets. New York: Motown Records/UMG Recordings.

You're All I Need

You're All I Need
Studio album by Marvin Gaye & Tammi Terrell Released Recorded Genre Label August 1968 19661967 Soul, R&B Tamla TS-284 Harvey Fuqua Johnny Bristol Ashford & Simpson Robert Gordy Marvin Gaye chronology

Producer

Greatest Hits, Vol. 2 (1967)

You're All I Need (with Tammi Terrell) (1968)

In the Groove/I Heard It Through the Grapevine (1968)

Tammi Terrell chronology

United (with Marvin Gaye) (1967)

You're All I Need (with Marvin Gaye) (1968)

Irresistible (1969)

You're All I Need

101

Professional ratings Review scores

Source Allmusic Rating [1]

You're All I Need is the second studio album by soul musicians Marvin Gaye and Tammi Terrell, released in August 1968 on Motown-subsidiary label Tamla Records. Entirely written and produced by Nickolas Ashford and Valerie Simpson (who composed three of the songs on the first Gaye/Terrell duets LP, United), You're All I Need was recorded throughout 1966 and 1967 and features two Top 10 Billboard Hot 100 hits, "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". It peaked at #60 on the U.S. Billboard 200 Album Chart. You're All I Need was the two singers' final collaboration effort, as Terrell would turn ill following recording, before succumbing to a brain tumor in 1970.

History
Although it was the second of three official Gaye/Terrell albums released by Motown, You're All I Need is technically the duo's final album. The album was recorded in 1966 and 1967 during the time Gaye and Terrell's first collaboration album United was released. After recording You're All I Need, Tammi Terrell collapsed onstage while performing with Gaye at the Hampden-Sydney College homecoming in Virginia. She was later diagnosed with a brain tumor, and could no longer record nor perform live. The final Gaye/Terrell album, Easy, would be completed by having Valerie Simpson fill in for Tammi Terrell on most of the album's songs, and having Gaye overdub archived Terrell solo tracks for two tracks. Roughly half of You're All I Need consists of Gaye overdubbing Terrell's solo recordings, as Terrell's illness prevented her from completing a full album. Nickolas Ashford and Valerie Simpson produced the singles "Ain't Nothing Like the Real Thing", "Keep On Loving Me Honey", and "You're All I Need to Get By".[2] Harvey Fuqua and Johnny Bristol produced the rhythm tracks and Terrell's vocal for "You Ain't Livin' 'Til You're Lovin'", with Ashford and Simpson completing the production and supervising Gaye's vocal.[2] Fuqua and Bristol also produced "I'll Never Stop Loving You Baby" and "Come On and See Me", while Motown CEO Berry Gordy, Jr.'s brother Robert Gordy produced "I Can't Help But Love You".[2] Harvey Fuqua and Johnny Bristol produced "Baby Dont'cha Worry", "Give In, You Just Can't Win", "When Love Comes Knocking At Your Heart", "That's How It Is (Since You've Been Gone)", and "Memory Chest" as Tammi Terrell solo tracks in 1965 and 1966, and had Gaye overdub his vocals to them to create duet versions.[2] The hit title track was later revived 25 years later as a duet between rapper Method Man and hip-hop soul singer Mary J. Blige. Their rendition, titled "I'll Be There for You/You're All I Need", won Method Man and Blige a Grammy Award for Best Rap Vocal Performance by a Duo or Group in 1995.

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Track listing
Side one
1. 2. 3. 4. 5. 6. "Ain't Nothing Like the Real Thing" (Nickolas Ashford, Valerie Simpson) "Keep On Loving Me Honey" (Ashford, Simpson) "You're All I Need to Get By" (Ashford, Simpson) "Baby Doncha Worry" (Johnny Bristol, Jackey Beavers) "You Ain't Livin' 'Til You're Lovin'" (Ashford, Simpson) "Give In, You Just Can't Win" (Harvey Fuqua, Bristol)

Side two
1. 2. 3. 4. 5. 6. "When Love Comes Knocking At Your Heart" (Fuqua, Bristol, Gladys Knight, Vernon Bullock) "Come On and See Me" (Fuqua, Bristol) "I Can't Help But Love You" (Robert Gordy, Thomas Kemp, Marvin Gaye) "That's How It Is (Since You've Been Gone)" (Fuqua, Bristol, Bullock) "I'll Never Stop Loving You Baby" (Fuqua, Bristol, Beatrice Verdi) "Memory Chest" (Fuqua, Bristol)

Credits
Lead (and additional background) vocals by Marvin Gaye and Tammi Terrell Background vocals by Nickolas Ashford, Valerie Simpson, The Originals, The Andantes and The Spinners Instrumentation by The Funk Brothers

Notes
[1] Allmusic review (http:/ / www. allmusic. com/ album/ r38712) [2] Chin, Brian (2001). Liner notes for Marvin Gaye & Tammi Terrell: The Complete Duets. New York: Motown Records/UMG Recordings.

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Easy
Easy
Studio album by Marvin Gaye & Tammi Terrell Released Recorded Genre Label September 16, 1969 1969, Hitsville, USA, Detroit, Michigan Soul Tamla TS 294 Nickolas Ashford and Valerie Simpson Harvey Fuqua Johnny Bristol Marvin Gaye chronology

Producer

M.P.G. (1969)

Easy (with Tammi Terrell) (1969)

That's the Way Love Is (1970)

Tammi Terrell chronology

Irresistible (1969)

Easy (with Marvin Gaye) (1969)

Greatest Hits (with Marvin Gaye) (1970)

Easy is an album recorded by Marvin Gaye and Tammi Terrell, and released by Motown Records on September 16, 1969 under the Tamla Records label. One song on the album, "Good Lovin' Ain't Easy To Come By", was a hit single and remains popular to this day. Terrell had been ill, suffering from complications caused by a brain tumor, since the fall of 1967. Marvin Gaye later claimed that as a result, most of the female vocals on this album were performed by Valerie Simpson, who served as co-songwriter and co-producer for the LP with her boyfriend and future husband Nickolas Ashford.[1] Simpson is quoted in Ludie Montgomery's biography of Terrell, My Sister Tommie, as not having subbed Terrell for vocals. Simpson again explicitly denied having done so in the liner notes to The Complete Motown Singles series.[2] On a recent documentary on Terrell, Simpson admitted she sang with Gaye during sessions saying, "I sang things with Marvin because Tammi was not available. And, then we would bring Tammi in to go over her parts. Those are Tammi Terrell vocals because we know that we went back in with Tammi and got what we needed." Gaye at the time criticized Motown for the album thinking they were taking advantage of Terrell's health. Motown assured him proceeds from the album would go to Terrell's family for insurance of her health. At the time the album was released, Terrell was on her seventh operation to cure her brain tumor. The album was released on compact disc in 1992, and again in 2001 as part of The Complete Duets.

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Track listing
All songs written by Nickolas Ashford & Valerie Simpson unless otherwise noted.

Side one
1. 2. 3. 4. 5. 6. "Good Lovin' Ain't Easy to Come By" "California Soul" "Love Woke Me Up This Morning" "This Poor Heart of Mine" "I'm Your Puppet" (Spooner Oldham, Dan Penn) "The Onion Song"

Side two
1. 2. 3. 4. "What You Gave Me" "Baby I Need Your Loving" (Holland-Dozier-Holland) "I Can't Believe You Love Me" (Harvey Fuqua, Johnny Bristol) "How You Gonna Keep It (After You Get It)"

5. "More, More, More" (Fuqua, Bristol, Clyde Wilson) 6. "Satisfied Feelin'"

Production notes
All tracks were produced by Nickolas Ashford & Valerie Simpson save for "I Can't Believe You Love Me" and "More, More, More".[1] These two recordings, produced by Harvey Fuqua and Johnny Bristol, were Terrell solo tracks with Gaye's vocals overdubbed.[1] On all others, it has been alleged Terrell does not appear;[1] according to Gaye, Simpson filled in for Terrell.[1]

Credits
Lead (and additional background) vocals by Marvin Gaye, Valerie Simpson and Tammi Terrell Background vocals by The Originals, The Andantes and The Spinners Instrumentation by The Funk Brothers

Notes
[1] Chin, Brian (2001). Liner notes for Marvin Gaye & Tammi Terrell: The Complete Duets. New York: Motown Records/UMG Recordings. [2] The Complete Motown Singles, Vol. 9: 1969 (Motown/Hip-O Select, 2008

Further reading
Ritz, David. Divided Soul: the Life of Marvin Gaye (originally published in 1985; 2003 edition ISBN 0-306-81191-X) (For this book, Gaye told Ritz that Simpson subbed for Terrell on Easy.) Montgomery, Ludie. My Sister Tommie: the Real Tammi Terrell (2005, ISBN 1-904408-16-8) (In this book, Simpson denies subbing for Terrell.) Hughes, Keith & Dahl, Bill. The Complete Motown Singles, Vol. 9: 1969 (2008) (Simpson again denies subbing for Terrell, except for some early guide vocals; she suggests this is what Marvin later remembered when speaking to Ritz.)

Diana & Marvin

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Diana & Marvin

Diana & Marvin
Studio album by Diana Ross and Marvin Gaye Released Recorded October 26, 1973 19721973 Motown Recording Studios (Hollywood, California) Soul 30:01 Motown M5-124V1 Universal Music Hal Davis Berry Gordy Margaret Gordy Bob Gaudio Ashford & Simpson Diana Ross chronology

Genre Length Label

Producer

Touch Me in the Morning (1973)

Diana & Marvin (1973)

Last Time I Saw Him (1973)

Marvin Gaye chronology

Let's Get It On (1973)

Diana & Marvin (1973)

I Want You (1976)

Professional ratings Review scores

Source Allmusic Robert Christgau Q B+ [2] [3] Rating [1]

Diana & Marvin is a duets album by soul musicians Diana Ross and Marvin Gaye, released October 26, 1973 on Motown.[4] Recording sessions for the album took place in 1972 and 1973 at Motown Recording Studios in Hollywood, California.[5] Featuring vocal collaborations by Gaye and Ross, widely recognized at the time as two of the top soul and pop performers, respectively. Diana & Marvin became a multi-chart success but it did not equal the sales of the two singers' previous efforts, even though it managed to sell near a million copies worldwide. The album was remastered and re-released on compact disc with four bonus tracks on February 6, 2001.[6][7]

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History
Recordings
Initial plans to make the Ross/Gaye duet album began as early as 1970. But due to Gaye being in a personal lull following the death of Tammi Terrell, Motown failed to bring the two together and instead focused on Ross' emerging solo career, which didn't take off until the release of her cover of Gaye and Terrell's "Ain't No Mountain High Enough", which became an international hit. During that time, Gaye had made a promise that he would never again record a duet with a female performer because he felt they were cursed by him recording with them (Mary Wells abruptly left Motown following the end of the Together album and her career failed to recover; Kim Weston also abruptly left the label following the end of their Take Two sessions; and Terrell's complications with a brain tumor made duets between her and Gaye difficult, later resulting in her death). In mid-1971, Gaye returned to the charts with the What's Going On album, which redefined his career and direction. Due to this, Gordy again approached him on doing a duet album with Ross. Though Gaye had insisted not to record any more duet albums, he later wrote that he felt the move to do a duet album with Ross would increase his popularity and confirmed that he was indeed what the media had labeled him around this time: "the prince of Motown". Gaye then agreed, with Ross joining him in sessions. Engineer Russ Terrana will later recall that the start of sessions met difficulty as Gaye, who had the habit of coming to recording studios late, came unusually early but was inside the studio smoking reefer. Terrana said when Ross, still pregnant with her first child, daughter Rhonda, walked in, she immediately walked out, upset that Gaye was smoking reefer and told Gordy to stop him from smoking because of her pregnancy fearing her baby may die from the smoke. When Gordy asked Gaye to put the reefer out, Gaye told him, "if I can't smoke, I can't sing." Eventually, however, Gaye did put the reefer out and Ross re-entered the studio with Gaye recording a cover of Wilson Pickett's "Don't Knock My Love". According to the album's later liner notes, Ross hated "Don't Knock My Love" and reportedly asked Gaye "why are we recording this song?" Later recording sessions proved to be difficult as Ross had her baby and laid low following Rhonda's birth. She had also finished work on the movie, "Lady Sings the Blues". Gaye, in the meantime, was busy on other projects putting future recording sessions in limbo. Due to this, Motown decided to do what they had done with Gaye and Terrell - record them separately. Ross and Gaye ended up recording in different sessions with Terrana mixing the duo's vocals together. The album would feature the last Ashford & Simpson production for Motown, "Just Say, Just Say", though the duo would later reunite with Ross on her The Boss album.

Release
Album sessions dragged on throughout 1972 and into early 1973. Since the album was not under Gaye's Tamla contract where Gaye had become the first Motown-established artist to have full autonomous creative control, the album was instead issued under the Motown imprint, which Ross recorded with. Motown held the album from being released, as Ross and Gaye had solo albums ready for release. Ross released the solo album, Touch Me in the Morning, which ironically included a cover of another Marvin single, "Save the Children", which was included in a socially conscious medley along with the song, "Brown Baby". Gaye released his solo album, Let's Get It On, that August. Both albums brought huge success as both peaked in the top ten with Gaye's album eventually selling more than three million copies, becoming his best-selling Motown album ever surpassing What's Going On. Motown decided to issue the long-awaited Diana & Marvin album in 1973. Assured that the album would be a success, Motown billed it with Diana Ross' name in front of Gaye's. Gaye recalled he smirked and chuckled at the decision. Despite a huge promotional push, the album was only a modest success in the U.S. reaching number 26 on the Billboard 200 and number 7 on the R&B albums chart, selling over 500,000 copies in America. The album was a bigger success in the United Kingdom, where Gaye and Ross had substantial fan bases, reaching number 6 on the UK albums chart and selling close to a million copies in the region alone. In the U.S., Motown issued three singles -

Diana & Marvin "You're a Special Part of Me", which became a medium-sized hit for the duo, reaching number 12 on the Billboard Hot 100 and number 4 on the R&B chart; "My Mistake (Was to Love You)", which also became a medium-sized hit reaching number 19 on the Hot 100 and number 15 on the R&B chart, and the cover of "Don't Knock My Love", released in mid-1974, reaching as high as number 46 on the Hot 100 and number 25 on the R&B chart. In the UK, two singles were released and they were both covers of Stylistics songs.[8] The first, "Stop, Look, Listen (To Your Heart)", reached number 25 there (the original Stylistics single failed to chart there), while the second, "You Are Everything", became a smash reaching number 5. Ross and Gaye would later record two more songs together in 1978: the Berry Gordy Sr. tribute song, "Pops, We Love You (A Tribute to Father)" and "I'll Keep My Light in My Window", both songs they recorded in the studio together.

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Legacy and covers

The duo's cover of "Stop, Look, Listen (To Your Heart)" has been sampled and interpolated by several hip-hop artists over the years including 50 Cent, Smilez and Southstar (who had their one and only hit with "Tell Me", which sampled the song), while Ja Rule and Ashanti's "Mesmerize" interpolated the song's melody. Michael McDonald and Toni Braxton re-recorded the duet cover for McDonald's album, Motown II. The album's classic cover featuring Ross and Gaye's Afros facing different sides would also be imitated by several artists following its release. In 2001, the album was re-released with four additional songs including three leftovers from the 1972 sessions including "Alone", "The Things I Will Not Miss" and "I've Come to Love You So Much" while the duo's 1978 duet, "I'll Keep My Light in My Window" was also placed on the reissue.

Track listing
Side one
1. 2. 3. 4. 5. "You Are Everything" (Thom Bell, Linda Creed) 3:10 "Love Twins" (Mel Bolton, Marilyn McLeod) 3:28 "Don't Knock My Love" (Wilson Pickett, Brad Shapiro) 2:20 "You're a Special Part of Me" (Harold Johnson, Andrew Porter, Gregg Wright) 3:35 "Pledging My Love" (Don Robey, Ferdinand Washington) 3:34

Side two
1. 2. 3. 4. 5. "Just Say, Just Say" (Nickolas Ashford, Valerie Simpson) 4:10 "Stop, Look, Listen (To Your Heart)" (Thom Bell, Linda Creed) 2:53 "I'm Falling in Love With You" (Margaret Gordy) 2:42 "My Mistake (Was to Love You)" (Gloria Jones, Pam Sawyer) 2:55 "Include Me In Your Life" (Mel Bolton, Marilyn McLeod) 3:04

Bonus tracks
Bonus cuts featured on the 2001 reissue. 1. 2. 3. 4. "Alone" 3:49 "The Things I Will Not Miss" 3:10 "I've Come to Love You So Much" 4:10 "I'll Keep My Light in My Window" 4:28

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Chart history
Album
Title Diana & Marvin Information [9]

US Pop Albums (1973) #26 US Black Albums (1974) #7

Singles
Title "You're a Special Part of Me" Information [9]

US Pop Singles #12 US Black Singles #4 US Pop Singles #46 US Black Singles #25 US Pop Singles #19 US Black Singles #15

"Don't Knock My Love"

"My Mistake (Was to Love You)"

Personnel
Arranged By - David Blumberg (tracks: A1 to A3, A5, B4, B5), Gene Page (tracks: B2), James Carmichael (tracks: A4), Paul River (tracks: B1) Engineer (Recording, Mixing) - Russ Terrana Engineer (Recording) - Art Stewart, Cal Harris Producer - Nickolas Ashford & Valerie Simpson (tracks: B1), Berry Gordy (tracks: A4), Hal Davis (tracks: A1 to A3, B2, B4, B5), Margaret Gordy (tracks: B3) Producer (Assistant & Coordinator) - Suzee Wendy Ikeda Producer (Executive) - Berry Gordy Producer, Arranged By - Bob Gaudio (tracks: A5), Mark Davis (tracks: B3) Vocals Marvin Gaye, Diana Ross

References
[1] [2] [3] [4] [5] [6] [7] Allmusic review (http:/ / www. allmusic. com/ album/ r48316) Robert Christgau review (http:/ / www. robertchristgau. com/ get_artist2. php?id=894) Q review (http:/ / www. tower. com/ details/ details. cfm?wapi=106434862) Discogs.com - Diana & Marvin ('73 US LP) (http:/ / www. discogs. com/ release/ 563196) Discogs.com - Diana & Marvin ('73 FR LP) (http:/ / www. discogs. com/ release/ 1410709) allmusic - Diana & Marvin album page (http:/ / www. allmusic. com/ album/ r48316) Geocities - Marvin Gaye Album Reviews (http:/ / web. archive. org/ web/ 20091026163619/ http:/ / geocities. com/ sfloman/ marvingaye. html) [8] allmusic - Stop, Look, Listen song page (http:/ / www. allmusic. com/ song/ t1028633) [9] allmusic - Diana & Marvin chart positions (http:/ / www. allmusic. com/ album/ r48316/ charts-awards/ billboard-album)

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External links
YouTube: Former Motown employees Russ & Ralph Terrana discuss the making of Diana & Marvin (http:// www.youtube.com/watch?v=BMt18phyFZs)

110

Live albums
Marvin Gaye Recorded Live on Stage
Marvin Gaye Recorded Live on Stage
Live album by Marvin Gaye Released Recorded Genre Length Label September 9, 1963 1963 Soul 25:35 Tamla Marvin Gaye chronology

That Stubborn Kinda Fellow (1963)

Marvin Gaye Recorded Live on Stage (1963)

When I'm Alone I Cry (1964)

Marvin Gaye Recorded Live on Stage was the first glimpse of a live Marvin Gaye show. Released as an album on September 9, 1963, it firmly stamped Gaye's place as Motown's leading male hitmaker with only Mary Wells outselling him. And though he would often complain of stage fright, when Gaye sang, it seemed like all the fear went away as he took control of the audience especially during the hit numbers. Gaye wouldn't record another live album until 1974 when he was making his comeback on stage after nearly a three-year exile following the death of his beloved duet partner, Tammi Terrell. This album was released in 2009 only in Japan, fans in America are not as fortunate.

Track listing
1. 2. 3. 4. 5. 6. 7. 8. "Stubborn Kind of Fellow" (Gaye, George Gordy, William "Mickey" Stevenson) "One of These Days" (Stevenson) "Mo Jo Hanna" (Andre Williams, Clarence Paul) "Days of Wine and Roses" (Henry Mancini, Johnny Mercer) "Pride and Joy" (Gaye, Stevenson, Norman Whitfield) "Hitch Hike" (Gaye, Clarence Paul, Stevenson) "Get My Hands on Some Lovin'" (Gaye, Stevenson) "You Are My Sunshine" (Jimmie Davis, Charles Mitchell)

Marvin Gaye Live!

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Marvin Gaye Live!

Marvin Gaye Live!
Live album by Marvin Gaye Released June 19, 1974

Recorded January 4, 1974 at Oakland Coliseum, Oakland, California Genre Length Label Soul 43:41 Tamla

Producer Marvin Gaye Marvin Gaye chronology

Diana & Marvin (1973)

Marvin Gaye Live! (1974)

I Want You (1976)

Marvin Gaye Live! is the second live album issued by soul musician Marvin Gaye, released on June 19, 1974 by Tamla Records.

Overview
Returning to live performances
In 1973, Gaye released his greatest-selling album, Let's Get It On, which made him the biggest-selling Motown artist during his lifetime. Motown Records, Gaye's label for over a decade, had long wanted Gaye to promote his recordings with a national tour but the rebellious singer, who had begun suffering from stage fright after the collapse of his beloved singing duet partner Tammi Terrell in October 1967 and whom later died of a brain tumor two and a half years later in March 1970, had refused to return to live performing only agreeing to do it only at sporadic times including when he was honored in his hometown in Washington, D.C. in May 1972 and performed at the Kennedy Center and briefly on the 1973 film, Save the Children. But with the success of Let's Get It On and Gaye's now-increasing spending habit, he reluctantly agreed to start touring again in the beginning of 1974. After rescheduling the concert for January 4, 1974 at the Oakland Coliseum, Gaye took the stage in front of 14,000-plus screaming fans. He performed a new song which he dedicated to his girlfriend Janis Hunter titled "Jan" while performing most of his 1970s repertoire only including his 1960s classics in a sped-up "Fossil Medley". Throughout his tours, Gaye began developing performance anxiety and had feared the public wouldn't accept him onstage. To test the public, he reportedly forced his younger brother Frankie to come out before being confident enough to come out afterwards. The biggest fan response on the album came when Gaye retooled his song, "Distant Lover", into a slower-paced version starting the song out as he segued from "Theme from Trouble Man" (seventh track from his Trouble Man album) to the song itself producing female shrieks, which kept up as Gaye continued his show-stopping performance of the song. The performance soon became a Gaye trademark onstage and the singer continued to perform the song in that similar style until his final performances in the 1980s.

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Reception
Commercially, the album was a big success and proved that, despite his fears, Gaye was still as convincing as a live performer as he was as recording artist during the early 70's. On August 31, 1974, the album peaked at #1 on the R&B album chart for two weeks while resting at #8 on the pop album chart. The live version of "Distant Lover" created such a frenetic response that Motown issued the live song as a single where it reached #28 on the pop chart and #15 on the R&B charts in the late summer of 1974. The album would go on to sell over a million copies.

Professional ratings Review scores

Source Allmusic Robert Christgau C+ link Rating link [2] [1]

Track listing
1. 2. 3. 4. 5. 6. 7. "Introduction" 0:34 "Overture" (Gaye) 2:21 "Trouble Man" (Gaye) 6:39 "Inner City Blues (Make Me Wanna Holler)" (Gaye, James Nyx) 3:25 "Distant Lover" (Gwen Gordy Fuqua, Gaye, Sandra Greene) 6:15 "Jan" (Gaye) 3:03 Fossil Medley: "I'll Be Doggone/Try It Baby/Can I Get a Witness/You're a Wonderful One/Stubborn Kind of Fellow/How Sweet It Is (To Be Loved By You) 11:36 8. "Let's Get It On" (Gaye, Ed Townsend) 4:45 9. "What's Going On" (Renaldo Benson, Al Cleveland, Gaye) 4:50

References
[1] http:/ / www. allmusic. com/ album/ r8048 [2] http:/ / www. robertchristgau. com/ get_artist2. php?id=894

Live at the London Palladium

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Live at the London Palladium

Live at the London Palladium
Live album by Marvin Gaye Released March 15, 1977

Recorded October 3, 1976 London Palladium (London, England) December 13, 1976, December 1417, 1976, January 20, 1977 January 31, 1977 Marvin's Room (Los Angeles, California) Genre Length Label Soul, funk, disco 71:36 Tamla T7-352R2

Producer Marvin Gaye Art Stewart Marvin Gaye chronology

I Want You (1976)

Live at the London Palladium (1977)

Here, My Dear (1978)

Live at the London Palladium is a live double album by soul musician Marvin Gaye, released March 15, 1977 on Tamla Records.[1] Recording sessions took place live at several concerts at the London Palladium in London, England in October 1976, with the exception of the hit single "Got to Give It Up", which was recorded at Gaye's Los Angeles studio Marvin's Room on January 31, 1977.[1][2] Live at the London Palladium features intimate performances by Gaye of many of his career highlights, including early hits for Motown and recent material from his previous three studio albums.[1] As with his previous live album, Marvin Gaye Live!, production of the record was handled entirely by Gaye, except for the studio portion, "Got to Give It Up", which was managed by Art Stewart.[3] Live at the London Palladium received a surprising and significant amount of critical recognition for a live album following its initial release. Critical reviews of the album were positive compared to the mild receptiveness Gaye's previous studio album I Want You received. As Gaye's most successful live release, the album also became one of his most commercially successful albums during his tenure at Motown's Tamla label, as well as a Billboard chart hit. Following digital remastering, Live at the London Palladium was reissued on August 24, 1999 by Motown on compact disc.[4]

Background
In October 1976, during a very dizzying, topsy-turvy and bizarre period in his life, Marvin Gaye had begun recuperating from personal issues.[5] He had recently gone through a divorce with his first wife, and sister of Motown-CEO Berry Gordy, Anna Gordy, and married his second wife, Janis Hunter. Hunter had previously inspired many of Gaye's romantic-themed albums including 1973's Let's Get It On and his previous album, the erotic I Want You. Gaye was also going through drug addiction to help cope with stage fright. By 1976, Gaye, while still a popular

Live at the London Palladium artist in America - his "I Want You" single hit the American top twenty - he was slowly starting a steep climb down as disco began to dominate popular music, but while American fans were moving on to other sounds, the British audience was still very appreciative of Gaye's fame and music, as Gaye would take advantage of this and perform a series of shows in Britain.[5] Live at the London Palladium was recorded during several live shows performed by Gaye in England's capital city, London. The performances were on rave reviews by the British press in London, the first of which took place on October 3, 1976, and continued throughout the rest of that month.[5]

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Music
Though he wasn't over his stage fright and often mumbled words on stage, when performing and singing, Gaye, then 37, still could dazzle an audience with his charm, wit and show-stopping talent as was heard on the album.[5] Featuring a variety of songs from newer material encompassing from Gaye's 1976 album, I Want You, to older songs (featured in three segues of medleys) from his early-to-mid 1960s heyday to his famed What's Going On period in 1970-1971, his legendary duets and a trio of songs from his Let's Get It On album, Gaye performed for the British audience. Highlights include the performances of "Come Get to This", "Let's Get It On" (on which Gaye moaned during a break of the song to the delight of several female fans who were heard squealing, as heard on the album) and "Distant Lover". Live at the London Palladium's three epic medleys, which all exceeded nine minutes, featured Gaye's intimate interactions with the audience and reflections on his songs.[5] An Allmusic reviewer later wrote of Gaye's performance, "you can feel the sultry passion in his voice as his singing drifts close to moaning and his ad libbing approaches tasteful, amorous aural lovemaking", and continued to write in a review of Live at the London Palladium that the "between-song moments" when Gaye addressed the audience revealed "just how shaken Gaye is at this troubled point in his career. Listen carefully and you can sense the struggling instability that would erupt cathartically a year later with Here, My Dear."[1] After the concert was over following Gaye saying "Thank you!" over and over almost in sing-song medley as the band opened and closed with the intro to "I Want You", Gaye launches into the studio effort, his one attempt at making a convincing "disco record", the funk track, "Got to Give It Up". Recorded at Marvin's Los Angeles studio, Marvin's Room, the singer vocalized a song where the author is longing to get out of his shy cover and get on the dance floor with reckless abandon.[5] The original song runs for nearly twelve minutes, however, a single version of "Got to Give It Up" was released featuring a four-and-a-half minute A-side.

Reception
Professional ratings Review scores
Source Allmusic Robert Christgau Pitchfork Media Rolling Stone [7] B (8.3/10) [8] [9] Rating [6]

(favorable)

"Got to Give It Up", which became a #1 hit on the Billboard pop and R&B/Soul singles chart, as well as a #1 hit on the Hot Dance/Disco chart, later influenced songs composed and performed by Michael Jackson.[10] The first of which, "Shake Your Body (Down to the Ground)", featuring The Jackson 5, had Michael singing in the same manor,

Live at the London Palladium style and voice pitch as Gaye had during the closing chant in "Got to Give It Up": "Let's dance/let's shout/get funky what it's all about!", while his solo #1 hit, "Don't Stop 'til You Get Enough", was strongly influenced by "Got to Give It Up". Soon after, Live at the London Palladium became one of Gaye's best-selling and most commercially successful albums during his late-Motown period, reaching the top of the Soul Albums chart and peaking at #3 on the Pop Albums chart.[10] Critical recognition of the album was also favorable and continued following the album's reissue on compact disc. In late 1977, Live at the London Palladium remained in the top 10 for thirteen weeks and went on to sell two million copies becoming one of the top ten best-selling albums of that year in America.[10] The album was Gaye's last official live release until a July 1980 show at the Montreux Jazz Festival was released as a CD in 2003 though live bootleg copies of Marvin's 1979 Japan tour and 1983 North American tour have been released in small labels over the years.

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Track listing
Original LP
Original 1977 US vinyl LP double album.[11] Side one 1. 2. 3. 4. 5. "Intro Theme" (Ross, Ware) 2:36 "All the Way Round" (Ross, Ware) 3:47 "Since I Had You" (Gaye, Ware) 4:47 "Come Get to This" (Gaye) 2:34 "Let's Get It On" (Gaye, Townsend) 6:43

Side two 1. "Trouble Man" (Gaye) 5:17 2. Medley I 9:40: "Ain't That Peculiar" "You're a Wonderful One" "Stubborn Kind of Fellow" "Pride & Joy" "Little Darling (I Need You)" "I Heard It Through the Grapevine" "Hitch Hike" "You" "Too Busy Thinking About My Baby" "How Sweet It Is (To Be Loved By You)" 3. Medley II 9:31: "Inner City Blues (Make Me Wanna Holler)" "God Is Love" "What's Going On" "Save the Children"

Live at the London Palladium Side three 1. Medley III (Performed by Gaye & Florence Lyles) 11:41: "You're All I Need to Get By" "Ain't Nothing Like the Real Thing" "Your Precious Love" "It Takes Two" "Ain't No Mountain High Enough" 2. "Distant Lover" (G. Fuqua, Gaye, Greene) 6:38 3. "Closing Theme / I Want You" (Ross, Ware) 2:47 Side four 1. "Got to Give It Up" (Gaye) 11:48

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CD reissue
1999 compact disc reissue.[1] 1. "Intro Theme" 2:34 2. 3. 4. 5. 6. 7. "All the Way Round" 3:50 "Since I Had You" 4:59 "Come Get to This" 2:24 "Let's Get It On" 6:21 "Trouble Man" 5:39 "Medley I: Ain't That Peculiar/You're a Wonderful One/Stubborn Kind of Fellow/Pride & Joy/Little Darling (I Need You)/I Heard It Through the Grapevine/Hitch Hike/You/Too Busy Thinking About My Baby/How Sweet It Is (To Be Loved By You)" 8:49 8. "Medley II: Inner City Blues/God Is Love/What's Going On/Save the Children" 9:49 9. "Medley III: You're All I Need to Get By/Ain't Nothing Like the Real Thing/Your Precious Love/It Takes Two/Ain't No Mountain High Enough" 10:27 10. "Thanks" 1:05 11. "Distant Lover" 6:31 12. "Closing Theme: I Want You" 3:47 13. "Got to Give It Up" 11:52

Charts
Album

Live at the London Palladium

117

Year

Chart

Position 3 1

1977 Pop Albums Soul Albums

Singles
Year Title Chart Position 1 1 1

1977 "Got to Give It Up, Pt. 1" Pop Singles Soul Singles Dance Singles

Personnel
Odell Brown - synthesizer Elmira Amos - percussion Jack Ashford - tambourine Frankie Beverly - spoons and milk bottle Gerry Brown - drums Charles Bynum - guitar Walter Cox - vocal Terry Evans - guitar Bobby Gant - vocals Frankie Gaye - background vocals Marvin Gaye - vocals, keyboards, RMI bass synthesizer, juice bottle, producer (tracks: A1 to C3) David Ly - saxophone Florence Lyles - duet vocalist Gwanda Hambrick - vocals Fernando Harkness - saxophone Jan Hunter - background vocals Hiro Ito photography Johnny McGhee - guitar Nolan Andrew Smith - trumpet Michael Stanton - electric piano Art Stewart producer (tracks: D1) Melvin Webb - conga Bugsy Wilcox - drums Richard D. Young photography

Live at the London Palladium

118

Notes
[1] [2] [3] [4] [5] [6] [7] [8] allmusic - Live at the London Palladium overview (http:/ / www. allmusic. com/ album/ r8049) Discogs.com - Live at the London Palladium (73 IT LP) (http:/ / www. discogs. com/ release/ 1246341) Discogs.com - Marvin Gaye - Live At The London Palladium (73 GM LP) (http:/ / www. discogs. com/ release/ 665304) Tower.com - Live at the London Palladium (CD) (http:/ / www. tower. com/ live-london-palladium-marvin-gaye-cd/ wapi/ 105805009) Weinger (1999), pp. 2-5. Allmusic review (http:/ / www. allmusic. com/ album/ r8049) Robert Christgau review (http:/ / www. robertchristgau. com/ get_artist2. php?id=894) Pitchfork Media review (http:/ / web. archive. org/ web/ 20020617121731/ www. pitchforkmedia. com/ record-reviews/ g/ gaye_marvin/ live-at-the-london-palladium. shtml) [9] Rolling Stone review (http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 171819/ review/ 19516224/ live_at_the_london_palladium) [10] Weinger (1999), pp. 6-9. [11] Discogs.com - Marvin Gaye - Live At The London Palladium (US LP) (http:/ / www. discogs. com/ release/ 634048)

References
Harry Weinger (1999). Live at the London Palladium (CD reissue) album liner notes. UMG Recordings, Inc..

Marvin Gaye at the Copa

Marvin Gaye at the Copa
Live album by Marvin Gaye Released Recorded Genre Length Label Producer 2005 August 5-6, 1966 Soul, pop standard, vocal jazz 64:02 Hip-O Select Harry Weinger Marvin Gaye chronology

Live at Montreux 1980 (2003)

Marvin Gaye at the Copa (2005)

Marvin Gaye at the Copa is a live album recorded at the exclusive New York club, the Copacabana, where singer Marvin Gaye performed in August 1966, over a year following The Supremes' ballyhooed 1965 performance there. Marvin was only one of just a few R&B musicians after Sam Cooke and Jackie Wilson to perform at the club where performers such as Sammy Davis, Jr., Nat King Cole and Frank Sinatra had performed at regularly. Marvin was the second act from Berry Gordy's fabled Motown label following the Supremes to perform at the nightclub and would be followed by The Temptations in 1968 and Martha (Reeves) and the Vandellas that same year. According to the liner notes later on, Marvin's performance there was a success, however, an ongoing feud between Gaye and his brother-in-law, Motown recording boss Gordy, was said to have been one of the reasons why the album was eventually shelved with the duo fighting over how the album was to be produced. The album had been scheduled for release in January 1967 as Tamla 273 before its permanent shelving. In 2005, Hip-O Select Records, a Motown-associated label created to re-release or release unreleased material from Motown's vaults re-mastered

Marvin Gaye at the Copa sessions from this album and released it that year.

119

Professional ratings Review scores

Source Allmusic Rating [http://www.allmusic.com/album/r781979 link

Track listing
1. 2. 3. 4. "Introduction/I Concentrate on You" (Cole Porter) - 3:19 "Just in Time" (Betty Comden, Adolph Green, Jule Styne) - 1:58 "How Sweet It Is (To Be Loved By You)" (Holland-Dozier-Holland) - 4:48 "Motown Medley 1" (Gaye, Lamont Dozier, Berry Gordy, Jr., George Gordy, Brian Holland, William "Mickey" Stevenson, Edward Holland, Jr.) - 5:57 5. "Laia Ladaia (Reza)" (Edu Lobo, Ruy Guerra, Norman Gimbel) - 5:08 6. "Georgia Rose" (Hoagy Carmichael, Jimmy Flynn, Stuart Gorrell, Harry Rosenthal, Alexander Sullivan) - 3:35 7. "The Song Is You" (Jerome Kern, Oscar Hammerstein II) - 2:22 8. "Ain't That Peculiar" (William "Smokey" Robinson, Bobby Rogers, Ronald White, Marvin Tarplin) - 3:42 9. "Every Once in a While" (Harold Rome) - 2:32 10. "The Shadow of Your Smile" (Johnny Mandel, Paul Francis Webster) - 3:13 11. "Night Song" (Charles Strouse) - 5:06 12. "Pride and Joy" (Gaye, Stevenson, Norman Whitfield) - 5:39 13. "This Could Be the Start of Something Big" (Steve Allen) - 2:04 14. "Strangers in the Night" (Charles Singleton, Eddie Snyder) - 3:27 15. "Introduction of Orchestra" - 1:23 16. "Who Can I Turn To (When Nobody Needs Me)" (Leslie Bricusse, Anthony Newley) - 3:18 17. "Motown Medley 2" (Smokey Robinson, Henry Cosby, Lamont Dozier, Brian Holland, Warren "Pete" Moore, Marvin Tarplin, Edward Holland, Jr.) - 8:32

120

Compilation albums
Greatest Hits
Greatest Hits
Greatest hits album by Marvin Gaye Released 1964

Recorded 19621963 Genre Label R&B, soul Tamla T252

Producer William "Mickey" Stevenson, Brian Holland, Lamont Dozier Marvin Gaye chronology

When I'm Alone I Cry (1964)

Greatest Hits (1964)

Together (1964)

Greatest Hits is a 1964 greatest hits album, the first for American R&B-soul singer Marvin Gaye, released on the Tamla label. Released during Gaye's first brand of success, it was also his first charted album as a solo artist after making his album chart debut with the Mary Wells duet album, Together, the same year. Three of the singles, "Sandman", "Can I Get a Witness" (also featuring that song's B-side, "I'm Crazy 'Bout My Baby"), and "You're a Wonderful One", were non-album tracks that made it to release on this particular album, the former being the second-ever issued single released by Gaye during his tenure at Motown.

Track listing
Side one
1. 2. 3. 4. 5. 6. "Can I Get a Witness" "You're a Wonderful One" "Stubborn Kind of Fellow" "I'm Crazy 'Bout My Baby" "Pride and Joy" "Hitch Hike"

Greatest Hits

121

Side two
1. 2. 3. 4. 5. 6. "Sandman" "Hello There Angel" "One of These Days" "I'm Yours, You're Mine" "Taking My Time" "It Hurt Me Too"

Personnel
Lead vocals by Marvin Gaye Background vocals by Martha and the Vandellas, The Temptations, The Supremes, Four Tops, The Andantes, and The Miracles Instrumentation by The Funk Brothers

Greatest Hits, Vol. 2

122

Greatest Hits, Vol. 2

Greatest Hits, Vol. 2
Greatest hits album by Marvin Gaye Released 1967

Recorded 1964-1965 Genre Label R&B/Soul Tamla T278

Producer Smokey Robinson, Berry Gordy, Brian Holland, Lamont Dozier, William "Mickey" Stevenson Marvin Gaye chronology

United Greatest Hits, Vol. (1967) 2 (1967)

You're All I Need (with Tammi Terrell) (1968)

Marvin Gaye's Greatest Hits, Vol. 2 is a compilation album of greatest hits, a second compilation by American R&B/soul singer Marvin Gaye, released on the Tamla label in 1967. This album focused on the singer's best hits from 1964 to 1966 including signature hits "How Sweet It Is (To Be Loved By You)" and "Ain't That Peculiar".

Track listing
1. "Try It Baby" (Gordy) 2. "Baby Don't You Do It" (Holland-Dozier-Holland) 3. "How Sweet It Is (To Be Loved by You)" (Holland-Dozier-Holland) 4. "I'll Be Doggone" (Robinson/Moore/Tarplin) 5. "Pretty Little Baby" (Stevenson/Hunter) 6. "Ain't That Peculiar" (Robinson/Moore/Tarplin) 7. "One More Heartache" (Robinson/Moore/Tarplin) 8. "Take This Heart of Mine" (Robinson/White/Moore) 9. "Little Darling I Need You" (Robinson/Moore) 10. "Forever" 11. "Hey Diddle Diddle" 12. "Your Unchanging Love" (Holland-Dozier-Holland)

Credits
Lead vocals by Marvin Gaye Background vocals by The Originals, Martha and the Vandellas, The Temptations, The Supremes, The Four Tops, The Andantes and The Miracles Instrumentation by The Funk Brothers

Marvin Gaye and His Girls

123

Marvin Gaye and His Girls

Marvin Gaye and His Girls
Greatest hits album by Marvin Gaye Released April 2, 1969

Recorded 1964 - 1969 Length Label 32:45 Tamla

Producer William "Mickey" Stevenson, Clarence Paul, Smokey Robinson, Ashford & Simpson Marvin Gaye chronology

In the Groove (I Heard It Through the Grapevine) (1968)

Marvin Gaye and His Girls (1969)

M.P.G. (1969)

Marvin Gaye and His Girls is a 1969 compilation album of duets recorded by Marvin Gaye and various female singers on the Tamla label. Among the ladies Gaye sung with were Mary Wells (the hits "Once Upon a Time" and "What's the Matter With You Baby"), Kim Weston ("What Good Am I Without You?" and "It Takes Two") and Tammi Terrell ("Your Precious Love" and "Good Lovin' Ain't Easy to Come By". The album was simultaneously released along with his self titled solo effort M.P.G, on Gaye's his thirtieth birthday.

Track listing
No. Title 1. "Once Upon a Time" 2. "What's the Matter With You Baby" Duet with Mary Wells Mary Wells Length 2:30 2:25 3:25 2:54 2:59 2:27 2:39 2:42 2:45 2:21 2:55 2:43

3. "It's Got to Be a Miracle (This Thing Called Love)" Kim Weston 4. "It Takes Two" 5. "Your Precious Love" 6. "Good Lovin' Ain't Easy to Come By" 7. "Little Ole Boy, Little Ole Girl" 8. "I Can't Help But Love You" 9. "What Good Am I Without You" 10. "I Want You 'Round" 11. "'Deed I Do" 12. "Together" Kim Weston Tammi Terrell Tammi Terrell Tammi Terrell Tammi Terrell Kim Weston Kim Weston Mary Wells Mary Wells

Marvin Gaye and His Girls

124

Credits
Lead (and additional background) vocals by Marvin Gaye, Mary Wells, Kim Weston, Valerie Simpson and Tammi Terrell Background vocals by The Love Tones, The Originals, The Spinners, and The Andantes Instrumentation by The Funk Brothers

Super Hits

125

Super Hits
Super Hits
Greatest hits album by Marvin Gaye Released 1970

Recorded 1962 - 1969 Genre Length Label R&B/soul/psychedelic soul/funk 44:16 Tamla

Producer William "Mickey" Stevenson, Brian Holland, Lamont Dozier, Frank Wilson, Norman Whitfield, Smokey Robinson Marvin Gaye chronology

Marvin Gaye and His Girls (1969)

Super Hits (1970)

Marvin Gaye and Tammi Terrell's Greatest Hits (1971)

Super Hits is a 1970 compilation album released by American soul singer Marvin Gaye on the Tamla label. The album was a rundown of solo hits Gaye scored through his first decade in the famed Detroit-based music label where he had initially began as a drummer for acts such as The Marvelettes, the Miracles and Stevie Wonder before finally branching out as Motown's most successful male artist of the 1960s.

Track listing
1. "I Heard It Through the Grapevine" (3:13) 2. "Pride and Joy" (2:04) 3. "The End of Our Road" (2:49) 4. "Ain't That Peculiar" (2:57) 5. "Stubborn Kind of Fellow" (2:44) 6. "Can I Get a Witness" (2:48) 7. "How Sweet It Is (To Be Loved By You)" (2:49) 8. "That's the Way Love Is" (3:34) 9. "Too Busy Thinking About My Baby" (2:53) 10. "Chained" (2:38) 11. "You're a Wonderful One" (2:40) 12. "Try It Baby" (2:56) 13. "I'll Be Doggone" (2:48) 14. "Hitch Hike" (2:25) 15. "You" (2:26) 16. "Baby Don't You Do It" (2:32)

Marvin Gaye and Tammi Terrell's Greatest Hits

126

Marvin Gaye and Tammi Terrell's Greatest Hits

Marvin Gaye and Tammi Terrell's Greatest Hits
Greatest hits album by Marvin Gaye & Tammi Terrell Released Recorded Genre Length Label Producer July 4, 1970 19661969 R&B/soul 31:15 Tamla Ashford & Simpson, Harvey Fuqua, Johnny Bristol, Marvin Gaye Marvin Gaye & Tammi Terrell chronology

Super Hits (1970)

Marvin Gaye and Tammi Terrell's Greatest Hits (1970)

Anthology (1974)

Marvin Gaye and Tammi Terrell's Greatest Hits is a 1970 compilation album released by Motown stars Marvin Gaye and Tammi Terrell on the Tamla label. A collection of the famed duo's recording material, mostly penned and produced by the songwriting-producing team of Ashford & Simpson except for two tracks. The album was released shortly after the death of Terrell, who died of a brain tumor at the age of 24.

Track listing
All of the tracks below were written and produced by Nickolas Ashford & Valerie Simpson except where indicated: 1. "Your Precious Love" (3:02) 2. "Ain't No Mountain High Enough" (2:27) 3. "You're All I Need to Get By" (2:48) 4. "Ain't Nothing Like the Real Thing" (2:13) 5. "Good Lovin' Ain't Easy to Come By" (2:27) 6. "If This World Were Mine" (Gaye) (2:41) 7. "The Onion Song" (2:56) 8. "If I Could Build My Whole World Around You" (Bristol/BullockFuqua) (2:20) 9. "Keep On Lovin' Me Honey" (2:29) 10. "What You Gave Me" (2:42) 11. "You Ain't Livin' Till You're Lovin'" (2:26) 12. "Hold Me Oh My Darling" (Fuqua) (2:44)

Marvin Gaye's Greatest Hits

127

Marvin Gaye's Greatest Hits

Marvin Gaye's Greatest Hits
Greatest hits album by Marvin Gaye Released Recorded Genre Length Label Producer October 1976 1963 - 1975 R&B/soul 34:05 Motown Marvin Gaye, Brian Holland, Lamont Dozier, Norman Whitfield, Leon Ware Marvin Gaye chronology

Anthology (1974)

Marvin Gaye's Greatest Hits (1976)

Every Great Motown Hit of Marvin Gaye (1983)

Marvin Gaye's Greatest Hits is a compilation album released by American R&B/soul singer and Motown legend Marvin Gaye, released on the Motown label in 1976. The hits collection, with the exception of Gaye's signature 1960s hits "Can I Get a Witness", "How Sweet It Is (To Be Loved By You)" and "I Heard It Through the Grapevine", was a review of Gaye's signature 1970s hits including the socially conscious anthems "What's Going On" and "Mercy Mercy Me (The Ecology)", erotically-focused material like "Let's Get It On", "I Want You" and "After the Dance", his bluesy and funky autobiographical "Trouble Man" and the famed live version of his quiet storm classic, "Distant Lover". The album has received a Gold as well as a Platinum Certification by the RIAA in 1993.

Track listing
1. "Let's Get It On" (4:02) 2. "I Want You" (3:58) 3. "How Sweet It Is (To Be Loved By You)" (2:59) 4. "I Heard It Through the Grapevine" (3:17) 5. "Mercy Mercy Me (The Ecology)" (3:15) 6. "What's Going On" (3:53) 7. "After the Dance" (3:30) 8. "Can I Get a Witness" (2:50) 9. "Trouble Man" (3:51) 10. "Distant Lover (live)" (5:59) Cool

Motown Remembers Marvin Gaye: Never Before Released Masters

128

Motown Remembers Marvin Gaye: Never Before Released Masters

Motown Remembers Marvin Gaye: Never Before Released Masters
Compilation album by Marvin Gaye Released Recorded Genre Label Producer 1986 1963-1972; 1985 (overdubbing) Motown, soul, R&B, pop Motown Hal Davis Marvin Gaye chronology

Romantically Yours (1985)

Motown Remembers Marvin Gaye: Never Before Released Masters (1986)

A Musical Testament: 1964-1984 (1988)

Motown Remembers Marvin Gaye: Never Before Released Masters is a posthumous compilation album featuring the singer's unreleased recordings dating from 1963 to 1972 when Gaye was recording with Motown Records. Many of the records featured are overdubbed with eighties-styled drum programming and featured background vocalists whereas original recordings of the songs feature no background vocals and the instrumentation was more live than what it's featured in this collection, which was produced within a year after Gaye's 1984 death. In 1988, Motown re-released the album with an extended version of "I Heard It Through The Grapevine", titling it Never-Before-Released Masters + I Heard It Through The Grapevine.

Tracklisting
1. "I Heard It Through The Grapevine" (4:44) (1988 issue only) 2. "The World Is Rated X" (6:27) 3. "Lonely Lover" (2:37) 4. "Just Like a Man" (3:06) 5. "I'm Going Home" (3:41) 6. "No Greater Love" (3:38) 7. "Dark Side of the World" (3:34) 8. "Loving and Affection" (2:35) 9. "I'm in Love With You" (2:56) 10. "That's the Way It Goes" (3:06) 11. "I Gotta Have Your Lovin'" (2:50) 12. "Baby I'm Glad That Things Worked Out So Well" (3:10) 13. "Baby (Don't You Leave Me)" (w/Kim Weston) (2:28)

The Marvin Gaye Collection

129

The Marvin Gaye Collection

The Marvin Gaye Collection
Greatest hits album by Marvin Gaye Released Recorded Genre Label September 1990 1961-1983 Funk, soul, R&B Motown

The Marvin Gaye Collection is a boxset released by Motown Records in 1990. The boxset, divided into four categories, features thirty-four unreleased songs, including the sessions from 1979's The Ballads (later released in 1997 as Vulnerable). The boxset was promoted with the release of the single "My Last Chance", which would go to #16 on Billboard's R&B/Hip-Hop Singles & Tracks. The set is out of print, usurped by 1995's The Master (1961-1984).

Track listing
Disc one (20 Top 20's)
1. Stubborn Kind Of Fellow - 2:49 2. Hitch Hike - 2:32 3. Pride And Joy - 2:28 4. Can I Get A Witness - 2:47 5. You're A Wonderful One - 2:46 6. Try It Baby - 2:59 7. How Sweet It Is (To Be Loved By You) - 2:55 8. I'll Be Doggone - 2:47 9. Ain't That Peculiar - 2:57 10. I Heard It Through The Grapevine - 3:12 11. Too Busy Thinking About My Baby - 2:53 12. That's The Way Love Is - 3:39 13. What's Going On - 3:50 14. Mercy, Mercy Me (The Ecology) - 3:13 15. Inner City Blues (Make Me Wanna Holler) - 3:04 16. Trouble Man - 3:39 17. Let's Get It On - 4:00 18. I Want You - 3:55 19. Got To Give It Up - 4:12 20. Sexual Healing - 3:58

The Marvin Gaye Collection

130

Disc two (The Duets)

1. 2. 3. 4. 5. 6. 7. 8. 9. Once Upon A Time - 2:28 What's The Matter With You Baby - 2:19 I'm Yours, You're Mine - 2:07 All I Got - 3:12 You Can Dance - 2:17 Tracks 1-5 performed with Mary Wells Rilleh - 2:32 So Good To Be Loved By You - 2:23 Was It A Dream - 3:12 Steadies - 2:23 Tracks 6-9 performed with Oma Page It Takes Two - 2:56 Exactly Like You - 2:41 Teach Me Tonight - 3:15 Let's Do It (Let's Fall In Love) - 2:22 It's Me - 2:49 Tracks 10-14 performed with Kim Weston Ain't No Mountain High Enough - 2:26 Your Precious Love - 2:59 If I Could Build My Whole World Around You - 2:20 If This World Were Mine - 2:41 Ain't Nothing Like The Real Thing - 2:15 You're All I Need To Get By - 2:39 Tracks 15-20 performed with Tammi Terrell You Are Everything - 3:07 You're A Special Part Of Me - 4:37 My Mistake (Was To Love You) - 3:02 Don't Knock My Love - 2:16

10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

Tracks 21-24 performed with Diana Ross 25. Pops, We Love You - 3:51 Performed with Diana Ross, Smokey Robinson and Stevie Wonder

Disc three (Rare, Live And Unreleased)

1. 2. 3. 4. 5. 6. 7. 8. 9. Let Your Conscience Be Your Guide - 3:02 Never Let You Go (Sha Lu Bop) - 2:44 It's Party Time - 2:36 The Christmas Song (Chestnuts Roasting On An Open Fire) (Live From The Apollo) - 2:22 Down And Under When You Limbo - 2:43 My Girl - 2:42 It's Not Unusual - 2:21 Sunny - 2:57 Sweeter As The Days Go By - 2:50

10. Sweet Thing - 3:09 11. I Love You Secretly (aka My Last Chance) - 4:33

The Marvin Gaye Collection 12. 13. 14. 15. 16. 17. 18. 19. I Want To Come Home For Christmas - 4:41 5, 10, 15, 20 Years Of Love - 2:41 You're My Everything (aka I'd Give My Life For You) - 3:29 Come Get To This (Live From Oakland - Alameda County Coliseum) - 2:56 Distant Lover (Live From Oakland - Alameda County Coliseum) - 6:15 Jan (Live From Oakland - Alameda County Coliseum) - 3:10 '60s Hits Medley (Live From The London Palladium) - 8:50 Star Spangled Banner (From The 1983 NBA All-Star Game) - 3:13

131

Disc four (The Balladeer)

1. 2. 3. 4. 5. 6. 7. I've Grown Accustomed To Her Face - 3:28 Straighten Up And Fly Right - 2:21 Too Young - 3:45 Mona Lisa - 3:00 It's Only A Paper Moon - 2:23 What Kind Of Fool Am I - 3:39 The Days Of Wine And Roses - 3:35

8. Mack The Knife - 2:57 9. Hello Young Lovers - 2:34 10. Happy Days Are Here Again - 2:45 11. Why Did I Choose You - 2:34 12. She Needs Me - 3:24 13. Funny - 2:42 14. This Will Make You Laugh - 2:52 15. The Shadow Of Your Smile - 3:01 16. I Wish I Didn't Love You So - 2:27 17. I Won't Cry Anymore - 2:51

The Norman Whitfield Sessions

132

The Norman Whitfield Sessions

The Norman Whitfield Sessions
Greatest hits album by Marvin Gaye Released Recorded Genre Label Producer 1994 1962 - 1969 R&B/soul/psychedelic soul/funk Motown Norman Whitfield Marvin Gaye chronology

For Adults Only (1992)

The Norman Whitfield Sessions (1994)

The Very Best of Marvin Gaye (1994)

The Norman Whitfield Sessions is compilation album of songs by Marvin Gaye from 1962 to 1969. The album covers the Norman Whitfield-produced sessions of soul singer Marvin Gaye's late sixties period as he moved away from teen pop-driven R&B songs that made him a pop star. It covers more mature, grittier and funkier material as Whitfield guided the direction of Gaye's career, the high point being the 1968 song, "I Heard It Through the Grapevine", which became Gaye's first international smash. Other hits during that period included the more upbeat "Too Busy Thinking About My Baby", the darker "That's the Way Love Is" and "The End of Our Road". The collection includes "Wherever I Lay My Hat", which Whitfield co-penned and produced with Gaye on his That Stubborn Kinda Fellow; the song was covered by British singer Paul Young. There are covers of rock songs such as "Groovin'", "Yesterday", "Abraham, Martin & John" and two Temptations covers ("Cloud Nine" and "I Wish It Would Rain").

Track listing
(all tracks are previously released on cd, several tracks were also single B-sides. Only one track (true true loving) is previously unreleased, and one track (I wish it would rain) was released as b-side in a slightly different mix as the album version) 1. "True, True Loving" [previously unreleased] 2. "Me and My Lonely Room" 3. "Wherever I Lay My Hat" 4. "I Heard It Through the Grapevine" 5. "Gonna Give Her All the Love I Got" 6. "Yesterday" 7. "Groovin'" 8. "Gonna Keep On Tryin' Till I Win Your Love" 9. "That's the Way Love Is" 10. "Abraham, Martin & John" 11. "How Can I Forget" 12. "No Time for Tears" 13. "I Wish It Would Rain" [B side from 'Let's get it on'] 14. "Cloud Nine"

The Norman Whitfield Sessions 15. 16. 17. 18. "Don't You Miss Me a Little Bit Baby" "So Long" "Too Busy Thinking About My Baby" "The End of Our Road"

133

The Very Best of Marvin Gaye

The Very Best of Marvin Gaye is the title of two compilations (American and European) by Motown artist Marvin Gaye.

UK edition
The Very Best of Marvin Gaye
Greatest hits album by Marvin Gaye Released 1994

Recorded 1962-82 Genre Label R&B, soul, funk Motown

Producer Marvin Gaye, Norman Whitfield, Ashford & Simpson, William "Mickey" Stevenson, Hal Davis Marvin Gaye chronology

The Norman Whitfield Sessions (1994)

The Very Best of Marvin Gaye (1994)

Anthology (1995)

Released in 1994, The Very Best is the best-selling (and highest charting) Marvin Gaye album in the UK - selling over 250,000 copies, peaking at #3 in the UK charts, and receiving a million-plus sales certificate in 2001. The album featured an unreleased track ("Lucky, Lucky Me") that would also be released as a single.

Track listing
1. "I Heard It Through the Grapevine" 2. "What's Going On" 3. "Sexual Healing" 4. "You Are Everything" (w/Diana Ross) 5. "It Takes Two" (w/Kim Weston) 6. "Let's Get It On" 7. "Abraham, Martin & John" 8. "Too Busy Thinking About My Baby" 9. "How Sweet It Is (To Be Loved By You)" 10. "Mercy Mercy Me (The Ecology)" 11. "Stop, Look, Listen (To Your Heart)" (w/Diana Ross) 12. "You're All I Need to Get By" (w/Tammi Terrell) 13. "Ain't Nothing Like the Real Thing" (w/Tammi Terrell) 14. "Wherever I Lay My Hat"

The Very Best of Marvin Gaye 15. 16. 17. 18. 19. 20. 21. 22. "The Onion Song" (w/Tammi Terrell) "You Ain't Livin' Till You're Lovin'" (w/Tammi Terrell) "Good Lovin' Ain't Easy to Come By" (w/Tammi Terrell) "That's the Way Love Is" "Got to Give It Up, Pt. I" "When Did You Stop Loving Me, When Did I Stop Loving You" "Can I Get a Witness" "Lucky, Lucky Me"

134

US edition
The Very Best of Marvin Gaye
Greatest hits album by Marvin Gaye Released July 17, 2001

Recorded 1962-82 Genre Length Label R&B, pop, soul, psychedelic soul, funk 127:00 Motown, Universal Music

Producer Marvin Gaye, Berry Gordy, Larkin Arnold, Jeff Moskow, Harry Weinger, Fonce Mizell, Freddie Perren, Smokey Robinson, Valerie Simpson, William "Mickey" Stevenson, Art Stewart, Ed Townsend, Norman Whitfield, Leon Ware, Nickolas Ashford, Johnny Bristol, Henry Cosby, Lamont Dozier, Harvey Fuqua, Brian Holland

Released in the US in 2001, the two disc edition is a chronological look back at American R&B/soul singer Marvin Gaye's three decade-plus music career throughout his tenure in Motown Records in the 1960s and 1970s concluding with his final big hit, 1982's "Sexual Healing" from his brief tenure with Columbia Records before the singer's death in 1984. Re-released later in 2005 under Universal Records' Gold series, it has since been certified gold by the Recording Industry Association of America.

Professional ratings Review scores

Source Artist Direct Robert Christgau Rating link (A) [2] [1]

The Very Best of Marvin Gaye

135

Track listing
Disc One 1. "Stubborn Kind of Fellow" 2:45 2. "Hitch Hike" 2:33 3. "Pride and Joy" 2:08 4. "Can I Get a Witness" 2:50 5. "You're a Wonderful One" 2:43 6. "How Sweet It Is (To Be Loved By You)" 2:58 7. "I'll Be Doggone" 2:48 8. "Ain't That Peculiar" 3:00 9. "It Takes Two" 2:59 10. "Ain't No Mountain High Enough" 2:28 11. "Your Precious Love" 3:05 12. "If I Could Build My Whole World Around You" 2:21 13. "Ain't Nothing Like the Real Thing" 2:15 14. "You're All I Need to Get By" 2:51 15. 16. 17. 18. 19. "You" 2:27 "I Heard It Through the Grapevine" 3:15 "Too Busy Thinking About My Baby" 2:57 "That's the Way Love Is" 3:44 "His Eye Is On The Sparrow" 3:48

Disc Two 1. "What's Going On" 3:52 2. "Mercy Mercy Me (The Ecology)" 3:13 3. "Inner City Blues (Make Me Wanna Holler)" 5:28 4. "You're the Man, Pts. I & II" 5:48 5. "Where Are We Going?" (previously unreleased) 3:57 6. "Trouble Man" 3:51 7. "Let's Get It On" 4:53 8. "Come Get to This" 2:42 9. "Distant Lover" (Live) 6:19 10. "I Want You" 3:57 11. "Got to Give It Up" 11:53 12. "Anger" 4:03 13. "Ego Tripping Out" 7:14 14. "Praise" 4:53 15. "Sexual Healing" 3:59

References
[1] http:/ / artistdirect. com/ nad/ store/ artist/ album/ 0,,1154324,00. html?src=search [2] http:/ / robertchristgau. com/ get_artist. php?id=944& name=Miles+ Davis

The Master

136

The Master
The Master (1961-1984)
Greatest hits album by Marvin Gaye Released Recorded Genre Length Label Producer April 25, 1995 1962 - 1983 R&B/soul/psychedelic soul/funk 4:59:55 Motown William "Mickey" Stevenson, Brian Holland, Lamont Dozier, Smokey Robinson, Harvey Fuqua, Ashford & Simpson, Frank Wilson, Norman Whitfield, Marvin Gaye, Leon Ware, Hal Davis, Art Stewart Marvin Gaye chronology

Anthology: Marvin Gaye (1995)

The Master (1961-1984) (1995)

Midnight Love and the Sexual Healing Sessions (1998)

The Master (19611984) is a chronological box set album looking back at American R&B/soul legend Marvin Gaye's phenomenal 23-year recording career. Spanning four discs, the box set goes over all portions of Gaye's career with a repertoire that spanned doo-wop, R&B, soul, psychedelic soul and funk with a mixture of themes including dance songs, love ballads, duets, socially conscious material, sensual material and autobiographical revelations. The set includes rarities such as a recorded 1981 live track of Gaye and Gladys Knight & the Pips each singing their seminal hit "I Heard It Through the Grapevine", Gaye's famed 1983 performance of "The Star-Spangled Banner" at an NBA All-Star game and an a cappella performance of "The Lord's Prayer" taped during Gaye's exile in Belgium. In 2006, Universal re-released the boxset as part of its Universal Earbook series, issuing it as a LP-sized hardback coffee table book.[1]

Track listing
Disc one
1. "Stubborn Kind of Fellow" 2. "Pride and Joy" 3. "Hitch Hike" 4. "Wherever I Lay My Hat (That's My Home)" 5. "What Do You Want With Him" (previously unreleased) 6. "Once Upon a Time" 7. "What's the Matter with You Baby" (w/Mary Wells) 8. "Can I Get a Witness" 9. "Couldn't Ask For More" (previously unreleased) 10. "You're Wonderful" (previously unreleased) 11. "I Wonder" 12. "You're a Wonderful One" 13. "It's Got to Be Love" (previously unreleased) 14. "Try It Baby"

The Master 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. "Leavin'" (previously unreleased) "My Love For You" (previously unreleased) "How Sweet It Is (To Be Loved By You)" "Baby Don't You Do It" "Just Like a Man" (alternative mix - previously unreleased) "Pretty Little Baby" "Talk About a Good Feeling" (previously unreleased) "I'll Be Doggone" "Little Darling (I Need You)" "One More Heartache" "Ain't That Peculiar" "You're the One for Me" "Take This Heart of Mine" "Your Unchanging Love"

137

Disc two
1. "It Takes Two" (w/Kim Weston) 2. "I Couldn't Help Falling For You" (previously unreleased) 3. "Lonely Lover" (previously unreleased) 4. "Without Your Sweet Lovin'" (previously unreleased) 5. "Ain't No Mountain High Enough" (w/Tammi Terrell) 6. "If I Could Build My Whole World Around You" (w/Tammi Terrell) 7. "Your Precious Love" (w/Tammi Terrell) 8. "If This World Were Mine" (w/Tammi Terrell) 9. "Without You (My World Is Lonely)" (previously unreleased) 10. "Together We Stand (Divided We Fall)" (previously unreleased) 11. "You" 12. "Chained" 13. "I Heard It Through the Grapevine" 14. "You're What's Happening (In the World Today)" 15. "This Love Starved Heart of Mine (It's Killing Me)" 16. "Ain't Nothing Like the Real Thing" (w/Tammi Terrell) 17. "Keep On Lovin' Me Honey" (w/Tammi Terrell) 18. "You're All I Need to Get By" (w/Tammi Terrell) 19. "Too Busy Thinking About My Baby" 20. "More Than a Heart Can Stand" 21. "How Can I Forget" 22. "That's the Way Love Is" 23. "Yesterday" 24. "The End of Our Road" 25. "Good Lovin' Ain't Easy to Come By" (w/Tammi Terrell) 26. "What You Gave Me"

The Master

138

Disc three
1. "What's Going On" 2. "Save the Children" 3. "Mercy Mercy Me (The Ecology)" 4. "Inner City Blues (Make Me Wanna Holler)" 5. "I'm Going Home" (alternative mix - previously unreleased) 6. "Piece of Clay" (previously unreleased) 7. "You're the Man (Pt. I & II)" 8. "Checking Out (Double Clutch)" (previously unreleased) 9. "Trouble Man" 10. "Let's Get It On" 11. "Come Get to This" 12. "Just to Keep You Satisfied" 13. "Pledging My Love" 14. "My Mistake (Was to Love You)" (w/Diana Ross) 15. "Distant Lover (Live)" 16. "I Want You" 17. "After the Dance"

Disc four
1. "Got to Give It Up, Pt. I" 2. "Here, My Dear" 3. "When Did You Stop Loving Me, When Did I Stop Loving You" 4. "Anger" 5. "Anna's Song" 6. "A Funky Space Reincarnation" 7. "When Did You Stop Loving Me, When Did I Stop Loving You (Reprise)" 8. "She Needs Me" (previously unreleased) 9. "Why Did I Choose You" (previously unreleased) 10. "Life is For Learning" 11. "Funk Me" 12. "Love Me Now or Love Me Later" 13. "Ego Tripping Out" 14. "The Star-Spangled Banner" (Live) 15. "I Heard It Through the Grapevine" (Live) (w/Gladys Knight) 16. "Rockin' After Midnight" 17. "Sexual Healing" 18. "The Lord's Prayer"

References
[1] The Master (Earbook) > Overview (http:/ / www. allmusic. com/ album/ r948985) Allmusic.com

Anthology: Marvin Gaye

139

Anthology: Marvin Gaye

Anthology: Marvin Gaye
Greatest hits album by Marvin Gaye Released Recorded Genre Length Label Producer August 22, 1995 19621980 R&B, soul, psychedelic soul, funk 153:08 Motown William "Mickey" Stevenson, Brian Holland, Lamont Dozier, Smokey Robinson, Harvey Fuqua, Ashford & Simpson, Frank Wilson, Norman Whitfield, Marvin Gaye, Hal Davis, Leon Ware, Art Stewart Marvin Gaye chronology

The Very Best of Marvin Gaye (1994)

Anthology: Marvin Gaye (1995)

The Master: 19611984 (1995)

Professional ratings Review scores

Source Allmusic Rating [1]

Anthology: The Best of Marvin Gaye is a double CD chronology of American singer Marvin Gaye's career throughout his twenty-year tenure with Motown Records from his first big hit, 1962's "Stubborn Kind of Fellow", to his final Motown R&B charter, "Heavy Love Affair" in 1981. The anthology also covered a set of duet recordings with Mary Wells, Kim Weston, Tammi Terrell, and Diana Ross, as well as unreleased recordings from the 1960s and 1970s. Gaye's Anthology set was actually released a total of three times in different tracklistings. The 1974 original, which charted, featured singles spanning from his 1962's "Stubborn" to material from his What's Going On album, while a 1986 re-issue featured songs from Let's Get It On, I Want You and duets with Diana Ross. The 1995 re-issue deleted some of the duets from the other two releases and included material from Gaye's later period (19781981). The set has since been out of stock for some time.

Track listing

Anthology: Marvin Gaye

140

1974 US 3LP 1974 Int'l 2LP 1986 2CD 1995 2CD 1.1 1.2 1.3 1.4 1.5 1.6 1.7 2.1 2.2 2.3 2.4 2.5 2.6 2.7 3.1 3.2 3.3 3.4 3.5 3.6 3.7 4.1 4.2 4.3 4.4 4.5 4.6 4.7 5.1 5.2 5.3 5.4 5.5 5.6 6.1 6.2 6.3 6.4 4.1 4.2 4.3 4.4 3.5 3.6 3.1 3.4 3.2 2.9 2.6 2.8 2.4 2.5 1.9 2.7 2.1 2.2 2.3 1.4 1.5 1.6 1.7 1.8 1.1 1.2 1.3 1.01 1.02 1.03 1.04 1.05 1.06 1.07 1.08 1.09 1.10 1.11 1.12 1.13 1.14 1.15 1.16 1.17 1.18 1.19 1.20 1.21 1.22 1.23 1.24 1.25 2.01 2.02 2.03 2.05 2.06 2.07 2.08 2.09 2.10 2.11 2.12 2.13 2.14 2.01* 2.03 2.04 1.26 1.27 1.23 1.25 1.21 1.20 1.24 1.22 1.10 1.16 1.11 1.12 1.19 1.13 1.17 1.08 1.15 1.09 1.05 1.07 1.04 1.06 1.01 1.02 1.03 "Stubborn Kind of Fellow" "Hitch Hike" "Pride and Joy"

Title

"Once Upon a Time" (with Mary Wells) "Can I Get a Witness" "What's The Matter With You Baby" (with Mary Wells) "You're A Wonderful One" "Try It Baby" "Baby Don't You Do It" "What Good Am I Without You" (with Kim Weston) "Forever" "How Sweet It Is (To Be Loved By You)" "It Takes Two" (with Kim Weston) "I'll Be Doggone" "Pretty Little Baby" "Ain't That Peculiar" "Ain't No Mountain High Enough" (with Tammi Terrell) "One More Heartache" "Take This Heart of Mine" "Your Precious Love" (with Tammi Terrell) "Little Darling (I Need You)" "Your Unchanging Love" "If This World Were Mine" (with Tammi Terrell) "You" "If I Could Build My Whole World Around You" (with Tammi Terrell) "Chained" "Ain't Nothing Like The Real Thing" (with Tammi Terrell) "How Can I Forget" "I Heard It Through The Grapevine" "Good Lovin' Ain't Easy to Come By" (with Tammi Terrell) "Too Busy Thinking About My Baby" "That's The Way Love Is" "You're All I Need To Get By" (with Tammi Terrell) "The End of Our Road" "What's Going On" "Mercy Mercy Me (The Ecology)" "Inner City Blues (Make Me Wanna Holler)" "Save the Chlidren"

Anthology: Marvin Gaye

141
2.15 "You're The Man (Part 1)" 2.08 "Trouble Man" "You Ain't Livin' Till You're Lovin'" (with Tammi Terrell) "The Onion Song" (with Tammi Terrell) "Abraham, Martin and John" 2.17 2.09 "Let's Get It On" "You're A Special Part of Me" (with Diana Ross) 2.04 2.18 2.19 2.20 2.21 2.22 2.10 2.13 2.14 2.16 2.15 1.14 1.18 2.02* 2.05 2.06 2.07 2.11 2.12 2.17 2.18 2.19 2.20 "Heaven Sent You, I Know" (with Kim Weston) "Come Get to This" "Distant Lover (Live)" "I Want You" "Got to Give It Up (Part 1)" "After the Dance" "Sweeter As The Days Go By" "Sweet Thing" (Prev. un. 1967 Mix) "God Is Love" "Sad Tomorrows" "You're The Man (Parts 1 and 2)" "The World Is Rated X" (Prev. unr. 1972 Mix) "Just to Keep You Satisfied" "My Mistake (Was to Love You)" (with Diana Ross) "When Did You Stop Loving Me, When Did I Stop Loving You" "Ego Tripping Out" "Praise" "Heavy Love Affair"

6.5 6.6 4.5 3.3 3.7 3.8 4.6 4.7

2.16

References
[1] Huey, Steve. Anthology (Marvin Gaye album) (http:/ / www. allmusic. com/ album/ r233135) at Allmusic

Marvin Gaye: The Love Songs

142

Marvin Gaye: The Love Songs

Marvin Gaye: The Love Songs is a United Kingdom-only compilation of songs recorded by the legendary Motown singer Marvin Gaye. Included are his UK hits, "Abraham, Martin & John", his two duets with Diana Ross: "You Are Everything" and "Stop, Look, Listen (To Your Heart)" and his international hits including "I Heard It Through the Grapevine", "What's Going On" and "Sexual Healing". Released in 2000 in the United Kingdom, the album peaked at number eight on the UK albums chart.

Tracklisting
1. 2. 3. 4. 5. 6. 7. "I Heard It Through the Grapevine" "Sexual Healing" "Abraham, Martin & John" "Let's Get It On" "You Are Everything" (w/Diana Ross) "Too Busy Thinking About My Baby" "What's Going On"

8. "Stop, Look, Listen (To Your Heart)" (w/Diana Ross) 9. "It Takes Two" (w/Kim Weston) 10. "You're All I Need to Get By" (w/Tammi Terrell) 11. "Mercy Mercy Me (The Ecology)" 12. "Ain't Nothing Like the Real Thing" (w/Tammi Terrell) 13. "Trouble Man" 14. "Wherever I Lay My Hat (That's My Home)" 15. "Got to Give It Up" 16. "That's the Way Love Is" 17. "I Want You" 18. "How Sweet It Is (To Be Loved By You)" 19. "You're a Wonderful One"

The Complete Duets

143

The Complete Duets

The Complete Duets
Compilation album by Marvin Gaye and Tammi Terrell Released Recorded Genre Length Label Producer 2001 1965 - 1969 Soul 2:24:16 Motown Ashford and Simpson Johnny Bristol Harvey Fuqua Frank Wilson Berry Gordy, Jr.

Marvin Gaye and Tammi Terrell chronology

Easy (1969)

The Complete Duets (2001)

Professional ratings Review scores

Source Allmusic Rating [1]

The Complete Duets is a two-disc compilation album of duet recordings by Motown Records artists Marvin Gaye and Tammi Terrell, recorded between 1965 and 1969. The set compiles all of the tracks from the duo's three albums - United, You're All I Need and Easy - as well as several of Tammi Terrell's solo recordings and other previously unissued material.

Tracklisting
Superscripts identify the following: tracks marked (a) are Tammi Terrell solo tracks with Gaye's vocals overdubbed to create duet versions, tracks marked (b) feature Valerie Simpson substituting for Tammi Terrell, tracks marked (c) are Tammi Terrell solo recordings, and tracks marked (d) are previously unreleased.

Disc one
1. 2. 3. 4. "Ain't No Mountain High Enough" (Nickolas Ashford, Valerie Simpson) "You Got What It Takes" (Berry Gordy, Jr., Gwen Gordy, Tyran Carlo) "If I Could Build My Whole World Around You" (Harvey Fuqua, Johnny Bristol, Vernon Bullock) "Somethin' Stupid" (C. Carson Parks)

5. "Your Precious Love" (Ashford, Simpson) 6. "Hold Me Oh My Darling" (Fuqua) a

The Complete Duets 7. "Two Can Have a Party" (Bristol, Fuqua, Thomas Kemp) a 8. "Little Ole Boy Little Ole Girl" (Fuqua, Etta James, Brook Benton) 9. "If This World Were Mine" (Marvin Gaye) 10. "Sad Wedding" (Bristol, Jackey Beavers) 11. "Give a Little Love" (Bristol, Fuqua, Clyde Wilson) 12. "Oh How I'd Miss You" (Hal Davis, Frank Wilson, Vance Wilson) 13. "Ain't Nothing Like the Real Thing" (Ashford, Simpson) 14. "Keep On Loving Me Honey" (Ashford, Simpson) 15. "You're All I Need to Get By" (Ashford, Simpson) 16. "Baby Doncha Worry" (Bristol, Beavers) a 17. "You Ain't Livin' 'Til You're Lovin'" (Ashford, Simpson) 18. "Give In, You Just Can't Win" (Fuqua, Bristol) a 19. "When Love Comes Knocking At Your Heart" (Fuqua, Bristol, Gladys Knight, Bullock) a 20. "Come On and See Me" (Fuqua, Bristol) 21. "I Can't Help But Love You" (Robert Gordy, Kemp, Gaye) 22. "That's How It Is (Since You've Been Gone)" (Fuqua, Bristol, Bullock) a 23. "I'll Never Stop Loving You Baby" (Fuqua, Bristol, Beatrice Verdi) 24. 25. 26. 27. "Memory Chest" (Fuqua, Bristol) a "Ain't Nothing Like The Real Thing" (Alternate Take) (Ashford, Simpson) d "Keep On Lovin' Me Honey" (Alternate Vocal) (Ashford, Simpson) d "We'll Be Satisfied" (F. Wilson, Marc Gordon) d

144

Disc two
1. "Good Lovin' Ain't Easy to Come By" (Ashford, Simpson) b 2. "California Soul" (Ashford, Simpson) b 3. "Love Woke Me Up This Morning" (Ashford, Simpson) b 4. "This Poor Heart of Mine" (Ashford, Simpson) b 5. "I'm Your Puppet" (Spooner Oldham, Dan Penn) b 6. "The Onion Song" (Ashford, Simpson) b 7. "What You Gave Me" (Ashford, Simpson) b 8. "Baby I Need Your Loving" (Holland-Dozier-Holland) b 9. "I Can't Believe You Love Me" (Fuqua, Bristol) a 10. "How You Gonna Keep It (After You Get It)" (Ashford, Simpson) b 11. "More, More, More" (Fuqua, Bristol, C. Wilson) a 12. "Satisfied Feelin'" (Ashford, Simpson) b 13. "I Can't Believe You Love Me" (Single Version) c 14. "Hold Me Oh My Darling" (Single Version) c 15. "Come On And See Me" (Single Version) c 16. "Baby Don'tcha Worry" (Single Version) c 17. "Ain't No Mountain High Enough" (Ashford, Simpson) c, d 18. "Two Can Have A Party" (Bristol, Fuqua, Kemp) c, d 19. "Oh How I'd Miss You" (Demo) (Davis, F. Wilson, V. Wilson) c, d 20. "You Ain't Livin' Till You're Lovin'" (Ashford, Simpson) c, d 21. "Give In You Just Can't Win" (Fuqua, Bristol, C. Wilson) c, d 22. "When Love Comes Knocking At My Heart" (Fuqua, Bristol, Knight, Bullock) c, d 23. "Memory Chest" (Fuqua, Bristol) c, d 24. "That's How It Is (Since You've Been Gone)" (Fuqua, Bristol, Bullock) c, d

The Complete Duets 25. "More, More, More" (Fuqua, Bristol, C. Wilson) c, d

145

Credits
Lead (and additional background) vocals by Marvin Gaye and Tammi Terrell Background vocals by Johnny Bristol, Harvey Fuqua, Hal Davis, Nickolas Ashford, Valerie Simpson, The Andantes, The Originals and The Spinners Instrumentation by The Funk Brothers

References
[1] Unterberger, Richie. The Complete Duets (http:/ / www. allmusic. com/ album/ r557174) at Allmusic

146

Associated albums
Irresistible
Irresistible
Studio album by Tammi Terrell Released January 1969

Recorded 1965 - 1968 Genre Length Label Soul 30:01 Motown M652

Producer Johnny Bristol, Harvey Fuqua, Smokey Robinson , James Dean, William Weatherspoon Tammi Terrell chronology

You're All I Need (with Marvin Gaye) (1968)

Irresistible (1969)

Easy (with Marvin Gaye) (1969)

Professional ratings Review scores

Source Allmusic Rating [1]

This table needs to be expanded using prose. See the guideline for more information.

Irresistible was the only solo album for Tammi Terrell, which was released in January 1969 by Motown Records. Due to complications with a malignant brain tumor in 1968 which caused her death in March 1970, Terrell did not record a subsequent solo album; this album compiles solo recordings Terrell made for Motown between 1965 and 1968. Two of the tracks included on this album were dubbed with vocals from Terrell's frequent singing partner Marvin Gaye to create album tracks for the duo's joint albums. These tracks were "Hold Me Oh My Darling" (on 1967's United) and "I Can't Believe You Love Me" (on 1969's Easy). A re-recorded version of "Come On and See Me" appears on the 1968 Gaye/Terrell album You're All I Need. "This Old Heart of Mine (is Weak for You)" is a remake of the 1966 Isley Brothers' hit by the same name. Thirty years later, Terrell's singles from Irresistible and other unreleased songs were re-released on compact disc entitled Tammi Terrell: The Essential Collection by Motown in 2001.

Irresistible

147

Track listing
Side one
1. 2. 3. 4. 5. 6. "I Can't Believe You Love Me" (Harvey Fuqua, Johnny Bristol) "That's What Boys Are Made For" (Fuqua, Gwen Gordy) "Come On and See Me" (Fuqua, Bristol) "What a Good Man He Is" (Smokey Robinson, Al Cleveland) "Tears at the End of a Love Affair" (Fuqua, Bristol, Sylvia Moy) "This Old Heart of Mine (Is Weak for You)" (HollandDozierHolland)

Side two
1. 2. 3. 4. 5. "He's the One I Love" (Robinson) "Can't Stop Now (Love Is Calling)" (James Dean, Stanley McMullen, William Weatherspoon) "Just Too Much to Hope For" (Fuqua, Bristol, Clyde Wilson, Wilbur Jackson) "Hold Me Oh My Darling" (Fuqua) "I Can't Go on Without You" (Fuqua, Bristol, Moy)

Credits
Lead (and additional background) vocals by Tammi Terrell Background vocals by The Andantes and The Spinners Instrumentation by The Funk Brothers

Singles
1966: "I Can't Believe You Love Me" (#72 US, #27 US R&B) 1966: "Come On and See Me" (#80 US, #25 US R&B) 1967: "What a Good Man He Is" (single release canceled) 1969: "This Old Heart Of Mine (Is Weak For You)" (#67 US)

Further reading
Montgomery, Ludie. My Sister Tommie: the Real Tammi Terrell (2005, ISBN 1-904408-16-8)

References
[1] Allmusic review (http:/ / www. allmusic. com/ album/ r19879/ review)

External links
Album listing (http://www.allmusic.com/album/irresistible-r19879) at AllMusic Tammi Terrell Album Review "Irresistible" (http://www.soul-patrol.com/soul/tammi.htm)

The Essential Collection

148

The Essential Collection

The Essential Collection
Compilation album by Tammi Terrell Released July 1, 2001

Recorded 1965-1969 Genre Length Label Soul 49:18 Spectrum Music Tamla-Motown

Producer Johnny Bristol, Harvey Fuqua, Smokey Robinson, James Dean, William Weatherspoon, Clarence Paul, Norman Whitfield Tammi Terrell chronology

Irresistible (1969) The Essential Collection (2001)

Professional ratings Review scores

Source Allmusic Rating [1]

This table needs to be expanded using prose. See the guideline for more information.

The Essential Collection is a compilation album for Motown soul singer Tammi Terrell, released by Universal Music Group's Spectrum Music in the United Kingdom in 2001. The compilation includes Terrell's only solo album, Irresistible in its entirety, several B-sides and unreleased tracks, and Terrell's most famous duet recording with singing partner Marvin Gaye, "Ain't No Mountain High Enough.

Track listing
1. "I Can't Believe You Love Me" (Harvey Fuqua, Johnny Bristol) 2. "That's What Boys Are Made For" (Fuqua, Gwen Gordy) 3. "Come On and See Me" (Fuqua, Bristol) 4. "What a Good Man He Is" (Smokey Robinson, Al Cleveland) 5. "Tears at the End of a Love Affair" (Fuqua, Bristol, Sylvia Moy) 6. "This Old Heart of Mine (Is Weak for You)" (HollandDozierHolland) 7. "He's the One I Love" (Robinson) 8. "Can't Stop Now (Love Is Calling)" (James Dean, Stanley McMullen, William Weatherspoon) 9. "Just Too Much to Hope For" (Fuqua, Bristol, Clyde Wilson, Wilbur Jackson) 10. "Hold Me Oh My Darling" (Fuqua) 11. "I Can't Go on Without You" (Fuqua, Bristol, Moy) 12. "Baby Don't You Worry" (Bristol, Jackey Beavers) 13. "There Are Things" (Fuqua, Bristol) 14. "Two Can Have a Party" (Solo Version) (Fuqua, Bristol, Thomas Kemp) 15. "Lone Lonely Town" (Jennie Lee Lambert, Mickey Gentile)

The Essential Collection 16. "Slow Down" (Jesse Bradman, Clarence Paul) 17. "I Gotta Find a Way to Get You Back" (Cornelius Grant, Eddie Kendricks, Edward Holland, Jr., Norman Whitfield) 18. "Ain't No Mountain High Enough" (with Marvin Gaye) (Nickolas Ashford, Valerie Simpson)

149

References
[1] Allmusic review (http:/ / www. allmusic. com/ album/ r547553/ review)

150

Tribute albums
Inner City Blues: The Music of Marvin Gaye
Inner City Blues: The Music of Marvin Gaye
Compilation album by Various Artists Released Recorded Genre Length Label Producer October 17, 1995 Late 1994 - Early 1995 R&B 52:06 Motown Records Various Producers Professional reviews Allmusic link [1]

Inner City Blues: the Music of Marvin Gaye (also known as Inner City Blues: A Tribute to Marvin Gaye) is a tribute album to soul singer Marvin Gaye who died in 1984. It was released in 1995 on the Motown Records label. The album was not success on music charts and sales were low. Many critics panned the album, although, Allmusic stated "I Want You" as the album's standout track, and WBLS (New York) deejay Felix Hernandez selected "Stubborn Kind of Fellow" as his choice in his yearly tribute to Marvin Gaye on his "Rhythm Revue" program.

Track listing
1. "Inner City Blues (Make Me Wanna Holler)" - Nona Gaye 2. "Save the Children" - Bono 3. "Let's Get It On" - Boyz II Men 4. "I Want You" - Madonna and Massive Attack 5. "Trouble Man" - Neneh Cherry 6. "Just to Keep You Satisfied" - Lisa Stansfield 7. "Stubborn Kind of Fellow" - Stevie Wonder 8. "God Is Love"/"Mercy Mercy Me" - Sounds of Blackness 9. "Like Marvin Gaye Said (What's Going On)" - Speech 10. "Marvin, You're the Man" - Digable Planets

References
[1] http:/ / www. allmusic. com/ album/ r224620

151

Tribute songs
"Missing You"
"Missing You"
Singleby Diana Ross from the album Swept Away A-side B-side Released Format "Missing You" "We are the Children of the World" November 16, 1984 Vinyl, 7", Single, 45 RPM [1]

Recorded 1984 Genre Length R&B 4:16 4:01 (7") RCA Records

Label

Writer(s) Lionel Richie Producer Lionel Richie & James Anthony Carmichael Diana Ross singles chronology

"Touch by Touch" (1984)

"Missing You" (1984)

"Telephone" (1985)

"Missing You" is a 1984 song by Diana Ross. The third 45 release from her album Swept Away, the song was written and produced by Lionel Richie as a tribute to Marvin Gaye, who died earlier that year. Ross and Gaye had both been artists at Motown from the early 1960s to the early 1980s, and had also recorded a duets album together called Diana & Marvin (1973). The music video, directed by Dominic Orlando, was filmed on location at Caesars Palace on the Las Vegas Strip in Las Vegas, Nevada. The video includes tribute clips of former Supremes singer Florence Ballard and also of Paul Williams of The Temptations, both Motown artists who had died in the 1970s. The song was built during conversations about Gaye shared by Ross and Richie, who came up with a song shortly after the conversations. Released in late 1984, the song became one of Ross' last major hits on the US pop singles chart, peaking at number ten in March 1985. It was also her last song to reach number one on the R&B singles chart.[2]

"Missing You"

152

Chart
Chart (1984) Peak position 10 1 4 13 76

US Billboard Hot 100 US Billboard Hot Black Singles US Billboard Adult Contemporary US Cash Box Top Singles UK Singles Chart

Samples
Five hip hop acts have sampled "Missing You": Master P on 1997's "Gangstas Need Love"; The Notorious B.I.G. on 1997's "Miss U"; Mullage on 2009's "Trick'n".[3]; Webbie "Missing You" featuring LeToya Luckett; and Infinite's "Gotta Get Mine".

References
[1] http:/ / www. discogs. com/ Diana-Ross-Missing-You/ release/ 1728793 [2] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.502. [3] http:/ / www. whosampled. com/ artist/ Diana%20Ross/

"Nightshift"

153

"Nightshift"
"Nightshift"
Singleby Commodores from the album Nightshift B-side "I Keep Running"

Released January 31, 1985 Genre Length Label R&B 5:04 (album version) 4:19 (7" single edit) Motown

Writer(s) Walter Orange Dennis Lambert Franne Golde Producer Dennis Lambert Commodores singles chronology

"Only You" (1983)

"Nightshift" (1985)

"Animal Instinct" (1985)

"Nightshift" is a 1985 hit song by the Commodores and title track from the album of the same name. The song was a tribute to Jackie Wilson and Marvin Gaye, two famous R&B musicians who had died in 1984. This song was the first hit attained by the Commodores following Lionel Richie's departure from the group. It was also their biggest hit after Richie's departure, peaking at number three on the Billboard Hot 100 and rising to number one on the Hot Black Singles chart,[1] as well as number three in the UK Singles Chart. Although the band was against the label's decision to release it as a single,[2] it won a Grammy Award in 1985 for Best Vocal R&B Performance by a Duo/Group. The song features the lead vocal from drummer Walter Orange, whose lead appeared years before on the hugely popular "Brick House". The Commodores re-recorded a version dedicated to Michael Jackson in 2010.[3] The song was also parodied by the band as 11 Alive on a 1985 commercial for NBC affiliate WXIA-TV in Atlanta, Georgia.

Chart performance

"Nightshift"

154

Chart (1985)

Peak position 3 1 1 [4] 3

U.S. Billboard Hot 100 U.S. Billboard Hot Black Singles Dutch Top 40 UK Top 75

Other versions
A reggae version of this was recorded by Winston Groovy, with the lyrics changed as a tribute to Bob Marley.[5]

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.130. [2] John Leland (June 1985). "Singles - Commodores "Nightshift" (Motown)" (http:/ / books. google. com/ books?id=16jp_aFRHdgC& pg=PA36& dq=spin+ magazine+ 1985+ commodores+ night+ shift& hl=en& ei=iTxxTIznPI-6sQPfl5yLCw& sa=X& oi=book_result& ct=result& resnum=1& ved=0CCgQ6AEwAA#v=onepage& q& f=false). Spin. pp.36. . Retrieved 2010-08-22. [3] Commodores Re-record "Nightshift" As MJ Tribute (http:/ / mjfanclub. net/ home/ index. php?option=com_content& view=article& id=3859:commodores-re-record-qnightshiftq-as-mj-tribute& catid=85:latest-news& Itemid=82) [4] "De Nederlandse Top 40, week 13, 1985" (http:/ / www. radio538. nl/ web/ show/ id=44685/ chartid=5872). . Retrieved 2008-03-01. [5] Winston Groovys Nightshift lyrics (http:/ / www. gugalyrics. com/ WINSTON-GROOVY-NIGHTSHIFT-LYRICS/ 115216/ )

External links
Song Facts (http://www.songfacts.com/detail.php?id=2426&) 2010 Re-recording dedicated to Michael Jackson (http://mms.businesswire.com/bwapps/mediaserver/ ViewMedia?mgid=233288&vid=9&download=1)

155

Singles
"Let Your Conscience Be Your Guide"
"Let Your Conscience Be Your Guide"
Singleby Marvin Gaye from the album The Soulful Moods of Marvin Gaye B-side Released Format Recorded Genre Length Label Never Let You Go (Sha-Lu Bop) May 25, 1961 7" single Hitsville USA, Detroit, Michigan, 1961 Rhythm and blues 3:01 Tamla T 54041 Berry Gordy Berry Gordy Marvin Gaye singles chronology

Writer(s) Producer

"Let Your Conscience Be Your Guide" (1961)

"Sandman" (1962)

"Let Your Conscience Be Your Guide" is the debuting single for singer Marvin Gaye, released as Tamla 54041, in May 1961. It was also the first release off Gaye's debut album, The Soulful Moods of Marvin Gaye, in which most of the material was the singer's failed attempt at making an "adult" record compared to Motown's younger R&B sound.

Overview
Background
In 1960, Marvin Gay, Jr. moved to Detroit with his mentor Harvey Fuqua, who had first booked him as a co-lead singer of "Harvey & the Moonglows", a splinter version of the popular fifties doo-wop group, the Moonglows. Fuqua and Gay met up with several members of the Gordy family, and before long both of them were dating the female Gordy members Gwen and Anna respectively. Around that fall, Marvin was introduced to Motown Records CEO Berry Gordy after Gaye walked in during a party at the local Hitsville studios and played around on the piano. Gordy later signed Gay first as a session drummer for Anna Records and eventually signed him into Motown's Tamla label as an artist. After several arguments over the direction of the album - the headstrong Marvin wanted to record a "Frank Sinatra-styled pop album" while Gordy wanted him to record R&B, the two came to a compromise, while most of Soulful Moods featured covers of jazz songs and Broadway tunes, three of the final songs on the album were produced in an rhythm and blues mode.

"Let Your Conscience Be Your Guide"

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Song style
This song was inspired by a Ray Charles ballad and featured background vocals by The Andantes. During the song Marvin mixes a smooth tenor with a few falsetto whoops.

Release
Gordy released it with the b-side being the Anna Gordy and Harvey Fuqua-penned "Never Let You Go (Sha-Lu Bop)" in May 1961, a month after Marvin's 22nd birthday. Before its release, however, Marvin sought to begin his solo career with a new name. Inspired by Sam Cooke, Marvin added an "e" to his last name therefore becoming forever known as Marvin Gaye. Despite regional success in Detroit, the song failed to enter either the pop or R&B chart on the national Billboard magazine. Mary Wells later covered the song for her own debut Motown release, Bye Bye Baby I Don't Want to Take a Chance.

Credits
Lead vocals by Marvin Gaye Background vocals by The Andantes Instrumentation by The Funk Brothers Written and produced by Berry Gordy

"Mr. Sandman"
"Mr. Sandman"
"Mr. Sandman record by The Chordettes" Singleby The Chordettes A-side B-side Released Format "Mr. Sandman'" '"I Don't Wanna See You Cryin'" 1954 45rpm 7-inch vinyl single

Recorded 1954 Genre Length Label Traditional pop 2:22 Cadence Records

Writer(s) Pat Ballard ("Mr. Sandman"); Stock-West ("I Don't Wanna See You Cryin'") Producer Archie Bleyer The Chordettes singles chronology

"Mr. Sandman" (1954)

"The Wedding" (1956)

"Mr. Sandman" (sometimes rendered as "Mister Sandman") is a popular song written by Pat Ballard which was published in 1954 and first recorded in that year by The Chordettes. The song's lyrics convey a request to "Mr. Sandman" to "bring me a dream" the traditional association with the folkloric figure, the sandman. The pronoun

"Mr. Sandman" used to refer to the desired dream is often changed depending on the sex of the singer or group performing the song. Some time later, Ballard also rewrote the lyrics for Christmas use as "Mr. Santa". The chord progression in the chorus follows the circle of fifths for six chords in a row.

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Recorded versions
The Chordettes recording of the song was released on the Cadence Records label whose founder, Archie Bleyer, is credited on the disc's label as "knees played by" and orchestra conductor. Bleyer's voice is heard in the third verse, when he says the word "Yes?" The piano is played by Moe Wechsler. Liberace's name is mentioned for his "Wavy Hair". The single reached #1 on the Billboard United States charts and #11 on the United Kingdom charts in 1954. In November 1954, The Four Aces released a version that charted even higher in the UK, reaching #9 and in the same year a version by Max Bygraves reached #16 on the UK charts. However the most successful recording of the song in the UK was by Dickie Valentine which peaked at #5. On the Cash Box magazine charts in the US, where all versions were combined, the song also reached #1. There are numerous recorded versions of the song[1] including versions by Chet Atkins, Mocedades, Blue Diamonds, Marvin Gaye, Gob, Jose Melis, The Chipmunks, The Supremes, The Andrews Sisters, The Puppini Sisters, Linda McCartney, and The Fleetwoods. Joe Loss and his Orchestra recorded it in London on November 1, 1954. The tune was released by EMI on the His Master's Voice label as catalog number BD6184. Vaughn Monroe with Orchestra recorded it in 1954 which was released as a single on RCA Victor label as catalog number 47-5767. It has featured in a number of TV and film soundtracks including The Simpsons,[2] Futurama, Halloween, Back to the Future, Mr. Nobody, Nip/Tuck, Philadelphia, Planet 51, Uncle Buck, I Saw what You Did, and several of the Halloween films. A version by the band Oranger also featured as an intro song and later on a cutscene in the video game Stubbs the Zombie - Rebel without a Pulse and can also be heard in the 2010 video game Mafia II. It is also used in a Chevrolet Cruze comercial when The Sandman gives the owner a dream about the vehicle while the song plays as background music. The "Mr. Santa" version has been recorded by Shari Lewis (on the 1965 Musicor single MU1140), Lenny Dee, Amy Grant, and Suzy Bogguss, among others. Mr. Sandman was also famously sung as a lullaby on The Golden Girls in the season five episode "Not Another Monday" when Dorothy, Rose, and Blanche are trying to help a newborn; Francis Lilistrand, fall asleep.

Emmylou Harris version

"Mister Sandman"
Singleby Emmylou Harris from the album Profile II: The Best of Emmylou Harris Released Recorded Genre Length Label Producer 1981 1980 Country 2:20 Warner Bros. Brian Ahern Emmylou Harris singles chronology

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"The Boxer" (1980)

"Mister Sandman" (1981)

"I Don't Have to Crawl" (1981)

In 1980, Emmylou Harris, Dolly Parton, and Linda Ronstadt recorded a version of the song. This "trio" version was released on the Harris album Evangeline. The song was also released by Harris as a solo single in 1981, under the title "Mister Sandman", for which she re-recorded all three vocal parts herself as neither Parton's nor Ronstadt's record companies would allow their artists' vocals on the single. Harris's single version did not appear on an album until the 1984 compilation Profile II: The Best of Emmylou Harris. Chart performance
Chart (1981) Peak position 37 10 42 1 9 16

U.S. Billboard Hot 100 U.S. Billboard Hot Country Singles Canadian RPM Top Singles Canadian RPM Country Tracks Dutch Top 40 New Zealand Singles Chart

Blind Guardian version

"Mr. Sandman"
Singleby Blind Guardian from the album The Forgotten Tales Released Recorded Genre Length Label Producer February 7, 1996 Sweet Silence Studios Power metal 2:12 Virgin Flemming Rasmussen

Blind Guardian singles chronology

"Bright Eyes" (1995)

"Mr. Sandman" (1996)

"Mirror Mirror" (1998)

In 1996, German power metal band Blind Guardian released a single with a cover version of "Mr. Sandman." While the song starts in a similar mood to the original, it becomes increasingly aggressive, introducing heavy metal guitars in the second verse and a double bass drum in the third.

"Mr. Sandman" Track listing 1. 2. 3. 4. 5. "Mr. Sandman" 2:12 "Bright Eyes" (Edited Version) 4:04 "Hallelujah" 3:18 "Imaginations from the Other Side" (Demo Version) 7:14 "The Script for My Requiem" (Demo Version) 7:01

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Lineup Hansi Krsch vocals and bass Andr Olbrich lead guitar Marcus Siepen rhythm guitar Thomen Stauch drums

References
[1] "allmusic.com Albums containing the song "Mr. Sandman"" (http:/ / www. allmusic. com/ search/ track/ Mr. + Sandman/ order:default-asc). . Retrieved 2011-09-24. [2] "The Simpsons Archive - Music Featured on the Simpsons" (http:/ / www. snpp. com/ guides/ music. html). . Retrieved 2008-03-30.

External links
Mr. Sandman (http://www.allmusic.com/song/t1534650) at Allmusic discogs.com (http://www.discogs.com/artist/Chordettes,+The) The Chordettes on discogs.com, a community-built database of music information.

"Soldier's Plea"

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"Soldier's Plea"
"Soldier's Plea"
Singleby Marvin Gaye from the album That Stubborn Kinda Fellow Released May 8, 1962

Recorded Hitsville USA, Detroit, Michigan; April 23, 1962 Genre Label Doo-wop/pop Tamla 54063

Writer(s) William Stevenson George Gordy Andre Williams Producer William Stevenson Marvin Gaye singles chronology

"Sandman" (1962)

"Soldier's Plea" (1962)

"Stubborn Kind of Fellow" (1962)

"Soldier's Plea" is a 1962 single released by singer Marvin Gaye as Tamla 54063, and was the last non-charted early single Marvin released prior to releasing his first hit single, "Stubborn Kind of Fellow", later that year.

Background
Recording
Recorded in the spring of 1962 a few days after Marvin turned 23, the song was the first single off Marvin's second album, That Stubborn Kinda Fellow. The song was the answer song to The Supremes' modest charter, "Your Heart Belongs to Me", as in that song, the lead singer Diana Ross wrote to her lover who was "serving his country from a faraway land". In Marvin's response, he counter-pleads his lover's stance that her heart belongs to him by having her keep that promise when he returned. The song was recorded with The Love Tones singing in the background.

Release
After "Let Your Conscience Be Your Guide" and "Sandman", this was the third single for Marvin not to chart on any Billboard chart. All three releases predated the grittier rock 'n' roll-styled dance hits that initially brought Marvin national fame in the early sixties and showed the young singer singing in a smooth tenor that predated his mid-1960s recordings as he became an established R&B star.

Credits
Lead vocals by Marvin Gaye Background vocals by The Love Tones Instrumentation by The Funk Brothers

"Stubborn Kind of Fellow"

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"Stubborn Kind of Fellow"

"Stubborn Kind of Fellow"
Singleby Marvin Gaye from the album That Stubborn Kinda Fellow Released Format Recorded Genre Length Label Writer(s) July 23, 1962 7" single 1962; Hitsville USA, Detroit, Michigan R&B/rock and roll 2:44 Tamla Marvin Gaye William "Mickey" Stevenson George Gordy William "Mickey" Stevenson Marvin Gaye singles chronology

Producer

"Soldier's Plea" (1962)

"Stubborn Kind of Fellow" (1962)

"Hitch Hike (1962)

"Stubborn Kind of Fellow" is a 1962 single by Marvin Gaye, released on the Motown subsidiary Tamla. The single was historic in many ways for the Washington, D.C.-bred singer and former Moonglows member, for it was the first major hit record for the singer on Motown after three failed singles and an album that had Gaye performing jazz standards. The song was conceived after Gaye reluctantly agreed to perform in the same R&B-rooted productions of his fellow Motown label mates rather than try to be "the Black Frank Sinatra". Based on an autobiographical account of Gaye's moody behavior, it was also penned (alongside William "Mickey" Stevenson) during the time Gaye had just married Anna Gordy, the sister of Motown head Berry Gordy. Released in September of that year, the song gave Gaye his first taste of fame that would make him Motown's leading hit maker peaking at number eight on the Billboard Black Singles chart and number forty-six on the Billboard Pop Singles chart and was the leading single off Gaye's second album, the aptly titled That Stubborn Kinda Fellow. This was also the first single to include recently signed girl group Martha and the Vandellas, who would accompany Gaye on his first three hit singles before finding fame on their own. When Phil Spector first heard Stubborn Kind of Fellow he was so excited he lost control of his car while driving down Sunset Boulevard with Jack Nitzsche.

"Stubborn Kind of Fellow"

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Personnel
Lead vocals by Marvin Gaye Drums and piano by Marvin Gaye Background vocals by The Del-Phis: Martha Reeves, Rosalind Ashford, Gloria Williams and Annette Beard Instrumentation by The Funk Brothers

"Hitch Hike"

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"Hitch Hike"
"Hitch Hike"
Singleby Marvin Gaye from the album That Stubborn Kinda Fellow Released Format Recorded Genre Length Label Writer(s) December 1962 7" single 1962; Hitsville, USA, Detroit, Michigan R&B/rock 'n' roll 2:32 Tamla Marvin Gaye William "Mickey" Stevenson Clarence Paul William "Mickey" Stevenson Marvin Gaye singles chronology

Producer

"Stubborn Kind of Fellow" (1962)

"Hitch Hike" (1962)

"Pride and Joy" (1963)

"Hitch Hike" is a 1962 song by Marvin Gaye, released on the Tamla label. Another song Gaye co-wrote (this time with Clarence Paul and William "Mickey" Stevenson), this time instead of confessing to being stubborn, the singer is now on the look out for his girl, whom he feels has run so far that he has to travel "around the world" thinking of places she could have found herself at including St. Louis, "Chicago City Limits" and "L.A.". The song sparked a brief dance craze when audience members from American Bandstand performed the "hitch hike" dance. Marvin performed the song on the show and also did the move onstage. The dance was also performed during Marvin's performance of the song in the T.A.M.I. Show. The single was successful enough to land Gaye his first top forty pop single in 1963 with "Hitch Hike" reaching number thirty on the pop singles chart while reaching number twelve on the R&B singles chart. Again, like "Stubborn", Martha and the Vandellas accompanied Gaye on this song. Artists including The Sonics, The Rolling Stones, The Mothers of Invention and Alice Cooper covered this song during their early years. The Velvet Underground's song "There She Goes Again" is based on "Hitch Hike", as is the guitar intro to The Smiths' "There is a Light That Never Goes Out" (Johnny Marr specifically credits The Rolling Stones' cover as the inspiration). Paul McCartney performed a live cover of the song during his 2011 performance at Comerica Park in Detroit, Michigan.[1] Another song which is likely based on "Hitch-Hike", is "You Can't Do That" by The Beatles, especially the use of cowbell and congas and the pronounced stops at the end of each verse.

"Hitch Hike"

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Other versions
It was covered in 1965 by The Rolling Stones on their album Out Of Our Heads. It was covered in 1966 by The Grass Roots on their first album Where Were You When I Needed You. It was covered in 1984 by Alison Moyet as the B-side of her single Invisible.

Personnel
Lead vocals by Marvin Gaye Background vocals by The Vandellas: Martha Reeves, Rosalind Ashford and Annette Beard Instrumentation by The Funk Brothers: Robert White: guitar Eddie Willis: guitar Joe Messina: guitar James Jamerson: bass Marvin Gaye: drums and piano Jack Ashford: tambourine, percussion Earl Van Dyke: piano

Henry Cosby: saxophone Dayna Hartwick: flute solo

References
[1] "Paul McCartney concert: A little luck, a lot of smiles -- even some tears" (http:/ / www. freep. com/ article/ 20110724/ ENT04/ 110724017/ Paul-McCartney-concert-little-luck-lot-smiles-even-some-tears). June 14, 2011. .

"Pride and Joy"

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"Pride and Joy"

"Pride & Joy"
Singleby Marvin Gaye from the album That Stubborn Kinda Fellow Released Format May 1963 7" single

Recorded September 12, 1962; Hitsville, USA; Detroit, Michigan Genre Length Label Rhythm and blues 2:05 Tamla

Writer(s) Norman Whitfield Marvin Gaye William "Mickey" Stevenson Producer William "Mickey" Stevenson Marvin Gaye singles chronology

"Hitch Hike" (1962)

"Pride & Joy" (1963)

"Can I Get a Witness" (1963)

"Pride and Joy" is a 1963 single by Marvin Gaye, released on the Tamla label. The single, co-written by William "Mickey" Stevenson, Gaye and Norman Whitfield, and produced by Stevenson, was considered to be a tribute to Gaye's then-girlfriend, Anna Gordy. The song was also the third straight (and last) single to include Martha and the Vandellas in background vocals just weeks before "(Love is Like a) Heat Wave" made the girl group one of the high-tier Motown acts. The song was also Gaye's first top ten pop single peaking at number ten on the chart and just missed the top spot of the R&B singles chart peaking at number two. The song also helped continue Gaye's successful hit streak as the singer would score another Top 40 pop hit at the end of that year with "Can I Get a Witness". The album version of the single featured on Gaye's second album, That Stubborn Kinda Fellow is different in parts to the single version presenting a more jazz effect than the gospel-emulated version that became a single. Later, the Jackson 5 covered the song for the G.I.T.: Get It Together outtake in 1973, but was only released in 1976 to compilation Joyful Jukebox Music. When The Beatles first arrived in New York City in 1964, they requested Murray the K play the song on his radio station.

"Pride and Joy"

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Personnel
Lead vocals by Marvin Gaye Background vocals by Martha and the Vandellas: Martha Reeves, Rosalind Ashford and Annette Beard Instrumentation by The Funk Brothers

"Can I Get a Witness"

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"Can I Get a Witness"

"Can I Get a Witness"
Singleby Marvin Gaye from the album Greatest Hits B-side Released Format Recorded "I'm Crazy 'Bout My Baby" September 1963 7" single July 17, 1963; Hitsville U.S.A. (Detroit, Michigan) Soul, rock and roll 2:53 Tamla T 54087 HollandDozierHolland Brian Holland, Lamont Dozier Marvin Gaye singles chronology

Genre Length Label

Writer(s) Producer

"Pride and Joy" (1963)

"Can I Get a Witness" (1963)

"You're a Wonderful One" (1964)

"Can I Get a Witness" is a 1963 hit song by Marvin Gaye on the Tamla (Motown) label. Written and produced by Motown songwriting and producing team HollandDozierHolland, the song was built among gospel-styled music and heralded Gaye's beginnings in the church with a rhythm and blues/rock and roll setting. The song featured Gaye on piano, playing a boogie pattern, The Funk Brothers, and members of The Supremes in the background accompanying Gaye. The song became a hit in both the U.S. and the United Kingdom, and British musicians Lulu, Dusty Springfield, The Rolling Stones, Sam Brown and Steampacket (which featured a very young Rod Stewart) recorded cover versions of the song. Gaye's version peaked at #22 on the Hot 100 chart and its title soon became a catchphrase. Lee Michaels' 1971 version reached #39 on the Hot 100; both his and Gaye's versions peaked during Christmas week.

In popular culture
Gaye's recording is featured in the 1999 biographical film The Hurricane.

Personnel
Lead vocals by Marvin Gaye Background vocals by The Supremes: Diana Ross, Florence Ballard, and Mary Wilson Instrumentation by The Funk Brothers

"I'm Crazy 'Bout My Baby"

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"I'm Crazy 'Bout My Baby"

"I'm Crazy 'Bout My Baby" is a song recorded by American singer Marvin Gaye, who issued the song in late-1963 as the b-side to the singer's popular hit, "Can I Get a Witness". The single gained minimal buzz and as a result charted as its own independent single in the end of the year before peaking at number seventy-seven on the Billboard Hot 100 in January 1964. The song was among the last released to feature Martha and the Vandellas as background vocalists to Marvin's work.

Credits
Lead vocal by Marvin Gaye Background vocals by Martha and the Vandellas Instrumentation by The Funk Brothers

"You're a Wonderful One"

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"You're a Wonderful One"

"You're A Wonderful One"
Singleby Marvin Gaye from the album How Sweet It Is To Be Loved By You Released Format Recorded Genre Length Label Writer(s) Producer April 1964 LP January 6, 1964; Hitsville, USA; Detroit, Michigan R&B/soul; rock and roll 2:45 Tamla HollandDozierHolland Brian Holland Lamont Dozier Marvin Gaye singles chronology

"Can I Get a Witness" (1963)

"You're a Wonderful One" (1964)

"Try It Baby" (1964)

"You're a Wonderful One" is a popular recording written by HollandDozierHolland and recorded and released as a single by Marvin Gaye, released in 1964 on the Tamla label. The song had the narrator praising his "wonderful one" for loving him and for "always (being) around" him. Gaye is helped along on this song by The Supremes on background. The group had earlier backed him on "Can I Get a Witness". Musically, The Funk Brothers took elements of Chuck Berry's "Memphis" single and incorporated it into the intro of this song. The song eventually charted at number fifteen on the pop charts and number three on the R&B singles chart. It was produced by HollandDozierHolland, who worked with Gaye on "Witness" and later "How Sweet It Is (To Be Loved By You)" by Gaye a few months later giving him his biggest success as a solo artist until "I Heard It Through the Grapevine" in 1968.

Personnel
Lead vocals by Marvin Gaye Background vocals by The Supremes: Diana Ross, Florence Ballard and Mary Wilson Instrumentation by The Funk Brothers

"Once Upon a Time"

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"Once Upon a Time"

"Once Upon a Time"
Singleby Marvin Gaye and Mary Wells from the album Together B-side Genre Length Label What's the Matter with You Baby Pop, rhythm and blues 2:32 Motown

Writer(s) Clarence Paul Barney Ales Dave Hamilton William "Mickey" Stevenson Producer Mickey Stevenson

"Once Upon a Time" is a 1964 single released by Marvin Gaye and Mary Wells from their sole duet album, Together. Written by Clarence Paul, Barney Ales, Dave Hamilton and William "Mickey" Stevenson, the song discussed how the two narrators felt lonely until they met each other referring to their past as it happened "once upon a time". The song brought simultaneous top forty pop success for the duo as the single hit number nineteen while its b-side, "What's the Matter with You Baby" peaked at number seventeen on the pop singles chart. The song's co-writer, Dave Hamilton, plays the vibraharp solo.

Personnel
All vocals by Marvin Gaye and Mary Wells Produced by William "Mickey" Stevenson Instrumentation by The Funk Brothers

"What's the Matter with You Baby"

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"What's the Matter with You Baby"

"What's the Matter with You Baby"
Singleby Marvin Gaye and Mary Wells from the album Together A-side Released Once Upon a Time 1964

Recorded Hitsville USA, Detroit, Michigan; 1963 Genre Length Label Rhythm and blues 2:24 Motown

Writer(s) William "Mickey" Stevenson Clarence Paul Barney Ales Producer Mickey Stevenson

"What's the Matter with You Baby" is a 1964 single released by Marvin Gaye and Mary Wells on the Motown label. Released as a double A-side single alongside "Once Upon a Time", the song gave Gaye and Wells another charted smash. The song, written by William "Mickey" Stevenson, Clarence Paul, and Barney Ales and produced by Stevenson, has Gaye and Wells going back and forth with Gaye apologizing to Wells for leaving her behind for someone else begging Wells to give him one more chance. At first, Wells says taking Gaye back would "hurt (her) pride" and that she cannot let him take her out for the night but after Gaye pleads for Wells to come back to him, Wells relents but still passes on him taking her out for the night. The song begins and ends with the two harmonizing together. It peaked at number nineteen on the U.S. Pop Singles chart when released.

Personnel
All vocals by Marvin Gaye and Mary Wells Produced by William "Mickey" Stevenson Instrumentation by The Funk Brothers

"Try It Baby"

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"Try It Baby"
"Try It Baby"
Singleby Marvin Gaye from the album How Sweet It Is to Be Loved by You Released Format Recorded Genre Length Label Writer(s) Producer 1964 7" single 1964 Rock 'n' roll, R&B, blues 2:30 Motown}Tamla Berry Gordy, Jr. Berry Gordy, Jr. Marvin Gaye singles chronology

"What's the Matter With You Baby" (1964)

"Try It Baby" (1964)

"Baby Don't You Do It" (1964)

"Try It Baby" is a slow bluesy ballad recorded by American soul singer Marvin Gaye, released on the Tamla label in 1964. It was written and produced by Gaye's brother-in-law, Motown chairman Berry Gordy, and talked of a woman who was "moving up" and "leaving (her man) behind". To help him along the way, the Temptations (fresh off scoring their first few hits) assisted Gaye in the track providing background vocals. The song reached number 15 on the pop singles chart and number six on the R&B singles chart. "Try It Baby" was covered in 1968 as a joint effort by Diana Ross & the Supremes and the Temptations. Featuring Melvin Franklin, Diana Ross, and Paul Williams on leads, the track was included on the 1968 LP Diana Ross & the Supremes Join The Temptations, their first of four joint albums.

Personnel
Marvin Gaye version
Lead vocals by Marvin Gaye Background vocals by The Temptations: Paul Williams, Eddie Kendricks, David Ruffin, Melvin Franklin and Otis Williams Instrumentation by The Funk Brothers

Supremes/Temptations version
Lead vocals by Diana Ross, Paul Williams and Melvin Franklin Background Vocals by Mary Wilson, Cindy Birdsong, Otis Williams, Melvin Franklin, Eddie Kendricks, Paul Williams and Dennis Edwards Instrumentation by Los Angeles session musicians

"Baby Don't You Do It"

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"Baby Don't You Do It"

"Baby Don't You Do It"
Singleby Marvin Gaye from the album How Sweet It Is to Be Loved by You Released Format Recorded Genre Length Label Writer(s) Producer 1964 7" 1964 Rock and roll 2:30 Tamla HollandDozierHolland Brian Holland Lamont Dozier Marvin Gaye singles chronology

"Try It Baby" (1964)

"Baby Don't You Do It" (1964)

"What Good Am I Without You" (w Kim Weston, 1964)

"Baby Don't You Do It" is a 1964 single by American singer Marvin Gaye. Released on the Tamla label, this song discusses a man who is at a standstill with his girlfriend, who he feels is neglecting his love stating "don't break my heart/...I've tried to do my best". Featured on the HollandDozierHolland-written and produced track, for the first time on a Marvin Gaye record, were Motown's top session girl group The Andantes. In October 1964 Gaye's single would peak at #27 on both the Hot 100 in Billboard and the Top 100 singles chart in Cashbox, with Cashbox affording the single a #14 peak on its R&B chart (Billboard was not maintaining an R&B chart at this time).

Personnel
Lead vocals by Marvin Gaye Background vocals by The Andantes: Marlene Barrow, Jackie Hicks and Louvain Demps Instrumentation by The Funk Brothers

Other versions

"Baby Don't You Do It"

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"Baby Don't You Do It"

Singleby The Who A-side Released "Join Together" 16 June 1972 (UK) 8 July 1972 (US) 7" single

Format

Recorded December 12, 1971 live at the Civic Auditorium in San Francisco Genre Length Label Rock 6:09 Track Records/MCA

Writer(s) Pete Townshend Producer The Who Glyn Johns

Both the Small Faces and The Who recorded their own versions of the song. The Band recorded the song numerous times under the title "Don't Do It"; the different versions, both studio and live, appear on several of their albums and box sets including the 1972 live release Rock of Ages). "Don't Do It" was the encore performed by the Band in their 1976 concert filmThe Last Waltz, though it was featured first in the film. However, it was not included on the 1978 soundtrack album; the track was included in the 2002 box set edition of The Last Waltz soundtrack. The version of "Don't Do It" from Rock of Ages was issued as a single reaching #34 on the Billboard Hot 100 in the autumn of 1972; the track was the second - following "Up on Cripple Creek" and final Top 40 single for the Band. Nicolette Larson remade "Baby Don't You Do It" for her 1978 album Nicolette; this version prominently featured vocalist Valerie Carter. "Baby Don't You Do It" has also been performed live numerous times by The Black Crowes.[1]

The Who
The Who recorded several version of "Baby Don't You Do It". The first version released was recorded live in San Francisco and released as the b-side to "Join Together".[2] The group had previously played the song in their live performances circa 1964-65, and a studio recording from that time was later released on the 1998 remastered CD of Odds & Sods. The Who also performed a studio recording of the song on March 16, 1971 at The Record Plant in New York. This version became first available on the 1995 Reissue of Who's Next and featured Leslie West on lead guitar, but was edited to 5:13.[3] The full version of the song became available on the Who's Next Deluxe Edition. During the sixth season of That '70s Show when the show's episodes were all named after recordings by The Who the 3 March 2004 broadcast was entitled "Baby Don't You Do It".

"Baby Don't You Do It"

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References
[1] Crowesbase (http:/ / www. crowesbase. com) [2] "The Who Official Band Website - Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon | | Join Together" (http:/ / www. thewho. com/ index. php?module=discography& discography_item_id=42& discography_tag=singles). Thewho.com. . Retrieved 2012-01-15. [3] Who's Next 1995 Reissue Liner Notes Page 20

"What Good Am I Without You"

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"What Good Am I Without You"

"What Good Am I Without You"
Singleby Marvin Gaye and Kim Weston from the album Take Two Released 1964

Recorded 1964, Hitsville USA, Detroit, Michigan Genre Label Rhythm and blues Tamla

Producer William "Mickey" Stevenson

"What Good Am I Without You" is a Motown duet between singers Marvin Gaye and Kim Weston. The song was released as a single in late 1964 and became the first duet Marvin and Kim recorded, a couple of years before the duo recorded the breakthrough hit, "It Takes Two". The song came after the departure of Mary Wells, who had left Motown that year shortly after releasing a successful duet album with Gaye. The single was featured on Gaye and Weston's only LP together, Take Two and peaked at number 61 on the Billboard Hot 100 (and number 28 on the Cashbox R&B chart) when it was released. The single was co-written and produced by William "Mickey" Stevenson.

Credits
Lead vocals by Marvin Gaye and Kim Weston Background vocals by The Andantes: Marlene Barrow, Jackie Hicks and Louvain Demps Produced by William "Mickey" Stevenson Instrumentation by The Funk Brothers

"How Sweet It Is (To Be Loved by You)"

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"How Sweet It Is (To Be Loved by You)"

"How Sweet It Is (To Be Loved by You)"
Singleby Marvin Gaye from the album How Sweet It Is to Be Loved by You Released Format Recorded Genre Length Label Writer(s) Producer September 1964 7" single Hitsville U.S.A. (Studio A); 1964 Soul; early pop rock 2:30 Tamla HollandDozierHolland Brian Holland, Lamont Dozier Marvin Gaye singles chronology

"Baby Don't You Do It" (1964)

"How Sweet It Is (To Be Loved By You)" (1964)

"I'll Be Doggone" (1965)

"How Sweet It Is (To Be Loved by You)" is a 1964 hit song written and produced by the Motown songwriting team of HollandDozierHolland. It was originally recorded by American soul singer Marvin Gaye and became one of his most popular songs. Gaye peaked at #6 on the Billboard Hot 100 pop singles chart with the song in January 1965, and #3 on Billboard's R&B Singles chart [1] making it Gaye's most successful single to that point with record sales well over 900,000 copies. He recorded a German language version of the song "Wie Schn Das Ist" which can be found on the LP Motown Around The World: The Classic Singles. It has been covered on many occasions, including by fellow Motown artist Jr. Walker & the All Stars, who took it to #3 on the R&B singles chart and number 18 on the Hot 100 in 1966. The most successful cover of the song was by James Taylor, whose version in mid-1975 reached number one on the Easy Listening chart and number five on Billboard Hot 100.[2] On this version, Carly Simon performed harmony vocals and David Sanborn played saxophone. Other notable versions include those by Jerry Garcia Band (who recorded and included the song in their rotation for twenty years), Cissy Houston (who cut a gospelized version on her Grammy winning album, Face to Face, in 1996), and Michael Bubl (who released the song on his album It's Time). A cover of the song was featured on Karen Dalton's 1971 (re-released in 2006) cult folk album "In My Own Time", and has since became a favorite in the underground folk scene. The song was also covered and gave title to an album by Joan Osborne, as well as by Kenny Rogers and also by Jimmy Needham in his album Nightlights. Former a1 member Paul Marazzi also did a cover version of this song for his new band Blue Eyed Soul. [3]

"How Sweet It Is (To Be Loved by You)"

178

Personnel
Lead vocals by Marvin Gaye Background vocals by The Andantes Written and produced by Edward Holland, Jr., Lamont Dozier and Brian Holland Instrumentation by The Funk Brothers Produced by Lamont Dozier and Brian Holland

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225. [2] Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p.239. [3] http:/ / www. youtube. com/ watch?v=TTm4ZlClaOA& feature=related

"I'll Be Doggone"

179

"I'll Be Doggone"
"I'll Be Doggone"
Singleby Marvin Gaye from the album Moods of Marvin Gaye Released Format Recorded Genre Length Label Writer(s) January 1965 7" single Hitsville, USA (Studio A), Detroit, Michigan, 1964 Soul/pop 2:50 Tamla William "Smokey" Robinson Warren Moore Marvin Tarplin William "Smokey" Robinson Marvin Gaye singles chronology

Producer

"How Sweet It Is (To Be Loved by You)" (1964)

"I'll Be Doggone" (1965)

"Pretty Little Baby" (1965)

"I'll Be Doggone" is a 1965 song recorded by American soul singer Marvin Gaye and released on the Tamla label. The song talks about how a man tells his woman that he'll be "doggone" about simple things but if she did him wrong that he'd be "long gone". It became his first million-selling record and his first number-one single on the R&B chart, staying there for two weeks, and was the first song Gaye recorded with Smokey Robinson as one of the songwriters of the record. The song was co-written by Robinson's fellow Miracles members Pete Moore and Marv Tarplin.The Miracles also sang background on this recording,along with Motown's long-standing female back-up group, The Andantes,and Miracle Marv Tarplin played lead guitar. "I'll Be Doggone" gave Marvin his third top-ten pop hit, where it peaked at number eight on the Billboard Hot 100, with that number matched by his follow-up record, "Ain't That Peculiar".[1] Paul Revere & the Raiders covered the song in their 1966 studio album Just Like Us!. Bob Weir covered the song on his 1978 solo album Heaven Help The Fool. He also performed it live with his band frequently during that time.

"I'll Be Doggone"

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Personnel
Lead vocals by Marvin Gaye Background vocals by The Miracles (Claudette Rogers Robinson, Pete Moore, Ronnie White, and Bobby Rogers) & The Andantes (Marlene Barrow, Jackie Hicks and Louvain Demps) Instrumentation by The Funk Brothers and Marv Tarplin of The Miracles (guitars).

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225.

"Pretty Little Baby"

181

"Pretty Little Baby"

"Pretty Little Baby"
Singleby Marvin Gaye from the album Anthology B-side Released Recorded Now That You've Won Me 18 June 1965 1964 Hitsville USA, Detroit, Michigan Pop/soul 2:37 Tamla T 54117 Marvin Gaye David Hamilton Clarence Paul Clarence Paul Marvin Gaye singles chronology

Genre Length Label

Writer(s)

Producer

"I'll Be Doggone" (1965)

"Pretty Little Baby" (1965)

"Ain't That Peculiar" (1965)

"Pretty Little Baby" is a 1965 single released by soul singer Marvin Gaye on the Tamla label. Co-written by Gaye, Clarence Paul and David Hamilton and produced by Paul, the song described the narrator's longing and pleading to his woman to not leave his side after the two had an argument. The song was Marvin's second Top 40 single of 1965 after the success of his first number-one Billboard hit, "I'll Be Doggone". A non-album track until the release of his Anthology album nearly ten years later, this song was a top forty success for Gaye peaking at number sixteen on the R&B chart and number twenty-five pop.

Personnel
Lead vocals by Marvin Gaye Background vocals by The Andantes Instrumentation by The Funk Brothers

"Ain't That Peculiar"

182

"Ain't That Peculiar"

"Ain't That Peculiar"
Singleby Marvin Gaye from the album Moods of Marvin Gaye B-side Released Format "She's Got to Be Real" 14 September 1965 7" single

Recorded Hitsville, USA, Detroit, Michigan; 1965 Genre Length Label Soul, pop rock, R&B 2:50 Tamla

Writer(s) Pete Moore, William "Smokey" Robinson, Marv Tarplin, Ronald White Producer Smokey Robinson Marvin Gaye singles chronology

"Pretty Little Baby" (1965)

"Ain't That Peculiar" (1965)

"One More Heartache" (1966)

"Ain't That Peculiar" is a 1965 song recorded by American soul musician Marvin Gaye for the Tamla (Motown) label. The single was produced by Smokey Robinson, and written by Robinson, and fellow Miracles members Ronald White, Pete Moore, and Marv Tarplin. "Ain't That Peculiar" features Gaye, with The Andantes on backing vocals, singing about the torment of a painful relationship. The single was Gaye's second U.S. million seller successfully duplicating its predecessor "I'll Be Doggone", from earlier in 1965 by topping Billboard's Hot R&B Singles chart in the fall of 1965, peaking at #8 on the US Pop Singles chart,.[1] becoming one of Gaye's signature 1960s recordings, and was his best-known solo hit before 1968's "I Heard It Through the Grapevine". The song was later covered by several acts, including Japan (on their 1980 Gentlemen Take Polaroids album), Jermaine Jackson, The Jackson 5, KISS, Ellie Greenwich, John Waite, Nantucket, Southside Johnny, Fanny, Paul Carrack and New Grass Revival. A live bootleg recording by Peter Gabriel, made from David Lord's cassette recordings, appears in issue 2 of The Bristol Recorder. Van Halen vocalist David Lee Roth recorded a version of the song for his 1985 solo EP Crazy From The Heat; although it was never released, it is available for free download for members of his website the Roth Army. Mike & the Mechanics' cover was a B-side in 1995. Phil Collins recorded a cover during the sessions of his 2010 album Going Back. This means that it has been covered by Peter Gabriel and Phil Collins, both members of Genesis at a time, MIke + the Mechanics, Genesis guitarist Mike Rutherford's side band, and Paul Carrack of Mike + the Mechanics. The song was featured in the film American Splendor

"Ain't That Peculiar"

183

Personnel
Lead vocals by Marvin Gaye Background vocals by The Andantes: Marlene Barrow, Jackie Hicks and Louvain Demps Instrumentation by The Funk Brothers and Marvin Tarplin of The Miracles (guitars).

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225.

"One More Heartache"

184

"One More Heartache"

"One More Heartache"
Singleby Marvin Gaye from the album Moods of Marvin Gaye B-side Released Format Recorded Genre Length Label "When I Had Your Love" January 1966 7" single Hitsville USA (Studio A) Soul; pop; rock and roll 2:34 Tamla T 54129 Warren Moore Smokey Robinson Bobby Rogers Marv Tarplin Smokey Robinson Marvin Gaye singles chronology

Writer(s)

Producer

"Ain't That Peculiar" (1965)

"One More Heartache" (1966)

"Take This Heart of Mine" (1966)

"One More Heartache" is a 1966 single recorded by Marvin Gaye for Motown Records' Tamla label. The single was written by the team of The Miracles members Bobby Rogers, Marv Tarplin, Pete Moore and Smokey Robinson and produced by Robinson. This propulsive single discusses a man reaching the breaking point of his troubling relationship with his lover describing his pain in the relationship as if comparing a camel's broken back, a broken house of toothpicks and a busted balloon excluding that it only takes "one more heartache" for him to lose it. The song features rock guitar riffs from Tarplin, a saxophone solo from Thomas "Beans" Bowles, keyboards from Earl Van Dyke, bass from James Jamerson, and the vocals of Gaye and background session singers The Andantes. The song was the third release and third consecutive Top 40 single from Gaye's Moods of Marvin Gaye album, and was produced with a similar sound to his hit "Ain't That Peculiar". "One More Heartache"was a Top 30 Pop hit, peaking at number 29 on the Billboard Hot 100, and a Top 10 R&B hit , peaking at number four on the R&B singles chart. The Paul Butterfield Blues Band covered "One More Heartache" in 1967. It was released by Elektra Records, both as a single and on the album The Resurrection of Pigboy Crabshaw.

"One More Heartache"

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Credits
Lead vocals by Marvin Gaye Background vocals by The Andantes: Jackie Hicks, Marlene Barrow & Louvain Demps Instrumentation by The Funk Brothers and Marv Tarplin (of The Miracles) guitars

"Take This Heart of Mine"

186

"Take This Heart of Mine"

"Take This Heart of Mine"
Singleby Marvin Gaye from the album Moods of Marvin Gaye Released Recorded Genre Label Writer(s) 1966 1965, Hitsville USA pop, soul Tamla Warren "Pete" Moore William "Smokey" Robinson Marv Tarplin Smokey Robinson Marvin Gaye singles chronology

Producer

"One More Heartache" (1966)

"Take This Heart of Mine" (1966)

"Little Darling (I Need You)" (1966)

"Take This Heart of Mine" is a song written by The Miracles members Warren "Pete" Moore, William "Smokey" Robinson and Marv Tarplin, produced by Robinson and released as a single by American soul singer Marvin Gaye, on Motown Records 'Tamla label in 1966. Released in succession of three consecutive singles by Gaye helmed by the Miracles team from his Moods of Marvin Gaye album, the song took on a slightly different musical mix than the previous three. A little upbeat from the previous two singles, this song has the narrator describing how his love "is better than the tale of Jack and Jill" and how its prescription fills up better than a doctor's among other things. Unlike the previous three, this song fell short of reaching the pop top forty peaking at number 44 on the Billboard Hot 100 but reached number ten on the R&B singles chart making it the fourth consecutive top ten hit on Moods... In 1966, Marvin sang this song on his only appearance on The Ed Sullivan Show.

Personnel
Lead vocals by Marvin Gaye Background vocals by The Andantes Written by Warren "Pete" Moore, William "Smokey" Robinson and Marv Tarplin Produced by William "Smokey" Robinson Instrumentation by The Funk Brothers and Marv Tarplin: guitars

"Little Darling (I Need You)"

187

"Little Darling (I Need You)"

"Little Darling (I Need You)"
Singleby Marvin Gaye from the album Moods of Marvin Gaye Released Recorded Genre Label Writer(s) Producer 1966 1965 Rhythm and blues, soul, pop rock Tamla Holland-Dozier-Holland Brian Holland Lamont Dozier Marvin Gaye singles chronology

"Take This Heart of Mine" (1966)

"Little Darling (I Need You)" (1966)

"It Takes Two" (w/Kim Weston) (1966)

"Little Darling (I Need You)" is a 1966 single written and produced by Holland-Dozier-Holland and recorded and released by Marvin Gaye on the Tamla label. This song was released after the modest success of the Miracles-produced single "Take This Heart of Mine" in hopes that Gaye's work with the hit-making trio Holland-Dozier-Holland would bring him back to the pop top ten. Similarly conceived with the same musical background as their previous collaboration, "How Sweet It Is (To Be Loved By You)", the song has the singer declaring to his woman to stay beside him promising her that he'll be "(her) number-one fool". While it reached the top forty of the Billboard Top R&B Singles chart peaking at number sixteen, it performed less better than "Take This Heart of Mine" peaking at number 47 on the pop charts. The song was subsequently covered by The Doobie Brothers for their 1977 release Livin' on the Fault Line.

Personnel
Lead vocals by Marvin Gaye Background vocals by The Andantes: Marlene Barrow, Jackie Hicks and Louvain Demps Written by Holland-Dozier-Holland Produced by Brian Holland and Lamont Dozier Instrumentation by The Funk Brothers

"It Takes Two"

188

"It Takes Two"

"It Takes Two"
Singleby Marvin Gaye and Kim Weston from the album Take Two Released Recorded Genre Length Label Writer(s) 1966 1965, Detroit, Michigan Pop 3:10 Tamla William "Mickey" Stevenson Sylvia Moy William "Mickey" Stevenson

Producer

"It Takes Two" was a hit single recorded in late 1965 by Marvin Gaye and Kim Weston for Motown's Tamla label. Produced by Weston's then-husband, longtime Gaye collaborator William "Mickey" Stevenson, and co-written by Stevenson and Sylvia Moy, "It Takes Two" centered around a romantic lyric which depicted many things in life (dreams, love, wishes, etc.) being better with two people instead of one. The single became Gaye's most successful duet single to date, later outperformed by Gaye's duets with Tammi Terrell. Gaye and Weston's duet peaked at #14 on the Billboard Pop charts and #4 on Billboard's Soul Singles chart in January 1967. "It Takes Two" was also Gaye's first major hit in the UK, where it peaked at #16 on the British singles charts in the spring of that same year. Also in 1967, soul singers Otis Redding and Carla Thomas covered the song for their duet album, King & Queen. It was also recorded by Donny and Marie Osmond in 1974. It was from their gold album "I'm leaving it all up to you". The song also appeared on The Osmonds album "Around the World Live" in late 1975. Though it was never released as a single, the song was performed live at concerts.

Personnel
All vocals by Marvin Gaye and Kim Weston Instrumentation by The Funk Brothers and The Detroit Symphony Orchestra Produced by William "Mickey" Stevenson

Rod Stewart and Tina Turner version

"It Takes Two"

189

"It Takes Two"

Singleby Rod Stewart & Tina Turner from the album Vagabond Heart B-side Released Format Recorded Genre Length Label Writer(s) Producer "Hot Legs" (Live) 1990 7", 12" single, CD single 1990 Pop rock 4:13 Warner Bros. William "Mickey" Stevenson, Sylvia Moy Bernard Edwards

Tina Turner singles chronology

"Be Tender with Me Baby" (1990)

"It Takes Two" (Duet with Rod Stewart) (1990)

"Nutbush City Limits (The 90's Version)" (1991)

In 1990 "It Takes Two" was covered by Rod Stewart and Tina Turner and featured in a television advertising camaign for Pepsi. It was released as the lead single from Stewart's album Vagabond Heart, produced by Bernard Edwards and released in early 1991. The duet was a European hit, peaking at #5 in the UK, and becoming a Top 10 single in several European countries. It later appeared on both artists' greatest hits albums: Turner's Simply The Best (1991), and Stewart's The Very Best of Rod Stewart (2001).

Versions and remixes

Album version - 4:13 Extended Remix - 4:51

Chart performance
Peak Chart (19901991) Position 5 4 16 22 10 3 5 4 14 UK Singles Chart Irish Singles Chart Australian Singles Chart German Singles Chart Swiss Singles Chart Dutch Singles Chart Italian Singles Chart Austrian Singles Chart New Zealand Singles Chart

"It Takes Two"

190

Other cover versions

Billie Piper also covered the song in late 1998 as B-Side to her third single "She Wants You".

Use in television and other media

The original version of the song was featured on a 1982 advert for Talbot cars on British television.[1] Detroit television station WJBK-TV, which broadcasts on Channel 2, used a reworked version of the song with revised lyrics called "It Takes 2" as part of its on-air imaging in the early 1990s. The new version was sung again by Kim Weston and Marvin Gaye's brother Frankie. [2]

References
[1] (http:/ / www. youtube. com/ watch?v=RxzYiWcQspg) [2] http:/ / www. youtube. com/ watch?v=rNI9k5FFDW8

"Ain't No Mountain High Enough"

"Ain't No Mountain High Enough"
Singleby Marvin Gaye & Tammi Terrell from the album United B-side Released Format Recorded "Give a Little Love" April 27, 1967 7" single Hitsville USA (Studio A) (Detroit, Michigan) January 1967 Soul, rhythm and blues, pop 2:28 Tamla T 54149 Nickolas Ashford & Valerie Simpson Harvey Fuqua Johnny Bristol Marvin Gaye & Tammi Terrell singles chronology

Genre Length Label

Writer(s) Producer

"Little Darling (I Need You)" (Gaye, 1966) "I Can't Believe You Love Me" (Terrell, 1966)

"Aint No Mountain High Enough" (1967)

"Your Unchanging Love" (Gaye, 1967) "Your Precious Love" (Terrell, 1967)

"Ain't No Mountain High Enough" is an R&B/soul song written by Nickolas Ashford & Valerie Simpson in 1966 for the Tamla Motown label. The composition was first successful as a 1967 hit single recorded by Marvin Gaye and

"Ain't No Mountain High Enough" Tammi Terrell, becoming a hit again in 1970 when recorded by former Supremes frontwoman Diana Ross. The song became Ross's first solo number-one hit on the Billboard Hot 100 chart and was nominated for a Grammy Award.

191

History
Marvin Gaye and Tammi Terrell original
The original 1967 version of "Ain't No Mountain High Enough" was a top twenty hit. According to record producers, Terrell was a little nervous and intimidated during recording because she hadn't rehearsed the lyrics. Terrell recorded her vocals alone with producers Harvey Fuqua and Johnny Bristol, who added Gaye's vocal at a later date.[1] "Ain't No Mountain" peaked at number nineteen on the Billboard pop charts, and went to number three on the R&B charts. This original version of "Ain't No Mountain", produced by Fuqua and Bristol, was a care-free, danceable, and romantic love song that became the signature duet between Gaye and Terrell. Its success led to a string of more Ashford/Simpson penned duets (including "You're All I Need to Get By", "Ain't Nothing Like the Real Thing", and "Your Precious Love"). The Gaye/Terrell version was inducted into the Grammy Hall of Fame in 1999, and is regarded today as one of the most important records ever released by Motown.

Diana Ross version

"Ain't No Mountain High Enough"

Singleby Diana Ross from the album Diana Ross B-side Released Format Recorded "Can't It Wait Until Tomorrow" July 16, 1970 7" single Hitsville USA (Studio A) (Detroit, Michigan) March 13, March 14, and March 18, 1970 Soul 3:32 (single edit) 6:18 (album version) Motown M 1169 Nickolas Ashford & Valerie Simpson Platinum (US) Diana Ross singles chronology

Genre Length

Label

Producer Certification

"Reach Out and Touch (Somebody's Hand)" (1970)

"Ain't No Mountain High Enough" (1970)

"Remember Me" (1970)

After the Top 20 success of her first single, "Reach Out and Touch (Somebody's Hand)", Ashford and Simpson had Ross re-record "Ain't No Mountain High Enough". Initially, Ross was apprehensive, as she had previously covered the song as a member of the Supremes in a duet with The Temptations (see below). Eventually, however, she was

"Ain't No Mountain High Enough" convinced to make the recording. The cover produced a version similar to gospel with elements of classical music strings, spoken word passages from Ross, with the Andantes, Jimmy Beavers, and Ashford and Simpson as backing singers giving the song a soul and gospel vocal element. Motown chief Berry Gordy didn't like the record upon first hearing it. He hated the spoken-word passages and wanted the song to begin with the climactic chorus/bridge. It was not until radio stations nationwide were editing their own versions and adding it to their playlists that Ashford and Simpson were able to convince Gordy to release an edited three-minute version as a single. Ross' version of "Ain't No Mountain High Enough" rose up to number one on both the pop and R&B singles charts,[2] and Ross received a Grammy nomination for Best Female Pop Vocal Performance. This version is in the key of C minor.

192

Notable covers
With The Supremes, Diana Ross recorded a version of "Ain't No Mountain High Enough" which was more faithful to the Terrell-Gaye original version as a duet with The Temptations. That song was an album cut from a joint LP released by Motown Records in 1968 on the two superstar groups, titled Diana Ross & the Supremes Join The Temptations. In 2000, KLM used this version as a commercial. 1981 saw the recording by Inner Life of the underground dance classic "Ain't No Mountain High Enough", produced by Patrick Adams and Greg Carmichael, remixed by Larry Levan, and released on the Salsoul label. The same year saw an upbeat disco version by the Boys Town Gang who recorded it as a medley with another Ashford & Simpson song, "Remember Me". The full version of this song is nearly 14 minutes long and can be found on their album Cruisin the Street. Stacy Lattisaw and Howard Hewett sang "Ain't No Mountain High Enough" on Personal Attention album in 1988. Australian singer Jimmy Barnes released an album of soul covers titled Soul Deep in 1991, including his rock version of "Ain't No Mountain High Enough". This cover reached #28 in Australia in 1992 [3] In 1993, at the end of the film Sister Act 2: Back in the Habit, Whoopi Goldberg and most of the cast of the movie, including future neo-soul superstar Lauryn Hill, mixed both the Gaye/Terrell and Diana Ross solo versions of the song together for a performance of "Ain't No Mountain" at the climax of the film. The Gaye/Terrell version also frequently turns up, often as part of a sing-along, in "feel-good" movies, such as Remember the Titans and Stepmom. In 1997, Whitney Houston performed the song live as a part of her medley tribute to Diana Ross on her Classic Whitney Live from Washington, D.C. concert. In 1998, Debelah Morgan covered the song for the movie Our Friend, Martin, also mixing the Gaye/Terrell and Diana Ross versions. In 1999, the tune of the song was used in Smart Gold commercial in the Philippines. Former Doobie Brother Michael McDonald recorded the song as part of his Motown album in 2003. The version was used in a commercial for MCI and in the film The 40-Year-Old Virgin. In 2004, the 12 finalists of American Idol covered the song for the ensemble track for the cast album American Idol Season 3: Greatest Soul Classics. Swedish pop band Play recorded the song for their 2003 album Replay. This version appeared in the trailer for the 2006 film Last Holiday. In 2006, Australian vocal group Human Nature included a cover on the second album of their Motown trilogy, Dancing in the Street: the Songs of Motown II. The album debuted at #1 on the ARIA charts. In 2006, Eva Avila performed this song on the fourth season of Canadian Idol during the last round of the semi-finals. Avila went on to win the competition. In 2006, Amy Winehouse recorded the song "Tears Dry On Their Own" for her album Back to Black, which keeps the chord progression, arrangement and instrumentation of "Ain't No Mountain High Enough", but which contains a different melody and different, original lyrics written by Winehouse.

"Ain't No Mountain High Enough" A duet between Eddie Money & his daughter Jesse Money is featured on his 2007 cover album Wanna Go Back. Portions of the Diana Ross version were sampled on the Jessica Simpson single "A Public Affair". In an episode of The Steve Harvey Show, Lydia performs the song towards the end of Booker T. Washington High School's graduation ceremony. In 2009, Lionel Richie and Stefanie Heinzmann performed the song live in the German music award show Echo 2009.[4] In 2010, Hungarian-Slovakian singer Takcs Nikolas performed the song in the 4th live show and in the great final of the Hungarian X-Faktor. He ended up 2nd in the competition. In 2009, Dionne Bromfield covered this song on her debut album "Introducing Dionne Bromfield". In 2011, the song was re-recorded by Paul Epworth and used in a commercial for DHL.[5] In 2011, the song was covered by French singer Chimne Badi and Billy Paul, for Badi's 2011 Gospel & Soul album. In 2011, the song appeared in a NicoDerm CQ commercial with a miniature little band playing the song on the table of the former smoker.

193

Personnel
Gaye/Terrell version
All vocals by Marvin Gaye and Tammi Terrell Instrumentation by The Funk Brothers and Detroit Symphony Orchestra

Ross version
Lead Vocals by Diana Ross Background Vocals by Nickolas Ashford, Valerie Simpson, Joshie Armstead, Jimmy Beavers, and The Andantes: Jackie Hicks, Marlene Barrow, and Louvain Demps Instrumentation by The Funk Brothers and the Detroit Symphony Orchestra, with Valerie Simpson on the piano

Notes
[1] Chin, Brian (2001). Liner notes for Marvin Gaye & Tammi Terrell: The Complete Duets. New York: Motown Records/UMG Recordings. [2] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.501. [3] Chart Position @ Australian-Charts.com (http:/ / www. australian-charts. com/ showitem. asp?interpret=Jimmy+ Barnes& titel=Ain't+ No+ Mountain+ High+ Enough& cat=s) Retrieved May 3, 2009 [4] Stefanie Heinzmann & Lionel Richie - Aint No Mountain High Enough (live on the German ECHO music awards 2009) (http:/ / www. youtube. com/ watch?v=NXFmb7CkvoE& feature=related), YouTube video of the live performance (February 2009) [5] "DHL Express presents "The International Specialists"" (http:/ / www. dhl. be/ en/ press/ events/ international_specialists. html). DHL. May 31, 2011. . Retrieved September 5, 2011.

"Your Unchanging Love"

194

"Your Unchanging Love"

""Your Unchanging Love""
Singleby Marvin Gaye from the album Moods of Marvin Gaye Released Recorded Genre Length Label Writer(s) Producer June 13, 1967 1965, Hitsville U.S.A.; Detroit, Michigan Soul, pop 2:37 Tamla HollandDozierHolland Lamont Dozier, Brian Holland Marvin Gaye singles chronology

"Ain't No Mountain High Enough" (w/Tammi Terrell; 1967)

"Your Unchanging Love" (1967)

"Your Precious Love" (w/Tammi Terrell; 1967)

"Your Unchanging Love" is a 1967 single released by American soul singer Marvin Gaye on the Tamla label. Written by HollandDozierHolland, the song was featured on Marvin's Moods of Marvin Gaye album. Released during a time when Gaye was releasing hit duets by Kim Weston and Tammi Terrell, this was a rare solo detour that was successful enough to garner a top 40 pop charting where it peaked at number 33 on the Billboard Hot 100 making it the fourth top forty single issued from Moods. The song was musically conceived on the same musical background as Marvin's landmark single, "How Sweet It Is (To Be Loved By You)", and performed better chart-wise than their previous single, "Little Darling (I Need You)".

Personnel
Lead vocals by Marvin Gaye Background vocals by The Andantes Instrumentation by The Funk Brothers

"Your Precious Love"

195

"Your Precious Love"

"Your Precious Love"
Singleby Marvin Gaye & Tammi Terrell from the album United B-side Released Format Recorded Genre Length Label "Hold Me Oh My Darling" August 22, 1967 7" vinyl Hitsville USA; 1967 Soul/Pop 3:07 Tamla T 54156 Nickolas Ashford and Valerie Simpson Harvey Fuqua Johnny Bristol Marvin Gaye & Tammi Terrell singles chronology

Writer(s) Producer

"Ain't No Mountain High Enough" (1967)

"Your Precious Love" (1967)

"If I Could Build My Whole World Around You" (1967)

"Your Precious Love" is a popular song that was a 1967 hit for Motown singers Marvin Gaye and Tammi Terrell. Written by Nickolas Ashford and Valerie Simpson and produced by Harvey Fuqua and Johnny Bristol, the doo-wop styled recording features background vocals by Fuqua, Gaye, Terrell and Bristol, and instrumentals by The Funk Brothers. The song peaked at #5 on Billboard Pop Singles chart,[1] #2 on Billboard's R&B Singles chart, and the top 40 on Billboard's Easy Listening survey. The song was later sampled by Gerald Levert on the song, "Your Smile", on his 2002 album, The G Spot.

Cover versions
A cover version by D'Angelo and Erykah Badu was released on the High School High soundtrack album (1996), as well as featured on his "The Best So Far"...compilation album. There was also an a cappella cover of the song by Cedric the Entertainer and Avant figures in a gag sequence in the 2004 MGM film Barbershop 2: Back in Business. Sarah Connor recorded the song as an overdubbed "duet" with Marvin Gaye on her 2007 album Soulicious. Another cover of the song was recorded by Peter Cox of Go West and Easther Bennett of Eternal and appears on Cox's 2006 album Motor City Music (Curb Records). An earlier cover version by Al Jarreau and Randy Crawford from the album Casino Lights - Recorded Live At Montreux, Switzerland was released in 1982. Also featured on the track are Grammy award winning artists: Larry Carton (guitar), David Sanborn (saxophone), Marcus Miller (Bass) and the Seawind Horns (Jerry Hey, Kim Hutchcroft, Larry Williams and Bill Reichenbach). In 1984, father Neil Sedaka and daughter Dara Sedaka reached the Billboard Top 15 of the Adult Contemporary chart with their duet cover version of the song. Fantasia sampled this song on her song "Collard Greens and Cornbread" on her 2010 album Back To Me.

"Your Precious Love"

196

References
[1] "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales" (http:/ / www. billboard. com/ bbcom/ esearch/ chart_display. jsp?cfi=379& cfgn=Singles& cfn=The+ Billboard+ Hot+ 100& ci=3070446& cdi=8826111& cid=12/ 02/ 1967). . Retrieved May 21, 2009.

"You"
"You"
Singleby Marvin Gaye from the album In the Groove/I Heard It Through the Grapevine Released Recorded Genre Length Label Writer(s) 1967 1967 Soul, psychedelic soul, funk 2:25 Tamla Ivy Jo Hunter Jack Goga Jeffrey Bowen Ivy Jo Hunter Marvin Gaye singles chronology

Producer

"Your Precious Love" "You" (with Tammi Terrell) (1967) (1967)

"If I Could Build My Whole World Around You" (with Tammi Terrell) (1967)

"You" is a 1967 single released by American singer Marvin Gaye on the Tamla label. Released as the first single off Gaye's In the Groove album, it was written by Ivy Jo Hunter, Jack Goga and Jeffrey Bowen and produced by Hunter. The song talked of a man wanting to keep a rendezvous secret with one woman while the both of them are involved with other people. Recorded after Gaye recorded his "I Heard It Through the Grapevine" single, it showcased a new rougher Gaye vocal than usual signaling a change in the singer's direction as he stepped away from the sophisticated-styled soul that dominated his mid-sixties releases. A modest hit on the pop charts peaking at number thirty-four, it was a top ten single on the R&B charts where it peaked at number seven. The background vocals in the song were provided by Gladys Knight & the Pips.

"You"

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Credits
Lead vocals by Marvin Gaye Background vocals by Gladys Knight & the Pips Instrumentation by The Funk Brothers

"If I Could Build My Whole World Around You"

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"If I Could Build My Whole World Around You"

"If I Could Build My Whole World Around You"
Singleby Marvin Gaye & Tammi Terrell from the album United B-side Released Format Recorded Genre Length Label "If This World Were Mine" December 1967 7" single Hitsville USA; 1967 Soul/pop 2:26 Tamla 54161 Harvey Fuqua Johnny Bristol Vernon Bullock Harvey Fuqua Johnny Bristol Marvin Gaye & Tammi Terrell singles chronology

Writer(s)

Producer

"Your Precious Love" (1967)

"If I Could Build My Whole World Around You/If This World Were Mine" (1967)

"Ain't Nothing Like the Real Thing" (1968)

"If I Could Build My Whole World Around You" is a popular song recorded by Marvin Gaye and Tammi Terrell in 1967 and released in December 1967. Written by Harvey Fuqua, Johnny Bristol, and Vernon Bullock, the single was Gaye & Terrell's third single together and the second to go Top Ten on both the Pop and R&B charts of Billboard, peaking at number ten and number two, respectively. The duo's vocals go back and forth as they described what could be if either was able to "build a world" around their loved one. It was one of few songs that set the duo apart from other R&B duos of the time. In time, this song among other legendary duets by the two soul icons would become the landmark for R&B duets to this day. The song was also one of the few songs that was written by someone other than Ashford & Simpson, who had written several hit songs for the duo. Marc Broussard covered this song for his 2007 album SOS: Save Our Soul. Swedish Pop Idol winner Agnes Carlsson covered this song with Erik Hassle in 2009 for her UK debut album Dance Love Pop.

Personnel
All vocals by Marvin Gaye and Tammi Terrell Instrumentation by The Funk Brothers

"If This World Were Mine"

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"If This World Were Mine"

"If This World Were Mine"
Singleby Marvin Gaye & Tammi Terrell from the album United A-side B-side Released Format Recorded Genre Length Label If I Could Build My Whole World Around You "If This World Were Mine" December 1967 7" single Hitsville USA; 1967 Soul/pop 2:41 Tamla T 54161 Marvin Gaye & Tammi Terrell singles chronology

"Your Precious Love" (1967)

"If I Could Build My Whole World Around You"/"If This World Were Mine" (1967)

"Ain't Nothing Like the Real Thing" (1968)

"If This World Were Mine" is a 1967 song by soul music duo Marvin Gaye and Tammi Terrell from their album United. Written solely by Gaye, it was one of the few songs they recorded without Ashford & Simpson writing or producing. When it was released as a single in November 1967 as the B-side to the duo's "If I Could Build My Whole World Around You", it hit the Billboard pop singles chart, peaking at number sixty-eight, and peaked at number twenty-seven on the Billboard R&B singles chart. Gaye would later put the song into his set list during his last tours in the early-1980s as he performed a medley of his hits with Terrell. The song is covered by Joe Bataan on the 1968 Fania Allstars LP Live at the Red Garter, Vol. 2, and by Ambrose Slade (pre-Slade) on their 1969 album Beginnings. Fifteen years after the original recording, Luther Vandross and Cheryl Lynn re-recorded it for her album Instant Love and made the song a R&B top five smash peaking at number four in 1982. A decade later, Coko of SWV and rising R&B singer and Tyrese recorded it for her 1999 solo album Hot Coko. In 2005, Alicia Keys and Jermaine Paul recorded it for the Luther Vandross tribute album So Amazing: An All-Star Tribute to Luther Vandross. R&B singer Tweet sampled the Gaye/Terrell original for the intro of her 2005 single "Turn Da Lights Off", featuring Missy Elliott. The song is featured on John Legend's 2004 live album Solo Sessions Vol. 1: Live at the Knitting Factory, with Imani Uzuri singing the female lead. The cover version by R&B/Soul artists Alicia Keys and Jermaine Paul was nominated Best R&B Performance by a Duo or Group with Vocals at the Grammy Awards. They didn't win. The Grammy was honored to Beyonc Knowles and Stevie Wonder for "So Amazing."

"Ain't Nothing Like the Real Thing"

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"Ain't Nothing Like the Real Thing"

"Ain't Nothing Like The Real Thing"
Singleby Marvin Gaye and Tammi Terrell from the album You're All I Need Released Format Recorded Genre Length Label March 28, 1968 7" single Hitsville USA; 1968 Soul, pop 2:12 Tamla T 54163 Ashford & Simpson Ashford & Simpson Marvin Gaye and Tammi Terrell singles chronology

Writer(s) Producer

"If I Could Build My Whole World Around You" (1967)

"Ain't Nothing Like the Real Thing" (1968)

"You're All I Need to Get By" (1968)

"Ain't Nothing Like the Real Thing" is a 1968 single released by American R&B/soul duo Marvin Gaye and Tammi Terrell, on the Tamla label in 1968. The B-side of the single is "Little Ole Boy, Little Ole Girl" from the duo's United LP. The first release off the duo's second album, You're All I Need, the song, written and produced by longtime Gaye/Terrell collaborators Ashford & Simpson, became a hit within weeks of release eventually peaking at number eight on the Billboard Hot 100 and number one on the Hot Soul Singles chart,[1] their first of two number ones hit together on the soul singles chart. The song appears on the game Karaoke Revolution Party.

Personnel
All lead vocals by Marvin Gaye and Tammi Terrell Background vocals by Nickolas Ashford and Valerie Simpson Produced by Ashford & Simpson Instrumentation by The Funk Brothers

Chart history

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Chart

Peak position 8 1 34

U.S. Billboard Hot 100 Chart U.S. Billboard R&B Singles Chart UK Singles Chart

Cover versions
In 1969, Diana Ross and the Supremes with The Temptations covered the song, from the album Together. In 1970, The Supremes & The Four Tops together covered the song on their album The Magnificent 7. In 1972, The Jackson 5 covered the song on their album Lookin' Through the Windows. In 1974, Aretha Franklin re-recorded the song and released it as a single following the success of her song "Until You Come Back to Me", from the album Let Me in Your Life. In 1975, The Dynamic Superiors covered the song for their album "Pure Pleasure." In 1976, Donny & Marie Osmond covered the song on their album New Season. Their version was a moderate hit in early 1977, peaking at #21 on the Billboard Hot 100. In 1983, Angela Bofill covered the song on her album Too Tough. In 1988, Hazell Dean covered the song as a duet with Darryl Pandy on her album Always. In 1993, Elton John and Marcella Detroit covered the song on Elton John's Duets album. Released as a single the following year, it peaked at #24 in the UK. In 1994, Gladys Knight and Vince Gill recorded the song for the Rhythm, Country and Blues album where rhythm and blues singers collaborated with country music singers. In 2003, Michael McDonald covered it on his album 'Motown'. In 2007, Boyz II Men covered it on their album 'Motown: A Journey Through Hitsville USA'. In 2008, pop stars Justin Timberlake and Beyonc Knowles performed a cover of the song for the fifth anniversary of Cond Nast Publications' Fashion Rocks concert. In 2008, soap stars Tammin Sursok and Michael Graziadei performed & recorded a cover of the song for their show, The Young and the Restless. In 2009, Melba Moore and Phil Perry covered the song on their album The Gift Of Love. In 2010, Trijntje Oosterhuis feat. The Clayton-Hamilton Jazz Orchestra covered the song on the album Sundays in New York produced by John Clayton.

"Ain't Nothing Like The Real Thing"

Singleby Marcella Detroit & Elton John from the album Jewel Released Recorded Genre Label Writer(s) 1994 1993 Pop London Marcella Detroit Marcella Detroit & Elton John singles chronology

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I Believe (1994)

Ain't Nothing Like The Real Thing (1994)

I'm No Angel (1994)

Part 2 of a limited edition 2 part set; comes in a slimline 'Z Box' with space for Part 1.

Marcella Detroit & Elton John version

"Ain't Nothing Like The Real Thing" was recorded by Elton John as a duet with Marcella Detroit, and featured on his 1993 album Duets. It was also later included on Detroit's 1994 album Jewel. Released as a two-part CD single single in May 1994, it peaked at #24 in the UK. It was the third and last single released off John's album and the second lifted from Detroit's. A music video featuring both singers was filmed. The b-sides were Detroit solo tracks, and remixes of the duet.

Track listing
UK CD 1 Maxi Single LONCD 350 857 529-2 1. "Ain't Nothing Like The Real Thing" - (3:36) 2. "Break The Chain" - (3:47)
Written by Marcella Detroit

3. "I Feel Free" - (4:08)

Written by Jack Bruce & Pete Brown

UK CD 2 Maxi Single LOCDP 350 1. "Ain't Nothing Like The Real Thing" (Kenny Dope Extended Mix) - (5:48)
Remixed by Kenny "Dope" Gonzalez

2. "Ain't Nothing Like The Real Thing" (Troopa Mood Mix) - (3:43)
Remixed by Kenny "Dope" Gonzalez

3. "I Feel Free" (Full Cream Mix) - (9:35)

Remixed & Produced by Helena Marsh & Jon Marsh

4. "I Feel Free" (Cry Out Loud Mix) - (5:47)

Remixed & Produced by Helena Marsh & Jon Marsh

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225.

"You're All I Need to Get By"

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"You're All I Need to Get By"

"You're All I Need to Get By"
Singleby Marvin Gaye & Tammi Terrell from the album You're All I Need B-side Released Format Recorded Genre Length Label "Two Can Have a Party" July 9, 1968 7" single Hitsville USA, Detroit, Michigan; 1967 R&B/soul 2:38 Tamla T 54169 Nickolas Ashford Valerie Simpson Ashford & Simpson Marvin Gaye & Tammi Terrell singles chronology

Writer(s)

Producer

"Ain't Nothing Like the Real Thing" (1968)

"You're All I Need to Get By" (1968)

"Keep On Lovin' Me Honey" (1968)

"You're All I Need to Get By" is a song recorded by the American R&B/soul duo Marvin Gaye and Tammi Terrell and released on Motown Records' Tamla label in 1968. It was the basis for the 1995 single "I'll Be There for You/You're All I Need to Get By" from Method Man and Mary J. Blige.

Overview
Written by real-life couple Nickolas Ashford & Valerie Simpson, it became one of the few Motown recordings of the 1960s that was not recorded with the familiar "Motown sound". Instead, "You're All I Need to Get By" had a more soulful and gospel-oriented theme surrounding it, that was influenced by the writers, who also sing background vocals on the recording, sharing vocals in a church choir in New York. The lead vocals were recorded separately by the two singers and combined during the mixing process, reportedly to cut studio time, and give time for Terrell, who was using a wheelchair, to recover from surgery to repair the malignant brain tumor that would ultimately cause her death in 1970. The original recording by Gaye and Terrell peaked at number seven on the Billboard Hot 100 and number-one on Billboard's Hot R&B/Soul Singles chart for five weeks,[1] becoming one of the longest-running number one R&B hits of 1968 and the most successful duet recording of Marvin Gaye's entire career. Given its global appeal, it also reached #19 on the British singles charts in late 1968, staying there for nineteen weeks.

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Personnel
All lead vocals by Marvin Gaye and Tammi Terrell Background vocals by Nickolas Ashford and Valerie Simpson Produced by Ashford & Simpson Instrumentation by The Funk Brothers

Chart history
Chart Peak position 7 1 19

U.S. Billboard Hot 100 Chart U.S. Billboard R&B Singles Chart UK Singles Chart

Covers
Dionne Warwick recorded this song in 1969 for the album Soulful and Diana Ross recorded it for her 1970 album, Diana Ross. Ashford and Simpson produced Ross' version as well. Aretha Franklin recorded this song for her 1971 compilation album, Aretha's Greatest Hits. It peaked at #19 on the Billboard Hot 100 and #3 on the Hot Soul Singles chart. There were two versions recorded in 1978. Johnny Mathis and Deniece Williams released this as a duet from Mathis' album, You Light Up My Life. It peaked at #47 on the Billboard Hot 100, #10 on the Hot Soul Singles Chart, and #45 on the UK Singles Chart. It also appeared on Mathis and Williams' album as a duo "That's What Friends Are For" of the same year. Gloria Gaynor recorded a disco version for Gloria Gaynor's Park Avenue Sound. Natalie Appleton and Bootsy Collins recorded this song in 2000 and it features on the soundtrack of the movie Honest directed by Dave Stewart. Michael McDonald recorded this song for his second album of Motown covers, 2004's Motown Two. Kidda uses a line of this song for his 2008 single "Under The Sun". D.C. Rapper Wale samples this in the song "The Remake of a Remake (All I Need)" off of his critically acclaimed "Mixtape About Nothing," with singer Tawiah singing the female vocals. My Morning Jacket performed the song during their New Year's Eve concert at Madison Square Garden on December 31, 2008, with Nicole Atkins appearing as a guest vocalist to sing the female part. Actresses Telma Hopkins and Valarie Pettiford performed the song together in an episode of UPN's Half and Half. Gladys Knight "Empress of Soul" also performed," You're All I Need to Get By" A rendition of the tune by husband-and-wife duo Kenny Lattimore and Chant Moore serves as the theme song for the BET reality series The Family Crews.

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Other allusions to the song

This song and its 1995 interpolation of it by Method Man and Mary J. Blige on their single, "I'll Be There for You/You're All I Need to Get By", were referenced in "All I Need" by Jay-Z when he says: "And all...I...need is a chick to hold a jammy like/Meth and Mary, like, Marvin and Tammi" Late rapper The Notorious B.I.G. sampled a portion of it for his song "My Downfall" on his Life After Death Album. On the first season of American Idol, winner Kelly Clarkson sang this song during Motown week and Jasmine Trias also sang it on the third season. On the sixth season finale, American Idol Winner Jordin Sparks sang it as a duet with second-season winner Ruben Studdard. Seventh season American Idol runner-up David Archuleta performed this song on Star Search final. Eighth season contestant Von Smith performed it in the third week of semifinals. In addition, Jacob Lusk sang this song also during Motown week of Idol's tenth season.

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225.

"Chained"

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"Chained"
"Chained"
Singleby Marvin Gaye from the album In the Groove/I Heard It Through the Grapevine Released Recorded Genre Length Label Writer(s) Producer 1968 1967 Soul, funk 2:38 Tamla Frank Wilson Frank Wilson Marvin Gaye singles chronology

"You're All I Need to Get "Chained" "Keep On Lovin' Me By" (1968) Honey" (1968)(with Tammi Terrell) (1968)(with Tammi Terrell)

"Chained" is a 1968 single released by soul singer Marvin Gaye on the Tamla label. Written and produced by Frank Wilson, the song, much like his previous hit, "You", directed the singer towards a grittier and funkier musical element than his previous hits. His second non-duet solo hit after two years of, mostly, duet singles with the likes of Kim Weston and Tammi Terrell, the song talked about how he was just with his estranged lover and then the lover disappeared and the narrator hopes to bring her back home. The song was another top forty entry for Gaye peaking at number thirty-two on the chart while ascending to number eight R&B. The male background singing group, The Originals, would later collaborate with Gaye on their own singles such as "Baby I'm for Real" and "The Bells".

Credits
Lead vocals by Marvin Gaye Background vocals by The Originals: Freddie Gorman, Walter Gaines, Hank Dixon, C.P. Spencer Instrumentation by The Funk Brothers

"Keep On Lovin' Me Honey"

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"Keep On Lovin' Me Honey"

"Keep On Lovin' Me Honey"
Singleby Marvin Gaye & Tammi Terrell from the album You're All I Need B-side Released Format Recorded Genre Length Label "You Ain't Livin' Til You're Lovin'" July 9, 1968 7" single Hitsville USA, Detroit, Michigan; 1967 R&B/soul 2:34 Tamla T 54173 Nickolas Ashford Valerie Simpson Ashford & Simpson Marvin Gaye & Tammi Terrell singles chronology

Writer(s)

Producer

"You're All I Need to Get By" (1968)

"Keep On Lovin' Me Honey" (1968)

"Good Lovin' Ain't Easy to Come By" (1969)

"Keep On Lovin' Me Honey" is a 1968 hit written and produced by Nickolas Ashford & Valerie Simpson, and issued as a single on Motown Records' Tamla label by Marvin Gaye and Tammi Terrell. Released a few months after the success of "You're All I Need to Get By", the song performed more modestly than that song, but still charted into the Billboard Hot 100's Top 40. "Keep on Lovin' Me Honey" peaked at number twenty-four on the chart, while reaching number eleven on the R&B singles chart. It was also the third release from the duo's You're All I Need album.

Personnel
All vocals by Marvin Gaye and Tammi Terrell Written and produced by Nickolas Ashford & Valerie Simpson Instrumentation by The Funk Brothers

"You Ain't Livin' till You're Lovin'"

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"You Ain't Livin' till You're Lovin'"

"You Ain't Livin' till You're Lovin'" is a 1968 single released on the Tamla-Motown label by Motown vocal duo Marvin Gaye and Tammi Terrell. The song gave the duo a boost in the UK where the single was released. Motown's stateside headquarters issued the song as the b-side to the hit "Keep On Lovin' Me Honey". The song eventually reached the top thirty of the UK Top 50 peaking at number twenty-one there. It was the fourth and final release off the duo's best-selling album, You're All I Need and was later covered by Diana Ross and the Supremes and The Marvelettes.

Credits
All vocals by Marvin Gaye and Tammi Terrell Produced by Ashford & Simpson Instrumentation by The Funk Brothers

"His Eye Is on the Sparrow"

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"His Eye Is on the Sparrow"

"His Eye is on the Sparrow"
Song Published 1905 Writer Civilla D. Martin

Composer Charles H. Gabriel

"His Eye Is on the Sparrow" is a Gospel hymn. Although today it is a staple of African-American worship services, the song was originally written in 1905 by two white songwriters, lyricist Civilla D. Martin and composer Charles H. Gabriel. The song is most associated with actress-singer Ethel Waters who used the title for her autobiography. The song has been performed extensively in Gospel music with notable versions by The Soul Stirrers, The Golden Gate Quartet, Shirley Caesar, Crystal Lewis, Marvin Gaye (from In Loving Memory), Kirk Franklin & the Family, Lauryn Hill & Tanya Blount (from Sister Act 2), Mahalia Jackson, Sister Rosetta Tharpe, Dottie West, Josh White and Barbara Mandrell. The song was the title track for Mickey Newbury's 1978 album. Jessica Simpson recorded the song for her 2001 album Irresistible. Recent jazz artists who recorded the song include the George Adams-Don Pullen Quartet (1984), the Scott Amendola Band (2002), and by Jessi Colter, on her new album, "Out of the Ashes" [1] (2006). Additionally, Spanish singer Elena Gadel performed the song in 2002 on the 2nd series of the music programme Operacin Triunfo, where she was consequently voted off after the performance. Audrey Assad, an up and coming CCM artist, recently recorded a version of this hymn titled "Sparrow" in an iTunes live album.

Inspiration
The theme of the song is inspired by the words of Jesus in the Gospel of Matthew in the Bible, as referenced by Mrs. Doolittle in Elmira, New York: "Look at the birds of the air; they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them. Are you not of more value than they?" (Matthew 6:26) and "Are not two sparrows sold for a farthing? and one of them shall not fall on the ground without your Father. But the very hairs of your head are all numbered. Fear ye not therefore, ye are of more value than many sparrows" (Matthew 10:29-31). Civilla Martin, who wrote the lyrics, said this about her inspiration to write the song based in the scriptures outlined above, Early in the spring of 1905, my husband and I were sojourning in Elmira, New York. We contracted a deep friendship for a couple by the name of Mr. and Mrs. Doolittletrue saints of God. Mrs. Doolittle had been bedridden for nigh twenty years. Her husband was an incurable cripple who had to propel himself to and from his business in a wheel chair. Despite their afflictions, they lived happy Christian lives, bringing inspiration and comfort to all who knew them. One day while we were visiting with the Doolittles, my husband commented on their bright hopefulness and asked them for the secret of it. Mrs. Doolittle's reply was simple: "His eye is on the sparrow, and I know He watches me." The beauty of this simple expression of boundless faith gripped the hearts and fired the imagination of Dr. Martin and me. The hymn "His Eye Is on the Sparrow" was the outcome of that experience. Civilla Martin

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External links
Civilla Durfee Martin [2] Selected Songs by Charles H. Gabriel [3] texts and MIDI sequences of 44 songs, including "His Eye Is on the Sparrow" Piano version and background of His Eye Is On The Sparrow [4] Free MP3 piano version of His Eye Is On The Sparrow

References
[1] [2] [3] [4] http:/ / www. officialjessicolter. com/ amazon. html http:/ / www. hymntime. com/ tch/ htm/ h/ i/ s/ hiseyeis. htm http:/ / www. angelfire. com/ ks/ landzastanza/ chg. html http:/ / www. hymnpod. com/ 2009/ 03/ 07/ his-eye-is-on-the-sparrow/

"I Heard It Through the Grapevine"

"I Heard It Through the Grapevine"
Singleby Marvin Gaye from the album In the Groove B-side Released Format Recorded "You're What's Happening (in the World Today)" October 30, 1968 7" single April 10, 1967 Hitsville USA (Studio A) (Detroit, Michigan) Psychedelic soul, R&B 3:16 Tamla T 54176 Norman Whitfield Barrett Strong Norman Whitfield Marvin Gaye singles chronology

Genre Length Label

Writer(s)

Producer

"His Eye is on the Sparrow" 1968

"I Heard It Through the Grapevine" 1968

"Good Lovin' Ain't Easy to Come By" (with Tammi Terrell) 1969

"I Heard It Through the Grapevine" is a landmark song in the history of Motown. Written by Norman Whitfield and Barrett Strong in 1966, the single was first recorded by Smokey Robinson & the Miracles. Released on September 25, 1967 as Soul 35039 by Gladys Knight & the Pips who recorded the third version of the song, it has since become a signature song for singer Marvin Gaye, who recorded his version of the song prior to the Pips' but released it after theirs on October 30, 1968 as Tamla 54176. Creedence Clearwater Revival released their version of the song in 1970.

"I Heard It Through the Grapevine" Gaye's version has since become a landmark in pop music. In 2004, it ranked No.80 on Rolling Stone's list of The 500 Greatest Songs of All Time.[1] On the commemorative 50th Anniversary of the Billboard Hot 100 issue of Billboard magazine in June 2008, Gaye's version was ranked as the 65th biggest song on the chart.[2] It was also inducted to the Grammy Hall of Fame for "historical, artistic and significant" value.

211

Background
Early recordings
In 1966, Barrett Strong, a former recording artist for Motown Records and the singer behind the label's breakthrough hit, "Money (That's What I Want)", had begun to work in the songwriting staff after failing to produce a follow-up hit. Motown CEO Berry Gordy hired Strong to work with Norman Whitfield to work on recordings for The Temptations following the success of Whitfield's recording of the group's "Ain't Too Proud to Beg". Strong originally composed "I Heard It Through the Grapevine" due to his own personal relationship. Whitfield began collaborating with Strong on the song and eventually decided to record it with The Miracles, who recorded the song on August 6, 1966. Due to Gordy's strong veto power during Motown's annual Friday meetings at Hitsville USA's Quality Control Department, the Miracles' version was deemed unreleasable. Gordy thought the song was "horrible" and advised Whitfield and Strong to create a stronger single, however the duo refused to budge. Years later, a second version by The Miracles, with a similar arrangement to their first version, appeared as an album track on their 1968 Special Occasion LP. Their original recording was issued years later on a compilation album entitled Motown Sings Motown Treasures. The Isley Brothers were rumored to have recorded the song, but there is no evidence that they ever did. Some Motown historians believe that a session may have been scheduled but canceled.[3]

Marvin Gaye recording

Whitfield recruited his early collaborator Marvin Gaye to record the song on April 10, 1967. Later recordings of Marvin's version took more than a month due to Whitfield overdubbing Marvin's vocals with that of The Andantes' background vocals, and including several tracks featuring The Funk Brothers on the rhythm track and the Detroit Symphony Orchestra on the orchestral background. The session featuring Gaye led to arguments between the producer and singer, particularly over vocal registry. Whitfield struggled to convince Gaye to perform the song in a high rasp, a move that had worked on David Ruffin during the recording of The Temptations' hit, "Ain't Too Proud to Beg". Whitfield was later described by several Motown employees as "cocky" and "arrogant" but "always got what he wanted out of the performer". Marvin eventually agreed to record it in Whitfield's key and the song later led to a change in the singer's vocals, first reflected on the Ivy Jo Hunter-produced "You" and the Frank Wilson-produced "Chained". The mixture of Marvin's raspy vocals and The Andantes' sweeter harmonies, made Whitfield confident that he had a hit, however, Motown CEO Berry Gordy was not impressed. The label instead released the sweeter "Your Unchanging Love", a song that was included on the singer's 1966 album Moods of Marvin Gaye.

"I Heard It Through the Grapevine"

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"I Heard It Through the Grapevine"

Singleby Gladys Knight & the Pips from the album Everybody Needs Love B-side Released Format Recorded "Its Time To Go Now" September 28, 1967 7" single June 17, 1967 Hitsville USA (Studio A) (Detroit, Michigan) Southern soul/Deep soul 2:56 Soul S 35039 Norman Whitfield Gladys Knight & the Pips singles chronology

Genre Length Label

Producer

"Everybody Needs Love" 1967

"I Heard It Through the Grapevine" 1967

"The End of Our Road" 1968

The Gladys Knight & the Pips recording

Gladys Knight & the Pips was the next Motown act to record "Grapevine". Signed to Motown in 1966, the group had already scored a few hits prior to signing with the label and in early 1967, had a hit with their third Motown single, "Everybody Needs Love". After hearing Aretha Franklin's version of "Respect", Whitfield again rearranged the song to fit its style. According to David Ritz, Whitfield set to record a song that would "out-funk" Aretha. After Whitfield presented the demo tapes for "Grapevine", members Gladys Knight, Bubba Knight, William Guest, and Edward Patten worked for several weeks on their vocal arrangement. To make the song suitable for Gladys, the first line of the second verse ("I know a man ain't supposed to cry/But these tears I can't hold inside") was altered to ("Take a good look at these tears in my eyes/Baby, these tears I can't hold inside"). After much talk, Gordy reluctantly allowed the Pips' version to be a single. Motown put little support behind it and the Pips relied on connections with DJs across the United States to get the record played. The Pips' version of "Grapevine" reached number one on the Billboard R&B chart on November 25, 1967, and stayed there for six weeks, making it the group's second R&B number one after 1961's "Every Beat of My Heart". It reached two on the Billboard Pop Singles singles chart[4] the same month, with The Monkees' "Daydream Believer" holding top spot. It was Motown's best-selling single to that point.

Marvin Gaye version's release and reaction

Despite this success, Whitfield felt Marvin Gaye's version was still a hit and he continued asking Gordy to release Gaye's "Grapevine" as a single, but Gordy didn't want to release Marvin's version after the Pips made a hit out of it. In September 1968, Whitfield managed to have Gaye's "Grapevine" added to Gaye's 1968 album In the Groove. The single for In the Groove, "You", made it to 34 on the pop charts, while "Grapevine" became the most-played and requested track from the album. After radio deejays prompted Motown to release it, Gordy finally relented, releasing Marvin's version as a single on October 30, 1968. Gaye's "I Heard It Through the Grapevine" eventually outsold the Pips', and until The Jackson 5's "I'll Be There" 20 months later, was the biggest hit single of all time on the Motown

"I Heard It Through the Grapevine" label. It stayed at the top of the Billboard Pop Singles chart[5] for seven weeks, from December 14, 1968 to January 25, 1969. Gaye's "Grapevine" also held number one on the R&B chart during the same seven weeks,[6] and stayed at number one in the United Kingdom for three weeks starting on March 26, 1969. The label was pleased with the success, although Gaye, depressed because of issues such as the illness of singing partner Tammi Terrell (which would kill her less than a year later), was quoted as saying that his success "didn't seem real" and that he "didn't deserve it".[7] Due to the song's success, In the Groove was re-issued as I Heard It Through the Grapevine and peaked at number two on the R&B album chart and number sixty-three on the album chart, which was at the time Marvin's highest-charted solo studio effort to date. Because of the success of both versions , "I Heard It Through the Grapevine" was the first and last number one on the Billboard R&B chart in 1968: the Pips version was the first week of January, the Gaye version the last week of December. Knight was not pleased that Gaye's version usurped her own. She stated that Gaye's version was recorded over an instrumental track Whitfield had prepared for a Pips song, an allegation Gaye denied.[8] Despite this, Gladys and Marvin would later patch things up and in 1983, the two now-former Motown label mates reunited to perform their versions of the single. In 1985, two years following Gaye's death, the song was re-released in the UK reaching number eight thanks to a Levi's commercial (starring Nick Kamen). The song also charted in Germany peaking at number five on the chart. The song also charted twice on the Irish Singles Chart, reaching number-seven in its initial release in 1969 and reached number-four in its 1986 re-release.

213

Overview of themes and psychedelic soul

"I Heard It Through the Grapevine" has been rendered in different ways, although the theme, a relationship beginning to break up, remains prominent in each. The narrator has no clue that his relationship is in a bad state, and only learns after gossip "through the grapevine" that his lover is cheating. Of the first four versions produced by Norman Whitfield, only the Gaye version makes pain and confusion a clear part of the texture: Whitfield surrounds Gaye with horror-film strings, voodoo drums and percussion, and an ominous Wurlitzer electric piano line doubled by the guitar. The Miracles' version is a mid-tempo number, while Gladys Knight & the Pips' version is built around bravado and a quick-tempo gospel feel. Marvin's recording of the single gave way later on to the soul subgenre known as psychedelic soul, pioneered by Whitfield and Sly Stone the same year Marvin's version was released. Marvin would record in this style until after the release of What's Going On in 1971 before settling into a funk sound in the 1970s. Other artists who recorded in the "psychedelic soul" genre included The Temptations, (Diana Ross &) The Supremes, Stevie Wonder and The Isley Brothers after their Motown tenure fizzled.

Other notable covers and references in media

Following Marvin Gaye's 1968 release of the single, his version has been frequently covered by artists of varied genres. In 1969, Whitfield produced a version for The Temptations for their hit album, Cloud Nine though their version recalled The Pips'. In 1971, The Undisputed Truth became the final Motown act to record the song in its Marvin-styled version. The song was also covered by The Chi-Lites on their 1969 debut album Give It Away. Creedence Clearwater Revival recorded an eleven-minute version for their album, Cosmo's Factory, released in 1970.[9] The single was edited to less than four minutes for radio and most later compilations. [10] Because white artists were covering black music, it caused the band to lose some bookings in Alabama. Versions have been recorded in other genres such as punk rock in which the UK-based The Slits recorded a heavily dubbed version as a b-side of their first single. Other groups including Tuxedomoon, The Crust Brothers, and the disco band P'Zzazz, featuring Mildred Vancy on vocals, also recorded the song.

"I Heard It Through the Grapevine" In 1981, funk musician Roger Troutman released a cover of the song in an extended version off his debut solo project, The Many Facets of Roger. Troutman's version brought the song back to number one on the R&B chart in early 1982 marking the third time the single reached the top spot on that chart. It also made the Billboard Hot 100, peaking at number seventy-nine.[11] During the 1990s, the song is heard briefly in the movie Friday. In 1986, several studio singers re-recorded the song and featured it in a commercial for the clay-animated singing group The California Raisins. Their version became their signature tune, mainly due to a pun on the fact that raisins originate from "the grapevine." Other artists to have recorded the song have included Trini Lopez, the Soultans and the Flying Pickets, The Slits, the Doug Anthony All Stars, Giorgia, Marisa Monte, Kaiser Chiefs,[12] Michael Chapdelaine, Paul Weller and Amy Winehouse in a duet version while performing on Jools Holland, The Robustos, Tina Turner, Elton John, Diana DeGarmo, Michael McDonald, Birds of Tokyo, Craig David and Fairport Convention in a live version with vocals by Richard Thompson. John Mayer has played the song live. A humorous cover of the song was recorded by Paul Shanklin for the album, Bill Clinton: The Early Years, based on former President Bill Clinton. Antonio Forcione recorded an instrumental version on his live album. Queen Latifah used the song in Gaye's version as a basis for her 1998 single Paper, produced by Pras Michel for her album Order in the Court. On the last night of the Melbourne International Comedy Festival each year, the song is always performed by the closing act at the Moosehead Award Benefit show. 'Grapevine' was the favorite song of Brian 'Moosehead' McCarthy, in whose memory the award is named. This tradition goes back over 20 years. Marvin Gaye's version has been featured in films including The Big Chill (1983) and Remember the Titans (2001) and was featured in the 2008 play, The Big Payback. In 1986, the song was featured on a UK commercial when Levi's used a cover for a retro-themed commercial titled "Launderette", directed by Roger Lyons and featuring Nick Kamen renewing interest in the Marvin Gaye version. Tamla-Motown re-released the single and the song shot to number eight on the UK Singles chart marking its second chart performance. In 2008, the Freemasons remixed the Marvin Gaye version for dance clubs.

214

Influence on other songs

On September 28, 1974, John Lennon commented on WNEW-FM, a New York City radio station, introducing Electric Light Orchestra's "Showdown": ..for those people who like to know where licks and things come from, which I do.... this is a beautiful combination of I Heard It Through The Grapevine by Marvin Gaye and Lightning Strikes Again [by] Lou Christie, and it's a beautiful job with a little Walrus underneath.[13] Queen Latifah also used the melody of the song in her 1998 single "Paper". The Gossip have used the refrain "Heard it on the grapevine that no longer would I be your baby" and transposed it into their song "Love Long Distance" with the words "Heard it through the bass line Not much longer would you be my baby." Bone Thugs-N-Harmony interpolated the female background vocals of this song ("I heard it through the grapevine, heard it through the grapevine...") when they recorded their "Intro" to the album Creepin On Ah Come Up ("East 99 is where you'll find us slangin' that yayo daily...").

"I Heard It Through the Grapevine"

215

Personnel
The Miracles version
Lead vocals by Smokey Robinson Background vocals by The Miracles: Claudette Rogers Robinson, Pete Moore, Ronnie White and Bobby Rogers Guitar by Marv Tarplin Other instrumentation by The Funk Brothers

Marvin Gaye version

Lead vocals by Marvin Gaye Background vocals by The Andantes: Jackie Hicks, Marlene Barrow and Louvain Demps Instrumentation by The Funk Brothers and the Detroit Symphony Orchestra

Gladys Knight & the Pips version

Lead vocals by Gladys Knight Background vocals by The Pips: Merald "Bubba" Knight, Edward Patten and William Guest Instrumentation by The Funk Brothers

Notes
[1] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ story/ 11028260/ the_rs_500_greatest_songs_of_all_time/ 1). Rolling Stone. . Retrieved June 2, 2007. [2] "Billboard's Greatest Songs of All Time" (http:/ / www. billboard. com/ bbcom/ specials/ hot100/ charts/ top100-titles-70. shtml). Billboard. . Retrieved February 1, 2009. [3] Francis, Joel (September 9, 2009). "Gladys Knight and the Pips 'I Heard It Through the Grapevine'" (http:/ / www. webcitation. org/ 5nDqGtspf). The Daily Record. Archived from the original (http:/ / joelfrancis. com/ 2009/ 09/ 09/ gladys-knight-and-the-pips--i-heard-it-through-the-grapevine/ ) on February 1, 2010. . Retrieved February 1, 2010. [4] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 19422004. Record Research. p.330. [5] Show 50 The Soul Reformation: Phase three, soul music at the summit. [Part 6] : UNT Digital Library (http:/ / digital. library. unt. edu/ ark:/ 67531/ metadc19831/ m1/ ) [6] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 19422004. Record Research. p.225. [7] Posner, Motown : Music, Money, Sex, and Power. Pg. 225. [8] Gaye, Marvin. Radio interview, BBC.co.uk. Retrieved from http:/ / www. bbc. co. uk/ radio2/ soldonsong/ songlibrary/ ihearditthroughthegrapevine. shtml on March 29, 2006. [9] http:/ / www. philipharland. com/ VinylAddiction/ 2008/ 01/ 05/ motown-meets-bayou-creedence-clearwater-revivals-i-heard-it-through-the-grapevine/ [10] http:/ / www. allmusic. com/ song/ i-heard-it-through-the-grapevine-t20831491 [11] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 19422004. Record Research. p.499. [12] http:/ / profile. myspace. com/ index. cfm?fuseaction=user. viewprofile& friendID=311278626 MySpace.com Kaiser Chiefs (B-sides,Etc) UK Alternative / New Wave / Indie www.myspace.com/kaiserchiefslive [13] http:/ / www. jefflynnesongs. com/ showdown/ lennon. mp3

"I Heard It Through the Grapevine"

216

References
McLean, Ralph. "Stories Behind the Song: "I Heard It Through the Grapevine". BBC.co.uk. Retrieved from http:/ /www.bbc.co.uk/northernireland/music/story_behind/grapevine.shtml on March 29, 2006. Bronson, Fred (2003, 5th ed.). The Billboard Book of Number One Hits. New York: Billboard Books. ISBN 0-8230-7677-6 Knight, Gladys (1994). Between Each Line of Pain and Glory: My Life Story. Pgs. 180 184. New York: Hyperion. ISBN 0-7868-6326-9. Posner, Gerald (2002). Motown : Music, Money, Sex, and Power. Pgs. 224 225. New York: Random House. ISBN 0-375-50062-6. (2005). "Sold on Song: Top 100 "I Heard It Through the Grapevine". BBC.co.uk. Retrieved from http://www0. bbc.co.uk/radio2/soldonsong/songlibrary/ihearditthroughthegrapevine.shtml on March 29, 2006.

"Good Lovin' Ain't Easy to Come By"

217

"Good Lovin' Ain't Easy to Come By"

"Good Lovin' Ain't Easy to Come By"
Singleby Marvin Gaye and Tammi Terrell from the album Easy Released Recorded Genre Length Label Writer(s) Producer 1969 1969, Hitsville USA Soul 2:50 Tamla Ashford & Simpson Ashford & Simpson Marvin Gaye and Tammi Terrell singles chronology

"Keep On Lovin' Me Honey" (1968)

"Good Lovin' Ain't Easy to Come By" (1969)

"What You Gave Me" (1969)

"Good Lovin' Ain't Easy to Come By" is a duet released in 1969 on the Tamla label by renowned singers Marvin Gaye and Tammi Terrell. The first release off the duo's third album, Easy, it has been hugely debated whether or not an ailing Terrell, who was dying from a brain tumor, was on the track or if the song's co-writer, Valerie Simpson, subbed for Terrell. In his biography, Divided Soul: The Life of Marvin Gaye, Marvin said Tammi was too ill to record, but Motown pushed for another Marvin/Tammi record. Marvin refused, calling it inhuman, until the label convinced him the album would cover for Terrell and her family, so Gaye and Simpson sung as if it were a Gaye/Terrell duet. However, in Terrell's sister Ludie Montgomery's book, My Sister Tommie: The Real Tammi Terrell, Simpson reportedly denied she took part in the song saying Terrell was assisted to the studio to record her part. Whatever the reason, the song became an international top forty hit for the duo reaching number thirty on the pop chart and number twenty-six on the UK pop singles chart. The recording was featured in the film The Boys in the Band.

Personnel
All vocals by Marvin Gaye and Valerie Simpson Produced and written by Ashford & Simpson Instrumentation by The Funk Brothers

Further reading
Ritz, David, Divided Soul: The Life of Marvin Gaye (1985, 2003; in the book Gaye said Simpson subbed Terrell for vocals on the Easy album) Montgomery, Ludie, My Sister Tommie: The Real Tammi Terrell (2005; in this book Simpson denies subbing for Terrell)

"Too Busy Thinking About My Baby"

218

"Too Busy Thinking About My Baby"

"Too Busy Thinking About My Baby"
Singleby Marvin Gaye from the album M.P.G. B-side Released Format Recorded Genre Length Label "Wherever I Lay My Hat (That's My Home)" April 1969 7" single Hitsville USA (Studio A); 1969 Soul 2:55 Tamla T 54181 Norman Whitfield Barrett Strong Janie Bradford Norman Whitfield Marvin Gaye singles chronology

Writer(s)

Producer

"I Heard It Through the Grapevine" (1968)

"Too Busy Thinking About My Baby" (1969)

"That's the Way Love Is" (1969)

"Too Busy Thinking About My Baby" is a Motown song written by Norman Whitfield, Barrett Strong, and Janie Bradford. The song was first recorded by The Temptations as a track on their 1966 album Gettin' Ready. Eddie Kendricks sings lead on the recording, which was produced by Whitfield. Jimmy Ruffin also recorded a version with The Temptations providing background vocals in 1966. It remained unreleased until 1997. Three years later, Motown artist Marvin Gaye recorded a cover version of "Too Busy Thinking About My Baby" as a follow-up single to his 1968 hit "I Heard It Through the Grapevine", another Whitfield/Strong composition. Whitfield produced Gaye's version as well, which featured background vocals by The Andantes. The song's lyrics feature the male narrator discussing how he has "no time to discuss weather" or "think about what money can buy", because when he thinks about his woman, "I ain't got time for nothing else". In terms of chart success, "Too Busy Thinking About My Baby" was Gaye's second biggest hit of the 1960s, after "I Heard It Through the Grapevine". "Too Busy Thinking About My Baby" peaked at number four on the Billboard Hot 100 in the United States, and remained at the number one position on Billboard's Black Singles Chart for six consecutive weeks, from the weeks of, June 7 until July 12, 1969,[1] with sales totaling 1.5 million copies. The single was the top selling R&B single of the year,[2] and was the first release from Gaye's 1969 studio album M.P.G..

"Too Busy Thinking About My Baby"

219

Personnel
Temptations version
Lead vocals by Eddie Kendricks Background vocals by David Ruffin, Eddie Kendricks, Melvin Franklin, Paul Williams, and Otis Williams Instrumentation by The Funk Brothers

Jimmy Ruffin version

Lead vocals by Jimmy Ruffin Background vocals by David Ruffin, Eddie Kendricks, Melvin Franklin, Paul Williams, and Otis Williams Instrumentation by The Funk Brothers

Marvin Gaye version

Lead Vocals by Marvin Gaye Background Vocals by The Andantes: Jackie Hicks, Marlene Barrow and Louvain Demps Instrumentation by The Funk Brothers

Other cover versions

Elkie Brooks recorded the song on her 1981 hit album Pearls. Al Kooper recorded the song (as "Too Busy Thinkin' 'bout My Baby") on his 1969 Columbia album "You Never Know Who Your Friends Are." "Too Busy Thinking About My Baby" was also covered by the New York-based rock group Mardi Gras (music group) in the early 1970s, and released as a single on Map City Records. It climbed high up the charts across Europe in 1971-1972. In 1995 The Manhattan Transfer covered the song with Phil Collins. This version reached 27 on the Hot Adult Contemporary Tracks chart in the United States. The song was later covered by British pop group, Steps for ITVs MotownMania. It was the B-side for their 2001 single, "It's The Way You Make Me Feel", and appeared on their album The Last Dance. Phil Collins re-recorded a cover during the sessions of his 2010 album Going Back

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225. [2] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.804.

"That's the Way Love Is"

220

"That's the Way Love Is"

"That's the Way Love Is"
Singleby Marvin Gaye from the album M.P.G./That's the Way Love Is Released Recorded Genre Length Label Writer(s) August 7, 1969 1969, Hitsville U.S.A. Soul, psychedelic soul, funk 3:35 Tamla Norman Whitfield Barrett Strong Norman Whitfield Marvin Gaye singles chronology

Producer

"I Heard It Through the Grapevine" (1968)

"That's the Way Love Is" (1969)

"What's Going On" (1971)

"That's the Way Love Is" is a 1967 Tamla (Motown) single recorded by The Isley Brothers and produced by Norman Whitfield, later covered in a 1969 hit version by Marvin Gaye. The single was his third consecutive million-selling solo hit after "I Heard It Through the Grapevine" and "Too Busy Thinking About My Baby" written by Whitfield and Barrett Strong. Whitfield took the up-tempo Isley Brothers record, and turned it into a slowed-down psychedelic soul opus. Like "Grapevine", the song is sung by an emotionally-wrought Gaye, singing the song in a preacher-like tone, who tells a woman to "forget" her lover now that that lover has gone off to someone else. The song peaked at #7 on the Billboard pop singles chart and held the #2 spot for five weeks on the soul singles chart in October 1969, eventually selling a million copies. The Temptations also covered the song as a B-side of "Psychedelic Shack" and released on their 1969 album Puzzle People. The song was covered for the 1991 Alan Parker film The Commitments.

Personnel
Isley Brothers version
Lead vocals by Ronald Isley Background vocals by O'Kelly Isley, Jr., Rudolph Isley and The Andantes: Jackie Hicks, Marlene Barrow and Louvain Demps Instrumentation by The Funk Brothers

Marvin Gaye version

Lead Vocals by Marvin Gaye Background Vocals by The Andantes: Jackie Hicks, Marlene Barrow and Louvain Demps Instrumentation by The Funk Brothers

"That's the Way Love Is"

221

Temptations version
Lead vocals by Dennis Edwards Background vocals by Eddie Kendricks, Melvin Franklin, Paul Williams, and Otis Williams Instrumentation by The Funk Brothers

The Commitments version

Lead vocals by Natalie Murphy (Maria Doyle) Background vocals by Imelda Quirke (Angeline Ball) and Bernie McGloughlin (Bronagh Gallagher) Instrumentation by The Commitments

"Abraham, Martin and John"

222

"Abraham, Martin and John"

"Abraham, Martin and John"
Singleby Dion from the album Dion B-side Released Format "Daddy Rollin' (In Your Arms)" Late 1968 7-inch

Recorded Allegro Sound Studios; Engineer Bruce Staple Genre Length Label Folk rock 3:15 Laurie Records

Writer(s) Dick Holler Producer Phil Gernhard

"Abraham, Martin and John" is a 1968 song written by Dick Holler and first recorded by Dion. It is a tribute to the memories of icons of social change, Abraham Lincoln, Martin Luther King, Jr., John F. Kennedy and Robert F. Kennedy. It was written as a response to the assassinations of King and the younger Kennedy in April and June 1968. Each of the first three verses features one of the men named in the song's title, for example: Has anybody here, seen my old friend Abraham Can you tell me where he's gone? He freed a lot of people, but it seems the good, they die young But I just looked around and he's gone. After a bridge, the fourth and final verse mentions Robert "Bobby" Kennedy, and ends with a description of him walking over a hill with the other three men. The original version, recorded by Dion, featured a gentle folk rock production from Phil Gernhard and arrangement from John Abbott. The feeling of the song is set with a gentle oboe and violin opening then featuring harp flourishes at multiple points, including the instrumental conclusion. the song also features a flugelhorn, an electric organ, bass, and drums. Dion felt during post production that the song needed more depth and added a track featuring him playing classical guitar notably at the bridge, lead ins and the close. Quite unlike the ethnic rock sound that Dion had become famous for in the early 1960s, and even more unlike Holler and Gernhard's previous collaboration the 1966 novelty smash "Snoopy Vs. The Red Baron", "Abraham, Martin and John" nonetheless was a major American hit single in late 1968, reaching #4 on the U.S. pop singles chart, being awarded an RIAA gold record for selling a million copies. In Canada, it topped the charts, reaching #1 in the RPM 100 on November 25, 1968.[1] In 2001 this recording would be ranked number 248 on the RIAA's Songs of the Century list. The record was also popular with adult listeners, reaching #8 on Billboard's Easy Listening survey. In April 1969 Andy Williams, (who was, in fact, a close friend of Robert Kennedy) recorded a version on his album 'Happy Heart'. Williams also sang this song on his show over a year after Robert Kennedy's passing. Other famous late-1960s versions were recorded in short order by Motown's Smokey Robinson & the Miracles (whose cover also became an American Top 40 single in 1969, reaching #33) and Marvin Gaye (whose cover became a top-ten hit (#9) in the United Kingdom in 1970). Gaye's version was never released in the U.S. as a single but was featured on his

"Abraham, Martin and John" 1970 album, That's the Way Love Is, and was one of his first experiments with social messages in his music which would culminate in his legendary 1971 album, What's Going On. In addition, comedian Moms Mabley performed a version that hit the U.S. Top 40, reaching #35 in 1969 and earning her the distinction of the oldest person to appear on a Hot 100 top 40 hit, a record that still stands. This version was featured on the soundtrack of Brazilian soap opera Beto Rockfeller (19681969). Harry Belafonte recorded the song for his 1970 album Belafonte by Request. Soul singer Wilson Pickett recorded a version of the song in 1970 titled Cole, Cooke and Redding in which the lyrics were changed to pay tribute to deceased performers Nat "King" Cole, Sam Cooke and Otis Redding. In 1970, Leonard Nimoy covered a version of this song in his album The New World of Leonard Nimoy. During a 1981 tour, Bob Dylan sang the song in concert. Subsequently, various artists have performed or recorded their rendition of the song, including the likes of Bon Jovi and also Emmylou Harris, who performed it as part of a medley with the Nanci Griffith song "It's a Hard Life Wherever You Go" on her 1992 At the Ryman concert recording. Marillion have played the song in acoustic and electric versions; one such hybrid performance can be heard on their 1999 Unplugged at the Walls album. Tori Amos performed the song at four of her concerts during the On Scarlet's Walk Tour in 2003, including Hamburg, Germany on 23 January 2003.[2] Paul Weller recorded an acoustic version of the song during the sessions for his 1992 record Paul Weller. It went unreleased until a deluxe edition of the record was issued in 2009.

223

As part of medleys
The song is also featured on Tom Clay's 1971 "What the World Needs Now Is Love/Abraham, Martin, and John", a medley combining Dion's recording with Jackie DeShannon's recording of Burt Bacharach's "What the World Needs Now Is Love", along with vocals by The Blackberries. Clay's recording features narration (an adult asking a child to define several words associated with social unrest), sound bites from speeches given by President John F. Kennedy, Robert Kennedy, and Martin Luther King Jr., along with sound bites from the live press coverage of Robert Kennedy's assassination. It reached No. 8 on the Billboard Hot 100 chart on July 24, 1971.

References
[1] Library and Archives Canada. http:/ / www. collectionscanada. gc. ca/ rpm/ 028020-119. 01-e. php?brws_s=1& file_num=nlc008388. 5820& type=1& interval=24& PHPSESSID=2m9b0g4md1ugdlbq4vtt0o7rq6 [2] "Tori Amos Song Summary" (http:/ / www. toriset. org/ s. php?c=954& t=0). Toriset.org. . Retrieved 2011-08-23.

External links
Abraham Martin and John - by Dion (http://www.youtube.com/watch?v=YPbPaYugtPU) Abraham Martin and John - by Andy Williams (http://www.youtube.com/watch?v=QnMB8Z1gjbo) Abraham Martin & John - by The Miracles (http://www.youtube.com/watch?v=0nNidHDKqoY) Abraham Martin and John - by Marvin Gaye (http://www.youtube.com/watch?v=nbnaaz75M4g) Abraham Martin and John by Moms Mabley (http://www.youtube.com/watch?v=JSYkxFygEBk)

"What You Gave Me"

224

"What You Gave Me"

"What You Gave Me" is a hit duet written and produced by Ashford & Simpson and issued as a single originally by the vocal duo of Marvin Gaye and Tammi Terrell in 1969 on the Tamla label. Recorded on the throes of the final stage of Gaye and Terrell's duet recordings, it was the second release off their album, Easy. Like much of the album, it's debated whether or not the then-ailing Terrell took part in the recording or did co-writer Valerie Simpson sub for Terrell. While Marvin later insisted Terrell was subbed by Simpson, Simpson was recently quoted that Terrell took part in the recordings. Whatever the case, the song gave the duo a modest charting peaking at number forty-nine pop and number six R&B. It was revived years later as a club hit by Diana Ross in 1978. Her version, however, bombed on the R&B charts where it peaked at a dismal 86.

Credits
All vocals by Marvin Gaye & Tammi Terrell/Valerie Simpson Produced by Ashford & Simpson Instrumentation by The Funk Brothers

"How Can I Forget"

"How Can I Forget"
Singleby The Temptations from the album The Temptations Wish It Would Rain A-side Released Format Recorded Genre Length Label "Please Return Your Love to Me" July 16, 1968 7" single Hitsville USA; June 29, 1968 Soul 1:48 Gordy G 7074 Norman Whitfield Barrett Strong Norman Whitfield The Temptations singles chronology

Writer(s)

Producer

"I Could Never Love Another (After Loving You)" (1968)

"Please Return Your Love to Me" (1968)

"Cloud Nine" (1968)

"How Can I Forget"

225

"How Can I Forget"

Singleby Marvin Gaye from the album That's the Way Love Is B-side Released Format Recorded Genre Length Label "Gonna Give Her All the Love I've Got" December 16, 1969 7" single Hitsville USA; 1969 Soul, funk, psychedelic soul 1:55 Tamla T 54190 Norman Whitfield Barrett Strong Norman Whitfield Marvin Gaye singles chronology

Writer(s)

Producer

"What You Gave Me" (1969)

"How Can I Forget" (1969)

"The Onion Song" (1970)

"How Can I Forget" was originally recorded as a love ballad by Motown group The Temptations in 1968 and was re-recorded in a psychedelic soul/funk styling by fellow Motown artist, Marvin Gaye in 1969. His version, released on Motown's first subsidiary, Tamla, became a modest hit that almost reached the Top 40 of the pop charts while peaking at number-eighteen on the Hot Selling Soul Singles chart in 1970. Marvin's recording was featured on his That's the Way Love Is album. The song is also notable for being (at the time) one of the shortest recordings for both The Tempts and for Gaye; recorded when most songs are over three minutes, its length is just under two.

Personnel
The Temptations' version
Lead vocals by Paul Williams Background vocals by Eddie Kendricks, Melvin Franklin, and Otis Williams Instrumentation by The Funk Brothers

Marvin Gaye's version

Lead (and additional) background vocals by Marvin Gaye Background vocals by The Originals: Freddie Gorman, Walter Gaines, Henry Dixon and C.P. Spencer Instrumentation by The Funk Brothers and the Detroit Symphony Orchestra Written by Norman Whitfield and Barrett Strong Produced by Norman Whitfield

"Gonna Give Her All the Love I've Got"

226

"Gonna Give Her All the Love I've Got"

"Gonna Give Her All the Love I've Got"
Singleby Marvin Gaye from the album That's the Way Love Is B-side Released Format Recorded Genre Label "How Can I Forget" December 16, 1969 7" single Hitsville USA; 1969 Soul Tamla T 54190 Norman Whitfield Barrett Strong Norman Whitfield Marvin Gaye singles chronology

Writer(s)

Producer

"What You Gave Me" (1969)

"How Can I Forget"/"Gonna Give Her All the Love I've Got" (1969)

"The Onion Song" (1970)

"Gonna Give Her All the Love I've Got" is a psychedelic soul song recorded by Motown singer Marvin Gaye, released on the Tamla label in 1970. Like Gaye's UK hit "Abraham, Martin & John", the song has a social context: it depicts a man anticipating his release from prison on the morrow, when he'll return home on a train to "the girl that I left behind," promising himself that he will reward her steadfast love for him by "giv[ing] her all the love [he's] got." The song was written by Norman Whitfield and Barrett Strong and produced by Whitfield and released off the singer's 1970 album, That's the Way Love Is. Originally recorded by Jimmy Ruffin, and in 1968 by the Temptations as part of the album "The Temptations Wish It Would Rain," the song was a modest hit when Gaye released it in early 1970, peaking at number sixty-seven on the Billboard Hot 100 and at number twenty-six on the Hot Selling Soul Singles chart.

Credits
Lead (and additional) background vocal by Marvin Gaye Instrumentation by The Funk Brothers and the Detroit Symphony Orchestra Produced by Norman Whitfield

"The Onion Song"

227

"The Onion Song"

"The Onion Song"
Singleby Marvin Gaye and Tammi Terrell from the album Easy Released Recorded Genre Label Writer(s) Producer 1970 1969, Detroit Soul, pop Tamla Ashford & Simpson Ashford & Simpson

"The Onion Song" was a hit for soul singers Marvin Gaye and Tammi Terrell in 1969. It reached the top ten overseas, and was a more modest hit in the U.S. Originally assigned to Diana Ross & The Supremes, the song was reassigned to Gaye and Terrell in early 1969. Terrell, then suffering from a brain tumor, was unable to perform onstage after an October, 1967 performance where she fell before being carried offstage by Gaye for medical treatment. She found out she had brain cancer, a result of Terrell experiencing headaches since childhood. For many years, co-songwriter Valerie Simpson was reported to have sung on this recording with Gaye. However, Simpson, in recent years, denied the claim, saying she only recorded with Marvin as a vocal guide for Terrell. In David Ritz's biography of Gaye, Divided Soul, Gaye alleged that Simpson sung on the record because Terrell was "too ill to record". Terrell was in the studio, it was claimed, but was using a wheelchair. The song, which reflected social consciousness, became Gaye & Terrell's biggest hit in the United Kingdom, entering the singles chart on 29 November 1969 and peaking at #9 on 9 December prior to Terrell's March 16, 1970 death.

Credits
All vocals by Marvin Gaye and Valerie Simpson All instrumentation by The Funk Brothers

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"California Soul"
"California Soul" is a pop-soul tune written by Ashford & Simpson, issued originally as a "B" side of The Messengers single, "Window Shopping" in 1967 under the Motown group of labels. The Messengers' sound was Monkees-based pop, see Complete Motown Singles, Volume 7. It was then issued as a single by American pop quintet The 5th Dimension in late 1968, and also covered by Motown vocal duo Marvin Gaye and Tammi Terrell and Marlena Shaw the next year. It was Marvin's and Tammi's last single together when released in early 1970. Both the 5th Dimension's version and the Gaye/Terrell version were modest charted hits. The 5th Dimension's performed better, reaching number twenty-five on the pop singles chart, while Marvin and Tammi's cover reached number fifty-six pop but never charted R&B. The duet was released after Terrell's death from a brain tumor in March 1970. In 1969 Marlena Shaw covered the song on the album The Spice of Life. This version has appeared in commercials for Dockers and Kentucky Fried Chicken. A Diplo remix appears on Volume 4 of the Verve Remixed compilation series; this version was used in a late summer 2011 commercial for Target in the US and was featured in the video game Driver: San Francisco. The song also appears on the 1970 LP "War and Peace" by Edwin Starr. The song is also featured in The Italian Job (2003) and The Lincoln Lawyer (2011). The song is sampled by Gang Starr in their song "Check the Technique". The Gerald Wilson Orchestra version of the song is sampled by Pete Rock in the A.D.O.R. song "Let it All Hang Out". The band Jamiroquai covered the song live during their 2011 European tour.

Credits
The 5th Dimension version
All vocals by The 5th Dimension: Billy Davis, Jr., Marilyn McCoo, Florence LaRue, Lamonte McLemore, and Ron Townson Written by Ashford & Simpson Produced by Bones Howe

Marvin Gaye and Tammi Terrell version

All vocals by Marvin Gaye & Tammi Terrell/Valerie Simpson Written and produced by Ashford & Simpson Instrumentation by The Funk Brothers

References

"The End of Our Road"

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"The End of Our Road"

"The End of Our Road" is a single written by Roger Penzabene, Norman Whitfield and Barrett Strong in 1967. Originally recorded by Gladys Knight & the Pips and issued as a single in 1968, the Pips' version of the song, which talked about the demise of a couple's relationship, became another top forty hit for the family group as it peaked at number fifteen on the pop singles chart in 1968. Much like the minor controversy with "I Heard It Through the Grapevine", Whitfield produced a different version of the song with Marvin Gaye, who issued the song in early 1970. The song peaked at number forty on the pop charts. Ironically given its title, it was the very first song counted down on the debut American Top 40 radio show, the weekend of July 4, 1970.

Gladys Knight & the Pips version

Lead vocals by Gladys Knight Background vocals by Merald "Bubba" Knight, William Guest and Edward Patten Instrumentation by The Funk Brothers

Marvin Gaye version

Lead vocals by Marvin Gaye Background vocals by The Andantes Instrumentation by The Funk Brothers

"What's Going On"

For the 4 Non Blondes song sometimes mistitled "What's Going On?", see What's Up? (song).

"What's Going On"

Singleby Marvin Gaye from the album What's Going On B-side Released Format Recorded Genre Length Label "God Is Love" January 20, 1971 Vinyl record (7" 45 RPM) June 10, 1970, Hitsville USA (Studio A) Soul 3:40 Tamla T 54201 Al Cleveland Renaldo Benson Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

Writer(s)

Producer

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"The End Of Our Road" (1970)

"What's Going On" (1971)

"Mercy Mercy Me (The Ecology)" (1971)

What's Going On track listing

"What's Going On" (1)

"What's Happening Brother" (2)

"What's Going On" is a song written by Renaldo "Obie" Benson, Al Cleveland, and Marvin Gaye. It was the title track of Gaye's groundbreaking 1971 Motown album of the same name, and it became a crossover hit single that reached #2 on the pop charts and #1 on the R&B charts.[1] A meditation on the troubles and problems of the world, the song proved a timely and relatable release, and it marked Gaye's departure from the pop stylings of 1960s-era Motown towards more personal material. The song topped a Metro Times list of the 100 Greatest Detroit Songs Of All Time,[2] and in 2004, Rolling Stone magazine ranked it the fourth greatest song of all time. The song has been covered by multiple artists, notably Cyndi Lauper, whose version reached #12 on the pop singles charts in 1987.

Background
Song concept
In 1970, Renaldo "Obie" Benson was a member of Motown's popular male vocal group The Four Tops. While on the road in San Francisco, Benson saw several young anti-war protesters being arrested and pushed over by police. Benson said he was deeply disturbed by the polices' actions and when he returned home, began writing a song initially about police brutality and "picket lines, picket signs". Benson presented the idea to his fellow Four Tops band mates though they each told him that they didn't want to record the song in fear of losing fans. At the time, records by The Temptations and Edwin Starr pointed to a rawer sound that discussed social affairs. Most of the Four Tops songs dealt with relationships. Earlier that year, the group had put out "Still Water", which was co-written by Smokey Robinson. Its parent album was a proto-concept album. After coming up with a few lyrics for the untitled song, Benson hired Al Cleveland to help him with more lyrics. The track, originally about civil rights and anti-war protests, was given Joan Baez to record. However, Baez wasn't able to record the song, which still had no title and half the lyrics of which were unfinished.

Recording
At the same time, Marvin Gaye was going through a personal and professional crossroads. The 31-year-old singer was dealing with the tragedy of losing his best friend, singing partner Tammi Terrell, who died in March of that year after suffering from a brain tumor for three years. Gaye was thinking of quitting show business and joining the Detroit Lions football team, even training every morning to get in shape for his tryout. Though he didn't make the team, the Lions players said they were impressed by the singer's regimen. Gaye had also shot a movie earlier in the year titled Hot Chrome and Leather, which was held back from release for a year. Around the same time, he was offered the role as Sam Cooke in a film but turned it down because he found it odd to play a role of "a soul singer who gets shot to death". Gaye stopped performing onstage after Terrell's death and after a while soul-searching, decided to continue his music career but under his own terms, which implied wresting control from Motown and from his brother-in-law Berry Gordy. He had seen great success as a songwriter and producer with The Originals'

"What's Going On" hits "Baby I'm for Real" and "The Bells" and wanted to produce more. It was while golfing with Benson and Cleveland that Gaye came up with the song title after asking them "what's going on, man?" Returning to Gaye's house, Benson and Cleveland presented Gaye the still-unfinished song. Motivated and inspired by horrific stories of the Vietnam War told to him by his brother Frankie, Gaye began adding his own lyrics and modified the "picket lines, picket signs" lyrics to the chorus with the repeats of "what's going on". He also added melody to his piano while Benson played parts of the song in his guitar. Putting the song together, Gaye received credit for co-composition. Gaye originally thought the song's moody feel was perfect for The Originals but Benson assured Gaye that he should record it himself, which he agreed to. On June 10, 1970, Gaye returned to Hitsville USA with the song. The recording was looser than Gaye's previous recordings, in which Gaye free-styled two different vocal leads while Motown's session musicians The Funk Brothers played in a laid-back setting. At the intro, saxophonist Eli Fontaine's line was not originally intended. When Gaye heard playback though, he realized this was the bittersweet hook he had been groping for and let Fontaine go. When Fontaine tried telling Gaye that he was "just goofing", the singer told him "you goofed off exquisitely." Notable Motown bassist James Jamerson was pulled into the session after the singer located him drunk at a bar. Jamerson couldn't sit in his seat because of him flopping over, so according to the story told by one of his band mates, Jamerson lay on the floor playing the bass line. However, arranger Dave Van dePitte recalls that it was a track that Jamerson greatly respected: "On 'What's Going On' though, he just read the [bass] part down like I wrote it. He loved it because I had written Jamerson licks for Jamerson." Annie Jamerson recalls that when he returned home that night, he declared that the song they had been working on was a 'masterpiece', one of the few occasion where he had discussed his work so passionately with her.[3] Gaye also added to instrumentation playing piano and keyboards while also playing a loud effect on the drums to help accentuate Chet Forest's drumming. He also added his own background vocals singing the "what's going on" refrain to his own leads. To add a more personal touch, Marvin, his Detroit Lions friends Mel Farr and Lem Barney and several Funk Brothers members could be heard communicating as if they were at a party or a gathering. Alternate crowd chatter can be heard in the Detroit mix of the song near the ending. While hearing playback, Gaye asked one of his engineers to give him his two vocal leads to compare which ones to use for the song. Accidentally the engineers mixed the two leads together. Gaye was impressed with the double-lead feel and decided to keep it, it influenced his later recordings where he mastered vocal multi-layering adding in three different vocal parts. The song was also notable for its use of major seventh and minor seventh chords, which was a fairly uncommon use at the time.[4]

231

Arguments with Berry Gordy

During the same session, Marvin added in the song "God is Love", with lyrics he wrote about his faith in God. The music was co-written by Marvin, first wife Anna Gordy, James Nyx and Elgie Stover, the foursome had originally used the music for the Monitors' original recording of Marvin's "Just to Keep You Satisfied", which was recorded in 1969. Like "What's Going On", Marvin added in a lead and an accompanying background while harmonizing together in parts of the bridge. With "What's Going On" as the leading A-side, Gaye presented the song to Motown CEO Berry Gordy but was dismayed when Gordy flatly turned it down calling it "too jazzy". Marvin protested by telling him he wouldn't record again until the song was released. Smokey Robinson, singer and Motown's vice president at the time, said that Gordy once asked him to get Gaye to change his mind about releasing "What's Going On", to which Robinson replied that telling Marvin to do anything different "is like a bear shitting in the woods, Marvin ain't budging." According to Harry Balk, Gordy told him the song had the "Dizzy Gillespie-styled scats", claiming it was "old". Undeterred, Gaye stood by his decision not to record while Gordy desperately tried to get the singer back to the recording studio.

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Release and reaction

On January 20, 1971, seven months after recording the song, a prominent Los Angeles radio disk jockey leaked "What's Going On" to his station. Harry Balk who was in charge of Motown in Detroit while Berry Gordy was on the West coast, decided on his own (and at the risk of his position at Motown) to release the song. Soon, the country was playing the record unbeknownst to Berry Gordy who still had not given anyone permission to release it and did not know that Balk took it upon himself and released this song which he realized was a gem that the public should hear. Gordy was astonished however when word came that the song was one of the fastest-rising and fastest-selling songs of the country. Within a month, it had reached the top ten on the Billboard Hot 100 and the Hot Selling Soul Singles charts and by March, the song had peaked at number-one R&B and number-two pop, eventually selling over 2.5 million records becoming the fastest-selling Motown single to date at that time and Gaye's best-selling release following "I Heard It Through the Grapevine" two and a half years before. The song's success gave Gaye the freedom to produce his own album with songs of similar themes. Gaye would base the parent album, also titled What's Going On as the conceptual story of a returning Vietnam War veteran who comes back to a world he doesn't recognize. Gordy was unenthusiastic about the album, but on release it was an immediate critical and commercial success. "What's Going On" itself has since become one of Gaye's signature songs.

Bootleg multitrack recordings

In 2008 a bootleg copy of the original analog multi-track recordings of this and other famous tracks surfaced on bit torrent sites, allowing the separate instrumental and vocal parts to be heard in isolation.

Personnel
Lead and background vocals by Marvin Gaye Additional background vocals by Mel Farr and Lem Barney Spoken interlude by Marvin Gaye, Mel Farr, Lem Barney and the Funk Brothers Written by Renaldo "Obie" Benson, Al Cleveland, and Marvin Gaye Produced by Marvin Gaye Instruments by The Funk Brothers and The Detroit Symphony Orchestra Arranged by David Van De Pitte

Chart performance
Chart (1971) Peak position 2 1 1

U.S. Billboard Hot 100 U.S. Hot Selling Soul Singles U.S. Cashbox Top 100

Cyndi Lauper cover

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"What's Going On"

Singleby Cyndi Lauper from the album True Colors B-side Released Format Recorded Genre Label Producer "One Track Mind" January 16, 1987 Vinyl (7"), Vinyl (12"), Vinyl (10") 1986 Pop Epic Cyndi Lauper, Lennie Petze Cyndi Lauper singles chronology

"Change of Heart" (1986)

"What's Going On" (1987)

"Boy Blue" (1987)

Cyndi Lauper covered "What's Going On" on her second album, True Colors, in 1986. In March 1987, it was released as the third single from the album. On the album version, the song starts off with a series of gunshots in reference to Vietnam, while the single release is a remix with an alternate vocal used in the intro. It is the single version that most often appears on compilations. Lauper's "What's Going On" was a modest hit around the world, even reaching #17 on the U.S. dance chart, thanks to its club remixes by Shep Pettibone. "What's Going On" became True Colors's first release to fail to achieve top ten status on the Billboard Hot 100, peaking at number 12. The video for the song was also popular and aired heavily on MTV. It was nominated for an award at the MTV Video Music Awards in 1987. An extended mix of the song is used in the music video.

Chart performance
Chart (1987) Peak position 52 30 46 30 57 12 7 17 15

Australian ARIA Singles Chart Dutch Singles Chart German Singles Chart New Zealand RIANZ Singles Chart UK Singles Chart U.S. Billboard Hot 100 U.S. Billboard Hot Dance Music Maxi Single Sales U.S. Billboard Hot Dance Club Play U.S. Cash Box Top 100 Singles

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Track listing
1. 2. 3. 4. "What's Going On" (club version) 6:20 (Marvin Gaye; Al Cleveland; Renaldo Benson) "What's Going On" (long version) 6:22 (Marvin Gaye; Al Cleveland; Renaldo Benson) "What's Going On" (instrumental) 6:25 (Marvin Gaye; Al Cleveland; Renaldo Benson) "One Track Mind" 3:39 (Cyndi Lauper; Jeff Bova; Jimmy Bralower; Lennie Petze)

Official versions
1. 2. 3. 4. 5. Album version 4:39 Club version 6:30 Instrumental 6:25 Long version 6:22 Special version 3:51

Artists Against AIDS Worldwide cover

What's Going On
Remix album by Artists Against AIDS Worldwide Released October 30, 2001

Recorded 20002001, Battery Studios, New York City Genre Label R&B, dance Columbia

Producer Jermaine Dupri, Bono, The Neptunes, Moby

On October 30, 2001, a group of popular recording artists under the name "Artists Against AIDS Worldwide" released an album containing multiple versions of "What's Going On" to benefit AIDS programs in Africa and other impoverished regions.[5] Jermaine Dupri and Bono produced the radio single version, whose performers included Britney Spears, Ja Rule, Nas, Christina Aguilera, Gwen Stefani, Jennifer Lopez, Nelly Furtado , Fred Durst of Limp Bizkit, Destiny's Child, Wyclef Jean, Backstreet Boys, Monica, Gaye's own daughter Nona, and many other popular artists. The album contained that single along with 8 additional remixes. The song was recorded shortly before the September 11, 2001 attacks, and it was decided afterwards that a portion of the song's proceeds would benefit the American Red Cross' September 11 fund as well. A music video was directed by Jake Scott.

Artists Against AIDS Worldwide

Britney Spears Backstreet Boys Mary J. Blige Bono (producer) Sean Combs Destiny's Child Jermaine Dupri (producer) Fred Durst of Limp Bizkit Eve Gwen Stefani Nelly Furtado Nona Gaye

"What's Going On" Darren Hayes Wyclef Jean Christina Aguilera Alicia Keys Aaron Lewis of Staind Jennifer Lopez Nas Ja Rule Nelly *NSYNC Michael Stipe of R.E.M. Usher Chris Martin (London Version) The Edge (London Version) Elijah Blue (Reality Check Mix) Perry Farrell (Reality Check Mix) Scott Weiland (Reality Check Mix) Wes Scantlin (Reality Check Mix) Monica (Dupri R&B Mix) Lil Kim (Dupri R&B Mix) Jagged Edge (Dupri R&B Mix) TLC (Dupri R&B MIx) Faith Evans (Neptunes Mix) Angie Martinez (Neptunes Mix) Da Brat (Neptunes Mix) Fabolous (Neptunes Mix) LL Cool J (Neptunes Mix) Mobb Deep (Neptunes Mix) Noreaga (Neptunes Mix) Queen Latifah (Neptunes Mix) Royce Da 5'9" (Neptunes Mix) Sonja Blade (Neptunes Mix)

235

Track listings
US maxi 1. 2. 3. 4. 5. 6. 7. 8. 9. "What's Going On" (Dupri Original Mix) 4:20 "What's Going On" (The London Version) 3:57 "What's Going On" (Moby's Version) 4:38 "What's Going On" (Fred Durst's Reality Check Mix) 5:16 "What's Going On" (Mangini/Pop Rox Mix) 5:50 "What's Going On" (Mick Guzauski's Pop Mix) 4:09 "What's Going On" (Dupri R&B Mix) 4:45 "What's Going On" (The Neptunes This One's for You Mix) 5:00 "What's Going On" (Junior Vasquez's Club Mix) 9:34

US vinyl maxi 1. "What's Going On" (MK Mix) 6:52

"What's Going On" 2. "What's Going On" (The London Version) 3:57 3. "What's Going On" (MK Kitchen-Aid Dub) 6:27 4. "What's Going On" (Dupri Alternate Extended Mix) 4:46

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Charts
Chart (2001) Peak [6] position 27[A] 76[B] 6

USA Billboard Hot 100 USA Hot R&B/Hip-Hop Songs UK Singles Chart

[A] [B]

The Neptunes Mix The Jermaine Dupri Mix

Other covers
1971, Quincy Jones, album Smackwater Jack. 1974, Off Course, Live In Concert album. 1976, Reggae singer Big Youth covers "What's Going On" on his album Hit the Road Jack 1985, Weather Report, on their album Sportin' Life. 1993, Los Lobos, album Just Another Band From East L.A. - A Collection, live version. 1993, Guitarist Peter White, album Promenade.[7][8] 1997, Everette Harp, album What's going on. 1999, Various artists, Marvin is 60 - The Tribute Album, "What's going on" performed by Profyle. 2000, Zebrahead, featured on their Playmate of the Year (album). 2001, When U2 toured in the US in the fall of 2001, just one month after 9/11 and in the midst of the 2001 anthrax attacks on the third leg of their Elevation Tour, "What's Going On" was a frequently played number, often appearing towards the end of the setlist. 2003, a cover of "What's Going On" by Chaka Khan with The Funk Brothers won a Grammy Award for Best Traditional R&B Vocal Performance. The performance was taken from the soundtrack to the 2002 documentary film Standing in the Shadows of Motown. 2004, Michael McDonald, album Motown II. 2004, A Perfect Circle, progressive rock band, album eMOTIVe. 2006, Serbian female singer Bebi Dol covered this song at concert and on her live album. 2004, Joe Cocker, album Heart & Soul 2006, Jason Miles, album What's going on tribute to Marvin Gaye. 2006, Frankie Gaye, Tribute to Marvin Gaye (Motorcity).

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References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225. [2] The 100 greatest Detroit songs ever! (Metro Times Detroit) (http:/ / metrotimes. com/ editorial/ story. asp?id=12036) [3] Licks, Dr (May 1989). Standing In The Shadows Of Motown: The Life and Music of Legendary Bassist James Jamerson. Hal Leonard Corporation. p.62. ISBN978-0-88188-882-9. [4] Edmonds, Ben (2003). Marvin Gaye: What's Going On and the Last Days of the Motown Sound. Canongate U.S.. ISBN978-1-84195-314-4. [5] http:/ / www. hopeforafricanchildren. org/ New/ Press/ pr_103001. html [6] "What's Going On: All-Star Tribute > Charts & Awards > Billboard Singles" (http:/ / www. allmusic. com/ album/ r558517). allmusic. . Retrieved June 1, 2010. [7] http:/ / www. answers. com/ topic/ promenade-1993-album-by-peter-white-1 "Promenade 1993:Album" from Answers.com [8] "Peter White Plays To Strengths At Seattles Jazz Alley " from SmoothVibes.com (http:/ / www. smoothvibes. com/ movabletype/ archives/ 000313. html)

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"Mercy Mercy Me (The Ecology)"

"Mercy Mercy Me (The Ecology)"
Singleby Marvin Gaye from the album What's Going On B-side Released Format Recorded Genre Length Label Writer(s) Producer "Sad Tomorrows" June 10, 1971 Vinyl record (7", 45 RPM) Hitsville USA (Studio A); March 1971 Soul 3:14 Tamla Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

"What's Going On" (1971)

"Mercy Mercy Me (The Ecology)" (1971)

"Inner City Blues (Make Me Wanna Holler)" (1971)

What's Going On track listing

"God is Love" (5)

"Mercy Mercy Me (The Ecology)" (6)

"Right On" (7)

"Mercy Mercy Me (The Ecology)" was the second single from Marvin Gaye's 1971 album, What's Going On. Following the breakthrough of the title track's success, the song, written solely by Gaye, became one of his most poignant anthems of sorrow regarding the environment. Led by Gaye playing piano, strings conducted by Paul Riser, multi-tracking vocals from Gaye, the instrumentals provided by The Funk Brothers and a leading sax solo by Wild Bill Moore, the song rose to #4 on Billboard's Pop Singles chart and #1 for two weeks on the R&B singles charts on August 14 through to August 27, 1971.[1] As the single became his second million seller from What's Going On, the album started on the soul album charts in the top five and began charging up the pop rankings. "Mercy Mercy Me (The Ecology)" soon became one of Gaye's most famous songs in his extensive catalogue. In 2002 it was his third single recording to win a "Grammy Hall of Fame" Award. Like "Inner City Blues", Bob Babbitt, not James Jamerson, plays the bass line.

"Mercy Mercy Me (The Ecology)"

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Covers and cultural references

Grover Washington, Jr. recorded a smooth jazz version of the song, which has been included on various compilations of his work. British reggae group Aswad covered the song on their 1984 album Rebel Souls. R&B singer Milira recorded a cover version that appears on her 1990 debut album, Milira. In 1991, Robert Palmer combined the track with another of Gaye's popular hits, "I Want You" to form one single medley that peaked at #9 in the UK. It also reached #16 on the US singles chart. In 1992, the track was covered by the acid jazz group The Apostles (not to be confused with the anarcho-punk band of the same name) and their version has been on several acid jazz compilations.[2] Ottmar Liebert made a flamenco cover in his 1993 album The Hours Between Night + Day. Jeff Golub and Richard Elliot covered the song as a duo for Golub's 2002 album Do It Again. Michael McDonald covered the song on his Motown Two album in 2004. The Strokes recorded a cover of the song with Pearl Jam's Eddie Vedder and Queens of the Stone Age's Josh Homme and released it as a B-side for their 2006 single "You Only Live Once." Eleanor McEvoy covered it on her 2006 album Out There. R&B group Boyz II Men recorded a cover for their 2007 album, Motown: A Journey Through Hitsville USA. Folk musician/singer-songwriter Susan Werner covered the song in an acoustic style on her 2009 album Classics. MC Hammer included a version of the song, titled "Help the Children", on his album Please Hammer Don't Hurt 'Em. Craig David recorded a cover from his 2010 album, Signed Sealed Delivered. American rapper Kanye West references the title of this song in his song "Dark Fantasy" when he says "Mercy mercy me, that Murcilago".

Live cover performances

Todd Rundgren covered this on various releases of his live performances. The track was a popular choice for the 2007 Live Earth shows, being performed in London by Corrine Bailey Rae featuring John Legend and in New Jersey by Alicia Keys. Robert Randolph and the Family Band performed an impromptu cover of the song at Milwaukee's Summerfest music festival on June 27, 2010. Stevie Wonder covered the song at the Rock and Roll Hall of Fame 25th Anniversary concert. The performance featured John Legend

Personnel
Lead and background vocals by Marvin Gaye Saxophone solo by "Wild" Bill Moore Piano played by Marvin Gaye Strings conducted by Paul Riser Other instrumentation by The Funk Brothers

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References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.226. [2] Mercy Mercy Me, soultracks.com (http:/ / www. soultracks. com/ mercy_mercy_me. htm).

"Inner City Blues (Make Me Wanna Holler)"

"Inner City Blues (Make Me Wanna Holler)"
Singleby Marvin Gaye from the album What's Going On B-side Released Format Recorded Genre Length "Wholy Holy" September 16, 1971 vinyl record (7", 45 RPM) Hitsville USA (Studio A); March 1971 Soul, funk 5:28 (album version) 2:58 (single edit) Tamla T 54209 Marvin Gaye & James Nyx, Jr. Marvin Gaye Marvin Gaye singles chronology

Label

Writer(s) Producer

"Mercy Mercy Me (The Ecology)" (1971)

"Inner City Blues (Make Me Wanna Holler)" (1971)

"You're the Man" (1972)

What's Going On track listing

"Wholy Holy" (8)

"Inner City Blues (Make Me Wanna Holler)" (9)

"Inner City Blues (Make Me Wanna Holler)", often shortened to "Inner City Blues", is a song by Marvin Gaye, released as the third and final single from and the climactic song of his 1971 landmark album, What's Going On. Written by Gaye and James Nyx, the song depicted the ghettos of inner-city America as it discussed how the bleak economic situation would lead to someone wanting to holler and throw ones hands up. The song was recorded in a mellow funk style with Gaye playing piano. Several of the Funk Brothers also contributed, including Eddie "Bongo" Brown, and bassist Bob Babbitt. The song helped Gaye make history by being one of the few artists to have three or more Top 10 songs off Billboard's Pop Singles chart peaking at #9 and one of the first to have three consecutive #1 hits on Billboard's R&B Singles chart where it stayed for two weeks.[1] Although not certified by the RIAA at that time, all three releases from the What's Going On album gained Gold status by selling over 1,000,000 copies in the United States.

"Inner City Blues (Make Me Wanna Holler)" In its unedited version as it appears on the album, the final minute of the song (and of the LP) is a reprise to the theme of "What's Going On", the album's first song, then segues into a dark ending. This final minute was cut off of the single version, as well as other sections of the song so the single edit runs under three minutes--this edit appears on subsequent reissues of the LP.

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Cover versions
The song was first covered by Grover Washington, Jr. in 1972 from the album named "Inner City Blues."[2] Also in 1972, on her album A Time In My Life, Sarah Vaughan covered "Inner City Blues" with David Axelrod on the drums. The same year the song was recorded by The Chi-Lites on the album A Lonely Man, and by The Impressions for their album Times Have Changed. Christian alternative band Adam Again did a soulful rendition of the song on 1990's Homeboys. In 1993, guitarist Larry Coryell covered the song from his album "Fallen Angel."[3][4] In 1994, Angela Winbush covered the song and released it as a single and abbreviated the name simply to "Inner City Blues". In 1998, the Mayfield Four released a cover of "Inner City Blues (Make Me Wanna Holler)" under its original title on their debut album Fallout. The Dirty Dozen Brass Band also did a cover of this song on their album, What's Goin' On (2006) (Shout Factory). It was also covered by Joe Cocker on his album titled "Cocker". It was also covered by the hard-rock band Sevendust in 2003, and can be found on the DVD included with some versions of their album Seasons, and then was included on their compilation album Best of (Chapter One 1997-2004) which was released in late 2005. In 2004, John Mayer performed the song live and later released on his compilation live album As/Is. The version includes a turntable solo by New York jazz turntable player DJ Logic. In 1997 the Grover Washington Jr. version was re-released on the compilation Funky Jazz Classics & Original Breaks from the Tough Side, the first of the Pulp Fusion series. In 2007 the Sarah Vaughan cover was also re-released on the compilation Bustin' Loose, the tenth of the Pulp Fusion series. The original version of the song also was used in the soundtrack of the 2007 film Zodiac, directed by David Fincher. Grover Washington, Jr. (1972) Sarah Vaughan (A Time In My Life from 1972) The Chi-Lites (A Lonely Man from 1972) The Impressions (Times Have Changed from 1972) Reuben Wilson (Sweet Life from 1972) Gil Scott-Heron (1981) Working Week (Working Nights from 1985) Joe Cocker (1986) Nona Gaye (Inner City Blues: The Music of Marvin Gaye from 1994) Angela Winbush (Angela Winbush from 1994) The Chi-Lites (1995) Ideal (Original Gangstas (soundtrack) from 1996) Maceo Parker (1998) Mayfield Four (Fallout from 1998) Carla Cook (It's All About Love from 1999) Sevendust (Seasons from 2003 & Best of (Chapter One 1997-2004) from 2005) James Last (Inner City Blues from 2003) John Mayer (As/Is from 2004) Marc Broussard (S.O.S.: Save Our Soul from 2007) Brian Auger's Oblivion Express (Closer To It from 1973)

The Asteroids Galaxy Tour (Fruit from 2009) Sly Dunbar with Robbie Shakespeare (Sly-Go-Ville from 1982)

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Samples
Angela Winbush - "Inner City Blues" A Tribe Called Quest - "Youthful Expression" Big Daddy Kane - "W.G.O.N.R.S." Black Rock & Ron - "True Feelings" Coolio - "In the Closet" The D.O.C. - "The Formula" Ice Cube - "When I Get to Heaven" Janet Jackson - "Can't Be Stopped"[5] Joe Budden - "Who" K-Solo - "King of the Mountain" Killa Kyleon - Money Takers [2011] Makeba & Skratch - "Mental Fitness" Masta Ace - "Go Where I Send Thee" MC Solaar - "Armand est Mort" Poison Clan - "Fugitive" Roxanne - "If I Can't Have You" Scarface - "A Minute to Pray, a Second to Die" Spice 1 - "Welcome to the Ghetto" Theo Parrish - Major Moments Of Instant Insanity Together Brothers - "Too Much Racism" Too Poetic - "God Made Me Funky (Remix)" Marc Moulin - "Jazz Bizniz! (CD, Comp) Inner City Blues" counterpoint Records 1999

Trivia
The song is also featured in the movie Doing Hard Time. The song is featured in videogame Grand Theft Auto IV on The Vibe radio station The song is also featured in the John Singleton movie, Four Brothers. It is also featured in the David Fincher movie, Zodiac. The song is also featured in the film Knockaround Guys. The song is featured in the HBO Sports Documentary A City on Fire: The Story of the '68 Detroit Tigers as the background music to footage of the 1967 Detroit riot. The song is featured in the documentary film Tupac Resurrection.

Personnel
Lead and background vocals by Marvin Gaye Written by Marvin Gaye & James Nyx Piano by Marvin Gaye Instrumentation by The Funk Brothers and the Detroit Symphony Orchestra including: Bobbye Hall bongos[6]

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References
[1] [2] [3] [4] [5] [6] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.226. "Inner City Blues overview" (http:/ / www. allmusic. com/ album/ r149743). Allmusic.com. . "Fallen Angel overview" (http:/ / www. allmusic. com/ album/ r193718). Allmusic.com. . "Email Jazz News" (http:/ / www. allaboutjazz. com/ php/ news_email. php?id=13423). All About Jazz. . (http:/ / www. miss-janet. com/ index. phtml?go=funxone& sub=samples) Retrieved February 23, 2009 Sounes, Howard (2006). Seventies: the sights, sounds and ideas of a brilliant decade. Simon & Schuster. p.134. ISBN0743268598. "...such as Bobbye Hall whose insistent bongos can be heard..."

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"Save the Children"

"Save the Children"
Singleby Marvin Gaye from the album What's Going On Released Recorded November 11,1971 August-October 1970 Hitsville USA (Studio A) Golden World (Studio B) Hitsville West Soul 4:03 Tamla Al Cleveland Renaldo Benson Marvin Gaye Marvin Gaye

Genre Length Label Writer(s)

Producer

What's Going On track listing

"Flyin' High (In the Friendly Sky)" (3)

"Save the Children" (4)

"God Is Love" (5)

"Save the Children" is a 1971 song written by Al Cleveland, Renaldo Benson and Marvin Gaye and issued on Marvin's 1971 album, What's Going On. While not issued as a single in the U.S., the song was issued as a single by the Tamla-Motown label in the UK where it peaked at #41 on the Charts in December 1971, whereas the other major US single releases initially failed to make a dent on the other side of the Atlantic. The song was a continuation of the message "What's Going On" delivered, about love, this time, for the children. Marvin later joked on the liner notes of the album "not let (this song) influence anyone". Marvin recorded both a spoken word recitation of the song and a vocal version mixing the two vocals together featuring Marvin's soft-spoken vocals on one side and his expressive tenor on the other. The song would later be covered by Diana Ross in a medley featuring the jazz song, "Brown Baby", on her 1973 album, Touch Me in the Morning. Marvin sung this song briefly while touring Europe in 1976 including the song as part of his What's Going On medley.

Personnel
Lead vocals and spoken verses by Marvin Gaye Background vocals by The Andantes Instrumentation by The Funk Brothers Produced by Marvin Gaye

"You're the Man"

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"You're the Man"

"You're the Man" is a two-part 1972 funk single released by American soul singer Marvin Gaye on the Tamla (Motown) label. On this song, Gaye blatantly attacks the policies set by the government which he felt had not giving people in America the benefits to live in society. The song was a blatant attack on the then-U.S. president Richard Nixon during a tense election year and a song in which an angry yet falsetto Gaye blurted "politics and hypocrites/is turning us all into lunatics". The song's then-controversial message was probably too much for Motown, who Gaye felt had neglected radio play of the song, which led to Gaye's withdrawing of the album of the same name later that year. The song rose to number seven on the R&B singles chart and stalled at number fifty on the pop singles chart. The parent album of this song has still yet to be released by Motown. Another version of the song featured a faster tempo version with a tenor Gaye singing in his trademark vocal multi-tracking. Both versions were released on the Deluxe reissue of Let's Get It On.

Chart performance
Chart (1971) Peak position 50 7

U.S. Billboard Hot 100 U.S. Hot Selling Soul Singles

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"Trouble Man"
"Trouble Man"
Singleby Marvin Gaye from the album Trouble Man Released Format Recorded November 21, 1972 7" single (45 RPM) 1972 Hitsville USA (Detroit, Michigan) Hitsville West (Los Angeles, California) Soul, funk, blues, jazz 3:49 Tamla Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

Genre Length Label Writer(s) Producer

"You're the Man" (1972)

"Trouble Man" (1972)

"I Want to Come Home for Christmas" (1972)

"Trouble Man" is a 1972 hit single for American soul singer Marvin Gaye on the Tamla (Motown) label. The song was the title track and theme of a Soul Cinema Classic film of the same name. Relating the song to the travails of the movie's leading character, titled "Mister T", and also relating to issues in his private life, Marvin called it one of the most honest recordings he ever made. Gaye played drums and piano on the record as well as performing all the vocals himself, in which he sings most of the song in falsetto while reaching a gospel-styled growl during the bridges of the song. The performances of the song during Marvin's later concerts became one of his highlights during his 1970s and early 1980s tours. The song was also used as two instrumental "theme songs" on the accompanying album, in which Marvin played synthesizers to accompany saxophone solos from his musicians. Marvin also recorded a slightly different version of the song primarily for the movie's opening in which he sings two vocals, one in tenor and the other in falsetto while also reciting a rap. The album version of the song was the only one released as a single in November 1972 where it became a top ten hit on the Billboard Hot 100 reaching number seven on that chart in January 1973.[1] The song became one of Marvin's signature songs for the remainder of his life and would later be the basis of a biography and would be a sort of nickname/alias for Gaye. It was featured on the soundtrack for the video game Driver: Parallel Lines. It was also featured on the soundtrack for the films Four Brothers and Se7en.

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References
[1] "Billboard Singles" (http:/ / www. allmusic. com/ artist/ p4344/ charts-awards/ billboard-singles). All Media Guide / Billboard. . Retrieved 2010-03-01.

"I Want to Come Home for Christmas"

"I Want to Come Home for Christmas"
Singleby Marvin Gaye from the album The Marvin Gaye Collection Recorded Genre Length 1972, Hitsville West, Los Angeles Soul, R&B, doo-wop 3:31 (single version) 4:44 (full version) Tamla Marvin Gaye Forest Hairston Marvin Gaye Marvin Gaye singles chronology

Label Writer(s)

Producer

"Trouble Man" (1972)

"I Want to Come Home for Christmas" (1972)

"Let's Get It On" (1973)

"I Want to Come Home for Christmas" is a holiday song recorded and released by Marvin Gaye in 1972. The song was co-written by Gaye and Forest Hairston and was released, first on a Motown Christmas album, while a fuller version was released on a posthumous Marvin compilation titled, The Marvin Gaye Collection 18 years later.

Overview
Recording
The idea of the song came to Forest Hairston after seeing pictures of people tying yellow ribbons around trees for Vietnam War troops who were forced to be prisoners of war or P.O.W. Hairston hadn't finished writing the song when Marvin Gaye, who he had become friends with, happened to stop by his house. When Gaye asked Hairston what he was working on, he said he was "messing with a song" in tribute to the Vietnam troops. Gaye had mentioned to Hairston that he wanted to have a holiday song of his own and asked Hairston to play him a bit of it. Gaye stopped him mid-track and began to work more on the track with him, adding in melody and harmony parts. Gaye later took Hairston's track and went to the Motown Recording Studios in Los Angeles, otherwise known as Hitsville West, and produced the track himself. Gaye finished the recording in one take and after it was recorded on tape, returned to Hairston's apartment and slipped the tape in Hairston's recorder. When Hairston heard it, he immediately hugged Gaye complimenting his talents, to which Gaye laughed.

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Issues with Motown and later releases

Gaye struggled to get the song released as a single for Vietnam troops with Motown. Initially the label refused to release it though it was unclear whether it was due to the sensitive nature of the song. Nonetheless, the song was issued on a Motown Christmas album in 1972 along with other Christmas songs recorded by other Motown artists and was eventually released as a single as it made several R&B radio stations, it failed to chart. Eighteen years after its recording and six years after Gaye's untimely death, the song was reissued on The Marvin Gaye Collection. Hairston would recall he received a royalty check from the song a few years later after the album's release. Later evaluation of the song by critics labeled it as a "masterpiece". Ever since 1990, Gaye's song has been played on R&B radio stations during the Christmas season.

Credits
All vocals by Marvin Gaye Instruments by The Funk Brothers and Marvin Gaye Written by Forest Hairston and Marvin Gaye Produced and arranged by Marvin Gaye

"Let's Get It On"

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"Let's Get It On"

"Let's Get It On"
1973 U.K. single release Singleby Marvin Gaye from the album Let's Get It On B-side Released Format Recorded "I Wish It Would Rain" June 15, 1973 7" single (45 RPM) March 22, 1973 Hitsville West (Los Angeles, California) Soul, funk 4:53 (Album version) 3:58 (Single edit) Tamla T-54234 Marvin Gaye Ed Townsend Marvin Gaye Platinum Marvin Gaye singles chronology

Genre Length

Label

Writer(s)

Producer Certification

"I Want to Come Home for Christmas" (1972)

"Let's Get It On" (1973)

"Come Get to This" (1973)

Let's Get It On track listing

"Let's Get It On" (1)

"Please Stay (Once You Go Away)" (2)

"Let's Get It On" is a song and hit single by soul musician Marvin Gaye, released June 15, 1973 on Motown-subsidiary label Tamla Records. The song was recorded on March 22, 1973 at Hitsville West in Los Angeles, California. The song features romantic and sexual lyricism and funk instrumentation by The Funk Brothers. The title track of Gaye's landmark 1973 album of the same name; it was written by Marvin Gaye and producer Ed Townsend. "Let's Get It On" became Gaye's most successful single for Motown and one of his most well-known songs. With the help of the song's sexually explicit content, "Let's Get It On" helped give Gaye a reputation as a sex icon during its initial popularity.

"Let's Get It On"

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Conception
Co-written with doo-wop pioneer Ed Townsend, "Let's Get It On" was Gaye's plea for sexual liberation. When originally conceived by Townsend, who was released from a rehab facility for alcoholism, it was written with a religious theme. Gaye confidante Kenneth Stover changed some of the words around as a political song and Gaye recorded the version as it was written, but Townsend protested that the song wasn't a politically-conscious song but a song dedicated to love and sex.[1] Gaye and Townsend then collaborated on new lyrics and using the original backing tracks as recorded, Gaye transformed the song into an emotional centerpiece. The album version of "Let's Get It On" features soulful and emotional singing by Gaye that is backed by multi-tracked background vocals, also provided by Gaye, along with the song's signature, and most notable, funky guitar arrangements. In an article for Rolling Stone magazine, music critic Jon Landau wrote of the song: "Let's Get It On" is a classic Motown single, endlessly repeatable and always enjoyable. It begins with three great wah-wah notes that herald the arrival of a vintage Fifties melody. But while the song centers around classically simple chord changes, the arrangement centers around a slightly eccentric rhythm pattern that deepens the song's power while covering it with a contemporary veneer. Above all, it has Marvin Gaye's best singing at its center, fine background voices on the side, and a long, moody fade-out that challenges you not to play the cut again.[2] Jon Landau The song was reprised on the fourth track of Let's Get It On as "Keep Gettin' It On", which was a sequel and continuation of the original. The recording of the title track also inspired Gaye to revive previous recordings from his earlier 1970 sessions at the Hitsville U.S.A. Studio, which would consist of the rest of the album's material. During the time of the recording of the song and its subsequent album of the same name, Marvin had befriended the family of jazz guitarist Slim Gaillard and had become smitten with Gaillard's seventeen-year-old daughter, Janis Hunter. A widely reported story has been told that Hunter was in the studio when Gaye recorded the song at the recording booth. Gaye and Hunter were said to be smitten with each other and, within months, Gaye and Hunter began dating. Hunter would become Gaye's live-in lover by 1974. Their relationship would produce two children and a 1977 marriage.[3]

Release and reception

"Let's Get It On" became one of Gaye's most successful singles, as it reached #1 on the Billboard Pop Singles chart on September 8, 1973.[4] The single remained at #1 for two weeks, while also remaining at the top of the Billboard Soul Singles chart for eight weeks.[5]. In its first week at the top of the chart, "Let's Get It On" replaced "Brother Louie" by Stories, and was replaced by "Delta Dawn" by Helen Reddy; it later replaced "Delta Dawn" and was finally knocked off the top of the chart by Grand Funk Railroad's "We're an American Band". The single stayed inside the Billboard Hot 100 top-ten for thirteen weeks (ten weeks inside the top-five). The song became the biggest selling Motown release in the United States at the time, selling over two-million copies within the first six weeks of following its release. "Let's Get It On" also became the second best-selling single of 1973, only surpassed in sales by Tony Orlando & Dawn's "Tie a Yellow Ribbon Round the Ole Oak Tree". At the time, the single was Motown's largest-selling recording ever, selling over three-million copies between 1973 and 1975.[6] The single has gone on to sell over 1million copies, and, on June 25, 2007, was certified platinum in sales by the RIAA.[7] A bluegrass version of the song was later recorded by Shannon Lawson on his 2002 album Chase the Sun.[8] "Let's Get It On" was given a remix in 2004, when producers mixed Gaye's vocals with a different musical production labeled as "stepper's music". Released in 2005 as a single, "Let's Get it On (The Producers Mix)" returned the song to the Billboard R&B charts, thirty years after its original release. The re-released version of "Let's Get It On" was certified as a gold single with sales in excess of 500,000 copies in 2005 by the RIAA, making it the best-selling Motown record ever released in North America. In 2004, the song was ranked #167 on Rolling Stone magazine's list

"Let's Get It On" of the 500 Greatest Songs of All Time.[9] In 2008, "Let's Get It On" was ranked #32 on Billboard magazine's Hot 100 All-Time Top Songs list.[4]

251

Track listings and formats

These are the formats and track listings of the major single releases of "Let's Get It On":

U.S. 7" single

Original U.S. vinyl release, T-54234F. A-side 1. "Let's Get It On" 3:58 B-side 1. "I Wish It Would Rain" 2:46 Producer - Norman Whitfield Written-By - B. Strong, N. Whitfield, R. Penzabene Arranged By - Rene Hall Producer - Ed Townsend, Marvin Gaye Written-By - E. Townsend [10]

U.K. 12" single

Limited edition U.K. 1973 release, TMGLTD-40. A-side 1. "Let's Get It On" 3:58 B-side 1. "Keep Gettin' It On" 3:09 [11]

U.S reissue
Collectables 7-inch reissue single from the Back To Back Hit Series, COL-563. A-side 1. "Let's Get It On" 3:58 B-side 1. "Trouble Man" 3:49 [12]

Chart history
Title "Let's Get It On" Information Tamla single 54234, June 15, 1973 B-side: "I Wish It Would Rain" (from That's the Way Love Is) US Pop Singles #1 (2 weeks) US Black Singles #1 (8 weeks)

Notes
[1] Edmonds (2001), pp. 78. [2] Marvin Gaye: Let's Get It On : Music Review (1973) (http:/ / www. rollingstone. com/ artists/ marvingaye/ albums/ album/ 234725/ review/ 19516159/ lets_get_it_on). Rolling Stone. Retrieved on 2008-08-18. [3] PopMatters Music Feature - The Tortured Soul of... (http:/ / www. popmatters. com/ music/ features/ 031103-rkelly. shtml). Retrieved on 2008-08-26. [4] Billboard - Hot 100 (http:/ / www. billboard. com/ bbcom/ specials/ hot100/ charts/ top100-titles-40. shtml). Nielen Business Media. Retrieved on 2008-10-04. [5] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.226. [6] Super Seventies - "Let's Get It On" (http:/ / www. superseventies. com/ 1973_5singles. html). Super Seventies. Retrieved on 2008-08-17. [7] RIAA Searchable Database (http:/ / www. riaa. com/ goldandplatinumdata. php?table=SEARCH_RESULTS). Recording Industry Association of America. Retrieved on 2008-08-18. [8] "Shannon Lawson : Biography" (http:/ / www. cmt. com/ artists/ az/ lawson_shannon/ bio. jhtml). CMT.com. . Retrieved 2007-09-02.

"Let's Get It On"

[9] RS 500 Greatest Songs: 167) Let's Get It On (http:/ / www. rollingstone. com/ news/ story/ 6596012/ lets_get_it_on). Rolling Stone. Retrieved on 2008-08-26. [10] Marvin Gaye - Let's Get It On (US 7") (http:/ / www. discogs. com/ release/ 972315). Discogs. Retrieved on 2008-08-26. [11] Marvin Gaye - Let's Get It On (UK 12") (http:/ / www. discogs. com/ release/ 522757). Discogs. Retrieved on 2008-08-26. [12] Marvin Gaye - Let's Get It On (US Reissue) (http:/ / www. discogs. com/ release/ 1380804). Discogs. Retrieved on 2008-08-26.

252

References
David Ritz, Ed Townsend, Ben Edmonds, Harry Weinger (2001). Marvin Gaye - Let's Get It On (Deluxe edition liner notes). excerpted quotes by Marvin Gaye. Motown Records, a Division of UMG Recordings, Inc. MOTD 4757.

External links
Song lyrics at MTV.com (http://www.mtv.com/lyrics/gaye_marvin/let_s_get_it_on/3072335/lyrics.jhtml) Video of Gaye performing "Let's Get It On" - Dailymotion.com (http://www.dailymotion.com/video/ xsxwh_marvin-gaye-lets-get-it-on_dating)

"You're a Special Part of Me"

253

"You're a Special Part of Me"

"You're a Special Part of Me"
Singleby Diana Ross & Marvin Gaye from the album Diana & Marvin Released Recorded Genre Length Label Writer(s) September 1973 1972 Soul 3:24 (single version) 3:35 (LP version) Motown Harold Johnson Andrew Porter Gregg Wright Berry Gordy Diana Ross & Marvin Gaye singles chronology

Producer

"You're a Special Part of Me" (1973)

"My Mistake (Was to Love You)" (1974)

"You're a Special Part of Me" was a successful duet single for soul singers and Motown label mates Diana Ross & Marvin Gaye, released in 1973. The original duet was one of the few originals featured on their famed album, Diana & Marvin, and was among the most successful of the songs the Motown label mates made reaching #4 on the Billboard R&B Singles chart and #12 on the Billboard Pop Singles chart. There are several mixes of this song which have been released: the single mix, the album mix, the Japanese Quadraphonic album mix, and an alternate mix released in 1995 on the "Motown Year By Year: 1973" CD, which clocks in at 4:29.

Personnel
Lead vocals by Marvin Gaye and Diana Ross Background vocals by assorted singers Instrumentation by The Funk Brothers

"Stop, Look, Listen (To Your Heart)"

254

"Stop, Look, Listen (To Your Heart)"

"Stop, Look, Listen (To Your Heart)"
Singleby The Stylistics from the album The Stylistics B-side Released Format Genre Length Label Writer(s) Producer "If I Love You" 1971 7" Soul, Philly soul 2:57 Avco Thom Bell, Linda Creed Thom Bell The Stylistics singles chronology

"You're a Big Girl Now" (1971)

"Stop, Look, Listen (To Your Heart)" (1971)

"You Are Everything" (1971)

"Stop, Look, Listen (To Your Heart)" is a soul song written by Thom Bell and Linda Creed that was originally recorded by the Philadelphia soul group The Stylistics.

The Stylistics version

An R&B ballad, it was the first track from their 1971 debut self-titled album[1] and was released as a single in 1971 and reached #39 on the U.S. Billboard Hot 100 chart.[2] In addition, it also climbed to #6 in the Billboard R&B chart.[2]

Marvin Gaye and Diana Ross version

"Stop, Look, Listen (To Your Heart)"
Singleby Diana Ross & Marvin Gaye from the album Diana & Marvin B-side Released Format Genre Length Label Writer(s) Producer "Love Twins" 1974 7" Soul 2:53 Motown Thom Bell, Linda Creed Hal Davis

Diana Ross & Marvin Gaye singles chronology

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255

"Don't Knock My Love" (1974)

"Stop, Look, Listen (To Your Heart)" (1974)

Around the same time, Motown wanted their most successful label mates Gaye and Ross to record a duet album. Among the songs they released, their version of "Stop, Look, Listen (To Your Heart)" was recorded in separate studios, and was released as a UK only single from their duet album, Diana & Marvin, in 1974. The song became a hit in the UK reaching #25 on the UK Singles Chart. In 2001 the Marvin Gaye and Diana Ross duet version was used as part of the movie soundtrack for Bridget Jones's Diary.

Covers and samples

The song has been covered many times. Patti Austin recorded it for her 1981 album, Every Home Should Have One, and Will Downing's 1998 album, Pleasures of the Night version featured saxophonist Gerald Albright. The duet approach was mimicked by Michael McDonald and Toni Braxton, for McDonald's Motown Two album in 2004. Smilez and Southstar's hit, "Tell Me", sampled from the Gaye/Ross version. A second sample of that version of the song, at least the music, was by Ja Rule and Ashanti with their joint hit, "Mesmerized". 50 Cent also sampled it in his song, "Ghetto Qu'ran (Forgive Me)". Boney James has also covered the song. Johnny Mathis covered the song for his 1973 album I'm Coming Home, an album of Philly soul record standards composed mostly by Thom Bell and Linda Creed. Shaquille O'Neal sampled the Gaye/Ross version for the rap song "Legal Money" on his 1996 album You Can't Stop the Reign. Kool & the Gang made an instrumental version of this song on in 1973 on their compilation album Kool Jazz. Craig David sampled the song on his latest album Signed, Sealed, Delivered and serves as the second single. Jean Grae's Lovesong from her 2002 album Attack of the Attacking Things samples the original version. Barbara Acklin covered this song on the B-side of her 1972 single Lady, Lady, Lady. Lewis Taylor covered the song for his 2005 Hacktone release of the album "Stoned". Toni Braxton sampled the song for her song "You've Been Wrong" on her third album The Heat. Circle Research sampled the song for their song "Stop, Look ... Listen to your Heart".

Personnel
The Stylistics version
Lead vocals by Russell Thompkins, Jr. Background vocals by James Smith, Airrion Love, James Dunn, and Herbie Murrell Produced by Thom Bell

Marvin Gaye & Diana Ross version

Lead vocals by Marvin Gaye and Diana Ross Instrumentation by The Funk Brothers Produced by Hal Davis

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256

References
[1] Lytle, Craig. "The Stylistics" (http:/ / www. allmusic. com/ album/ the-stylistics-r19273). AllMusic. . Retrieved 01 October 2011. [2] Allmusic - Charts & Awards (http:/ / www. allmusic. com/ artist/ p5549/ charts-awards/ billboard-singles)

"Come Get to This"

"Come Get to This"
Singleby Marvin Gaye from the album Let's Get It On B-side Released Format Genre Length Label "Distant Lover" October 11, 1973 Vinyl record (7" 45 RPM) Soul 2:41 Tamla T 54241 Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

Writer(s) Producer

"Let's Get It On" (1973)

"Come Get to This" (1973)

"You Sure Love to Ball (1974)

Let's Get It On track listing

"Keep Gettin' It On" (4)

"Come Get to This" (5)

"Distant Lover" (6)

"Come Get to This" is a 1973 hit for American soul singer Marvin Gaye, released on the Tamla (Motown) label. The song, released a few months after his seminal anthem of seduction, "Let's Get It On", was built among a fast-paced doo-wop-like recording. This record was one of few recordings Gaye began recording when he cut the "What's Going On" single in 1970. The song discusses the return of an old flame to the singer's arms. The song topped out at the Billboard Pop Singles Chart at #21 and peaked at #3 on Billboard's soul singles charts. During Gaye's concerts afterwards, the singer performed a much slower blues-oriented version of the song setting it up as the build-up of "Let's Get It On". Gaye's live version of the song was actually initiated by the sound of Marvin's Trouble Man album, which had a unique blues flavor of its own merit. Singer Joe covered the song on his latest album, Signature.

"Come Get to This"

257

Personnel
All vocals by Marvin Gaye Instrumentation by The Funk Brothers Produced by Marvin Gaye

"You Sure Love to Ball"

258

"You Sure Love to Ball"

"You Sure Love to Ball"
Singleby Marvin Gaye from the album Let's Get It On B-side Released Format Recorded Genre Length Label Just to Keep You Satisfied January 2, 1974 7" single 1973, Hitsville West, Los Angeles, CA Soul 4:46 Tamla T 54244 Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

Writer(s) Producer

"Come Get to This" (1973)

"You Sure Love to Ball" (1974)

"My Mistake (Was to Love You)" (w/Diana Ross) (1974)

Let's Get It On track listing

"Distant Lover" (6)

"You Sure Love to Ball" (7)

"Just to Keep You Satisfied" (8)

"You Sure Love to Ball" is a song by Marvin Gaye, released in 1974. While it was initially a modest pop success peaking at #50, it rode to #13 on the R&B chart. The song was one of Gaye's most sexually overt and controversial singles. In the beginning, the track showcased moaning sounds by a male and female engaged in sex. It paved the way for artists such as Donna Summer and Janet Jackson, who moaned in their own sexually explicit songs. The song was covered by female soul singer Sylvia in 1976 and jazz superstar Will Downing in 1999 for the Gaye tribute album, Marvin Is 60, and was re-released as a single. R&B artist Keith Washington covers the song from KW album which was in 1998. The song was also heavily sampled by Usher in the song "Twork It Out" from his 8701 album.

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Personnel
All vocals by Marvin Gaye Additional background vocals (moans) by Fred and Madeline Ross Instrumentation by Los Angeles session musicians

"My Mistake (Was to Love You)"

260

"My Mistake (Was to Love You)"

"My Mistake (Was to Love You)"
Singleby Diana Ross & Marvin Gaye from the album Diana & Marvin Released Recorded Genre Length Label Writer(s) January 1974 1973 Soul 2:55 Motown Gloria Jones Pam Sawyer Hal Davis Diana Ross & Marvin Gaye singles chronology

Producer

"You're a Special Part of Me" (1973)

"My Mistake (Was to Love You)" (1974)

"You Are Everything" (1974)

"My Mistake (Was to Love You)" is a song recorded as a duet by Diana Ross and Marvin Gaye which was the second single released off the singers' duet album Diana & Marvin in February 1974. One of the original songs featured on that album, "My Mistake (Was to Love You)" was written by Gloria Jones and Pam Sawyer, the team responsible for the Gladys Knight & the Pips' classic "If I Were Your Woman". Pam Sawyer was also the co-writer (with Michael Masser) of the Diana Ross hit "Last Time I Saw Him" which dropped out of the Top 40 just prior to the Top 40 debut of "My Mistake (Was to Love You)" in March 1974: Sawyer would subsequently co-write (with Marilyn Mcleod) Diana Ross' 1976 #1 hit "Love Hangover". The narrative of "My Mistake (Was to Love You)" outlines how two lovers' relationship fell apart because the man, according to the woman, felt as if "a girl loves you, you only call them weak", while the man admits that he let his lover "slip through, like grains of sand". The song peaked at #15 on the Billboard R&B singles chart and #19 on the Billboard Pop singles chart.

Personnel
All vocals by Marvin Gaye & Diana Ross Instrumentation by The Funk Brothers Produced by Hal Davis

"Don't Knock My Love"

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"Don't Knock My Love"

"Don't Knock My Love - Pt. 1"
Singleby Wilson Pickett from the album Don't Knock My Love B-side Released Genre Length Label Writer(s) Producer "Don't Knock My Love - Pt. 2" April 1971 Soul 2:13 Atlantic Wilson Pickett, Brad Shapiro Wilson Pickett Wilson Pickett singles chronology

"Don't Let the Green Grass Fool You" (1971)

"Don't Knock My Love -Pt. 1" (1971)

"Call My Name, I'll Be There" (1971)

"Don't Knock My Love" is a hit song by R&B singer Wilson Pickett. Released in the spring of 1971 from the album of the same title, it spent a week at number-one on the Billboard Best Selling Soul Singles Chart and peaked at #13 on the Billboard Hot 100 Singles Chart.[1] The song, which was produced under a funk tempo, would be Pickett's last number-one single and one of his last hits for Atlantic Records.

"Don't Knock My Love"

Singleby Diana Ross & Marvin Gaye from the album Diana & Marvin B-side Released Format Genre Length Label Writer(s) Producer "Just Say, Just Say" 1974 7" Soul 2:13 Motown Wilson Pickett, Brad Shapiro Hal Davis Diana Ross & Marvin Gaye singles chronology

"You Are Everything" (1974)

"Don't Knock My Love" (1974)

"Stop, Look, Listen (To Your Heart)" (1974)

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Marvin Gaye and Diana Ross version

The best known cover version of this song was recorded by Diana Ross and Marvin Gaye for their 1973 duet album, Diana & Marvin. It peaked at #46 on the Billboard Hot 100 Singles Chart and #25 on the Hot Soul Singles Chart.

Personnel
Wilson Pickett version
Lead vocals by Wilson Pickett Instrumentation by assorted musicians Produced by Wilson Pickett

Diana Ross and Marvin Gaye version

Lead vocals by Marvin Gaye and Diana Ross Background vocals by assorted singers Instrumentation by The Funk Brothers Produced by Hal Davis

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.461.

"You Are Everything"

"You Are Everything"
Singleby The Stylistics from the album The Stylistics B-side Released Format Genre Length Label Writer(s) Producer Certification "Country Living" 1971 7" Soul, Philly soul 2:55 Avco Thom Bell, Linda Creed Thom Bell Gold The Stylistics singles chronology

"Stop, Look, Listen (To Your Heart)" (1971)

"You Are Everything" (1971)

"Betcha by Golly, Wow" (1972)

"You Are Everything" is a soul song written by Thom Bell and Linda Creed that was originally recorded by the Philadelphia soul group The Stylistics.[1]

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The Stylistics version

An R&B ballad, it was the sixth track from their 1971 debut self-titled album[2] and was released as a single in 1971 and reached #9 on the U.S. Billboard Hot 100 chart.[1][3] In addition, it also climbed to #10 in the Billboard R&B chart[3] and reached number #24 in the Billboard Easy Listening chart. The Stylistics' recording sold over one million copies globally, earning the band a gold disc[1] The award was presented by the RIAA on January 3, 1972.[1] It was the band's first gold disc.[1] Donald Glover/Childish Gambino sampled this song for his song Put It In My Video.
Chart (1972) Peak position 9 [3] [3]

U.S. Billboard Hot 100 Billboard R&B Singles

10

Marvin Gaye and Diana Ross version

"You Are Everything"
Singleby Diana Ross & Marvin Gaye from the album Diana & Marvin B-side Released Format Genre Length Label Writer(s) Producer "Include Me in Your Life" 1974 7" Soul 3:10 Motown Thom Bell, Linda Creed Hal Davis Diana Ross & Marvin Gaye singles chronology

"My Mistake (Was to Love You)" (1974)

"You Are Everything" (1974)

"Don't Knock My Love" (1974)

Another cover was by one-time Motown singing duo, Diana Ross & Marvin Gaye. Released as the second UK single from their Diana & Marvin album, the song reached #5 in the UK Singles Chart in April 1974.[4] It also reached #13 on the Dutch charts and #20 on the Irish Singles Chart. It was never released as a single in the U.S.

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Covers and samples

The first artists to chart in the UK with this song in early 1973 were The Pearls a 1970s vocal girl duo from Liverpool . It was released on the Bell label and reached number 41 in the Top 50 chart . Other artists to have covered the song, or referenced it, over the years include: Jennifer Lopez - sampled for "The One" on her album This Is Me... Then Rod Stewart - featured on his 1991 album Vagabond Heart Vanessa L. Williams - featured the song on her album of covers titled Everlasting Love; her version was a hit on Smooth Jazz, Dance and Adult Contemporary charts Mary J. Blige - used the title line ("You are everything, and everything is you") in her 1997 hit "Everything," from her album Share My World Michael McDonald Deborah Cox - sampled for her 1997 single, "Things Just Ain't the Same" Pop act 98 Degrees covered the song on their debut album. A duet between Gareth Gates and Rachel Stevens of S Club 7 Lil' Cease - his 1999 album The Wonderful World of Cease A Leo, on a song titled "Everything" feat. 112 (band). Former Destiny's Child member LeToya Luckett sampled the song in her 2006 hit "Torn" Mila J - the song titled "Complete" contains ("You are everything, and everything is you") Hall & Oates - covered on 2004's Our Kind of Soul Human Nature - featured the song on their album Reach Out: The Motown Record Craig David - sampled for "Kinda Girl For Me" from the album Trust Me Nivea (singer) - sampled for "I Can't Mess With You" from the album Complicated David Sanborn - covered on 1980's Love Songs[5][6] Timothy B. Schmit - covered on 2001's Feed the Fire Norman Connors - covered on 1977's Romantic Journey Regina Belle The Chosen Few (reggae group) Usher - sampled for the song titled Love in This Club, Pt. II featuring Beyonc and Lil Wayne, released as a single in 2008 and as part of his album Here I Stand. Grasshopper (band) - 1991 Childish Gambino - sampled for Put It In My Video from the 2010 album CULDESAC

References
[1] [2] [3] [4] [5] [6] Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p.351. ISBN0-214-20512-6. Lytle, Craig. "The Stylistics" (http:/ / www. allmusic. com/ album/ the-stylistics-r19273). AllMusic. . Retrieved 01 October 2011. Allmusic - Charts & Awards (http:/ / www. allmusic. com/ artist/ p5549/ charts-awards/ billboard-singles) Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p.223. ISBN1-904994-10-5. "Close-Up overview" (http:/ / www. allmusic. com/ album/ r146868). Allmusic.com. . "Retrospectives - A Look Back at a Favorite CD" (http:/ / www. smoothviews. com/ archives/ retropectives/ retrospectivesSep05. htm). SmoothViews.com. .

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"Distant Lover"
"Distant Lover"
Song by Marvin Gaye from the album Let's Get It On Released Recorded 1973 November 3, 1970 Hitsville U.S.A. (Detroit, Michigan) 1973 (over-dubbing) Hitsville West (Los Angeles, California) Soul, quiet storm 5:15 Tamla Marvin Gaye, Gwen Gordy Fuqua, Sandra Greene Marvin Gaye

Genre Length Label Writer Producer

Let's Get It On track listing

"Come Get to This" (5)

"Distant Lover" (6)

"You Sure Love to Ball" (7)

"Distant Lover (live)"

Singleby Marvin Gaye from the album Marvin Gaye Live! Released Recorded June 28, 1974 January 4, 1974 Oakland Coliseum (Oakland, California) Soul 6:20 (album version) 4:30 (single version) Tamla Marvin Gaye, Gwen Gordy Fuqua, Sandra Greene Marvin Gaye Marvin Gaye singles chronology

Genre Length

Label Writer(s) Producer

"Don't Knock My Love" (w/Diana Ross) (1974)

"Distant Lover (live)" (1974)

"I Want You" (1976)

"Distant Lover" "Distant Lover" is the sixth song issued on singer Marvin Gaye's 1973 album, Let's Get It On and was later issued as a live recording in 1974. The live version of the song was Gaye's most successful single during the three-year gap between Let's Get It On and his following 1976 album, I Want You.[1]

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History
Studio version
The song had been a work-in-progress for three years. Gaye originally wrote the song while recording for the What's Going On album. The song, titled originally under "Head Title", featured Sandra Greene as a co-writer. The song was left on the shelves following the release of What's Going On. The recording was a demo of Marvin improvising lyrics claiming he was singing "off the top of my head". The singer then recites in a gospel-inspired tone while Elgie Stover, a longtime Gaye collaborator, shouts in anguish over Marvin's words. At the end of the song, Denise Gordy is heard in the background talking to Marvin. Marvin's tenor and Elgie's screams carry the tone of the original track[1] The original version showcased Gaye in more of a self-conscious state of mind. Marvin revived the song in a more polished setting upon recording the Let's Get It On album, co-writing new lyrics with his friend Harvey Fuqua's wife and his sister-in-law Gwen Fuqua while keeping Greene's name as a co-writer. This time instead of shouting as he had in the original track, Marvin moaned over a sensible tenor and falsetto before finally ending the song in a growl as he begged and pleaded for his lover to "come back home".[1] According to the liner notes of the Deluxe reissue of Let's Get It On, it took twenty separate recording sessions before Marvin was satisfied with the song-more dates than it took to record the entire What's Going On album. Of the studio version, an Allmusic reviewer wrote: Marvin Gaye's studio recording enhances the dreamy style of the song with stately horn and strings, tumbling drum fills that gently nudge the song along, and mellow, doo wop-styled background vocals that echo "love her, you love her" under his romantic pleas. Gaye fulfills the song's promise with a rich vocal that builds from a heartbroken croon to an impassioned wail. It worked both as romantic mood piece and a showcase for Gaye's considerable vocal skills.[1] Allmusic The original 1973 recording was later sampled by Kanye West on his College Dropout album in 2004 on the song "Spaceship".

Live version
When Let's Get It On was issued, the song was released as the b-side to Marvin's hit, "Come Get to This". The song was later immortalized in a live version issued on his Marvin Gaye Live! album from 1974 in which Marvin builds up the song from a slowed-up version of his Trouble Man instrumental, "Theme from Trouble Man". After a small introduction, Marvin begins to sing the song, leading female audience members who attended his live show at the Oakland Coliseum to scream in delight.[1] The song would become a show-stopper in later concerts from then on until Marvin's final concert tour in 1983. Allmusic called it a "steamy version... complete with wailing female fans."[1] The live version of the song was so popular Motown issued that version as a single that June where it peaked at #28 on the pop singles chart #12 on the R&B singles chart that September.[1]

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Legacy, covers and samples

"Distant Lover" in its live version has been regarded as one of the greatest live performances of all time.[2] Its studio version has been covered by the likes of artists such as Betty Wright, who recorded it as a posthumous duet with Gaye on her 1994 album, B-Attitudes; Michael McDonald, Brian McKnight, El DeBarge and Thelma Houston among other artists. Kanye West sampled the song on his 2004 album track, "Spaceship" off his acclaimed debut, The College Dropout.

Personnel
1970 version (Head Title)
Lead and background vocals by Marvin Gaye Additional (spoken) vocals by Elgie Stover Instrumentation by The Funk Brothers Produced by Marvin Gaye

1973 version
All vocals by Marvin Gaye Instrumentation by The Funk Brothers Arranged by Gene Page Produced by Marvin Gaye

1974 version
Lead vocals by Marvin Gaye Background vocals by Eric Dolen, Charles Burns, Dwight Owens, Michael Torrance & Wally Cox Instrumentation: Ed Green: drums James Jamerson: bass David T. Walker: guitar Ray Parker: guitar Joe Sample: keyboard John Arnold: percussion Joe Clayton: congas Paul Hubinon: trumpet George Bonhanon: trombone Ernie Watts: sax William Green: sax James Getzoff: violin Jack Shulman: violin Arranged by Gene Page Produced by Marvin Gaye

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References
[1] allmusic {{{Distant Lover > Song Review}}} (http:/ / www. allmusic. com/ song/ t5080821). All Media Guide, LLC. Retrieved on 2008-08-17. [2] "Spiritual Sex and Marvin Gaye" (http:/ / www. thenewblackmagazine. com/ view. aspx?index=850). .

"I Want You"

"I Want You"
Singleby Marvin Gaye from the album I Want You B-side Released Format I Want You (Instrumental) April 1, 1976 Vinyl single

Recorded Marvin's Room, Los Angeles, California, 1975 Genre Length Label Soul, funk, disco 4:34 (single release) Tamla

Writer(s) Leon Ware Arthur "T-Boy" Ross Producer Leon Ware Marvin Gaye Marvin Gaye singles chronology

"Distant Lover" (live) (1974)

"I Want You" (1976)

"After the Dance (1976)

"I Want You" is a song written by songwriters Leon Ware and Arthur "T-Boy" Ross and recorded and released as a single by singer Marvin Gaye. Released as a single in 1976 on the Tamla label, the song introduced a change in musical styles for Gaye, who before then had been recording songs with a funk edge. Songs such as this gave him a disco audience thanks to Ware, who produced the song alongside Gaye. The song also stood to be one of Marvin's most popular singles during his later Motown period followed by his sabbatical following the release of 1973's Let's Get It On. The song eventually reached number fifteen on the Billboard Hot 100 and number one on the Hot Selling Soul Singles chart.[1] It also became a disco hit, reaching number ten on the Disco Singles Chart alongside "After the Dance".

Background
Originally conceived by Motown songwriter Leon Ware and his songwriting partner "T-Boy" Ross, it was originally intended to be included in Ware's Musical Massage album. When Ware, who was also signed to the label as a solo artist, presented the rough draft of his album to Motown-CEO Berry Gordy, the mogul was appreciative of the songs, including a rough version of "I Want You". But after hearing it, he convinced Ware to give some of the songs to Marvin Gaye, who was coming off the release of his acclaimed 1973 record, Let's Get It On, his final duet recording with Diana Ross and a commercially successful live album and was coming off a US tour at the time. Marvin, who

"I Want You" called himself a perfectionist, had struggled with creating a follow-up album to Let's Get It On. When Ware played Gaye the rough draft of "I Want You", Marvin, then inspired by his relationship with his girlfriend Janis Hunter,[2] was motivated to record a convincing performance of the song, which was about a man trying to convince a wayward lover that he wanted the woman to love him as much as he loved her. Purportedly recorded at Marvin's Room, the singer's new recording studio in Los Angeles, Marvin also reportedly recorded the song while lying on his back of his sofa according to Ware, who said that he couldn't see Gaye at first but then discovered a laid-back Marvin delivering the song in his trademark tenor vocals.

269

Composition
The song was a fusion of different genres, an unusual mix for Gaye. The instrumentation included strings, then an important ingredient to soul and disco-styled music in the seventies, percussive congas added a jazz feel to the song, the bass guitar notes and guitar riffs bring in a funk ingredient, while additional guitar (provided by Ray Parker, Jr., then a Detroit session musician) put in an added rock element. Gaye's leading vocals brought in both falsetto and a gospel approach near the ending coda of the song. Additional vocals, later added to Gaye's deluxe edition re-issue of I Want You, showcase two different lead vocal takes by Marvin. The background vocals, all by Gaye, recalled Marvin's early doo-wop roots.

Reception
Released a day before Marvin's 37th birthday in 1976, the single was released a month after its similarly titled parent album was released, the single gained success on both the Billboard Hot 100 and Hot Soul Singles chart, eventually peaking at number-fifteen on the Hot 100 and number-one on the R&B chart. The single's light-disco/soul approach helped the song gained a club audience after it was combined with the album's second single, "After the Dance" and peaked at number-ten on the Billboard Hot Dance/Club Play chart, Marvin's first single on that chart. Eventually the song would help its self-titled album sell over a million copies. Marvin would also be nominated with a Grammy Award for Best R&B Male Vocal Performance, losing out the second time to Lou Rawls, with whom he had a competitive rivalry, for his single, "You'll Never Find Another Love Like Mine".

Cover versions
In 1990, British singer Robert Palmer covered "I Want You" as a medley with another Marvin Gaye song, "Mercy Mercy Me".[3] The song was released as the third single from his tenth studio album, Don't Explain, in January 1991. The song reached number nine in the United Kingdom, six in Canada and sixteen in the United States. Diana Ross, whose brother T-Boy co-wrote the song, covered "I Want You" for her 2007 album I Love You.[4] American jazz ensemble To Be Continued Brass Band released an instrumental cover version of "I Want You" on their first album, Modern Times (2009).[5]

Madonna

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"I Want You"

Promotional single by Madonna featuring Massive Attack Released Genre Length Label Writer Producer October 2, 1995 (Radio airplay) Trip hop, pop 6:23 Motown, Maverick, Warner Bros. Leon Ware, Arthur "T-Boy" Ross Nellee Hooper

Background Madonna recorded a cover version of "I Want You" with British trip-hop group Massive Attack for her ballads compilation album Something to Remember and the Marvin Gaye tribute album Inner City Blues: The Music of Marvin Gaye in 1995. It was released as a promotional single in 1995.[6] After the release of her successful single "Take a Bow", Madonna was approached by Earle Sebastian about a cover of this song for a tribute album. She originally turned down the offer because of her vocal training for Evita but later decided to release a compilation album to hold fans over while she was working on Evita. When Warner Bros. asked for three new tracks, Madonna accepted the proposal of Massive Attack. Originally, "I Want You" was slated to become the first single from the compilation album, Something to Remember. The song was released as a promotional single in September 1995 and a music video was shot and released to many media outlets. Many problems arose internally, which resulted in "You'll See" being quickly released as a single instead. The video received heavy airplay on both MTV and VH1. Along with medium radio airplay, many fans speculated as to why the song was never released as an official single. Neither Massive Attack nor Madonna have commented on this matter. The song appears on the album in two versions: the original album version and an orchestral version. Dance remixes by Junior Vasquez and Warren Rigg have also surfaced and are available on the internet, as well as various mixes of the orchestral and original versions. Reception Allmusic editor Stephen Thomas Erlewine said that "I Want You" is the most notable among the three new tracks on Something to Remember.[7] In a review for Inner City Blues: The Music of Marvin Gaye, Erlewine also wrote "A few tracks stand out from the mire, particularly Madonna and Massive Attack's trip-hop re-interpretation of "I Want You"..."[8] Jim Farber of the New York Daily News stated that "[Madonna] has never sounded better than in the cover of Marvin Gaye's "I Want You"."[9] Tony Power from Blender listed the song as the stand out track on Something to Remember.[10] Because the song was not released officially as a single, "I Want You" never got into the charts. Music video "I Want You" was shot on August 5 and 6, 1995 at Empire Stages in Long Island City, New York and directed by Earle Sebastian. Directed by Earle Sebastian, produced by Joel Hinman, edited by Bruce Ashley, the video was inspired by and pays hommage to A Telephone Call, a short story written by American writer, Dorothy Parker. The video was promoted to VH1 and MTV. MTV Europe did and still does air the video, especially in the late-night show "Chill Out Zone". "I Want You" received a nomination for "MTV Amour" at the MTV Europe Music Awards 1996, but lost to The Fugees's "Killing Me Softly".[11] Julian Hirsh did several mixes of the track, while rare promos featuring nearly a dozen slightly altered versions of the original song exist. The video was also the only case in Madonna's career where a non-released single was given the full video treatment. The video was commercially

"I Want You" released in 2009 on Celebration: The Video Collection.

271

References
[1] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225. [2] Boraman, Greg (2003-09-18). "Review of Marvin Gaye - I Want You (Deluxe Edition)" (http:/ / www. bbc. co. uk/ music/ reviews/ 98gb). BBC. . Retrieved 2011-07-10. [3] Ruhlmann, William. Don't Explain (http:/ / www. allmusic. com/ album/ dont-explain-r14780) at Allmusic [4] Tamarkin, Jeff. I Love You (http:/ / www. allmusic. com/ album/ i-love-you-r859276) at Allmusic [5] (http:/ / www. louisianaweekly. com/ news. php?viewStory=1654) [6] "Madonna I Want You US Promo Box Set (323786)" (http:/ / eil. com/ shop/ moreinfo. asp?catalogid=323786). Esprit International Limited. . Retrieved 2008-08-14. [7] Erlewine, Stephen Thomas. Something to Remember (http:/ / www. allmusic. com/ album/ something-to-remember-r431248) at Allmusic [8] Erlewine, Stephen Thomas. Inner City Blues: The Music of Marvin Gaye (http:/ / www. allmusic. com/ album/ inner-city-blues-the-music-of-marvin-gaye-r224620) at Allmusic [9] Farber, Jim (November 14, 1995). "Big Names in Record Numbers: From Madonna to Stones" (http:/ / www. nydailynews. com/ archives/ entertainment/ 1995/ 11/ 14/ 1995-11-14_big_names_in_record_numbers_. html). Daily News New York. . [10] (http:/ / www. blender. com/ guide/ back-catalogue/ 52738/ something-to-remember. html) [11] "MTV Europe Music Awards Winners 1994-2000". Billboard (Nielsen Business Media, Inc) 113 (45): 50. 2001-11-10. ISSN0006-2510.

External links
Allmusic.com article about the Marvin Gaye version of "I Want You" (http://www.allmusic.com/song/ t3185516) BBC Review of I Want You album (http://www.bbc.co.uk/music/bluessoulreggae/reviews/ marvingaye_iwantyou.shtml) "I Want You" video by Madonna (http://music.aol.com/video/i-want-you/madonna/1102451) at America Online

"After the Dance"

272

"After the Dance"

"After The Dance"
Singleby Marvin Gaye from the album I Want You Released Format 1976 7' single, 12' single

Recorded 1975, Marvin Gaye Studios (Los Angeles, California) Motown Recording Studios (Hollywood, California) Genre Length Label Soul, funk, downtempo 3:30 Tamla

Writer(s) Marvin Gaye, Leon Ware Producer Marvin Gaye, Leon Ware Marvin Gaye singles chronology

"I Want You" (1976)

"After the Dance" (1976)

"Since I Had You" (1976)

This article is about the 1976 song. For the Terence Rattigan play see After the Dance "After the Dance" is a slow jam recorded by singer Marvin Gaye and released as the second single off Gaye's hit album, I Want You. Though it received modest success, the song served as one of Marvin's best ballads and the song served as part of the template for quiet storm and urban contemporary ballads that came afterwards.

Overview
Written by Marvin Gaye and his co-producer Leon Ware, the song narrates a moment where the author noticed a woman on Soul Train and convinces the girl to "get together" after the two shared a dance. Throughout the entire I Want You album, which was dedicated to Marvin's live-in lover Janis Hunter, the narrator (Gaye) brings up the dance concept in songs such as "Since I Had You". The song also served in a funky instrumental, which included a synthesizer solo performed by Marvin, who also played piano on the song and the entire album itself. The single came out on the strength of its success as a double-A side on the Billboard Club Songs chart, where it had peaked at number-ten alongside the album's hit title track. The song was Marvin's lowest-peaked pop single for the first time in fourteen years since the b-side of his "Can I Get a Witness" titled "I'm Crazy 'Bout My Baby", peaking at number seventy-four, ironically three places higher than "I'm Crazy 'Bout My Baby", while it was a bigger success on the R&B chart peaking at number-fourteen.

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273

Samples and interpolations

It has since been covered by a legion of jazz vocalists and groups including Fourplay, who covered the song with longtime Gaye admirer, R&B singer El DeBarge, in 1991. Their version was released as a single that year and re-introduced newer listeners to Gaye's original. During her "Girlie Show" concert in 1993, Madonna resung the opening lyric of the song, "Dance with me/c'mon, dance with me, baby", while performing "Everybody". The song was also sampled by De La Soul on the track "With Me" from their Art Official Intelligence: Mosaic Thump album and by Nas on the track "Play On Playa" from his 2006 album Hip Hop is Dead.

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274

"Since I Had You"

"Since I Had You"
Singleby Marvin Gaye from the album I Want You Released Recorded Genre Label Producer 1976 1975 Soul Tamla Leon Ware Marvin Gaye Marvin Gaye singles chronology

"After the Dance" (1976)

"Since I Had You" (1976)

"Got to Give It Up" (1977)

"Since I Had You" is a quiet storm-styled soul song recorded by singer Marvin Gaye for the I Want You album. The song was co-written by Gaye and producer Leon Ware and is a song that like "All the Way Round" talked of a reunion between the singer and a reputed lover, this time at a dance floor and convincing the woman despite the fact their relationship has cooled into a friendship to make love again. Like "Come Live with Me Angel" and "Feel All My Love Inside" before, the song includes sexual moans from Minnie Riperton.

Personnel
All vocals and keyboards by Marvin Gaye All other instrumentation by assorted musicians Produced and written by Leon Ware and Marvin Gaye

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275

"Got to Give It Up"

"Got to Give It Up"
Singleby Marvin Gaye from the album Live at the London Palladium A-side B-side Released Format Recorded "Got to Give It Up" (Pt. 1) "Got to Give It Up" (Pt. 2) March 1977 7" single, 12" single December 1976 Marvin's Room, Los Angeles, California Disco, funk, jazz-funk, soul 11:52 (full-length version) 4:12 (single version) Tamla Marvin Gaye Art Stewart Marvin Gaye singles chronology

Genre Length

Label Writer(s) Producer

"Since I Had You" (1976)

"Got to Give It Up" (1977)

"Pops, We Love You (A Tribute to Father)" (w/Diana Ross, Stevie Wonder & Smokey Robinson) (1978)

"Got to Give It Up" is a funk/disco song by American recording artist Marvin Gaye. Written by the singer and produced by Art Stewart, it was recorded in three studio dates in 1976 with a final mixing in early 1977. The song, a response to Gaye's label Motown pushing for the singer to record commercially accessible dance music to fit the music industry's embrace of dance rhythms, was released in March 1977. It was an instant success, landing at number-one on three different Billboard charts and helping its parent album, Gaye's live album, Live at the London Palladium, sell more than two-million copies. The song held the number one position on the U.S. Billboard Hot 100 for one week, from June 1825, 1977. It replaced "Dreams" by Fleetwood Mac, and was replaced by "Gonna Fly Now" by Bill Conti. On the R&B Singles Charts it held the number one spot for five weeks from April 30 until June 17, 1977 (being interrupted twice at the number one position for one week by "Whodunit" by Tavares for the week of May 21, 1977 and Stevie Wonder's "Sir Duke" for the week of May 28, 1977 respectively).[1] On the disco charts the single was also a number one hit.[2] The song influenced several dance records after its release including two songs by Michael Jackson. It was later covered by the group Zhane in 1999 and Aaliyah in 1997

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Background
Throughout 1976, Marvin Gaye's popularity was still at a high in America and abroad, but the singer struggled throughout the year due to pending lawsuits from former band mates. Divorce court proceedings between Gaye and first wife Anna Gordy had put a strain on Gaye. Financial difficulties almost led to imprisonment for the singer when Gordy accused him of failing to pay alimony payments for their only child, son Marvin Pentz Gay III. To relieve Gaye from his debt, his European concert promoter Freddy Kruger booked the singer on a lengthy European tour, his first since 1967. Gaye began the tour in the United Kingdom where he had a strong fan base dating back to his early career in the 1960s. His performances there were given rave reviews. One of the shows, filmed at London's Palladium, was recorded for a live album, later released as Live at the London Palladium, in the spring of 1977. Around the same time, Gaye's label Motown tried to get the artist to record in the current sound of the times, disco music. Gaye criticized the music, claiming it lacked substance and vowed against recording in the genre. His label mate Diana Ross had recorded her first disco song, "Love Hangover". The song's producer Hal Davis debated over giving that song to either Ross or Gaye. After working over the song, he went with Ross. Motown struggled to get Gaye in the studio as Gaye focused on work on an album (which would later be released as Here, My Dear, dedicated to Gaye's troubled first marriage). After months of holding off from recording anything resembling disco, the singer set upon writing a song parodying a disco setting.

Production
The first recording session for "Got to Give It Up", originally titled "Dancing Lady", was on December 13, 1976. Influenced by the Johnnie Taylor hit, "Disco Lady", Gaye was inspired to create his answer song to Taylor's hit. To help set up a "disco" atmosphere, Gaye hired Motown producer and engineer Art Stewart to oversee the song's production. Gaye and Stewart brought in several musicians and Gaye's friends and family (mainly his brother Frankie, sister Zeola and girlfriend Janis Hunter) to Gaye's recording studio complex, Marvin's Room. From December 1417, 1976, Gaye performed the lead vocal track, instrumentation (which included Gaye, Fernando Harkness, Johnny McGhee, Frankie Beverly and Bugsy Wilcox and Funk Brother member Jack Ashford) and background vocals. In the song, Gaye added background vocals from his brother and his girlfriend. During the second half of the song,the song introduces vocal layered doo-wop styled scatting from Gaye. Fernando Harkness performs a tenor saxophone solo in the second half of the song. Gaye recorded his vocals on the first date of sessions, adding instrumentation on the following day, and then adding other effects in the latter two days, mixing it by January 1977. Influenced by the vocal chatter on his previous hit, "What's Going On", Gaye decided to create a party scene outside the recording studio where different voices are heard either greeting each other or partying. At one point during the song, a female voice can be heard yelping and screaming in joy. The voice was later confirmed to be that of Gaye's baby sister Zeola. Gaye is also heard visibly on the track greeting people and laughing while mingling in with the crowd. During the bridge, Gaye is heard yelling, "Say Don! Hey man, I didn't know you was in here!" The "Don" was later confirmed as Soul Train host Don Cornelius, who was one of Gaye's close friends. Gaye overlapped the party sounds over and over, making a loop. In the second half of the song, Gaye sings mainly the initial title, "dancing lady" over and over while a saxophone is playing a solo. All the background vocals on the second part of the song were from Gaye himself. Gaye also plays percussion, RMI synthesizer bass and keyboards on the song. In the second half, he can be heard playing on a glass bottle halfway filled with grapefruit juice.[3] L.T.D. guitarist Johnny McGhee added guitar. McGhee and Frankie Beverly were the only non-band mates featured on the song playing instruments. Beverly also added assorted percussion.

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Composition
Despite its later reputation as a "disco classic", the style of "Got to Give It Up" is mainly funk with jazz-funk elements. After the start of the song, which includes vocal chatter, the song kicks off with a standard drum beat: kick, snare and hi-hat while synthesizers are heard soon afterwards. After nearly five minutes, Gaye's vocals appear in a falsetto, which he sangs in for most of the song. In the second half, after harmonizing in falsetto, Gaye's tenor vocals take over. The song's story line focuses on a man who is a wallflower when he comes into a nightclub nervous to perform on the dance floor. But after a minute of this, the music takes over and his body starts to lose any inhibitions. Midway through he finally cuts loose before shouting the chant "let's dance, let's shout, get funky what it's all about!" proving the power of the dance can overtake any shyness. The dance is mainly focused on Gaye and a suitable female partner he seeks. In the second half, a funkier jazz arrangement is helped in guitar, bass and a tambourine. After this, he continues chanting until the song fades.

Release and reaction

Motown released "Got to Give It Up" as a single in March 1977. Response was immediate. By April of the year, it had already climbed to number-one on Billboard's Hot Soul Singles chart. Within two months, the song had also climbed to number-one on the Billboard Hot 100. It would reach number-one on the dance chart in May. The single also found success outside the United States reaching number seven on the UK Singles Chart, his biggest charted hit as a solo artist since his version of "Abraham, Martin & John" had peaked at number nine on the chart in 1970. Before, Gaye had modest success with two singles - "Save the Children" (which was released as a double-A side with Gaye's 1966 recording, "Little Darling (I Need You)") in 1971 and "Let's Get It On" in 1973 (which peaked at number 31 on the UK chart). The single also found modest success in some countries, peaking at number 24 on the Dutch singles chart and number 31 on the New Zealand charts. The single's success helped its parent album, Live at the London Palladium find substantial successespecially in Gaye's home country, where it stayed at the top ten for several weeks. Sales of the album eventually reached two-million.

Legacy
Gaye's song became an important influence and motivation for Michael Jackson, who was searching to write a potential hit after The Jacksons had struggled with previous offerings. Jackson later wrote, with brother Randy, the classic, "Shake Your Body (Down to the Ground)", taking and altering bits of Gaye's chant, "let's dance, let's shout, get funky what it's all about." The song, "Don't Stop 'til You Get Enough", written solely by Jackson and recorded the same year as "Shake Your Body", took even more of Gaye's approach with the entire song, using percussive instruments as the basis of the song and a continued funk guitar riff, that was also present on "Got to Give It Up". Jackson sings most of the song in falsetto though he also adds tenor vocals in the bridge. Jackson and producer Quincy Jones added in strings to make the song different and an original. Much like the party chatter in "Got to Give It Up", Jackson added in vocal chatter, however, the chatter would later be debated as two people having a verbal argument while the tape was recording (a woman could be heard hollering "man I hate your ass anyway!"). Jackson and Jones allowed the argument in the recording. "Got to Give It Up" was featured in the films Menace II Society (1993), Boogie Nights (1997), Summer of Sam (1999), Charlie's Angels (2000), Barbershop (2002) and Paul (film) (2011).

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Personnel
Written and composed by Marvin Gaye Produced and engineered by Art Stewart Mixing by Art Stewart and Marvin Gaye Marvin Gaye: RMI synthesizer bass, keyboards, percussion Johnny McGhee: guitar Fernando Harkness: saxophone Bugsy Wilcox: drums Jack Ashford: tambourine Frankie Gaye: background vocals (first part) Janis Hunter: background vocals (first part) Zeola Gaye: background vocals, chatter (first part) Vocal, rhythm and synthesizer arrangement by Marvin Gaye Lead and background vocals by Marvin Gaye

Charts and procession

Charts
Chart (1977) Peak position 1 1 1 5 7 24 31

US Billboard Hot 100 US Soul Singles Chart US Dance Songs Chart RPM Singles Chart UK Singles Chart Dutch Singles Chart New Zealand RIANZ Chart

Procession and succession

Cover versions
Aaliyah version

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"Got to Give It Up"

Singleby Aaliyah featuring Slick Rick from the album One in a Million B-side Released "No Days Go By" October 8, 1996 January 27, 1997 CD single, 12-inch single 1996 R&B, funk, hip hop 4:02 (radio edit) 4:41 (album version) Blackground/Atlantic Records Marvin Gaye, Slick Rick, Michael Jackson Kay Gee Aaliyah singles chronology

Format Recorded Genre Length

Label Writer(s) Producer

"If Your Girl Only Knew" (1996)

"Got to Give It Up" (1996)

"One in a Million" (1996)

Aaliyah's cover version of Marvin Gaye's "Got to Give It Up" features a rap from Slick Rick, samples Michael Jackson's "Billie Jean", and was included on her 1996 album One in a Million. It was released as the second single in the UK. Aaliyah's version of "Got to Give It Up" failed to chart in the U.S. when it was commercially released there in January 1997 (It was not sent to radio stations for airplay, a 12-inch vinyl single was only made for sale in record stores), but it was a minor hit in the UK peaking at number 37 in the UK Singles Chart. It reached number 34 in New Zealand. The single's B-side, "No Days Go By", was one of Aaliyah's few self-compositions. A new remix of Aaliyah's "Got to Give It Up" (without Slick Rick's vocals) was included on her posthumous 2002 compilation album I Care 4 U. The video is a re-edit of the original. A music video was directed by Paul Hunter. The video was edited to both the album version with Slick Rick, and a remix, without Slick Rick's vocals.

Charts

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Chart (1996/1997)

Peak position 34 37

New Zealand RIANZ Singles Chart UK Top 75 Singles [4]

Covers by other artists

Tenor saxophonist Pharoah Sanders covered the song from his 1977 album "Love Will Find A Way." Another saxophonist David Sanborn covered the song from his 1994 album "Hearsay."[5] Urban Knights, a contemporary jazz group led by legendary pianist Ramsey Lewis performed a cover of this song from their 2003 album Urban Knights V.[6][7] A second known instrumental version is from saxophonist Kim Waters from his 2007 album You Are My Lady.[8][9] The song has been featured in several films and soundtracks since its release including the soundtracks to films such as 54, Summer of Sam and The Nanny Diaries while it was featured on the films, Charlie's Angels, How Stella Got Her Groove Back, Menace 2 Society and Barbershop. In the latter film, the song is played during a crucial part in the film when two rival barbers nearly come to blows, the song is played which not only cools tension but brings out other people in the neighborhood to step out and dance. Longtime Marvin Gaye fan Justin Timberlake performed the song live at the 2008 Fashion Rocks concert. Gaye's daughter Nona recorded an unreleased version with Prince's band, New Power Generation.

References
[1] [2] [3] [4] [5] [6] [7] [8] [9] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.225. Whitburn, Joel (2004). Hot Dance/Disco: 1974-2003. Record Research. p.108. http:/ / www. allmusic. com/ song/ t2948850 "Chart Data: Aaliyah" (http:/ / www. mariah-charts. com/ chartdata/ PAaliyah. htm). . Retrieved 2007-07-12. "Hearsay overview" (http:/ / www. allmusic. com/ album/ r203376). Allmusic.com. . "Urban Knights V overview" (http:/ / www. allmusic. com/ album/ r644508). Allmusic.com. . "Ramsey Lewis & Urban Knights" (http:/ / www. narada. com/ sumcatalog/ jazz04/ ramseyurban. htm). Narada.com. . "You Are My Lady overview" (http:/ / www. allmusic. com/ album/ r952862). Allmusic.com. . "You Are My Lady Kim Waters" (http:/ / jazztimes. com/ articles/ 20060-you-are-my-lady-kim-waters). JazzTimes.com. .

"Pops, We Love You (A Tribute to Father)"

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"Pops, We Love You (A Tribute to Father)"

"Pops, We Love You (A Tribute to Father)"
Singleby Diana Ross, Marvin Gaye, Smokey Robinson and Stevie Wonder from the album Pops, We Love You Released Recorded Genre Length December 1978 1978, Motown Recording Studios, Los Angeles Soul, disco, R&B 6:23 (disco version) 3:59 (vocal version) Motown Marilyn McLeod, Pamela Sawyer Marilyn McLeod, Pamela Sawyer

Label Writer(s) Producer

"Pops, We Love You (A Tribute to Father)" is a 1978 single recorded and released by Motown stars Diana Ross, Marvin Gaye, Smokey Robinson and Stevie Wonder, issued as a tribute to the late Berry "Pops" Gordy, Sr., father of Motown founder Berry Gordy, who had died that year after a long battle with cancer.

Overview
Recording
For the duration of Motown Records' tenure in its native Detroit, Berry Gordy's father, Berry Gordy, Sr., otherwise known as "Pops", was one of the overseers of his son's label and was one of many to guide its many artists, most of which became famous following the release of successful records. Among those who he helped mentor were Diana Ross, Marvin Gaye, Smokey Robinson and Stevie Wonder. At one point, Gaye was Gordy's son-in-law after he married his daughter Anna. When Gordy Sr. died that October, his son asked longtime Motown songwriters Marilyn McLeod and Pamela Sawyer to compose a song in tribute to him and also began to produce a full-length album with other artists. For the title track, Ross, Gaye, Robinson and Wonder were called in to record the song. Ross, Gaye and Robinson recorded the track together in Motown's L.A. studios but Wonder, who was busy at work on a mostly instrumental piece to a soundtrack for the movie, later called Journey Through the Secret Life of Plants, recorded his part separate from the rest of the trio. His voice was later dubbed. Ross and Gaye were sparked from the recording of the song that they agreed to add vocals to another McLeod/Sawyer composition, the lite funk-laden, socially conscious "I'll Keep My Light in My Window", marking their first studio duet since the Diana & Marvin sessions of 1972. Unlike the 1972 sessions, Gaye and Ross recorded the duet together.

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Release
The song was issued as a single in December 1978, just before the Christmas season. The 7-inch and 12-inch releases of the single had the song's 45rpm shaped around a red heart. The song was a mild hit upon its release reaching as high as number 59 on the Billboard Hot 100 in January 1979, while reaching number 66 on the UK Singles chart. It fared better on the U.S. R&B charts, peaking at number 26. The disco version and the single version of the song was placed on the final track listing of the Pops, We Love You album.

"A Funky Space Reincarnation"

"A Funky Space Reincarnation"
Singleby Marvin Gaye from the album Here, My Dear B-side Released Format Recorded Genre Length Label Writer(s) Producer A Funky Space Reincarnation, Pt. 2 February 11, 1979 7" single; 12" single Marvin's Room, Los Angeles, California, USA, 1977 Funk 8:17 Tamla Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

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"Pops, We Love You (A Tribute to Father)" (w/Diana Ross, Smokey Robinson and Stevie Wonder) (1978) Here, My Dear track listing

"A Funky Space Reincarnation" (1979)

"Anger" (1979)

14 tracks Side one 1. 2. 3. 4. "Here, My Dear" "I Met a Little Girl" "When Did You Stop Loving Me, When Did I Stop Loving You" "Anger" Side two 1. "Is That Enough" 2. "Everybody Needs Love" 3. "Time to Get It Together" Side three 1. "Sparrow" 2. "Anna's Song" 3. "When Did You Stop Loving Me, When Did I Stop Loving You (instrumental)" Side four 1. 2. 3. 4. "A Funky Space Reincarnation" "You Can Leave, but It's Going to Cost You" "Falling in Love Again" "When Did You Stop Loving Me, When Did I Stop Loving You (reprise)"

"A Funky Space Reincarnation" is a 1978 funk single recorded and released in 1979 by Marvin Gaye on the Tamla label. In this song, he described a parallel universe where in the future, he's a captain of a "space bed" and he meets a woman that reminds him of his first wife, Anna. He then tells the woman that they'd probably get "married in June" and tells her to "smoke a joint from out of Venus". The song, like many of the tracks on Here, My Dear, doesn't have a distinctive melody, hook or a chorus and was obviously inspired by the likes of funk musicians such as Parliament-Funkadelic and Earth, Wind & Fire. The song's bridge is a reprise of his song "Anger," found earlier on the album. The song became a modest hit on the R&B charts, where it peaked at number twenty-three there. Marvin cut his very first music video with this song where surrounded by his band and a duo of sexy female dancers, he danced and lip-synched the song in a flashy red outfit. The song has been recently used in the advert for the Dior perfume J'adore starring Charlize Theron. Singer Musiq Soulchild recently sampled the song in his song, "Until", featured on his OnMyRadio album, in 2009.

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Personnel
All vocals, keyboards and synthesizers by Marvin Gaye Produced, written, arranged and composed by Marvin Gaye Drums by Bugsy Wilcox Guitar by Gordon Banks Bass by Frank Blair Trumpet by Nolan Smith

"Anger"
"Anger"
Singleby Marvin Gaye from the album Here, My Dear Released Format Recorded Genre Length Label Writer(s) 1979 7" single 1976 Funk/soul 4:04 Tamla Delta Ashby Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

Producer

"Anger"

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"A Funky Space Reincarnation" (1979)

"Anger" (1979)

"Ego Tripping Out" (1979)

Here, My Dear track listing

14 tracks Side one 1. 2. 3. 4. "Here, My Dear" "I Met a Little Girl" "When Did You Stop Loving Me, When Did I Stop Loving You" "Anger" Side two 1. "Is That Enough" 2. "Everybody Needs Love" 3. "Time to Get It Together" Side three 1. "Sparrow" 2. "Anna's Song" 3. "When Did You Stop Loving Me, When Did I Stop Loving You (instrumental)" Side four 1. 2. 3. 4. "A Funky Space Reincarnation" "You Can Leave, but It's Going to Cost You" "Falling in Love Again" "When Did You Stop Loving Me, When Did I Stop Loving You (reprise)"

"Anger" is a 1979 single released by singer Marvin Gaye recorded in 1978 for the album, Here, My Dear. The song was issued in 1979 as a single in Canada but failed to chart there. The song discussed mental anguish and pain over bitterness and talks specifically of angry confrontation, in Marvin's case, not only with his wife but with various other friends and family members. Marvin then tells his audience that someday soon he'll try to live his life Christian-like with the lyric Someday soon I'll hope and pray like Jesus/I'll reach that wiser age/hope I will learn I never profit from things I do in rage. The singer then states that when anger reaches its boiling point and then climaxes, he realizes that he's lost in love. Though it doesn't reference his marriage to Anna Gaye, who is the antagonist throughout the majority of this album, the couple in the song dealt with similar issues as faced in his real-life marriage.

Personnel
All vocals, keyboards and synthesizers by Marvin Gaye Drums by Bugsy Wilcox Bass by Frank Blair Guitar by Gordon Banks

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"Ego Tripping Out"

"Ego Tripping Out"
Singleby Marvin Gaye from the album Love Man (cancelled)/In Our Lifetime1 B-side Released Format Ego Tripping Out (Instrumental) September 17, 1979 7" single 12" single

Recorded 1979, Marvin's Room, Los Angeles, California Genre Length Label Funk 5:13 Tamla

Writer(s) Marvin Gaye Producer Marvin Gaye Marvin Gaye singles chronology

"Anger" (1979)

"Ego Tripping Out" (1979)

"Praise" (1981)

"Ego Tripping Out" is a 1979 funk-styled dance record released by American soul singer Marvin Gaye, released as a single on the Tamla (Motown) label. The song, written, composed, arranged and produced by Gaye himself, was a self-mockery of the singer's image and lifestyle. Providing a semi-rap at the beginning of the song where he sung "I got the baddest cool/could never be the fool/the ladies wait to get down with me", he later talks about the downside of being in the spotlight as he sung about his crippling drug abuse: "cause the toot and the smoke won't fulfill the need". The song, while not making it to the Billboard Hot 100, still made the R&B charts, peaking at #17. It would be Marvin's last Top 40 Billboard single at least on the R&B singles chart until 1981's "Praise".

Personnel
All vocals by Marvin Gaye Instrumentation by assorted musicians:
1

Guitars by Gordon Banks Drums, piano, keyboard and synthesizers by Marvin Gaye Saxophones by assorted musicians Bass by Frank Blair

Single was later included in a 1994 re-release of In Our Lifetime and a 2007 re-release deluxe edition featured different alternate mixes for the sessions of In Our Lifetime as well as the original Love Man single of it.

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"Praise"
"Praise"
Singleby Marvin Gaye from the album In Our Lifetime Released Format Recorded Genre Length 1981 7" single 1980, Air Studios, London, England Funk/soul 3:52 (single release) 4:51 (album version) Tamla Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

Label Writer(s) Producer

"Ego Tripping Out" (1979)

"Praise" (1981)

"Heavy Love Affair" (1981)

"Praise" is a 1981 gospel-inspired funk number released by American soul singer Marvin Gaye. The song, written by Gaye, is a tribute to not only his church upbringing but also to the sound of then-label mate Stevie Wonder, who is given a shout out on the song by Gaye. The song, equipped with horns, a propulsive drum beat, and Gaye's multi-layered vocals, returned Gaye to the top forty of Billboard's Black singles chart where it peaked at number 18 on that chart while reaching #1 on Billboard's Bubbling Under Hot 100. It was the actual first release off Gaye's controversial recording, In Our Lifetime. The song was originally recorded in 1979 under the title "A Lover's Plea" from the singer's canceled Love Man album.

Personnel
All vocals by Marvin Gaye Instrumentation by assorted musicians

"Heavy Love Affair"

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"Heavy Love Affair"

"Heavy Love Affair"
Singleby Marvin Gaye from the album In Our Lifetime Released Recorded Genre Length Label Writer(s) Producer 1981 1980, Air Studios, London, England Funk, soul 3:45 Tamla Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

"Praise" (1981)

"Heavy Love Affair" (1981)

"Sexual Healing" (1982)

"Heavy Love Affair" is a funk song recorded by American soul singer Marvin Gaye. Released as the second and last single off Gaye's last Motown album, In Our Lifetime, in 1981, the song was based on Gaye's real-life emotional crisis after being separated from his wife at the time. In some parts of the song, Gaye knows that he's a major female attraction but still feels the warmth of his lost love saying "lots of ladies love me/but it's still a lonesome town" bringing that point clearer in the next verse saying "you got me looking for love (again)". The song became one of his lowest-charted Billboard hits on the R&B side reaching just #61 there becoming the final release of Gaye's on the Tamla (Motown) label before he left the label for Columbia the next year. The musical background of this song originally came from the song, "Life's a Game of Give and Take" from Marvin's aborted 1979 release, Love Man

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"Sexual Healing"
"Sexual Healing"
Singleby Marvin Gaye from the album Midnight Love B-side Released Format Recorded Genre Length Label Writer(s) Producer Certification "Sexual Healing (Instrumental Version)" September 30, 1982 7" single 1982; Ohain, Belgium R&B, soul, synthpop 4:05 (Album Version) Columbia Marvin Gaye, Odell Brown, David Ritz Marvin Gaye Platinum (RIAA) Marvin Gaye singles chronology

"Heavy Love Affair" (1981)

"Sexual Healing" (1982)

"My Love Is Waiting" (1983)

Midnight Love track listing

"Midnight Lady" (1)

"Sexual Healing" (2)

"Rockin' After Midnight" (3)

"Sexual Healing" is a 1982 song recorded by American singer Marvin Gaye on the Columbia Records label. It was his first single since his exit from his long-term record label Motown earlier in the year, following the release of the In Our Lifetime album the previous year. People described it as "America's hottest pop-culture turn-on since Olivia Newton-John suggested she wanted to get 'Physical'."[1]

Background
By 1981, Marvin Gaye had moved from Los Angeles to Honolulu and London. Gaye left due to fear of imprisonment from failure to pay taxes to the IRS. Gaye also left because, according to several memoirs, he had felt unloved and not respected in his home country. Gaye also struggled with the separation with his second wife, Janis, and the separation between him and his children Marvin III, Nona and Frankie. After meeting Freddy Couseart, Gaye moved to Couseart's Belgium residence in Ostend and began to live comfortably among the beaches of the coastal Belgium city. Gaye, who struggled with drug addiction and depression, then began fighting to regain his professional career, which had stifled after the release of two ambitious concept albums, Here, My Dear (1978) and In Our Lifetime (1981), the latter album being the last album released with Gaye's longtime label, Motown Records, and a record Gaye angrily assumed was released without his consent by the label. Gaye had negotiated for seven

"Sexual Healing" months to release himself from Motown and in March 1982 had finally settled for a deal with CBS' Columbia division. Gaye began working on his first post-Motown album in April in Europe. After gaining a sense of sobriety and exercising himself back to respectable health, Gaye began his comeback with a series of European concerts, first in England and then two shows in Belgium, the second show being televised for Belgian television. After the short tour, two of Gaye's touring musicians, guitarist Gordon Banks and keyboardist Odell Brown, stayed with the singer as he had thought of a melody he had gotten from listening to reggae music while in England. Gaye had improvised the lyrics to the song and a demo tape would showcase Gaye's hard work at the song. While he finished the song, Rolling Stone critic David Ritz had arrived to Belgium to talk to Gaye while apparently working on an article about the singer for the magazine, according to Odell Brown and Freddy Couseart years later. Ritz insisted that he was there to finish a round of interviews with Gaye as they worked on an autobiography. Ritz claimed that while staying at Gaye's apartment that he was shocked by several pornographic comic book magazines that Gaye had in his collection and was said to have told Gaye, "you need some sexual healing." Gaye then, according to Ritz, told the critic to "write a poem". However, in an interview years later, Freddy Couseart said that the song was solely written by Gaye and Odell Brown and that the only credit Ritz had with the song was the title. Couseart alleged Ritz had told Gaye and Couseart that he wanted $10,000 for credit to the song title. Ritz later sued Gaye for songwriting credit. Gaye died before the lawsuit could be settled but Gaye's people settled to give Ritz partial credit. Odell Brown said in a documentary that he had never met Ritz and assumed Ritz was just there for an interview. Gaye recorded the song in Ohain, Belgium, with the final mixes recorded in Waterloo. To assist him with the song, Gaye reconnected with old friend and mentor Harvey Fuqua, who is credited with delivering the memorable whispering intro to the song. Gaye did most of the background vocals himself with Fuqua and Gordon Banks also singing in the background, helping to give the song a modern doo-wop feel, as had been with most of Gaye's recordings. While some of the music had a strong reggae, Caribbean feel, Gaye added a drum track, percussive instruments, keyboards, synthesizers and organ, to bring in synthpop, funk and gospel elements. Gordon Banks was the only other musician credited for playing on the song, adding in smooth rhythm guitar riffs. Gaye was sure the song would be a huge hit and after playing the song back to Columbia Records' R&B head Larkin Arnold, the executive was also sure of the song's success. After Gaye finished an album to accompany the song - Midnight Love - Columbia issued "Sexual Healing" that September. According to a recent article, this song was the first major hit single to use the Roland TR-808, though it would not become common fodder, as the TR-808 would mainly used to produce songs of the electronica and hip hop genres.[2] In the final lyric to the song, Gaye sings "Please don't procrastinate, it's not good to masturbate" as the music fades out.[3]

290

Release and initial acclaim

Upon its release, the song immediately made an impression on Gaye's R&B audience, which helped the song move to number-one by October 1982, making it the fastest-rising single on the American R&B singles chart in five years. It was also Gaye's first hit in five years, which he had scored with the dance hit, "Got to Give It Up". By December, it had also became an international hit eventually reaching the top ten in the United Kingdom and the Netherlands. By early 1983, the song had crossed over to the Billboard Hot 100, where it eventually reached number-three, becoming Gaye's first top five pop hit in five years. It also hit number-one on Canada's RPM Singles chart and New Zealand, where it stayed atop the charts for six weeks, and also hit the top 40 in Sweden, Italy, Switzerland and Germany. Eventually selling more than a million copies, it would become Gaye's biggest-selling hit, helping to make Midnight Love a platinum-selling success. Due to its success, Gaye was up for three Grammy Awards for the song, winning two including Best Male R&B Vocal Performance and Best R&B Instrumental with Brown. Gaye performed the song at the 1983 Grammy Awards; his live performance was released on the 1994 album Grammy's Greatest Moments Volume I.[4] He later billed his last tour as the Sexual Healing Tour, which started in April 1983.

"Sexual Healing" Gaye also won an American Music Award for the single. The song was later ranked number 231 on Rolling Stone's list of the 500 Greatest Songs of All Time.

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Cover versions and references

Since its release, "Sexual Healing" has become one of the most influential singles in pop music, having been covered by several artists including Phish and blue-eyed soul singers such as Michael Bolton (2000). It has also become a staple for hip hop samples. The Hot 8 Brass Band recorded a scintillating version of this track on their debut album, Rock with the Hot 8 in 2007. The song has been covered by Ben Harper in many of his live concerts and remains one of his most popular songs. One version appears on his 2001 live album Live from Mars. The song was also covered by German singer Sarah Connor and American singer Ne-Yo. In 1988, George Michael performed this song live at the Nelson Mandela 70th Birthday Tribute. Big Daddy Kane's 1989 song "Smooth Operator" samples a bit from "Sexual Healing" using interpolations of Gaye singing "operate" from the track) and Erick Sermon (who sampled the song on his 2001 song "I'm Hot"). Australian singer/songwriter Anita Lane covered the song on her first solo album Dirty Pearl in 1993. In 1993, alternative rock band Soul Asylum contributed a cover to the AIDS benefit compilation album No Alternative. American/Jamaican dance group Max-A-Million also performed a modern version of "Sexual Healing", which was an R&B-type remix of the original reggae rendition Max-A-Million recorded. This version performed by Max-A-Million, which included the original lyrics only featured a more upbeat rhythm and rap-like verses of the songs (that were added) proved to be a popular and well-known mix of the song, especially to the younger audience who at the time may have not heard the original reggae mix. It was released in 1996 and was well-received by R&B fans. Rap group Bone Thugs-n-Harmony interpolated Gaye's "Get up, get up, get up, get up/Wake up, wake up, wake up, wake up" chant from "Sexual Healing" for their 1995 hit "1st of tha Month". The backing beat is also sampled for the instrumental of "Envy" by Fat Joe on his album Jealous One's Envy (1995). The song sampled with the remix of Solo's 1995 song "Where Do You Want Me to Put It". Kenyan artist Hardstone (Harrison Ngunjiri) sampled the instrumentals of "Sexual Healing" for his 1996 hit single "Uhiki-a", a song generally thought to have sparked a new development in Kenyan hip-hop. The backing beat was sampled for a remix of Keith Sweat's 1996 hit "Twisted". Smooth Jazz bassist Craig T. Cooper sampled the song on the backing beat for his song "When You Love Somebody" for the 1996 album, Romantic Letter. Master P used elements of the song on "Bourbon and Lacs" for 1997's Ghetto D, a song about the lives of "playas" in the New Orleans area. Jazz group Fourplay featuring El DeBarge covers the song on their landmark album 4 (1998). In 2002, Darren Hayes recorded a cover during a Capital Radio session. In 2005, English singersongwriter Kate Bush released her Celtic-accented cover of "Sexual Healing" as the B-side to "King of the Mountain", her first new material in twelve years. That same year Clam (featuring VDC) released a cover. The song was also covered by the English indietronica group, Hot Chip, as the B-side to their 2006 single, "Over and Over". In 2007, this song was remixed by Alibi vs. Rockefeller with a new music video featuring three female dancers dressed as nurses (Lauren Ridealgh, Bayley Darling,[5] and Stephanie Fitzpatrick). It charted at number thirty-four on the UK Singles Chart. There are two versions of this video: one version is censored and the other uncensored for late-night viewing, with the latter version being twelve seconds longer. The song was featured on the Abercrombie & Fitch July 2007 Playlist.

"Sexual Healing" R&B Artist CJ Hilton used elements of the songs chorus in his 2011 single "So Fresh" Featuring Nas.

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In games
The song is featured in the video game Grand Theft Auto: Vice City Stories on the radio station VCFL.

Onscreen
In the 2002 film, I Spy, Kelly Robinson (Eddie Murphy) fed lines from the song to Special Agent Alex Scott (Owen Wilson), who was trying to win the heart of fellow Special Agent Rachel Wright (Famke Janssen). In 2010, the South Park 14th season premiere episode with the same title was released, mocking at the media attention given to celebrities' sexual affairs, such as those of Tiger Woods. The song is played at the end of the episode and intentionally sung incoherently by series co-creator Trey Parker for comedic effect. The song was featured on the MTV sketch comedy show, The State. In July 2006, the song received notoriety in Australia, when Today Tonight performed a report on the controversies of music and how some songs encourage kids to have sex at a young age, with the Pussycat Dolls' "Buttons" and Nelly Furtado's "Promiscuous" being heavily criticized. The report went further to criticize "Sexual Healing" as another song that encouraged kids to have sex back in the 1980s. However, many music gurus and fans would normally recognize the song to be a "classic hit from a legendary singer." Most recently, the original version of the song made a cameo appearance in the 2007 live action film Transformers, in which Bumblebee plays while pretending to break down at some romantic spot, while Sam Witwicky (played by Shia LaBeouf) drives Mikaela Banes (played by Megan Fox) home, thus hinting at his obvious sexual interest in her.

Personnel
Lead vocals by Marvin Gaye Background vocals by Marvin Gaye, Harvey Fuqua and Gordon Banks Guitars by Gordon Banks Drums, keyboards, synthesizers, organ, orchestra bells, glockenspiel, bells, finger cymbals, bongoes and congas by Marvin Gaye Written by Marvin Gaye, Odell Brown and David Ritz Produced by Marvin Gaye

Charts
Chart (1982/1983) Peak position 1 3 1 7 37 17 23 4 3 1

Canadian RPM Singles Chart Dutch Top 40 New Zealand Singles Chart Irish Singles Chart Italian Singles Chart Swedish Singles Chart German Singles Chart UK Singles Chart U.S. Billboard Pop Singles U.S. Billboard Hot Black Singles

"Sexual Healing"

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U.S. Billboard Club Play Singles 8

Soul Asylum version

"Sexual Healing"
Singleby Soul Asylum from the album No Alternative Released Genre Length Label Writer(s) October 26, 1993 Alternative rock 4:45 Arista Marvin Gaye, Odell Brown, David Ritz Soul Asylum singles chronology

"Runaway Train" (1993)

"Sexual Healing" (1993)

"Without a Trace" (1993)

"Sexual Healing"
Singleby Sarah Connor featuring Ne-Yo from the album Soulicious B-side Released Format Recorded Genre Length Label Writer(s) Producer "Get It Right" 29 June 2007 CD single, CD maxi single, digital download Saal 4 (Berlin, Germany) Soul 4:10 X-Cell Marvin Gaye, Odell Brown, David Ritz Kay D., Rob Tyger

Sarah Connor chronology

"The Impossible Dream (The Quest)" (2007)

"Sexual Healing" (2007)

"Under My Skin" (2008)

Ne-Yo German/Austrian/Swiss singles chronology

"Because of You" (2007)

"Sexual Healing" (2007)

"Hate That I Love You" (2007)

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"Sexual Healing" was covered in 1993 by Minneapolis alternative rock band Soul Asylum for the charity compilation No Alternative. Despite not being promoted as a single, the song managed to peak at number ten on the U.S. Modern Rock Tracks.

Charts
Chart (1993) Peak position 10

U.S. Billboard Modern Rock Tracks

Sarah Connor version

In 2007, the song was covered by German singersongwriter Sarah Connor for her studio album of covers, Soulicious (2007). A re-recorded version featuring American singersongwriter Ne-Yo was released as the album's second single on 29 June 2007. It should be noted that on the same album Connor performed a posthumous duet with Gaye entitled "Your Precious Love". The song's music video is placed in the story of the 1986 erotic drama film 9 Weeks featuring representative scenes from the film, e.g. the well-known "ice scene", Connor being fed by a Ne-Yo doppelgnger and her homemade striptease; apart from the original movie, this video is the only one which repeats the sex scene on the stairs in the rain. Ne-Yo was not available the day the music video was shot, so a Ne-Yo doppelgnger was used. Connor stated that she was slightly drunk during the shoot of the video.[6]

Track listing
European CD single 1. "Sexual Healing" (Video Version featuring Ne-Yo) 3:52 2. "Sexual Healing" (Original Radio Edit) 3:51 European CD maxi single 1. 2. 3. 4. 5. "Sexual Healing" (Video Version featuring Ne-Yo) 3:52 "Sexual Healing" (Original Radio Edit) 3:51 "Get It Right" 4:20 "Sexual Healing" (Video featuring Ne-Yo) 4:04 Online Access: Making of "Sexual Healing"

Charts

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Chart (2007)

Peak position [7] 45 44 11 41

Austrian Singles Chart

[8] European Hot 100 Singles German Singles Chart Swiss Singles Chart [7]

[7]

References
[1] The Last Days of Marvin Gaye (http:/ / books. google. com/ books?id=FtkDAAAAMBAJ& pg=PA96& dq=Ebony+ Marvin+ Gaye& lr=& num=30& as_brr=0& ei=aFqTS7L4IJWizASk-8GbCw& client=firefox-a& rview=1& cd=3#v=onepage& q=Ebony Marvin Gaye& f=false). . Retrieved 2010-03-07. [2] "Slaves to the rhythm" (http:/ / www. cbc. ca/ arts/ music/ story/ 2008/ 11/ 27/ f-history-of-the-808. html). CBC News. November 28, 2008. . Retrieved 2008-11-28. [3] "Sexual Healing by Marvin Gaye" (http:/ / www. vh1. com/ artists/ az/ gaye_marvin/ 440707/ lyric. jhtml). . Retrieved 2009-11-24. [4] "Grammy's Greatest Moments, Volume 1: Various Artists" (http:/ / www. amazon. com/ gp/ product/ B000002IXZ/ ). Amazon.com. . Retrieved 2011-11-21. [5] Motmodels.co.uk (http:/ / www. motmodels. co. uk/ models/ model_detail. asp?model_id=4241) [6] VIVA Live! episode aired on VIVA; June 6, 2007 at 3 PM. [7] "Sarah Connor and Ne-Yo Sexual Healing Music Charts" (http:/ / acharts. us/ song/ 26859). Charts.us. . Retrieved 2008-10-19. [8] "Sarah Connor Album & Song Chart History European Hot 100" (http:/ / www. billboard. com/ #/ artist/ sarah-connor/ chart-history/ 481431?f=349& g=Singles). Billboard. Nielsen Business Media, Inc.. . Retrieved 2009-11-10.

"My Love Is Waiting"

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"My Love Is Waiting"

"My Love is Waiting"
Singleby Marvin Gaye from the album Midnight Love Released Recorded Genre Label Writer(s) Producer 1983 Ohain, Belgium (Studio Katy), 1982 Electro-funk, synthpop, soul CBS Gordon Banks Marvin Gaye Marvin Gaye singles chronology

"Sexual Healing" (1982)

"My Love is Waiting" (1983)

"'Til Tomorrow" (1983)

"My Love is Waiting" is a song written by musician Gordon Banks and recorded and released by American singer Marvin Gaye, as a European-only single in early 1983, it was also the last track on Gaye's final album in his lifetime, Midnight Love.

Background
The song was written by Banks with another act in mind that he was producing back in the United States. While working with Gaye in Europe, first on several tours and then together at a Belgian recording studio where they recorded Gaye's Midnight Love album, Gaye had struggled to complete his new record, his first outside Motown. Upon hearing the demo of Banks' song, Gaye requested to record the song, which Banks agreed. Gaye and Banks produced the song and arranged his vocals, recording multi-layered background vocals on one date, and a solo lead the next. Surprisingly, Gaye made just a few additions to this song. This was the final song Gaye recorded and finalized for Midnight Love. In the song, he begins it by thanking several people for helping him make the album including CBS Records, Banks, CBS' black music chief Larkin Arnold, and "most of all, we want to thank our Heavenly father, Jesus!" before the song's melody emerges. The song is about a man coming back to an old lover after several months apart. The song's ironic message was also partially due to Gaye returning to the arms of his fans after a five-year layoff. Gaye would return to the United States in late 1982 following the release of Midnight Love. During his "Sexual Healing Tour", Gaye would end his shows with the song being played as an instrumental outro where he took the time to thank several of his close friends and family, and also, like the song itself, also thanked God saying "I still love Jesus!" Gaye died the following year making the words seem prophetic.

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Chart performances and re-releases

While it wasn't released in the US, it did register on the UK Singles Chart peaking at number 34 on the chart and the Dutch singles chart where it peaked at number 45. There is also an alternate version that can be found on the Midnight Love and the Sexual Healing Sessions, that is longer than the final version released on the Midnight Love album.

Credits
All vocals, synthesizers and organ by Marvin Gaye Drums, guitar, bass and Fender Rhodes by Gordon Banks Music and lyrics written by Gordon Banks Produced by Marvin Gaye

"'Til Tomorrow"

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"'Til Tomorrow"
"'Til Tomorrow"
Singleby Marvin Gaye from the album Midnight Love Released Format 1983 7" single

Recorded 1982, Studio Katy, Ohain, Belgium& Arco Studios, Munich, Germany Genre Length Label Soul, quiet storm 4:57 Columbia

Writer(s) Marvin Gaye Producer Marvin Gaye Marvin Gaye singles chronology

"My Love Is Waiting" (1983)

"'Til Tomorrow" (1983)

"Joy" (1983)

Midnight Love track listing

"Rockin' After Midnight" (3)

"'Til Tomorrow" (4)

"Turn On Some Music" (5)

"'Til Tomorrow" is a quiet storm-styled song recorded by Marvin Gaye. The song was the second song to be promoted off Midnight Love but wasn't released as a physical single, but more of a promotional song as Gaye prepped for a U.S. tour in the year of its release.

Song information
Issued on his Midnight Love album, it was the sole ballad in the album, which focused mainly on funk rhythms and dance material. Gaye was the sole lyricist of the song. When asked how the lyrics of the song seemed more primitive than Gaye's previous ballads, the singer said he had run out of ideas on lyrics. The song is described as a bare-bones song with "heavenly scat riffs". Gaye provides accentuated doo-wop harmonies in the background while delivering both a jazzy-inspired baritone and a gospel-inflected tenor with falsetto stuck in the middle of it. The original demo of the song (titled "Baby, Baby, Baby") showcased the frustration Gaye was going through during the recording of Midnight Love. The spoken intro by Gaye was later modified by the singer while mention of the word "shit" was also taken off of the final track as was extra lyrics added during the saxophone solo provided by Bobby Stern. The song was later covered by Chico DeBarge.

"'Til Tomorrow"

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Chart performance
The song was issued as a promotional single mainly on R&B radio while Gaye was prepping for his upcoming "Sexual Healing" tour, which took place in April 1983. Due to strong initial airplay, the song peaked at number seventy-eight on the R&B singles chart but because Columbia Records, Marvin's label, had no plans of releasing the song as a physical single, it was the highest the song ever reached.

Credits
All vocals by Marvin Gaye Instrumentation by the following: Marvin Gaye: synthesizers Gordon Banks: guitar, bass, drums Bobby Stern: tenor saxophone solo Produced by Marvin Gaye

"Joy"

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"Joy"
"Joy"
Singleby Marvin Gaye from the album Midnight Love Released 1983

Recorded 1982, Studio Katy, Ohaine, Belgium Genre Length Label Funk, synthpop, dance-pop 4:22 Columbia

Writer(s) Marvin Gaye Producer Marvin Gaye Marvin Gaye singles chronology

"'Til Tomorrow" (1983)

"Joy" (1983)

"Sanctified Lady" (1985)

"Joy" is a 1983 single released by Marvin Gaye, the final single issued from his Midnight Love album. The song, which was built around a funk vibe, was inspired by Gaye's religious background, which had also inspired songs such as "God is Love", "Everybody Needs Love" and "Praise". Gaye introduced the song as a tribute to his father during his 1983 concert tour. The song peaked at number thirty-one on the Billboard R&B singles chart, and was the last single Gaye released while alive. Three later posthumous releases would reach the Billboard Top 40 over the next twenty years.

Credits
All vocals by Marvin Gaye Instrumentation by: Marvin Gaye: drums, Fender Rhodes, synthesizers, bass synthesizers Gordon Banks: guitars, bass Bobby Stern: tenor saxophone solo

"Sanctified Lady"

301

"Sanctified Lady"
"Sanctified Lady"
Singleby Marvin Gaye from the album Dream of a Lifetime Released 1985

Recorded Ohain, Belgium (1982); Los Angeles, California (1984) Genre Label Funk, synthpop, dance-pop CBS Records

Writer(s) Marvin Gaye Gordon Banks Producer Gordon Banks Marvin Gaye singles chronology

"Joy" (1983)

"Sanctified Lady" (1985)

"It's Madness" (1985)

"Sanctified Lady" is a song by American soul singer Marvin Gaye, released posthumously in 1985 by Columbia Records. The title of the track was originally "Sanctified Pussy", a phrase which Gaye can be heard mumbling during certain parts while the chorus chants "sanctified lady". The song was one of several outtakes from the Midnight Love sessions and remained unfinished due to the singer's death in 1984 at the age of 44. Guitarist and longtime collaborator Gordon Banks (Gaye's brother by marriage) helped to finish the track by adding a choir and an electronic beat throughout the song, plus a vocodered chant of the title at the beginning. "Sanctified Lady" was issued as the first release from the singer's posthumous album Dream of a Lifetime, and despite the mumbling of Gaye's original title became a modest hit upon its release, reaching #2 on the US R&B singles chart.

Credits
Lead vocals by Marvin Gaye and Gordon Banks (vocoder) Background vocals by The Waters Instrumentation by Marvin Gaye and Gordon Banks (musician) Produced by Gordon Banks

"It's Madness"

302

"It's Madness"
"It's Madness"
Singleby Marvin Gaye from the album Dream of a Lifetime Released Recorded Genre Label Writer(s) Producer 1985 Early 1970s, Detroit, Michigan Soul, pop CBS Records Marvin Gaye Harvey Fuqua Marvin Gaye singles chronology

"Sanctified Lady" (1985)

"It's Madness" (1985)

"Just Like" (1986)

"It's Madness" was the second posthumous record released by American soul singer Marvin Gaye, released off his Dream Of A Lifetime album, in 1985. The second posthumous release following up the successful hit, "Sanctified Lady", which missed a chance of giving Gaye his fourteenth number-one R&B single; "It's Madness" was brought out from old Motown archives from the early-'70s. The song's melancholy vibe was reminiscent of Marvin's recordings during the 1970s and could've likely have been recorded as a demo for Sammy Davis, Jr., who briefly signed with the label (Gaye had also wanted to give Davis the song "Dream of a Lifetime" though he was unable to). Written by Marvin and produced with an eighties pop flourish by his longtime mentor Harvey Fuqua, the song was released and peaked at number fifty-five on the R&B singles chart. It has since been issued on later compilations released of Marvin's music from his later years.

Credits
All vocals by Marvin Gaye Written by Marvin Gaye Produced by Harvey Fuqua

"Just Like"

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"Just Like"
"Just Like"
Singleby Marvin Gaye from the album Romantically Yours Released Recorded Genre Length Label Writer(s) Producer 1985 1978 Soul, vocal jazz 4:08 Columbia Marvin Gaye Marvin Gaye

Marvin Gaye singles chronology

"It's Madness" (1985)

"Just Like" (1985)

"The World Is Rated X" (1986)

"Just Like" is a song recorded by Marvin Gaye in 1978 but wasn't released until after the release of Gaye's posthumous 1985 album, Romantically Yours.

Overview
The song was written and recorded by Gaye in the singer's recording studio in 1978 in sessions culled from the recording of Gaye's albums, Here, My Dear and The Ballads. The song was written around the time that Gaye had finalized his divorce from Anna Gordy and was struggling in his second marriage to Janis. It's unclear if Gaye had wanted to include the song in The Ballads as when the posthumous Vulnerable album came out in 1997, the song was left off of the track listing. Instead, following Marvin's death, Columbia Records worked with Gaye's former label, Motown, to bring leftover songs to fulfill Gaye's contractual obligations to Columbia (he had signed a three-album deal in 1982). "Just Like" was one of the songs brought up to discussion and was agreed to be placed on the posthumous 1985 album, Romantically Yours. "Just Like" was later released as a single but failed to chart.

"The World Is Rated X"

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"The World Is Rated X"

"The World Is Rated X"
Singleby Marvin Gaye from the album Motown Remembers Marvin Gaye: Never Before Released Masters B-side Released Recorded Genre Length Label Writer(s) Producer "Lonely Lover" 1986 1972, Motown Recording Studios, Hollywood, California Funk, soul 6:27 Motown Ezra Bolton, Marilyn McLeod, Mel Bolton and Robert Gordy Hal Davis Marvin Gaye singles chronology

"Just Like" (1985)

"The World Is Rated X" (1986)

"My Last Chance" (1991)

"The World Is Rated X" is a socially conscious song recorded by Marvin Gaye culled from sessions of the shelved You're the Man project from 1972, later issued on the Motown compilation album, Motown Remembers Marvin Gaye: Never Before Released Masters and released as a promotional single in 1986.

Overview
Gaye originally recorded the song in 1972 as he was working on a wide variety of projects. The song had two distinct versions. The initial recording was later issued while an alternate vocal version would later be included in the deluxe edition reissue of Let's Get It On in 2001. Gaye had originally wanted to release the album, You're the Man, with this song but due to Motown's mild response to the title track, the album was shelved and Gaye later released Let's Get It On. In 1986, Motown, having helped Columbia Records feature songs on two posthumous studio albums, decided to release more Gaye recordings from the singer's Motown archives. This song was included along with other songs including Gaye's original recording of the Ashford & Simpson composition, "Dark Side of the World", later recorded by Diana Ross on her self titled debut solo album. While Gaye's 1960s recordings were overdubbed with 1980s productions, the singer's 1970s recordings including this song was left in its original versions. The song was produced by longtime Motown producer Hal Davis, who was to be the second producer on You're the Man as he had helped produce other Gaye songs from the sessions including "Piece of Clay" and "Where Are We Going?" The song, recorded in a funk style, was a biting diatribe of the inner city, much like Gaye's previous song, "Inner City Blues (Make Me Wanna Holler)", which Gaye delivered in a gospel sermon-inspired vocal, with backup from strings, horns, a solo saxophone riff, and a rhythm section. To promote the compilation, Motown issued "The World Is Rated X" as a promotional single. It failed to make any charts though it was later issued on Gaye's Anthology set in 1995. The alternate vocal version of the song was released on the deluxe edition reissue of Let's Get It On six years later.

"My Last Chance"

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"My Last Chance"

"My Last Chance"
Singleby Marvin Gaye from the album The Marvin Gaye Collection Released Recorded Genre Length Label Writer(s) Producer 1991 1972, Detroit Soul, quiet storm 4:05 Tamla Marvin Gaye Marvin Gaye Marvin Gaye singles chronology

"The World Is Rated X" (1986)

"My Last Chance" (1991)

"Lucky, Lucky Me" (1994)

"My Last Chance" was a posthumous R&B hit for music icon Marvin Gaye in 1991. Released as a single from Gaye's The Marvin Gaye Collection, the song was originally recorded by Gaye between the years 1970 and 1972. It provided the basis for Marvin's penned ballad for The Miracles (now without founder Smokey Robinson), "I Love You Secretly". The song was never released until it was featured on the collection where it got massive airplay on R&B radio eventually reaching #16 on Billboard's R&B/Hip-Hop Singles & Tracks. The song was Gaye's third posthumous hit since his April 1, 1984 death at the hands of his minister father and was the highest-charted single for Gaye since 1985's "Sanctified Lady".

Personnel
All vocals by Marvin Gaye Instrumentation by The Funk Brothers

"Lucky, Lucky Me"

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"Lucky, Lucky Me"

"Lucky, Lucky Me"
Singleby Marvin Gaye from the album The Very Best of Marvin Gaye Released 1994

Recorded 1964, Detroit Genre Length Label Soul 2:54 (album) Tamla

Writer(s) William Stevenson/Henry Cosby/Sylvia Moy/Ivy Hunter Producer Ivy Hunter

"Lucky, Lucky Me" is a song recorded by singer Marvin Gaye and produced by Ivy Jo Hunter. Gaye originally recorded the song in 1964 but the song was shelved by Motown staff. When Motown's UK department, Tamla-Motown, issued The Very Best of Marvin Gaye, the label included the song as the final song in the tracklisting. Following positive buzz from Marvin's fans in England, Tamla-Motown released the song as a single in the UK where it reached number sixty-seven on the UK Singles Chart in 1994 giving Gaye his fourth posthumous hit, a decade after his death.

Track listing
1. 2. 3. 4. 5. 6. Lucky Lucky Me (Extended Mix) - 5:45 Lucky Lucky Me (Instrumental) - 5:02 Lucky Lucky Me (Radio Edit) - 3:20 Lucky Lucky Me (The '65 Ragga Vibe Mix) - 5:36 Lucky Lucky Me (Jazz Mix) - 3:05 Lucky Lucky Me (Ragga Vibe-No Rap) - 5:00

Credits
Lead vocal by Marvin Gaye Background vocals by The Andantes Instrumentation by The Funk Brothers and the Detroit Symphony Orchestra

"Music"

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"Music"
"Music"
Singleby Erick Sermon featuring Marvin Gaye from the album Music and What's the Worst That Could Happen? Released Format Recorded Genre Length Label Writer(s) Producer June 12, 2001 12", CD 2001 Hip hop 3:43 Interscope, J Erick Sermon, Marvin Gaye Erick Sermon

Erick Sermon featuring Marvin Gaye singles chronology

"Welcome" "Music" (1996) (2001)

"I'm Hot" (2001)

"Music" is a 2001 hit single by Erick Sermon featuring archived vocals from Marvin Gaye. The song was thought of by Sermon after buying a copy of Gaye's Midnight Love and the Sexual Healing Sessions album, which overlook some of the original album's earlier mixes. After listening to an outtake of Gaye's 1982 album track, "Turn On Some Music" (titled "I've Got My Music" in its initial version), Sermon decided to mix the vocals (done in a cappella) and add it into his own song. The result was similar to Natalie Cole's interpolation of her father, jazz great Nat "King" Cole's hit, "Unforgettable" revisioned as a duet. The hip hop and soul duet featuring the two veteran performers was released as the leading song of the soundtrack to the failed Martin Lawrence comedy, "What's the Worst That Could Happen?" The song became a runaway success rising to #2 on Billboard's R&B chart and was #1 on the rap charts. It also registered at #21 pop giving Sermon his highest-charted single on the pop charts as a solo artist and giving Gaye his first posthumous hit in 10 years following 1991's R&B-charted single, "My Last Chance" also bringing Gaye his 41st top 40 pop hit.

Charts
Peak positions

"Music"

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Chart (2001)

Peak position 22 2 4 26

Billboard Hot 100 Billboard Hot R&B/Hip-Hop Singles & Tracks Billboard Hot Rap Singles Billboard Rhythmic Top 40

Year-End charts
End of year chart (2001) Position U.S. Billboard Hot 100 [1] 83

References
[1] "Billboard Top 100 - 2001" (http:/ / longboredsurfer. com/ charts. php?year=2001). . Retrieved 2011-04-19.

309

Videography
T.A.M.I. Show
T.A.M.I. Show
Movie poster
Directed by Produced by Steve Binder Bill Sargent

Distributed by AIP Release date(s) December 29, 1964 Running time Country Language 123 min. United States English

T.A.M.I. Show is a 1964 concert film, released by American International Pictures. It includes performances by numerous popular rock and roll and R&B musicians from the United States and England. It was shot by director Steve Binder and his crew from The Steve Allen Show using specially developed "Electronovision" TV cameras, the second of a handful of productions that used the system.[1] By capturing more than 800 lines of resolution at 25 frame/s, it could be converted to film via kinescope recording with sufficient enhanced resolution to allow big-screen enlargement. It is considered one of the seminal events in the pioneering of music films, and more importantly, the later concept of music videos. The concert was held at the Santa Monica Civic Auditorium on October 28 and 29, 1964. Free tickets were distributed to local high school students. Jan and Dean emceed the event and performed its theme song, "Here They Come (From All Over the World)". Jack Nitzsche was the show's music director. The acronym "T.A.M.I." was used inconsistently in the show's publicity to mean both Teenage Awards Music International and Teen Age Music International. The best footage from each of the two concert dates was edited into the film, which was released on December 29, 1964. T.A.M.I. Show is particularly well known for James Brown's performance, which features his legendary dance moves and remarkable energy. In interviews, Keith Richards of The Rolling Stones has claimed that choosing to follow Brown & The Famous Flames was the biggest mistake of their careers,[2] because no matter how well they performed, they could not top him. In a web-published interview,[1] Binder takes credit for persuading the Stones to follow James Brown, and serve as the centerpiece for the grand finale where all the performers dance together onstage. Throughout the show, numerous go-go dancers were in the background or beside the performers. Among them were a very young Toni Basil and Teri Garr. They were under the direction of David Winters who played A-Rab in the film version of West Side Story (film) and went on to choreograph the Hullabaloo tv show (1965) and the film version of A Star Is Born (1976) [3]. The show also featured The Supremes performing two back-to-back No. 1 singles, during their reign as the most successful girl group of that era. Diana Ross would go on to work with the director Steve Binder on several of her television specials including her first solo television special and more importantly her iconic Central Park concert, Live from New York Worldwide: For One and for All.

T.A.M.I. Show The film was shown in its entirety on cable television in Canada in 1984 (20th anniversary of its release), on the First Choice Network. There had never been an authorized home video release of the film in any format until the authorized DVD release in March 2010, although bootlegs have abounded. (A DVD release of the complete film by First Look Studios was planned for 2007, but subsequently withdrawn.) Also, because of a rights dispute, the footage of The Beach Boys' performance was deleted from all prints made after the movie's brief initial theatrical run, and is therefore absent from most of the bootlegs. All of the four Beach Boys tunes eventually surfaced on DVD in Sights and Sounds of Summer, a special CD/DVD edition of Sounds of Summer: The Very Best of The Beach Boys. A sequel, 1966's The Big T.N.T. Show, was produced by the same executive producer, Henry G. Saperstein. In 2006, T.A.M.I. Show was named to the National Film Registry by the U.S. Library of Congress. Dick Clark Productions acquired ownership of the concert film. On March 23, 2010, Shout! Factory released the full show on a restored, digitally remastered and fully authorized DVD.

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List of performers
The Barbarians The Beach Boys Chuck Berry James Brown and The Famous Flames Marvin Gaye (with backing vocals by The Blossoms) Gerry & the Pacemakers Lesley Gore Jan and Dean Billy J. Kramer and The Dakotas Smokey Robinson and The Miracles The Rolling Stones The Supremes The house band, known collectively as The Wrecking Crew, was under the musical direction of Jack Nitzsche, and included drummer Hal Blaine, electric bass player Jimmy Bond, guitarists Tommy Tedesco, Bill Aken, and Glen Campbell, upright bassist Lyle Ritz, and pianist Leon Russell, saxophonist Plas Johnson and others.

T.A.M.I. Show's Executive Producer was Bill Sargent (H.W. Sargent, Jr). Sargent held numerous patents in cable television and is considered the father of modern pay-per-view. Sargent was also the developer of Electronovision and the associated video tape technologies.

Set list
Artist Jan and Dean (Over credits) Chuck Berry Song Title (Here They Come) from All Over the World Johnny B. Goode Maybellene Gerry & The Pacemakers Maybellene Dont Let the Sun Catch You Crying It's Gonna Be Alright Chuck Berry Gerry & The Pacemakers Chuck Berry Sweet Little Sixteen How Do You Do It? Nadine

T.A.M.I. Show

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Gerry & The Pacemakers I Like It

(Smokey Robinson and) The Miracles That's What Love Is Made Of You've Really Got a Hold on Me Mickey's Monkey Marvin Gaye Stubborn Kind of Fellow Pride and Joy Can I Get a Witness Hitch Hike Lesley Gore Maybe I Know You Don't Own Me You Didn't Look Around Hey Now It's My Party Judy's Turn to Cry Jan and Dean The Little Old Lady from Pasadena Sidewalk Surfin The Beach Boys Surfin' USA I Get Around Surfer Girl Dance, Dance, Dance Billy J. Kramer and The Dakotas Little Children Bad to Me I'll Keep You Satisfied From a Window The Supremes When the Lovelight Starts Shining Through His Eyes Run, Run, Run Baby Love Where Did Our Love Go The Barbarians Hey Little Bird

James Brown and The Famous Flames Out of Sight Prisoner of Love Please, Please, Please Night Train The Rolling Stones Around and Around Off the Hook Time Is on My Side It's All Over Now I'm Alright Let's Get Together

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Popular culture
The Police mention "James Brown on The T.A.M.I. Show" in their 1980 song "When the World Is Running Down, You Make the Best of What's Still Around." Casiotone for the Painfully Alone has a song called "Lesley Gore On The TAMI Show," which appears on the albums Pocket Symphonies for Lonesome Subway Cars (2001) and Advance Base Battery Life (2009). American producer Rick Rubin recalls in an anecdote that when he was visiting Prince's offices, he observed that a loop of James Brown & The Famous Flames' performance on the show was looped on a lobby television. He speculates "that may be the single greatest rock & roll performance ever captured on film."[4] The T.A.M.I. Show's influence on later music films was profound, and its influence on techniques used later in music videos was equally so. The technical developments used in the T.A.M.I. Show were truly revolutionary for their time, and the Show also launched many careers, including a number of musicians in the house band (The Wrecking Crew) who went on to brilliant and famous careers.

References
[1] Neal Alpert (2002-12). "Steve Binder Interview" (http:/ / www. nealalpert. com/ binder1. html). Mojo Magazine. . Retrieved 2010-03-09. [2] Dick Clark (2005-09-08). "Teenage Awards Music International (DVD notes)" (http:/ / www. learmedia. ca/ product_info. php/ products_id/ 1202). Learmedia. . Retrieved 2010-03-09. [3] http:/ / www. imdb. com/ name/ nm0935916/ bio [4] Rick Rubin (2004-04-15). "The Immortals - The Greatest Artists of All Time: 7) James Brown" (http:/ / www. rollingstone. com/ news/ story/ 5940014/ the_immortals__the_greatest_artists_of_all_time_7_james_brown). Rolling Stone. . Retrieved 2010-03-09.

External links
The T.A.M.I. Show Remembered on its 40th Anniversary (http://blogs.indiewire.com/stevenrosen/archives/ 002167.html) The T.A.M.I. Show (http://www.imdb.com/title/tt0058631/) at the Internet Movie Database The T.A.M.I. Show (http://www.allrovi.com/movies/movie/v48291) at AllRovi The T.A.M.I. Show - Still A Groundbreaking Music Event (http://www.eventcoup.com/ the-tami-show-still-a-groundbreaking-music-ev)

Motown 25: Yesterday, Today, Forever

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Motown 25: Yesterday, Today, Forever

Motown 25: Yesterday, Today, Forever is a 1983 television special produced by Suzanne de Passe for Motown Records, to commemorate Motown's twenty-fifth year of existence. (Motown was founded in January 1959, meaning that a twenty-fifth anniversary special should have aired in 1984, not 1983. One could argue that Gordy's vision of what would become "Hitsville U.S.A." was conceived in 1958, considering the month of Motown's founding.) The show was also co-written by de Passe along with Ruth Adkins Robinson who would go on to write shows with de Passe for the next 25 years, including the follow-up label tributesthrough "Motown 40," Buz Kohan was the head writer of the threesome. The program was taped before a live studio audience at the Pasadena Civic Auditorium in Pasadena, California on March 25, 1983,[1] and broadcast on NBC on May 16. Among its highlights were Michael Jackson's performance of "Billie Jean", a Temptations/Four Tops "battle of the bands", Marvin Gaye's inspired speech about black music history and his memorable performance of "What's Going On", a Jackson 5 reunion, and an abbreviated reunion of Diana Ross & the Supremes, who performed their final #1 hit, "Someday We'll Be Together" from 1969.

Performances
Jr. Walker
Junior Walker performed his signature hit "Shotgun". It was performed as a solo; his long-time group, The All-Stars, did not participate.

Lionel Richie / The Commodores

Lionel Richie performed his hit "You Mean More To Me" in a pre-taped segment. Appearing with him was Lynette Butler, identified as a "Sickle Cell Poster Child." Richie did not appear with his former group, The Commodores,who appeared without him on a separate live segment of the special, singing their smash hit Brick House,which was led,as on the original recording, by Commodore Walter "Clyde" Orange . The other original Commodores,William King, Ron LaPread,Milan Williams,and Thomas McCleary, were present and performed on this segment.

Marvin Gaye
Marvin Gaye, who ironically had left the label a year before to sign with Columbia Records and had a current hit with "Sexual Healing," agreed at the last minute to join the roster of other Motown legends to perform. When he came on, he played the piano and gave the audience a narrative of black music history before he stepped off the piano and sung his classic 1971 hit, "What's Going On", to thunderous applause. Marvin's performance on the show, following his appearances in February 23, 1983 on the Grammys and the NBA All-Star Game, was one of his final national television appearances before his murder a year later in 1984.

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Mary Wells and Martha Reeves

The 'first lady of Motown', Mary Wells, and The Vandellas frontwoman Martha Reeves, were each given a 30 second spot during this celebration, each singing one of their biggest hits, in this case: My Guy and (Love is Like a) Heat Wave, respectively.[2]

Michael Jackson /The Jackson Five

Michael reunited with his brothers to perform a medley of their hits "I Want You Back," The Love You Save," "Never Can Say Goodbye," and "I'll Be There." Brother Randy, who was not a part of the original Jackson 5 but replaced Jermaine as he went on his solo career, was a part of the later group The Jacksons , also joined the group for the medley. It was also a reunion for Jermaine, who performed with his brothers for the first time since leaving the group. As the other members of the Jackson 5 left the stage, Michael transitioned dramatically into his own solo spot. Widely hailed as Michael's breakthrough performance as a solo artist, he performed "Billie Jean", which at the time was in the middle of a seven-week run atop the Billboard Hot 100 music charts. This was also the first time he performed what would become his most famous signature move, the moonwalk. Michael Jackson's concert performances of "Billie Jean" in the years since Motown 25 were always formatted on his performance on this special, from the opening pose with the fedora, black sequin jacket and glove, to the moonwalk routine in the song's bridge.

The Miracles
This special marked the long- awaited reunion of Motown V.P. Smokey Robinson with his original group The Miracles: Bobby Rogers, Pete Moore, Claudette Robinson (then wife of Smokey) and Marv Tarplin, (who was on stage with them, slightly off-camera to the right, but can been seen in certain shots), for the first time since he left the group 11 years before (in 1972). Original Miracles member Ronnie White did not participate in the reunion for personal reasons (his wife, Earlyn, died that year). As Motown's first group (also the label's first million-selling act), they were first on the show, singing four of their greatest hits, "Shop Around", "You've Really Got a Hold on Me", "The Tears of a Clown", and "Going To A Go-Go".

Stevie Wonder
Stevie Wonder, accompanied by his band and his girl group Wonderlove sang several of his greatest hits, including "I Wish", "Uptight (Everything's Alright)", "Signed, Sealed, Delivered, I'm Yours", "You Are the Sunshine of My Life", "My Cherie Amour", "Sir Duke", and also preceded by a vintage clip of Wonder singing his first hit, "Fingertips" .

The Supremes
Motown 25 was a showcase for the highly anticipated reunion of the Supremes: Diana Ross, Mary Wilson (original member Florence Ballard had died in 1976), and Supremes replacement Cindy Birdsong. Four of their greatest hits were to be sung that night, including "Someday We'll Be Together", "Baby Love" and "Stop! In the Name of Love", however this reunion was cut short. Richard Pryor opened the segment with a fairy-tale story of 'three maidens from the Projects of Brewster' which was then followed with a montage of various Supremes' video clips. Diana then started down the center aisle of the auditorium with her hit "Ain't No Mountain High Enough". When Ross finished, she made a brief speech about 'the night that everyone came back' (although, as stated above, some artists were not invited, and some had died). After the beginning chords of "Someday We'll Be Together", the svelte Wilson strutted on stage in a dazzling fire engine red sequin gown and was greeted by a thunderous applause which quickly upstaged Miss Ross. Ross became frustrated when Wilson and Birdsong did not drop back but moved

Motown 25: Yesterday, Today, Forever with her as she walked closer to the edge of the stage. By this time Ross was so confused and bewildered that Wilson took over the lead vocals which prompted Ross to push her. A few moments later, Motown labelmates such as Smokey Robinson, Stevie Wonder, and others quickly filled the stage for an impromptu finale. Although producer Suzanne de Passe had instructed Diana to introduce Berry Gordy after leading the finale, (a fact unknown to Mary) Wilson decided to do the honors, by calling Berry down herself. This led to Diana yelling at Mary "it's been taken care of". Wilson also made a brief tribute to Ballard, who Gordy had removed from the group years before. By the time the reunion aired on May 16, the Ross altercations had been excised from the special, but they were widely reported (including an article and pictures in Us Weekly), and the performance resulted in bad publicity for Ross.

315

The Temptations/Four Tops

The Temptations and Four Tops competed in a "Battle of the Bands" style event. The only original or "Classic Five" Temptations performing were Melvin Franklin and Otis Williams, as Eddie Kendricks (who left the group in 1971) and David Ruffin (who left the group in 1968, and was replaced by Dennis Edwards) had a falling out with the group. Paul Williams (who also left the group in 1971) had died in 1973, and Al Bryant (who left the group and was replaced by Ruffin in 1964) had died in 1975. Joining Williams and Franklin were then-Temptations Dennis Edwards, Richard Street, and Ron Tyson. All of the original members of the Four Tops performed: Renaldo "Obie" Benson, Abdul "Duke" Fakir, and Lawrence Payton, with Levi Stubbs providing the lead vocals. The two groups performed "Reach Out I'll Be There","Baby I Need Your Loving", "Get Ready", "I Can't Help Myself (Sugar Pie Honey Bunch)", "My Girl" "Ain't Too Proud to Beg" and "I Can't Get Next to You", among other numbers. The joint performance was a success, and the Temptations and Four Tops toured together for two years following the special. This "battle" later returned in a Motown TV special at the Apollo theater and created a long running tour for the two groups to compete in.

And others
While Motown 25 was billed as "Yesterday, Today, Forever", artists from the golden era of Motown, such as The Marvelettes, The Vandellas, The Contours, Marv Johnson, Jimmy Ruffin, Edwin Starr, Gladys Knight and the Pips, and The Velvelettes were not included in the special, while newer artists such as Debarge, High Inergy and Jos Feliciano were. (Singers Nick Ashford and Valerie Simpson appeared onstage at the end with the other artists, but they did not perform.) Non-Motown artists, such as Adam Ant (who paid homage to the Supremes singing "Where Did Our Love Go" with Diana Ross bumping and grinding) and Linda Ronstadt were featured as well. Ronstadt performed "Ooh Baby Baby" and "Tracks of My Tears" with Smokey Robinson. She had hits with both songs and in 1976 her version of The Miracles' "Tracks of My Tears" even went to #12 on the Billboard Country Singles Chart, a first for a Motown song. According to the documentary Standing in the Shadows of Motown, James Jamerson, a key component of the Motown sound, and member of The Funk Brothers who recorded many of the backing tracks to the Motown hits, had to buy a Motown 25 ticket from a scalper and sat at the back of the hall with the general public. Additional appearances were made by Dick Clark, The Commodores, Howard Hesseman and Tim Reid (reprising their WKRP in Cincinnati roles as disc jockeys), fast-talker John Moschitta, Jr., T.G. Sheppard (who recorded for Motown's 1970s country label and had two #1 hits on Billboard's country chart), Billy Dee Williams, and The Lester Wilson Dancers. Additionally, a clippage of Rick James and The Mary Jane Girls were featured.

Motown 25: Yesterday, Today, Forever

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Motown 50
In December 2009, Motown announced plans for a 50th anniversary special. There have been speculations about a tribute to the Jackson 5 and Michael Jackson.

Release
A VHS recording was released by MGM/UA Home Video on July 1, 1991.

References
[1] Williams, Janette (June 25, 2009). "Michael Jackson left indelible mark on Pasadena" (http:/ / www. whittierdailynews. com/ california/ ci_12693486). Whittier (Calif.) Daily News. . Retrieved July 4, 2009. [2] "Motown 25: Yesterday, Today, Forever [VHS]: Michael Jackson, Richard Pryor, Diana Ross, Stevie Wonder, Adam Ant, Lionel Richie, The Commodores, Marvin Gaye, DeBarge, Jose Feliciano, Four Tops, Billy Dee Williams, Mary Wells, Howard Hesseman, Jermaine Jackson, Rick James, Martha Reeves, Tim Reid, Smokey Robinson: Movies & TV" (http:/ / www. amazon. com/ Motown-25-Yesterday-Today-Forever/ dp/ 6301972317). Amazon.com. . Retrieved 2012-03-02.

Posner, Gerald (2002). Motown : Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. Wilson, Mary and Romanowski, Patricia (1986, 1990, 2000). Dreamgirl & Supreme Faith: My Life as a Supreme. New York: Cooper Squaree Publishers. ISBN 0-8154-1000-X.

External links
Motown 25: Yesterday, Today, Forever (http://www.imdb.com/title/tt0250595/) at the Internet Movie Database

Marvin Gaye: Live in Montreux 1980

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Marvin Gaye: Live in Montreux 1980

Marvin Gaye: Live in Montreux 1980
Video by Marvin Gaye Released Recorded Genre 2003 July 17, 1980, Montreux, Switzerland Soul, funk, blaxploitation, disco, Motown Marvin Gaye chronology

Live in Montreux 1980 (2003)

The Real Thing: In Performance (1964-1981) (2006)

Marvin Gaye: Live in Montreux 1980 is a taped performance of singer Marvin Gaye's performance at the Montreux Jazz Festival, recorded on July 17, 1980. Gaye included this performance as part of a European tour. Gaye performs a majority of his hits from his recent disco-funk hits "Got to Give It Up" and "A Funky Space Reincarnation", to his duet hits with Tammi Terrell including "Ain't No Mountain High Enough" and "Ain't Nothing Like the Real Thing", in which Gaye re-interpolated the songs as a somber tribute to Terrell, who died over a decade before, to sixties Motown classics such as "I'll Be Doggone", "Ain't That Peculiar", "How Sweet It Is (To Be Loved By You)" and "I Heard It through the Grapevine", to seventies standards such as "What's Going On", "Trouble Man" and "Let's Get It On". The Montreux set was later released as a CD/DVD in 2003.

Tracklisting
Main tracks
1. 2. 3. 4. 5. 6. 7. 8. "Time to Get It Together (overture/introduction)" "Got to Give It Up" "A Funky Space Reincarnation" "After the Dance (Hellos)" "Come Get to This" "Let's Get It On" "After the Dance" "Tammi Terrell medley: "If This World Were Mine"/"Ain't Nothing Like the Real Thing"/"Ain't No Mountain High Enough" 9. "How Sweet It Is (To Be Loved By You)" 10. "Ain't That Peculiar" 11. "I'll Be Doggone" 12. "I Heard It through the Grapevine" 13. "Trouble Man" 14. "Distant Lover" 15. "Inner City Blues (Make Me Wanna Holler)" 16. "Mercy Mercy Me (The Ecology)" 17. "What's Going On"

Marvin Gaye: Live in Montreux 1980

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Personnel
Marvin Gaye Gordon Banks (musician) Bugsy Wilcox William Bryant Howard Westbrook Frank Blair Sandra Akaka Richard Kush Griffith Rick Gardner Reggie Mullens David Ii Frankie Bates Lecester Kentel Robert Stevenson

The Real Thing: In Performance (19641981)

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The Real Thing: In Performance (19641981)

The Real Thing: In Performance (1964-1981)
Video by Marvin Gaye Released Recorded Genre Length Label Producer April 3, 2006 19641981 Soul, Motown 150 mins Motown David Peck & Phil Galloway (Reelin' In The Years Productions) Olivier Robert Murphy, Ian Brenchley & Jamie Hole (Universal Music Group International) Marvin Gaye video chronology

Marvin Gaye: Live in Montreux 1980 (2003)

The Real Thing: In Performance (1964-1981) (2006)

What's Going On (2006)

The Real Thing: In Performance (1964-1981) is an anthology of performances by Marvin Gaye. It was produced by Reelin' in the Years Productions and the Universal Music Group International.

Track listing
Main tracks
1. "Hitch Hike" (from American Bandstand - December 13, 1964) 2. "Pride and Joy" (from Shivaree - December 4, 1965) 3. "Can I Get a Witness" (from Hollywood A Go-Go - November 27, 1965) 4. "Pretty Little Baby" (from Swingin' Time - December 15, 1965) 5. "Ain't That Peculiar" (from Swingin' Time - December 15, 1965) 6. "You're a Wonderful One" (from The New Lloyd Thaxton Show - November 18, 1965) 7. "Ain't No Mountain High Enough" (with Tammi Terrell) (from Swingin' Sounds of Expo '67 - 1967) 8. "I Heard It Through the Grapevine" (from The Hollywood Palace - January 7, 1969) 9. "What's Going On" (from Save The Children - September 27, 1972) 10. "What's Happening Brother" (from Save The Children - September 27, 1972) 11. "Come Get to This" (from Zomerhappening - July 4, 1981) 12. "Let's Get It On" (from Zomerhappening - July 4, 1981) 13. "Distant Lover" (from Dinah and Friends - October 10, 1979) 14. "A Funky Space Reincarnation" (promotional film) 15. "Ego Tripping Out" (from Dinah and Friends - October 10, 1979) 16. "Heavy Love Affair" (from Follies - May 7, 1981) All tracks have been remastered for this release.

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Personnel
Marvin Gaye

321

Family
Marvin Gay, Sr.
Marvin Pentz Gay Sr.
Born October 1, 1914 Jessamine County, Kentucky October 10, 1998 (aged84) Culver City, California

Died

Occupation Minister Spouse Alberta Gay (19131987); (19351984) (divorced) Jeanne Gay (b. 1937) Marvin Gaye (19391984) Frankie Gaye (19412001) Zeola "Sweetsie" Gaye (b. 1945) George Gay (18911971) Mamie Gaye (18911981)

Children

Parents

The Reverend Marvin Pentz Gay Sr. (October 1, 1914 October 10, 1998) was an American minister of the House of God. He was the father of musician Marvin Gaye and gained notoriety after shooting and killing him on April 1, 1984 following an argument at their Los Angeles home.

Biography
Early life
Gay was born on a farm on along Catnip Hill Pike in Jessamine County, Kentucky to George and Mamie Gay, and raised in Lexington, Kentucky.[1] Gay's childhood was reportedly difficult with accounts of his father George Gay's physical abuse towards him and twelve of his other siblings.[1] Gay entered ministry in his late teens, joining a Pentecostal church as a pastor in a church in Washington, D.C. where he and wife, Alberta Cooper from North Carolina, raised their family of four children: daughters Jeanne (b. 1937) and Zeola (b. 1945) and sons Marvin, Jr. (19391984) and Frankie (19412001). After leaving his church, he formed a religious group called the House of God and spent most of his time as a storefront preacher taking his sermons to different churches where he often took his eldest son to sing gospel songs.

Relationship with son

Marvin Gaye later said that, as a child and adolescent, he feared his father often describing him as a "peculiar, tyrannical, powerful king." As he grew older, Gaye adopted a rebellious attitude against his father, often instigating beatings by either messing with his father's hairbrush or chewing a pack of his gum. When he began attending Cardozo High School, Gaye began listening to doo-wop, smoked Menthol cigarettes and skipped home to attend rock 'n' roll concerts by Sam Cooke and Jackie Wilson. This angered his father, who had ordered his four children to not do what he regarded as "sinful" including going out to dances or trying out for sports.

Marvin Gay, Sr. In 1956, Marvin Gaye, Jr. left home, dropped out of school and enrolled in the United States Air Forces. He eventually returned home from an honorable discharge and later joined The Marquees, which later joined Harvey Fuqua to become "Harvey and the New Moonglows." In 1961, shortly before releasing his first single, young Marvin altered his last name to Gaye with an e added to it because he felt "it was more professional." Author David Ritz insisted that Gaye also did this to "silent the gossip of his name and to distance himself from his father." Throughout his life, Gaye tried to have a relationship with his father but as his fame grew, the two grew distant. In 1972, Gaye returned to Washington, D.C. where he was honored with "Marvin Gaye Day." During the ceremony and after a heralded concert performance at the Kennedy Center, Gaye's first in four years following the collapse of late duet partner Tammi Terrell, Marvin said that the day was one of the first times where he felt that he "had made my father proud." Despite the often stormy and troubling relationship between father and son, Gaye often dedicated some of his famous works to his father, including "God is Love" from his What's Going On album, "Everybody Needs Love" from Here, My Dear, where he states that his father, like him, "needed love," and "Joy," which he dedicated on his father bringing him up in church. Marvin often mentioned how he was influenced by his father's sermons during his concert tours. At one point, Marvin even had his father on with him during a Midnight Special show where Marvin allowed his father to give him advice. After Marvin, Sr. told him that he thought he was "a wonderful person," Gaye embraced his father.

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The murder of Marvin Gaye

By the 1970s his marriage to Alberta grew more contentious. After Marvin moved his parents to a manor he bought for them in the West Adams district of Los Angeles in 1972, their marriage continued to deteriorate. In 1983, following the end of his erratic final concerts to promote his successful Midnight Love album, Gaye, who was dealing with money issues and drug addiction, moved to his parents' home as he watched over his mother, who was recovering from surgery. After being away for a few months, Marvin Sr. returned to Los Angeles around October 1983. Upon hearing news his father had sold their family home in Washington, D.C. without consulting his mother, Marvin kept his distance from his father but was reportedly angry about the decision. The few times father and son came into contact, it nearly exploded in violence. At one point, Marvin Sr. reportedly told Gaye's sister Jeanne that he would "kill" Marvin if he touched him. On Christmas Day, 1983, Gaye gave his father a .38 to help protect Gaye from what he felt was a building attempt on his murder. Friends and family members later said Gaye giving his father the gun was "a premeditated suicide"; Gaye had made failed suicide attempts a few times in the past. On the night of March 31, 1984, Marvin, Sr. began arguing with Gaye's mother over a missing insurance policy. At one point, the argument continued into their son's bedroom where, dressed in a maroon robe, Gaye confronted his father to leave his mother alone. The following morning, April 1, Gaye's parents began arguing again. Gaye's mother was beside her son when the elder Marvin began yelling for her. Gaye told his father to come in his room and talk to Alberta directly. When the elder Gaye refused, Gaye yelled, "If you don't ever come in here, don't ever come into my room again." When Marvin Sr. entered, Gaye yelled at him, cursing at him and pushing him out of the room. While at the elder Gaye's bedroom, Marvin began kicking him. Alberta said she remembered her husband screaming, "He's kicking me! I don't have to take this!" Alberta rushed in to grab her son's arm and walked him calmly back to his room. Angered at his father, Gaye told his mother, "I'm packing my stuff and getting out of this house. Father hates me and I'm never coming back." A few moments later, Marvin Sr. entered his son's room with the .38 that Gaye had given him and shot the singer at point-blank range to the heart. After Gaye slumped to the edge of the bed, the elder Gaye shot him again at point blank range at the shoulder. Gaye's brother Frankie and his sister-in-law Irene were next door when they heard the shots and quickly rushed to the house where Irene eventually got the elder Gaye to retrieve his gun while Frankie rushed to console his dying brother, who was clinging to Frankie's arm gasping for air. By the time paramedics took

Marvin Gay, Sr. him to the hospital, Gaye was already pronounced dead on arrival. Gaye died the day before his 45th birthday.

323

Aftermath and death

After Marvin Jr.'s death, Alberta filed for divorce after 49 years of marriage. Marvin Sr.'s other three children were estranged from their father, as well as Marvin's own children. Marvin Sr. did not attend his son's funeral service as he was still held on bail. During his time in jail, when asked if he loved his son, Marvin Sr. said, "Well, let's just say that I didn't dislike him." Originally charged with first-degree murder, the charges were dropped when doctors examined Marvin Sr. and discovered that the then 69-year-old suffered a brain tumor. He agreed to serve five years probation for the crime, after pleading no contest to voluntary manslaughter. During sentencing, Marvin Sr. tearfully stated to the court that he wished he hadn't killed his son, saying he feared for his safety. His wife later went and lived at their daughter Jeanne's house. Marvin Sr. was later sent to a rest home for the remainder of his life, where he died of complications from pneumonia in Culver City, California on October 10, 1998, just nine days after turning 84.

References
[1] http:/ / www. trutv. com/ library/ crime/ notorious_murders/ celebrity/ marvin_gaye/ 2. html

External links
Grave (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GSmcid=46997510&GRid=32920368&)

Alberta Gay

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Alberta Gay
Alberta Williams Cooper Gaye
Born January 1, 1913 Rocky Mount, North Carolina May 9, 1987 (aged74) Los Angeles, California

Died

Occupation domestic, teacher Spouse Children Marvin Gay, Sr. (19141998); (19351984) (divorced) Michael (born 1933) Jeanne Gay (b. 1937) Marvin Gaye (19391984) Frankie Gaye (19412001) Zeola "Sweetsie" Gaye (b. 1945)

Alberta Cooper Gay (January 1, 1913 May 9, 1987) was the mother of influential Motown singer-songwriter Marvin Gaye and singer-songwriter Frankie Gaye, wife of minister Marvin Gay, Sr. and the grandmother of singer-actress Nona Gaye. Gay was the only other witness to be present on the day of her son Marvin's sudden death at his father's hands.

Biography
Born in North Carolina, Cooper eventually moved to Washington, D.C. with a relative after having a son out of wedlock. Her son, Michael, ended up being raised by relatives in D.C. Around this time she met a young minister from Kentucky named Marvin Pentz Gay. The couple married on July 2, 1935 and Cooper gave birth to her first child with her husband, a daughter named Jeanne, born in 1937. Two years later, on April 2, 1939, son Marvin Gay, Jr. was born. Alberta later gave birth to two more children, son Frances (or Frankie) in 1941 and daughter Zeola (nicknamed "Sweetsie") in 1945. Alberta and the elder Marvin raised their four children under the strict rules governing a Seventh Day Adventist home. The Gay family reportedly had a rough upbringing while growing up in the D.C. projects. Since "Father Gay" didn't have a steady job, Alberta found work as both a domestic and as a teacher of a local elementary school. According to biographies written about Marvin Gaye, Alberta reportedly had to stop her husband from further disciplining his four children, the younger Marvin in particular, who later grew up and adapted a rebellious attitude in a way to go against his father's strict rules. Alberta said she also encouraged the young Marvin to pursue his later dreams of a secular singing career despite his father's strict refusal to allow his son to participate in such activity. After leaving home to join The Moonglows in 1959, Marvin later adapted an e to his last name upon joining Motown Records as a soloist eventually rising to fame as the label's best-selling male vocalist during the 1960s and 1970s. Throughout the years, Marvin kept a close bond with his mother, with whom Jeanne Gay later called, a "spiritual guru" to Marvin saying that she'd always allowed Marvin to express his inner demons to her. Marvin later moved his parents to Los Angeles. Alberta's marriage to Marvin Sr. had always been contentious and sometimes abusive. Marvin Sr. constantly cheated on her and would often commit domestic abuse against her. In late 1982, Alberta was rushed to a California hospital to undergo surgery on a new kidney which caused her son Marvin, who had moved to Belgium after problems with the IRS had mounted, to abruptly return to California to tend to his mother. Marvin also had a hit record at the time and a punishing tour left him sapped especially, after a brief sobriety period while in Belgium, with strong usage of cocaine, a drug Marvin had been using off and on since the late 1960s.

Alberta Gay Moving in with his mother at the end of his tour in 1983, Marvin isolated himself from everyone while trying to keep a distance from his father, during rows the two had. After the former minister Marvin Sr. had developed alcoholism, his relationship with Alberta had grown worse and the couple were constantly arguing, much to the chagrin of their son, who was having his own marital and domestic troubles with girlfriends and one of his ex-wives.

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Son's death
On the night of March 31, 1984, Alberta and Marvin, Sr. began arguing over misplaced business documents, including an important insurance policy, which Alberta later claimed Marvin Sr. had blamed directly on her. The argument escalated causing Gaye to wake up from a drug stupor arguing to his father to leave his mother alone. The two men didn't escalate into violence that night. The next morning, April 1, 1984, Alberta and Marvin Sr. began arguing again when Gaye again addressed his father. This time, a struggle ensued and a physical fight resulted in Marvin Sr. being pushed and kicked at by his son. Alberta told the police that she got Gaye out of his father's bedroom and tried consoling her son, who reportedly told her that he was "packing my stuff and getting out of here, Father hates me and I'm never coming back." Alberta then said she saw her husband calmly walk in with a .38 pistol that Marvin had ironically purchased for his father during Christmas of the previous year and shoot her son directly in the chest fatally wounding Gaye. Alberta screamed and called for help from her son Frankie and his wife Irene, who heard the shots next door. Gaye was later pronounced dead and following a funeral, where Alberta kissed her son's forehead at his casket, she filed for divorce from Marvin Sr., who later served probation after pleading no contest to a manslaughter charge in his son's death. Later moving in with her daughter Jeanne in her home in Burbank, Cooper died in 1987 of bone cancer. She was 74 years old.

Frankie Gaye
Frankie Gaye[1] (born Frances Gay, November 15, 1941 December 30, 2001) was a singer and the younger brother of the more famous singer Marvin Gaye. Born the son of minister Marvin Pentz Gay, Sr. and domestic Alberta Cooper in Washington, D.C., Frances watched as Marvin became a superstar. Frankie's horrific accounts of his service during the Vietnam War (which included being a radio DJ) inspired Marvin's classic 1971 concept album What's Going On.

Frankie Gaye in 1989

Frankie began his music career composing the soundtrack to the 1979 film Penitentiary. He would spend time singing on and off for his brother onstage as part of Marvin's touring band. During one of Marvin's first tours back from a six-year hiatus in 1973, Marvin had Frankie come on the stage to fool fans of his that Frankie was actually Marvin. When Marvin showed up, fans were understandably confused about the brothers' eerie similarities to each other. Frankie's most notable moment on any of Marvin's records was singing in the background of Marvin's 1977 hit, "Got to Give It Up", featured on Marvin's Live at the London Palladium album. He released two singles, "Extraordinary Girl" in 1989 and "My Brother" in 1990 and released the album of the same name on the latter year for Motorcity Records. In 2000, he began composing the autobiography depicting the times and travails of his life with his older brother titled Marvin Gaye: My Brother. There's no telling on whether or not he was done with the biography, when on December 30, 2001, Gaye died of complications following a heart attack at the age of 60. The book was finally released in 2003 to mixed reviews.

Frankie Gaye Marvin's youngest child, Frankie Christian Gaye (born in November 1975), was named after Frankie.

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Discography
Albums
1979: Penitentiary 1990: My Brother 1996: The Very Best of Frankie Gaye

Singles
1989: "Extraordinary Girl" 1990: "My Brother"

References
[1] Google Book Search: "Marvin Gaye, My Brother", (2003) by Frankie Gaye (http:/ / books. google. com/ books?id=BxFgf1T-5WIC& dq=What+ time+ was+ Marvin+ Gaye+ born+ in?& pg=PP1& ots=zGwIyztRZA& source=citation& sig=IbsR0rzVJApMwvHmC94qS5kQxy8& hl=en& sa=X& oi=book_result& resnum=11& ct=result#PPA6,M1)

External links
Frankie Gaye Page (http://www.soulwalking.co.uk/Frankie Gaye.html)

Anna Gordy Gaye

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Anna Gordy Gaye

Anna Gordy Gaye
Birth name Born Anna Ruby Gordy December 12, 1922 Detroit, Michigan Detroit, Michigan, United States R&B, soul Songwriter, composer Anna, Motown

Origin Genres Occupations Labels

Associated acts Berry Gordy, Marvin Gaye, The Originals

Anna Gordy Gaye (born December 12, 1922) is an American songwriter and composer, known as the elder sister of Motown founder Berry Gordy and the first wife of soul legend Marvin Gaye, who used their troubled marriage as the focal point of his critically acclaimed 1978 effort, Here, My Dear,[1] an album from which Gordy agreed to receive royalties due to their divorce court proceedings.

Biography
Early life
Born Anna Ruby Gordy in Detroit, Michigan to Berry Gordy Sr. and Bertha Ida (ne Fuller) Gordy. Shortly before her birth, her family had moved to Detroit to get away from racial tension in Georgia; Anna was born shortly after the Gordys had migrated. She was the third eldest of eight (Fuller, Esther, Anna, Loucye, George, Gwen, Berry and Robert). Most of the Gordy siblings got involved in the music business in the late 1950s forming several production companies in Michigan. Berry, in particular, gained success writing hit songs for Jackie Wilson and a popular Detroit-based vocal group called The Miracles. In 1959, Gordy's brother formed Motown Records and within a few months, Anna, sister Gwen and Billy Davis formed Anna Records, the label would be the national distributor for Barrett Strong's local Tamla single, "Money (That's What I Want)", which in turn became a top forty hit and became Motown's first hit single.

Marriage to Marvin Gaye and later career

In 1960, Harvey Fuqua and one of his proteges, Marvin Gaye, moved from Chicago to Detroit shortly after Fuqua disbanded his version of the legendary doo-wop group The Moonglows. Fuqua had gotten acquainted with Anna's sister Gwen Gordy and introduced Gordy to Gaye, who then introduced the singer to Motown president Berry Gordy. While performing at the annual Christmas party at Motown's Hitsville U.S.A. studios, Anna and Marvin met. In her book, Berry, Me and Motown, Raynoma Liles Gordy said Fuqua and Gaye concocted a plan to date Anna and Gwen with Fuqua dating Anna and Gaye dating Gwen. However, Gaye wanted to do a switch, which Fuqua agreed on. The plan, according to Liles, worked when Marvin and Anna got involved in a serious relationship and Harvey and Gwen also began dating. Prior to them dating, Marvin signed with Motown Records as a solo artist, staff writer and sometime session musician in December 1960. In later documentaries on her ex-husband's life, Gordy would often say that she played hard-to-get with Gaye, who she said kept showing up at her house at a certain time. When Gaye didn't show up one day as Anna had expected, she started to get concerned until Marvin suddenly cocked his head to the side and asked "you missed me, didn't you?" After that, the 21-year-old Gaye and the 38-year-old Gordy started dating.

Anna Gordy Gaye Despite snickers over the couple's seventeen-year age difference, Gaye and Gordy openly carried on an affair, and their affair later inspired some of Gaye's early hits. Gaye's 1962 single, "Stubborn Kind of Fellow", was based on an argument Gaye and Gordy had, leaving Gordy to ask Gaye "what makes you so stubborn?" Always motivated by personal experiences, Gaye wrote "Stubborn Kind of Fellow", with extra composition by Anna's brother George and Mickey Stevenson. The song became a hit. Another Anna-inspired single came in 1963 with "Pride & Joy", Gaye's first top 10 pop hit, followed by 1964's "You're a Wonderful One". In Gaye's earlier Motown career, Gaye bluntly told Motown executives, Berry Gordy in particular, that he wanted to be a standards performer, having no desire to have a career in the pigeonholed R&B genre. Anna Gordy was said to have been the defining factor in Motown's decision to try the standards route with Gaye as the singer's first album, 1961's The Soulful Moods of Marvin Gaye, featured mainly standards and jazz covers with two rhythm and blues tunes, one co-written by Anna, to compromise. As Berry Gordy predicted, however, the album failed and Gaye, realizing he was connected to the Gordy family, decided to use the leverage to get fame from singing R&B though he privately chided at the demands. Anna would encourage Marvin to record, even if Marvin didn't feel up to recording on a particular day, sometimes leading to spats, both privately and publicly, according to Marvin. In Motown's carefully concocted public relations stories, Marvin and Anna married as quickly after they started dating in 1961. However, according to Gaye, they married in 1964, as he shouted after a bridge in his song, "I Met a Little Girl". The date of their marriage was January 8, 1964. Marvin was 24, Anna was 41. The marriage was deemed controversial not just due to their age difference but also put Gaye in conflict with some of Motown's peers, who accused him (and later Diana Ross) for marrying/having relations with the company and also bristled at Gaye's stubbornness towards the label's grooming school, which Gaye hardly attended though Anna Gordy was a co-founder and president of that school. Gaye would later account, however, that even with his famous in-laws, he felt like he was an outsider. During their marriage, Marvin and Anna tried having a child. Later Anna was told that she couldn't copulate, which devastated the couple. Sometime after, members of the Gordy family and Smokey Robinson concocted a plan to have Marvin and Anna's teenage niece Denise Gordy produce a child. Marvin Gaye III was born on November 17, 1965. Denise Gordy herself confirmed the story in two Marvin Gaye biographies. Anna adopted Marvin III as her own child. It was said Marvin III didn't learn the truth of his birth until after his father's death. Marvin himself told David Ritz that he hid the fact that Anna adopted the child due to public relations by Motown and feared he would be poked fun at for not naturally conceiving. Despite the birth of Marvin III, however, Marvin and Anna's relationship grew more contentious. Because of Marvin's growing fame, he would often be accused of infidelity. Overtime, Marvin suspected the same of Anna. Their troubling personal life also impacted Marvin's later music, especially in songs like "I Heard It through the Grapevine" and "Chained", the former song talking directly about rumors of infidelity. In 1969, the couple co-wrote The Originals hits, "Baby I'm for Real" and "The Bells". Both songs became the group's first couple of hits in 1970. Anna helped contribute to one of Marvin's greatest works, 1971's What's Going On. Anna was listed as a co-writer on some of the songs on the album including "Flyin' High (In the Friendly Sky)" and "God Is Love". Despite its success, Marvin and Anna's personal life continued to unravel. After moving to Los Angeles, Marvin and Anna filed for legal separation. Afterwards, Marvin began a relationship with Janis Hunter. Following the births of Marvin and Janis' children, Nona and Frankie, Anna filed for divorce from Marvin in 1975. Divorce proceedings would take over two years, before being settled in March 1977. During court proceedings, Marvin's attorney concocted a plan to have Marvin's next album's royalty earnings sent to Anna to help pay for alimony. This led to the creation of the so-called "divorce album", Here, My Dear.

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Anna Gordy Gaye

329

After Marvin Gaye

Though she had spent most of her adulthood in public, following her divorce from Marvin Gaye, Anna Gordy settled into seclusion. In January 1979, a month after Here, My Dear was released, Gordy was moved to sue after hearing the album but later stopped short of pursuing a lawsuit against her ex-husband. Gaye had agreed to give up royalties from Here, My Dear, to help pay for support and alimony payments, something Marvin had done once before when his wife threatened to have him imprisoned for failure to pay child support, Marvin solved this by going on a European tour. In an ironic twist, Marvin and Anna remained close. Marvin's attorney Curtis Shaw recounted a moment when Marvin asked to stop by Anna's house and was stunned to see the battling ex-spouses lovingly embrace each other. Soon after Marvin walked in and Anna called for Curtis for dinner she had prepared. Curtis later recalled it as "really bizarre" given the divorce case. Anna Gordy became real supportive of Marvin's comeback in 1982 and upon his return to the United States after a couple of years in Europe, she would begin accompanying him to several public events, one of which was the 1983 Grammy Awards where Marvin won two Grammys for "Sexual Healing". Rumors sparked of the former couple possibly remarrying, however, both Marvin and Anna rebuffed the rumor with Anna stating she and Marvin were happy enough to "remain friends". Anna Gordy was said to have been left shaken by her ex-husband's death in 1984. Following a funeral service, Anna went along with Marvin's three children to dispose of his ashes near the Pacific Ocean after he was cremated. Anna Gordy accepted her ex-husband's posthumous induction to the Rock and Roll Hall of Fame alongside their son in 1987 and his star on the Hollywood Walk of Fame three years after that. Anna Gordy would make few public appearances after that. Anna is said to now be suffering with dementia and is being taken care of by her niece, Denise Gordy, in Los Angeles. Anna's last public appearance came around 2009 when she accompanied her brother Berry to celebrate Motown's 50th anniversary.

References
[1] Ritz, David (7 May 2003). Divided Soul: The Life of Marvin Gaye (http:/ / books. google. com/ books?id=jgYOT-LxgxQC& pg=PR10). Basic Books. p.x. ISBN9780306811913. . Retrieved 6 July 2010.

Denise Gordy

330

Denise Gordy
Denise Gordy
Born Denise Gordy November 11, 1949 Detroit, Michigan, U.S. Actress

Occupation

Years active 19741991 Spouse Richard Lawson (19781989)

Denise Gordy (born November 11, 1949) is an American film and television actress.

Early life
Denise Gordy was born in Detroit, Michigan. She is the daughter of George and Rosemary Gordy and sister of Patrice and George Gordy, Jr., among others. She is the mother of Marvin Gaye III by legendary Motown artist Marvin Gaye,[1] and also of actress Bianca Lawson by actor Richard Lawson (married from 1978 to 1989). Motown founder Berry Gordy is her uncle.

Career
Gordy has appeared in numerous television and theatrical features, beginning in 1974 with Bogard and ending most recently with Toy Soldiers in 1991. She also has contributed vocals for the soundtrack album to the film Bogard, as well as recording the song "Let's Do It Again".

Filmography
Film and television Year 1974 Bogard 1975 Mahogany 1976 Starsky and Hutch Charlie's Angels Show Bea Uncredited role Hooker Nikki Television movie Television series Role Notes Theatrical film

1977 Little Ladies of the Night Foxy Lady Scott Joplin 1981 Enos 1983 At Ease Bare Essence D.C. Cab 1984 Fantasy Island Getting Physical 1985 My Man Adam Denise 1st Nurse Video Lady #2 Willette The Girl Laura Commando Girl

Television series

Theatrical film Television series Television movie

Denise Gordy

331
1986 Reform School Girls 1991 Toy Soldiers Claudie Parent Theatrical film

References
[1] Marvin Gaye's biological son (http:/ / articles. sun-sentinel. com/ 2000-10-15/ entertainment/ 0010130912_1_gaye-s-music-anna-gordy-tammi-terrell/ 2)

External links
Denise Gordy (http://www.imdb.com/name/nm0330702/) at the Internet Movie Database

Janis Gaye

332

Janis Gaye
Marvin Gaye
Marvin Gaye in 1973 Background information Birth name Also known as Born Marvin Pentz Gay, Jr. [1]

Prince of Soul, Prince of Motown

April 2, 1939 Washington, D.C. April 1, 1984 (aged44) Los Angeles, California R&B, soul, doo-wop, funk, quiet storm Singer-songwriter, composer, musician, record producer Vocals, keyboards, drums, percussion, clavinet, synthesizers, piano 19581984 Motown (Tamla-Motown), Columbia The Moonglows, Martha and the Vandellas, Tammi Terrell, The Originals, Mary Wells, Kim Weston, Diana Ross, Harvey Fuqua, Stevie Wonder, Smokey Robinson, Berry Gordy, Don Hussein

Died

Genres Occupations Instruments Years active Labels Associated acts

Marvin Pentz Gay, Jr. (April 2, 1939 April 1, 1984), better known by his stage name Marvin Gaye (he added the 'e' as a young man), was an American singer-songwriter and musician with a three-octave vocal range.[2] Starting his career as a member of the doo-wop group The Moonglows in the late 1950s, he ventured into a solo career after the group disbanded in 1960, signing with Motown Records subsidiary, Tamla. He started off as a session drummer, but later ranked as the label's top-selling solo artist during the 1960s. He was crowned "The Prince of Motown"[3] and "The Prince of Soul".[4] because of solo hits such as "How Sweet It Is (To Be Loved by You)", "Ain't That Peculiar", "I Heard It Through the Grapevine," and his duet singles with singers such as Mary Wells and Tammi Terrell. His work in the early and mid-1970s included the albums, What's Going On, Let's Get It On, and I Want You, which helped influence the quiet storm, urban adult contemporary, and slow jam genres. After a self-imposed European exile in the early 1980s, Gaye returned on the 1982 Grammy-Award winning hit, "Sexual Healing" and the Midnight Love album before his death. Gaye was shot dead by his father on April 1, 1984. He was posthumously inducted into the Rock and Roll Hall of Fame in 1987.[5] In 2008, the American music magazine Rolling Stone ranked Gaye at number 6 on its list of the Greatest Singers of All Time,[6] and ranked at number 18 on 100 Greatest Artists of All Time.[7] He was also ranked at number 20 on VH1's list of 100 Greatest Artists of All Time.[8]

Janis Gaye

333

Biography
Early life (19391957)
Marvin Pentz Gay, Jr.[1] was born on April 2, 1939 at Freedman's Hospital in Washington, D.C.. His father, Marvin Gay, Sr., was a minister at the House of God (the House of God headquarters is located in Lexington, Kentucky), which advocated strict conduct and taught and believed in both the old and new Testament. His mother, Alberta Gay (ne Cooper), was a domestic and schoolteacher. Gaye was the second eldest of four children. His younger brother, Frankie (19412001), would be one of the main sources of Gaye's musical development and later served as a soldier in the Vietnam War and embarked on a singing career upon his return to civilian life to follow in his elder brother's footsteps. His youngest sister, Zeola "Sweetsie" Gay (born 1945), would later become the main choreographer of her brother's live shows. As a child, Gaye was raised in the Benning Terrace projects in southeast D.C.[9] Gaye's father was minister of a local Seventh-day Adventist Church for a time. By the time his eldest son was five, Marvin Sr. was bringing Gaye with him to church revivals to sing for church congregations. Gaye's father was assured all four of his children would follow him into the ministry and would later use his strict domineering to get his children to avoid secular activities including sports and secular music. Gaye's early home life was marked by violence as his father would often strike him for any shortcoming. Gaye and his three siblings were bed-wetters as children.[10] Gaye would later call his father a "tyrannical and powerful king" and said he was depressed as a child, convinced that he would eventually "become one of those child statistics that you read in the papers" had he not been encouraged to pursue his dreams by his mother.[10] By age fourteen, Gaye's parents moved to the Deanwood neighborhood of northeast D.C. The following year, Gaye's father quit the ministry after a disappointment over not being promoted as the Chief Apostle (head overseer) of the House of God Inc. Gaye said his father later developed alcoholism, which furthered tension between father and son. Developing a love for music at an early age, Gaye began playing instruments, including piano and drums. Upon arriving to Cardozo High School, he discovered doo-wop and harder-edged rhythm and blues and began running away from home to attend R&B concerts and dance halls, defying his father's rules. Gaye joined several groups in the D.C. area, including the Dippers with his best friend, Johnny Stewart, brother of R&B singer Billy Stewart. He then joined the D.C. Tones, whose members included another close friend, Reese Palmer, and Sondra Lattisaw, mother of R&B singer Stacy Lattisaw.[10] Gaye's relationship with his father led him to run away from home and join the United States Air Force in the hope of becoming an aviator. However, discovering his growing hatred for authority, he began defying orders and skipped practices. Faking mental illness, he was discharged.[10] His sergeant stated that Gaye refused to follow orders.[11] Upon returning to his hometown, Gaye worked as a dishwasher to make ends meet. He still dreamed of a show-business career, and rejoining Reese Palmer, the duo formed a four-member group calling themselves the Marquees.

Early career (19581962)

In 1958, the Marquees were discovered singing at a D.C. club by Bo Diddley, who signed them to Okeh Records, where they recorded "Wyatt Earp", with "Hey Little Schoolgirl" as its B-side. It received moderate success, but not the success Gaye and his band mates had hoped for. Later that year Harvey Fuqua, founder and co-lead singer of the landmark doo-wop group The Moonglows, recruited them, after the breakup of the original members, to be "The New Moonglows" which moved the formerly-named Marquees from Okeh to Chess Records. While there, the "new Moonglows" recorded background vocals for Chess recording stars Chuck Berry and Etta James. After "The Twelve Months of the Year", which featured a spoken monologue by Gaye, became a regional hit, the group issued "Mama Loochie", which was the first time Gaye sang lead on a record. The record was issued in late 1959 and became a hit in Detroit. Following a concert performance there, Gaye and other band members were arrested for small possession of marijuana. Afterwards, Fuqua decided to disband the group, keeping Gaye with him, as he favored him over the other members. In 1960, Harvey Fuqua had met Gwen Gordy and the couple embarked on both a personal and

Janis Gaye professional relationship. That year, the couple formed two record labels, the self-named Harvey Records, and Tri-Phi Records. Gaye was signed to the former label, whose other members included a young David Ruffin and Junior Walker. He provided drums for The Spinners' first hit, "That's What Girls Are Made For", which was released on Tri-Phi. Stories on how Gaye eventually met Berry Gordy and how he signed to Motown Records vary. One early story stated that Gordy discovered Gaye singing at a local bar in Detroit and that Gordy offered to sign Gaye on the spot. Gaye's recollection, and a story Gordy later reiterated, was that Gaye invited himself to Motown's annual Christmas party inside the label's Hitsville USA studios and played on the piano, singing "Mr. Sandman". Gordy saw Gaye from afar and, noting that Gaye was connected with Fuqua, began to make arrangements to absorb Fuqua's labels and bring all of the label's acts to Motown. Gordy said he immediately wanted to bring Gaye to Motown after seeing him perform, impressed by his vocals and piano playing. While working out negotiations, Fuqua would sell a 50 percent interest in Gaye to Gordy, as Gaye would find out later.[12] After Gordy absorbed Anna and Harvey in March 1961, Gaye was assigned to Motown's Tamla division. Gaye and Motown immediately clashed over material. While Motown was yet a musical force, Gaye set on singing standards and jazz rather than the usual rhythm and blues that fellow label mates were recording. Struggling to come to terms with what to do with his career, Gaye worked mainly behind the scenes, becoming a janitor, and also settled for session work playing drums on several recordings, which continued for several years. One of Gaye's first professional gigs for Motown was as a road drummer for The Miracles. Gaye developed a close friendship with the label's lead singer Smokey Robinson and they'd later work together. Though already a seasoned veteran of the road and almost exempt from Gordy's Artist Development, which began operating in 1961, Gaye was still required to attend schooling, which he refused. He eventually took advice from grooming director Maxine Powell to keep his eyes open while performing because "it looks like you're sleeping when you're performing".[10] Gaye would later regret skipping the school saying he could've benefited more from it.[10] Before releasing his first single in May 1961, he altered his last name to "Gaye", later stating that he added the "e" because "it sounded more professional" and to emulate what Sam Cooke had done before releasing his first secular record following his split from the Soul Stirrers. A famous story about the name change came from author David Ritz, Gaye's confidant in later years, who said Gaye had said that he wanted to "quiet the gossip" of his last name and to distance himself from his father.[13] In May 1961, Tamla released Gaye's first single, "Let Your Conscience Be Your Guide". The single flopped as a national release but was a regional hit in the Midwest, as was a follow-up single, the cover of "Mr. Sandman" (titled as just "Sandman" in Gaye's release in early 1962). In June 1961, Motown issued Gaye's first album, The Soulful Moods of Marvin Gaye compromising Gaye's jazz interests with a couple of R&B songs. The album tanked and no hit single came of it. A third regional hit, "Soldier's Plea", an answer to The Supremes' "Your Heart Belongs to Me", was the next release in the spring of 1962. Gaye had more success behind the scenes than in front. Gaye applied drumming on several Motown records for artists such as the Miracles, Mary Wells, The Contours and The Marvelettes. Gaye was also a drummer for early recordings by The Supremes, Martha and the Vandellas and Little Stevie Wonder. Gaye drummed on the Marvelettes hits, "Please Mr. Postman", "Playboy" and "Beechwood 4-5789" (a song he co-wrote). Later on, Gaye would be noted as the drummer in both the studio and live recordings of Wonder's "Fingertips" and as one of two drummers behind Martha and the Vandellas' landmark hit, "Dancing in the Street", another composition by Gaye, originally intended for Kim Weston. Gaye said he continued to play drums for Motown acts even after gaining fame on his own merit. For Gaye's fourth single, the singer was inspired to write lyrics to a song after an argument with his wife, Anna Gordy Gaye (ne Anna Gordy). While working out the song, Gaye mentioned he had his first "major" power struggle with Motown head Berry Gordy over its composition. Gordy insisted on a chord change though Gaye was comfortable with how he wrote it, eventually Gaye changed the chord and the song was issued as "Stubborn Kind of Fellow" in September 1962. The song became a hit on the Hot Rhythm and Blues Sides chart reaching number 8 and eventually peaked at number 46 on the Billboard Hot 100 in early 1963. A parent album, That Stubborn Kinda Fellow, was released in December 1962, the same month that Gaye's fifth single, "Hitch Hike", was released. That song reached number 30 on the Billboard Hot 100, bringing Gaye his first top 40 single. His early success confirmed his arrival as a hit maker, and he landed on his first major

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Janis Gaye tour as a performer on Motown's Motortown Revue.

335

Early success (196366)

Gaye's career following his performances with the Motortown Revue assured him success. Gaye's next single, "Pride & Joy", became a major hit in the spring of 1963, reaching number-ten on the Billboard Hot 100, selling nearly one million copies. Later that year, Gaye repeated the success with the top 30 hit, "Can I Get a Witness", which found some leverage in the United Kingdom upon its release on Motown's UK label Stateside Records. Many of Gaye's early hits would later be heavily covered by acts such as The Rolling Stones, Dusty Springfield and The Who, performers who admired Gaye and American R&B music in general. Gaye's hits also was a big influence on the UK's mod scene with several mod groups including the future Elton John's Bluesology and Rod Stewart's Steampacket covering Gaye's hits there. Gaye's early hits were also a big influence on American producers, including Phil Spector, who nearly had a car accident while pulling over upon hearing "Stubborn Kind of Fellow" for the first time. Gaye's hits continued throughout 1964. Several top 20 pop hits from this period included "You Are a Wonderful One", "Try It Baby" and "Baby Don't You Do It" kept Gaye's momentum building. Gaye made his first public TV performance on American Bandstand in 1964 and later became a fixture on the show and on other programs such as Shindig! and Hullaballoo. His popularity further increased after Motown released his first duet project, an album with Mary Wells entitled Together. The duo had two hit singles, "Once Upon a Time" and "What's the Matter with You Baby". In late 1964, Gaye also appeared in the concert film The T.A.M.I. Show, where he performed his hits to an enthusiastic audience (with backing vocals by The Blossoms). Gaye reached the top 10 in early 1965 with "How Sweet It Is (To Be Loved By You)", which sold close to a million copies. Gaye eventually scored his first immediate million-sellers in 1965 with the Smokey Robinson compositions, "Ain't That Peculiar" and "I'll Be Doggone". These songs and other singles released during the 196566 period would be the result of Gaye's next release, Moods of Marvin Gaye. Gaye struggled with his success. While deemed a "smooth song-and-dance ladies' man", he still aspired to perform more jazz work in his catalog. Because of his success, Motown allowed him to work on such recordings including When I'm Alone I Cry, Hello Broadway and a Nat King Cole tribute album, A Tribute to the Great Nat "King" Cole. All three albums flopped. Gaye tried performing the songs onstage but soon stopped once he discovered that the crowds weren't too appreciative of the material. One proposed standards project, which took over two years to record, was shelved due to session problems. Gaye's performances at the Copacabana in 1966 also led to conflict between Gaye and Gordy as Motown had recorded the album for purposes of releasing it in early 1967. However due to a struggle, Motown eventually shelved it until it was later released three decades later. In early 1967, Gaye scored his first international hit with the duet, "It Takes Two", with Kim Weston, who ironically had already left the label when it became a hit. Only one televised performance of the song showed Gaye singing the song to a puppet. That year, Motown hooked Gaye up with veteran Philadelphia-based singer Tammi Terrell, who had an early stint with James Brown. Gaye would later say of Terrell that she was his "perfect partner" musically.

Tammi Terrell and I Heard It Through the Grapevine (196769)

Terrell and Gaye's first major hit was the Nick Ashford and Valerie Simpson composition, "Ain't No Mountain High Enough". The duo quickly followed up with the top five hit ballad, "Your Precious Love". Despite rumors of a romantic relationship Gaye was married to Anna Gordy and Terrell was dating Temptations lead vocalist David Ruffin both singers denied such a relationship with Gaye saying later that they had a brother-and-sister relationship, a statement reiterated by Ashford & Simpson. Other hit singles the duo scored within an eighteen-month period included "If I Could Build My Whole World Around You", "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". Other hits such as "You Ain't Livin' till You're Lovin'" and "The Onion Song" found success in Europe. The duo's recording of "If This World Were Mine", the b-side of "If I Could Build

Janis Gaye My Whole World Around You", found modest success on the charts, the first sole Gaye composition to do so. The song later found major R&B success when Luther Vandross covered it with Cheryl Lynn over a decade later. The duo was also a success together onstage, Terrell's easy-going nature with the audience contrasting from Gaye's laid-back approach. However, that success was short-lived. On October 14, 1967, while performing at Virginia's Hampden-Sydney College, Terrell collapsed in Marvin's arms. She had been complaining of headaches in the weeks leading up to the concert, but had insisted she was all right. However, after she was rushed to Southside Community Hospital, doctors found that Terrell had a malignant brain tumor.[14] The diagnosis ended her performing career, though she still occasionally recorded, often with guidance and assistance. Terrell ceased recordings in 1969 and Motown struggled with recording of a planned third Gaye and Terrell album. Gaye initially had refused to go along with it saying that he felt Motown was taking unnecessary advantage of Terrell's illness. Gaye only reluctantly agreed because Motown assured him recordings would go to insure Terrell's health as she continued to have operations to remove the tumor, all of which were unsuccessful. In September 1969, the third Gaye and Terrell duet album, Easy was released, with many of the songs saaid to have been subbed by Valerie Simpson, while solo songs recorded years earlier by Terrell, had overdubbed vocals by Gaye. Terrell's illness put Gaye in a depression; at one point he attempted suicide but was stopped by Berry Gordy's father. He refused to acknowledge the success of his song "I Heard It Through the Grapevine", released in 1967 by Gladys Knight & The Pips (his version was recorded before, but released after theirs), his first number-one hit and the biggest selling single in Motown history to that point, with four million copies sold. His work with producer Norman Whitfield, who produced "Grapevine", resulted in similar success with the singles "Too Busy Thinking About My Baby" and "That's the Way Love Is". Meanwhile, Gaye's marriage was crumbling and he was bored with his music. Wanting creative control, he sought to produce singles for Motown session band The Originals, whose Gaye-produced hits, "Baby, I'm for Real" and "The Bells", brought success.

336

What's Going On (197072)

Tammi Terrell died of a brain tumor on March 16, 1970. Gaye was so emotional at her funeral that he talked to her lying in state as if she was going to respond. Gaye insisted, following Terrell's death, that he would no longer record duets with any other female performer, nor was he ever going to perform on stage again since Terrell's collapse and subsequent death had spooked him. He already had apprehensions about performing, suffering bouts of stage fright throughout his performing career. Prior to Terrell's death, he had withdrawn from a scheduled performance citing an illness and was later sued for failure to appear. After Terrell's death he stopped doing any more live gigs and never really recovered completely from her death. He had an inspiration, dating back to 1968, to try out for the Detroit Lions football team.[15] After he gained friendships with two of the Lions' players, Mel Farr and Lem Barney they encouraged him to get in shape and tryout, although the team ultimately wouldn't let him because they feared injuring one of the city's greatest singers.[16]. After helping to collaborate what became "What's Going On", he returned to Hitsville on June 1, 1970 to record the song, which was inspired by Gaye's brother's accounts of his experience at the Vietnam War and co-writer Renaldo "Obie" Benson of the Four Tops' disgust of police brutality after seeing anti-war protesters attacked in San Francisco. Despite releases of several anti-war songs by The Temptations and Edwin Starr, Motown CEO Berry Gordy prevented Gaye from releasing the song, fearing a backlash against the singer's image as a sex symbol and openly telling him and others that the song "was the worst record I ever heard". Gaye, however, refused to record anything that was Motown's or Gordy's version of him. He later said that recording the song and its parent album "led to semi-violent disagreements between Berry and myself, politically speaking." Eventually the song was released with little promotion on January 17, 1971. The song soon shot up the charts topping the R&B chart for five weeks.[17][18] Eventually selling more than two million copies, an album was requested, and Gaye again defied Gordy by producing an album featuring lengthy singles that talked of other issues such as poverty, taxes, drug abuse and

Janis Gaye pollution. Released on May 21, 1971, the What's Going On album instantly became a million-seller crossing him over to young white rock audiences while also maintaining his strong R&B fan base. Because of its lyrical content and its mixture of funk, jazz, classical and Latin soul arrangements which departed from the then renowned "Motown Sound", it became one of Motown's first autonomous works, without help of Motown's staff producers. Based upon its themes and a segue flow into each of the songs sans the title track, the concept album became the new template for soul music. Other hit singles that came out of the album included "Mercy Mercy Me (The Ecology)" and "Inner City Blues (Make Me Wanna Holler)", making Gaye the first male solo artist to have three top ten singles off one album on the Billboard Hot 100. All three singles sold over a million copies and were all number-one on the R&B chart. International recognition of the album was slow to come at first though eventually the album would be revered overseas as a "landmark pop record". It has been called "the most important and passionate record to come out of soul music, delivered by one of its finest voices".[19] The success of the title track influenced Stevie Wonder to release an album with similar themes, Where I'm Coming From, in April that year. Following the release of the album and its subsequent success, Wonder rejected a renewing offer with Motown unless he was allowed creative control on his recordings, which was granted a year later. Gaye's independent success not only related to Motown recording artists, other R&B artists of the era also began to rebel against labels to produce their own conceptual albums. The Jackson 5, one of Motown's final acts to benefit from the label's "glory years" (195972), tried unsuccessfully to get creative control for their own recordings and as a result left in 1975 for CBS Records. Gaye's success was nationally recognized: Billboard magazine awarded him the Trendsetter of the Year award, while he won several NAACP Image Awards including Favorite Male Singer. Rolling Stone named it Album of the Year, and was nominated for a couple of Grammy Awards though inexplicably wasn't nominated for Album of the Year. In 1972, Gaye reluctantly stepped out of his stage retirement to perform selected concerts, including one at his hometown of Washington, D.C. performing at the famed Kennedy Center, a recording of the performance was issued on a deluxe edition re-release of the What's Going On album. Also in 1972, Gaye performed for Jesse Jackson's PUSH organization and also for a Chicago-based benefit concert titled Save the Children aimed at removing the plight of urban violence in Chicago's inner city. The latter performance was issued as part of a concert film released in early 1973, also titled Save the Children. Following its success, Gaye signed a new contract with Motown Records for a then record-setting $1million, then the most lucrative deal by a black recording artist.[10] With creative control, Gaye attempted to produce several albums throughout 1972 and early 1973 including an instrumental album, a jazz album, another conceptually-produced album of social affairs (the canceled You're the Man project) and an album with Willie Hutch co-producing. In late 1972, Gaye produced the score for the Trouble Man film and later produced the soundtrack of the same name. The title track was the only full vocal work of the album and was released as a single in the fall of 1972 eventually reaching number seven on the pop chart in the spring of 1973.

337

Let's Get It On and continued success in music (197377)

In late 1972, Gaye left Detroit and moved to Los Angeles but relocated to an area where he was far away from Motown, purchasing a house at the so-called "bohemian hippie" Topanga Canyon Boulevard district, which was a hotbed for musicians looking to get away from the trappings of the music industry and Hollywood itself. He continued to record music at Los Angeles' Motown studios (Hitsville West) and on March 18, 1973, recorded "Let's Get It On", reputedly inspired by Gaye's new-found independence, after separating from Anna Gordy the previous year. The single was released as a single in June of the year and became Gaye's second number-one single on the Billboard Hot 100. It also was a modest success internationally reaching number 31 in the United Kingdom. With the success of its recording, Gaye decided to switch completely from the social topics that were on What's Going On to songs with sensual appeal. Released in August 1973, Let's Get It On consisted of material Gaye had initially recorded during the sessions of What's Going On. It was hailed as "a record unparalleled in its sheer sensuality and carnal energy."[20] Other singles

Janis Gaye from the album included "Come Get to This", which recalled Gaye's early Motown soul sound of the previous decade, while the then-controversial "You Sure Love to Ball" reached modest success but was kept from being promoted by Motown due to its sexually explicit nature. With the success of What's Going On and Let's Get It On, Motown demanded a tour. Gaye only reluctantly agreed when demand from fans reached a fever pitch. After a delay, Gaye made his official return to touring on January 4, 1974 at the Oakland Coliseum in Oakland, California. The recording of the performance, held by several music executives as "an event", was later issued as the live album, Marvin Gaye Live!. Due to Gaye's growing popularity with his increasing crossover audience and the reaction of the performance of "Distant Lover", which Motown later released as a single in late 1974, the album sold over a million copies. Gaye's subsequent 10-city tour, which took off that August, was sold out and demand for more dates continued into 1975 while Gaye had struggled with subsequent recordings. A renewed contract with Motown in 1975 gave Gaye his own custom-made recording studio. To keep up with demand and hype, Motown released Gaye's final duet project, Diana & Marvin, an album with Diana Ross, which helped to increase Gaye's audience overseas with the duo's recording of "You Are Everything" reaching number-five in the UK, number-thirteen on the Dutch chart, and number 20 in Ireland, while the album itself sold over a million copies overseas with major success in the UK. The recording of Diana & Marvin had started in late 1971 and overdubbed sessions took place in 1972 but was shelved from a release until late 1973 following the release of Let's Get It On. Gaye toured throughout 1975 without new releases and collaborated in the studio producing songs for the likes of The Miracles (now without Smokey Robinson) and Yvonne Fair, helping to produce her version of Norman Whitfield's "Funky Music Sho Nuff Turns Me On", featured on Fair's The Bitch is Black, while also assisting her in the background with his vocals. Later in 1975, Gaye shaved his head bald in protest to Rubin Carter's prison sentence. Gaye initially insisted he would remain bald until Carter's release though Gaye's hair and beard returned within a few months. In 1976, Gaye released his first solo album in three years with I Want You. The title track became a number-one R&B hit, also reaching the top 20 of the national pop chart. The first of his albums to embrace the then popular disco sound of the time, Motown released a double-A 12' of "I Want You" alongside another smooth dancer, "After the Dance". The songs found success as a unit on the Billboard Hot Disco chart, reaching number-ten. By itself "After the Dance", which wasn't intended as a second single, eventually reached number fourteen on the R&B chart with minor pop traction, eventually reaching number 74. That year, Gaye faced several lawsuits with former musicians and also faced prison time for falling behind on alimony payments ordered by law following his first wife Anna Gordy filing legal separation after a 15-year marriage. Gaye avoided imprisonment after agreeing to do a tour of Europe, his first tour of such in little over a decade. His first stop was at London's Royal Albert Hall and then at the city's London Palladium, where a recording was later released in early 1977 as Live at the London Palladium. Gaye performed in France, Holland, Switzerland and Italy to packed audiences and then returned for several US tour dates though he often suffered from exhaustion from some of the US dates. Between 1975 and 1976, Gaye was recognized by major corporations including the United Nations for charitable work dedicated to children and to affairs related to black culture. In the spring of 1977, Gaye released "Got to Give It Up, Pt. 1", which gave him his third number-one US pop hit, the final one Gaye released in his lifetime. The song also topped the R&B and dance singles chart and also found some international success reaching the top ten in England. Released as the only studio track from the Palladium album, its success kept Palladium on the charts for a year eventually selling over two million copies. It was recognized by Billboard as one of the top-ten selling albums of all time that year.

338

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339

Here, My Dear and his final days at Motown (197881)

In March 1977, his long, drawn-out court battle with former wife Anna Gordy ended. As a compromise to settle matters between the ex-couple over issues of alimony payments for their adopted son, Gaye's attorney until his death, Curtis Shaw, advised Gaye to remit a portion of the revenue that he was to get for his next studio album. Gaye entered the recording studio intending to produce a "lazy" album, but ended up with the sprawling double-album set, Here, My Dear, which was held up from release for over a year. Finally released after Motown's demand for new product in late 1978, the album was initially a flop, tanking after only a couple months on the charts. Its only single, "A Funky Space Reincarnation", peaked at number 23 on the R&B chart, in early 1979, becoming Gaye's first single since "Soldier's Plea" 17 years earlier to not hit the Billboard Hot 100. Gaye became a figure on talk show circuits for most of 1979, mostly appearing on Dinah Shore's Dinah & Friends. He also toured in 1979, first in the United States, then in England and in Japan, the latter being the first time (and, as it turned out, the only time) he ever toured that country. As the year continued, Gaye found himself in trouble financially, and at home with second wife, Janis Hunter. The couple split up in 1979, nearly eighteen months after marrying, and by that fall, following a performance in Hawaii, Gaye decided to remain in the state, fearing he might be imprisoned for failing to pay the IRS millions in back taxes; in court, his attorney claimed that several items within the singer's luggage, including tax returns, were stolen from him while at an airport. Meanwhile, Gaye, now heavily in the throes of drug addiction, struggled to record. Reports stated that while in Hawaii, Gaye lived inside a bread truck. He initially had planned to release a standards album titled The Ballads but discarded it, fearing fans would be disappointed by no recognizable hits on it. The singer then intended to release an album of love songs aimed for the disco audience titled Love Man, but within a year, however, Gaye thought of expressing his feelings about a possible Armageddon, as well as his battles of the heart. Gaye changed the titles of all the songs, rewrote lyrics, and retitled the album, In Our Lifetime, recording the album tracks while living in London in the middle of his exile. A 1980 European tour followed, after Gaye made a deal with British promoter Jeffrey Kruger, who had looked after Gaye's 197677 European tour and his Japanese engagement in 1979. Almost immediately, controversy arose, after Gaye failed to make the stage for Princess Margaret at the Royal Gala Charity Show. While Kruger recalls that Gaye showed up just as audiences were leaving, Gaye's musicians recalled that Gaye performed to the few that stayed for the performance though Princess Margaret had already left. Though Princess Margaret denied it, the international press printed the news as an "embarrassing snub", claiming that Gaye had deliberately arrived late. This led to a lawsuit between Gaye and Kruger that eventually settled out of court. While still in London, Gaye ran into problems when recordings of In Our Lifetime? were sent to Motown's offices back in Los Angeles, initially as rough mixes, to get Motown's response rather than intending to release it. However, desperate to release Marvin Gaye product, the label rushed the album out on January 15, 1981. Gaye was upset at the news, and accused the label of editing and remixing the album without his consent, putting out an unfinished song ("Far Cry"), altering the album art he requested, and removing the question mark from the title, muting its irony. Gaye vowed to never record another record for Motown. That summer, negotiations began to be made to release Gaye from the label. After several offers landed, Gaye accepted a deal for CBS Records, a deal that was finalized in March 1982.

Comeback and sudden death (198284)

On the advice of Belgian concert promoter Freddy Cousaert, Gaye moved to Ostend, Belgium, in February 1981 where for a time he cut down on drugs and began to get back in shape both physically and emotionally. While in Belgium, Gaye began to make plans to renew his declining fortunes in his professional career, starting with a tour he titled "The Heavy Love Affair Tour" in England where he was greeted more warmly by the same London press that had criticized him of the Princess Margaret snub the previous year. The tour ended with two concert dates in Ostend. A documentary leading up to his Belgian concert performances titled Transit Ostend was initially released to just Belgian fans, and was later issued on VHS in bootleg copies following Gaye's death.

Janis Gaye After signing with CBS' Columbia Records division in 1982, Gaye worked on what became the Midnight Love album. Gaye reconnected with Harvey Fuqua while recording the album and Fuqua served as a production adviser on the album, which was released in October 1982. The parent single, "Sexual Healing", was released to receptive audiences globally, reaching number-one in Canada, New Zealand and the US R&B singles chart, while becoming a top ten US pop hit and hitting the top ten in three other selected countries including the UK. The single became the fastest-selling and fastest-rising single in five years on the R&B chart staying at number-one for a record-setting ten weeks. Gaye wrote "Sexual Healing" while in Ostend. Curtis Shaw later said that Gaye's Ostend period was "the best thing that ever happened to Marvin." The now-famous video of "Sexual Healing" was shot at the Casino-Kursaal in Ostend.[21] "Sexual Healing" won Gaye his first two Grammy Awards including Best Male Vocal Performance, in February 1983, and also won Gaye an American Music Award for Favorite Soul Single. It was called by People magazine "America's hottest musical turn-on since Olivia Newton John demanded we get "Physical".

340

I don't make records for pleasure. I did when I was a younger artist, but I don't today. I record so that I can feed people what they need, what they feel. Hopefully, I record so that I can help someone overcome a bad time.

NME December 1982[22] The following year, he was nominated for Best Male R&B Vocal Performance again, this time for the Midnight Love album. In February 1983, Gaye performed "The Star-Spangled Banner" at the NBA All-Star Game, held at The Forum in Inglewood, California, accompanied by Gordon Banks who played the studio tape from stands.[23] In March 1983, he gave his final performance in front of his old mentor Berry Gordy and the Motown label for Motown 25, performing "What's Going On". He then embarked on a US tour to support his album. The tour, ending in August 1983, was plagued by Gaye's returning drug addictions and bouts with depression. When the tour ended, he attempted to isolate himself by moving into his parents' house in Los Angeles. As documented in the PBS "American Masters" 2008 expos, several witnesses claimed Marvin's mental and physical condition spiraled out of control. Groupies and drug dealers hounded Marvin night and day. He threatened to commit suicide several times after bitter arguments with his father. On April 1, 1984, Gaye's father fatally shot him when Gaye intervened in an argument between his parents over misplaced business documents. Ironically, the gun had been given to his father by Marvin Jr. four months previously. Marvin Gaye would have celebrated his 45th birthday the next day. Doctors discovered Marvin Sr. had a brain tumor but he was deemed fit for trial and was sentenced to five years of probation after pleading guilty to voluntary manslaughter. Charges of first-degree murder were dropped when it was revealed that Gaye had beaten Marvin Sr. before the killing. Spending his final years in a retirement home, he died of pneumonia in October 1998.[24] In 1987, Marvin Gaye Jr. was posthumously inducted into the Rock and Roll Hall of Fame. He was also honored by Hollywood's Rock Walk in 1989 and was given a star on the Hollywood Walk of Fame in 1990. In 2005, Marvin Gaye Jr. was admitted into the Michigan Rock and Roll Legends Hall of Fame. In 2007, two of Gaye's most important recordings, "I Heard It Through The Grapevine" and "What's Going On", were voted Legendary Michigan Songs. "Ain't No Mountain High Enough", his hit duet with Tammi Terrell, was voted a Legendary Michigan Song in 2011.[25]

Personal life
Gaye married twice. His first marriage was to Berry Gordy Jr.'s sister, Anna Gordy, who was 18 years his senior. Marvin and Anna were married on January 8, 1964 when Gaye was 24 and Gordy was 42. The marriage imploded after Marvin began courting Janis Hunter, the daughter of Slim Gaillard, in 1973. Anna filed for divorce in 1975; the divorce was finalized in March 1977. Gaye's erotic and disco-tinged studio album I Want You was based on his relationship with Hunter. In his book Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye, author and music writer Michael Eric Dyson elaborated on the relationship between I Want You and the relationship Gaye had with Hunter, which influenced his music:

Janis Gaye "I Want You" is unmistakably a work of romantic and erotic tribute to the woman he deeply loved and would marry shortly, Janis Hunter (Janis Gaye). Gaye's obsession with the woman in her late teens is nearly palpable in the sensual textures that are the album's aural and lyrical signature. Their relationship was relentlessly passionate and emotionally rough-hewn; they played up each other's strengths, and played off each other's weaknesses.[26] In October 1976, he married Janis, who was 17 years old when they met. However, the marriage dissolved within a year. After attempts at reconciliation, Janis filed for divorce in 1979. The divorce was finalized in February 1981. During this time, Marvin began dating a model from the Netherlands named Eugenie Vis.[27] In 1982 Gaye became involved with Lady Edith Foxwell, former wife of the British movie director Ivan Foxwell, and spent time with her at Sherston, her Wiltshire estate. Foxwell ran the fashionable Embassy Club and was referred to in the media as "the queen of London cafe society." The story of their affair was told by Stan Hey in the April 2004 issue of GQ. The report quoted writer/composer Bernard J. Taylor as saying he was told by Foxwell that she and Gaye had discussed marriage. Marvin Gaye was killed by his father on April 1, 1984; during an argument.[28] Gaye had three children. Marvin Pentz Gaye III (born 1965), by Denise Gordy, the niece of his first wife Anna Gordy. Marvin III was also adopted by his first wife Anna. The singer disclosed this in David Ritz's biography on Gaye, Divided Soul: The Life of Marvin Gaye, saying he was afraid of being criticized for not producing a child. Later, Gaye had two children with Janis Hunter, Nona Marvisa, nicknamed "Pie" by her dad (born September 4, 1974) and Frankie "Bubby" Christian Gaye (born November 16, 1975). Gaye introduced his daughter to a national audience during a show in 1975. Nona would do the same eight years later when her father was given a tribute by Soul Train. Nona has gone on to find success as a singer and actress. Gaye's eldest son was a music producer. Frankie is said to have taken work as an artist. Gaye also has two grandchildren: Marvin Pentz Gaye IV (born 1995), born on the anniversary of his grandfather's death;[29] and Nolan Pentz Gaye (born 1997).

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Musicianship
Marvin Gaye's musical style changed in various ways throughout his 26-year career. Upon his early recordings as member of The Marquees and Harvey & the New Moonglows in the late 1950s, Marvin recorded in a doo-wop vocal style. After signing his first solo recording contract with Motown, Marvin persuaded Motown executives to allow him to record an adult album of standards and jazz covers. His first album, The Soulful Moods of Marvin Gaye, conveyed those genres including several doo-wop and blues songs.

The Motown Sound and psychedelic soul

Starting with his first charted hit, 1962's "Stubborn Kind of Fellow" through 1967's "Your Unchanging Love", Marvin's music featured a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Marvin's 196264 hits reflected a dance-pop/rock 'n' roll approach while his 196569 recordings reflected a pop-soul style. Backed by Motown's in-house band The Funk Brothers, pre-1970 Marvin Gaye recordings were built around songs with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. Marvin's early hits were conceived by Berry Gordy, Smokey Robinson, Mickey Stevenson and Holland-Dozier-Holland. Marvin's sound started to change slightly in 1967 after he began working with producers Norman Whitfield, Ashford & Simpson and Frank Wilson. Whereas Marvin's early sound reflected a youthful exterior, later songs during that period including "You", "Chained", "I Heard It Through the Grapevine", "Too Busy Thinking About My Baby" and "That's the Way Love Is" were all recorded under the psychedelic soul sound of the late sixties and early seventies. "Psychedelic soul" mixed guitar-driven rock with soul-based grooves. Marvin's vocal style also changed during that period where he began singing in a gospel texture that had been only hinted at in previous recordings.

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Social commentary and conceptual albums

In 1971, Marvin issued his landmark album, What's Going On. The album and its tracks were responsible in the changing landscape of rhythm and blues music as the album presented a full view of social ills in America, including war, police brutality, racism, drug addiction, environmentalism, and urban decay. Beforehand, recordings of social unrest had been recorded by the likes of (Curtis Mayfield &) The Impressions, The Temptations, Sam Cooke, Sly and the Family Stone and James Brown, but this was the first album fully devoted to those issues. The album was produced under what is called a song cycle and because of its theme of "what's going on" was considered one of the first concept albums to be released in soul music. Marvin's 1972 soundtrack Trouble Man, based on the blaxploitation film of the same name, mainly featured instrumentals with a few vocal runs, including songs with social commentary. Marvin's 1972 recordings outside that album including "Where Are We Going", "Piece of Clay", "You're the Man" and "The World Is Rated X" also raised social issues and was personal in nature. The songs were to be included in the unreleased 1972 album, You're the Man, which was canceled after the modest reception of the title single. Marvin issued his next "concept album" with 1973's Let's Get It On, based on the spiritual and erotic side of love and sex. Marvin released a similarly themed funk album in 1976, I Want You, before switching to personal issues with the albums Here, My Dear (1978) and In Our Lifetime (1981). The former album focused on Marvin's problems in his first marriage, while the latter focused on his own life struggles. Marvin's albums between 1971 and 1981 reflected a period where, as an Allmusic writer said, his music "not only redefined soul music as a creative force but also expanded its impact as an agent for social change".[30]

From funk to disco to contemporary R&B

Starting in the early-seventies, Marvin's sound began to reflect the emerging sounds of funk and the later disco movement of the late 1970s. Marvin's double-sided 1976 single, "I Want You/After the Dance" and his 1977 hit, "Got to Give It Up" were his only successful attempts at recording disco-styled dance music whereas the 1978 single "A Funky Space Reincarnation", 1979's "Ego Tripping Out" and the 1981 singles "Praise" and "Heavy Love Affair" aimed at the funk-based urban audience. By itself, "I Want You", mixed funk with disco, soul and lite rock elements. With the release of 1982's triple-platinum Midnight Love and the massive platinum selling smash hit, "Sexual Healing", Marvin mixed the styles of funk and post disco with Caribbean and European-flavored pop music creating a mix that influenced the modern R&B sound. "Sexual Healing" was the biggest R&B hit of the 1980s No.1 for 10 consecutive weeks. Some of Marvin's posthumous releases have been varied in nature: 1985's Dream of a Lifetime was produced mostly in an electro funk sound mostly in the first half of the album, while his posthumous "featuring" on rapper Erick Sermon's 2001 hit, "Music" brought him to a younger hip-hop audience.

Legacy and influence

According to several historians, Marvin Gaye's career "spanned the entire history of rhythm and blues from fifties doo-wop to eighties contemporary soul." [31] Critics stated that Gaye's music "signified the development of black music from raw rhythm and blues, through sophisticated soul to the political awareness of the 1970s and increased concentration on personal and sexual politics thereafter."[32] Marvin's usage of multi-tracked vocalizing, recording songs of social, political and sexual issues, and producing albums of autobiographical nature have influenced a generation of recording artists of various genres. As an artist who broke away from the controlled atmosphere of Motown Records in the 1970s, he influenced the careers of label mates such as Stevie Wonder, The Isley Brothers and, later in Epic Records, Michael Jackson to gain creative control and produce/co-produce their own albums. The careers of later R&B stars such as Rick James, Prince, R. Kelly, D'Angelo, Raheem DeVaughn, Maxwell, Janet Jackson, George Michael, Justin Timberlake, Usher, Bobby V,Trey Songz and J. Holiday also were influenced by the music of Marvin Gaye. Marvin's erotically concept albums such as Let's Get It On and I Want You inspired similar albums released by Smokey Robinson, Barry White and his co-producer on I Want You, Leon Ware. Modern-day artists such as Teena Marie and Mary J. Blige have also referenced Marvin in their own songs. In 2004,

Janis Gaye Rolling Stone ranked him No.18 on their list of the "100 Greatest Artists of All Time".[33]

343

Tributes and covers

In 1983, Spandau Ballet recorded the single "True" as a tribute to Marvin and the Motown sound he helped established. That same year, electro-funk group R. J.'s Latest Arrival mentioned him with their dance hit, "Shackles on My Feet". DeBarge's 1983 hit, "All This Love" was musically influenced by Marvin's sound and was rumored that they had wanted Marvin to record the song himself. However, Marvin had left the label before they could approach him. On April 2, 1984, the day after Marvin's death, Duran Duran dedicated their live performance of "Save a Prayer" while on their Sing Blue Silver tour and appearing on their Arena album to him. Tribute songs to the singer included Diana Ross' "Missing You" and The Commodores' "Nightshift" became hits with each song reaching number-one on the Billboard Hot R&B Singles chart. Other artists who have either paid tribute to Marvin in a song or referenced him have included close friend and former Motown label-mate Edwin Starr, who released "Marvin" the month after his death, Teena Marie's "My Dear Mr. Gaye", Todd Rundgren's "Lost Horizon", the Violent Femmes' 1988 single "See My Ships", Maze featuring Frankie Beverly's 1989 R&B hit, "Silky Soul", ABC's 1987 single "When Smokey Sings" (Gaye's "What's Going On (song)" is sampled for the Miami Mix) and George Michael's "John and Elvis Are Dead" where Marvin is mentioned in one the final lines from the repeated chorus. Stevie Wonder wrote the song "Lighting Up the Candles" as a tribute to Gaye following his death and performed the song originally at Gaye's funeral service. Wonder later recorded the song for the Jungle Fever soundtrack. In 1992, Israeli artist Izhar Ashdot dedicated his song "Eesh Hashokolad" to Gaye. Two tribute albums, 1995's Inner City Blues: The Music of Marvin Gaye (which featured Nona's version of "Inner City Blues") and 1999's Marvin Is 60 featured covers of Marvin's most famous material. Since the 1960s, Marvin's songs have been covered by a variety of artists. The Rolling Stones recorded "Baby Don't You Do It" early in their career. The Band also recorded "Baby Don't You Do It" numerous times under the title "Don't Do It"; the different versions, both studio and live, appear on several of their albums and box sets (the only one to be released as a single came from Rock of Ages), as well as in their 1976 concert film The Last Waltz. Rod Stewart during his early tenure with Steampacket covered "Can I Get a Witness". His 1965 hit, "How Sweet It Is (To Be Loved By You)" was covered three times by Junior Walker in 1966, again in 1975 by James Taylor, and again in 2002 by gospel singer Helen Baylor. In Baylor's version she substituted the word "baby" for Jesus. Gaye's 1968 hit "I Heard It Through the Grapevine" has been frequently covered with versions recorded by Creedence Clearwater Revival, Roger Troutman, Edwin Starr and The California Raisins. Donny Hathaway performed a live version of "What's Going On" for his 1972 Live album while Cyndi Lauper recorded a top forty version of "What's Going On" in 1987, the song was re-recorded by a variety of contemporary pop, R&B and rap artists in 2001(again, including Nona) for AIDS benefit and was later dedicated to the events of the September 11, 2001 attacks. A few years after that, rock band A Perfect Circle covered the song in their own hard rock version. The singer's "Mercy Mercy Me (The Ecology)" was covered by rock band The Strokes which featured Eddie Vedder on lead vocals. R&B singer Angela Winbush covered "Inner City Blues" in 1994 and was recorded in a slightly different version by Gil-Scott Heron in the 1970s. Aaliyah covered "Got to Give It Up" on her album One in a Million. Gospelsoul legends Mavis Staples and Aretha Franklin have each covered "Wholy Holy" from the What's Going On album while "Let's Get It On" was famously sampled by Shaggy on his breakthrough single, 1994's "Boombastic". Versions of "Sexual Healing" have been recorded by Soul Asylum, Ben Harper, Max-A-Million, Kate Bush, Neil Finn, Sarah Connor and Ne-Yo. Michael McDonald, Diana Ross and Amy Winehouse have all covered or redone their own versions of "Ain't No Mountain High Enough", Marvin's 1967 hit with Tammi Terrell while Luther Vandross and Cheryl Lynn reinterpreted the Marvin/Tammi single, "If This World Were Mine" in 1982. Mary J. Blige and Method Man, with permission, sampled an interpolation of "You're All I Need to Get By" for their

Janis Gaye 1995 hit, "You're All I Need/I'll Be There for You". In June 2008, D'Angelo alongside Erykah Badu recorded Gaye's hit duo with Terrell, "Your Precious Love" for his "The Best So Far"...compilation album. On April 2, 2006, on what would have been the singer's 67th birthday, a park near the neighborhood where Marvin grew up at in Washington, D.C. was renamed after him after a discussion with the City Council. "Inner City Blues (Make Me Wanna Holler)" was covered by John Mayer in his Album As/Is, released in 2004. The cover also featured DJ Logic. Elton John's song "Club at the End of the Street" also mentions Marvin Gaye. On the 25th anniversary of Marvin Gaye's death, the singer's hometown of Washington, D.C. again honored the singer by renaming a street he grew up on called "Marvin Gaye Way".

344

Musical achievements and posthumous releases

Gaye scored 41 Top 40 hit singles on Billboard's Pop Singles chart between 1963 and 2001, 60 Top 40 R&B singles chart hits from 1962 to 2001, 18 Top Ten pop singles on the pop chart, 38 Top 10 singles on the R&B chart,[34] three number-one pop hits and thirteen number-one R&B hits and tied with Michael Jackson in total as well as the fourth biggest artist of all-time to spend the most weeks at the number-one spot on the R&B singles chart (52 weeks). In all, Gaye produced a total of 67 singles on the Billboard charts in total, spanning five decades, including five posthumous releases. The year a remix of "Let's Get It On" was released to urban adult contemporary radio, "Let's Get It On" was certified gold by the RIAA for sales in excess of 500,000, making it the best-selling single on Motown in the United States. Gaye's "I Heard It Through the Grapevine" is the best-selling international Motown single, explained by a re-release in Europe following a Levi 501 Jeans commercial in 1986. On June 19, 2007, Hip-O Records reissued Gaye's final Motown album, In Our Lifetime as an expanded two-disc edition titled In Our Lifetime?: The Love Man Sessions, bringing back the original title with the question mark and included a different mix of the album, which was recorded in London and also including the original songs from the Love Man album, which were songs later edited lyrically for the songs that made the In Our Lifetime album. The same label released a deluxe edition of Gaye's Here, My Dear album, which included a re-sequencing of tracks from the album from producers such as Salaam Remi and Bootsy Collins. His 1983 NBA All-Star performance[35] of the national anthem was used in a Nike commercial featuring the 2008 US Olympic basketball team. Also, on CBS Sports' final NBA telecast to date (before the contract moved to NBC) at the conclusion of Game 5 of the 1990 Finals, they used Gaye's 1983 All-Star Game performance over the closing credits. When VH1 launched on January 1, 1985, Gaye's 1983 rendition of the national anthem was the very first video to be aired. Most recently, it was used in the intro to Ken Burns' Tenth Inning documentary on the game of baseball. In 2008, Gaye earned $3.5million, and took 13th place in 'Top-Earning Dead Celebrities' in Forbes Magazine.[36] "I Heard It Through the Grapevine" one of his most famous songs, voted No.1 and greatest Motown song and his "What's Going On" is on the top five.[37]

Documentaries and movies

A documentary about Gaye What's Going On: The Marvin Gaye Story was a UK/PBS US co-production, directed by Jeremy Marre and was first broadcast in 2006; two years later, the special re-aired with a different production and newer interviews after it was re-broadcast as an American Masters special. Gaye is referenced as one of the supernatural acts to appear in the short story and later television version of Stephen King's Nightmares and Dreamscapes in "You Know They Got a Hell of a Band". A play by Caryl Phillips called A Long Way from Home, focusing on Gaye's relationship with his father and his last years in Ostend, was broadcast by BBC Radio 3 in March 2008. It featured O. T. Fagbenle as Gaye and Kerry Shale as Marvin Gay Sr., with Rhea Bailey, Rachel Atkins, Damian Lynch, Alibe Parsons, Ben Onwukwe and Major

Janis Gaye Wiley. It was directed by Ned Chaillet and produced by Chris Wallis. So far, three movies are currently being planned on Marvin Gaye's life. One movie, Sexual Healing, is based on the post-Motown career of his later years, with Jesse L. Martin playing Marvin and James Gandolfini playing Marvin's Belgium-based mentor, concert promoter Freddy Cousaert.[38] Another film, simply titled, Marvin, is also in plans for production with F. Gary Gray in helm to direct the film.[39] This film, unlike Sexual Healing, will focus on Marvin's entire life story because unlike Sexual Healing, the second film was allowed rights to Marvin's Motown catalog. Musicians Common and Usher and actor Will Smith have either been rumored to or have aspired to play the singer possibly in the second film. A third film on Gaye is reportedly being produced by Motown with director Cameron Crowe.[40]

345

Filmography
1965: T.A.M.I. Show (documentary) 1969: The Ballad of Andy Crocker (television movie) 1971: Chrome & Hot Leather (television movie) 1972: Trouble Man (cameo; soundtrack) 1973: Save the Children (documentary)

Videography
Marvin Gaye: Live in Montreux 1980 (2003)[41] The Real Thing: In Performance (19641981) (2006)

Marvin Gaye in popular culture

In advertising
During the 2008 Summer Olympics, Nike ran ads focused on the United States' Men's Basketball Team featuring Marvin Gaye's 1983 performance of "The Star-Spangled Banner" during the NBA All-Star Game. The message is: the team found inspiration in the way Marvin Gaye performed the song. "A Funky Space Reincarnation," from his 1978 album "Here, My Dear," was used in the Dior J'Adore perfume commercial that features Charlize Theron.

In music
Singer Diana Ross honors Marvin Gaye in the 1984 song titled "Missing You." Singer Teena Marie pays tribute to Marvin Gaye with her song titled "My Dear Mr. Gaye." In 1997, R&B singer Aaliyah did a cover to Marvin Gaye's "Got To Give It Up" which featured Slick Rick. In the song "Hrst Du mich?" by German Hip Hop band Fettes Brot, the first verse is dedicated to Marvin Gaye.[42] The Commodores paid tribute to Marvin Gaye and Jackie Wilson on their hit "Nightshift" in 1985. The Prefab Sprout song "When the angels", from their 1985 album Steve McQueen, is a tribute to Marvin Gaye.[43] "See My Ships", a song from 3 (the 1989 Violent Femmes album), the shooting of Marvin Gaye is used in a double-entendre to express anxiety about a final judgement by God (the 'father'): "Mercy mercy me, Marvin Gaye, he was shot by his father, O my father have mercy on me"[44] The Avett Brothers reference Marvin Gaye in their song "The Day Marvin Gaye Died".

Rapper Big Sean recorded a song used on his Finally Famous album titled "Marvin & Chardonnay" featuring Kanye West and Roscoe Dash.

Janis Gaye Rapper Drake recorded "Marvin's Room" in reference to producing the song in Marvin Gaye's studio. Rapper Charles Hamilton referenced Marvin in his song "Stay On Your Level": Rapper Tyler, The Creator referenced Marvin in his song "Yonkers". Rapper Immortal Technique referenced Marvin and "What's Going On" in his song "Crossing the Boundary". Rapper Cormega referenced Marvin in his song "Journey".

346

Onscreen
Film He played "Jim" in the 1971 biker film Chrome and Hot Leather, which also featured Larry Bishop. Television In The Sopranos season 6, episode 1 ("Members Only"), Uncle Junior shoots Tony Soprano and Vito Spatafore later remarks: "He Marvin Gaye'd his own nephew.

In poetry
On multi-genre performer B. Dolan's 2010 album, Fallen House Sunken City (Strange Famous Records), "Marvin" is a poem about the last days of Marvin Gaye.

References
[1] Simmonds, Jeremy (2008). The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches. Chicago Review Press. p.190. ISBN1-55652-754-3. [2] "Marvin Gaye Studio Vocal Range &" (http:/ / wn. com/ marvin_gaye_studio_vocal_range_& #91;d2-eb6& #93;& #91;note_by_note& #93;) (video). World News Network. . Retrieved December 23, 2010. [3] Edmonds, Ben (2003). What's Going On?: Marvin Gaye and the Last Days of the Motown Sound. Canongate U.S.. p.12. ISBN1-84195-314-8. [4] Ritz, David (1985, rev. 1991). Divided Soul: The Life of Marvin Gaye. Da Capo Press. ISBN978-0-306-80443-4. [5] "Marvin Gaye Timeline" (http:/ / rockhall. com/ story-of-rock/ timelines/ marvin-gaye/ ). The Rock and Roll Hall of Fame. January 21, 1987. . Retrieved December 23, 2010. [6] "Rolling Stone: 100 Greatest Singers Of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 24161972/ page/ 6). p.6. . Retrieved December 23, 2010. [7] "Rolling Stone: The Immortals, The first 50" (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty/ ). . Retrieved December 23, 2010. [8] "VH1 100 Greatest Artists of All Time." (http:/ / stereogum. com/ 495331/ vh1-100-greatest-artists-of-all-time/ list/ ). . [9] Gaye, Frankie; Basten, Fred E. (2003). Marvin Gaye, My Brother. Backbeat Books. p.4. ISBN0-87930-742-0. [10] "Marvin Gaye Singer/Songwriter" (http:/ / www. bbc. co. uk/ dna/ h2g2/ A23192868). BBC h2g2. June 5, 2007. . Retrieved August 23, 2008. [11] "Marvin Gaye No Military Hit" (http:/ / www. thesmokinggun. com/ archive/ 0913051_marvin_gaye_1. html). September 13, 2005. . Retrieved December 23, 2010. [12] Edmonds, Ben (2003). What's Going On?: Marvin Gaye and the Last Days of the Motown Sound. Canongate U.S.. p.22. ISBN1-84195-314-8. [13] "The Stars of Motown" (http:/ / www. bbc. co. uk/ dna/ hg2g/ A10508384). BBC. . Retrieved December 23, 2010. [14] "Marvin Gaye & Tammi Terrell: Perfect Together" (http:/ / www. tammiterrell. com/ perfect_together. html). . Retrieved January 22, 2009. [15] Jason Plautz (June 30, 2011). "Marvin Gaye, Detroit Lions Wide Receiver?" (http:/ / www. mentalfloss. com/ blogs/ archives/ 92596). Mental Floss. . Retrieved March 1, 2012. [16] http:/ / legendsrevealed. com/ entertainment/ 2009/ 07/ 29/ music-legends-revealed-16/ [17] Vincent, Rickey; Clinton, George (1996). Funk: The Music, the People, and the Rhythm of the One. Macmillan. p.129. ISBN0-312-13499-1. [18] Whitburn, Joel (2004). The Billboard Book of Top 40 Hits: Complete Chart Information About America's Most Popular Songs and Artists, 19552003. Billboard Books. p.250. ISBN0-8230-7499-4. [19] John Bush. It also was sixth greatest album by Rolling Stone magazine. What's Going On remains one of the few examples in modern music where critical acclaim and immediate commercial success occurred simultaneously. What's Going On was the first in a series of Motown albums in which albums overtook singles in commercial importance as well as cultural significance. review of What's Going On (http:/ / www. allmusic. com/ album/ r8079/ review), by Marvin Gaye, allmusic.com (accessed June 10, 2005).

Janis Gaye
[20] Jason Ankeny, review of Let's Get It On (http:/ / www. allmusic. com/ album/ r8081), by Marvin Gaye, allmusic.com (accessed June 10, 2005). [21] "What's On in Ostend" (http:/ / blog. ramada-ostend. com/ ostendblog/ ). . Retrieved November 16, 2010. [22] Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p.373. CN 5585. [23] Batchelor, Bob (2005). Basketball in America: From the Playgrounds to Jordan's Game and Beyond. Haworth Press. pp.4143. ISBN0-7890-1613-3. [24] "Marvin Gaye's father and killer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 200833. stm). news.bbc.co.uk. October 25, 1998. . Retrieved October 27, 2008. [25] www.michiganrockandrolllegends.com [26] Michael Eric Dyson (2005). Mercy, Mercy Me: The Art, Loves and Demons of Marvin Gaye (http:/ / books. google. com/ books?id=EL5_I4Dkx7IC& pg=RA1-PA164& dq=marvin+ gaye+ janis& sig=ACfU3U2q-LTCmmmZSpFPM21J8woC-eE8Og). Basic Civitas Books. p.164. . Retrieved July 8, 2011. [27] "The Life and Tragic Death of Motown's - Crime Library To Europe Crime Library on" (http:/ / www. trutv. com/ library/ crime/ notorious_murders/ celebrity/ marvin_gaye/ 10b. html). Trutv.com. February 15, 2012. . Retrieved March 1, 2012. [28] "The Domestic Dispute that ended the life of Marvin Gaye - Crime Library The Final Fight Crime Library on" (http:/ / www. trutv. com/ library/ crime/ notorious_murders/ celebrity/ marvin_gaye/ 13. html). Trutv.com. March 31, 1984. . Retrieved March 1, 2012. [29] Brozan, Nadine (April 1, 1995). "Chronicle: New York Times" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=990CE3DD173FF937A35757C0A963958260). The New York Times. . Retrieved August 29, 2008. [30] "Allmusic (((Marvin Gaye Overview)))" (http:/ / www. allmusic. com/ artist/ p4344/ biography). . Retrieved January 9, 2009. [31] "Marvin Gaye" (http:/ / www. history-of-rock. com/ marvin_gaye. htm). History-of-Rock. . Retrieved August 23, 2008. [32] "Marvin Gaye" (http:/ / www. classicbands. com/ gaye. html). Classic Bands. . Retrieved August 23, 2008. [33] "The Immortals: The First Fifty" (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty). Rolling Stone Issue 946. . [34] Joel Whitburns Top R&B/Hip-Hop Singles: 19422004, 2004 [35] "Marvin Gaye's 'National Anthem'" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=985241). Npr.org. February 7, 2003. . Retrieved July 8, 2011. [36] "Elvis, Marvin Gaye shake moneymakers in afterlife" (http:/ / www. cnn. com/ 2008/ SHOWBIZ/ Music/ 10/ 29/ dead. celebrities/ index. html). CNN. October 29, 2008. . Retrieved July 8, 2011. [37] Music Radar (http:/ / www. musicradar. com/ news/ tech/ marvin-gayes-grapevine-voted-greatest-motown-song-183075): Marvin Gaye's Grapevine voted greatest Motown song [38] Sexual Healing (2010) (http:/ / www. imdb. com/ title/ tt0760183/ ) [39] Marvin: The Life Story of Marvin Gaye (2009) (http:/ / www. imdb. com/ title/ tt0806117) [40] "Legends come together to celebrate 50th anniversary" (http:/ / www. macombdaily. com/ articles/ 2009/ 11/ 20/ entertainment/ srv0000006871169. txt). . Retrieved November 24, 2009. [41] "Marvin Gaye Live in Montreux 1980: Marvin Gaye: Movies & TV" (http:/ / www. amazon. com/ Marvin-Gaye-Live-Montreux-1980/ dp/ B000094J89). Amazon.com. . Retrieved July 8, 2011. [42] "Songtext: Fettes Brot 1 Hrst Du Mich?" (http:/ / www. magistrix. de/ lyrics/ Fettes Brot 1/ Hoerst-Du-Mich-257532. html). Magistrix.de. . Retrieved July 8, 2011. [43] Buckley, Peter (2003). The rough guide to rock. Rough Guides. ISBN978-1-85828-457-6. [44] "Violent Femmes:See My Ships Lyrics" (http:/ / lyrics. wikia. com/ Violent_Femmes:See_My_Ships). Wikia.com. . Retrieved November 2, 2011.

347

Further reading
Davis, Sharon (1991). Marvin Gaye: I Heard It Through The Grapevine. Croydon, Surrey: Bookmarque Ltd. ISBN 1-84018-320-9 Dyson, Michael Eric (2004). Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye. New York/Philadelphia: Basic Civitas. ISBN 0-465-01769-X. Gambaccini, Paul (1987). The Top 100 Rock 'n' Roll Albums of All Time. New York: Harmony Books. Garofalo, Reebee (1997). Rockin' Out: Popular Music in the USA. Allyn & Bacon. ISBN0-205-13703-2. Gaye, Frankie with Basten, Fred E. (2003). Marvin Gaye: My Brother. Backbeat Books, ISBN 0-87930-742-0 Heron, W. Kim (April 8, 1984). Marvin Gaye: A Life Marked by Complexity. Detroit Free Press. Posner, Gerald (2002). Motown : Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. Ritz, David (1986). Divided Soul: The Life of Marvin Gaye. Cambridge, Mass: Da Capo Press. ISBN 0-306-81191-X

Janis Gaye Turner, Steve (1998). Trouble Man: The Life and Death of Marvin Gaye. London: Michael Joseph. ISBN 0-7181-4112-1 Ward, Ed, Geoffrey Stokes and Ken Tucker (1986). Rock of Ages: The Rolling Stone History of Rock and Roll. Rolling Stone Press. ISBN0-671-54438-1. White, Adam (1985). The Motown Story. London: Orbis. ISBN 0-85613-626-3

348

External links
Janis Gaye (http://www.allrovi.com/name/pmarvin-gaye-mn0000316834) at AllRovi Janis Gaye (http://www.allmusic.com/artist/p4344) at Allmusic Janis Gaye (http://www.imdb.com/name/nm0310848/) at the Internet Movie Database Marvin Gaye Biography (http://marvin-gaye.guidechart.com/marvin-gaye-biography.php) Marvin Gaye Life & Legacy (http://www.marvin-gaye.co.uk/) Additional archives (http://www.marvingayepage.net/)

Nona Gaye

349

Nona Gaye
Nona Gaye
Born [1] September 4, 1974 [2] Washington, D.C

Occupation Singer, fashion model, actor

Nona Marvisa Gaye (born September 4, 1974) is an American singer, former fashion model, and screen actress. The daughter of soul music legend Marvin Gaye and granddaughter of jazz great Slim Gaillard, she began her career as a vocalist in the early 1990s. As an actress, she is best known for her portrayal of Zee in the science fiction films The Matrix Reloaded and The Matrix Revolutions.

Biography
Early life and career
Gaye is the only daughter of singer Marvin Gaye and wife Janis Gaye. She is Marvin's second child her brother Marvin III (sometimes referred to as Marvin Gaye, Jr.) was from Gaye's first marriage while her younger brother Frankie was born within a year after her. As a baby, Nona was brought out on stage by her father during a concert. At eight, she formally introduced her father on Soul Train during a tribute episode to the singer. Gaye released her first album, Love for the Future, on Atlantic Records in 1992, a month after her 18th birthday. The album featured the top 20 hit "I'm Overjoyed" as well as "The Things That We All Do For Love". The following year, Gaye was named one of People Magazine's 50 Most Beautiful People. She signed to Ford Modeling Agency in 1994, and became the new face of Armani. For three years, Gaye both collaborated with and dated singer-songwriter Prince (his stage name at that time being an unpronounceable symbol). During this time, she recorded at least four songs with him. A duet, "1000 Hugs and Kisses" and solo track, "Snowman" are currently unreleased, but have made their way into circulation amongst fans. Another duet, "Love Sign", was released on the 1-800-NEW-FUNK compilation album in 1994, along with another track with no Prince contribution, "A Woman's Gotta Have It". Gaye provided backing vocals on "We March" for Prince's 1995 album, The Gold Experience, and on the title track to the Girl 6 soundtrack, released in 1996. Gaye has candidly admitted that during this time she had a long personal battle with drug abuse which she successfully kicked in 1996.[3] In addition to these projects, she starred in a Prince-produced European TV special called The Beautiful Experience, consisting of a loose storyline to promote new material from Prince (most of which would be released at some point over the next few years).

Nona Gaye

350

Later career
Gaye appeared alongside other artists to re-record and release her father's single, "What's Going On" for AIDS research in 2001. That same year, she began her acting career, debuting in Michael Mann's Ali. In 2002, she replaced Aaliyah, who died in a plane crash shortly after the filming of the Matrix sequels began, for the role of Zee, the wife of Harold Perrineau's character Link. At one point, she worked with R. Kelly on two as-yet-released singles, "Work It" & "Just Because", which interpolates the Gap Band's "Oops Upside Your Head". In July 2006, Gaye was added to the cast of Law & Order: Criminal Intent as a replacement for Courtney B. Vance as the new Assistant District Attorney. However, just as the series began production for its sixth season,[4] she left the show, citing "creative differences". Gaye was replaced by Theresa Randle, who left after filming only two shows. In 2008, three previously recorded tracks by Gaye appeared for sale at AmieStreet.com in EP form. The EP was titled "Language of Love" and contains the tracks "Quarter To Three" and "Midas Lover", along with the title track.

Filmography
Harlem Nights (1989) Ali (2001) The Matrix Reloaded (2003) The Matrix Revolutions (2003) The Polar Express (2004) xXx: State of the Union (2005) Crash (2005) The Gospel (2005) Blood and Bone (2009)

Awards/nominations
Black Reel Awards 2006, Best Actress: The Gospel (Nominated) 2002, Best Supporting Actress: Ali (Winner) Image Awards 2004, Outstanding Supporting Actress in a Motion Picture: The Matrix Revolutions (Nominated)

Discography
Albums
Love for the Future (Third Stone/Atlantic, 1992) Language of Love (AmieStreet.com, 2008)

Singles
"I'm Overjoyed" (Third Stone/Atlantic, 1992) "The Things That We All Do for Love" (Third Stone/Atlantic, 1993) "Love Sign" (duet with Prince) (NPG, 1994)

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351

References
[1] The hottest Nona Gaye fan site on the 'Net' (http:/ / web. archive. org/ web/ 20051222012519/ nona-gaye. net/ inline101. htm) [2] Nona Gaye (http:/ / www. imdb. com/ name/ nm0310850/ ) at the Internet Movie Database [3] Ely, Suzanne (April 24, 2005). "Nona Gaye: What's going on" (http:/ / www. usaweekend. com/ 05_issues/ 050424/ 050424nona_gaye. html). USA Weekend. . [4] "More Changes for 'Criminal Intent'" (http:/ / www. tv. com/ tracking/ viewer. html?tid=97027& ref_id=1381& ref_type=101& tag=story_list;title;11). TV.com. July 31, 2006. .

External links
Nona Gaye (http://www.imdb.com/name/nm0310850/) at the Internet Movie Database Nona Gaye (http://www.allmusic.com/artist/p22801) at Allmusic

Gordon Banks
Gordon Banks (born February 22, 1955), aka Gordon 'Guitar' Banks, is an American guitarist, producer, writer and musical director. He was voted one of the top 100 guitarists in America by Rolling Stone magazine in 1985. Banks played an important part in Marvin Gaye's later years.[1] Gaye referred to him as "ID" meaning "The Indicator".

Biography
Early life and career
Gordon Banks was born on February 22, 1955 in Norfolk, Virginia. Adept at playing instruments at an early age, he joined his first band, The Showmen, at the age of twelve playing guitar. The group, noted for beach music, was created by later Chairmen of the Board leader General Norman Johnson. The group was noted for their minor hit single, "39-31-40 Shape". Banks would soon leave the band and Norfolk following his graduation at Norfolk State University, moving to Los Angeles where he landed gigs playing guitar for funk groups such as The Gap Band, New Birth, The Unifics, and Mandrill, gospel musician Edwin Hawkins and Motown superstar Stevie Wonder.

Discography
Gordon Banks Marvin Gaye-Here, My Dear 1978 - New Birth Platinum City 1979 Marvin Gaye Live In Montreux 1980 High Inergy-High Inergy 1981 Marvin Gaye-In Our Lifetime 1981 Marvin Gaye Live In Ostend 1981 Edwin Hawkins-Edwin Hawkins Live 1981 Marvin Gaye-Midnight Love 1982 Edwin Hawkins-Edwin Hawkins Live Vol II 1982 Penitentiary II 1982 Gladys Knight & the Pips Marvin Gaye 1983 Mona Lisa Young-Knife 1983 Phyllis St James- Aint No Turning Back-1984 Eddie Murphy-How Could It Be 1985 Krystol-Talk Of The Town 1985 Marvin Gaye-Dream of a Lifetime 1985 Marvin Gaye-Romantically Yours 1986 Barry White-Put Me In Your Mix 1991

Gordon Banks

352

Work with Marvin Gaye

Banks first got acquainted with Marvin Gaye in 1976. After a year, Banks joined Gaye's band. After first working with Gaye with the funk hit, "Got to Give It Up" and playing guitar with Gaye on his 1977 U.S. tour, Banks helped in directing the music for Gaye's 1978 album, Here, My Dear. Their musical partnership grew and Banks was soon performing all over the world with Gaye as his musical director and guitarist. Banks was one of the few in Gaye's revolving door of backup musicians to continue to accompany him even as several musicians would leave, some later suing Gaye for failing to pay them money for earnings during the tour. Banks contributed on Gaye's final Motown album, In Our Lifetime, and was the musical director of Gaye's acclaimed 1980 European tour. In 1981, when Gaye moved to Belgium on a tax exile, Banks relocated to Ostend where Gaye was staying with musical promoter Freddy Couseart. Banks helped out on Gaye's short "Heavy Love Affair" European tour that year and after the tour, helped in creating music for what turned out to be Gaye's final album in his lifetime, Midnight Love. Released in 1982, Midnight Love became the biggest-selling album of Gaye's career, and its parent single, "Sexual Healing", became a smash hit. Banks contributed to the song singing background and playing rhythm guitar. Banks wrote the tune, "My Love is Waiting", for another group but when the group failed to show up for a recording session, he rewrote the song for Gaye to record. While "Sexual Healing" was a huge hit in the UK, Marvin's label CBS, released "My Love is Waiting" as a promotional single. Boost of the song sent it to number thirty-four on the UK charts. Banks again was the musical director of Gaye's final concert tour in 1983. Following Gaye's tragic death in 1984, Banks finished production on a posthumous album, 1985's Dream of a Lifetime, which included unfinished recordings Gaye had done between 1971 and 1982. Among the 1982 recordings included leftover Midnight Love tracks such as "Sanctified Lady", which was essentially a demo, with Harvey Fuqua adding in background vocalists, and Banks adding in electro-funk influences. Banks produced another unfinished Midnight Love track, "Masochistic Beauty", which was a biographical account of Gaye's penchant for S&M. Banks played vocoder background vocals on the track. Banks also finished production on a 1978 demo, "Savage in the Sack". David Ritz later contended that Gaye wouldn't have wanted the songs to be released but due to CBS looking to finish the singer's unfinished contractual obligations, they were put out to help in royalties for the singer's estate.

Current work
Banks is a Media Specialist in Virginia Beach Va, and a collector of unreleased recordings by Marvin Gaye.

References
[1] Dyson, Michael Eric (2005). Mercy, Mercy Me: The Art, Loves and Demons of Marvin Gaye (http:/ / books. google. com/ books?id=EL5_I4Dkx7IC& pg=PA92& dq="Gordon+ Banks"+ guitar& hl=en& ei=UW1pTN-FIIH88Aa8yOmyBA& sa=X& oi=book_result& ct=result& resnum=3& ved=0CDcQ6AEwAg#v=onepage& q="Gordon Banks" guitar& f=false). Basic Civitas Books. p.92. ISBN0465017703, 9780465017706. . Retrieved 16 August 2010.

353

Associated acts
Harvey Fuqua
Harvey Fuqua
Fuqua in 2000 Background information Birth name Born Harvey Fuqua July 27, 1929 Louisville, Kentucky, U.S. July 6, 2010 (aged80) Detroit, Michigan, U.S. doo-wop, R&B, Singer, songwriter, record producer, record label executive Vocals 19512000 Chess, Motown (Tamla-Motown), RCA

Died

Genres Occupations Instruments Years active Labels

Associated acts The Moonglows, Etta James, Marvin Gaye, Tammi Terrell, Spinners, Johnny Bristol, New Birth, Sylvester, etc.

Harvey Fuqua (July 27, 1929 July 6, 2010) was an African-American rhythm and blues singer, songwriter, record producer, and record label executive. Fuqua founded the seminal R&B/doo-wop group the Moonglows in the 1950s. He is noted for later having been one of the key figures in the development of the Motown label in Detroit, Michigan: his group gave Marvin Gaye's musical career a start, and Fuqua and his wife at the time, Gwen Gordy, distributed the very first Motown hit single, Barrett Strong's "Money (That's What I Want)", on their record label, Anna Records. Fuqua later sold Anna Records to Gwen's brother Berry Gordy, and became a songwriter and executive at Motown. He is also the uncle of filmmaker Antoine Fuqua.

Biography
Fuqua was born in Louisville, Kentucky, and was the nephew of Charlie Fuqua of The Ink Spots. In 1951, with Bobby Lester, Alexander Graves and Prentiss Barnes, he formed a vocal group, the Crazy Sounds, in Louisville, later moving with other members of the group to Cleveland, Ohio. There, they were taken under the wing of disc jockey Alan Freed, who renamed them "The Moonglows" after his own nickname, 'Moondog'. The Moonglows' first releases were for Freed's Champagne label in 1953. They then recorded for the Chance label in Chicago, before signing for Chess Records in 1954. Their single "Sincerely" reached #1 on the Billboard R&B chart, and # 20 on the Hot 100, in late 1954.[1] Recording on Chess Records, Fuqua initially shared lead vocals with Lester, but eventually asserted himself as the leader of the group. This changed in 1957 when he, in effect, sacked the other members and installed a new group, previously known as the Marquees, which included Marvin Gaye. The new group, billed as Harvey and the Moonglows, had immediate further success with "Ten Commandments of Love" (#22 on the Billboard Hot 100), but Fuqua left in 1958. The Moonglows reunited temporarily in 1972, and in 2000 were inducted into the Rock and Roll

Harvey Fuqua Hall of Fame. While on the Chess label, Fuqua also appeared on record in duets with Etta James, having hits with "If I Can't Have You" (#6 R&B, #52 pop, 1960) and "Spoonful" (#12 R&B, #78 pop, 1961).[2] Fuqua left the Moonglows when Leonard Chess suggested that he join Anna Records in Detroit. At Anna Records, Fuqua began working with Anna Gordy, Billy Davis, Lamont Dozier and Johnny Bristol. He also introduced Marvin Gaye to Anna's brother, Berry Gordy, and married their sister Gwen Gordy. In 1961, he started his own labels, Tri-Phi Records and Harvey Records, whose acts included the Spinners, Junior Walker and Shorty Long. However, tiring of running a small independent label, Fuqua welcomed the opportunity to work at Motown, and was hired to head the label's Artist Development department and meanwhile worked as a producer for the company. Fuqua brought the Spinners and Johnny Bristol to Motown, and co-produced several hits with Bristol. He was also responsible for bringing Tammi Terrell to the label, and for suggesting and producing her duets with Marvin Gaye, including "Ain't No Mountain High Enough" and "Your Precious Love". In 1962, with the Five Quails, Fuqua had a minor hit with "Been a Long Time." Around 1971, Fuqua left Motown and signed a production deal with RCA Records, having success particularly with the band New Birth. He also discovered disco pioneer Sylvester, and "Two Tons O' Fun" (aka The Weather Girls), producing Sylvester's hit singles "Dance (Disco Heat)" and "You Make Me Feel (Mighty Real)" in 1978 as well as his album Stars in 1979. He also served as Smokey Robinson's road manager. In 1982 he reunited with Marvin Gaye to produce the singer's Midnight Love album which included the single "Sexual Healing". In 2000 he set up his own "Resurging Artist Records", and also acted as a trustee of The Rhythm and Blues Foundation. Fuqua resided in Las Vegas, Nevada until his death from a heart attack in a hospital in Detroit on July 6, 2010.[3]

354

Charitable work
In March 1995, Harvey Fuqua, along with his wife Dr. Carolyne, incorporated The Foundation for the S.T.A.R.S. [4], a nonprofit organization that reaches out to address some of the difficulties that plague underprivileged youth in the inner-cities of America, with the belief that every dream should at least have the opportunity to be realized.

References
[1] [2] [3] [4] Hogan, Ed. "Biography: Harvey Fuqua" (http:/ / www. allmusic. com/ artist/ p78153). AMG. . Retrieved 15 May 2010. Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p.222. obituary in Miami Herald (http:/ / www. miamiherald. com/ 2010/ 07/ 06/ 1718562/ rb-singer-marvin-gaye-mentor-harvey. html) http:/ / starsfoundation. net

External links
The Fuqua's Foundation for the S.T.A.R.S. Website (http://stars.circlesoflight.net/) Beaudaddy's Memorial Website Dedicated to Harvey (http://www.beaudaddy.com/harveyfuqua/index.htm)

The Moonglows

355

The Moonglows
The Moonglows
Origin Genres Years active Labels Cleveland, Ohio, United States R&B, [1] doo-wop

19511972 Champaign Chance Chess Lana Times Square Crimson RCA

Associated acts Alan Freed Past members Harvey Fuqua (deceased) Bobby Lester (deceased) Pete Graves (deceased) Prentiss Barnes (deceased) Billy Johnson (deceased) Marvin Gaye (deceased) Reese Palmer Chuck Barksdale James Knowland Chester Simmons Doc Green George Thorpe Bearle Easton Doc Williams Chuck Lewis Gary Rodgers (deceased)

The Moonglows were an American R&B[1] and doo-wop group based in Cleveland, Ohio.

Career
Early years
Originally formed in their native Louisville, Kentucky as the Crazy Sounds, the group moved to Cleveland, where disc jockey Alan Freed renamed them 'the Moonglows' (after his own nickname, 'Moondog'). Freed helped to promote the group during their early years and, in a common practice of the day, often took a co-writer credit as compensation for his efforts. Lead singer Harvey Fuqua served as the group's leader and chief writer. Vocals were split between Bobby "Lester" Dallas and Fuqua, and sometimes, in the group's occasional duet leads, both. The other members were tenor Alexander "Pete" Graves and bass Prentiss Barnes, with Billy Johnson on guitar. The Moonglows recorded one single for Freed's Champagne label in late 1952, and then for Chicago's Chance Records in 1953 and 1954. After a moderately successful release of the Lester led version of Doris Day's "Secret Love" on Chance, the Moonglows signed to Chess Records in mid 1954.

The Moonglows

356

R&B stardom
Their first Chess release, 1954's "Sincerely" became a number one R&B hit, and was covered more successfully by The McGuire Sisters.[2] Between 1955 and 1957, the Moonglows reached the R&B chart frequently with hits like "Most of All", "In My Diary", "When I'm With You", "See Saw", "We Go Together", and "Please Send Me Someone to Love." Different styles defined the Moonglows lead singers: Fuqua favored the uptempo R&B/rock numbers while Lester sung more of the romantic ballads, for which the group was better known, and occasionally the two would share the leads, duet-style. Although Lester and Fuqua are credited as forming a spinoff group called the Moonlighters, recording in 1955 for the Chess subsidiary label Checker, they paired on only two numbers released as by the Moonlighters, "So All Alone" and "New Gal." The b-sides of these two songs, respectively "Shoo-Do-Be-Doo" and "Hug And A Kiss" featured the full group. The flip side of "Starlite" called "In Love" also featured a Lester-Fuqua duet. In 1957, the Moonglows appeared in the Alan Freed film, Rock, Rock, Rock. In late 1957, the group recorded "Ten Commandments of Love", featuring Fuqua on lead and guitarist Johnson executing the spoken recitation. This became the group's second biggest hit, after "Sincerely", early in 1958. It was also the first record to be billed on the label as "Harvey & the Moonglows". The Moonglows singing style is known as "blow" harmony, based on the technical method used by the backing vocalists. This style can be heard in many other groups of the era and beyond, perhaps most notably the Chi-Lites (particularly on their hit "Oh Girl").

Fall-out and the new Moonglows

In 1958, shortly after the Moonglows recorded their final hit, "Ten Commandments of Love", Fuqua re-asserted himself as the group's lead singer, putting Lester further in the background and causing friction among group members. The biggest blow came when Fuqua spotted a young vocal group, the Marquees from Washington, D.C., and took the quartet of Reese Palmer, Chester Simmons, James Knowland and nineteen-year-old lead singer Marvin Gaye under his wing. The group had recently recorded (unsuccessfully) on Okeh Records after being discovered by Bo Diddley when Fuqua found them. Recording with fifth member Chuck Barksdale, who had been (and would again become) the bass singer of the Dells, Fuqua hired them as his new Moonglows. This group recorded songs such as "Twelve Months of the Year" (featuring a speaking part by Gaye), "Beatnik" and "Mama Loocie", which (as the first recorded lead by Gaye), was released in 1959. The forming of the "New Moonglows" ended the affiliation of the original Moonglows. In 1959 and 1960, Fuqua also recorded several duets for Chess with Etta James. In July 1959, a group called 'The Ecuadors' "who, according to Fuqua, really were the Moonglows (which included Gaye and James)"[3][4] reportedly recorded at Chess singing backgrounds for Chuck Berry. The other four Moonglows recruited bass John Bowie to fill their commitments, and then disbanded.

After the Moonglows and splinter groups

In 1960, Fuqua, on the advice of the Chess Brothers, moved to Detroit, Michigan, disbanded the Moonglows, and started working with Berry Gordy's sister, Gwen Gordy. At the time, she was running Anna Records, and he became a record producer and A&R man for the fledgling label. It was during this time that Fuqua discovered Lamont Dozier, Johnny Bristol, The Spinners, Jr. Walker & The All Stars, Shorty Long, and David Ruffin. Later, Gordy and Fuqua married, and later merged their operation with Motown Records. Fuqua would later be credited for bringing Marvin Gaye to the label, which signed Gaye in 1960. Pete Graves started another Moonglows group in 1964 with the Drifters' Doc Green and George Thorpe and Bearle Easton, which recorded briefly for the Lana, Times Square and Crimson record labels, before disbanding. Lester, who had returned to Louisville and opened a nightclub, formed yet another Moonglows in 1970, with a Louisville-based group called the Aristocrats, including his cousin Gary Rodgers, Albert Workman, Robert Ford and Clyde McPhatter's son Billy. In 1972, the three original Moonglows who had remained active, Graves, Lester, and Fuqua, joined with new members Doc Williams and Chuck Lewis, and recorded Return of the Moonglows for RCA

The Moonglows Records. The group released an updated version of "Sincerely", which became the group's final chart record. Soon after, the group parted ways, with Lester re-forming his Louisville Moonglows. Barnes retired from professional performing after an auto accident in 1969.

357

Activity in later years and members' deaths

Lester was the first of the original members to die, succumbing to cancer in 1980 at the age of 49. Billy McPhatter was not in the group in 1979, but joined the current members for a performance at Madison Square Garden (originally intended to include Lester), and remained in the group afterwards. Gary Rodgers took over management of the group, and they began calling themselves 'Bobby Lester's Moonglows' (sometimes also referred to as 'Gary Rodgers' Moonglows'). Fuqua reunited with most of his 1972 Moonglows for a 1983 Grammy Award performance, and later toured as 'Harvey and the Moonglows' until 1986. By the 1980s, the McPhatter group included Rodgers, Robert Lee Davis, Pete Lawford, and Bruce Martin. In the early 1990s, McPhatter was replaced by Bobby's son, Bobby Lester, Jr.[5] In 1999, Fuqua and members of 'Bobby Lester's Moonglows' reunited to perform on the PBS special, Doo Wop 50. By this time, the Moonglows were Rodgers, Martin, Lawford, and Gene Kelly. Fuqua still sang occasionally and produced and managed gospel acts. Gaye died in 1984. Palmer became a member of the Orioles, while Barksdale returned to the Dells and has remained with them. Original guitarist Johnson died in Los Angeles in 1987, Rodgers died in 2005, and Barnes died in 2006.[6] Fuqua died Tuesday, July 6, 2010 in Detroit MI. The Moonglows were inducted to the Vocal Group Hall of Fame in 1999 and the Rock & Roll Hall of Fame in 2000.

Members
Original members
Harvey Fuqua: lead vocals, background vocals (19511958) Bobby Lester: lead vocals, background vocals (19511958) Alexander "Pete" Graves: background vocals (19511958) Prentiss Barnes: background vocals (19511958) Billy Johnson: background vocals (19511958) William Westbrooks: background vocals (19511952)

Other members
Harvey Fuqua and the New Moonglows Marvin Gaye: lead vocals, background vocals (19581960) Reese Palmer: lead vocals, background vocals (19581960) Chester Simmons: background vocals (19581960) James Knowland: background vocals (19581960) Chuck Barksdale: background vocals (19581960) John Bowen (Barksdale's replacement) (19601960) Fuqua also served as a background singer but acted more as the group's manager. Pete Graves' Moonglows Doc Green: vocals (19641968) Pete Graves: vocals (19641968) George Thorpe: vocals (19641968) Bearle Easton: vocals (19641968) Bobby Lester's Moonglows

The Moonglows Bobby Lester: vocals (19701972, 19791980) Gary Rodgers: vocals (19701972, 19792005) Albert Workman: vocals (19701972) Billy McPhatter: vocals (19701972, 1980s) Robert Ford: vocals (19701972, 1980s) Pete Crawford (1980s2000s) Bruce Martin (1980s2000s) Gene Kelly (1990s2000s)

358

The revived Moonglows Harvey Fuqua (1972) Bobby Lester (1972) Pete Graves (1972) Doc Williams (1972) Chuck Lewis (1972)

References
[1] Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p.181. ISBN1-904041-96-5. [2] Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p.11. CN 5585. [3] Bsnpubs.websitetoolbox.com (http:/ / bsnpubs. websitetoolbox. com/ post?id=2372892& trail=15) [4] Crlf.de (http:/ / www. crlf. de/ ChuckBerry/ blog/ archives/ 3-Who-were-the-Ecuadors. html) [5] Warner, Jay. American Singing Groups: A History from 1940s to Today. Google Books link (http:/ / books. google. com/ books?id=mTM_9JTeoMIC& pg=PA263& lpg=PA263& dq=moonglows+ "bruce+ martin"& source=web& ots=EIT_r-9dG_& sig=81v0UNn54kLR8OK3J2TE-zh7TOA) [6] Sunhearald.com (http:/ / www. sunherald. com/ mld/ sunherald/ news/ politics/ 15661794. htm)

External links
Vocal Group Hall of Fame page on The Moonglows (http://www.vocalgroup.org/inductees/the_moonglows. html) The Moonglows (http://doowopy.de/02page/M/eMoonglows.html) Rockabilly.NL page on The Moonglows (http://www.rockabilly.nl/references/messages/moonglows.htm) The Moonglows (http://www.allmusic.com/artist/p24616) at Allmusic Prentiss Barnes page (http://www.shs.starkville.k12.ms.us/mswm/MSWritersAndMusicians/musicians/ PrentissBarnes/Prentiss_Barnes.html)

The Marvelettes

359

The Marvelettes
The Marvelettes
The Marvelettes in a 1964 promotional photo: (clockwise from left) Gladys Horton, Katherine Anderson, Georgeanna Tillman, and Wanda Young. Background information Also known as Origin Genres Years active Labels The Casinyets, The Marvels, The Darnells Inkster, Michigan Pop, R&B, rock and roll, soul 19601972 Tamla Past members Gladys Horton Katherine Anderson Wanda Rogers Anne Bogan Georgeanna Tillman Wyanetta (Juanita) Cowart Georgia Dobbins

The Marvelettes were an American singing girl group on the Tamla label. Motown's first successful female vocal group, the Marvelettes are most notable for recording the company's first #1 Pop hit, "Please Mr. Postman", and for setting the precedent for later Motown girl groups such as Martha and the Vandellas and the Supremes. During their eight-year run on the Billboard music charts the group scored 21 Hot R&B/Hip-Hop Songs and 23 Billboard Hot 100 hit singles. Of these hits 3 were Top 10 Pop singles, 9 were top Top 10 R&B singles and their debut was #1 one on both charts.

Origins
Gladys Horton and Georgia Dobbins formed the Casinyets (or "Can't Sing Yets") in their hometown Inkster, Michigan a suburb located west of Detroit, Michigan with backing vocalists Georgeanna Tillman, Wyanetta (usually spelled "Juanita") Cowart, and Katherine Anderson.[1] In 1961 the quintet, now called the Marvels, entered the Inkster High School talent show where they finished fourth. Although only the first three winners could win the prize of a trip to audition for the new Motown record company located on West Grand Boulevard in Detroit, an exception was made and they were allowed to audition as well. In April they did this for Motown executives Brian Holland and Robert Bateman with the girls alternating lead parts. They auditioned for Berry Gordy and Smokey Robinson who scheduled a second audition after asking if the group had any original material. At the next audition Georgia arrived with pianist William Garrett who had also written a few tunes. Georgia had asked Garrett if he had any new songs and he showed her a blues song called "Please Mr. Postman" that had only a few lyrics and no music. Garrett agreed to Georgia's rewriting the song into something more favorable for a young girl group as long as he was given songwriting credit. Georgia, who had no previous songwriting experience, took the tune home and reconstructed it overnight keeping only the title.[2] The song by Dobbins and Garrett turned out to be the Marvelettes first single and their biggest hit, "Please Mr. Postman." The group returned to Motown with the song and a new member, Wanda Young (later Rogers), who replaced Dobbins (whose church-going father was against the idea of his daughter singing in nightclubs) giving

The Marvelettes them, like The Shirelles before, two lead singers.

360

Early success
Motown gave the Marvels the star treatment. Gordy renamed the group the Marvelettes and had "Please Mr. Postman" re-written for them and released as their first single in the summer of 1961 on the Tamla imprint with Horton singing lead. The song took fourteen weeks to hit the #1 position on the Pop chart, a record for its time. The song also held at #1 on the Billboard R&B chart for seven consecutive weeks. It was the first of two million-selling gold certified 45's for the group. An album also called Please Mr. Postman was rush released to capitalize on the girls initial success but neither it nor subsequent four albums charted. As their follow up, in a short-sighted move, Motown released "Twistin' Postman" to capitalize on both the success of the group's first single and the twist dance craze. Released in December 1961, as the fad was dying down, the song only reached #34 on the pop chart and #13 R&B. Despite this, the Marvelettes were becoming a popular touring group going on various Motown ensemble tours and even a few solo outings. A second album entitled The Marvelettes Sing (a.k.a. Smash Hits of '62) comprised mainly cover versions as the title suggests. Their third album was called Playboy and included songs from many accomplished writers such as Brian Holland, Marvin Gaye, Smokey Robinson and Lamont Dozier. The album featured the hit singles "Playboy" (#4 R&B, #7 Pop), "Beechwood 4-5789" (#7 R&B, #17 Pop) and "Someday, Someway" (#8 R&B).

Stumbling blocks
By this time founding member Juanita Cowart was suffering from depression. After a mistake on American Bandstand in 1962, Cowart finally left the group. Motown press releases called it a "nervous breakdown." Not wanting to rest on their laurels, the group forged ahead recording their fourth album The Marvelous Marvelettes. Despite their previous track record this album did not produce any major hits. Of the three singles released from the album the second single, "Locking Up My Heart", fared the best. Horton was the main lead with Rogers on the latter portion on the tune singing falsetto. It reached #25 R&B and #44 Pop. The single may have done better chart wise but suffered from split airplay as the track "Forever", which featured Rogers, was its "B" side and also charted reaching #78 Pop. The other singles were "Strange, I Know" which reached #10 on R&B but only peaked at #49 Pop and "My Daddy Knows Best" which peaked at #67 Pop. By 1964 the Marvelettes faced major competition, not only from other Motown artists like the Supremes and Martha and the Vandellas, but from bands from the British Invasion and surf-pop movements. The Marvelettes, Velvelettes and others turned down the song "Where Did Our Love Go", written by the HollandDozierHolland songwriting team. Instead, the Marvelettes chose to record Norman Whitfield and Eddie Holland's "Too Many Fish in the Sea". Meanwhile Motown made the 'no hit' Supremes record "Where Did Our Love Go". Even they did not care much for the song, which went on to reach #1 Pop and R&B. In 1965 Georgeanna Tillman was battling lupus. As her health problems worsened, her doctor advised her to stop touring and she left the group for good. She remained at Motown for a while as a secretary. Georgeanna Tillman married Billy Gordon (of the Contours) in 1963. She left the group in the mid sixties due to illness,and died in 1980 from the complications of sickle-cell anemia. The Marvelettes continued on as a trio. During the two years following The Marvelous Marvelettes they issued a number of under-achieving singles, a live album called The Marvelettes Recorded Live On Stage and a greatest hits compilation The Marvelettes Greatest Hits which was actually not released until February 16, 1966. It included the earlier non-studio album singles "As Long As I Know He's Mine", "He's A Good Guy (Yes He Is)" and "You're My Remedy" all of which failed to make the Top 40.

The Marvelettes

361

The "comeback"
The group's first notable hit in nearly two years came at the end of 1964 with the Holland-Whitfield composition "Too Many Fish in the Sea" which has become a Motown and soul classic, reaching #15 R&B and #25 Pop on the Billboard charts. On the heels of their new-found success further singles were issued. "I'll Keep Holding On", now a Northern soul anthem and non-album track, reached #34 Pop and #11 R&B, whilst "Danger! Heartbreak Dead Ahead" stalled at #61 Pop but also got to #11 R&B. Just prior to the issue of their Greatest Hits album, a Smokey Robinson composition called "Don't Mess with Bill" was released as a single, marking the beginning of a renewed partnership with the songwriter and leader of the Miracles. "Don't Mess with Bill", a seductive anthem about cheating, brought the group major success and a second million-selling, gold certified record. It reached #3 R&B and returned them to the Top 10 where it climbed to #7. They continued their partnership with Robinson on their seventh album, The Marvelettes (Pink Album), which was released in 1967. It spawned the massively popular "The Hunter Gets Captured by the Game" which just missed the top of the R&B charts, peaking at #2 and hit #13 Pop. They followed it up with a remake of the Ruby & the Romantics' "When You're Young and in Love", written by Van McCoy, peaking at #9 R&B and #23 Pop. It also gave the Marvelettes their only UK hit where it reached #13. During this period Robinson had begun to favour Rogers over Horton as lead singer on many of the groups songs.

Danger: dead end ahead

In 1967 co-lead singer Horton left the group to get married and was replaced by Anne Bogan. Their eighth album was named Sophisticated Soul after the new style under Rogers' lead and their reformed appearance. Singles released from the album included "You're The One" (#20 R&B, #48 Pop), "My Baby Must Be a Magician" (#8 R&B, #17 Pop, featuring an exceptional introduction by Melvin Franklin of the Temptations, "Destination: Anywhere" (#28 R&B, #63 Pop), (written by Ashford & Simpson) and "Here I Am Baby" (#14 R&B, #44 Pop). Motown had long since shifted support to more successful and newer artists on their roster. By the time their 1969 ninth album In Full Bloom was released Motown had all but sidelined the group providing mediocre publicity and a smaller budget. The group was also experiencing some internal problems which left them unable to do promotion. The album's only single, a remake of Justine Washington's "That's How Heartaches Are Made", peaked at #97 Pop and failed at R&B. The Marvelettes were never to have another hit single. The album failed to chart on either Pop or R&B. By 1970 the Marvelettes had ceased to exist in all but name due to serious internal conflict, Rogers personal problems and Motown's lack of interest. However, Motown thought that there was some mileage to be had from making Rogers into a solo star. Despite all her problems which would have prevented her from touring, Smokey cut an album with Rogers featuring the Andantes, (Motown's in-house backing group), consisting mainly of older Motown songs. Motown thought it would have more commercial appeal if it was released under the Marvelettes name, hence the title The Return of the Marvelettes. However Rogers was awaiting the birth of her third child (with her then husband Miracle Bobby Rogers), and Motown was in the process of moving to Los Angeles. Although it failed to make the Billboard 200 chart, it did reach #50 on the US Billboard R&B chart. Motown issued two singles from the album, neither of which were hits, "Marionette" and "A Breathtaking Guy". Meanwhile former Marvelette Anne Bogan went on to join trio Love, Peace & Happiness which evolved into group New Birth.

The Marvelettes

362

Legacy
Due to Motown's decision to sell the name "Marvelettes" to a promoter, Larry Marshak,[3] none of the original members are able to tour under the name "Marvelettes" in the United States. Several groups bill themselves as "The Marvelettes", but these women are much younger than the original lineup.[4] Thanks to the efforts of people like Mary Wilson of the Supremes, legislation was launched in 2006 to prevent artists from using the name of a group that does not have at least one original member. In 2006, Horton appeared with Dazee Luv, Jaki-G & Denise Stubbs of Joe Harris' Undisputed Truth on PBSs My Music Salute to Early Motown. An in-depth history of the group can be found in Marc Taylor's book, The Original Marvelettes: Motown's Mystery Girl Group and the Goldmine article on the group from its June 8, 1984 issue. In 2007, the Marvelettes were inducted into the Michigan Rock and Roll Legends Hall of Fame. In 2009, as part of Motown's 50th Anniversary celebrations, a new limited-edition triple-CD set on the group entitled The Marvelettes: Forever The Complete Motown Albums Vol. 1 was released. This featured the group's first six albums, some of which had never been released on CD. The Marvelettes: Forever More - The Complete Motown Albums Vol. 2, which included their later albums and bonus material, was released in 2011.

Later years
Wanda Young Rogers Rogers currently lives in the Detroit suburb of Westland, Michigan. She made a brief return to performing in the early 1990s as a solo artist, re-recording some of the Marvelettes' hits, such as the million-selling "Don't Mess With Bill". Her last public appearance was in early 2006 when she attended a play hosted by Katherine Anderson Schaffner. Katherine Anderson Katherine Elaine Anderson Schaffner retired from singing when the group disbanded in 1972 (the year Motown began its transition to Los Angeles). She has become very involved in helping troubled teenagers in the Detroit area. She appeared in 2006 to attend a play in her home town of Inkster, Michigan, where she still lives. Her last appearance was at the Motown 50th Anniversary, held at the Roostertail in Detroit on November 21, 2009. Katherine (Kat to her friends) is the mother of two adult children, Keisha and Kalaine Schaffner. She is also the grandmother of one grandson, Toure Schaffner. Of all the original Marvelettes, Katherine is the most active today. She was one of the writers of the Gladys Knight & The Pips hit, "I Don't Want To Do Wrong." Gladys Horton Gladys Catherine Horton semi-retired from the business to take care of her handicapped son; however, she still performed on occasion as "Gladys Horton of the Marvelettes". She had lived in southern California since the early 1970s. She died at age 66 on January 26, 2011, at a nursing home in Sherman Oaks, California following several strokes.[5] Georgeanna Tillman On August 12, 1963, Georgeanna Marie Tillman married Billy Gordon of The Contours; she left the group about two years later. On January 6, 1980, she died from complications of lupus and sickle-cell anemia, at age 36. She is interred at the Metropolitan Memorial Park in Belleville, Michigan. Juanita Cowart Juanita (sometimes spelled Wyanetta) Cowart Motley officially left the Marvelettes back in the late winter/early spring of 1962 (though she would occasionally record with the group until early 1963). Shortly after, she bought a candy store on Michigan Avenue, in her neighborhood of Inkster, Michigan, with $1,500.00 she had saved as a Marvelette. Her last appearance in public was in 2006 when she attended a play in her home town of Inkster,

The Marvelettes Michigan, where she still lives. Ann Bogan After the Marvelettes disbanded in 1972, Anne Bogan went on to lead an RCA trio known as Love, Peace & Happiness, which was part of the group New Birth. Ann settled into a secure nine-to-five job in Cleveland. She is alive and well in Cleveland, Ohio, and sings with a gospel group.

363

Discography
Albums
Year Album Peak chart positions US US Pop R&B 1961 Please Mr. Postman 1962 The Marvelettes Sing (aka Smash Hits of '62) Playboy 1963 The Marvelous Marvelettes The Marvelettes Recorded Live On Stage 1966 The Marvelettes Greatest Hits 1967 The Marvelettes (Pink Album) 1968 Sophisticated Soul 1969 In Full Bloom 1970 The Return of The Marvelettes 1975 The Marvelettes Anthology Best of The Marvelettes "" denotes releases that did not chart 84 129 4 13 41 50

Singles
Year Title Peak chart positions US Pop US R&B UK[6] 1961 "Please Mr. Postman" (Tamla 54046) "So Long Baby" "Twistin' Postman" (54054) "I Want a Guy" 1962 "Playboy" (54060) "All the Love I've Got" "Beechwood 4-5789" (54065) / "Someday, Someway" (54065) "Strange I Know" (54072) "Too Strong to Be Strung Along" 1 1

34

13

17 49

7 8 10

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364
44 44 67 25 24 **

1963 "Locking Up My Heart" (54077) / "Forever" (54077) "My Daddy Knows Best" (54082) "Tie a String Around Your Finger" "As Long as I Know He's Mine" (54088) "Little Girl Blue" "Too Hurt to Cry, Too Much in Love to Say Goodbye" (as The Darnells) (Gordy 7024) "Come on Home" 1964 "He's a Good Guy (Yes He Is)" (54091) "Goddess of Love" "You're My Remedy" (54097) "A Little Bit of Sympathy, a Little Bit of Love" "Too Many Fish in the Sea" (54105) "A Need for Love" 1965 "I'll Keep Holding On" (54115) "No Time for Tears" "Danger! Heartbreak Dead Ahead" (54120) "Your Cheating Ways" 1966 "Don't Mess with Bill" (54126) "Anything You Wanna Do" "You're the One" (54131) "Paper Boy" 1967 "The Hunter Gets Captured by the Game" (54143) "I Think I Can Change You" "When You're Young and in Love" (only UK charting single) (54150) "The Day You Take One, You Have to Take the Other" 1968 "My Baby Must Be a Magician" (with Melvin Franklin, guest vocal) (54158) "I Need Someone" "Here I am Baby" (54166) "Keep Off, No Trespassing" "Destination: Anywhere" (54171) / "What's Easy for Two Is So Hard for One" (54171) 1969 "I'm Gonna Hold on as Long as I Can" (54177) "Don't Make Hurting Me a Habit" "That's How Heartaches are Made" (54186) "Rainy Mourning" 1970 "Marionette" (54198) "After All" 1971 "A Breath-Taking Guy" (54213) "You're the One for Me Bobby" "" denotes releases that did not chart

47

**

117

**

55

**

48

**

25

15

34

11

61

11

48

20

13

23

13

17

44

14

63 114 76

28

97

(** there was no Billboard R&B chart during this time.)

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365

Tamla Motown UK releases

Including catalogue numbers TML11008 The Marvelous Marvelettes LP STML/TML11052 The Marvelettes LP STML/TML11090 Sophisticated Soul LP STML/TML11145 In Full Bloom LP STML11258 The Best of The Marvelettes LP TMG518 I'll Keep Holding On / No Time For Tears 7" TMG535 Danger Heartbreak Dead Ahead / Your Cheating Ways 7" TMG546 Don't Mess with Bill / Anything You Wanna Do 7" TMG562 You're the One / Paper Boy 7" TMG594 The Hunter Gets Captured by the Game / I Think I Can Change You 7" TMG609 When You're Young and in Love / The Day You Take One (You Have to Take the Other) 7" TMG639 My Baby Must Be a Magician / I Need Someone 7" TMG659 Here I Am Baby / Keep Off No Trespassing 7" TMG701 Reachin' for Something I Can't Have / Destination Anywhere 7" TMG860 Reachin' for Something I Can't Have / Here I Am Baby 7"

TMG939 When You're Young and in Love / The Day You Take One (You Have to Take the Other) 7" TME2003 The Marvelettes EP[7]

Awards and recognition

1995: The Rhythm & Blues Pioneer Award (Rhythm & Blues Foundation). 2004: Inducted into the Vocal Group Hall of Fame. 2005: RIAA-certified gold records for "Please Mr. Postman" and "Don't Mess with Bill".

References
[1] [2] [3] [4] [5] Warner, Jay (2006). American Singing Groups: A History from 1940s to Today (Hal Leonard) p. 421. ISBN 0634099787. Warner (2006), p. 421. "Warr page on the Marvelettes" (http:/ / www. warr. org/ marvelettes. html). . Retrieved 2009-04-17. Taylor, Marc (2004), The Original Marvelettes: Motown's Mystery Girl Group (Aloiv Publishing), p.170-176. ISBN 0965232859. McCollum, Brian (January 26, 2011). "One-time lead singer of Motown's Marvelettes dies at 66" (http:/ / www. freep. com/ article/ 20110127/ ENT04/ 110127012/ One-time-lead-singer-Motown-s-Marvelettes-dies-66). Detroit Free Press (Detroit, Michigan: Gannett Newspapers). . Retrieved 27 January 2011. [6] Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p.353. ISBN1-904994-10-5. [7] http:/ / www. vinylnet. co. uk/ record-label-discographies. asp link

External links
The Marvelettes interview by Pete Lewis, 'Blues & Soul' (http://www.bluesandsoul.com/feature/380/ the_marvelettes_motown_50_classic_inter...) 'The Marvelettes' Vocal Group Hall of Fame Page (http://www.vocalgroup.org/inductees/the_marvelettes. html) (French) Gladys Horton, from the Marvelettes, passed away... (http://soulrnb.com/news/ 194-1944-2011-gladys-horton-des-marvelettes-nous-quitte)

The Originals

366

The Originals
The Originals

Background information Origin Genres Years active Labels Detroit, Michigan, United States R&B, soul, disco 19661982, 1989present Soul (Motown)

Associated acts Marvin Gaye, Stevie Wonder, David Ruffin, Jimmy Ruffin, Edwin Starr, Bobby Taylor & the Vancouvers Members Hank Dixon, Dillon Gorman, Terrie Dixon, Defrantz Forrest Past members Freddie Gorman (deceased) Walter Gaines (deceased) Ty Hunter (deceased) C.P. Spencer (deceased) Joe Stubbs (deceased)

The Originals often called "Motown's best-kept secret",[1] were a successful Motown R&B and soul group during the late 1960s and the 1970s, most notable for the hits "Baby I'm for Real", "The Bells" and the disco classic, "Down to Love Town". Formed in 1966, the group originally consisted of bass singer Freddie Gorman, baritone (and the group's founder) Walter Gaines, and tenors C.P. Spencer and Hank Dixon (and briefly Joe Stubbs). Ty Hunter replaced Spencer when he left to go solo in the early 1970s. They had all previously sung in other Detroit groups, C.P. having been an original member of the (Detroit) Spinners and Ty having sung with former The Supremes member Scherrie Payne in the group Glass House. Spencer, Gaines, Hunter, and Dixon (at one time or another) were also members of the Voice Masters. As a member of the HollandDozierGorman writing-production team (before HollandDozierHolland), Gorman (as a mailman) was one of the writers of Motown's very first #1 pop hit Marvelettes, Beatles and Carpenters hit "Please Mr. Postman".

The Originals

367

History
The group found modest success in the latter half of the 60s, often working as background singers for recordings by artists such as Jimmy Ruffin's "(What Becomes of the Brokenhearted)", Stevie Wonder's "(For Once In My Life" and "Yester-Me, Yester-You, Yesterday)" , David Ruffin "(My Whole World Ended (The Moment You Left Me))", Marvin Gaye's "(Chained" and "(Just to Keep You Satisfied)", Edwin Starr's "(War" and "25 Miles)", and many more. The Originals found their biggest success under the guidance of Motown legend Ty Hunter, C.P. Spencer, Hank Dixon, Freddie Marvin Gaye, who co-wrote and produced two of the group's biggest Gorman and Walter Gaines in the late 1970's singles, "Baby, I'm for Real", and "The Bells". This latter disc sold over one million copies and received a gold disc awarded by the R.I.A.A.Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p.284. ISBN0-214-20512-6. Both songs became seminal soul music recordings, and both songs have since been covered: 1990s R&B group After 7 re-recorded "Baby, I'm for Real" and made it a hit again in 1992, while another 1990s R&B group Color Me Badd re-recorded "The Bells" for one of their albums. While the group went on to have more modest success in both the soul and disco fields near the end of the decade, including "Down To Love Town", a #1 dance chart hit, the songs they made with Marvin Gaye are their most memorable and notable. Spencer returned briefly in the late 70s but after the death of Ty Hunter, on February 24, 1981, the group ceased recording and broke up about a year later. Joe Stubbs, brother of Four Tops' lead, Levi Stubbs, died on February 5, 1998. He had been with the group for about six months in the mid 1960s, as well as been a member of The Falcons, The Contours and 100 Proof (Aged In Soul). C.P. Spencer died on October 20, 2004, and Freddie Gorman followed on June 13, 2006.[2] Walter Gaines died January 17, 2012, after a long illness.[3] Dixon is now the only surviving, and active, founding member of the original group.

Reformation
Following the death of Freddie Gorman in 2006, longtime member Hank Dixon and Hank's daughter Terrie Dixon reformed the Originals as a live touring act with Freddie's son songwriter and producer Dillon F. Gorman and son of Gene Chandler ("The Duke of Earl") Defrantz Forrest to complete the line up.

Discography
Studio albums

The Originals

368

Year

Album

Chart positions "The Originals US albums chart history" 2011-04-05. US

[4]

. allmusic.com. Retrieved

Record label

USR&B 18 47 44 51 Fantasy Motown Soul Soul

1969 Green Grow the Lilacs 1 1970 Portrait of the Originals Naturally Together 1972 Definitions 1974 Game Called Love 1975 California Sunset 1976 Communiqu 1977 Down to Love Town 1978 Another Time, Another Place 1979 Come Away with Me 1981 Yesterday and Today

174 198

"" denotes the album failed to chart

Phase II

1 later reissued as Baby, I'm for Real

Compilation albums
Year Album Chart positions US 1990 Baby, I'm for Real 1999 The Very Best of the Originals 2002 The Essential Collection USR&B Spectrum Motown Record label

"" denotes the album failed to chart

Singles
Year Single Chart positions "The Originals US singles chart history" 2011-04-05. US 1967 "Good Night Irene" 1969 "We've Got a Way Out of Love" "Green Grow the Lilacs" "Baby, I'm for Real" 1970 "The Bells" "We Can Make It Baby" (A-side) "I Like Your Style" (B-side) "God Bless Whoever Sent You" 14 12 74 53 USR&B 1 4 20 20 14 [5] . allmusic.com. Retrieved

USDance

The Originals

369
113

1971 "Keep Me" 1972 "I'm Someone Who Cares" 1973 "Be My Love" "There's a Chance When You Love You'll Lose" 1974 "Supernatural Voodoo Woman (Part 1)" "Game Called Love" "You're My Only World" 1975 "Good Lovin' Is Just a Dime Away" "Fifty Years" "Everybody's Got to Do Something" 1976 "Touch" "Down to Love Town" 1977 "Call on Your Six-Million Dollar Man" 1978 "Temporarily Out of Order" 1979 "Blue Moon" "J-E-A-L-O-U-S (Means I Love You)" 1981 "Waitin' on a Letter"/"Mr. Postman" (medley) 1982 "Baby, I'm for Real - '82" (feat. Hank Dixon)

47

53 93 74

1 6

"" denotes the single failed to chart

As Background Vocalists
1966: "Function at the Junction" (Shorty Long; Tamla) 1966: "What Becomes of the Brokenhearted" (Jimmy Ruffin; Soul) 1968: "Twenty-Five Miles" (Edwin Starr; Gordy) 1968: "Does Your Mama Know About Me" (Bobby Taylor and the Vancouvers; Gordy) 1968: "Malinda" (Bobby Taylor and the Vancouvers; Gordy) 1968: "For Once In My Life" (Stevie Wonder; Tamla) 1968: "Chained" (Marvin Gaye; Tamla) 1969: "Yester-Me, Yester-You, Yesterday" (Stevie Wonder; Tamla) 1969: "My Whole World Ended (The Moment You Left Me)" (David Ruffin; Motown) 1970: "War" (Edwin Star; Gordy) 1973: "Just to Keep You Satisfied" (from the album "Let's Get It On"; Marvin Gaye; Tamla)

The Originals

370

References
[1] "THE ORIGINALS - ESSENTIAL COLLECTION" (http:/ / www. modculture. co. uk/ reviews/ review. php?id=100). www.modculture.com. . Retrieved 2 February 2012. [2] "The Originals" (http:/ / www. allmusic. com/ artist/ the-originals-p5076/ biography). www.allmusic.com. . Retrieved 26 January 2012. [3] Thedeadrockstarsclub.com (http:/ / thedeadrockstarsclub. com/ 2012. html) - accessed January 27, 2012 [4] http:/ / www. allmusic. com/ artist/ p5076/ charts-awards/ billboard-albums [5] http:/ / www. allmusic. com/ artist/ p5076/ charts-awards/ billboard-singles

External links
The Originals (http://www.discogs.com/artist/Originals,+The) on Discogs The Originals (http://www.soulexpress.net/original.htm) on SoulExpress The Originals (http://www.soultracks.com/the_originals.htm) at SoulTracks The Originals (http://new.music.yahoo.com/originals/biography/) at Yahoo! Music

Barbara Randolph

371

Barbara Randolph
Barbara Randolph

Barbara Randolph, circa 1962. Background information Also known as Born Barbara Ann Sanders May 5, 1942 Detroit, Michigan July 15, 2002 (aged60) South Africa singer and actress 19511989 Motown Records Soul Records Nightmare Records Spectrum Records

Died

Occupations Years active Labels

Associated acts Lillian Randolph The 5 Red Caps The Platters Marvin Gaye

Barbara Randolph (5 May 1942 15 July 2002), also known as Barbara Ann Sanders,[1] was an African American singer and actress who recorded for Motown Records in the 1960s. She was born in Detroit, Michigan, and was adopted by the actress Lillian Randolph,[2] who appeared in It's a Wonderful Life and many other movies. Barbara's show business career began under the name Barbara Ann Sanders, having taken the name of Lillian's second husband[3][4] - when she was eight years old, playing the part of Tanya in Bright Road with Harry Belafonte and Dorothy Dandridge.[5][6] In 1957, both she and her mother Lillian briefly joined her uncle, Steve Gibson's, vocal group, The Red Caps, as singers.[2][7][8][9] She also appeared in her mother's and uncle's nightclub acts, using her mother's maiden (and stage) name of Randolph by 1958.[10][11] Barbara Randolph first recorded as a solo singer for RCA Records in 1960.[12] In 1964 she joined The Platters, replacing singer Zola Taylor, but left after a year and an album (The New Soul of the Platters).[13] She also continued to work as an actress, taking the part of Dorothy in the 1967 movie Guess Who's Coming to Dinner, starring Spencer Tracy, Sidney Poitier and Katharine Hepburn.[1][11][14] In the same year, she signed with Motown Records, but only released two singles for the company on its subsidiary Soul label - "I Got A Feeling" / "You Got Me Huntin' All Over" (Soul 35038), followed a year later by a version of "Can I Get a Witness" (Soul 35050), using the same B-side.[15] Neither record was commercially successful, but Randolph was sufficiently highly regarded to

Barbara Randolph tour with Marvin Gaye as a replacement for Tammi Terrell after Tammi became ill.[1][16] Randolph also toured with The Four Tops, Gladys Knight and the Pips and Hugh Masekela as part of the "Motown Sound" show in 1968.[17] She was reportedly also considered as a replacement for Florence Ballard in 1967 for the Supremes, and Diana Ross in The Supremes in 1969.[18] Randolph used the year 1970 for entertaining US forces in Vietnam, returning to paid performances the next year.[19] She married Eddie Singleton, who had previously been married to Berry Gordy's ex-wife, Raynoma Liles Gordy. They opened a production company together, and Barbara Randolph retired from singing, except to re-record a version of "I Got A Feeling" for the Nightmare label in the UK in 1989.[1] By that time, the track - and other recordings by Randolph during her brief recording career - had achieved considerable popularity in Britain on the Northern soul dance scene, and since the 1980s has been reissued on several compilation albums. A collection of her recordings, most of which dated from 1969 but had not been issued previously, was released by Spectrum Records in 2003.[18][20] Barbara Randolph died from cancer in South Africa in 2002, at the age of 60.

372

References
[1] Barbara Randolph at Find A Grave (http:/ / www. findagrave. com/ cgi-bin/ fg. cgi?page=gr& GRid=8554308) [2] Marv Goldberg's R&B Notebooks: The Red Caps (http:/ / www. uncamarvy. com/ RedCaps/ redcaps. html) [3] Actress Lillian Randolph Divorces Mate (http:/ / books. google. com/ books?id=2L8DAAAAMBAJ& pg=PA15& dq=lillian+ randolph& hl=en& ei=QAa7TKLCCMG_nAf1-8XRDQ& sa=X& oi=book_result& ct=result& resnum=8& ved=0CEoQ6AEwBw#v=onepage& q=lillian randolph& f=false). Jet. 17 December 1953. . Retrieved 17 October 2010. [4] Radio Actress Lillian Randolph Seeks Divorce (http:/ / books. google. com/ books?id=jbsDAAAAMBAJ& pg=PA18& dq=lillian+ randolph& hl=en& ei=QAa7TKLCCMG_nAf1-8XRDQ& sa=X& oi=book_result& ct=result& resnum=7& ved=0CEYQ6AEwBg#v=onepage& q=lillian randolph& f=false). Jet. 5 March 1953. . Retrieved 17 October 2010. [5] Like Mother, Like Daughter (http:/ / books. google. com/ books?id=wVsDAAAAMBAJ& pg=PA2& dq=lillian+ randolph+ intitle:jet& hl=en& ei=FC2yTKOgLYvOngfzjIiUBg& sa=X& oi=book_result& ct=result& resnum=6& ved=0CDgQ6AEwBTge#v=onepage& q=lillian randolph intitle:jet& f=false). Jet. 25 September 1952. . Retrieved 10 October 2010. [6] "photo of movie poster for Bright Road" (http:/ / blogs. essence. com/ emilsemail/ 2010/ 01/ history-culture-and-passion. php). Wilbekin, Emil. 20 January 2010. . Retrieved 19 October 2010. [7] New York Beat (http:/ / books. google. com/ books?id=4L8DAAAAMBAJ& pg=PA64& dq=lillian+ randolph+ intitle:jet& hl=en& ei=FC2yTKOgLYvOngfzjIiUBg& sa=X& oi=book_result& ct=result& resnum=1& ved=0CCQQ6AEwADge#v=onepage& q=lillian randolph intitle:jet& f=false). Jet. 31 December 1953. . Retrieved 10 October 2010. [8] Ward, Henry (11 April 1967). "Sammy Davis Shows Class at Civic Arena" (http:/ / news. google. com/ newspapers?id=sGocAAAAIBAJ& sjid=YU8EAAAAIBAJ& pg=6443,4779648& dq=barbara+ randolph& hl=en). The Pittsburgh Press. . Retrieved 17 March 2011. [9] Brown, George F. (18 January 1967). "San Juan Entertainment-Steve Gibson's Back" (http:/ / news. google. com/ newspapers?id=zzZOAAAAIBAJ& sjid=n0YDAAAAIBAJ& pg=6441,1104230& dq=barbara+ randolph& hl=en). The Virgin Island Daily News. . Retrieved 17 March 2011. [10] "Lillian and Barbara Randolph at Allen's Tin Pan Alley" (http:/ / news. google. com/ newspapers?id=pnpWAAAAIBAJ& sjid=BecDAAAAIBAJ& pg=1294,3820137& dq=lillian+ randolph& hl=en). The Spokesman-Review. 29 July 1958. . Retrieved 22 October 2010. [11] Robinson, Louie, ed. (23 May 1968). Film Boost For Star's Daughter (http:/ / books. google. com/ books?id=SzgDAAAAMBAJ& pg=PA55& dq=lillian+ randolph+ intitle:jet& hl=en& ei=izSyTJ_AI8bPnAe9nOGEBg& sa=X& oi=book_result& ct=result& resnum=7& ved=0CEAQ6AEwBg#v=onepage& q=lillian randolph intitle:jet& f=false). Jet. . Retrieved 10 October 2010. [12] Barbara Randolph Seeks Record Stardom (http:/ / books. google. com/ books?id=fq8DAAAAMBAJ& pg=PA62& dq=lillian+ randolph+ intitle:jet& hl=en& ei=izSyTJ_AI8bPnAe9nOGEBg& sa=X& oi=book_result& ct=result& resnum=5& ved=0CDgQ6AEwBA#v=onepage& q=lillian randolph intitle:jet& f=false). Jet. 29 December 1960. . Retrieved 10 October 2010. [13] Goldberg, Marv. "Marv Goldberg's R & B Notebook-The Platters" (http:/ / www. uncamarvy. com/ Platters/ platters. html). Goldberg, Marv. . Retrieved 4 February 2011. [14] "Star's pretty daughter adds 'hip' to new film" (http:/ / news. google. com/ newspapers?id=-OsmAAAAIBAJ& sjid=-QIGAAAAIBAJ& pg=748,2631945& dq=barbara+ randolph& hl=en). The Afro American. 16 December 1967. . Retrieved 17 March 2011. [15] Soul Records discography (http:/ / www. seabear. se/ Soul. html) [16] Barbara Randolph at Soulwalking (http:/ / www. soulwalking. co. uk/ Respect2002. html) [17] "Motown Sound? The Answer is at the Carousel" (http:/ / news. google. com/ newspapers?id=QtFFAAAAIBAJ& sjid=i70MAAAAIBAJ& pg=2305,5330712& dq=barbara+ randolph& hl=en). The Upland News. 29 May 1968. . Retrieved 17 March 2011. [18] Barbara Randolph at Super Soul Sisters (http:/ / supersoulsisters. blogspot. com/ 2009/ 06/ barbara-randolph-collection-2002-plus. html)

Barbara Randolph
[19] Campbell, Tom (7 February 1971). "Miami Among New Disc Capitals" (http:/ / news. google. com/ newspapers?id=tIIyAAAAIBAJ& sjid=jrcFAAAAIBAJ& pg=2155,2769879& dq=barbara+ randolph& hl=en). The Palm Beach Post. . Retrieved 17 March 2011. [20] Barbara Randolph: The Collection at Discogs.com (http:/ / www. discogs. com/ Barbara-Randolph-The-Collection/ release/ 802896)

373

Diana Ross
Diana Ross

Diana Ross performing at the 2008 Nobel Peace Prize concert in Oslo Background information Birth name Born Origin Genres Occupations Years active Labels Diana Ernestine Earle Ross March 26, 1944 Detroit, Michigan, U.S. R&B, soul, disco, jazz, pop, dance Singer, record producer, actress 1959present Lu Pine, Motown, RCA, EMI

Associated acts The Supremes, The Temptations, The Jackson 5, Marvin Gaye, Michael Jackson, Lionel Richie Website www.dianaross.com [1]

Diana Ernestine Earle Ross (born March 26, 1944[2]) is an American singer, record producer, and actress. Diana Ross was lead singer of the Motown group The Supremes during the 1960s. After leaving the group in 1970, Ross began a solo career that has included successful ventures into film and Broadway. She received a Best Actress Academy Award nomination for her role as Billie Holiday in Lady Sings the Blues (1972), for which she won a Golden Globe award. She has won seven American Music Awards, was honored with a 2012 Lifetime Achievement Grammy Award,[3] and won a Tony Award for her one-woman show, An Evening with Diana Ross, in 1977.[4] In 1976, Billboard magazine named her the "Female Entertainer of the Century."[5] In 1993, the Guinness Book of World Records declared Diana Ross the most successful female music artist in history due to her success in the United States and United Kingdom for having more hits than any female artist in the charts with a career total of 18 number one records in the United States. Diana Ross has sold more than 100 million records worldwide.[6]

Diana Ross Ross is one of the few recording artists to have two stars on the Hollywood Walk of Fameone as a solo artist and the other as a member of The Supremes. In December 2007, she received a John F. Kennedy Center for the Performing Arts Honors Award.

374

Early life
Diana Ross, the daughter of Ernestine (ne Moten) (January 27, 1916 October 9, 1984), a schoolteacher, and Fred Ross, Sr. (July 4, 1920 November 21, 2007), a former United States Army soldier, was born at Hutzel Women's Hospital[7] in Detroit, Michigan. Ross said that she did not see her father until he returned from serving in World War II. Much has been made of whether her first name ends in an "a" or an "e". According to Ross, her mother actually named her "Diane" but a clerical error resulted in her name being recorded as "Diana" on her birth certificate. She always went by "Diane" at home and at school. Her high school yearbook listed her as "Diana" and as early as 1963, when The Supremes released their first album, she was listed in the liner notes as "Diana". At The Supremes' first Copacabana engagement in 1965, she introduced herself to the audience as "Diane", but later that year she started introducing herself as "Diana". Her intimates still call her "Diane".[8][9] After living on Belmont Road in Detroit's North End for several years, Ross's family settled on St. Antoine Street in the Brewster-Douglass housing projects on Ross' fourteenth birthday in 1958. Ross aspired to be a fashion designer, and studied design, millinery, pattern-making and seamstress skills while attending Cass Technical High School, a four-year college preparatory magnet school, in downtown Detroit. In her late teens, Ross worked at Hudson's Department Store where, it was claimed in biographies, that she was the first black employee "allowed outside the kitchen". Ross graduated in January 1962, one semester earlier than her classmates. Ross' parents had a difficult marriage and separated when Ross was still in her teens.

Career
The Supremes: 19591970
In 1959, Ross was brought to the attention of Milton Jenkins, the manager of the local doo-wop group The Primes, by Mary Wilson. Primes member Paul Williams convinced Jenkins to enlist Ross in the sister group The Primettes, which included Wilson, Florence Ballard and Betty McGlown. Ross, Wilson and Ballard each sang lead during live performances. In 1960, Lu Pine Records signed the group and issued the Ross-led single "Tears of Sorrow" backed with the Wilson-led "Pretty Baby". After winning a singing contest in Winnipeg, Manitoba, Ross approached former neighbor Smokey Robinson for an audition at the label with which he recorded with, Motown Records. The group garnered the audition and impressed Motown's CEO, Berry Gordy (who arrived at the audition during the group's performance), but declined to work with the group due to their being underaged. Undeterred, the group would stand outside the label's Hitsville U.S.A. studios hoping to grab attention, eventually providing backing vocals & hand claps for many of Motown's more established artists. Meanwhile during the group's struggling early years, Ross earned pay in the day as Berry Gordy's secretary. She also served at the group's main hair stylist, make-up artist, seamstress & costume designer during this period. In 1961, having already replaced McGlown with Barbara Martin, the quartet signed with Motown Records under their new moniker, The Supremes, chosen by Florence Ballard, who was the only member to be present when the group was offered a name change. Both Ross and Wilson initially disliked the name, afraid they would be mistaken for a men's group (Ruby & the Romantics' original name was The Supremes) but the name stuck regardless. Following Martin's exit in 1962, the group remained a trio. In 1963, Ross became the group's lead singer, as Berry Gordy felt the group could "cross over" to the pop charts with Ross' unique vocal quality, and the Ross-led "When the Lovelight Starts Shining Through His Eyes" became the group's first Billboard Top 40 Pop single. The Supremes hit number one with "Where Did Our Love Go", a song rejected by The Marvelettes, and then achieved unprecedented success: between August 1964 and May 1967, Ross, Wilson and Ballard sang on ten number-one hit

Diana Ross singles, all of which also made the United Kingdom Top 40. Gordy removed Florence Ballard from the group in July 1967 and chose Cindy Birdsong, a member of Patti LaBelle and the Bluebelles, as her replacement. At about the same time, he changed the group's name to Diana Ross & the Supremes. Motown initially conceived of a solo career for Diana Ross in 1966, but did not act on it until 1968. Television specials such as TCB (1968) and G.I.T. on Broadway (1969) were designed to spotlight her as a star in her own right, and much of the later Ross-led Supremes material was recorded by Ross with session singers The Andantes, not Wilson and Birdsong, on backing vocals. By the summer of 1969, Ross began her first solo recordings. In November of the same year, three years after it was first rumored, Billboard magazine confirmed Ross's departure from the group to begin her solo career. That same year, Ross introduced Motown's newest act, The Jackson 5, to national audiences on the Hollywood Palace television variety program. Ross recorded her initial solo sessions with a number of producers, including Bones Howe and Johnny Bristol. Her first track with Bristol, "Someday We'll Be Together", was tagged as a potential solo single, but it instead was issued as the final Diana Ross & the Supremes release. "Someday We'll Be Together" was the 12th and final number-one hit for the Supremes and the last American number-one hit of the 1960s. Ross made her final appearance with the Supremes at the Frontier Hotel in Las Vegas on January 14, 1970.

375

Early solo career: 19701981

After a half-year of recording material with various producers, Ross settled with the production team of Nickolas Ashford and Valerie Simpson, the creative force behind Marvin Gaye's and Tammi Terrell's hit duets and Diana Ross & the Supremes' "Some Things You Never Get Used To". Ashford and Simpson helmed most of Ross's first album, Diana Ross, and continued to write and produce for her for the next decade. In May 1970, Diana Ross was released on Motown. The first single, the gospel-influenced waltz, "Reach Out and Touch (Somebody's Hand)", peaked at number 20 on the Billboard Hot 100. The album's second single, a fully rearranged cover of Gaye's and Terrell's 1967 hit, and another Ashford and Simpson composition, "Ain't No Mountain High Enough", was an international hit, and gave Ross her first #1 pop single and gold record award as a solo artist. "Ain't No Mountain High Enough" received a Grammy nomination for Best Pop Vocal Performance, Female. In 1971, Motown released Ross's second album Everything Is Everything, which produced Ross's first UK number-one solo single, "I'm Still Waiting". Several months later, Ross released Surrender, which included the top-20 pop hit, "Remember Me". That year, she hosted her first solo television special, Diana!, featuring guest appearances by The Jackson 5, Bill Cosby and Danny Thomas. In 1973 Ross returned to number-one with the single "Touch Me in the Morning". The album of the same name became her first top five charted pop release. Later that same year, Ross and fellow Motown star Marvin Gaye released a duet album, Diana & Marvin. The duo scored an international hit with their cover of The Stylistics' "You Are Everything". Also in 1973, she was the first entertainer in Japan's history to receive an invitation to the Imperial Palace for a private audience with the Empress Nagako, wife of Emperor Hirohito. Ross' 1974 follow-up album, Last Time I Saw Him, wasn't as successful despite the success of its country-tinged title track. Two years later Ross ventured into disco with "Love Hangover", which returned her to number-one. The self-titled parent album became another top five hit and included her previous number-one, the movie theme, "Do You Know Where You're Going To (Theme from Mahogany)". Ross' subsequent follow-ups, including Baby It's Me (1977) and Ross (1978) fell off the charts soon after they appeared. Ross did have success with her first Broadway one-woman show, An Evening with Diana Ross. Her performance later won her a Tony. She was featured in TV special with the same name. In 1979 Ross hired former collaborators Ashford & Simpson, who had left Motown in 1973 due to contractual issues with Berry Gordy, to overlook the production of her next album, The Boss. That album produced the hit title track and the modestly successful "It's My House". Ross' working relationship with Berry Gordy had deteriorated at that

Diana Ross point as Gordy refused to be an executive producer of the project. In 1980, Ross hired Nile Rodgers and Bernard Edwards of the group CHIC to overlook production of her final contractual Motown album, diana. That album led to major success with "Upside Down" returning Ross to number-one on the pop charts for the first time since "Love Hangover". Its follow-up, "I'm Coming Out", was as successful and both songs found major success overseas. In 1981, Ross decided not to renew her Motown contract only to discover that everything she thought she had owned was only leased to her by Berry Gordy. Ross accepted a $20 million deal with RCA in 1981, then the most lucrative contract in music. To complete contractual obligations to Motown, Ross recorded several songs with Lionel Richie, one of which, "Endless Love", led to the duo having an international number-one hit. The song was the theme song of the movie of the same name. When "Endless Love" hit #1 in 1981, Diana Ross became the first woman in music history to chart six #1 records. Combining her 12 as lead singer of The Supremes, Diana Ross' career total of number one records is 18, the most for any female recording artist in music history. Mariah Carey tied Ross' record in 2007. Motown issued a compilation album, To Love Again, to compete with Ross' RCA debut.

376

Film career: 19721999

Though Ross had previously appeared in two films while a member of The Supremes, it wasn't until the early 1970s when Berry Gordy began to focus on making Ross an actress. In late 1971, Motown announced that Diana Ross was going to portray jazz icon Billie Holiday in a Motown-produced film loosely based on Holiday's autobiography Lady Sings the Blues (1956) written by Holiday and William Dufty. The movie co-starred Billy Dee Williams as Holiday's lover, Louis McKay. The cast also included comedian Richard Pryor as the "Piano Man". Some critics ridiculed Ross's casting in the role. Ross and Holiday were considered to be "miles apart" in vocal styling and appearance. Undeterred, Ross immersed herself in Holiday's music and life story. She went to drug clinics and talked with doctors as research for the role. Ross made a crucial decision when it came to interpreting Holiday's music. Instead of imitating Billie Holiday's voice, Ross focused on Holiday's seemingly inimitable vocal phrasing. Opening in October 1972, Lady Sings the Blues was a major success, and Ross's performance was lauded and well received. Jazz critic Leonard Feather, a friend of Billie Holiday, praised Ross for "expertly capturing the essence of Lady Day." In 1973, Ross was nominated for both a Golden Globe Award and an Academy Award for "Best Actress". Ross along with fellow nominee that year Cicely Tyson, were the second African American actresses to be nominated for an Academy Award for Best Actress after Dorothy Dandridge. Ross won the Golden Globe for Best Newcomer, but lost the Best Actress Oscar to her friend Liza Minnelli for her role in Cabaret. The soundtrack album for Lady Sings the Blues reached number one on the Billboard 200 for two weeks and broke then industry records by shipping 300,000 copies during its first eight days of release. The double-pocket custom label record is one of Ross's best-selling albums of all time, with total sales to date of nearly two million copies. In 1975, Ross again co-starred with Billy Dee Williams in the Motown film Mahogany. The story of an aspiring fashion designer who becomes a runway model and the toast of the industry, Mahogany was a troubled production from its inception. The film's original director, Tony Richardson, was fired during production and Berry Gordy assumed the director's chair himself. In addition, Gordy and Ross clashed during filming, with Ross leaving the production before shooting was completed, forcing Gordy to use secretary Edna Anderson as a body double for Ross. While a box office success, the film was not well received by the critics: Time magazine's review of the film chastised Gordy for "squandering one of America's most natural resources: Diana Ross".[10] In 1977, Motown acquired the film rights to the Broadway play The Wiz, an African-American reinterpretation of L. Frank Baum's The Wonderful Wizard of Oz. Although teenage Stephanie Mills, a veteran of the play, was originally cast as Dorothy, Ross convinced Universal Pictures producer Rob Cohen to have Ross cast as Dorothy. Because of Ross' age, the script was modified to make the protagonist a school teacher rather than a schoolgirl. Among Ross's costars were Lena Horne, Michael Jackson, Richard Pryor, Nipsey Russell and Ted Ross. Upon its October 1978 release, the film adaptation of The Wiz, a $24 million production, earned $21,049,053 at the box office.[11][12][13]

Diana Ross Though pre-release television broadcast rights had been sold to CBS for over $10 million, the film produced a net loss of $10.4 million for Motown and Universal.[12][13] At the time, it was the most expensive film musical ever made.[14] The film's failure ended Ross' short career on the big screen and contributed to the Hollywood studios' reluctance to produce the all-black film projects which had become popular during the blaxploitation era of the early-to-mid 1970s for several years.[15][16][17] The Wiz was Ross' final film for Motown. Ross had success with movie-themed songs. While her version of Holiday's "Good Morning Heartache" only performed modestly well in early 1973, her recording of "Theme from Mahogany (Do You Know Where You're Going To)" gave Ross her third number-one hit, in late 1975. Three years later, Ross and Michael Jackson had a modest dance hit with their recording of "Ease on Down the Road". Their second duet, actually as part of the ensemble of The Wiz, "Brand New Day", found some success overseas. Ross scored a Top 10 hit in late 1980 with the theme song to the 1980 film It's My Turn. The following year, she collaborated with former Commodores singer-songwriter Lionel Richie on the theme song for the film Endless Love. The Academy Award-nominated "Endless Love" single became her final hit on Motown Records, and the number one record of the year. Several years later, in 1988, Ross recorded the theme song to The Land Before Time. "If We Hold On Together" became an international hit reaching number-one in Japan. Ross would be given movie offers over the years but reportedly turned them down because of either contractual obligations or fears of being typecast. Ross had campaigned to portray pioneering entertainer Josephine Baker in a feature film even during her later years in Motown. However, in 1991, the feature film turned into a TV film with Lynn Whitfield playing Baker instead of Ross. Ross was also offered a role in an early adaptation of The Bodyguard with Ryan O'Neal. However, plans of this adaptation fell through. Years later, Whitney Houston and Kevin Costner assumed the roles of Ross and O'Neal in the 1992 film. In 1993, Ross returned to making movies with a dramatic role in the TV film, Out of Darkness. Ross won acclaim for her role in the film and a well earned third Golden Globe nomination. In 1999, she and Brandy co-starred in the film, Double Platinum, which was released prior to the release of Ross' album, Every Day Is a New Day.

377

Later solo career: 19811999

Diana Ross's RCA Records debut, Why Do Fools Fall in Love, was issued in October 1981. The album yielded three Top 10 hits including the title track "Why Do Fools Fall in Love", a remake of the 1956 Frankie Lymon & the Teenagers classic of the same name, and the single "Mirror Mirror". A third single, "Work That Body", hit the Top Ten in the UK. That success was repeated if only more modestly with the 1982 album, Silk Electric. Ross' recording of Michael Jackson's "Muscles" gave Ross another top ten hit. Ross' 1983 album, Ross, failed to produce any major success. It's single "[Pieces Of Ice]" peaked at #31 on the Hot 100 and was more popular as a music video than a Pop hit. On January 24, 1982, Diana Ross sang the National Anthem at Super Bowl XVI. On July 21, 1983, Ross performed a concert in Central Park for a taped Showtime special. Proceeds of the concert would be donated to build a playground in the singer's name. Midway through the beginning of the show, a torrential downpour occurred. Ross tried to keep on performing, but the severe weather required that the show be stopped. Ross urged the large crowd to exit the venue safely, promising to perform the next day. The second concert held the very next day was without rain. The funds for the playground were to be derived from sales of different items at the concert; however, all profits earned from the first concert were spent on the second. When the mainstream media discovered the exorbitant costs of the two concerts, Diana Ross faced criticism and poor publicity. Although representatives of Diana Ross originally refused to pay anything for the proposed playground, Ross later paid the $250,000 required to build the park. The Diana Ross Playground was finally built three years later.[18] The Diana Ross Playground at 83rd and Central Park West is a beautiful assortment of wood structures and classic outdoor children's gym obstacles making it a lovely addition to the park.

Diana Ross In 1984, Ross' career spiked yet again with the release of the million-selling Swept Away. The title track became an international hit as did the chart-topping ballad, "Missing You", which was a tribute to Marvin Gaye, who had died earlier that year. Her 1985 album, Eaten Alive, found major success overseas with the title track and "Chain Reaction", although neither of the songs became the best-sellers she was once accustomed to in America. Earlier in 1985, she appeared as part of the supergroup USA for Africa on the "'We Are the World'" charity single, which sold over 20 million copies world wide. Ross' 1987 follow up to Eaten Alive, Red Hot Rhythm & Blues, found less success than the prior album. In 1988, Ross chose to not renew her RCA contract. Motown Records was being sold by Berry Gordy for $60 million. Ross advised Gordy not to make the move. Before leaving Motown, Gordy offered Ross a contract back to Motown. Ross was at first hesitant to return to the label but agreed after Gordy offered her part-ownership of the label. Despite initial promotion, Ross' next album, Workin' Overtime, bombed. Subsequent follow-ups including The Force Behind the Power (1991), Take Me Higher (1995) and Every Day Is a New Day (1999) produced similarly disappointing sales. Ross had more success overseas with the albums than she did in America. In 1994, Ross performed at the opening ceremony of the FIFA World Cup, hosted in the USA. Her performance has become a running joke in football circles due to her obvious miming and for missing the goal from close range.[19][20] On January 28, 1996, Diana Ross performed the Halftime Show at Super Bowl XXX. In 1999, she was named the most successful female singer in the history of the United Kingdom charts, based upon a tally of her career hits. Madonna would eventually succeed Ross as the most successful female artist in the UK. Later that year, Ross presented at the 1999 MTV Video Music Awards in September of the year and shocked the audience by touching rapper Lil' Kim's exposed breast, pastry-covered nipple, amazed at the young rapper's brashness.[21]

378

Supremes reunions and Return to Love

In 1983, Ross reunited with former Supremes Mary Wilson and Cindy Birdsong for the television special Motown 25: Yesterday, Today, Forever. The three performed their 1969 number-one hit "Someday We'll Be Together", although alleged onstage altercations between Ross and Wilson became an issue during and after the taping of the special. A four-song Supremes set was planned but Ross, suffering from influenza, declined to rehearse with "The Girls" and stated that they would have to be happy just doing "Someday We'll Be Together". Before the special was taped later that evening, Wilson allegedly planned with Birdsong to take a step forward every time Ross did the same. This appeared to frustrate Ross, causing her to push Wilson's shoulder. Later, Wilson was not aware of the script set by producer Suzanne DePasse, in which Ross was to introduce Berry Gordy. Wilson took it upon herself to do so,[22] at which point Ross pushed down Wilson's hand-held microphone, stating "It's been taken care of." Ross, then, introduced Gordy.[23] These incidents were excised from the final edit of the taped special, but still made their way into the news media; People magazine reported that "Ross [did] some elbowing to get Wilson out of the spotlight."[24] The original Supremes were inducted to the Rock and Roll Hall of Fame in 1988. Original member Florence Ballard had died twelve years earlier. Ross was performing around the time of the induction ceremony and was unable to attend; Mary Wilson accepted the award. In 1999, Ross, Wilson and Cindy Birdsong held discussions about a possible Supremes reunion tour. These negotiations failed, and Ross hired late-era Supremes members Lynda Laurence and Scherrie Payne, who were touring as the Former Ladies of the Supremes, to participate. The Return to Love tour was launched in June 2000. The tour did well in large markets, but, struggled in medium markets due to controversial press stories. Despite selling out the final evening at Madison Square Garden in New York, the tour ended abruptly after just fourteen dates.

Diana Ross

379

Current work
Following successful European and American tours in 2004, Diana Ross returned to the Billboard music charts with two duets in 2005. "I've Got a Crush on You", recorded with Rod Stewart for his album The Great American Songbook, reached number 19 on the Billboard Hot Adult Contemporary chart. The second, recorded with Westlife, was a remake of Ross's 1991 number-2 UK single, "When You Tell Me You Love Me", and reached number 2 in the UK, just as the original had, and number 1 in Ireland. In January, 2005, M.A.C. Cosmetics named Diana Ross its beauty icon for 2005. In June 2006, Motown released the shelved Blue album, which peaked at number 2 on Billboard's Jazz Albums chart. Ross' new studio album, I Love You, was released worldwide on October 2, 2006 and January 16, 2007, in North America, on the Manhattan Records/EMI label.[25] Since its release in 2007, EMI Inside reports that I Love You has sold more than 622,000 copies worldwide. In January 2007, Ross appeared on a number of television shows across the U.S. to promote her new album and began touring in the spring. She appeared on American Idol as a mentor to the contestants[26] Ross's United States "I Love You" tour garnered positive reviews,[27] as did her European tour of the same year.[28] At the 2007 BET Awards, Ross was presented with a Lifetime Achievement Award by her five children and singer Alicia Keys. Stevie Wonder, Erykah Badu and Chaka Khan performed musical Diana Ross is applauded by her fellow Kennedy Center honorees as she is recognized for her tributes to Ross, covering several of her most popular recordings. career achievements by President George W. During her acceptance speech, Ross lambasted the declining level of Bush in the East Room of the White House professional standards among the younger generation's musicians, as Sunday, Dec. 2, 2007, during the Kennedy Center well as their overabundant use of vulgarity and profanity to garner Gala Reception. From left are singer-songwriter Brian Wilson; filmmaker Martin Scorsese; Ross; press attention and record sales. Later that year, the prestigious comedian, actor and author Steve Martin and Kennedy Center Honors committee, which recognizes career pianist Leon Fleisher. excellence, cultural influence and contributions to American culture, named Diana Ross as one of its honorees. Past honoree and fellow Motown alumni Smokey Robinson and actor Terrence Howard spoke on her behalf at the official ceremony that December, and singers Ciara, Vanessa L. Williams, Yolanda Adams and American Idol winner Jordin Sparks performed musical tributes. The lectures are designed to present prolific and influential characters to speak about their life and inspirations. During her lecture Ross stated that it is "unlikely" that she would undertake any further movie projects. In May 2008, Ross headlined at New York City's Radio City Music Hall's 'Divas with Heart' concert event, which also featured fellow performers Gladys Knight, Chaka Khan and Patti LaBelle. The following month she was a headliner at the City Stages music festival in Birmingham, AL, next to The Flaming Lips. The New York Times said about the duo, "the most incongruous headliners at an outdoor urban concert series, with the once-in-a-lifetime-at-most combination of Diana Ross and the Flaming Lips. Something for everyone, surely." She performed at two major events in the UK in July 2008: the famous Liverpool Pops Festival and the National Trust Summer Festival at Petworth House, West Sussex. In June 2009, Diana Ross' recording of "Ain't No Mountain High Enough" was voted a Legendary Michigan Song.[29] On October 1617, 2009, Diana Ross headlined the annual Dutch concert event, Symphonica in Rosso, in the 34,000-seat Gelredome Stadium, in Arnhem, The Netherlands. She was accompanied by a 40-piece orchestra. Each of the two concerts was sold out. Ross performed a cross-country tour in the summer of 2010. The More Today Than Yesterday: The Greatest Hits Tour featured an all-new set list, stage design, and costumes galore, and was dedicated to her friend Michael Jackson who died in June 2009. The tour, which commenced on May 15, 2010, in Boston, Massachusetts, earned Ross excellent reviews in every city in which she performed, and concluded in Saratoga, California. An extended

Diana Ross American leg of the tour began in September, 2010, and is scheduled to continue until March 2011, in Stamford, Connecticut, after which, another American leg of her tour will begin on September 11, 2011, at Temecula, CA's Pechanga Resort and Casino, & continuing throughout autumn, 2011. It is rumored that Ross will mount European & Asian legs of the tour. In June 2011, Diana Ross was voted into the Michigan Rock and Roll Legends online Hall of Fame.[29] On December 21, 2011, The Recording Academy has announced, along with several legendary artists, including bossa nova originator Antonio Carlos Jobim & late Apple CEO Steve Jobs, Diana Ross received a Grammy Special Merit Lifetime Achievement Award on February 11, 2012. On February 23, 2012, Ross will begin the fifth US leg of her highly successful More Today Than Yesterday: The Greatest Hits Tour at the Seminole Hard Rock Hotel & Casino, in Hollywood, Fla.

380

Personal life
While Ross' mother was supportive of her career, her father was disappointed in her choice to be an entertainer rather than attend college like her other siblings. Biographies later stated Ross' drive was inspired by a lack of a support she felt from her father. Ross and her father's relationship repaired over the years until Fred Ross died in 2007. Ross' mother died in 1984. Ross' elder sister Barbara found success as a doctor and in 1993, was appointed as dean of the Ohio University College of Osteopathic Medicine, becoming the first black American woman to administer a medical school in the United States. Rita Ross, Diana's younger sister, became a teacher. Brothers Arthur and Wilbert "Chico" Ross followed their sister into the recording industry and entertainment business, respectively. Arthur became a songwriter for Motown writing hits for Michael Jackson, The Miracles and Marvin Gaye while Chico became a professional dancer and choreographer joining his elder sister as a choreographer on her shows during the 1970s and 1980s. Eldest brother Fred Ross, Jr., a veteran of the Vietnam War, never followed his sister into show business settling for civilian life in his native Detroit. Brother Arthur and his wife, Patricia Robinson, were murdered in 1996 in the northern Detroit suburb of Oak Park, Michigan. Their bodies were found bound and gagged in their basement. As of this writing, no one has been convicted of the murders. A state's witness disappeared before the case's primary suspect could be tried. Ross married twice. Her first husband was music business manager Robert Ellis Silberstein, whom she married in January 1971. They divorced in March 1977. In January 1986, after a romantic courtship, Ross married billionaire Norwegian shipping magnate Arne Nss, Jr.. After several years of legal separation, the couple were officially divorced in 2000. Nss was later killed in a mountain climbing accident in 2004. Ross attended his funeral. Ross is the mother of five children. Daughter Rhonda Suzanne Silberstein was born on August 14, 1971, Rhonda's biological father is Berry Gordy. She is now married; her married name is Rhonda Ross Kendrick. Ross and Silberstein had two daughters: Tracee Joy Silberstein, born October 29, 1972(now known as Tracee Ellis Ross) and Chudney Lane Silberstein, born November 4, 1975 (now known as Chudney Ross). Ross had two sons with Nss. Their sons are Ross Arne Nss (born October 7, 1987) and Evan Olav Nss (born August 26, 1988), now known as Evan Ross). Ross became a grandmother when daughter Rhonda gave birth to a boy, Raif-Henok Emmanuel Kendrick, on August 7, 2009.

Diana Ross

381

Filmography
1964: T.A.M.I. Show (with The Supremes) 1965: Beach Ball (with The Supremes) 1972: Lady Sings the Blues 1975: Mahogany 1978: The Wiz 1994: Out of Darkness 1999: Double Platinum 2002: The Making and Meaning of We Are Family (documentary) 2010: Met With Sandra Ellison and Tamia Holmes

Television
1968: Tarzan (with The Supremes) 1968: T.C.B. (with The Supremes) 1969: G.I.T. on Broadway (with The Supremes) 1971: Diana! 1977: The Big Event: An Evening with Diana Ross 1979: Diana Ross in Concert! 1981: diana 1981: Standing Room Only: Diana Ross 1983: Motown 25: Yesterday, Today, Forever 1983: For One And For All Diana Ross Live! in Central Park 1987: Diana Ross: Red Hot Rhythm and Blues 1989: Diana Ross: Workin' Overtime 1992: Diana Ross Live! The Lady Sings... Jazz & Blues: Stolen Moments 1994: Out of Darkness 1996: Super Bowl XXX 1999: Double Platinum 2000: VH1 Divas 2000: A Tribute to Diana Ross 2005: Tsunami Aid 2007: BET Awards 2007 2007: Kennedy Center Honors 2008: Nobel Peace Prize Concert

Autobiographies
Ross, Diana (October 1993). Secrets of a Sparrow. Random House. ISBN0-679-42874-7. Ross, Diana; Rosanne Shelnutt (ed.) (December 2002). Diana Ross: Going Back. New York: Universe. ISBN0-7893-0797-9. (A scrapbook-style collection of photographs)

References
[1] [2] [3] [4] http:/ / www. dianaross. com http:/ / www. musicbyday. com/ diana-ross-was-born-on-march-26-1944/ 425/ http:/ / au. news. yahoo. com/ thewest/ entertainment/ a/ -/ music/ 12885993/ ross-awarded-life-time-achievement/ http:/ / www. pynkcelebrity. com/ archives/ 47119

[5] http:/ / dianaross. awardspace. com/ [6] http:/ / www. acl-live. com/ calendar/ 2011/ 2/ diana-ross [7] Whitburn, Joel; The Billboard Book of Number 1 Hits, p. 207

Diana Ross
[8] Wilson, Mary (1986). Dreamgirl: My Life as a Supreme. Cooper Square Press. pp.169170. ISBN0-8154-1000-X. [9] George, Nelson (1985). Where Did Our Love Go? The Rise and Fall of the Motown Sound. St. Martin's Press. pp.8081, 87. ISBN0-312-01109-1. [10] Posner, Gerald. Motown : Music, Money, Sex, and Power, pg. 286. [11] Sharp, Kathleen (2003). Mr. and Mrs. Hollywood: Edie and Lew Wasserman and Their Entertainment Empire. Carroll & Graf Publishers. pp.357358. ISBN0-7867-1220-1. [12] Harpole, Charles (2003). History of the American Cinema. Simon and Schuster. pp.64, 65, 219, 220, 290. ISBN0-684-80463-8. [13] Adrahtas, Thomas (2006). A Lifetime to Get Here: Diana Ross: The American Dreamgirl. AuthorHouse. pp.163167. ISBN1-4259-7140-7. [14] Skow, John (October 30, 1978). "Nowhere Over the Rainbow" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,912236,00. html). TIME (Time Warner). . Retrieved 2007-11-06. [15] Moon, Spencer; George Hill (1997). Reel Black Talk: A Sourcebook of 50 American Filmmakers. Greenwood Press. xii. ISBN0-313-29830-0. [16] Benshoff, Harry M.; Sean Griffin (2004). America on Film: Representing Race, Class, Gender, and Sexuality at the Movies. Blackwell Publishing. p.88. ISBN0-631-22583-8. [17] George, Nelson (1985). Where Did Our Love Go? The Rise and Fall of the Motown Sound. St. Martin's Press. p.193. [18] Anderson, Susan Heller and Deirdre Carmody (September 12, 1986). "NEW YORK DAY BY DAY; Start at Ross Playground." New York Times. (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9A0DE2DC1F3CF931A2575AC0A960948260) [19] Ben Blackmore (2010-06-09). "World Cup Preview | Football Features" (http:/ / www. espn. co. uk/ football/ sport/ story/ 26075. html). ESPN.co.uk. . Retrieved 2010-06-30. [20] "The Top 10 Funniest World Cup Moments" (http:/ / www. marketwatch. com/ story/ the-top-10-funniest-world-cup-moments-2010-05-27?reflink=MW_news_stmp). MarketWatch. 2010-05-27. . Retrieved 2010-06-30. [21] "Diana Ross and Lil' Kim's wild VMA moment" (http:/ / www. ew. com/ ew/ article/ 0,,345909__339339_4,00. html), Lisa Costantini, August 21, 2002, Entertainment Weekly. Retrieved March 26, 2007. [22] Wilson, Mary. Dreamgirl, My Life As A Supreme and Taraborrelli, Randy, "Call Her Miss Ross, George, Nelson " Where Did Our Love Go?, The Rise & Fall Of Motown [23] Posner, Gerald. Motown : Music, Money, Sex, and Power, pg. 308309. and Taraborrelli, Randy, "The Unauthorized Biography of Diana Ross. [24] Wilson, Mary. Dreamgirl: My Life as a Supreme., pg. 15. Taken from Wilson, Mary and Romanowski, Patricia (1986, 1990, 2000). Dreamgirl & Supreme Faith: My Life as a Supreme. New York: Cooper Square Publishers. ISBN 0-8154-1000-X. [25] Cohen, Jonathan (2006-12-13). "New Diana Ross Album To Get U.S. Release" (http:/ / www. billboard. com/ bbcom/ news/ article_display. jsp?vnu_content_id=1003520936). Billboard. . [26] ourdailyripa (2007-01-16). "Diana Ross on Live with Regis and Kelly" (http:/ / www. youtube. com/ watch?v=tyBuWrAGAsU). YouTube. . [27] 2007 Tour: Diana Ross is divine in Oakland, California (http:/ / www. homestead. com/ wysinger/ ross. html) [28] 2007 European Tour (http:/ / www. diana-ross-tribute-fansite. com/ EUROPE Tour 2007. html) [29] www.michiganrockandrolllegends.com

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http://sixmillionsteps.com/drupal/node/1085 80 minute audio mix of Diana Ross songs/interviews (31) http://www.boxofficemojo.com/movies/?id=wiz.htm

Further reading
Taraborrelli, J. Randy (2007-05-01). Diana Ross: A Biography. Citadel. ISBN0-8065-2849-4.

External links
Official website (http://www.dianaross.com) International Diana Ross (http://www.dianaross.de) website Diana Ross Tribute Fansite (http://www.diana-ross-tribute-fansite.com) website Barbara Walters interviews Diana Ross about "Return To Love" Tour (http://www.youtube.com/ watch?v=gqsvrwosQAk) International Diana Ross Fanclub (http://www.dianarossfanclub.net) website Diana Ross Superstar (http://diana-ross-superstar.tripod.com/) website Diana Ross (http://www.discogs.com/artist/Diana+Ross) discography at Discogs Diana Ross (http://musicbrainz.org/artist/60d41417-feda-4734-bbbf-7dcc30e08a83.html) discography at MusicBrainz

Diana Ross Carlo's Supremes (http://supremes.homestead.com) website Mark's Diana Ross (http://www.marksdianarosswebsite.com) website unofficial biography (http://www.oberlin.k12.oh.us/talent/isp/reports2005/6Anne.htm) page Supremes 9.0 (http://e-fansite.com/supremes) fansite Diana Ross interview (http://digital.library.unt.edu/ark:/67531/metadc19781/m1/) recorded 10.13.1968 (http://www.library.unt.edu/resolveuid/4cc65566ba40054b35e4348f2eece755) on the Pop Chronicles Diana Ross (http://www.imdb.com/name/nm0005384/) at the Internet Movie Database

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The Supremes

384

The Supremes
The Supremes
The Supremes: Diana Ross (left), Mary Wilson (center), Florence Ballard (right) circa 1965 Background information Also known as Origin The Primettes; Diana Ross & the Supremes Detroit, Michigan, United States Pop, R&B, soul, psychedelic soul, Motown, doo-wop, disco 19591977 Lu Pine (Primettes), Motown (Supremes) The Temptations, Four Tops, The Marvelettes, Martha and the Vandellas, Mary Wells, The Velvelettes, Stevie Wonder, Mary Wilson Past members Mary Wilson Diana Ross Florence Ballard Betty McGlown Barbara Martin Cindy Birdsong Jean Terrell Lynda Laurence Scherrie Payne Susaye Greene

Genres Years active Labels Associated acts

The Supremes, an American female singing group, were the premier act of Motown Records during the 1960s. Originally founded as The Primettes in Detroit, Michigan, in 1959, The Supremes' repertoire included doo-wop, pop, soul, Broadway show tunes, psychedelic soul, and disco. They were the most commercially successful of Motown's acts and are, to date, America's most successful vocal group[1] with 12 number one singles on the Billboard Hot 100.[2] Most of these hits were written and produced by Motown's main songwriting and production team, HollandDozierHolland. At their peak in the mid-1960s, The Supremes rivaled The Beatles in worldwide popularity,[2] and their success made it possible for future African American R&B and soul musicians to find mainstream success.[2] Founding members Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, all from the Brewster-Douglass public housing project in Detroit,[3] formed The Primettes as the sister act to The Primes (with Paul Williams and Eddie Kendricks, who went on to form The Temptations).[3] Barbara Martin replaced McGlown in 1960, and the group signed with Motown the following year as The Supremes. Martin left the act in early 1962, and Ross, Ballard, and Wilson carried on as a trio. During the mid-1960s, The Supremes achieved mainstream success with Ross as lead singer. In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, and replaced Ballard with Cindy Birdsong. Ross left to pursue a solo career in 1970 and was replaced by Jean Terrell, at which point the group's name reverted to The Supremes. After 1972, the lineup changed more frequently; Lynda Laurence, Scherrie Payne, and Susaye Greene all became members of the group during the mid-1970s. The Supremes disbanded in 1977 after an 18-year run.

The Supremes

385

History
Origins
In 1958, Florence Ballarda junior high school student living in the Brewster-Douglass housing projects in Detroitmet Paul Williams and Eddie Kendricks, two members of a Detroit male singing group known as The Primes.[3] Since Ballard sang, as did Paul Williams' girlfriend Betty McGlown, The Primes's manager Milton Jenkins decided to create a sister group to The Primes called The Primettes.[3] Ballard recruited her best friend Mary Wilson, who in turn recruited classmate Diane Ross.[3] Mentored and funded by Jenkins, The Primettes began by performing hit songs by artists such as Ray Charles and The Drifters at sock hops, social clubs and talent shows around the Detroit area.[3] Receiving additional guidance from group friend and established performer Jesse Greer, the quartet quickly earned a local fan following.[4] The girls crafted an age-appropriate style that was inspired by the collegiate dress of popular doo-wop group Frankie Lymon & the Teenagers;[5] and, for the most part, Ballard, Ross and Frederick Douglass housing project in Detroit Wilson performed equal leads on songs. Within a few months, guitarist Marvin Tarplin was added to The Primettes' lineup a move that helped distinguish the group from Detroit's many other aspiring acts by allowing the girls to sing live as opposed to lip-synch.[6] After winning a prestigious local talent contest,[7] The Primettes' sights were set on making a record. In hopes of getting the group signed to the local upstart Motown label, in 1960 Ross asked an old neighbor, Miracles lead singer Smokey Robinson, to help the group land an audition for Motown executive Berry Gordy,[8] who had already proven himself a capable songwriter.[9] Robinson liked the girls and agreed to help, but he liked their guitarist even more; with The Primettes' permission he hired Tarplin, who became the guitarist for The Miracles.[8] Robinson arranged for The Primettes to audition a cappella for Gordy but Gordy, feeling the girls too young and inexperienced to be recording artists, encouraged them to return upon graduating from high school.[8] Undaunted, later that year The Primettes recorded a single for Lu Pine Records (a label created just for them) entitled "Tears of Sorrow", which was backed with "Pretty Baby".[10] The single, however, failed to find an audience.[11] Shortly thereafter, McGlown became engaged and left the group.[12] Local youth Barbara Martin was McGlown's quick replacement.[11] Determined to leave an impression on Gordy and join the stable of rising Motown stars, The Primettes frequented his Hitsville, U.S.A. recording studio every day after school.[13] Eventually, they convinced Gordy to allow them to contribute hand claps and background vocals for the songs of other Motown artists including Marvin Gaye and Mary Wells.[14] In January 1961, Gordy finally relented and agreed to sign the girls to his label but under the condition that they change the name of their group.[15] The Primes had by this time combined with Otis Williams & the Distants and would soon sign to Motown as The Temptations.[16] Gordy gave Ballard a list of names to choose from that included suggestions such as "The Darleens", "The Sweet Ps", "The Melodees", "The Royaltones" and "The Jewelettes".[17] Ballard chose "The Supremes", a name that Ross initially disliked as she felt it too masculine. Nevertheless, on January 15 the group signed with Motown as The Supremes.[18] In the spring of 1962, Martin left the group to start a family. Thus, the newly named Supremes continued as a trio.[19] Between 1961 and 1963, The Supremes released eight singles, none of which charted in the Top 40 positions of the BillboardHot100.[2] Jokingly referred to as the "no-hit Supremes" around Motown's Hitsville U.S.A. offices,[20] the group attempted to compensate for their lack of hits by taking on any work available at the studio, including providing hand claps and singing backup for Motown artists such as Marvin Gaye and The Temptations. During

The Supremes these years, all three members took turns singing lead: Wilson favored soft ballads; Ballard favored soulful, hard-driving songs; and Ross favored mainstream pop songs. Most of their early material was written and produced by Berry Gordy or Smokey Robinson.[21] In December 1963, the single "When the Lovelight Starts Shining Through His Eyes" peaked at number 23 on the Billboard Hot 100.[22] "Lovelight" was the first of many Supremes songs written by the Motown songwriting and production team known as HollandDozierHolland.[23] In late 1963, Berry Gordy chose Diana Ross as the official lead singer of the group.[24] Ballard and Wilson were periodically given solos on Supremes albums, and Ballard continued to sing her solo number, "People", in concert for the next two years.[25] In the spring of 1964, The Supremes recorded the single "Where Did Our Love Go".[24] The song was originally intended by Holland-Dozier-Holland for The Marvelettes, who rejected it.[24] Although The Supremes disliked the song, the producers coerced them into recording it.[24] In August 1964, while The Supremes toured as part of Dick Clark's Caravan of Stars, "Where Did Our Love Go" reached number one on the US pop charts, much to the surprise and delight of the group.[26] It was also their first song to appear on the UK pop charts, where it reached number three. "Where Did Our Love Go" was followed by four consecutive US number-one hits: "Baby Love" (which was also a number-one hit in the UK), "Come See About Me", "Stop! In the Name of Love" and "Back in My Arms Again".[27] "Baby Love" was nominated for the 1965 Grammy Award for Best R&B Song.[28]

386

Impact
The Supremes became the first black female performers of the rock era to embrace a more feminine image. Much of this was accomplished at the behest of Motown chief Berry Gordy and Maxine Powell, who ran Motown's in-house finishing school and Artist Development department.[29] Unlike many of her contemporaries, Ross sang in a thin, calm voice, and her vocal styling was matched by having all three women embellish their femininity instead of imitate the qualities of male groups. Eschewing plain appearances and basic dance routines, The Supremes appeared onstage in detailed make-up and high-fashion gowns and wigs, and performed graceful choreography created by Motown choreographer Cholly Atkins. Powell told the group to "be prepared to perform before kings and queens."[29] Gordy wanted The Supremes, like all of his performers, to be equally appealing to black and white audiences,[30] and he sought to erase the image of black performers as being unrefined or lacking class. At the time, with the exception of The Beatles, the Supremes were the only popular vocal group being marketed for the individual personalities of each member. Thus, many Supremes fans not only knew the names of each Supreme, but also knew other fan facts such as their own individual hobbies and their favorite singers. On the album, More Hits by the Supremes, each member is pictured separately on the front, with her signature above it. By 1965, The Supremes were international stars. They toured the world, becoming almost as popular abroad as they were in the US.[31][32] Almost immediately after their initial number-one hits, they recorded songs for motion picture soundtracks, appeared in the 1965 film Beach Ball, and endorsed dozens of products, at one point having their own brand of bread. By the end of 1966, their number-one hits included "I Hear a Symphony", "You Can't Hurry Love" and "You Keep Me Hangin' On".[33] That year the group also released The Supremes A' Go-Go, which became the first album by an all-female group to reach number one on the US Billboard 200, knocking The Beatles' Revolver out of the top spot.[34]

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387

Because The Supremes were popular with white audiences as well as with black ones, Gordy had the group cater to its middle American fan base by grooming the women for performances at renowned supper clubs such as the Copacabana in New York.[35] Broadway and pop standards were incorporated into their repertoire alongside their own hit songs. As a result, The Supremes became one of the first black musical acts to achieve complete and sustained crossover success. Black rock and roll musicians of the 1950s had seen many of their original hit tunes covered by white musicians, with these covers usually achieving more fame and sales success than the originals. The Supremes' success, however, counteracted this trend. Featuring three group members who were marketed for their individual personalities (a move unprecedented at the time) and Diana Rosss pop-friendly voice, The An Ed Sullivan Show performance, 1966. Supremes broke down racial barriers with rock and roll songs underpinned by R&B stylings. The group became extremely popular both domestically and abroad, becoming one of the first black musical acts to appear regularly on television programs such as Hullabaloo, The Hollywood Palace, The Della Reese Show, and, most notably, The Ed Sullivan Show, on which they made 17 appearances.[29] The Supremes' cross-cultural success effectively paved the way for the mainstream success of contemporaneous label mates such as The Temptations, the Four Tops and The Jackson 5.

Name and personnel changes

Personnel problems within the group and within Motown Records' stable of performers led to tension among the members of The Supremes. Many of the other Motown performers, particularly Martha Reeves of Martha and the Vandellas, felt that Berry Gordy was lavishing too much attention upon the groupand upon Ross, in particular.[2] As Ross became the focal point of The Supremes, Ballard felt pushed aside in the group. Depression ensued, and Ballard began to drink excessively, gaining weight until she could no longer comfortably wear many of her stage outfits. The friendship, and later the working relationship, between Ross and Ballard became strained.[36] During this turbulent period, Ballard relied heavily upon the advice of group mate Mary Wilson, with whom she had maintained a close friendship. Wilson, while outwardly demure and neutral in hopes of keeping the group stable, privately advised Ballard that Ross and Gordy were eager to oust Ballard.[37] Although The Supremes scored two number-one hits during the first quarter of 1967, "Love Is Here and Now You're Gone" and "The Happening", the group as a unit began to disintegrate. Rumors began to circulate in late 1966 that Motown intended to rename the group Diana Ross and the Supremes. However, in early 1967 it was officially announced that the group was to be billed as "The Supremes with Diana Ross". The Miracles had become "Smokey Robinson & the Miracles" two years prior. The fall of 1967 saw Martha & the Vandellas become "Martha Reeves & the Vandellas".[38] Having learned that Ross would receive top billing, David Ruffin lobbiedunsuccessfullyto have the Temptations renamed as "David Ruffin & the Temptations",[39] although Gordy maintained that the name changes were done so that Motown could demand more money for live bookings (because they would be providing two actsa lead singer and a groupinstead of just one). The Supremes' name change sparked rumors of a possible solo career for Ross, and contributed to the professional and personal dismantling of the group. According to Mark Ribowsky's 2009 book The Supremes: A Saga of Motown Dreams, Success, and Betrayal, Gordy intended to replace Ross with Barbara Randolph as early as 1966 during a run of live gigs in the autumn of that year, but changed his mind and instead kept Ross in the group for several more years.[40] Gordy's caution however, may have been sparked by an incident in early 1966 as the group prepared to make their second appearance at the Copacabana. Angered by Ballard's erratic behavior, Gordy intended to replace her with Marlene Barrow, a member of the Motown in-house singing group The Andantes. As a member of the group Barrow had backed the Supremes on some of their in studio recordings and was familiar with their material.

The Supremes Gordy ordered Wilson to teach Barrow the group's dance routines. However, when Copa management heard of this change, they threatened to cancel the group's appearance if Ballard was replaced as the banter she, Wilson, and Ross did through their act was seen as a major part of the group's success. For Gordy this revealed that the group was as a whole still the main attraction as opposed to just Ross herself. Thus Gordy held back in spinning Ross off as a solo act for several more years during which he slowly built up her celebrity away from The Supremes. By 1967, Ballard would not show up for recording dates, or would arrive at shows too inebriated to perform. For some early 1967 shows, she was replaced by Marlene Barrow. Looking for a more permanent replacement, Gordy once again thought of Barbara Randolph, possibly believing that Randolph could gradually be groomed as lead singer for the group once it was decided to take Ross solo. However, Ross did not receive Randolph well possibly due to the fact that she had been seen as a replacement for Ross herself. Gordy instead contacted Cindy Birdsong in April 1967; she was a member of Patti LaBelle & the Bluebelles and superficially resembled Ballard. Gordy began plans to bring her in as Ballard's replacement. Birdsong appeared at a benefit concert at the Hollywood Bowl on April 29, 1967, but returned to The Bluebelles soon afterward due to prior commitments. In May, Ballard returned for what she believed was a probationary period although it was seen by some as just a stop gap measure until Birdsong's contract was up with the Bluebelles. During May and June, knowing that she was one step away from being dismissed, Ballard made an attempt to tow the line. She slimmed down and showed up for every rehearsal and appearance on time and sober. During this period she appeared with the Supremes at the Copacabana and made appearances on What's My Line, The Ed Sullivan Show, and The Tonight Show with Johnny Carson with the group. Nevertheless, Ballard suspected that Birdsong was waiting in the wings to take her place at the moment's request of Gordy and in fact Birdsong, whose contract was up in June, was secretly traveling with the Supremes, standing by in case Ballard did not show up. On June 29, 1967 the group returned to the Flamingo Hotel in Las Vegas. What made this appearance significant was the fact that they were being billed as "The Supremes with Diana Ross", the first time in which Ross was billed separately from the group. The first two days of the concert went by smoothly and were even festive as on June 30, Ballard celebrated her 24th birthday, with Mary Wilson and Motown staff throwing her a surprise party. Nevertheless, things took an ominous turn on July 1. When reporting for makeup and wardrobe before their early evening concert, Ballard discovered an extra set of gowns and costumes that had been brought along for Cindy Birdsong. Angered Ballard performed the first concert of the night inebriated, leading to an embarrassing on-stage incident in which her stomach was revealed when she purposely thrust it forward during a dance routine. Enraged Gordy ordered her back to Detroit and permanently dismissed her from the group. Birdsong officially assumed her place during the second July 1 show.[36][41] One month later, Gordy renamed the group "Diana Ross and the Supremes," putting Ross's name ahead of the group. Ballard's release from Motown was made final on February 22, 1968, when she received a one-time payment of US$139,804.94 in royalties and earnings.[42] She attempted a solo career with ABC Records, and was forced to formally reject a solo contract offered by Motown as part of her settlement.[43] Ballard's two 1968 singles failed to chart and her solo album was shelved.[44] In 1971, Ballard sued Motown for $8.7million, claiming that Gordy and Diana Ross had conspired to force her out of the group;[45] the judge ruled in favor of Motown. Ballard eventually sank into poverty and died abruptly on February 22, 1976 from coronary thrombosis at the age of 32.[46] At the time of her death, she had begun to make financial and personal strides and was planning to reinvigorate her solo career.

388

Ross' departure
Holland-Dozier-Holland left Motown in early 1968 after a dispute with the label over royalties and profit sharing,[47] and the quality of Motown's output (and Diana Ross & the Supremes' records in particular) began to falter. From "Reflections" in 1967 to "The Weight" in 1969, only six out of the eleven released singles reached the Top 20, and only one of those, 1968's "Love Child",[48] made it to number one. Due to the tension within the group and stringent touring schedules, neither Mary Wilson nor Cindy Birdsong appear on many of these singles; they were replaced on these recordings by session singers such as The Andantes.[49] The changes within the group and their decreasing sales were signs of changes within the music industry. The gospel-based soul of female performers such as Aretha

The Supremes Franklin had eclipsed The Supremes' pop-based sound, which had by now evolved to include more middle-of-the-road material. In a cultural climate now influenced more than ever by countercultural movements such as the Black Panther Party, The Supremes found themselves attacked for not being "black enough", and lost ground in the black music market.[50] In mid-1968, Motown initiated a number of high-profile collaborations for The Supremes with their old colleagues, The Temptations. Besides the fact that both groups had come up together, the pairings made financial sense: The Supremes had a mostly white fanbase, while The Temptations a mostly black fanbase. By 1969, the label began plans for a Diana Ross solo career.[51] A number of candidatesmost notably Syreeta Wrightwere considered to replace Ross. After seeing 24-year-old Jean Terrell perform with her brother Ernie, Berry Gordy decided on Ross' replacement. Terrell was signed to Motown and began recording the first post-Ross Supremes songs with Wilson and Birdsong during the day, while Wilson and Birdsong toured with Ross at night. At the same time, Ross began to make her first solo recordings. In November 1969, Ross' solo career was publicly announced. "Someday We'll Be Together" was recorded with the intent of releasing it as the first solo single for Diana Ross. Desiring a final Supremes number-one record, Gordy instead had the song released as a Diana Ross & the Supremes single, despite the fact that neither Wilson nor Birdsong sang on the record. "Someday We'll Be Together" hit number one on the American pop charts, becoming not only the Supremes' 12th and final number-one hit, but also the final number-one hit of the 1960s. This single would also mark The Supremes' final television appearance together with Ross, performing on The Ed Sullivan Show on December 21, 1969. The Supremes without Ross made their final appearance altogether on Ed Sullivan on February 15, 1970.

389

The Supremes in the 1970s

Diana Ross & the Supremes gave their final performance on January 14, 1970 at the Frontier Hotel in Las Vegas.[52] At the final performance, the replacement for Diana Ross, Jean Terrell, was introduced. According to Mary Wilson, after this performance, Berry Gordy wanted to replace Terrell with Syreeta Wright. Wilson refused, leading to Gordy stating that he was washing his hands of the group thereafter.[53] This claim is also made by Mark Ribowsky.[54] After the Frontier Hotel performance, Ross officially began her career as a solo performer. Mary Wilson and Cindy Birdsong continued working with Jean Terrell on the first post-Ross Supremes album, Right On.[55] The Terrell-led Supremesnow rebranded as "The Supremes," and known unofficially at first as "The New Supremes", and in later years informally called The '70s Supremesscored hits including "Up the Ladder to the Roof" (US number 10, UK number 6), "Stoned Love" (US number 7, UK number 3) and "Nathan Jones" (US number 16, UK number 5), all of which were produced by Frank Wilson. These three singles were also R&B Top Ten hits, with "Stoned Love" becoming their last No.1 R&B hit in December 1970. Songwriting/production team Nickolas Ashford & Valerie Simpson produced another Top 20 hit for the group, a Supremes/Four Tops duet version of Ike & Tina Turner's "River Deep Mountain High". In 1972, The Supremes had their last Top 20 hit single release, "Floy Joy", written and produced by Smokey Robinson,[56] followed by the final US Top 40 hit for the Jean Terrell-led version of the group, "Automatically Sunshine" (US number 37, UK number 10). "Automatically Sunshine" later became the group's final top 10 single in the UK. On both "Floy Joy" and "Sunshine" Terrell shared lead with Mary Wilson. Motown, by then moving from Detroit to Los Angeles to break into motion pictures, put only limited effort into promoting The Supremes' new material, and their popularity and sales began to wane. Cindy Birdsong left the group in April 1972, after recording the Floy Joy album, to start a family; her replacement was Lynda Laurence, a former member of Stevie Wonder's backup group, Third Generation (a predecessor to Wonderlove). Jimmy Webb was hired to produce the group's next LP, The Supremes Produced and Arranged by Jimmy Webb,[57] but the album and its only single "I Guess I'll Miss the Man" failed to make an impact on the Billboard pop chart, with the single charting at number 85. In early 1973, Laurence prevailed upon her old mentor Stevie Wonder to write and produce a hit for The Supremes, but the resulting "Bad Weather" peaked at number 87 on the US pop charts and number 37 in the UK. Laurence can

The Supremes be heard briefly, shouting several times at the end of the song (the only recording on which Laurence is heard). Laurence left to start a family; her replacement: a returning Cindy Birdsong. Dismayed by this poor-performing record and the lack of promotional support from Motown, Jean Terrell left the group and was replaced by Scherrie Payne, the sister of Invictus Records recording artist Freda Payne. Between the 1973 departures of Laurence and Terrell and the first Supremes single with Scherrie Payne, "He's My Man", a disco single on which Payne and Wilson shared lead vocal, Motown was slow in producing contracts for Payne and the returning Birdsong. Before the release of the album in 1975, The Supremes remained a popular live act, and continued touring overseas, particularly in the UK and Japan. The group's new recordings were not as successful as their earlier releases, although "He's My Man" from the album The Supremes was a popular disco hit in 1975. In 1976, Birdsong, dissatisfied with the management of The Supremes (handled at the time by Mary Wilson's then-husband Pedro Ferrer), left again and was replaced by Susaye Greene, another former member of Wonderlove. This final version of The Supremes released two albums, both of which reunited The Supremes with Holland-Dozier-Holland: High Energy, which includes Birdsong on all of the tracks, and Mary, Scherrie & Susaye. During that year, The Supremes released "I'm Gonna Let My Heart Do the Walking", their final Top 40 hit on the BillboardHot100. On June 12, 1977, The Supremes performed their farewell concert at the Drury Lane Theater in London and disbanded.[18]

390

Legacy
Works inspired by The Supremes
Several fictional works have been published that are based in part on the career of the group. The 1976 film Sparkle features the story of a Supremes-like singing trio called "Sister & the Sisters" from Harlem, New York. The film's score was composed by Curtis Mayfield, and the soundtrack album by Aretha Franklin was a commercial success. A remake of Sparkle was in development in the early 2000s with R&B singer Aaliyah as the lead, but the project was shelved when Aaliyah died in 2001.[58] A remake of Sparkle is now scheduled for release in August 2012. The remake stars Jordin Sparks and Whitney Houston, in her final film role before her death.[59] The film will be produced and directed by Salim Akil.[60] On December 21, 1981, the Tony Award-winning musical Dreamgirls opened at the Imperial Theatre on Broadway and ran for 1,522 performances. The musical, loosely based on the history of The Supremes, follows the story of The Dreams, an all-female singing trio from Chicago who become music superstars. Several of the characters in the play are analogues of real-life Supremes/Motown counterparts, with the story focusing upon the Florence Ballard doppelgnger Effie White. While influenced by the Supremes' and Motown's music, the songs in the play are a broader mix of R&B/soul and Broadway music. Mary Wilson loved the musical, but Diana Ross was reportedly angered by it and refused to see it.[61] A film adaptation of Dreamgirls was released by DreamWorks and Paramount Pictures in December 2006. The film contains more overt references to Motown and The Supremes than does the play that inspired it: for example, in the film, many of the Dreams' album covers are identical in design to Supremes album covers, and the Dreams themselves hail from Detroit not Chicago, as do their Broadway counterparts.

The Supremes

391

Awards and followers

The Supremes were twice nominated for a Grammy Awardfor Best Rhythm & Blues Recording ("Baby Love", 1965) and Best Contemporary Rock & Roll Group Vocal Performance ("Stop! In the Name of Love", 1966)but never won an award in competition.[62] Three of their songs have been named to the Grammy Hall of Fame: "Where Did Our Love Go" and "You Keep Me Hangin' On" (both 1999) and "Stop! In the Name of Love" (2001).[63] The group's songs "Stop! In the Name of Love" and "You Can't Hurry Love" are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[64] They were inducted into the Rock and Roll Hall of Fame in 1988, received a star on the Hollywood Walk of Fame in 1994, and entered into the Vocal Group Hall of Fame in 1998. In 2004, Rolling Stone placed the group at number 97 on their list of the "100 Greatest Artists of All Time".[65] In 2005, The Supremes were inducted into the Michigan Rock and Roll Legends Hall of Fame. In June 2011, their biggest hit, "Baby Love", was selected as a Legendary Michigan Song.[66] The Supremes are notable for the influences they have had on the black girl groups who have succeeded them in popular music, such as The Three Degrees, The Emotions, The Pointer Sisters, En Vogue, TLC, Destiny's Child and Cleopatra.[67]

Star on Hollywood Walk of Fame at 7060 Hollywood Blvd.

Reunions
Fan interest made the idea of a Supremes reunion tour a very profitable one during the 1980s. In 1982, around the time that Motown reunited all of The Temptations, it was rumored that Motown would reunite The Supremes. The 1974 line-up of The Supremes (Wilson, Birdsong and Payne) was considered for this reunion, which was to include new recordings and a tour. Under advisement from Berry Gordy, Wilson declined to reunite, and the idea was scrapped. Ross briefly reunited with Wilson and Birdsong to perform "Someday We'll Be Together" on the Motown 25: Yesterday, Today, Forever television special, taped on March 25, 1983, and broadcast on NBC on May 16, 1983.[68] In 2000, plans were made for Ross to join Wilson and Birdsong for a planned "Diana Ross & the Supremes: Return to Love" reunion tour. However, Wilson passed on the idea, because while the promoters offered Ross $15million to perform, Wilson was offered $4million and Birdsong less than $1million.[69] Ross herself offered to double the amounts both Wilson and Birdsong had originally been offered, but while Birdsong accepted, Wilson remained adamant, and as a result the deal fell through with both former Supremes. Eventually, the "Return to Love" tour went on as scheduled, but with Payne and Laurence joining Ross, although none of the three had ever been in the group at the same time and neither Payne nor Laurence had sung on any of the original hit recordings that they were now singing live. Susaye Greene was also considered for this tour, but refused to audition for it. The music critics cried foul and many fans were disappointed by both this and the shows' high ticket prices. Thus, after playing only half of the dates on the itinerary, the tour was canceled.[70]

Post-Supremes groups
In 1986, Jean Terrell, Scherrie Payne and Lynda Laurence began to perform as "The FLOS": Former Ladies of the Supremes. When Terrell quit in 1992, Sundray Tucker, Laurences sister, stepped in for a short time, but was replaced by Freddi Poole in 1996. More recently in September 2009, Poole was replaced by Joyce Vincent, formerly of Tony Orlando and Dawn. The group, now called Former Supremes Scherrie Payne and Lynda Laurence with Joyce Vincent, are working on a new recording.

The Supremes Kaaren Ragland performed with Mary Wilson from 1978 though the mid-1980s. In 1989 she formed her own group called "The Sounds of the Supremes". She has claimed numerous times that she was a member of the Supremes because of her performances with Wilson, but she was never signed by Motown and performed with Wilson only after The Supremes disbanded in 1977.[71]

392

Personnel
The Supremes (aka The Primettes and Diana Ross & the Supremes) Mary Wilson (19591977) Diana Ross (19591970) Florence Ballard (19591967) Betty McGlown (19591960) Barbara Martin (19601962) Cindy Birdsong (19671972, 19731976) Jean Terrell (19701973) Lynda Laurence (19721973) Scherrie Payne (19731977) Susaye Greene (19761977)

Filmography
T.A.M.I. Show (1965) (concert film) Beach Ball (1965)

Television
Tarzan (1968) T.C.B. (1968) G.I.T. on Broadway (1969)

DVDs
Reflections: The Definitive Performances (19641969) (2006) Greatest Hits: Live in Amsterdam (2006)

Notes
[1] Bronson, Fred: The Billboard Book of Number 1 Hits, page 265. Billboard Books, 2003. [2] Unterberger, Richie. " The Supremes (http:/ / www. allmusic. com/ artist/ p5563)". The Supremes have sold over 100 million records to date. Their catalog remains active 50 years later. Allmusic. Retrieved on July 4, 2008. [3] Wilson et al., 2936. [4] Wilson et al., 49. [5] Wilson et al., 38. [6] Wilson et al., 37. [7] Wilson et al., 51. [8] Wilson et al., 5356. [9] Wilson et al., 75. [10] Wilson et al., 69. [11] Wilson et al., 6971. [12] Wilson et al., 62. [13] Wilson et al., 57. [14] Wilson et al., 58. [15] Wilson et al., 8485.

The Supremes
[16] Wilson et al., 81. [17] Benjaminson, 27. [18] " The Supremes (http:/ / www. rockhall. com/ inductee/ the-supremes)". The Rock and Roll Hall of Fame and Museum, 1988. Retrieved on July 21, 2008. [19] Slonimsky, Nicolas & Kuhn, Laura Diane. Baker's Biographical Dictionary of Musicians. Schirmer Books, 2001. 3539. ISBN 0-02-865527-3 [20] Wilson et al., 136. [21] Bronson, Fred. Billboard'sHottestHot100Hits: Top Songs and Song Makers, 1955 to 2000. Billboard Books, 2000. 25. ISBN 0-8230-7738-1 [22] Adrahtas, 361. [23] Wilson et al., 141. [24] Wilson et al., 141143. [25] Wilson et al., 173. [26] Wilson et al., 147. [27] " The Supremes:Singles (http:/ / www. allmusic. com/ artist/ p5563)". Allmusic. Retrieved on July 25, 2008. [28] " The Grammy Hall Of Fame Award (http:/ / www. grammy. org/ recording-academy/ awards/ hall-of-fame#s)". grammy.com. Retrieved on July 24, 2008. [29] Yusuf, Nilgin. " The Supremes on show (http:/ / www. telegraph. co. uk/ arts/ main. jhtml?xml=/ arts/ 2008/ 04/ 26/ sm_supremes26. xml)". Telegraph (UK), April 26, 2008. Retrieved on August 4, 2008. [30] Kooijman, Jaap. " From elegance to extravaganza the Supremes on The Ed Sullivan Show as a presentation of beauty (http:/ / www. accessmylibrary. com/ coms2/ summary_0286-7441967_ITM)". Velvet Light Trap [on accessmylibrary.com], March 22, 2002. Retrieved on July 4, 2007. [31] Rivera, Ursula. The Supremes. Rosen Central, 2002. 19. ISBN 0-8239-3527-2 [32] Smith, Suzanne E. Dancing in the Street: Motown and the Cultural Politics of Detroit. Harvard University Press, 2001. 76. ISBN 0-674-00546-5 [33] The Supremes (http:/ / www. allmusic. com/ artist/ p5563) Allmusic Billboard Albums. Retrieved on July 24, 2008. [34] " The Supremes become the first all-female band to have a No.1 hit album (http:/ / artsedge. kennedy-center. org/ explore/ ady. cfm?DAY=24& MONTH=10)". National Arts and Education Network. Retrieved on July 17, 2008. [35] Adrahtas, pp. 4143. [36] Leigh, Wendy. " Queen of the Supremes before Diana Ross (http:/ / www. dailymail. co. uk/ femail/ article-1021088/ Queen-Supremes-Diana-Ross-died-32-So-Florence-Ballard-murdered. html)". Daily Mail, May 22, 2008. Retrieved on August 4, 2008. [37] Benjaminson, 92. [38] Jaynes, Gerald David. Encyclopedia of African American Society. Sage Publications, 2005. 673. ISBN 0-7619-2764-6 [39] Benjaminson, 143. [40] The Supremes: A Saga of Motown Dreams, Success, and Betrayal. Ribowsky, Mark. Da Capo Press ISBN 978-0-306-81586-7 [41] Adrahtas, 296. [42] Knight, Jack. "Ex-Supreme rejected in Motown suit". Detroit Free Press, October 29, 1971. [43] Benjaminson, 109. [44] Benjaminson, 113. [45] Benjaminson, 190. [46] Benjaminson, 168. [47] Boehm, Mike. " How sweet it is: Motown hit-makers eye Broadway (http:/ / articles. latimes. com/ 2007/ apr/ 15/ entertainment/ ca-wives15)". Los Angeles Times, April 15, 2007. Retrieved on July 17, 2008. [48] Show 50 The Soul Reformation: Phase three, soul music at the summit. [Part 6] : UNT Digital Library (http:/ / digital. library. unt. edu/ ark:/ 67531/ metadc19831/ m1/ ) [49] Benjaminson, 7579. [50] Bloch, Avital H. Impossible to Hold: Women And Culture In The 1960s. New York: New York University Press, February 2005. 156. ISBN 0-8147-9910-8 [51] George, Nelson. Where Did Our Love Go?: the rise & fall of the Motown sound By Nelson George. Omnibus Press, 2003. 190. ISBN 0-7119-9511-7 [52] A live recording of the performance was released later that year in a double-LP box set titled Farewell. [53] Wilson, Mary & Romanowski, Patricia. Dreamgirl & Supreme Faith: My Life as a Supreme. New York: Cooper Square Publishers, 1986. ISBN 0-8154-1000-X [54] Ribowsky, Mark. "The Supremes: A Saga of Motown Dreams, Success, and Betrayal". New York: Da Capo Press, 2009. ISBN 0-306-81586-9 [55] G. Gaar, Gillian. She's a rebel: the history of women in rock & roll. Seal Press. 168. ISBN 1-58005-078-6 [56] The Supremes (http:/ / www. billboard. com/ bbcom/ discography/ index. jsp?JSESSIONID=9C1zLFVG915cl9mJpsRpzvsqpjvfrdjdNG9NXLLQzzQFFpd41TWs!-236688845& pid=5788& aid=60821). billboard.com. Retrieved on July 24, 2008.

393

The Supremes
[57] Vining, Mark. " The Supremes (http:/ / www. rollingstone. com/ artists/ thesupremes/ albums/ album/ 115657/ review/ 6067424/ the_supremes)". Rolling Stone, January 4, 1973. Retrieved on July 18, 2008. [58] " The It List: Aaliyah (http:/ / www. ew. com/ ew/ article/ commentary/ 0,6115,131380_4_0_,00. html)". Entertainment Weekly, June 21, 2001. Retrieved on November 11, 2006. [59] http:/ / www. imdb. com/ title/ tt1876451/ [60] " (http:/ / detnews. com/ article/ 20110714/ ENT02/ 107140471/ -Sparkle---remake-of-Motown-era-film--to-be-made-in-Detroit)". "The Detroit News", July 14, 2011. [61] O'Niel, Tom. " Diana's 'Dreamgirls' decision (http:/ / theenvelope. latimes. com/ awards/ oscars/ env-oneill-dreamgirls-18oct18,0,2314826. story?page=1& coll=env-home-headlines)". TheEnvelope.com. Retrieved on November 11, 2006. [62] Skurow, Andrew. The Supremes. CD boxed set liner notes appendix, 2007. New York: Motown Record Co./Universal Music. [63] " Grammy Hall of Fame Awards (http:/ / www. grammy. org/ recording-academy/ awards/ hall-of-fame)". Grammy.com, 2007. Retrieved April 27, 2007. [64] " The Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll (by artist) (http:/ / www. rockhall. com/ exhibithighlights/ 500-songs-qs/ )". Rock and Roll Hall of Fame, 2007. Retrieved on April 27, 2007. Archived (http:/ / web. archive. org/ 20070514042642/ http:/ / www. rockhall. com/ exhibithighlights/ 500-songs-qs/ ) May 14, 2007 at the Wayback Machine [65] " The Immortals: The First Fifty (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty)". Rolling Stone, Issue 946, March 24, 2004. Retrieved on July 4, 2004. [66] www.michiganrockandrolllegends.com [67] Chin et al., 48. [68] Pareles, Jon. "Stop! In the Name of Nostalgia". (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9F0CE5DA173FF936A35757C0A9669C8B63& n=Top/ Reference/ Times Topics/ Subjects/ M/ Music) New York Times, April 5, 2000. Retrieved on July 10, 2008. [69] " Supremes return for tour (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 702634. stm)". BBC News, April 5, 2000. Retrieved on July 4, 2008. [70] Posner, 331. [71] (http:/ / tri-statedefenderonline. com/ articlelive/ articles/ 581/ 1/ Supremes-drama-continues-as-Dreamgirls-opening-nears/ Page1. html) Tri-State Defender, October 19, 2006, Retrieved on January 30, 2010.

394

References
Adrahtas, Thomas. A Lifetime to Get Here: Diana Ross: the American Dreamgirl. AuthorHouse, 2006. ISBN 1-4259-7140-7 Benjaminson, Peter. The Lost Supreme: The Life of Dreamgirl Florence Ballard. Chicago: Chicago Review Press, November 2007. 7579. ISBN 1-55652-705-5 Chin, Brian & Nathan, David. Reflections Of... The Supremes [CD boxed set liner notes]. New York: Motown Record Co./Universal Music, 2000. Clinton, Paul. " Diana Ross' tour excludes old partner, friend (http://archives.cnn.com/2000/SHOWBIZ/ Music/04/20/mary.wilson/)". CNN.com, April 20, 2000. Gans, Andrew. " Foxx and Usher to Join Beyonce for Dreamgirls Film (http://www.playbill.com/news/article/ 92903.html)". Playbill, May 12, 2005. Mary Wilson: An Interview Supreme by Pete Lewis, 'Blues & Soul' May 2009 (http://www.bluesandsoul.com/ feature/412/an_interview-supreme/) Nathan, David. The Soulful Divas: Personal Portraits of over a Dozen Divine Divas. New York: Billboard Books/Watson-Guptill Publications, 2002. ISBN 0-8230-8430-2. Posner, Gerald. Motown: Music, Money, Sex, and Power. New York: Random House, 2002. ISBN 0-375-50062-6. Wilson, Mary & Romanowski, Patricia. Dreamgirl & Supreme Faith: My Life as a Supreme. New York: Cooper Square Publishers, 1986. ISBN 0-8154-1000-X.

The Supremes

395

Further reading
George, Nelson. Where Did Our Love Go: The Rise and Fall of the Motown. London: Omnibus Press, 1985. ISBN 0-7119-9511-7. Ross, Diana. Secrets of a Sparrow: Memoirs. New York: Random House, 1993. ISBN 0-517-16622-4. Taraborrelli, J. Randy. Diana Ross: An Unauthorized Biography. London: Sidgwick & Jackson, 2007. ISBN 978-0-283-07017-4. Ribowsky, Mark. "The Supremes: A Saga of Motown Dreams, Success, and Betrayal". New York: Da Capo Press, 2009. ISBN 0-306-81586-9. Wilson, Mary. Dreamgirl, My Life as a Supreme. New York: St. Martin's Press, 1986. ISBN 0-312-21959-8

External links
The Primettes (http://www.allmusic.com/artist/p191275) at Allmusic The Supremes (http://www.allmusic.com/artist/p5563) at Allmusic Diana Ross & The Supremes (http://www.allmusic.com/artist/p196566) at Allmusic The Supremes (http://digital.library.unt.edu/explore/partners/UNTML/browse/?start=25& fq=untl_collection:JGPC) interviewed on the Pop Chronicles (1969).

The Supremes on The Ed Sullivan Show (http://www.edsullivan.com/artists/the-supremes/)

The Temptations

396

The Temptations
The Temptations
The "Classic 5" lineup of The Temptations: David Ruffin (bottom left), Melvin Franklin (top left), Paul Williams (top right), Otis Williams (bottom right), and Eddie Kendricks (center) c. 1965. Background information Also known as Otis Williams & the Siberians, The Primes, The Distants, Otis Williams & the Distants, The Elgins, The Pirates Detroit, Michigan, U.S. R&B, soul, funk, doo-wop, rock and roll 1960present Warwick, Miracle, Gordy, Motown, Atlantic, New Door/Universal The Supremes, The Temptations Review, Smokey Robinson www.otiswilliams.net Members Otis Williams Ron Tyson Terry Weeks Joe Herndon Bruce Williamson Past members Elbridge "Al" Bryant Melvin Franklin Eddie Kendricks Paul Williams David Ruffin Dennis Edwards Ricky Owens Richard Street Damon Harris Glenn Leonard Louis Price Ali-Ollie Woodson Theo Peoples Ray Davis Harry McGilberry Barrington "Bo" Henderson G. C. Cameron [1]

Origin Genres Years active Labels Associated acts Website

The Temptations is an American vocal group having achieved fame as one of the most successful acts to record for Motown Records. The group's repertoire has included, at various times during its five-decade career, R&B, doo-wop, funk, disco, soul, and adult contemporary music. Formed in Detroit, Michigan, in 1960 as The Elgins (not to be confused with another Motown group with the same name), the Temptations have always featured at least five male vocalists/dancers. Known for its recognizable choreography, distinct harmonies, and flashy onstage suits, the Temptations have been said to be as influential to soul as The Beatles are to pop and rock.[2] Having sold tens of millions of albums,[3] the Temptations are one of the most successful groups in music history.[4][5] As of 2010, the Temptations continue to perform and record for Universal Records with its one living original member, Otis Williams, still in its lineup.

The Temptations The original lineup included members of two local Detroit vocal groups: from The Distants, second tenor Otis Williams, first tenor Elbridge "Al" Bryant, and bass Melvin Franklin; and from The Primes, first tenor/falsetto Eddie Kendricks and second tenor/baritone Paul Williams (no relation to Otis). Among the most notable future Temptations were lead singers David Ruffin and Dennis Edwards (both later solo artists), Richard Street, Damon Harris, Glenn Leonard, Ron Tyson, Ali-Ollie Woodson, Theo Peoples, and G. C. Cameron. Like its "sister" female group, the Supremes, the Temptations' lineup has changed frequently over the years. Over the course of their career, the Temptations have released four Billboard Hot 100 number-one singles and 14 Billboard R&B number-one singles. Their material has earned them three Grammy Awards, while two more awards were conferred upon the songwriters and producers who crafted their 1972 hit "Papa Was a Rollin' Stone". The Temptations were the first Motown act to earn a Grammy Award. Six Temptations (Dennis Edwards, Melvin Franklin, Eddie Kendricks, David Ruffin, Otis Williams, and Paul Williams) were inducted into the Rock and Roll Hall of Fame in 1989. Three classic Temptations songs, "My Girl", "Ain't Too Proud to Beg", and "Papa Was a Rollin' Stone", are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.

397

History
The Primes
Childhood friends Eddie Kendricks, Paul Williams, Kell Osborne, and Wiley Waller formed a doo-wop group called the Cavaliers in their hometown of Birmingham, Alabama, in 1955.[6] Reduced to a trio after Waller left the group in 1957, Kendricks, Williams, and Osbourne left Birmingham in order to break into the music business. After first moving to Cleveland, Ohio, they settled in Detroit. The Primes, as the doo-wop trio was now called, were well-known around Detroit for their meticulous performances.[7] Group manager Milton Jenkins even created a sister group for the Primes called the Primettes, who later became the legendary Supremes, recruiting Florence Ballard, Mary Wilson, Diane (later Diana) Ross, and Betty McGlown for the spin-off act. Eddie Kendricks was already becoming a local "Matinee Idol", and Paul Williams was known for his powerful baritone voice, having an adult style even as a teenager.[6]

The Distants
Otis Williams had moved from his native Texarkana, Texas to Detroit as a young boy, to live with his mother. By 1958, he was the leader of Otis Williams & the Siberians, a doo-wop group that included Williams, his friend Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain, and Arthur Walton. This quintet recorded the single "Pecos Kid/Have Gun Will Travel"[8] backed with "All of My Life" for a label run by local radio deejay Senator Bristol Bryant. The single never took off outside the local Detroit market, and the Siberians changed their name to The El Domingoes shortly afterward. At this time, more changes took place. Montgomery, Alabama native Melvin Franklin replaced Arthur Walton as the bass singer and Franklin's cousin, Detroit-born Richard Street, replaced Vernard Plain as lead singer. The group soon signed with Northern Records, run by Johnnie Mae Matthews, who renamed the group The Distants. The Distants recorded two singles for Northern, "Come On" (1959, featuring additional background vocals by the Andantes), and "Alright" (1960).[9] Between these two releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford.[9] "Come On" was a local hit for the Distants, and the Warwick label picked the record up for national distribution.[9] After the release of "Alright", Matthews appointed Williams the group leader, and the group was renamed Otis Williams & the Distants. Though Otis Williams had a pleasant, but unremarkable, lead voice, he organized the group and so became the defacto leader, as he would later with the Temptations.[10]

The Temptations

398

Influences and colleagues

The Primes and the Distants were influenced by several Detroit groups, the most famous of which was the Miracles led by Smokey Robinson. The Miracles were known for their stage show, and their pop success was something for which both groups strived.[11] Other important inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers.[12] The various members of the Primes and the Distants, who would later become part of the Temptations, met a number of their future Motown bandmates, labelmates, and producers during the early part of their careers. Melvin Franklin had been a member of the recording group the Voice Masters, which also included among its ranks Lamont Dozier, his cousin David Ruffin, and another cousin, Jackie Wilson.[9] The musicians at the recording session for the Distants' "Come On" included James Jamerson on bass, the Andantes on background vocals, and future Temptations producer Norman Whitfield on tambourine.[9]

Forming the Temptations

Although "Come On" was a local hit in the Detroit area, the Distants never saw much from record sales, and the second single was not as successful. After receiving an offer from Berry Gordy, Jr. of Motown Records, the group got out of its contract with Matthews and left Northern. At the same time, it lost Mooch Harrell, Richard Street, and the rights to use its name. Street would front a new group of Distants on the local Thelma label during the early 1960s. The Distants were acquainted with the Primes, as both groups made the same types of talent shows, and concerts. The two groups were friendly rivals, with the Primes being the more polished and stronger vocal performers. The Primes disbanded in 1960 when Kell Osborne moved to California, and Eddie Kendricks and Paul Williams returned to Alabama. While in Detroit visiting relatives, Kendricks called Otis Williams who, desperately needing two more members for an audition for Gordy, offered Kendricks a lead singer place in the Distants. Kendricks agreed, with one conditionthat he could bring Paul Williams with him. Otis Williams happily agreed, and Kendricks and Paul Williams moved back to Detroit to join the new group. The new lineup of Otis Williams, Melvin Franklin, Elbridge "Al" Bryant, Eddie Kendricks, and Paul Williams took on the name The Elgins and auditioned for Motown in March 1961. As Gordy was already familiar with Kendricks and Williams from sessions they had done before he had formed Motown, upon which they had lent their talents as backup singers, he then agreed to sign the group to his Miracle Records label. However, just before signing The Elgins to Motown's Miracle Records, Berry Gordy discovered that there was already a singing group with that name. The quintet quickly began tossing about ideas for a new name on the steps of Motown's Hitsville U.S.A. headquarters and studio. On a suggestion from Miracle Records employee Billy Mitchell, songwriter Mickey Stevenson, and group members Otis Williams and Paul Williams, The Temptations became the group's new moniker. The "Elgins" name would re-surface at Motown in 1965, when Gordy renamed a quartet called The Downbeats as The Elgins. Before the Miracle label was closed (to avoid confusion with the Miracles singing group) and merged with the Gordy label, The Temptations released two singles, "Oh Mother of Mine" and "Check Yourself" featuring Paul Williams' powerful lead. All seven of the Temptations' singles released between 1961 and 1963 failed to make it onto the U.S. Hot 100 pop singles chart; the two exceptions to missing all the U.S. charts was "Dream Come True", a single featuring Eddie Kendricks on lead, which made it to #22 on the R&B chart in 1962, and the Kendricks-led follow up "Paradise", which reached #22 on the Bubbling Under charts later that year. The group became known as one of the most talented and versatile groups in the country. Paul and Eddie split the leads during this period, with Eddie becoming the standard for all first tenor/falsetto singers. Al Bryant, Otis Williams, and Franklin occasionally sang lead, but the signature sound was the Kendricks/Williams duo. Many songwriter and producer teams had been trying to craft a hit for the Temptations, including Berry Gordy, Mickey Stevenson, Clarence Paul, and Norman Whitfield. They tried to take the group in several different directions,

The Temptations all in order to find the perfect sound that would put them not only on the U.S. charts (both Pop and R&B), but in the Top 20 as well. One song "Isn't She Pretty" had all five members singing lead (and mainly showcased the lead vocals of Al Bryant) and it was a precursor to the multi-lead songs the group would record in the late 1960s. The idea of having the group change their name to "The Pirates" was briefly discussed, and they would even record "Mind Over Matter" and "I'll Love You Till I Die" under this name, but to no avail. In fact, Gordy had originally written "Do You Love Me" for the Temptations in 1961, but when he was unable to get a hold of the group, he recorded the song instead with another Motown-family group, the Contours. William "Smokey" Robinson, Jr., lead singer/songwriter and producer of The Miracles proved to have the best rapport with the group and produced his first Temptations single, "I Want a Love I Can See" in 1963, featuring Paul Williams on lead. Despite their best efforts, however, the group was still unsuccessful in landing in the desired spot on any of the Billboard Hot 100 singles charts in the U.S. As a result, the other acts at Motown would soon give the nickname "The Hitless Temptations" to the group. About this time, David Ruffin, younger brother of Motown artist Jimmy Ruffin, demonstrated his superior performance skills when he joined the Temptations on-stage during a local Detroit performance.[13] Elbridge Bryant, who was frustrated with the group's lack of success, soon became restless and uncooperative, preferring the mundane routine of his day job as a milkman over the rigors of rehearsal and performing. After a heated quarrel with Paul and hitting him in the head with a beer bottle following a disastrous performance at the 1963 Motown company Christmas/New Years Eve party, Bryant was summarily fired from the group. As a result, David Ruffin was brought in as his replacement in the early part of 1964. Though both Ruffin brothers were considered for the slot, David was selected due to his superior performance at the local Detroit performance earlier that year. Bryant continued to perform in a number of other local groups, and died at the age of 36 in Flagler County, Florida of liver cirrhosis on October 26, 1975.

399

The "Classic Five" Era

In January 1964, Smokey Robinson and Miracles bandmate Bobby Rogers co-wrote and produced "The Way You Do the Things You Do" with Eddie Kendricks on lead and the single became the Temptations' first Top 20 hit that April. Shortly afterward, "The Way You Do The Things You Do" and several pre-David Ruffin singles were compiled into the group's first album, Meet The Temptations, released in early 1964. The next two Temptations singles in 1964, "Girl (Why You Wanna Make Me Blue)" along with "I'll Be in Trouble" and its B-side "The Girl's Alright With Me", all featured Kendricks on lead. However, producer Smokey Robinson saw potential in the "mellow" yet "gruff" voice of David Ruffin, and thought that if he could write the perfect song for his lead, then the group could have a Top 10 smash hit.[14] While traveling as part of Motown's Motortown Revue later that year, Robinson and fellow Miracles member Ronnie White wrote "My Girl", which the Temptations recorded in the fall of 1964 with Ruffin singing his first lead vocal for the group. Released as a single on December 21, 1964, the song became the Temptations' first number-one pop hit in March 1965, and is their signature song to this day. After the success of "My Girl", Ruffin sang lead on the next three singles: "It's Growing", "Since I Lost My Baby" and "My Baby", all of which made it to the Top 20 in 1965. The B-side to "My Baby", "Dont Look Back", featured a stirring lead from Paul Williams, and was a sleeper hit on the R&B charts and a standard for vocal groups playlists. Norman Whitfield had requested the opportunity to write for the group and in 1966, Berry Gordy promised him that if Robinson's "Get Ready", with Eddie Kendricks on lead, failed to chart in the Top 20, Whitfield would be allowed to produce the next song. "Get Ready" subsequently missed its mark, and Gordy issued the Whitfield-produced "Ain't Too Proud to Beg", with David Ruffin on lead, as the next single. "Ain't Too Proud to Beg" outperformed "Get Ready" on the Billboard charts, and Whitfield became the Temptations' new main producer. He began pulling the group away from the ballad-based productions espoused by Robinson, toward a harder-edged and brass-heavy

The Temptations soul sound reminiscent of James Brown. Nearly all of the singles produced by Whitfield prior to 1968 featured David Ruffin on lead, including the R&B number-one/pop Top 10 hits "Beauty Is Only Skin Deep", "(I Know) I'm Losing You"[15] and the early 1967 hit "(Loneliness Made Me Realize) It's You That I Need". Other important singles from this period include "All I Need", produced by Frank Wilson, a Whitfield protg, and the "You're My Everything", on which Kendricks and Ruffin share lead. Studio albums during the "Classic Five" period apart from Meet The Temptations include The Temptations Sing Smokey (1965), The Temptin' Temptations (1965), Gettin' Ready (1966), The Temptations with a Lot o' Soul (1967), and The Temptations Wish It Would Rain (1968). During this period, the various songwriting partners of Norman Whitfield included Roger Penzabene, Edward Holland, Jr. and Temptations road show manager and guitarist Cornelius Grant. Subsequently, Barrett Strong, who sang the very first hit at Motown in 1959, "Money (That's What I Want)", began working with Whitfield and Penzabene on Temptations material after Eddie Holland left Motown with the rest of the Holland-Dozier-Holland songwriting/production team in 1967. Two of the Whitfield-Strong-Penzabene collaborations, "I Wish It Would Rain" and "I Could Never Love Another (After Loving You)", became hits in early 1968 after the untimely suicide of Roger Penzabene in December 1967. Subsequently, Barrett Strong became the sole collaborator of Norman Whitfield.

400

Exit David Ruffin, enter Dennis Edwards

From early 1964 to mid 1968, the Temptations went from unknown hopefuls to international stars and as a result, appeared frequently on television shows such as American Bandstand and The Ed Sullivan Show. At the same time, the group began to achieve a crossover success, catering to middle America with a pop standards album (The Temptations in a Mellow Mood, 1967), the success of which resulted in performances at the famous Copacabana in New York City along with dates at other similar supper clubs. Outside of music, the Temptations were made honorary members of Phi Beta Sigma fraternity. By 1967, David Ruffin had begun demanding special treatment as lead singer. Riding to and from gigs in a private mink-lined limousine with his then-girlfriend, Motown singer Tammi Terrell, instead of in the group limousine used by the other four Temptations. The other members slowly became irritated and annoyed with Ruffin's behavior. Following Motown's decision to rechristen The Supremes as Diana Ross & the Supremes, Ruffin felt entitled to the same treatment and demanded that his group be renamed as well, to David Ruffin & the Temptations. Ruffin was also causing friction with Berry Gordy by demanding an accounting of the group's earnings. Some of this behavior was attributed to the fact that by this time Ruffin had begun using cocaine regularly, building further tension within the group and causing him to miss a number of group meetings, rehearsals, and concerts. There was a general consensus among the rest of the group that Ruffin needed to be replaced. Otis Williams insists that Ruffin was given ample and fair warning that if he did not change his attitude he would be fired. However, when Ruffin missed a June 1968 engagement at a Cleveland supper club in order to attend a show by his new girlfriend Barbara Gail Martin (daughter of Dean Martin),[8] it was decided that he had crossed the line. The other four Temptations drew up legal documentation, officially firing Ruffin from the group. Dennis Edwards, formerly of the Contours, was hired to replace him. Edwards and Ruffin were good friends, and at first, Ruffin went along with the changing of the guard. After a short time, however, Ruffin began turning up at shows, jumping onstage during performances of the songs he once sang lead on, stealing the spotlight from Edwards. Both the Temptations and Motown were forced to hire extra security guards to prevent Ruffin from attending other Temptations performances and providing further embarrassment to Edwards and the group. Ruffin then sued Motown in October 1968, seeking a release from the label, but Motown countersued to keep the singer from leaving and the case was eventually settled out of court. The settlement required Ruffin to remain with Motown as a solo artist to finish out his initial contract.

The Temptations Edwards' first album with the Temptations was Live at the Copa, recorded at the group's return to the famous Copacabana nightclub, and later that year, Berry Gordy commissioned the first of a number of collaborations for the Temptations with Diana Ross & the Supremes. The results included two studio albums, Together) and Diana Ross & the Supremes Join the Temptations, which featured the number-two hit single "I'm Gonna Make You Love Me". The tracks for the latter included Dennis Edwards' first studio recordings with the Temptations and further results of this collaboration included a joint tour and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. on Broadway (aired November 12, 1969).

401

Psychedelic soul
The addition of Dennis Edwards to the Temptations coincided with the adoption of a new sound for the group by producer Norman Whitfield, and in the fall of 1968, Whitfield began producing psychedelic-based material for the Temptations, derived primarily from the sound of funk band Sly & the Family Stone. This new style, which debuted with the Top 10 hit single "Cloud Nine"[15] in October 1968, was a marked departure from the David Ruffin-era ballads, leading the group to a new and higher plateau. The instrumentation was funkier, the beat was hard-driving, and all five Temptations traded lead vocals, similar to Sly & the Family Stone. "Cloud Nine", the centerpiece of the group's landmark Cloud Nine LP, was a Top 10 hit and won Motown its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The blending of the Motown sound and psychedelic rock sound resulted in a new subgenre of music called "psychedelic soul", also evident in the work of Diana Ross and the Supremes ("Reflections", "Love Child"), Marvin Gaye's version of "I Heard It Through the Grapevine", and the music of The 5th Dimension, The Undisputed Truth and The Friends of Distinction. More Temptations psychedelic soul singles would follow in 1969 and 1970, among them "Runaway Child, Running Wild" (a number-one R&B hit), "I Can't Get Next to You" (a number-one pop hit), "Psychedelic Shack" and "Ball of Confusion (That's What the World Is Today)", but the formula began to wear thin when "Ungena Za Ulimwengu (Unite the World)", only went to #33 Pop in the fall of 1970. The group's other important albums from this period include Puzzle People (1969) and Psychedelic Shack (1970), which includes the original version of "War".

Exit Eddie Kendricks and Paul Williams

Paul Williams, who suffered from sickle-cell disease, fell into depression because of the stress of touring and personal issues. By the late 1960s, he had developed a serious case of alcoholism.[16] As his physical and mental health began to decline sharply, it made performing more and more difficult. Williams began traveling with oxygen tanks,[16] and the other four Temptations made valiant efforts to raid and drain his alcohol stashes.[16] By 1969, Richard Street, lead singer of Motown act The Monitors and a former Distant, was touring with the group as a backup replacement for Williams.[16] For most shows, save for his solo numbers, Williams would dance and lip-sync onstage to parts sung live by Street into an offstage mic behind a curtain. At other shows, and during most of the second half of 1970, Street substituted for Williams onstage.[17] Eddie Kendricks became detached from the group after David Ruffin's firing and as the health of Paul Williams continued to fail. Kendricks began regularly fighting with Otis Williams and Melvin Franklin over leadership of the group. In addition, Kendricks preferred the ballad material from the earlier days and was uncomfortable with the psychedelic soul material the group was now performing. As a result, Kendricks rekindled his friendship with Ruffin, who persuaded him to quit the Temptations and go solo. After a November 1970 Copacabana engagement, another confrontation between himself, Otis Williams, and Franklin caused Kendricks to walk out in-between shows and not return. Both Kendricks and Williams then agreed that Kendricks would be leaving the group. Kendricks later stated that he actually considered leaving as early as 1965, but remained with the Temptations and unsuccessfully attempted to get permission to record a solo album without leaving the group.[18]

The Temptations Before Kendricks officially left the Temptations, he and Paul Williams recorded the lead vocals for "Just My Imagination (Running Away with Me)", a ballad that became Kendricks' final single with the group. Included on the Sky's the Limit LP along with the original album version of "Smiling Faces Sometimes", "Just My Imagination" was released as a single in January 1971, and the song began steadily climbing the U.S. pop singles chart, peaking at #1 two months later. By the time "Just My Imagination" topped the charts, Kendricks had negotiated his release from the group and signed a solo deal with Motown's Tamla label. The Temptations originally hired Ricky Owens, from the Los Angeles-based vocal group the Vibrations, to replace Kendricks. However, Owens only played two dates with the group before he was fired for forgetting the words to his solo numbers.[19] For several weeks of the spring of 1971, the Temptations were without a fifth member. Owens meanwhile returned to the Vibrations and died in Los Angeles, California on December 6, 1996 at the age of 57. Whitfield took the remaining Temptations quartet and re-recorded "It's Summer", the B-side to "Ball of Confusion (That's What the World Is Today)", as a replacement single. "Smiling Faces Sometimes" was released as a single for The Undisputed Truth instead, becoming a Top 5 hit on the Billboard Hot 100 in 1971. Meanwhile, "It's Summer" peaked at #51 on the Billboard Hot 100, making it the first Temptations single to miss the Top 40 since "Farewell My Love" eight years earlier. After declaring a few weeks later that he was unable to continue performing due to medical reasons, Paul Williams quit the Temptations in May.[20] Richard Street officially took Williams' place, although Williams remained on the group's payroll as an adviser and choreographer. After Williams had recovered enough to record again, he recorded two sides for a debut solo single. However, on August 17, 1973, Williams died in Detroit at the age of 34, his death ruled a suicide by the Wayne County coroner.

402

The Temptations in the early 1970s

A month later, in May 1971, The Temptations had finally found a permanent replacement for the first tenor position in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. Among these were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). Late 1972 saw the release of, "Papa Was a Rollin' Stone" a magnum opus written and produced by Norman Whitfield. Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the somber tune and created a Solid Rock, the first studio album featuring Richard Street and Damon Harris, featured the new members sprawling, dramatic twelve-minute version for the Temptations---a prominently on its front cover. Pictured L-R: Damon forerunner of the extended single, soon to become popular in clubs Harris, Richard Street (top row), Otis Williams, Melvin and discothques. An edited seven-minute version was released as Franklin, Dennis Edwards (bottom) a single and became one of the longest hit singles in music history: it hit #1 on the pop charts and #5 on the R&B charts. Radio DJs loved its length as much as its catchy beat and lyrics, as it allowed them to go across the street from the station for a sandwich during their shift and return before the record ended. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance for the instrumental version on the B-side, and Whitfield and Barrett Strong won the songwriting Grammy for Best R&B Song.

The Temptations Dennis Edwards had a problem with the lyrics "It was the third of September/The day I'll always remember/'Cause that was the day that my daddy died" due to the fact that his father actually died on the third of September. He was livid with Whitfield, believing he did that on purpose. Whitfield insisted it was just a coincidence. Edwards demanded Whitfield change the date or he would not sing the song, but Whitfield refused. After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 10 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with, and the group citing his habitual tardiness, his emphasis of the instrumental tracks over the vocals on many of his productions, and the declining singles and albums sales as other sources of conflict, sought to change producers. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy, and as a result, the group was reassigned to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album. The final Norman Whitfield-produced Temptations album, 1990, was released very late in 1973, and included the Top 30 single "Let Your Hair Down". Shortly afterwards, Whitfield left Motown, and in 1975 established Whitfield Records, taking the Undisputed Truth and Willie Hutch with him, along with Rose Royce---who performed an instrumental track for "Let Your Hair Down" before recording their 1976 smash Car Wash.

403

Dry spell
Bowen's first LP with the Temptations was January 1975's A Song for You, which included a cover of the titular Leon Russell tune (popularized with soul audiences by Donny Hathaway), along with the pop Top 40/R&B number-one hits "Happy People" (featuring the Commodores as the instrumentalists) and "Shakey Ground" (featuring instrumentation by Parliament-Funkadelic's Eddie Hazel along with Billy Bass Nelson). "Glasshouse", the group's final Top 40 Pop hit was also included. Damon Harris was fired from the group during the recording of A Song for You, as his behavior and work ethic were deemed unprofessional,[21] and his replacement was Washington, D.C. native Glenn Leonard, formerly of the Unifics.[22] A number of producers, including Bowen, Brian Holland, James Carmichael, and even the Temptations themselves tried producing hits for the next three LPs, House Party (November 1975), Wings of Love (March 1976), and The Temptations Do the Temptations (August 1976). None of these recordings were as commercially successful as A Song for You however, and none of their associated singles entered the Billboard charts.[23] As time progressed, Bowen pushed Dennis Edwards further to the front of the group. This was evident on Wings of Love, where several tracks featured Edwards' vocal more prominently than the other Temptations' backing vocals.[24] Otis Williams felt that this was hurting the group, accused Motown of inattention, and cited this as the reason for the group's declining sales and popularity. After The Temptations Do the Temptations was recorded in 1976, Edwards was fired from the group,[25] and with new lead Louis Price on board, they left Motown for Atlantic Records.[26] Success continued to elude the group at Atlantic, however. Their two releases on Atlantic -- Hear to Tempt You (1977), and Bare Back (1978), along with their associated singles, had failed to perform any better at Atlantic than their last handful of singles had at Motown. As a result, in 1979, Atlantic released the group from its contract,[24] and shortly afterwards, the Temptations met once again with Smokey Robinson and Berry Gordy, who re-signed the group to Motown in 1980.[27]

Return to Motown and Reunion

Upon the return to Motown several lineup changes occurred. Louis Price departed from the group and joined the Drifters. Dennis Edwards---who had made an unsuccessful attempt at developing a solo career during his three-year exit from the group---returned to the lineup. And Berry Gordy co-wrote and produced "Power", the Temptations' first single under the new contract. "Power", from the album of the same name, hit #11 on the R&B charts but failed to chart in the Top 40. Two years of under-performing singles and albums followed, including an eponymous album

The Temptations with Philadelphia-based producer Thom Bell, until Motown began planning a Temptations reunion tour in 1982. Eddie Kendricks and David Ruffin agreed to rejoin the group for the new album, aptly titled Reunion, and its subsequent promotional tour. Rick James, Melvin Franklin's nephew and the Motown funk star who had previously used the Temptations as backup vocalists on his 1981 hit "Super Freak", wrote, produced, and guested on the Reunion album's lead single, "Standing on the Top". The single went to number-six on the R&B charts and featured Ruffin, Kendricks and Edwards trading back and forth on lead. While the ensuing Reunion tour with all seven Temptations (Ruffin, Kendricks, Otis Williams, Franklin, Edwards, Richard Street, and Glenn Leonard) was financially successful, it ended up being a stressful venture. Kendricks' voice had weakened after decades of chain smoking, Ruffin, still addicted to drugs, missed a number of the performances due to being incapacitated, and current group members Dennis Edwards and Glenn Leonard were causing problems. At the conclusion of the Reunion tour, Ruffin and Kendricks departed, and they began touring and performing together as a duo. One more album, Surface Thrills, released in 1983, featured a sharp departure in the group's sound by incorporating elements of then-current rock. Following its release, Glenn Leonard was let go and replaced by Ron Tyson, who was with the Philadelphia groups the Ethics and Love Committee. Tyson had been a staff songwriter at Atlantic during the Temptations' tenure at that label, and co-wrote several songs on the album Hear to Tempt You.

404

From the 1980s to the 1990s

By this time, the Temptations' releases were no longer performing well on the pop charts, though some singles still made the R&B Top 20. "Love on My Mind Tonight," a single from Surface Thrills, charted at number 17. The lineup of Franklin, Williams, Street, Tyson, and Edwards proved to be short-lived. The five performed on Motown 25 and released the direct to video The Temptations: Live in Concert (filmed at Harrah's Atlantic City). The album Back to Basics, released later in 1983, was the first album featuring Ron Tyson on lead. "Sail Away," produced by a returning Norman Whitfield and featuring Ron Tyson's first lead vocal, peaked at number 13. In addition, a then-relatively unknown singer/musician, Ali-Ollie Woodson was featured on one track, "Stop the World Right Here (I Wanna Get Off)." Woodson was a Detroit native who had been a potential candidate to replace Dennis Edwards back in 1977. Meanwhile, Edwards (who also had his share of lead vocals on the Back to Basics album) was again fired in 1984, for missing rehearsals or showing up hungover. He then attempted a second solo career, scoring a hit with the 1984 single "Don't Look Any Further", a duet with Siedah Garrett. At this point, Woodson officially joined the group, taking Edwards' place. Woodson's first lead on a single was 1984's "Treat Her Like a Lady", co-written by himself and Otis Williams, and co-produced by former Earth, Wind & Fire members Al McKay and Ralph Johnson. The single became their biggest success on R&B radio since 1975, reaching number-two on the R&B charts, and just missing the Pop Top 40 at number 48. The group experienced similar success in 1986 with the single "Lady Soul", another Top 5 R&B smash. Ollie Woodson remained with the Temptations until 1987, when he was fired for consistent lateness. He was replaced by the again-returning Dennis Edwards. The group recorded one album during Edwards' third tenure, Together Again, released in late 1987. The following year, Otis Williams published his autobiography, Temptations, co-written with Patricia Romanowski, chronicling the careers of the group from the Primes/Distants days and focusing on the lives of Williams and Melvin Franklin. (An updated version of the book was published in 2002.) Edwards was fired from the group for the third and final time in late 1988, with Woodson re-joining the lineup. On January 18, 1989, the Temptations were inducted into the Rock and Roll Hall of Fame. The event honored Edwards, Franklin, Otis Williams, David Ruffin, Eddie Kendricks (now performing as "Eddie Kendrick"), and, posthumously, Paul Williams. Most of the Temptations, present and former, showed no ill feelings towards one another, although Otis Williams reported that Kendricks would not speak to him during the ceremony.[27] The Temptations ended their induction ceremony with a performance of Paul Williams' signature song, "Don't Look Back", dedicated to his memory.

The Temptations After reuniting at the induction ceremony, and much to the chagrin of Otis Williams and Motown, Edwards, Ruffin, and Kendrick made plans to tour and record as "Ruffin, Kendrick and Edwards, Former Leads of The Temptations". The tour was in fact carried out, but production on the accompanying album was terminated when 50-year-old David Ruffin died in Philadelphia after a cocaine overdose on June 1, 1991. Kendrick was diagnosed with lung cancer soon after; he continued to perform until his death on October 5, 1992 in his native Birmingham.

405

The Temptations in the 1990s

Richard Street missed a performance in 1992 after undergoing emergency surgery to remove kidneystones. Otis Williams, unaware of Street's surgery, called him angrily about his absence. Street felt Williams was unsympathetic, and as a result, he left the group in 1993 after twenty-two years. His replacement was St. Louis native Theo Peoples. By the early 1990s, bass Melvin Franklin began missing performances due to failing health and Ray Davis, former bass man of Parliament-Funkadelic, began touring as a fill-in during 1993.[28] Franklin died after suffering a brain seizure at the age of 52 on February 23, 1995, and Davis was named his official replacement. The group subsequently finished production on For Lovers Only, an album of pop standards featuring two tracks recorded with Melvin Franklin prior to his death. This lineup would not last, however, as Davis was diagnosed with lung cancer[28] and left shortly after completing the album. Davis died in New Brunswick, New Jersey of respiratory problems and complications of lung cancer on the evening of Tuesday July 5, 2005. The group continued as a quartet for a short time before recruiting bass Harry McGilberry, a former member of the Futures. For Lovers Only would also be the last contribution for lead Ali-Ollie Woodson; he was released from the group shortly after McGilberry's hiring[29] due to health problems:[30] he suffered two bouts of throat cancer in a short time. He was replaced by new member Terry Weeks, who had served as his sub. The Temptations' new lineup, consisting of Otis Williams, Ron Tyson, Theo Peoples, and newcomers Harry McGilberry and Terry Weeks, toured throughout 1997, and was featured in the halftime show of Super Bowl XXXII in early 1998, which celebrated the fortieth anniversary of Motown. Later that year, The Temptations released Phoenix Rising, vocally arranged by 1980s producer Narada Michael Walden, Claytoven Richardson, Theo Peoples, Tony Lindsey and Skyler Jett, which became their first million-selling album in over twenty years. The album was anchored by "Stay", a single featuring Theo Peoples on lead and including a sample from "My Girl", which became a number-one hit on the adult contemporary charts. During the recording of Phoenix Rising, however, Theo Peoples departed, and was replaced by Barrington "Bo" Henderson. The completed album features lead vocals on different tracks by both Henderson and Peoples, who would join the Four Tops the following year.

The Temptations mini-series

Nineteen ninety-eight also saw the debut of The Temptations, a four-hour television miniseries based on Otis Williams' Temptations autobiography. It was broadcast in two parts on NBC on November 1 and November 2, 1998. The miniseries was a ratings success and won an Emmy award for Best Direction; it was subsequently rerun on the VH-1 cable television network and released to VHS and DVD. Otis Williams' former wife, Josephine, Melvin Franklin's mother, Rose Franklin, and David Ruffin's family, filed a joint lawsuit against Williams, Motown, de Passe Entertainment, Hallmark Entertainment, and NBC for a number of charges, including defamation. The judges ruled in favor of the defendants, and the ruling was upheld when the plaintiffs appealed in 2001. Williams later claimed that, although his book was used as the source material for the film, he did not have a great deal of control over how the material was presented.

The Temptations

406

From 2000 to the present day

The Temptations were inducted into the Vocal Group Hall of Fame in 1999. In 2001, their 2000 album Ear-Resistible won the group its third Grammy, this one for Best Traditional R&B Vocal Performance. Bo Henderson was fired from the group in 2003, prompting a wrongful termination lawsuit.[31] His replacement was former Spinners lead G.C. Cameron. The lineup of Cameron, Otis Williams, Ron Tyson, Harry McGilberry, and Terry Weeks recorded for a short time before Harry McGilberry was dismissed;[32] his replacement was former Spaniels bass Joe Herndon. McGilberry died on April 3, 2006, at age 56. The group's final Motown album, Legacy, was released in 2004. Later that year, the Temptations asked to be released from their Motown contract, and moved to another Universal Motown Records Group label, New Door Records. Their sole album with this lineup, Reflections, was released on January 31, 2006, and contains covers of several popular Motown songs, including Diana Ross & the Supremes' "Reflections", the Miracles' "Ooo Baby Baby", Marvin Gaye and Tammi Terrell's "Ain't Nothing Like the Real Thing", and the Jackson 5's "I'll Be There".[33] In 2005, The Temptations were inducted into the Michigan Rock and Roll Legends Hall of Fame. In 2007, The Temptations' recording of "My Girl" was voted a Legendary Michigan Song. The Temptations were nominated for the 2007 Grammy Award for Best Traditional R&B Vocal Performance, for their version of Gaye's "How Sweet It Is (To Be Loved by You)" from Reflections. G. C. Cameron left the group in June 2007 to focus on his solo career.[34] He was replaced by new member Bruce Williamson. The new lineup recorded another album of soul covers, Back to Front,[35] released in October 2007. Former member Ali-Ollie Woodson died on May 30, 2010 after a long battle with leukemia. On May 4, 2010, the group released their Still Here album. A song featured, "First Kiss", has been criticized for having instances of Auto-Tune.[36]

Splinter groups
Several former Temptations continue to perform outside of the group in spin-off or offshoot acts.

Ruffin, Kendricks & Edwards

The most well known splinter was "Ruffin, Kendricks & Edwards: Former Leads of the Temptations", which featured the three former Temptations and three other members, David Sea, who'd been a consideration to replace Edwards in 1984, Nate Evans, a former member of The Impressions, and a female vocalist.

Some former Temptations in July 1991 at the Summertime Jazz, Blues &

World Music Festival in Belgrade, Yugoslavia (now Serbia) Following the death of David Ruffin, Dennis Edwards and Eddie Kendricks began touring as "The Temptations", still with David Sea and Nate Evans, and bringing in another former Temptation, Damon Harris. The group had different sixth vocalists at different times, including Charles Blackmon (Blagman), from The Choice Four, and Curtis Taylor.[37] but their use of the Temptations name prompted a legal battle with Otis Williams. The legal battle was resolved in favor of Otis Williams who is still touring as the last original Temptation.

The Temptations

407

Dennis Edwards and Damon Harris form offshoot groups

Following the death of Eddie Kendricks, the group splintered. Dennis formed "Dennis Edwards and the Temptations Revue", Damon formed "Damon Harris and the Temptations Revue" featuring future Temptation Joe Herndon, Evans and Taylor formed a Temptations tribute band[38] and David Sea went on to a solo career. Edwards' group, whose lineup in 1993 featured Edwards, Mike Patillo (bass), Bernard Gibson (tenor), a fourth male member, and a female member, has appeared on several PBS music specials. The female member was replaced by the returning David Sea in 1999, and the remaining male member by falsetto Chris Arnold in the early 2000s (decade). Bernard Gibson was fired in 2006,[39] and replaced by another former Temptation, Ali-Ollie Woodson. Woodson had previously fronted an act called Ali-Ollie Woodson & the Emperors of Soul, the name being drawn from the Temptations boxed set released in 1994. Woodson left the group briefly in 2008, joining a Broadway review of The Greatest Love Story Ever Told, and was replaced by Paul Williams, Jr., son of the late Paul Williams, Sr. Woodson briefly rejoined, but left again due to cancer, with Paul Williams Jr. again taking his place. Woodson died on May 30, 2010.

Glenn Leonard's Temptations Revue

Harris later split from his "Temptations Revue", with the other four members joining another former Temptation falsetto, Glenn Leonard, to become "Glenn Leonard and the Temptations Experience." Joe Herndon left this group to join the Temptations[40] and his spot was filled by former Temptations bass singer Ray Davis. Following Davis' death on July 5, 2005, the spot was filled by another former Temptations bass singer Harry McGilberry, who died of an apparent drug overdose at the age of 56 on April 3, 2006. Damon Harris would form a new group later, billed as "Damon Harris and the Temptations Tribute." Glenn Leonard has maintained his lineup throughout the 2000-2011 decade, and is billing his show "Glenn Leonard's Temptations Revue" http:/ / www. glennleonardpromo. com His current lineup includes Kareem Ali, Pete Marshall from The Choice Four, Doc Devone, and Andre Jackson.

Richard Street's Temptations

Richard Street also leads a group, billed as "Richard Street" or "Richard Street's Temptations".[41] Street is in the process of writing a book regarding his time with The Temptations entitled Ball of Confusion. If it is published, it will be the second autobiography regarding the group. In 1992, "Ruffin & Kendricks" roadie, Tony Turner, also wrote a book, assisted by Barbara Aria, contrasting Otis Williams' account of the group's glory days, entitled Deliver Us From Temptation.

"Legendary Lead Singers of The Temptations"

Leonard, Woodson, and Henderson have toured as "Legendary Lead Singers of the Temptations" and "The Temptations Reunion Show" since 2004. This prompted a lawsuit by Otis Williams filed in October 2007, citing not just the three performers but their managers and every venue that hosted them. Williams' complaint deals with their use of the name, "The Temptations", as well as claims that the act accepted considerably lower fees than The Temptations, hurting the group's reputation as well as the ability to work. Also cited is advertising by the venues claimed to be misleading by billing Leonard, Woodson and Henderson's group as "The Temptations".[42]

The Temptations

408

Musical style
Unlike many other R&B groups, each member of the Temptations was a lead singer of some capacity, and The Temptations' songs depended upon the individual members' interaction as a group. Although the group always had an appointed main lead singer who dominated most of the lead vocals (from Paul Williams to David Ruffin, Dennis Edwards, and later singers such as Louis Price, Ali-Ollie Woodson, and Terry Weeks), that singer was never given more of a promotional push than the other members. Co-lead songs, with two or more of the singers sharing the lead vocals, are common in the Temptations catalog, particularly among the psychedelic-era recordings of the late 1960s/early 1970s.

The "Motown Sound" (19611968)

Following their first Motown hit, the group would alter their style several times over the ensuing years, adapting to the popular styles of the day while retaining their signature visual and vocal styles. The earliest Temptations recordings backed by Motown's stalwart studio band, the Funk Brothers, reflect the influence of producers Berry Gordy and Smokey Robinson, and featured a cohesive blend of black rhythm and blues along with elements of white pop music that later came to be known as the "Motown Sound". Recordings made prior to 1966 such as "My Girl", were built around songs with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. During this period, each recording usually featured only one lead singer, usually David Ruffin or Eddie Kendricks, although Paul Williams, Melvin Franklin, and Otis Williams each had solo numbers of their own at various times during this period. Melisma and other complicated vocalization techniques featured in the arrangements of most other Motown groups of the period were essentially eschewed by the Temptations for a more direct, yet obviously gospel-rooted vocal approach, in order to make the songs more palatable for white audiences. Creative control remained primarily in the hands of Smokey Robinson, although individual members of the Temptations periodically co-wrote some of their own songs, most frequently by Eddie Kendricks, who also handled the vocal arrangements for all of the Temptations' material. In 1966, Norman Whitfield changed the group's dynamic, moving them away from the previous one lead singer model and adding elements derived from the rougher soul of artists such as James Brown, Wilson Pickett, and the performers at Stax Records. Whitfield and his lyricists crafted Temptations songs with shifts of dynamics, syncopated horn stabs, and more intricate harmony arrangements which spotlighted each singer's unique vocal range. Onstage, this change was reflected in the group's use of a custom-made four-headed microphone stand, (invented by David Ruffin), which allowed each member freedom to perform without having to all crowd around one or two microphones. Under Whitfield's control, the Temptations retained their white pop appeal, but also gained popularity amongst black audiences as well.

Psychedelic and cinematic soul (19681973)

When David Ruffin was replaced by Dennis Edwards, and Sly and the Family Stone became popular, Whitfield again restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" type sound. However, ballads in the traditional style of the group were still being recorded as B-sides and album fillers, with the lone exception being "Just My Imagination". Most other recordings from this period in 19681970 such as "Cloud Nine" and "Psychedelic Shack" featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo and other sound effects. The majority of these songs feature at least two lead singers and often, all five Temptations sang lead, trading bars la the Family Stone. Dennis Edwards, whose vocal style had a rougher, more Southern-soul based sound than that of David Ruffin, was often featured prominently on most of these recordings.

The Temptations Inspired heavily by the concurrent works of Sly Stone, the lyrics for these songs centered primarily around then-current social issues such as integration, the Vietnam War, and self-consciousness. In addition, in an attempt to get the social message contained therein across to their audiences more clearly, many of the psychedelic soul recordings of this period were presented in mixes of extended length, often up to twice, triple or quadruple the length of the typical three-minute Motown song. Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes. At the insistence of Norman Whitfield, a large portion of the additional running time for each song consisted of instrumental passages without vocals. For example, the hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes, featuring an instrumental intro that was almost two minutes, a rarity for songs of that era. "Psychedelic soul" soon gave way to "cinematic soul", highlighting a further series of lengthy recordings featuring detailed orchestration, extended instrumental introductions and bridging passages. Often focusing on lyrics about the ghettos and inner cities of black America, these songs were heavily influenced by the work of singer-songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield however, the Temptations had no creative control over their recordings, and were in no way fond of the twelve- and thirteen-minute long songs being forced upon them by Norman Whitfield, whose contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiece.

409

From funk to disco to adult contemporary (1974 to present)

In 1974, after Whitfield was dismissed as the producer for the Temptations, the group altered its sound to accommodate a balance of both up-tempo dance material as well as ballads. The vocal arrangements began to again focus primarily on one lead singer per track, although some leads were still being shared periodically. In addition, the Temptations themselves, after fighting Motown and Berry Gordy for creative control, began to write and produce some of their own material. From this point on, the Temptations focused almost exclusively on songs about romance. However, songs about social issues similar to the recordings made during the tenure of Norman Whitfield were periodically produced as well. Temptations recordings of the mid `70's focused significantly on the influences of funk music from artists such as Parliament-Funkadelic and Sly and the Family Stone, and members of both acts contributed significantly to material recorded by the group during this period. In addition, their signature ballad sound, reduced to filler material during much of the Whitfield period, was restored to the lush, full productions of the earlier hits produced by Smokey Robinson. After a brief diversion into disco in the late-1970s, the Temptations settled into a form of an adult contemporary-rooted type of R&B, a style in which they continue to record. Although the group continues to feature dancing as an important aspect of its act, as the ages of its members have increased, live shows have focused on less intricate choreography.

Legacy and influence

With their tailored suits and detailed choreography, The Temptations set the bar high for male soul and R&B groups of the period. Before the Temptations became popular, most black vocal groups were rough, high-energy acts featuring vocals which were more raw and dance movements which were more improvisational. Only a few performers, including contemporaries Marvin Gaye, Sam Cooke, and the Four Tops, showed the refined style that would be popularized by the Temptations. Producer Berry Gordy insisted that all his acts be equally appealing to both white as well as black audiences, and employed an extensive creative team to help tailor Motown talent for the crossover success he desired. Motown choreographer Cholly Atkins along with Paul Williams created the trademark precise and energetic, yet refined, dance steps used by the Temptations onstage. The most famous of these, the "Temptation Walk", or "Temptation

The Temptations Strut", was adapted from similar moves by the Flamingos and the Vibrations and from those two sources, Cholly Atkins and Paul Williams crafted the resulting signature dance routine. Like other similar independent companies of the period, Motown was neither a member of ASCAP nor BMI, preferring to stay independent and handling their own widely varied distribution through thousands of "Mom & Pop" record stores and small radio stations. Many singles that might have been charted higher did not have the data for the Billboard charts to evaluate, so it is quite possible that the Temptations sold more than a "Gold Record" number of most of their early records. Their stage work and depth of their lead singers made them legends throughout the northern cities as well as the southern "chitlin' circuit", before being acknowledged by most radio disc jockeys as the strongest group around. During the 1960s and 1970s, a number of soul groups showed significant influence from the Temptations, among them the Delfonics, the Chi-Lites, Parliaments, featuring George Clinton, the Dramatics, Daryl Hall & John Oates (from 1965 to 1967 one of Daryl Hall's earliest bands was named The Temptones), and Motown labelmates the Jackson 5 and The Undisputed Truth. These acts, and others, showed the influence of the Temptations in both their vocal performances and their onstage choreography. Several more recent soul and R&B vocal groups, including the New Edition led by Johnny Gill, Jodeci, BLACKstreet, Dru Hill, and, most notably, Boyz II Men in the 1990s also showed significant influence from the Temptations. It is interesting to note that during the early part of their career, their main competition came from Impressions featuring Curtis Mayfield; then during the phase of the group featuring alternating leads, competition came from Sam & Dave, the Chi-Lites. In their next phase, competition came from the O'Jays. In each case, each group alternated between love songs and songs with messages in their lyrics. Temptations songs have been covered by scores of musicians, from R&B singers such as Luther Vandross ("Since I Lost My Baby"), to pop vocalists such as Bette Midler ("Just My Imagination"), to rock bands such as Rare Earth ("Get Ready"), Anthrax, Love and Rockets, Duran Duran ("Ball of Confusion (That's What the World Is Today)") and the Rolling Stones ("My Girl", "Ain't Too Proud to Beg", "Just My Imagination") and Mick Jagger's collaboration with reggae artist Peter Tosh on ("Don't Look Back"). In 1991, British singer Rod Stewart collaborated with the Temptations on the single "The Motown Song". The lives and careers of The Temptations were one of several inspirations for The Five Heartbeats, a 1991 film about a 1960s Motown-esque male group starring Robert Townsend, Michael Wright, Leon, and Harry J. Lennix. In 2004, Rolling Stone magazine ranked The Temptations #67 on their list of the 100 Greatest Artists of All Time.[43] In 2005, the Temptations were voted into the Michigan Rock and Roll Legends online Hall of Fame. Their classic recording of "My Girl" was selected as a Legendary Michigan Song in 2007.[44]

410

The Temptations

411

Personnel
For a detailed listing of the various versions of The Temptations (and a timeline), see: Temptations chronology.

The Primes
aka The Cavaliers Paul Williams (19551960) Eddie Kendricks (19551960) Kell Osborne (19551960) Wiley Waller (19551957)
The Temptations on stage at London's Royal Albert Hall, November 2005. Pictured L-R: Joe Herndon, Otis Williams, G.C. Cameron, Terry Weeks, and Ron Tyson.

The Distants
aka Otis Williams & the Distants, Otis Williams & the Siberians Otis Williams (19581960) Elbridge "Al" Bryant (19581960) James "Pee-Wee" Crawford (19581959) Vernard Plain (19581959) Arthur Walton (19581959) Melvin Franklin (19591960) Richard Street (19591960) Albert "Mooch" Harrell (19591960)

The Temptations
aka The Elgins Otis Williams (1960present) Elbridge "Al" Bryant (19601963) Melvin Franklin (19601995) Eddie Kendricks (19601971, 1982 reunion) Paul Williams (19601971) David Ruffin (19641968, 1982 reunion) Dennis Edwards (19681977, 19801984, 19871989) Ricky Owens (1971) Richard Street (19711992) Damon Harris (19711975) Glenn Leonard (19751983) Louis Price (19771980) Ron Tyson (1983present) Ali-Ollie Woodson (19841987, 19891997) Theo Peoples (19921998) Ray Davis (19941995) Harry McGilberry (19952003) Terry Weeks (1997present)

Barrington "Bo" Henderson (19982003) G. C. Cameron (20032007) Joe Herndon (2003present)

The Temptations Bruce Williamson (2007present)

412

Discography
U.S. and UK Top Ten singles
The following singles reached the Top Ten of either the United States pop singles chart or the United Kingdom pop singles chart. Also included are the singles that hit No. 1 on the US R&B charts.
Year 1965: "My Girl" 1966: "Get Ready" 1966: "Ain't Too Proud to Beg" 1966: "Beauty Is Only Skin Deep" 1966: "(I Know) I'm Losing You" 1967: "All I Need" 1967: "You're My Everything" 1967: "I Wish It Would Rain" 1968: "I Could Never Love Another (After Loving You)" 1968 "Cloud Nine" Song title US Top 10 UK Top 10 R&B No. 1 1 29 13 3 8 8 6 4 13 6 2 10 26 2 1 1 1 1 1 2 3 1 1 2 1

1968: "I'm Gonna Make You Love Me" (Diana Ross & the Supremes and the Temptations) 1969: "Run Away Child, Running Wild" 1969: "I Can't Get Next to You" 1970: "Psychedelic Shack" 1970: "Ball of Confusion (That's What the World Is Today)" 1971: "Just My Imagination (Running Away with Me)" 1972: "Papa Was a Rollin' Stone" 1973: "Masterpiece" 1973: "Let Your Hair Down" 1974: "Happy People" 1975: "Shakey Ground" 1991: "The Motown Song" (Rod Stewart featuring The Temptations) 1992: "My Girl" (reissue)

6 1 7 3 1 1 7 10

7 8 -

1 1 2 2 1 5 1 1 1 1 -

The Temptations

413

Top Ten albums

The following albums reached the Top Ten on either the United States pop or R&B albums charts or the United Kingdom pop albums chart 1965: The Temptations Sing Smokey (R&B #1) 1965: The Temptin' Temptations (R&B #1) 1966: Gettin' Ready (R&B #1) 1966: Greatest Hits (R&B #1) (US #5) 1967: Temptations Live! (R&B #1) (US #10) 1967: The Temptations with a Lot o' Soul (R&B #1) (US #7) 1967: The Temptations in a Mellow Mood (R&B #1) 1968: The Temptations Wish It Would Rain (R&B #1) 1968: The Temptations Show (R&B #2) 1968: Diana Ross & the Supremes Join The Temptations (with Diana Ross & The Supremes) (R&B #1) (US #2) 1968: TCB (with Diana Ross & The Supremes) (R&B #1) (US #1) 1968: Live at the Copa (R&B #2) 1969: Cloud Nine (R&B #1) (US #4) 1969: Puzzle People (R&B #1) (US #5) 1969: Together (R&B #6) 1969: On Broadway (R&B #4) 1970: Psychedelic Shack (R&B #1) (US #9) 1970: Live at London's Talk of the Town (R&B #5) 1970: Greatest Hits, Vol. 2 (R&B #2) 1971: Sky's the Limit (R&B #2) 1972: Solid Rock (R&B #1) 1972: All Directions (R&B #1) (US #2) 1973: Masterpiece (R&B #1) (US #7) 1973: Anthology (R&B #5) 1973: 1990 (R&B #2) 1975: A Song for You (R&B #1) 1975: Wings of Love (R&B #3) 1976: The Temptations Do The Temptations (R&B #10) 1982: Reunion (R&B #2) 1984: Truly for You (R&B #3) 1986: To Be Continued (R&B #4)

Filmography
1973: Save the Children 1987: Happy New Year 2007: Walk Hard: The Dewey Cox Story

Television work
1985: The Fall Guy (TV episode "Rockabye Baby", February 13, 1985) 1985: The Love Boat (TV episode "Your Money or Your Wife/Joint Custody/The Temptations", October 5, 1985) 1986: Moonlighting (TV episode "Symphony in Knocked Flat", October 21, 1986) 1986: 227 (TV episode "Temptations", November 15, 1986) 1990: Murphy Brown (TV episode "Goin' to the Chapel, Part 2", May 21, 1990)

The Temptations 1990: performed CBS network's 1990-91 version of their Get Ready campaign with an updated version of "Get Ready". 1993: Getting By (TV episode "Reach for the Stars", November 23, 1993) 1996: New York Undercover (TV episode "Deep Cover", May 2, 1996) 2008: Friday Night with Jonathan Ross (TV appearance), March 7, 2008

414

Video and DVD releases

1991: The Temptations - Live in Concert 2004: 20th century Masters - The Best of the Temptations 2006: Get Ready: The Definitive Performances - 19651972 2007: The Temptations - Live In London (1987)

Notes
[1] http:/ / www. otiswilliams. net/ [2] Graff, Gary (1988-08-29). The Temptations: Otis tells the group's tale. Detroit Free Press. Online version available from Internet Archive at (http:/ / web. archive. org/ web/ 20050406060553/ http:/ / www. freep. com/ motownat40/ archives/ 082888mo. htm) [3] (2005). " The Temptations (http:/ / www. memorabletv. com/ memorablemusic/ temptations. htm)". Memorabletv.com. Retrieved on 2005-11-05. [4] (2003). " The Temptations (http:/ / classic. motown. com/ artist. aspx?ob=ros& src=lb& aid=52)". ClassicMotown.com. Retrieved on 2005-11-05. [5] (2005) Ankeny, Jason. " The Temptations (http:/ / www. allmusic. com/ artist/ p5616)". Allmusic. Retrieved on 2005-11-05. [6] Hardin, Ritchie (July 17, 2004). "The Tangled History of The Temptations" (http:/ / web. archive. org/ web/ 20051018055156/ http:/ / www. ritchie-hardin. com/ soul/ temps0. html). The Ritchie Hardin Network. Archived from the original (http:/ / www. ritchie-hardin. com/ soul/ temps0. html) on 2005-10-18. . Retrieved 2007-02-09. [7] Williams and Romanowski (1988), pp. 2630. [8] Ribowsky, Mark (2010). Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations. Hoboken, New Jersey: John Wiley & Sons. ISBN 978-0-470-26117-0. Pg. 232 [9] Williams and Romanowski (1988), pp. 3238. [10] Williams and Romanowski (1988), pp. 40. [11] Williams and Romanowski (1988), pp. 30, 40-41. [12] Williams and Romanowski (1988), pp. 9, 32. [13] Williams and Romanowski (1988), pp. 6870. [14] Blair, Elizabeth (June 4, 2000). " Weekend Edition: 'My Girl' (http:/ / www. npr. org/ templates/ story/ story. php?storyId=1074993)". NPR. Retrieved May 17, 2009. [15] The Temptations (http:/ / digital. library. unt. edu/ explore/ partners/ UNTML/ browse/ ?start=49& fq=untl_collection:JGPC) interviewed on the Pop Chronicles (1969). [16] Ribowsky, Mark (2010). Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations. Hoboken, New Jersey: John Wiley & Sons. ISBN 978-0-470-26117-0. Pg. 165, 212, 217-222 [17] Interview with Richard Street, R&B Showcase Magazine. Retrieved from (http:/ / www. rnbshowcasemag. com/ temptations) on May 13, 2010 [18] Interview with Eddie Kendricks, Urban Street. Retrieved from (http:/ / www. youtube. com/ watch?v=cW1I7TWdWW8) on May 17, 2009 [19] Ribowsky, Mark (2010). Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations. Hoboken, New Jersey: John Wiley & Sons. ISBN 978-0-470-26117-0. Pg. 226 [20] Ribowsky, Mark (2010). Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations. Hoboken, New Jersey: John Wiley & Sons. ISBN 978-0-470-26117-0. Pg. 227 [21] Williams and Romanowski, (2002) pp. 170171 [22] Williams and Romanowski, (2002), p. 172 [23] Williams and Romanowski, (2002), pp. 249, 259 [24] Williams and Romanowski, (2002), p. 177 [25] Williams and Romanowski, (2002), p. 183 [26] Williams and Romanowski, (2002), pp. 178182 [27] Williams and Romanowski, (2002), pp. 193197 [28] "Ray Davis-The Original P Interview" (http:/ / vermontreview. tripod. com/ Interviews/ raydavis. htm). Vermontreview.tripod.com. . Retrieved 2008-11-08.

The Temptations
[29] "Ali and Harry together in concert" (http:/ / thetemptations. com/ v-web/ gallery/ former-concerts/ tempts4). Thetemptations.com. . Retrieved 2011-11-02. [30] "Otis Williams" (http:/ / www. otiswilliams. net/ history. aspx). Otiswilliams.net. . Retrieved 2008-11-08. [31] "Welcome to Glicker & Associates" (http:/ / www. glickerlaw. com/ media_details. asp?media_id=4). Glickerlaw.com. . Retrieved 2008-11-08. [32] "Various Photos" (http:/ / www. thetemptations. com/ v-web/ gallery/ former-various/ tempts149). The Temptations Photo Gallery. . Retrieved 2007-02-06. [33] 2005-11-28. " Temptations Record 15 Classics for Reflections (http:/ / classic. motown. com/ news. aspx?bid=20)". Universal Records press release, Retrieved on 2005-12-03. [34] "GC Cameron's WHCR 90.3FM June 8, 2007 Interview with Maurice Watts" (http:/ / www. mauricewatts. com/ interviews/ gcinterview3. html). Mauricewatts.com. . Retrieved 2008-11-08. [35] "Amazon.com: Back to Front: The Temptations: Music" (http:/ / www. amazon. com/ dp/ B000V9KFLO). Amazon.com. . Retrieved 2008-11-08. [36] "The Temptations Turn to Auto-Tune on New Album" (http:/ / www. spinner. com/ 2010/ 05/ 05/ the-tempations-new-album-still-here-auto-tune/ ). Spinner.com. 2010-05-05. . Retrieved 2011-11-02. [37] "Amazon.com: Papa Was a Rolling Stone: The Temptations: Music" (http:/ / www. amazon. com/ dp/ B00006AFRC). Amazon.com. . Retrieved 2008-11-08. [38] Temptations Tribute Bands (http:/ / www. legendsinconcert. com/ performers/ temptations-35/ ) [39] "Key of Gee" (http:/ / www. keyofgee. com/ bernard_gibson). Key of Gee. . Retrieved 2011-11-02. [40] Glenn Leonard bio (http:/ / www. mauricewatts. com/ vba/ glennbio. html) (2004). Retrieved on 2006-11-18. Notice Joe Herndon, top right. [41] "Invalid Website" (http:/ / www. rummage. com. au/ AAPView. aspx?id=59502). Rummage.com.au. . Retrieved 2008-11-08. [42] Posted October 29, 2007 at 6:03PM by TMZ Staff. "Original Temptation Ain't Too Proud to Sue - TMZ.com - Entertainment News, Celebrity Gossip and Hollywood Rumors" (http:/ / www. tmz. com/ 2007/ 10/ 29/ original-temptation-aint-too-proud-to-sue/ 2). Tmz.com. . Retrieved 2008-11-08. [43] "The Immortals: The First Fifty" (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty). Rolling Stone Issue 946. Rolling Stone. . Retrieved 2007-02-05. [44] www.michiganrockandrolllegends.com

415

References
George, Nelson. "Cool as They Wanna Be". The Temptations: Emperors of Soul [CD Box Set]. New York: Motown Record Co., L.P. Posner, Gerald (2002). Motown : Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. Weinger, Harry (1994). "Sunshine on a Cloudy Day". The Temptations: Emperors of Soul [CD Box Set]. New York: Motown Record Co., L.P. Williams, Otis and Romanowski, Patricia (1988, updated 2002). Temptations. Lanham, MD: Cooper Square. ISBN 0-8154-1218-5. George, Nelson (1985, rev. 2003). Where Did Our Love Go: The Rise and Fall of the Motown. London: Omnibus Press. ISBN 0-7119-9511-7.

External links
Official homepage for Glenn Leonard - lead singer from 1975 to 1983 (http://www.GlennLeonardPromo.com) Melvin Franklin/The Temptations interview by Pete Lewis, 'Blues & Soul' October 1992 (reprinted January 2009) (http://www.bluesandsoul.com/feature/378/the_temptations_motown_50_classic_inte...) The Temptations (http://www.allmusic.com/artist/p5616) at Allmusic The Temptations official website (http://www.temptationssing.com) Group profile at Soul Evolution (http://www.soulevolution.co.uk/Legendoftheweek.html) Interview (http://www.youtube.com/watch?v=cW1I7TWdWW8). Urban Street. 1991. Retrieved 1/30/09 Otis Williams' official website (includes current tour schedule) (http://www.otiswilliams.net/main.aspx) Ron Tyson's official website (http://www.rontyson.com/) Official Motown/Universal website for The Temptations (http://www.thetemptations.net)

The Temptations Classic Temptations page at Classic Motown website (http://classic.motown.com/artist.aspx?ob=ros& src=lb&aid=52) 'The Temptations' Vocal Group Hall of Fame page (http://www.vocalgroup.org/inductees/the_temptations. html) Ali Ollie Woodson interview by Pete Lewis, 'Blues & Soul' December 2001 (reprinted June 2010) (http://www. bluesandsoul.com/feature/548/ali_ollie_woodson_1951__2010_blues_and...) SoulTracks group biography and chart of past group members (http://www.soultracks.com/temptations.htm)

416

Tammi Terrell
Tammi Terrell
Background information Birth name Born Thomasina Winifred Montgomery April 29, 1945 Philadelphia, Pennsylvania, USA March 16, 1970 (aged24) Philadelphia, Pennsylvania, USA R&B, soul, pop Singer, songwriter, 19591970 Scepter/Wand Try Me Checker Motown Tamla

Died

Genres Occupations Years active Labels

Associated acts James Brown, Marvin Gaye, David Ruffin

Thomasina Winifred Montgomery, known as Tammi Terrell (April 29, 1945 March 16, 1970) was an American recording artist and songwriter most notable for her association with Motown Records and her duets with Marvin Gaye. As a teenager she recorded for the ScepterWand, Try Me and Checker record labels. She signed with Motown in April 1965 and enjoyed modest success as a solo singer. Once she was paired with Gaye in 1967, her stardom grew, but on October 14 of that year she collapsed on stage into Gaye's arms during a performance. She was soon thereafter diagnosed with a malignant brain tumor which eventually led to her death at age 24.

Early life and career

Tammi Terrell was born Thomasina Winifred Montgomery in Philadelphia. Members of her family have said her parents figured their eldest child would be a son and had settled on "Thomas". After Terrell's birth, they added in "-ina". Terrell was called "Tommie" by family. Terrell has a younger sister, Ludie (born 1949). Terrell began singing in church at an early age. Terrell developed a rebellious, free-spirited streak and changed her name to "Tammy" after seeing the film Tammy and the Bachelor in the summer of 1957 and hearing its theme song "Tammy". Around this time, Terrell began complaining of migraines and headaches. Terrell's family said that this foreshadowed her later struggle with brain cancer but that at the time they did not regard it as a major issue. By the age of thirteen, Terrell had begun a professional singing career. In 1960, prior to her fifteenth birthday, she signed with Scepter Records, and recorded the doo-wop single, "If You See Bill" , releasing it under the name

Tammi Terrell "Tammy Montgomery". Though the record wasn't a success, it did establish Terrell in some R&B circles and Terrell went on tour with some of Scepter's biggest artists and other popular R&B artists of the Philadelphia area, including Chubby Checker and Patti LaBelle and the Bluebelles. She also opened for R&B star Gene Chandler, with whom she had a friendship. In 1962, Terrell came to the attention of James Brown and the seventeen-year-old found herself in Brown's popular Revue becoming one of Brown's first female headliners. In 1963, Terrell recorded for Brown's Try Me Records, releasing the ballad, "I Cried", which gave her some chart success. Terrell and Brown also had a personal relationship, which was hampered by Brown's physical abuse towards her. After a horrific incident backstage after a show, Terrell asked Chandler (who witnessed the incident first hand) to take her to the bus station so she could go home. He later called her mother to come pick her up. This ended Terrell's two-year relationship with Brown. Ludie Montgomery stated in her memoirs of Terrell that she met Sam Cooke in 1964 after Cooke showed a romantic interest in Terrell. Before a relationship could forge, however, Cooke was murdered in Los Angeles that December. After recording a single for Checker Records in 1964, produced by the legendary Bert Berns and paired with singer Jimmy Radcliffe on a now-released duet version of the song "If I Would Marry You" wherein she debuted as a co-writer with Berns, Terrell semi-retired from show business and enrolled in the University of Pennsylvania where she stayed for two years majoring in pre-med. In 1965, Jerry "The Ice Man" Butler asked Terrell to sing with him in a series of nightclub shows, which Terrell agreed to with a schedule that would allow her to continue her studies in Pennsylvania. In March 1965, Motown Records CEO Berry Gordy spotted Terrell performing in Detroit and asked Terrell to sign with Motown. Terrell agreed and signed with Motown on April 29, 1965, her 20th birthday.

417

Early success
Terrell's first single with Motown was the Johnny Bristol and Harvey Fuqua composition, "I Can't Believe You Love Me", in November 1965. Prior to the single's release, Gordy gave her a new name, figuring Tammy Montgomery was too long. He wanted a name that screamed "sex appeal" and therefore settled on "Tammi Terrell" with the y in "Tammy" changed to an "i". The song became a modest success, reaching the top thirty of the American R&B charts. Another modest R&B charter was the sultry "Come on and See Me". Terrell also recorded the first version of Stevie Wonder's future classic, "All I Do (Is Think About You)" and also recorded a version of The Isley Brothers' "This Old Heart of Mine (Is Weak for You)", in a slightly uptempo gospel-influenced version. Terrell's R&B success landed her a spot on the Motortown Revue. Around the same time, Terrell began a romantic relationship with David Ruffin, member of The Temptations. In 1966, Ruffin proposed marriage to Terrell. Terrell was distraught however when she later learned that Ruffin had a wife and three children living in Detroit. Devastated, she and Ruffin began having public fights. It was claimed that Terrell was hit with a hammer and machete by Ruffin; Terrell's family and her Motown colleagues denied those claims, but Ludie Montgomery did confirm that Terrell was hit on the side of her face by Ruffin's motorcycle helmet. The incident put an end to their relationship in 1967.

Success with Marvin Gaye and cancer diagnosis

By early 1967, Marvin Gaye had seen three singers he recorded duets with - Mary Wells, Kim Weston and Oma Page - leave Motown. Figuring Terrell could benefit, Gordy asked Terrell to sing duets with Gaye, which she agreed. Gaye later recalled that he didn't know how musically and vocally gifted Terrell was until they began recording duets together. At first the duets were recorded separately. For sessions of their first recording, the Ashford & Simpson composition, "Ain't No Mountain High Enough", both Gaye and Terrell recorded separate versions. Motown remixed the vocals and edited out the background vocals, giving just Gaye and Terrell vocal dominance. The song, originally written for Dusty Springfield, became a crossover pop hit in the spring of 1967, reaching number nineteen on the Billboard Hot 100 and number three on the R&B charts, making Terrell a star. Their follow-up hit, "Your Precious Love", became

Tammi Terrell an even bigger hit reaching number five on the pop chart, and number-two on the R&B chart. In late 1967, the duo scored a third top ten single with "If I Could Build My Whole World Around You", which peaked at number ten on the pop chart and number-two on the R&B chart. The song's B-side, the Marvin Gaye composition, "If This World Were Mine", became a modest hit on both charts, reaching number sixty-eight on the pop chart and number twenty-seven on the R&B chart. Gaye would later cite the song as "one of Tammi's favorites". All four songs were included on Gaye and Terrell's first duet album, United, released in the late summer of 1967. Throughout that year, Gaye and Terrell began performing together and Terrell became a vocal and performance inspiration for the shy and laid-back Gaye, who hated live performing. The duo even performed together on TV shows to their hits. While Terrell was finally being established as a star, the migraines and headaches that she suffered with as a child were becoming more constant. While she complained of pains, she insisted to people close to her that she was well enough to perform. However, on October 14, 1967, while performing with Gaye at Hampden-Sydney College, outside of the college of Farmville, Virginia, Terrell fell and buckled onstage. Gaye helped her not fall completely to the ground and rushed Terrell backstage, where she was immediately taken to Southside Community Hospital and later diagnosed with a malignant brain tumor.

418

External audio
You may listen to Tammi Terrell & Marvin Gaye sing "Ain't no Mountain High Enough" here [1]

After a six-week stay at a Philadelphia hospital where she had her first of what would be eight operations, Terrell returned to Detroit to record the Gaye duet, "You're All I Need to Get By". Prior to the tumor diagnosis and her collapse onstage, Terrell and Gaye recorded in front of each other for the first time during the recording of "Ain't Nothing Like the Real Thing". Both songs became number-one R&B hits in 1968, as well as top ten pop hits. The change in recording from United and the duo's second album, You're All I Need was due to Terrell's rapid illness while two of the songs on United were overdubbed with Gaye's vocals, six of the tracks on You're All I Need were overdubbed with Gaye vocals to create duet tracks. Gaye later told his biographer David Ritz that Terrell was unable to record and that Valerie Simpson filled in for her vocals on the final Gaye/Terrell duet album, Easy. Simpson and her husband, Nickolas Ashford, have been quoted as denying this in several sources, including a book written by Terrell's sister Ludie Montgomery and the liner notes to The Complete Motown Singles Volume 9: 1969. Simpson's own account is that she did provide guide vocals for Gaye to work with in Terrell's absence (and that it was this which Gaye later remembered), but that Terrell was then brought in to "painstakingly" record her vocals for the Easy album over Simpson's guide track.[2] Simpson reiterated the story on a recent documentary on Terrell's life story. However, others who worked with Motown heard the album and also concluded that Terrell wasn't on the album. They contended that the voice was "too nasal" and that the language pattern, accent, and vocal delivery weren't close to Terrell's.. Simpson had some vocal similarities to Terrell and eventually confirmed Gaye's reports that Terrell wasn't on the album despite her own claims . The liner notes to The Complete Motown Singles Volume 10 confirms that Terrell was present during the sessions, at least as an adviser, and may have supplied some vocals as well. Despite these reports, Gaye and Terrell continued to have chart success. The Easy album included the modest hit, "What You Gave Me" (later covered by Diana Ross in an ill-fated disco version), and the top ten UK hit, "The Onion Song". In late 1969, while performing at the Apollo Theater, Gaye spotted an ill Terrell in the audience after the singer, now under ninety pounds, stood up and began singing her opening response to Gaye on their hit, "You're All I Need to Get By". Gaye, who was performing with Carla Thomas on the bill, reportedly stepped off the stage into the audience to sing with Terrell, who was given a microphone. The performance ended with a standing ovation. It was to be Terrell's final public appearance.

Tammi Terrell

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Death and aftermath

At the time of her death, Terrell was engaged to be married to a doctor, though not her personal doctor. Terrell figured, with every operation, she would get well, but her tumor only got worse. By late 1969, Terrell was on her seventh operation and was unable to promote the Easy album. Also in 1969, Motown also issued Terrell's first and only solo album, Irresistible, which included recordings going back to 1965 and through 1968. Being close to death, Terrell was also unable to promote that record as well. A 1969 Ebony article reported on Terrell's struggles to get well and the singer gave an exclusive interview hopeful of an eventual recovery and a return to recording and live performances. However, it wasn't to be. On January 25, 1970, Terrell went into her eighth and final operation on her tumor. Shortly after that she lapsed into a coma. Terrell then died, of complications from brain cancer, on March 16, 1970. She was a month and two weeks short of her 25th birthday. Marvin Gaye reacted to her initial illness, when she collapsed into his arms onstage in 1967, by taking a four-year hiatus from concert performance. His first appearance after this hiatus was at the newly opened Kennedy Center in Washington D.C. on May 1, 1972, where he performed his hit album What's Going On with many of the musicians who played on the original sessions. Gaye recalled that he felt somehow responsible for Terrell's illness and death. Gaye failed to appreciate his own successes including the international hit, "I Heard It Through the Grapevine", thinking the success was not deserved on his part. At the funeral, Gaye delivered a final eulogy while "You're All I Need to Get By" was playing. According to Terrell's fianc, who knew Gaye, Terrell's mother allowed just Gaye at the funeral but told him that Terrell's other Motown colleagues would not be allowed in. Terrell's mother criticized Motown for not helping with Terrell's illness accusing the label for covering up the singer's condition releasing albums of Terrell's work without her consent. Gaye had also contended that he felt Motown was taking advantage of Terrell's illness and refused to promote the Easy album despite Motown telling him it would cover Terrell's health finances. Gaye never fully got over Terrell's death, according to several biographers stated Terrell's death led Gaye to depression and drug abuse. In addition, Gaye's classic album What's Going On, an introspective, low-key work which dealt with mature themes released in 1971, was in part a reaction to Terrell's death.[3] In July 1970, four months after Terrell's untimely passing, a dramatic gospel-pop rearrangement of "Ain't No Mountain High Enough", was released by Diana Ross, becoming a number-one hit and one of Ross' signature songs. On October 8, 2010, Hip-O Select released Come On And See Me: The Complete Solo Collection, a collection of all of Terrell's solo work dating back to high school, plus never before released songs and 13 minutes of the only known live stage recordings.

Discography
Albums
1967: The Early Show (Wand LP, side A is by Tammi Terrell, side B is by Chuck Jackson) 1969: Irresistible (#39 R&B) 2001: The Essential Collection (posthumous) 2010: Come On and See Me: The Complete Solo Collection (posthumous)

with Marvin Gaye 1967: United (#69 US) 1968: You're All I Need (#60 US) 1969: Easy (#184 US) 1970: Marvin Gaye and Tammi Terrell's Greatest Hits (posthumous)

2001: The Complete Duets (compilation of United, You're All I Need, and Easy)

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Singles
1961: "If You See Bill" (as Tammy Montgomery) 1962: "Voice of the Experience" (as Tammy Montgomery) 1963: "I Cried" (as Tammy Montgomery) (#99 US) 1964: "If I Would Marry You" (as Tammy Montgomery) 1965: "I Can't Believe You Love Me" (#72 US) 1966: "Come On and See Me" (#80 US) 1968: "This Old Heart of Mine (Is Weak for You)" (#67 US)

with Marvin Gaye 1967: "Ain't No Mountain High Enough" (#19 US) 1967: "Your Precious Love" (#5 US) 1967: "If I Could Build My Whole World Around You" (#10 US, #41 UK) 1968: "If This World Were Mine" (b-side of "If I Could Build My Whole World Around You", #68 US) 1968: "Ain't Nothing Like the Real Thing" (#8 US, #34 UK) 1968: "You're All I Need to Get By" (#7 US, #19 UK) 1968: "Keep On Lovin' Me Honey" (#24 US) 1969: "You Ain't Livin' till You're Lovin'" (#21 UK) 1969: "Good Lovin' Ain't Easy to Come By" (#30 US, #26 UK)[4] 1969: "What You Gave Me"* (#49 US)[4] 1969: "The Onion Song"* (#50 US, #9 UK)[4] 1970: "California Soul"* (#56 US)[4]

References
[1] [2] [3] [4] http:/ / www. youtube. com/ watch?v=Xz-UvQYAmbg& feature=related The Complete Motown Singles, Volume 9: 1969, Motown/Hip-O Select, 2008, p.109 Allmusic.com (http:/ / www. allmusic. com/ artist/ p131015/ biography) Ritz, David (1985, rev. 1991). Divided Soul: The Life of Marvin Gaye. Da Capo Press. ISBN9780306804434.; Montgomery, Ludie (2005). My Sister Tommie: The Real Tammi Terrell. East Sussex, United Kingdom.: Bank House Books. ISBN1-9781904408161.. These songs are credited to Tammi Terrell but several sources say Valerie Simpson filled in on several whole songs or parts of where Terrell couldn't finish because of her health. Gaye said that Berry Gordy came up with the idea of Simpson filling in for the very ill Terrell. Ludie Montgomery (Tammi Terrell's younger sister) says in her book, My Sister Tommie: The Real Tammi Terrell that it is Terrell who is heard and not Simpson.

Further reading
Montgomery, Ludie. My Sister Tommie: the Real Tammi Terrell (2005, ISBN 1-904408-16-8) Ritz, David. Divided Soul: the Life of Marvin Gaye (2003 edition, ISBN 0-306-81191-X) Whitall, Susan. For the Record: Women of Motown (1998, ISBN 0-380-79379-2)

External links
TammiTerrell.com (http://www.tammiterrell.com) (fan site) Tammi Terrell (http://www.imdb.com/name/nm0855830/) at the Internet Movie Database Tammi Terrell (http://www.allmusic.com/artist/p131015) at Allmusic Tammi Terrell (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=2151) at Find a Grave

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Martha and the Vandellas

Martha and the Vandellas
Martha and the Vandellas (l-r): Rosalind Ashford, Betty Kelly and Martha Reeves in a 1966 promotional photo. Background information Also known as Origin Genres Years active Labels Associated acts The Del-Phis, The Vels, Martha Reeves & the Vandellas Detroit, Michigan, United States R&B/soul/pop 19621972 Gordy Marvin Gaye The Funk Brothers Past members Martha Reeves Rosalind Ashford-Holmes Annette Beard-Helton Gloria Williams Betty Kelly Lois Reeves Sandra Tilley

Martha and the Vandellas (known from 1967 to 1972 as Martha Reeves and the Vandellas) were among the most successful groups of the Motown roster during the period 19631967. In contrast to other Motown girl groups such as The Supremes and The Marvelettes, Martha and the Vandellas were known for a harder, R&B sound, typified by "(Love Is Like a) Heat Wave", "Nowhere to Run", "Jimmy Mack" and, their signature song, "Dancing in the Street". During their nine-year run on the charts from 1963 to 1972, Martha and the Vandellas charted over twenty-six hits and recorded in the styles of doo-wop, R&B, pop, blues, rock and soul. Ten Vandellas songs reached the top ten of the Billboard R&B singles chart, including two R&B number ones. Twelve of the Vandellas' so within the Top Ten including "Dancing in the Street," "Heat Wave," "Nowhere to Run" and "Jimmy Mack." In 2004, Rolling Stone ranked Martha and the Vandellas[1] #96 on their list of the 100 greatest artists of all time.[2]

History
Early years (19571962)
Teenagers Rosalind Ashford and Annette Beard first became acquainted after a local music manager hired them to be members of a girl group he named "The Del-Phis". Ashford & Beard, along with then-lead vocalist Gloria Williams, performed at local clubs, private events, church benefits, YMCA events and school functions.[3][4][5] They were also being coached by Maxine Powell at Detroit's Ferris Center.[3] One of the group's first professional engagements was singing background for singer Mike Hanks.[6] The group originally had up to six members, shortened to four. After another member left the group, she was replaced by Alabama-born vocalist Martha Reeves, who had been a member of a rival group, the Fascinations and had also been a member of another group, the Sabre-Ettes. In 1960, the group signed their first recording contract with Checker Records, releasing the Reeves-led "I'll Let You Know". The record flopped. The group then recorded for Checkmate Records, a subsidiary of Chess Records, recording their first take of "There He Is (At My Door)". That record, featuring Williams on lead vocals,

Martha and the Vandellas also flopped. Briefly separated, Reeves returned to a solo career performing under the name Martha LaVaille, in hopes of getting a contract with emerging Detroit label Motown. After Motown staffer Mickey Stevenson noticed Reeves singing at a prominent Detroit club, he offered her his business card for an audition.[7] Reeves showed up at Motown on a wrong date (Motown auditions were held at Thursdays, while Reeves showed up to Motown's Hitsville USA studios on a Tuesday). Stevenson, initially upset, told Reeves to look out for clients and other matters. Soon Reeves became Stevenson's secretary and later was responsible for helping acts audition for the label.[8] By 1961, the group, now known as The Vels, were recording background vocals for Motown acts. Prior to her success as lead singer of The Elgins, Sandra Edwards (then going by her surname Maulett) recorded the song "Camel Walk", in 1962, which featured the Vels in background vocals. That year, the quartet began applying background vocals for emerging Motown star Marvin Gaye, singing on Gaye's first hit single, "Stubborn Kind of Fellow"[9] After Mary Wells failed to make a scheduled recording session feigning a short illness, the Vels recorded what was initially a demo recording of "I'll Have to Let Him Go". Motown was so impressed by the group's vocals and Martha's lead vocals in the song that the label CEO Berry Gordy offered to give the group a contract. Figuring that being in show business was too rigorous, Williams opted out of the group. With Williams out, the remaining trio of Ashford, Beard and Reeves renamed themselves Martha and the Vandellas, choosing the name "Vandella" as a mixture of two things Reeves lived in the Detroit street Van Dyke[10] and Reeves' idol was Detroit singer Della Reese.[4] The group signed with Motown on September 21, 1962.[11]

422

Motown success years (19621967)

Following their signing to Motown's Gordy imprint in 1962, Martha and the Vandellas struck gold with their second release, the first composition and production from the famed writing team, HollandDozierHolland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "(Love Is Like a) Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually won the group their only Grammy Award nomination for Best R&B Vocal Performance by a Duo or Group. The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Beard, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964.[12] Betty Kelly, formerly of The Velvelettes, was brought in shortly afterward to continue the Vandellas' rise. The next two singles, "Live Wire" and "In My Lonely Room"(#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.[13] Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts.

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Personnel changes
Motown struggled to find good material for many of their acts after the exit of Motown contributor and Reeves' mentor William "Mickey" Stevenson in 1967 and Holland-Dozier-Holland in early 1968, but after their former collaborators left the label, the Vandellas initially continued to find success with the Richard Morris produced singles "Love Bug Leave My Heart Alone" (US #25; R&B #14) and "Honey Chile" (US #11; UK #30; R&B #5) added to their already extended list of charted singles. In the summer of 1968, the group joined The Supremes, The Temptations, The Four Tops and Marvin Gaye in performing at the Copacabana though much like albums from the Four Tops and Gaye, a live album of their performance there was shelved indefinitely. That same year, label changes had started to take effect, and Gordy focused much of his attention on building the Supremes' as well as Diana Ross' burgeoning upcoming solo career that would follow in 1970. The Vandellas' sound (and the sound of many Motown acts with the exceptions of Marvin Gaye, The Temptations and Stevie Wonder) suffered as a result.[7][14] However it was the infighting amongst the members of the Vandellas that led to their problems. Kelly was the first to be let go after reportedly missing shows, and as well as getting into altercations with Reeves.[7][15] There were many instances where these "fights" happened on stage. Kelley was fired in 1968 and was replaced by Martha Reeves' sister Lois.[9][15] Simultaneously, the group's name was officially changed to Martha Reeves and the Vandellas, to conform with the company's recent changes of The Supremes' and The Miracles' names to reflect their featured lead singers. During this time, Vandellas records including "(We've Got) Honey Love", "Sweet Darlin'" and "Taking My Love and Leaving Me" were issued as singles with diminishing results.

"Bless You" (19691972)

Reeves, out of the group temporarily due to illness, recovered and returned to the group; Ashford was replaced by another former member of The Velvelettes, Sandra Tilley, and the group continued to release albums and singles into the early 1970s, although they could not reignite the fire that had made their records successful in the 1960s. Among their late 1960s hits was "I Can't Dance to That Music You're Playing", which featured singer Syreeta Wright singing the chorus, and peaked at number forty-two. Reeves reportedly hated singing the song sensing it "close to home". In 1970, the group issued Motown's first protest single, the controversial anti-war song , "I Should Be Proud", which peaked at a modest forty-five on the R&B singles chart. The song was uncharacteristic of The Vandellas and did nothing to promote the group. The flip-side "Love, Guess Who" proved more successful and was played instead. In 1971, the group scored a modest international hit with "Bless You" (produced by the Jackson 5's producers The Corporation). The song peaked at number fifty-three on the American pop singles chart (the biggest peak of Vandellas' seventies singles), and number twenty-nine on the R&B singles chart. "Bless You" was their first UK Top 40 hit since "Forget Me Not", with the song reaching number thirty-three there. "Bless You" became top 20 hit in Canada. It was to be the last Billboard Hot 100 hit single for the group. After two successive Top 40 R&B singles, the ballad "In and Out of My Life" (#22 US R&B) and the Marvin Gaye cover, "Tear It On Down" (#37 US R&B), the group disbanded following a farewell concert, held at Detroit's Cobo Hall on December 21, 1972. The next year, Reeves announced plans of starting her solo career.[16] At the same time, Motown Records moved its operations to Los Angeles; when Reeves did not want to move, she negotiated out of her deal with Motown,[17] signing with MCA in 1974, and releasing the critically acclaimed self-titled debut, Martha Reeves.[7] Despite critical rave reviews of her work, neither of Reeves' post-Vandellas/Motown recordings produced the same success as they had the decade before. After living what she called "a rock & roll lifestyle" of prescription pills and alcohol, Reeves sobered up in 1977, overcoming her addictions and becoming a born-again Christian.[7][15]

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Epilogue
After the Vandellas' split, Reeves' sister Lois sang with the group Quiet Elegance and also sang background for Al Green,[15][18][19][20] while Tilley retired from show business in the late 1970s, suddenly dying of a brain aneurysm in 1981 at the age of thirty-nine. Original member Gloria Williams, who retired from show business when she left the group, died in 2000. In 1978, Reeves and original Vandellas Ashford and Beard-Sterling reunited at a Los Angeles benefit concert for actor Will Geer. In 1983, Reeves successfully sued for royalties from her Motown hits and the label agreed to have the songs credited as Martha Reeves and the Vandellas from then on.[7][15] That year, Reeves performed solo at Motown 25,[21] which alongside some of their songs being placed on the Big Chill soundtrack, helped Reeves and the Vandellas gain a new audience. In 1989, original members Ashford and Sterling also sued Motown for royalties. During this, the original trio were inspired to reunite both as a recording act and in performances.[7][15] They were offered a recording contract with Bob Dylan at Motorcity Records and issued the group's first single since the Vandellas disbanded seventeen years before with "Step Into My Shoes". While Ashford, whose full name now is Rosalind Ashford Holmes, and Beard, whose full name now is Annette Beard-Helton, continue to perform with other singers. Reeves sang with her sisters Lois and Delphine, often performing as a solo artist under the bill, Martha Reeves of Martha Reeves and the Vandellas and still performs all over the world.[22] From 2005 to 2009, Reeves held the eighth seat of Detroit's city council. In August, she lost her seat and told the press that she would continue on performing.[22]

Awards and accolades

Though they did not receive any Grammys, (they were nominated for Best R&B Vocal Performance by a Duo or Group for "(Love Is Like A) Heat Wave", in 1964), Martha and the Vandellas' "Dancing in the Street" was inducted to the Grammy Hall of Fame in 1999. In 1993, the girls were awarded the Pioneer Award at the Rhythm & Blues Foundation. Except for pre-Vandellas member Gloria Williamson, all members of the group were inducted to the Rock & Roll Hall of Fame in 1995, becoming just the second all-female group to be inducted, and were presented with the induction by rock group The B-52's, whose frothy dance music was inspired by the Vandellas.[23][24] They were inducted to the Vocal Group Hall of Fame in 2003.[22] Two of their singles, "(Love Is Like a) Heat Wave" and "Dancing in the Street" were included in the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. In 2004, Rolling Stone ranked the group #96 on their list of the 100 Greatest Artists of All Time [25].[26] In 2005, Martha & The Vandellas were inducted into the Michigan Rock and Roll Legends online Hall of Fame. Two of the group's hits have been voted Legendary Michigan Songs: "Dancing In The Street" in 2008, and "Heat Wave" in 2010.[27]

Impact
Regarded for their early and mid 1960s work, some of the Vandellas' popular recordings have become part of American culture with their 1964 standard, "Dancing in the Street", being the obvious example. One of the most covered and popular songs in rock and roll history, the song was revamped several times including a 1982 live recording by rock band Van Halen and a 1985 duet by rockers David Bowie and Mick Jagger, It is considered by many as the "Motown Anthem". Another song, 1965's "Nowhere to Run" has been featured during sports events while 1967's "Jimmy Mack" has been said to inspire what Reeves later called a "virtual legend" of the name of the song. Their smash 1963 hit, "(Love Is Like a) Heat Wave", has been said to have been the first song to signify the Motown sound or "Sound of Young America" with its doo-wop call and response vocals, gospel backbeat and jazz overtones.

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Lineups
The Vels The Del-Phis
19601961 Martha Reeves Rosalind Ashford+ Annette Beard+ Gloria Williams+ 19611962 Martha Reeves Rosalind Ashford Annette Beard Gloria Williams

Martha and The Vandellas Martha Reeves & The Vandellas

19621964 Martha Reeves Rosalind Ashford Annette Beard 19671969 Martha Reeves Rosalind Ashford Lois Reeves

19641967 Martha Reeves Rosalind Ashford Betty Kelly

19691972 Martha Reeves Sandra Tilley Lois Reeves

- Rosalind Ashford, Annette Beard and Gloria Williams were members of the Del-Phis stretching back to 1957, Martha Reeves didn't join the group until 1960.

Discography
For a detailed listing of albums and singles, see Martha and the Vandellas discography

Awards & recognition

Martha and the Vandellas' "(Love Is Like a) Heat Wave" and "Dancing in the Street" were inducted to the Grammy Hall of Fame and were both included in the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Martha and the Vandellas were inducted to the Rock & Roll Hall of Fame in 1995 becoming just the second all-female group to be inducted and the fifth group in the Motown roster to be inducted.

Martha and the Vandellas 2011 at Berns in Stockholm, Sweden.

Martha and the Vandellas were inducted to the Vocal Group Hall of Fame in 2003. Martha and The Vandellas' "Dancing in the Street" was included in the National Recording Registry for its historical, artistic and cultural significance in 2006.

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References
[1] "Martha and the Vandellas" (http:/ / www. rollingstone. com/ artists/ marthaandthevandellas/ articles/ story/ 7250022/ 96_martha_and_the_vandellas). Fred Schneider. Rolling Stone Issue 946. Rolling Stone. . [2] "The Immortals: The First Fifty" (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty). Rolling Stone Issue 946. Rolling Stone. . [3] The Original Vandellas (http:/ / www. thevandellas. com/ bio. html) [4] "Martha and the Vandellas Biography" (http:/ / www. biography. com/ articles/ Martha-and-the-Vandellas-507658). Britannica.com. . Retrieved 16 December 2010. [5] "Martha Reeves" (http:/ / web. archive. org/ web/ 20080510074116/ http:/ / www. thesoulguy. com/ marthareeves. htm). TheSoulGuy.com. Archived from the original (http:/ / www. thesoulguy. com/ marthareeves. htm) on 2008-05-10. . Retrieved 16 December 2010. [6] martha (http:/ / www. soulfulkindamusic. net/ mreeves. htm) [7] "Martha and the Vandellas" (http:/ / www. history-of-rock. com/ vandellas. htm). HistoryofRock.com. . Retrieved 16 December 2010. [8] "Martha Reeves" (http:/ / www. generalentertainment. com/ artists/ MarthaReeves. htm). General Entertainment.com. . Retrieved 16 December 2010. [9] Martha and the Vandellas (http:/ / books. google. com/ books?id=H84DAAAAMBAJ& pg=PA83& dq=martha+ reeves#v=onepage& q=martha reeves& f=false). Ebony. February 1968. . Retrieved 16 December 2010. [10] Oldies Music, Profiles (http:/ / oldies. about. com/ od/ soulmotown/ p/ marthaandvandellas. htm) [11] Martha and the Vandellas Biography (http:/ / www. rockhall. com/ inductee/ martha-and-the-vandellas) [12] Warner, Jay, ed. (2006). American Singing Groups: A History, From 1940 to Today (http:/ / books. google. com/ books?id=mTM_9JTeoMIC& pg=PA420& dq=martha+ reeves#v=onepage& q=martha reeves& f=false). Hal Leonard. p.584. ISBN0-634-09978-7. . Retrieved 16 December 2010. [13] Martha Reeves Without the Vandellas (http:/ / books. google. com/ books?id=ocwDAAAAMBAJ& pg=PA62& dq=martha+ reeves#v=onepage& q=martha reeves& f=false). Ebony. February 1988. . Retrieved 16 December 2010. [14] Gaar, Gillian G., ed. (2002). She's a Rebel: The History of Women in Rock and Roll (Live Girls) (http:/ / books. google. com/ books?id=m09vjqEmeX4C& pg=PA69& dq=martha+ reeves#v=onepage& q=martha reeves& f=false). Seal Press. p.496. ISBN1-58005-078-6. . Retrieved 16 December 2010. [15] "Martha Reeves" (http:/ / www. encyclopedia. com/ topic/ Martha_Reeves. aspx). Encyclopedia.com. . Retrieved 16 December 2010. [16] Martha Reeves Quits Vandellas To Go Solo (http:/ / books. google. com/ books?id=zLEDAAAAMBAJ& pg=PA62& dq=martha+ reeves#v=onepage& q=martha reeves& f=false). Jet. 15 February 1973. . Retrieved 16 December 2010. [17] Singer Martha Reeves Leaves Motown Records (http:/ / books. google. com/ books?id=MbEDAAAAMBAJ& pg=PA56& dq=martha+ reeves#v=onepage& q=martha reeves& f=false). Jet. 29 March 1973. . Retrieved 16 December 2010. [18] "Quiet Elegance" (http:/ / www. discogs. com/ artist/ Quiet+ Elegance). Discogs.com. . Retrieved 16 December 2010. [19] "Roots of Love-Quiet Elegance" (http:/ / www. discogs. com/ Quiet-Elegance-Roots-Of-Love/ release/ 1489895). Discogs.com. 1977. . Retrieved 16 December 2010. [20] "The Complete Quiet Elegance on Hi Records" (http:/ / www. discogs. com/ Quiet-Elegance-The-Complete-Quiet-Elegance-On-Hi-Records/ release/ 2046576). Discogs.com. 2001. . Retrieved 16 December 2010. [21] "Motown 25:Yesterday, Today, Forever" (http:/ / www. imdb. com/ title/ tt0250595/ ). IMDB. . Retrieved 16 December 2010. [22] Kroll, Vicki L. (31 August 2010). "Motown Legend to sing at Music Fest" (http:/ / utnews. utoledo. edu/ index. php/ 08_31_2010/ motown-legend-to-sing-at-music-fest). University of Toledo. . Retrieved 16 December 2010. [23] The Immortals The Greatest Artists of All Time: 96) Martha and the Vandellas: Martha and the Vandellas : Rolling Stone (http:/ / www. rollingstone. com/ artists/ marthaandthevandellas/ articles/ story/ 7250022/ 96_martha_and_the_vandellas) [24] Al Green, Martha and the Vandellas Inducted Into Rock and Roll Hall of Fame During Gala Ceremonies in New York City (http:/ / books. google. com/ books?id=Oj0DAAAAMBAJ& pg=PA56& dq=martha+ reeves#v=onepage& q=martha reeves& f=false). Jet. 30 January 1995. . Retrieved 16 December 2010. [25] http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty/ [26] "The Immortals: The First Fifty" (http:/ / www. rollingstone. com/ news/ story/ 5939214/ the_immortals_the_first_fifty). Rolling Stone Issue 946. Rolling Stone. . [27] www.michiganrockandrolllegends.com

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External links
Rock & Roll Hall of Fame page on Martha and the Vandellas (http://rockhall.com/inductees/ martha-and-the-vandellas/) 'Martha and the Vandellas' Vocal Group Hall of Fame Page (http://www.vocalgroup.org/inductees/ martha_vandellas.html) History of Rock page on Martha and the Vandellas (http://www.history-of-rock.com/vandellas.htm) The Original Vandellas (Rosalind Ashford & Annette Sterling) page (http://www.thevandellas.com) Martha and the Vandellas History, Charts and Songs (http://oldies.about.com/od/soulmotown/p/ marthavandellas.htm)

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Mary Wells
Mary Wells
Background information Birth name Also known as Born Mary Esther Wells Mary Wells Womack May 13, 1943 Detroit, Michigan Detroit, Michigan, United States July 26, 1992 (aged49) Los Angeles, California R&B, pop, soul, Motown, disco Singer-songwriter 19601990 Motown, 20th Century Fox, Atco, Jubilee, Reprise, Epic, Motorcity

Origin Died

Genres Occupations Years active Labels

Associated acts Smokey Robinson, Marvin Gaye, Cecil Womack, Bobby Womack

Mary Esther Wells (May 13, 1943 July 26, 1992) was an American singer who helped to define the emerging sound of Motown in the early 1960s. Along with The Miracles, The Temptations, The Supremes, and the Four Tops, Wells was said to have been part of the charge in black music onto radio stations and record shelves of mainstream America, "bridging the color lines in music at the time."[1] With a string of hit singles composed mainly by Smokey Robinson, including "Two Lovers" (1962), the Grammy-nominated "You Beat Me to the Punch" (1962) and her signature hit, "My Guy" (1964), she became recognized as "The Queen of Motown" until her departure from the company in 1964, at the height of her popularity. She was one of Motown's first singing superstars.

Humble beginnings
Mary Esther Wells was born near Detroit's Wayne State University on May 13, 1943, to a mother who worked as a domestic and an absentee father. One of three children, she contracted spinal meningitis at the age of two and struggled with partial blindness, deafness in one ear and temporary paralysis. During her early years, Wells lived in a poor residential Detroit district. By age 12, she was helping her mother with house cleaning work.[1] She described the ordeal years later: "Daywork they called it, and it was damn cold on hallway linoleum. Misery is Detroit linoleum in January -with a half-froze bucket of Spic-and-Span."[1] Mary Wells Wells used singing as her comfort from her pain and by age 10 had graduated from church choirs to performing at local nightclubs in the Detroit area. Wells graduated from Detroit's Northwestern High School at the age of 17 and set her sights on becoming a scientist, but after hearing about the success of Detroit musicians such as Jackie Wilson and The Miracles, she decided to try her hand at music as a singer-songwriter.

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Early career
In 1960, 17-year-old Wells approached Tamla Records founder Berry Gordy at Detroit's Twenty Grand club with a song she had intended for Jackie Wilson to record, since Wells knew of Gordy's collaboration with Wilson. However, a tired Gordy insisted Wells sing the song in front of him. Impressed, Gordy had Wells enter Detroit's United Sound Studios to record the single, titled "Bye Bye Baby". After a reported 22 takes, Gordy signed Wells to the Motown subsidiary of his expanding record label and released the song as a single in September 1960; it eventually peaked at No 8 on the R&B chart in 1961, later crossed over to the pop singles chart, where it peaked at number 45. Wells' early Motown recordings reflected a rougher R&B sound that predated the smoother style of her biggest hits. Wells became the first Motown female artist to have a Top 40 pop single after the Mickey Stevenson-penned doo-wop song, "I Don't Want to Take a Chance", hit No. 33 in June,1961. In the fall of that year, Motown issued her first album and released a third single, the bluesy ballad "Strange Love". However when that record bombed, Gordy set Wells up with The Miracles' lead singer Smokey Robinson. Though she was hailed as "the first lady of Motown", Wells was technically Motown's third female signed act: Claudette Rogers of Motown's first star group The Miracles, has been referred to by Berry Gordy as "the first lady of Motown Records" due to her being signed as a member of the group, and in late 1959 Detroit blues-gospel singer Mable John signed to the then-fledging label a year prior to Wells' arrival. Nevertheless, Wells' early hits as one of the label's few female solo acts did make her the label's first female star and its first fully successful solo artist.

Success
Wells' teaming with Robinson led to a succession of hit singles over the following two years. Their first collaboration, 1962's "The One Who Really Loves You", was Wells' first smash hit, peaking at No. 2 on the R&B chart and No. 8 on the Hot 100. The song featured a calypso-styled soul production that defined Wells' early hits. Known for releasing songs with a repetitive sound, Motown released the similar-sounding "You Beat Me to the Punch" a few months later. The song became her first R&B No. 1 single and peaked at No. 9 on the pop chart. The success of "You Beat Me to the Punch" helped to make Wells the first Motown star to be nominated for a Grammy Award when the song received a nod in the Best Rhythm & Blues Recording category. In late 1962, "Two Lovers" became Wells' third consecutive single to hit the Top 10 of Billboard's Hot 100, peaking at No. 7 and becoming her second No. 1 hit on the R&B charts. This helped to make Wells the first female solo artist to have three consecutive Top 10 singles on the pop chart. The track sold over one million copies, and was awarded a gold disc.[2] Wells' second album, also titled The One Who Really Loves You, was released in 1962 and peaked at No. 8 on the pop albums chart, making the teenage singer a breakthrough star and giving her clout at Motown. Wells' success at the label was recognized when she became a headliner during the first string of Motortown Revue concerts, starting in the fall of 1962. The singer showcased a rawer stage presence that contrasted with her softer R&B recordings. Wells' success continued in 1963 when she hit the Top 20 with the doo-wop ballad "Laughing Boy" and scored three additional Top 40 singles, "Your Old Standby", "You Lost the Sweetest Boy", and its B-side, "What's Easy for Two Is So Hard for One". "You Lost the Sweetest Boy" was one of the first hit singles composed by the successful Motown songwriting and producing trio of Holland-Dozier-Holland, though Robinson remained Wells' primary producer. Also in 1963, Wells recorded a session of successful B-sides that arguably became as well-known as her hits, including "Operator", "What Love Has Joined Together", "Two Wrongs Don't Make a Right" and "Old Love (Let's Try It Again)". Wells and Robinson also recorded a duet titled "I Want You 'Round", which would be re-recorded by Marvin Gaye and Kim Weston.

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1964: Brief superstardom

In 1964, Wells recorded "My Guy". The Smokey Robinson song became her trademark single, reaching No. 1 on the Cashbox R&B chart for seven weeks and becoming the No. 1 R&B single of the year. The song successfully crossed over to the Billboard Hot 100, where it eventually replaced Louis Armstrong's "Hello, Dolly!" at No. 1, where it remained for two weeks. The song became Wells' second million-selling single.[2] To build on the song's success, Motown released a duet album recorded with fellow Motown singing star Marvin Gaye, Together. The album peaked at No. 1 on the R&B album chart and No. 42 on the pop album chart, and yielded the double-sided hits "Once Upon a Time" and "What's the Matter With You Baby". "My Guy" was one of the first Motown songs to break on the other side of the Atlantic, eventually peaking at No. 5 on the UK chart and making Wells an international star. Around this time, The Beatles stated that Wells was their favorite American singer, and soon she was given an invitation to open for the group during their tour of the United Kingdom, thus making her the first Motown star to perform in the UK. Wells was only one of three female singers to open for The Beatles, the others being Brenda Holloway and Jackie DeShannon. Wells made friends with all four Beatles and later released a tribute album, Love Songs to the Beatles, in mid-decade. When describing Wells' landmark success in 1964, former Motown sales chief Barney Ales: "In 1964, Mary Wells was our big, big artist, I don't think there's any audience with an age of 30 through 50 that doesn't know the words to My Guy."[1] (1992)

Departure from Motown

Ironically during her most successful year, Wells was having problems with Motown over her original recording contract, which she had signed at the age of 17. She was also reportedly angry that the money made from "My Guy" was being used to promote The Supremes, who had found success with "Where Did Our Love Go". Though Gordy reportedly tried to renegotiate with Wells, the singer still asked to be let go of her contract with Motown. A pending lawsuit would keep Wells away from the studio for several months, as she and Gordy went back and forth over the contract details, Wells fighting to gain larger royalties from earnings she had made during her tenure with Motown. Finally, she invoked a clause that allowed her to leave the label, telling the court that her original contract was invalid since she signed while she was still a minor. Wells won her lawsuit and was awarded a settlement, leaving Motown officially in early 1965, whereupon she accepted a lucrative ($200,000) contract with 20th Century Fox Records. Part of the terms of the agreement of her release was that she could not receive any royalties from her past works with the label, nor use of her likeness to promote herself.

Career struggles
A weary Wells worked on material for her new record label while dealing with other issues, including being bed-ridden for weeks suffering from tuberculosis. Wells' eponymous first 20th Century Fox release included "Ain't It The Truth", the B-side "Stop Taking Me for Granted", the lone top 40 hit, "Use Your Head" and "Never, Never Leave Me". However, the album flopped, as did the Beatles tribute album she released not too long afterwards. Rumors have hinted Motown may have threatened to sue radio stations for playing Wells' post-Motown music during this time.[1] After a stressful period in which Wells and the label battled over various issues after Wells' records failed to chart successfully, the singer asked to be let go in 1965 and left with a small settlement. In 1966, Wells signed with Atlantic Records subsidiary Atco. Working with producer Carl Davis, Wells scored her final Top 10 R&B hit with "Dear Lover", which also became a modestly successful pop hit, peaking at No. 51. However, much like her tenure with 20th Century Fox, the singer struggled to come up with a follow-up hit, and in

Mary Wells 1968 she left the label for Jubilee Records, where she scored her final pop hit, "The Doctor", a song she co-wrote with then-husband Cecil Womack, of the famed Womack family. (Meanwhile, she had attempted a film career, but only managed a bit part in 1967's "Catalina Caper".) In 1970, Wells left Jubilee for a short-lived deal with Warner Music subsidiary Reprise Records and released two Bobby Womack-produced singles. In 1972, Wells scored a UK hit with a re-issue of "My Guy", which was released on the Tamla-Motown label and climbed to No. 14.[3] Though a re-issue, Wells promoted the single heavily and appeared on the British TV show Top of the Pops for the first time. Despite this mini-revival, Wells decided to retire from music in 1974 to raise her family.

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1980s: Brief comeback

In 1977, Wells divorced Cecil Womack and returned to performing. She was spotted by CBS Urban president Larkin Arnold in 1978 and offered a contract with the CBS subsidiary Epic Records, which released In and Out of Love, in October 1981. The album, which had been recorded in 1979, yielded Wells' biggest hit in years, the funky disco single, "Gigolo". The song became a smash at dance clubs across the country. A 12-minute mix hit No. 13 on Billboard's Hot Dance/Club Singles chart and No. 2 on the Hot Disco Songs chart. A three-minute radio version released to R&B stations in January 1982 achieved a modest showing at No. 69. It turned out to be Wells' final chart single. After the parent album failed to chart or produce successful follow-ups, the Motown-styled "These Arms" was released; but it was quickly withdrawn after the album tanked and Wells' Epic contract fizzled. The album's failure may have been due to light promotion, but she had completed it in 1979 and it was withheld for two years; most likely due to financial and business logistics, with contributions in part by Wells' own personal problems. She still had one more album in her CBS contract, and in 1982 released an album of cover songs, Easy Touch, which featured a more adult contemporary flavor. Leaving CBS in 1983, she continued recording for smaller labels, gaining new success as a touring performer. In 1989, she was celebrated with a Pioneer Award from the Rhythm and Blues Foundation during its inaugural year.

Final years
In 1990, Wells recorded an album for Ian Levine's Motorcity Records, but her voice began to fail, causing the singer to visit a local hospital. Doctors diagnosed Wells with laryngeal cancer. Treatments for the disease ravaged her voice, forcing her to quit her music career. Since she had no health insurance, her illness wiped out her finances, forcing her to sell her home. As she struggled to continue treatment, old Motown friends, including Diana Ross, Mary Wilson, members of The Temptations and Martha Reeves, made donations to support her, along with the help of admirers such as Dionne Warwick, Rod Stewart, Bruce Springsteen, Aretha Franklin and Bonnie Raitt.[4] That same year, a benefit concert was held by fellow fan and Detroit R&B singer Anita Baker. Wells was also given a tribute by friends such as Stevie Wonder and Little Richard on The Joan Rivers Show. In 1991, Wells brought a multi-million dollar lawsuit against Motown for royalties she felt she had not received upon leaving Motown Records in 1964 and for loss of royalties for not promoting her songs as the company should have. Motown eventually settled the lawsuit by giving her a six-figure sum. That same year, she testified before the United States Congress to encourage government funding for cancer research: "I'm here today to urge you to keep the faith. I can't cheer you on with all my voice, but I can encourage, and I pray to motivate you with all my heart and soul and whispers."[1] Mary Wells

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Death
In the summer of 1992, Wells' cancer returned and she was rushed to the Kenneth Norris Jr. Cancer Hospital in Los Angeles with pneumonia. With the effects of her unsuccessful treatments and a weakened immune system, Wells died on July 26, 1992 at the age of 49. After her funeral, which included a eulogy given by her old friend and former collaborator Smokey Robinson, Wells was laid to rest in Glendale's Forest Lawn Memorial Park.

Awards and accolades

Though Wells has been eligible for induction to the Rock & Roll Hall of Fame - she was nominated twice in 1986 and 1987 - she has yet to achieve it. Wells earned one Grammy Award nomination during her career, and in 1999 the Grammy committee inducted Wells' "My Guy" into the Grammy Hall of Fame, assuring the song's importance. Wells was given one of the first Pioneer Awards by the Rhythm and Blues Foundation in 1989. A year later, the foundation raised more than $50,000 to help with Wells' treatment after her illness had wiped out all of her finances. In 2006, she was inducted into the Michigan Rock & Roll Legends Hall of Fame. Mary Wells' biggest hit, "My Guy", was voted a Legendary Michigan Song in 2009.

Personal life
Wells married twice: first, in 1960, to Detroit singer Herman Griffin. The marriage of the teenage couple was troubled from the start due to their age and Griffin's unhealthy control of Wells. They divorced in 1963. Despite rumors, she never dated fellow Motown singer Marvin Gaye, who would go on to have successful duet partnerships with Kim Weston, Tammi Terrell and Diana Ross after Wells left Motown. In 1966, Wells married singer-songwriter Cecil Womack, formerly of The Valentinos and the younger brother of musician Bobby Womack. The marriage lasted until 1977 and produced three children. Wells began an affair with another Womack brother, Curtis, during her marriage to Cecil. Her relationship with Curtis Womack was reportedly abusive. Wells was a notorious chain smoker and went through bouts of depression during her marriages. Prior to divorcing Cecil and while dating Curtis, she tried committing suicide after word had leaked of her relationship with Curtis. After the suicide attempt was botched, Wells went to other methods of what she called "meditating", including using cocaine. Over time, she developed a heroin habit.[5] Her drug habit ceased after she became pregnant with Curtis' child. After splitting from Curtis in 1990, Wells focused on raising her youngest daughter until her cancer appeared. Mary had four children: sons Cecil, Jr. and Harry, and daughters Stacy and Sugar.

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Discography
See Mary Wells discography

Singles

Top 40 albums
1964: Greatest Hits (#18 U.S.) 1964: Mary Wells Sings My Guy (#6 U.S.)

1960: "Bye Bye Baby" (US #45) 1961: "I Don't Want to Take a Chance" (US #33) 1962: "The One Who Really Loves You" (US #8) 1962: "You Beat Me to the Punch" (US #9) 1962: "Two Lovers" (US #7) 1963: "Laughing Boy" (US #15) 1963: "Your Old Standby" (US #40) 1963: "You Lost the Sweetest Boy" (US #22) 1963: "What's So Easy for Two Is So Hard for One" (US #29) 1964: "My Guy" (US #1, UK #5) 1964: "Once Upon a Time" (US #19) 1964: "What's the Matter with You Baby" (US #15) 1965: "Use Your Head" (US #34) 1965: "Never, Never Leave Me" (US R&B #15) 1966: "Dear Lover" (US R&B #6) 1968: "The Doctor" (US R&B #22) 1969: "Dig the Way I Feel" (US R&B #35) 1981: "Gigolo" (US Disco #2, US Club #13)

References
[1] "Mary Wells, 49, the Pop Singer Who Made 'My Guy' a 1960s Hit" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9E0CE3DD1E3DF934A15754C0A964958260& scp=3& sq=Mary+ Wells,+ Motown+ singer& st=nyt). The New York Times. July 27, 1992. . Retrieved 2008-09-10. [2] Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. pp.168 & 184. ISBN0-214-20512-6. [3] http:/ / www. chartstats. com/ songinfo. php?id=5891 [4] "Mary Wells, 49, Recording Star For Motown Records In 1960s" (http:/ / community. seattletimes. nwsource. com/ archive/ ?date=19920727& slug=1504294). The Seattle Times. July 27, 1992. . Retrieved 2008-08-07. [5] "Death of a Soul Survivor, People" (http:/ / www. people. com/ people/ archive/ article/ 0,,20113289,00. html). . Retrieved 2009-03-15.

External links
Mary Wells (http://www.imdb.com/name/nm0920341/) at the Internet Movie Database CMG Worldwide (http://www.cmgww.com/music/wells/wells.html) History of Rock page on Mary Wells (http://www.history-of-rock.com/mary_wells.htm) Mary Wells (http://www.allmusic.com/artist/p5803) at Allmusic Mary Wells (http://www.discogs.com/artist/Mary+Wells) at Discogs Mary Wells (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=2101) at Find a Grave

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Kim Weston
Kim Weston
Birth name Born Origin Genres Agatha Nathalia Weston December 20, 1939 Detroit, Michigan, U.S. Soul R&B Singer Vocals 1961present Motown, MGM, Stax, Motorcity

Occupations Instruments Years active Labels

Associated acts Marvin Gaye

Kim Weston (born December 20, 1939) is an American soul singer, and Motown alumna. In the 1960s, Weston scored hits with the songs "Love Me All the Way" and "Take Me in Your Arms (Rock Me a Little While)".

Career
Born Agatha Nathalia Weston in Detroit, Michigan, she was signed to Motown Records in 1961, scoring a minor hit with "Love Me All the Way" (R&B #24, Pop #88). Weston's biggest solo hits with Motown were "Take Me in Your Arms (Rock Me a Little While)" (R&B #4, Pop #50, 1965, later covered by The Isley Brothers, Blood, Sweat & Tears and The Doobie Brothers, and "Helpless" (R&B #13, Pop #56, 1966, previously recorded by The Four Tops on their Second Album LP). Her biggest claim to fame was singing the classic hit "It Takes Two" with Marvin Gaye in 1966 and her later recording of the Black National Anthem, "Lift Every Voice and Sing".[1] It was the success of "It Takes Two" that caused Motown to partner Gaye with Tammi Terrell, spawning even more success for the label. Weston left Motown in 1967 and later sued the label over disputes about royalties. She and her then-husband William "Mickey" Stevenson (former A&R head at Motown) both went to MGM Records. Weston cut a couple of singles for MGM, "I Got What You Need," and "Nobody," which went largely unnoticed due to lack of airplay and promotion. She made an album for the label, This Is America, which included her popular version of the Black National Anthem, "Lift Every Voice and Sing." This was released as a single and featured in the movie Wattstax. All the money from the single was donated to the United Negro College Fund. She recorded several more albums for various labels, Stax/Volt among them, and also made an album of duets with Johnny Nash. None of these recordings charted, and Weston reportedly relocated to Israel, where she worked with young singers. Along with many former Motown artists, she signed with Ian Levine's Motorcity Records in the 1980s, releasing the single "Signal Your Intention", which peaked at #1 in the UK Hi-NRG charts. It was followed by the album Investigate (1990), which included some re-recordings of her Motown hits as well as new material. A second album for the label, Talking Loud (1992), was never released, although all the songs were included on the compilation The Best Of Kim Weston (1996). Today she is a disc jockey on a local Detroit radio station, where she sponsors the summer events at Hart Plaza. She also tours sporadically, often alongside former Motown colleagues Mary Wilson, Martha Reeves and Brenda Holloway. She is also featured on the 2006 four-CD release of the Motortown Revue series.

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Discography
Standard albums 1966: Take Two (duet album with Marvin Gaye) 1966: Take Me in Your Arms (shelved) 1967: For the First Time 1968: This Is America 1970: Big Brass Four Poster 1970: Kim Kim Kim 1990: Investigate

Compilations 1991: Greatest Hits & Rare Classics 1996: The Very Best of the Motorcity Recordings 2003: 20th Century Masters - The Millennium Collection: The Best of Kim Weston 2005: Motown Anthology

Chart Singles
Year Single Chart positions U.S. U.S. R&B UK 1963 "Love Me All the Way" 1964 "What Good Am I Without You" (duet with Marvin Gaye) 1965 "Take Me in Your Arms (Rock Me a Little While)" 1966 "Helpless" 1967 "It Takes Two" (duet with Marvin Gaye) 88 61 24 28 Take Two (1967) Album

50 56 14

4 13 4

16 Take Two

References
[1] Huey, Steve. "Biography: Kim Weston" (http:/ / www. allmusic. com/ artist/ p5807). Allmusic. . Retrieved 22 May 2010.

Further reading
Kim Weston interview by Pete Lewis, 'Blues & Soul' October 2008 (http://www.bluesandsoul.com/feature/ 342/prestatyns_first_lady/) Whitall, Susan. For the Record: Women of Motown (1998, ISBN 0-380-79379-2)

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Associated people
Lem Barney
Lem Barney No. 20 Cornerback Personal information Date of birth: September 8, 1945 Place of birth: Gulfport, Mississippi Career information College: Jackson State NFL Draft: 1967 / Round: 2 / Pick: 34 Debuted in 1967 Last played in 1977 Career history

Detroit Lions (1967-1977) Career highlights and awards

7 Pro Bowl selection (1967, 1968, 1969, 1972, 1973, 1975, 1976) 7 All-Pro selection (1967, 1968, 1969, 1970, 1972, 1973, 1975) NFL 1960s All-Decade Team 1967 NFL Defensive Rookie of the Year Career NFL statistics

Interceptions 56 INT yards 1,077 Touchdowns 7

Stats at NFL.com
[1]

Pro Football Hall of Fame

[2]

Lemuel Joseph "Lem" Barney (born September 8, 1945 in Gulfport, Mississippi) is a former American Football cornerback who played for the Detroit Lions. He was selected to the Pro Football Hall of Fame in 1992.

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College years
Barney attended Jackson State University where he was a three-time All-Southwestern Conference star with 26 career interceptions. Barney is a member of Kappa Alpha Psi fraternity.

Pro career
Barney was a second round draft choice in 1967. He was named 1967's defensive rookie of the year, and went on to be selected to seven Pro Bowls. He is widely considered to be one of the greatest defensive backs in Detroit Lions history. During his time in the NFL (all of which were in Detroit), Barney had 56 career interceptions, and also gained over 1000 yards returning kickoffs and punts. In Barney's first pro start, he intercepted the first pass in his direction from Green Bay's Bart Starr and ran for a touchdown. Lem Barney and the rest of the Lions defense were coached by six-time Pro Bowl defensive back Jim David. Lem credits Jim David as a mentor and teacher of the highest order. Jim David made the induction speech at the Pro Football Hall Of Fame induction ceremony for Lem. They remained great friends until David's death. In 1999, he was ranked number 97 on The Sporting News' list of the 100 Greatest Football Players. His number, 20, which was also worn by future Detroit star running backs Billy Sims and Barry Sanders, was retired by the Lions. Both Barney and Lions teammate Mel Farr befriended Motown recording artist Marvin Gaye, when Gaye unsuccessfully tried out for the Lions in 1970. Barney and Farr sing background vocals on Gaye's classic 1971 song "What's Going On",[3] for which Lem earned a Gold Record. Lem Barney also had a role in the film The Black Six and appeared as himself in Paper Lion. He is now a minister. Lem Barney performed the matrimonial services for Jim David's grandson, Sean Thornton and Laura Butler in 2009 at the Grosse Pointe War Memorial in Grosse Point, Michigan.

Post career
Lem Barney is currently an associate minister at Hope United Methodist Church in Southfield, Michigan. He is active in metro Detroit philanthropies and also mentors inner-city youth through his involvement with the church. Barney appears as a playable character in the All-Pro Football 2K8 video game.

External links
Hall of Fame bio [4] Yahoo! Sports Profile [5] Gallery of Lem Barney football cards [6]

References
[1] http:/ / www. nfl. com/ players/ profile?id=BAR489390 [2] http:/ / www. profootballhof. com/ hof/ member. jsp?PLAYER_ID=19 [3] Crowe, Jerry (August 29, 2010). "Marvin Gaye once tried to make it in NFL, with help from Lem Barney, Mel Farr" (http:/ / www. latimes. com/ sports/ la-sp-crowe-20100830,0,3359295. column). Los Angeles Times. . Retrieved August 30, 2010. [4] http:/ / www. profootballhof. com/ hof/ member. jsp?player_id=19 [5] http:/ / sports. yahoo. com/ nfl/ players/ 10500/ [6] http:/ / www. footballcardgallery. com/ player/ Lem+ Barney/

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Mel Farr
Mel Farr

Farr from 1965 UCLA yearbook No. 22 Running back Personal information Date of birth: November 3, 1944 Place of birth: Beaumont, Texas Career information College: UCLAAll-American NFL Draft: 1967 / Round: 1 / Pick: 7 Debuted in 1967 Last played in 1973 Career history

Detroit Lions (19671973) Career highlights and awards

2 Pro Bowl selection (1967, 1970) 1 All-Pro selection (1970) 1967 NFL Offensive Rookie of the Year Career NFL statistics

Rushing 3,072 yards Average 4.2 Touchdowns 26

Stats at NFL.com
[1]

Melvin Farr (born November 3, 1944 in Beaumont, Texas) is a former American football player.

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Early life
As a youth, Farr played football, baseball, track and basketball. He graduated from Hebert High School in 1963, where he lettered in football, basketball, baseball, and track. He was named All-State in football and track and All-District in basketball.

UCLA
Farr played football for the UCLA Bruins, where he was a halfback. He started on the 1965 and 1966 varsity teams, part of UCLA's famous Sports Illustrated dubbed "dream backfield" along with eventual Heisman Trophy winning quarterback Gary Beban. Had a 50 yard touchdown run in UCLA's upset of Southern Cal in 1965, securing a berth in the 1966 Rose Bowl, a stunning UCLA upset over #1 ranked Michigan State. UCLA's final rankings were #4 and #5 in the AP his two starting years. He finished seventh in the balloting for the 1966 Heisman Trophy (Beban #4 that year). He was a consensus All-American at the school in 1966. He was named to the all AAWU conference team and named All Coast in 1965 and 1966. 1988 Inductee into the UCLA Athletic Hall of Fame.[2]

Detroit Lions
He was the number seven overall selection in the first-round in the 1967 NFL draft by Detroit. In 1967, Farr joined the Detroit Lions, and won the year's NFL Rookie of the Year award. He spent his entire career from 1967 through 1973 with the Lions, and earned trips to the Pro Bowl in 1967 and 1970. Farr and his teammate Lem Barney also sang background vocals on the 1971 Marvin Gaye song "What's Going On".

Mel Farr Ford

After his retirement from pro football, Farr entered the business world, and in 1975 opened the Mel Farr Ford automobile dealership in Oak Park, Michigan. By aggressively targeting the mostly black, poverty stricken, automobile-hungry population of inner city Detroit, he built an auto empire. By 1998, the Mel Farr Auto Group grossed $596.6 million, making it the top African-American business in the United States and the thirty-third largest auto dealership in the US. There were legal problems surrounding Farr's controversial On-Time Device,[3] which prevented drivers of leased vehicles from starting the car if they missed payments. In June 2000, Farr settled a suit with customers who complained that the device turned off their cars when they were in motion. Many claimed they had not been late with their payments. Each of the 1,500 customers received $200 worth of coupons for their troubles.[4] In January 2002, Farr was in discussions to sell his franchises in Oak Park and Waterford Township, Michigan, to Ford Motor Company, who had outstanding liens with Farr.[4] The franchises were sold in April 2002 and subsequently closed For many years Farr appeared in his dealerships' commercials in a stylish suit and superhero red cape flying through the sky as he was dubbed "Mel Farr, your Superstar dealer". The commercials have earned Farr pop star status in the Detroit area.

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Family
Farr is part of a family full of professional football players. He is the younger brother of former AFL and NFL player Miller Farr as well as the father of former NFL players Mel Farr, Jr. and Mike Farr, who both attended UCLA. He married Linda Johnson Rice, the adopted daughter of the late publisher, John H. Johnson of Ebony Magazine in 2004.

External links
Brief biography from hometown museum [5] Disposal of car dealership [6] Ford and Mel Farr [7]

References
[1] [2] [3] [4] [5] http:/ / www. nfl. com/ players/ profile?id=FAR478211 UCLA Football media guide (PDF copy available at www.uclabruins.com (http:/ / www. uclabruins. com)) Meredith, Robyn - Auto Dealer Has an Offer for Drivers With Bad Credit, but There's a Catch. New York Times, August 30, 1999 Hughes, Alan and Lloyd Gite - Driving in a new direction? Mel Farr Automotive to sell all its Ford dealerships. Black Enterprise, April 2002 http:/ / www. museumofthegulfcoast. org/ Content/ Personalities/ Sports_Legends/ Mel_Farr

[6] http:/ / findarticles. com/ p/ articles/ mi_m1365/ is_9_32/ ai_84212952 [7] http:/ / wardsdealer. com/ ar/ auto_super_star_mel/

David Ritz
David Ritz (born c. 1942) is an American author, most of whose books are biographies of soul music and R&B legends such as Ray Charles, Smokey Robinson, Aretha Franklin, Marvin Gaye, and Janet Jackson. On four occasions, his co-authored autobiographies of musicians (for books with Jerry Wexler, The Neville Brothers, B.B. King and Etta James) have been awarded the Ralph J. Gleason Award. [1] He is also a novelist (Blue Notes Under a Green Felt Hat, The Man Who Brought the Dodgers Back to Brooklyn).[1] Ritz is probably most notable for his work with Marvin Gaye. The two first met in 1978 shortly after the release of Gaye's tormented Here, My Dear album. Ritz had publicly defended Gaye's album as a body of work after a Los Angeles Times critic had panned the album (it wasn't a commercial success either). Ritz also David Ritz in 2008 alleged that he co-wrote Gaye's hit Sexual Healing (while the extent of his contributions was debated and the subject of a lawsuit, he was at least acknowledged by Gaye's associates to have thought up the title). Ritz began giving out interviews with Gaye as part of an autobiography Gaye was working on. Those interviews became the basis to Ritz's most successful book, Divided Soul: The Life & Times of Marvin Gaye, which Ritz released in 1985, a year after Gaye was killed by his father.

David Ritz Ritz has also taken part in several other albums by other artists, most notably Janet Jackson on her 2004 album Damita Jo, on the interludes "Looking for Love" and "The One". Ritz also wrote an essay for Jackson on her 1995 greatest hits compilation Design of a Decade 1986/1996. He has also written liner notes and has done essays on Marvin Gaye albums after they were re-released. Ritz wrote the liner notes on Rick James's 1997 compilation The Ultimate Collection and Linda Ronstadt's 2002 compilation The Very Best of Linda Ronstadt. His latest work is titled Rickles' Book, a memoir that Don Rickles has released with the help of Ritz. As of 2008, Ritz is working on books with Leiber & Stoller, Scott Weiland, Cornel West, Janet Jackson and David Letterman's longtime band leader Paul Shaffer.[1] Ritz also co-wrote the best-selling memoir of African-American journalist Tavis Smiley What I Know For Sure: My Story of Growing Up in America. In 2011, "Not Dead & Not For Sale - The Earthling Papers - A Memoir" Stone Temple Pilots singer Scott Weiland's autobiography, co-authored by Ritz, was released by Scribner Books.

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Bibliography
Ritz, D.; Presley, P. B.; Presley, L. M. (2005), Elvis by the Presleys, New York City: Crown, pp.231, ISBN0307237419, OCLC60419909 Rickles, D.; Ritz, D. (2007), Rickles' Book, New York: Simon & Schuster, pp.239, ISBN0743293053, OCLC76828824 Shaffer, P.; Ritz, D. (2009), We'll be here for the rest of our lives: A swingin' show-biz saga, New York: Doubleday/Flying Dolphin Press, pp.322, ISBN0385524838, OCLC299714497

References
[1] Divid Ritz (http:/ / www. empsfm. org/ education/ index. asp?categoryID=26& ccID=127& xPopConfBioID=1063& year=2008) bio, Pop Conference 2008, Experience Music Project. Accessed online 16 April 2008.

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Elgie Stover
Elgie Stover (born 1938 in Athens, Georgia) is an American songwriter, composer, producer and background singer, most famous for his associations with uncle Harvey Fuqua and legendary Motown star Marvin Gaye, co-writing two of Gaye's songs from the singer's acclaimed 1971 album, What's Going On.[1] Growing up in Cleveland, Ohio, Elgie and Kenneth later moved to Detroit, where the brothers worked closely with Harvey Fuqua on his Tri-Phi Records label. In the late-1960s, after befriending staff from Motown, the brothers signed with the label as staff songwriters and producers. Elgie's most famous works came as the result of working so closely with Gaye, with whom he and Kenneth had befriended shortly after they signed with Motown. Elgie co-wrote with Marvin, wife Anna and Iris Gordy on The Originals' 1970 classic, "The Bells". A year later, Stover's greatest contribution came when he took part in co-writing "Flying High in the Friendly Sky" and "God is Love" on Marvin's What's Going On. Elgie later co-wrote Gaye's 1973 ballad, "Just to Keep You Satisfied". Stover is vocally heard shouting and screaming on a demo version of Gaye's later hit, "Distant Lover", from a November 1970 session as Gaye struggled with Motown over releasing the "What's Going On" single. In later years, he served as caterer for Bill Clinton and his Secret Service men. Elgie died on July 11, 2011, at Hilton Head Hospital.[2]

References
[1] Hamilton, Andrew. "Biography: Elgie Stover" (http:/ / www. allmusic. com/ artist/ p318298). AMG. . Retrieved 9 May 2010. [2] http:/ / www. islandpacket. com/ 2011/ 07/ 13/ 1724595/ elgie-stover. html

Kenneth Stover
Kenneth Stover (born August 21, 1948, Athens, Georgia, United States) is an American former Motown songwriter, producer and singer, most notably known for contributing background vocals on Marvin Gaye's 1971 album, What's Going On, and for writing the first draft of Gaye's 1973 single, "Let's Get It On". Alongside his brother, Elgie Stover, after living in Cleveland, Ohio, for the duration of his childhood and teenage years, he and his brother moved to Detroit, Michigan, to work with their cousin, Harvey Fuqua, on his Tri-Phi record label. They befriended Gaye and members of the Motown family.[1] In the late 1960s, the Stover brothers signed on to Motown as staff songwriters. Stover contributed background vocals on Marvin's "Inner City Blues (Make Me Wanna Holler)",[1] and later co-wrote Gaye's "You're the Man" (1972). In 1973, Stover wrote the original rough draft of "Let's Get It On", and presented the song to Gaye as a political song.[1] Stover also co-wrote the Diana Ross song, "Lovin', Livin' and Givin'" and two songs by Bobby Nunn; "Sexy Sassy" and "Got to Get Up on It". In the mid 1970s, Stover formed the soul group, Leo's Sunship, but canceled the group's upcoming album when one of the members suddenly died. In 1978, Stover was part of a Motown collective called Finished Touch. He left Motown in 1981, and settled in Atlanta, Georgia for a brief time. A song he co-wrote called "Good Combination" was released by Peabo Bryson as a single, and the song went on to be sampled giving Stover royalty cheques especially after the song's instrumental was covered by Will Smith and Faith Evans. Stover has stayed in his hometown of Cleveland since 1985, taking care of an ailing sister, but continues to write and produce music.

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References
[1] Kenny Stover: Information and Much More from Answers.com (http:/ / www. answers. com/ topic/ kenny-stover?cat=entertainment)

Ed Townsend
Edward Benjamin 'Ed' Townsend (April 16, 1929 - August 13, 2003) was an American attorney, songwriter, and producer. He was best known for performing his composition, "For Your Love," a rhythm and blues doo wop classic, and as the co-writer of "Let's Get It On" with Marvin Gaye.[1]

Biography
Although he was born in Fayetteville, Tennessee, his family soon moved to Memphis where his father was called to pastor an African Methodist Episcopal church. The year Townsend graduated from high school, he was elected to the International American Methodist Episcopal Youth Council (IAMEYC). The honor let him travel worldwide before enrolling in college the next year at Arkansas State College. After graduating, he taught for a year. Although he never formally practiced law, he frequently used his law training to assist other entertainers in negotiating their recording and performance contracts. In 1951, Townsend joined the United States Marine Corps and served in Korea. After his discharge, he recorded a number of singles for various labels, none of which made the charts. Ironically, in 1958 he took his ballad, "For Your Love" to Capitol Records, hoping to interest Nat King Cole, but, impressed with his voice, Capitol signed him to record it himself. Dick Clark had just started American Bandstand on television and invited Townsend to sing the very first month the show aired. He was an overnight success and the song shot up the charts, reaching #13 on the US pop chart. Townsend had no further vocal hits of his own. However, in 1962 he wrote a tune for soul singer, Jimmy Holiday, "How Can I Forget?", which was later covered by Ben E. King, ". Then he wrote and produced Theola Kilgores "The Love Of My Man." He also composed "Tears Of Joy," "Hand It Over," "I Might Like It," "Since I Found You," and "Foolish Fool." In the early 1970s Ed Townsend teamed up with Marvin Gaye to produce one of the biggest hits of all times, "Let's Get It On" from the album of the same title. One of his most memorable performances was on the PBS television special "Rock, Rhythm, and Doo Wop" filmed at the Benedum Center in Pittsburgh, Pennsylvania on May 16 and 17, 2000. DVDs of the event were sold as fund raisers for PBS stations nationwide.

Addiction
Townsend battled addiction to alcohol and other drugs, but was finally able to overcome it. In the few years prior to his death, he wrote a full length musical titled, "Rehabilitation: Been There Done That!" which toured Southern California to bring a strong message of sobriety through his artistic genius. He valued it as his "most important work to date". An original cast album was produced on his label, EBT New Life and got extensive radio play nationally across the United States on many gospel and R&B radio stations. In his lifetime he produced close to fifty major artists.

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Family
Ed Townsend was married once and had two sons and one daughter, Kathryn Griffin-Townsend (one son was David Townsend, former guitarist for Surface[1]). He died on August 13, 2003 in San Bernardino, California at the age of 74 and enjoyed the company and professionalism of Janice Carbonnaire his last passion. He loved children and honored the families of EBT New LIFE as often as he could celebrating their milestones fully entertaining the large brood of 'adoptees' to his condo/home in Reseda. Around 2002, he began using a wheel chair after he fell a couple times getting to the mic. Although he was able to fully rehabilitate from drugs and alcohol and spent his sober life helping others up from a life of abuse, he never was able to kick his smoking habit and preferred clove tobacco which likely weakened his heart. However, nothing could have weakened his heart more than to see a world ignore his call for a world sobriety check. More love for humanity you could not find, it was shameful that he remained an addict so long. His articulate speech and immaculate writing skills created an unbelievable individual that fostered the careers of so many. With unmarried son David's sudden passing two years later at the youthful age of 50, the sole heir to Ed's works is his sister, Helen. Although Ed Townsend moved away from his roots, he never left them behind. Honored with a Purple Heart in the Korean War, he was given a full military gun salute at his memorial at Riverside National Cemetery.

Filmography
Townsend served as Composer for: Black Fist (1975) The Ultimate Thrill (1974) In the R&B world, he is best remembered for his work with Dee Dee Warwick on "I Wanna Be With You","Foolish Fool" and "That's Not Love"

References
ASCAP Biographical Dictionary. R. R. Bowker Co., 1980.

Notes
[1] Perrone, Pierre (December 25, 2005). "David Townsend - Singer with the soul trio Surface" (http:/ / news. independent. co. uk/ people/ obituaries/ article334783. ece). Independent.co.uk - Obituaries. . Retrieved April 24, 2009.

External links
Ed Townsend (http://www.imdb.com/name/nm0870116/) at the Internet Movie Database

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Related articles
Death of Marvin Gaye
On April 1, 1984, Marvin Gaye was fatally shot by his father, Marvin Gay, Sr. in the West Adams district of Los Angeles at their house on Gramercy Place. Gaye was shot twice after an altercation he had with his father after intervening in an argument between the elder Gay and his mother Alberta. Gaye's wounds proved to be fatal and he was pronounced dead on arrival at the California Hospital Medical Center. Gaye's death produced several musical tributes over the years including recollections of the incidents leading to his death. Gaye was given a burial plot at Forest Lawn Cemetery and was later cremated with his ashes spread around the Pacific Ocean.

Musical comeback and personal problems

Marvin Gaye was, in his own words, at a low personal ebb when he reached the shores of Ostend in February 1981. After rising to the top of the pop charts in the 1960s and 1970s as an artist for the Motown Records label, Gaye had struggled with several albums and had sometimes cancelled, postponed or abruptly departed from concerts despite owing a heavy debt to the IRS. At the time Gaye began his exile from the United States in 1980, the singer owed the IRS up to $8 million in debt. Several concerts were created to alleviate the debt, which shortened to $4 million by the time Gaye announced a musical revival. After Motown released his final album with the label, In Our Lifetime, Gaye had requested to leave the label, finally settling for a multi-million dollar offer from CBS Records. The deal helped to temporarily heal Gaye's struggling finances. Having found sobriety while in Ostend,[1] the singer felt refreshed enough to record a new album. In September 1982, "Sexual Healing" was released and quickly brought Gaye back on top hitting the top ten in several countries and winning Gaye two Grammy Awards. Its parent album, Midnight Love, also became an international success. Gaye then announced a U.S. tour that started in April 1983 to promote the album. However, Gaye had been reluctant to return to the United States. Reports stated his return to his native country was due to his mother recovering from a stroke while in surgery for bone cancer.[2] Struggling to deal with pressure from promoters and his hatred for live performances, Gaye returned to drugs. In August 1983, the tour wrapped up in Los Angeles and Gaye retreated to the home he had bought for his mother. According to family, things were peaceful enough though Gaye struggled to come to terms with his drug abuse. In October of that year, Gaye's father Marvin Gaye, Sr., an ex-minister who reportedly had physically abused Gaye and his three siblings growing up in Washington, D.C., moved back in the house. Gaye had learned prior to his father's arrival that he was in the beginnings of selling Marvin's childhood home, something that angered both Gaye and his mother, since he didn't contact either of them about it. While at Gramercy, Gaye rarely left his room without wearing a maroon robe and carrying a pistol and a BB gun in his pockets. Gaye struggled with paranoia and, during his last tour, he had hired a group of bodyguards to watch out for potential killers. Gaye was reportedly spooked by the death of musical contemporary John Lennon; and, a few years before, a report stated that someone had poisoned Gaye's drink while attending a party. In December 1983, Gaye gave his father a .38 pistol as a Christmas present to protect him.

Death of Marvin Gaye

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Death
On March 31, 1984, Marvin's parents had a domestic argument over misplaced business documents while Marvin, ill from drug use, lay in bed. Upon hearing this, he woke up and told his dad to leave his mother alone, though neither man physically attacked the other. The next day, April 1, the arguments started again. Marvin's brother Frankie and his wife, Irene, were next door when Irene heard the shots. When Irene rushed outside, she saw Marvin's mother screaming for help saying, "He shot my son!" Frankie ran upstairs to see his dying brother struggling to breathe, while Irene called 9-1-1. Paramedics arrived to find Gay, Sr. sitting on the front porch. They demanded to see the gun before they would enter the house. Irene found it under Marvin Sr.'s pillow and threw it on the lawn. When police arrived, Gay, Sr. was quickly escorted to the police station for questioning. Gaye was pronounced dead on arrival upon his entry to the California Hospital Medical Center at 1:01 pm PST, dying a day before his 45th birthday (April 2). Fans and neighbors of Marvin crowded around the scene of the crime shortly after hearing the news. Four days later, on April 5, Gaye was given a star-studded funeral attended by over 10,000 mourners, including his Motown colleagues Smokey Robinson, Stevie Wonder and Motown CEO Berry Gordy who was, at one point, Gaye's brother-in-law. The singer's two ex-wives Anna Gordy Gaye and Janis Gaye and his three children, Marvin P. Gaye III, 18; Nona Gaye, 9; and Frankie "Bubby" Gaye, 8; also attended the funeral. Gaye had an open casket funeral led by one of the ministers from his Pentecostal church. Shortly afterwards the singer's remains were cremated and Marvin's children and his ex-wife Anna spread his ashes at the Pacific Ocean. Around the same time, police interviewed Marvin Sr. on the events leading up to his son's murder. When asked if he loved his son, Marvin Sr. reportedly took his time before finally answering, "Let's just say I didn't dislike him". Shortly after their son's death,Alberta Gaye filed for divorce from Marvin Sr. after 49 years of marriage. Marvin Sr., then 69 years old at the time of his son's death, continued to live in the Gramercy house until eventually he was sent to a rest home in Culver City, California, where he eventually died of pneumonia on October 10, 1998 at the age of 84. Marvin, who was in debt at the time of his death, reportedly left no will. In his autobiography, Marvin's friend Bobby Womack said he gave some money for Marvin's second ex-wife, Janis, to help try to cover up Marvin's financial ruins leading up to his death.

Court case
Gay, Sr., found standing on the front lawn of their home, was arrested under suspicion of murder shortly after the shooting. He was held at the Los Angeles County Jail on $100,000 bail. An interview with The Los Angeles Herald Examiner quoted Gaye, Sr.: "I didn't mean to do it." [3] A benign tumor discovered at the base of Gay, Sr.'s brain was removed on May 17, 1984 at County-USC Medical Centre. Despite this development, Superior Court Judge Michael Pirosh ruled that Gay, Sr. was competent to stand trial on June 12, 1984 after reviewing a two-page report, including two psychiatric evaluations conducted by Dr. Ronald Markman.[4] He appeared in court again on June 20, 1984, where he was ordered to return on July 16 for a preliminary hearing. His wife, Alberta, posted the reduced bond of $30,000 via a bondsman to secure Gay, Sr.'s release.[5][6] Though initially charged with first degree murder, Marvin Gay, Sr. pleaded no-contest to a voluntary manslaughter charge on September 20, 1984 via a plea bargain.[7] On November 2, 1984, Judge Gordon Ringer sentenced Marvin Gay, Sr. to a six-year suspended sentence and five years probation. During the sentencing, a deeply emotional and frail Marvin, Sr. told the court that he regretted killing his son. As quoted during the sentencing, Marvin, Sr. said, "If I could bring him back, I would. I was afraid of him. I thought I was going to get hurt. I didn't know what was going to happen. I'm really sorry for everything that happened."[8]

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Tributes and reevaluation of Marvin's music

A day after Marvin's death, British rock group Duran Duran dedicated the song "Save A Prayer" to Gaye while on their Seven and the Ragged Tiger U.S. tour; later on that year, R&B singer Teena Marie recorded the song, "My Dear Mr. Gaye" with Gaye's 1970s collaborator, Leon Ware. A year afterwards, two tribute songs, Diana Ross' "Missing You" and The Commodores' "Nightshift", were released to national acclaim, both reaching number-one on the Billboard Hot Black Singles chart while also reaching the top ten on the Billboard Hot 100. That same year, David Ritz released the biography, Divided Soul: The Life of Marvin Gaye, which quickly became a national best-seller upon its release. In 1984 Columbia and Motown re-released Marvin's popular records, What's Going On, Let's Get It On, and Midnight Love on the charts. The following year, the labels, with help from Marvin's friend Harvey Fuqua and his brother-in-law, Gordon Banks, released two works featuring unreleased Marvin material, Dream of a Lifetime and Romantically Yours. In 1987, Gaye was posthumously inducted to the Rock & Roll Hall of Fame by Ashford & Simpson, Gaye's frequent collaborators in the 1960s during his duets with Tammi Terrell. Two years later, another tribute song, "Silky Soul", was released by Frankie Beverly & Maze, a group Marvin had mentored and had allowed to open for him during a 1977 tour. The video featured his then 15 year old daughter, Nona. In 1994, Motown re-released more of Gaye's works, including 1976's I Want You, 1978's Here, My Dear, and 1981's In Our Lifetime. All three albums were critically reevaluated by music critics who hailed the former two albums as landmark masterpieces in Gaye's career. Marvin's What's Going On (1971), Let's Get It On (1973), I Want You (1976), Here, My Dear (1978) and Midnight Love (1982) albums have been on several best-of lists over the years while rock critic Dave Marsh declared Marvin's international number-one 1968 hit, "I Heard It Through the Grapevine" as the greatest song in rock history. In 1996, Gaye was given another posthumous honor with the Grammy Lifetime Achievement Award. In 1990, Gaye was given a star on the Hollywood Walk of Fame, six years after his death. The singer has been honored in song by a number of artists, including The Commodores, Seal and Annie Lennox. In his 2008 album, Something Else, Robin Thicke mentioned Marvin's death in the song, "Dreamworld" with the lyric "I would say, Marvin Gaye, your father didn't want you to die." The Violent Femmes honor the complexities surrounding Gaye's death with a powerful double-entendre that expresses anxiety about paternal filicide as a final, negative judgement of a person by "the father" (synonymous with God in many religions) in "See My Ships" (from 3, 1989): "Mercy mercy me, Marvin Gaye, he was shot by his father, O my father have mercy on me"[9] Since his death and the release of Divided Soul, three more books, Steve Turner's Trouble Man: The Life and Death of Marvin Gaye, brother Frankie's My Brother, Marvin and Michael Eric Dyson's Mercy Mercy Me: The Art, Life and Demons of Marvin Gaye have been released. Two planned films on the singer's life are also in the works. Rapper B. Dolan's 2010 album 'Fallen House, Sunken City' features the track "Marvin," a tribute which details the events leading up to Gaye's death. Another rapper, The Game, mentioned Gaye in his song "Dreams", in which he states his ambition is to have his "head in the clouds wondering where Marvin Gaye went".

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References
[1] "Marvin Gaye" (http:/ / www. americanwaymag. com/ marvin-gaye-ostend-freddy-cousaert-david-ritz). . Retrieved 2009-07-08. [2] "Marvin Gaye" (http:/ / www. americanwaymag. com/ marvin-gaye-ostend-freddy-cousaert-david-ritz). . Retrieved 2009-07-08. [3] "AROUND THE NATION; Marvin Gaye's Father Tells of Fatal Shooting" (http:/ / www. nytimes. com/ 1984/ 04/ 08/ us/ around-the-nation-marvin-gaye-s-father-tells-of-fatal-shooting. html?scp=5& sq=death of marvin gaye& st=cse). The New York Times. April 8, 1984. . [4] http:/ / news. google. com/ newspapers?id=h34xAAAAIBAJ& sjid=taUFAAAAIBAJ& pg=3217,893443& dq=marvin+ gaye+ sr+ trial& hl=en [5] http:/ / news. google. com/ newspapers?id=htUVAAAAIBAJ& sjid=OhIEAAAAIBAJ& pg=6562,4156208& dq=marvin+ gaye+ sr+ trial& hl=en [6] http:/ / books. google. com/ books?id=yLADAAAAMBAJ& pg=PA18& lpg=PA18& dq=marvin+ gaye+ preliminary+ trial& source=bl& ots=m23orQM3uo& sig=YBTIRkOdMMFuupswprUqQf5PwKE& hl=en& ei=MJi6S-QQhZyWB4bu7d0H& sa=X& oi=book_result& ct=result& resnum=10& ved=0CCUQ6AEwCQ#v=onepage& q=marvin%20gaye%20preliminary%20trial& f=false [7] "AROUND THE NATION; No-Contest Plea In Death of Marvin Gaye" (http:/ / www. nytimes. com/ 1984/ 09/ 21/ us/ around-the-nation-no-contest-plea-in-death-of-marvin-gaye. html?scp=1& sq=death of marvin gaye& st=cse). The New York Times. September 21, 1984. . [8] http:/ / www. trutv. com/ library/ crime/ notorious_murders/ celebrity/ marvin_gaye/ 14b. html [9] "Violent Femmes:See My Ships Lyrics" (http:/ / lyrics. wikia. com/ Violent_Femmes:See_My_Ships). Wikia.com. . Retrieved November 2, 2011.

Divided Soul: The Life of Marvin Gaye

Divided Soul: The Life of Marvin Gaye is the name of a 1985 biography on American singer Marvin Gaye. The biography was written by music reviewer David Ritz including conversations he had with the singer, who put the biography together shortly after Gaye's death at the hands of his father Marvin Gay, Sr. in 1984.

History
The book came together after Gaye had contacted Ritz shortly after seeing a review Ritz had given on Rolling Stone about the album, Here, My Dear, criticizing critics who he felt didn't get Marvin's message in the album, which was panned at the time of its release in late 1978. Gaye and Ritz had ongoing conversations of the singer's life story, most of it recorded on audio tape. In 1982, while visiting Gaye in Belgium where he was on a self-imposed exile, Ritz continued work on the autobiography when Ritz searched Gaye's room finding explicit comic books, telling the singer, who struggled with depression and other issues, that he "needed sexual healing". An inspired Marvin convinced Ritz to write a few lyrics for what would be Marvin's comeback hit, "Sexual Healing". Gaye and Ritz continued conversations over the biography through 1983 when Gaye went on his U.S. tour promoting his Midnight Love album. Their interviews ended abruptly after Gaye was shot and killed by his father on April 1, 1984. Devastated over Marvin's death, Ritz began writing the book and took quotes that Marvin had recited to him over his life from his troubled childhood being brought up in the Pentecostal faith by his father and suffering physical abuse from the same man, to his breakthrough years with Motown and his depression over the death of Tammi Terrell and his tumultuous relationships with Berry Gordy and his two wives Anna Gordy and Janis Hunter. The book was released in 1985 and became a best-seller upon release. A paperback edition was released the following year. Ritz later re-released a new edition in 2003.

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Versions
Ritz, David (1986). Divided Soul: The Life of Marvin Gaye. Cambridge, Mass: Da Capo Press. ISBN 0-306-81191-X Ritz, David. Divided Soul: the Life of Marvin Gaye (2003 edition, ISBN 0-306-81191-X)

Marvin's Room
Marvin's Room (originally named Marvin Gaye Studios) is a recording studio founded by American soul musician Marvin Gaye. Created by the singer in 1975 shortly after renegotiating a deal with Motown, the singer built the studios in Los Angeles as a spacious apartment-like complex big enough to be a studio, a home and, for a time, a dance club. It was once called "the Studio 54 of the West Coast".[1] There, Gaye recorded his late-'70s material including I Want You, Here, My Dear, the hit single "Got to Give It Up", his shelved Ballads album (later released as the Vulnerable album in 1997), and a shelved disco-styled album, Love Man, which was later redone and released in 1981 as In Our Lifetime. Gaye's studio would often run parties there where a vast majority of the Hollywood elite including Diana Ross and Muhammad Ali and other musicians and even politicians would be spotted.[2] The studio was shut down due to the singer's legal and financial troubles foreclosed on his house, cars as well as the studio. Marvin's ex, Janis Gaye, said that Marvin was "emotionally crushed"[3] by the sale of the studio in the end of 1979. It was later rechristened in the mid-1980s as Eldorado Studios where rock groups such as Alice in Chains recorded there unbeknownst to anyone that the studio was once owned by Gaye. In 1997, the studio was restored by John McClain, who purchased the studio saving it from being turned into a photo lab.[3] Since then, artists like Prince, Michael Jackson, Luther Vandross, Mary J. Blige, Usher, Mariah Carey, Lenny Kravitz, and Drake have all since recorded there.

References
[1] Writer Tom Kenny writes "in the mid-'70s, Marvin Gaye's studio was the place to be in Los Angeles, the [[Studio 54 (http:/ / mixonline. com/ design/ profiles/ audios_marvins_room)] of the West Coast."] [2] Writer Tom Kenny writes "One engineer said... 'Yep, the parties were legendary, at times running 24-7. [[Muhammad Ali (http:/ / mixonline. com/ design/ profiles/ audios_marvins_room)] would stop by. Diana Ross, too. Rock stars and beautiful women. Film stars and politicians. Everybody wanted in...'"] [3] (http:/ / mixonline. com/ design/ profiles/ audios_marvins_room)

External links
Mix magazine Marvins Room-Mix magazine profiles recording studio Marvin Gayes Room on the November 2006 cover (http://mixonline.com/design/profiles/audio_marvins_room/index.html)

1983 NBA All-Star Game

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1983 NBA All-Star Game

1983 NBA All-Star Game
1 2 3 4 Total 132 123

East 42 27 34 29 West 31 33 26 33

Date Arena City MVP

February 13, 1983 The Forum Inglewood, California Julius Erving

National anthem Marvin Gaye Referees Attendance Network Announcers Hugh Evans and Jess Kersey 17,505 CBS Dick Stockton, Bill Russell, Pat O'Brien NBA All-Star Game

<1982 1984>

The 33rd National Basketball Association All-Star Game was played on February 13, 1983 at The Forum in Inglewood, California. The Eastern Conference defeated the Western Conference, 132123. The Most Valuable Player was Julius Erving. Billy Cunningham coached the Eastern Conference team. Pat Riley coached the Western Conference team. Marvin Gaye sang a soulful, drum machine-accompanied version of "The Star-Spangled Banner" before the game. This rendition gained newfound fame in 2008 when Nike used it in a video promoting the United States men's national basketball team.

Rosters
Eastern Conference All-Stars
Pos. Player Coach HC Billy Cunningham Philadelphia 76ers Starters PG SG SF PF Isiah Thomas Maurice Cheeks Larry Bird Julius Erving Detroit Pistons Philadelphia 76ers Boston Celtics Philadelphia 76ers 4th 2nd Team Appearance

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C Moses Malone Philadelphia 76ers Reserves SF/SG Marques Johnson C/PF PG C SG PG C Bill Laimbeer Sidney Moncrief Robert Parish Reggie Theus Andrew Toney Buck Williams Milwaukee Bucks Detroit Pistons Milwaukee Bucks Boston Celtics Chicago Bulls Philadelphia 76ers New Jersey Nets

Western Conference All-Stars

Pos. Player Coach HC Pat Riley Los Angeles Lakers Starters PG SG SF PF C Magic Johnson Alex English David Thompson Maurice Lucas Los Angeles Lakers Denver Nuggets Seattle SuperSonics Phoenix Suns 3rd 2nd Team Appearance

Kareem Abdul-Jabbar Los Angeles Lakers Reserves

SF/SG George Gervin C Artis Gilmore

San Antonio Spurs San Antonio Spurs Portland Trail Blazers Seattle SuperSonics Denver Nuggets Seattle SuperSonics Los Angeles Lakers

SF/SG Jim Paxson C/PF SF PG Jack Sikma Kiki Vandeweghe Gus Williams

SF/SG Jamaal Wilkes

Eastern Conference

1983 NBA All-Star Game

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Player, Team Isiah Thomas, DET Larry Bird, BOS Julius Erving, PHI Sidney Moncrief, MIL Moses Malone, PHI

MIN FGM FGA 3PM 3PA FTM FTA REB AST BLK PFS PTS 29 29 28 28 24 9 7 11 8 3 3 3 5 4 3 0 1 57 14 14 19 14 8 10 4 6 5 8 5 1 108 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 1 0 0 0 2 1 0 3 4 4 1 2 3 0 0 0 0 18 1 0 3 5 6 2 4 4 0 0 0 0 25 4 13 6 5 8 2 7 3 1 1 1 1 52 7 7 3 4 3 2 1 0 7 1 1 0 36 0 0 2 1 1 1 0 1 0 0 0 0 6 0 4 1 1 1 1 3 2 0 0 1 1 15 19 14 25 20 10 7 8 13 8 6 0 2 132

Marques Johnson, MIL 20 Buck Williams, NJN Robert Parish, BOS Andrew Toney, PHI Maurice Cheeks, PHI Reggie Theus, CHI Bill Laimbeer, DET Totals 19 18 18 18 8 6 240

Western Conference
Player, Team Magic Johnson, LAL MIN FGM FGA 3PM 3PA FTM FTA REB AST BLK PFS PTS 33 7 9 3 7 5 5 4 2 4 3 3 3 55 16 12 8 14 7 7 6 4 6 9 8 4 101 0 0 0 0 0 0 0 0 0 0 1 0 1 1 0 0 0 0 0 0 0 0 0 1 0 2 3 2 0 0 1 0 0 1 2 0 2 1 12 4 3 1 1 2 0 0 2 2 0 2 2 19 5 6 7 4 0 1 3 5 2 1 0 3 37 16 5 1 0 1 2 1 1 2 4 3 1 37 0 4 0 2 0 0 1 0 0 0 0 0 7 2 1 1 2 0 2 2 4 0 1 3 0 18 17 20 6 14 11 10 8 5 10 6 9 7 123

Kareem Abdul-Jabbar, LAL 32 Maurice Lucas, PHO Alex English, DEN Jim Paxson, POR David Thompson, SEA Jack Sikma, SEA Artis Gilmore, SAS Jamaal Wilkes, LAL Gus Williams, SEA George Gervin, SAS Kiki Vandeweghe, DEN Totals 27 23 17 17 17 16 15 15 14 14 240

1983 NBA All-Star Game

453

References
The Official NBA Basketball Encyclopedia,. Villard Books. 1994. p.252. ISBN0-679-43293-8. basketball-reference.com. "1983 NBA All-Star Game" [1]. Archived [2] from the original on 24 July 2008. Retrieved 2008-07-19.

References
[1] http:/ / www. basketball-reference. com/ allstar/ NBA_1983. html [2] http:/ / web. archive. org/ web/ 20080724022640/ http:/ / www. basketball-reference. com/ allstar/ NBA_1983. html

Article Sources and Contributors

454

Article Sources and Contributors

Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=484376176 Contributors: 231Yoko, 2T, 5 albert square, 75pickup, 777sms, 78.26, ACupOfCoffee, AarHan3, AaronL, Abce2, Acroterion, Adrian.benko, Africa4ever, Agora, Agrelou, Ahoerstemeier, Akamad, Alai, Alan Liefting, Alan smithee, Aldis90, Alecsdaniel, Alex Bakharev, Alexforcefive, Allens, Ally OBE, Altenmann, Alvareziragorry, Amire80, Amldgc, Andonic, AndrewN, Andrewlp1991, Andris, Anna Frodesiak, AntonioMartin, Aranel, Arcadian, Art LaPella, Arthena, Artrush, Arx Fortis, Ashadeofgrey, Austincarey, Ayla, B Touch, B013098, BD2412, BIGShorts, BarryTheUnicorn, Bawijobe14, Bbsrock, Bdve, Bearcat, Beetstra, Belovedfreak, Bender235, Bento00, Big iron, Bigtimepeace, BigwigML, BlackLynx, BlackSweat86, Blueglassboy, Bobby H. Heffley, Bobo192, Bogey97, Bongwarrior, Bostonboy3, Bretonbanquet, Bridies, Brighterorange, BrothaTimothy, BrownHairedGirl, Bryan Derksen, Bsadowski1, Buckosucko212, CARTMANSTEWIESCOTT, Calliaume, Calvin08, Can't sleep, clown will eat me, CanisRufus, Canthusus, CaptTrim, Captain-tucker, Casper2k3, Catiline63, Cazort, Cgilbert76, Cherryguy93, ChiTwnG, Chloeobrian, Chodie, Choij, Chris the speller, Chris6092, Chriswaterguy, Chuq, Cinnamonntoast4, Ckatz, Closedmouth, Cmdrjameson, Cmichael, Colonies Chris, Coltonthomas, Complex (de), Cornbeef head, Corpx, Cosprings, Courcelles, CowboySpartan, Crisco 1492, Cromwellt, Crystallina, Cubfan789, CzarNick, D6, DDSaeger, DMCer, Da Stressor, Dabomb87, Dale Arnett, DaltreyEntwistleMoonTownshend, Dan56, DanQueen2008, Danleary25, Darkspots, Dashwortley, Dave Andrew, Dave Prater Fan, Davejohnsan, David Johnson, DavidFarmbrough, Dayewalker, DbCOOPER2010, Dcflyer, Deadflagblues, Debden187, DennisIsMe, Deregnaucourt, Derek R Bullamore, Dharmabum420, Dinertime444, Dischann, Discographer, Discospinster, Dismas, Djspoony, Doctanner80, Doradus, Download, DrPepper77, Drbreznjev, Drmagic, Drmies, Drumguy8800, Duncanduncan, Dureo, Dvchester, Dylan620, Dysepsion, Dyslexic agnostic, E-Kartoffel, E2eamon, EL Willy, East of Borschov, Editor2020, Edwy, Elipongo, Eliyahu S, Elkman, Emhoo, Emika22, Endlessdan, Epbr123, Equendil, Eric-Wester, Ericamandy, Ericorbit, Esanchez7587, Escape Orbit, Esprit15d, Essjay, EurekaLott, Ev, Everyking, Excirial, Exert, Exok, FSG, Fallout boy, FamicomJL, Farbodd, Fastilysock, Favonian, FeanorStar7, Fellini, Fermion, Ferrumoff, Fnorp, Frank12, Frankye D. Jackson, Fratrep, Freakofnurture, Frecklegirl, Fred Bradstadt, Frenchie006, Froid, Furbeast, FuriousFreddy, G Clark, Gabrielkat, Gareth Owen, Garion96, Gator1, Geeness, Gelma, Gilliam, Glacialfox, Golgofrinchian, Gongshow, Good Olfactory, GorillaWarfare, Graham87, Gramscis cousin, Granpuff, GreatOrangePumpkin, Gregory Benoit, Gscshoyru, Gurch, Hadal, Halfemerald1000, Hall Monitor, Hammersoft, Hardboiledguts, Hateless, Heathniederee, Heegoop, Hiddenfromview, Hifrommike65, Hiphats, HorsePunchKid, Hugsformanda, Huon, Hurricane111, Iamgrim, Ianblair23, IceUnshattered, IgnoramusIlluminati, Iissmm2, Ineversigninsodonotmessageme, Infinitely random, Infrogmation, InnocuousPseudonym, Inscription, IronGargoyle, Ixfd64, J Milburn, J.delanoy, JForget, JGmeiner, JNW, Jajhill, Jalomander, Jamiemeyer, Javert, Jay-Sebastos, Jazzman Jay, Jeff3000, Jennica, Jennylou511, Jesperordrup, Jessesamuel, Jessiejames, Jhamilton15, Jim Craigie, Jj6ms, Jkrazy92, JoaoRicardo, JodyB, Joelasaurus, Jogers, John Price, John of Reading, JohnGaltJr, Johnnyape, JonIsaksen, Jonneroo, Joseph Solis in Australia, Josh Parris, Jovianeye, Jpgordon, JustAGal, Jwy, Kaldosh, Katieh5584, Kbdank71, Kbh3rd, Kernel Saunters, Kinser, KittenKlub, Kneel17, Koavf, Kotniski, Kpt2006, Kumioko, Kusunose, Kyle1278, L Kensington, LaForge, LafinJack, LarRan, Layla12275, Leathermanmikie, LeonceN, Les woodland, Levineps, Lexein, LilHelpa, LiniShu, Lm fall, Lokifer, Los besos, Lotje, Lunasspecto, Lus Felipe Braga, MWB1138, MWaller, MacLean Design Graphics, Madhero88, Magioladitis, Malcolmo, Male1979, Mangojuice, MarcoTolo, Marcus Brute, Marcus2, Martarius, Martin451, MarvinGaye1, MasahiroHayamoto, Mattgirling, Mawode, MayhemCreator, Mayumashu, McCart42, Meaghan, Meandmarvin, Mearnhardtfan, Medavac, MegX, Mercurywoodrose, Merovingian, Metropolitan90, Mhermiz4lyf, Michael David, Michael Snow, Michrrleg, Mike Dillon, Mike Selinker, Miranda, Missmarple, Misterrick, Mkb218, Mmace91, Mocca90, MonoAV, Moxy, Mpakdoctor, Mqduck, Mr.Z-man, MrChupon, Mukkakukaku, Musicpvm, Mygerardromance, Mytoyo, N419BH, Natasha Amazing, Nehrams2020, Neurolysis, Nicholas Love, Nick Number, NickPenguin, Night Tracks, Nihiltres, Niraba, Niteowlneils, Nobody Ent, Nobunaga24, Noo0004, Noozgroop, Nowhy, NrDg, Nscheffey, Nsevs, Ntennis, NuclearWarfare, Numberonemjbfan, Nummer29, Nymf, Oda Mari, OfficeBoy, Ohconfucius, Omicronpersei8, Oobopshark, Orphan Wiki, Ortolan88, Otola, PMDrive1061, PaddyM, Paladin91, Pascal.Tesson, Paulust2002, Pcpcpc, Peachygnr, Pearle, Pedro, Peter Fleet, Phaedriel, Phatcat68, Philip Trueman, Pinball22, Pinethicket, Pinkadelica, Plato, Podzz, Poetdancer, PrimroseGuy, Pwforaker, Quadell, QwerpQwertus, R'n'B, Rash, RattleandHum, Rattlerbrat, Raven4x4x, Rdsmith4, Realist2, Red dwarf, Redeagle688, Refugee621, Retiono Virginian, Rettetast, RexNL, Rhopkins8, Riana, Rich Farmbrough, Richard0612, RichardWBolson, RickBurila, Rjwilmsi, Roadstaa, Rob.bastholm, Rocker8222, Rodhullandemu, Rogerd, Roland Kaufmann, Rrburke, Rumtrr0613, Runt, Russianaffairs, Rustyjr, Ryanbagueros, S3000, Saber girl08, Sabinator55, Salamurai, Samar, Saotomi5102, SarekOfVulcan, Scorpion0422, Seaphoto, Search4Lancer, Sebastian de la sex face, Sesshomaru, ShadowsGathered, Shakesomeaction, Shalom S., Shawncorps1, ShelfSkewed, Shell Kinney, Shenme, Shipscrazy, Shiver of recognition, Shomari15, SidP, Sidar, SimonLyall, Sjones23, Slakr, Sliceofmiami, Sluzzelin, Slysplace, Smalljim, Smerka ds, SmilesALot, SnapSnap, Snowolf, Soulmusic247, Soundmixer, Spartacusprime, Spellcast, Springnuts, Sssoul, Stefanomione, Steinjoseph55, Steve Bob, Steven Walling, Stevetee, Stifle, Stjulienlepauvre, Strongbadmanofme, SunnyInHouston, Superm401, Sweetday, SyncopatorSyncopator, TMC1982, TOO, TUF-KAT, TaTa!!123u, Tabletop, Tallyho70, TamYum, Tanvir7, Tassedethe, Ted Wilkes, Tedius Zanarukando, Teles, TexasAndroid, The Rambling Man, The Thing That Should Not Be, The wub, Thelusiv, Theoldanarchist, Thomas.fischer.29, Thoughtbubble, Ticklemygrits, Tide rolls, Tinton5, Tjmayerinsf, Tobbemz, Tompotts1963, Tomtheman5, Treybien, Triona, Trivialist, Trueblood, Ttonyb1, Turgan, TurnMan, Twas Now, TyA, Typazon, UDScott, UberCryxic, Ulmanor, Ulric1313, Underdawg, Unitanode, V-kaat, Versesome, Vianello, ViperSnake151, Vladimir Stalin, Volkovroble, Vudujava, Ward3001, WayKurat, Wayward, WesleyDodds, West Bishop, West.andrew.g, Wiki libs, Wildhartlivie, Willgee, Willking1979, Witchwooder, Witcongar, Wknight94, Wmahan, Wmlschlotterer, Wolbo, Wolfer68, Woohookitty, Wprlh, YUL89YYZ, Yancyfry jr, Yasuroxanne, Yerauy, Yon Yonson, Zabadinho, Zalgo, Zepheriah, Zoicon5, Zone46, , 1349 anonymous edits Marvin Gaye discography Source: http://en.wikipedia.org/w/index.php?oldid=465328316 Contributors: BlueLotusLK, Bobblewik, BrothaTimothy, Calumm, Chadwholovedme, Chuq, Cosprings, Cubfan789, Derek R Bullamore, Discographer, E-Kartoffel, FuriousFreddy, Garion96, GoingBatty, GreatOrangePumpkin, Hammersoft, J Milburn, JGmeiner, Keraunoscopia, Koavf, Miranda, Moxy, Mr. Old-Skool, Night Time, Pjoef, RussBlau, SarekOfVulcan, Sarz, Sigmundpetersen, SlubGlub, SnapSnap, Stc.wijdenes, Suga babe, Tassedethe, The MatH, Wolfer68, Zos80, 47 anonymous edits The Soulful Moods of Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=469920840 Contributors: Admrboltz, BRG, Bhludzin, BrothaTimothy, Chairman S., Cherryguy93, Dexter St. Clair, Discographer, FuriousFreddy, Halls452, Helixer, Jimp, Koavf, Mike Dillon, Musicpvm, R'n'B, Rich Farmbrough, ShelfSkewed, Starcheerspeaksnewslostwars, Tassedethe, Woohookitty, Zos80, 12 anonymous edits That Stubborn Kinda Fellow Source: http://en.wikipedia.org/w/index.php?oldid=468800238 Contributors: Bhludzin, BrothaTimothy, Chairman S., Cherryguy93, DKB29, Discographer, E-Kartoffel, Franknotes, FuriousFreddy, Halls452, Jserphos, Koavf, Mike Dillon, Nymf, R'n'B, Rich Farmbrough, Starcheerspeaksnewslostwars, Undersmoke, Zos80, 10 anonymous edits When I'm Alone I Cry Source: http://en.wikipedia.org/w/index.php?oldid=457394116 Contributors: Bhludzin, BrothaTimothy, Chairman S., Discographer, FuriousFreddy, Halls452, Joefromrandb, Koavf, Mike Dillon, Rich Farmbrough, SnapSnap, Starcheerspeaksnewslostwars, Woohookitty, Zos80, 5 anonymous edits Hello Broadway Source: http://en.wikipedia.org/w/index.php?oldid=441318852 Contributors: Bhludzin, Bill37212, BrothaTimothy, Chairman S., Cherryguy93, Discographer, Fantailfan, Fritz Saalfeld, FuriousFreddy, Graham87, Koavf, Mike Dillon, Rich Farmbrough, ShelfSkewed, Starcheerspeaksnewslostwars, WikHead, Woohookitty, YUL89YYZ, 7 anonymous edits How Sweet It Is to Be Loved by You Source: http://en.wikipedia.org/w/index.php?oldid=445935315 Contributors: 5.2Lv10, BrothaTimothy, Cherryguy93, Cyfal, Danlev, Discographer, Flowerparty, Halls452, Jpete, Jwestbrook, Koavf, Lew19, Martpol, Mike Dillon, Rich Farmbrough, Ryguy88games, Starcheerspeaksnewslostwars, Tassedethe, Tritoncin, Undersmoke, Work permit, Zos80, 12 anonymous edits A Tribute to the Great Nat "King" Cole Source: http://en.wikipedia.org/w/index.php?oldid=469747573 Contributors: Ashadeofgrey, Bhludzin, Brettalan, BrothaTimothy, Chairman S., Cherryguy93, Crystallina, DantheCowMan, Discographer, Fantailfan, Fritz Saalfeld, FuriousFreddy, Gareth E Kegg, Imnotminkus, KConWiki, Koavf, Mhines54, Mike Dillon, Owen, Pugetbill, Rich Farmbrough, ShelfSkewed, Starcheerspeaksnewslostwars, Waacstats, Woohookitty, Zos80, 6 anonymous edits Moods of Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=456861320 Contributors: BrothaTimothy, Chairman S., Cherryguy93, Cmdrjameson, Dan8700, Discographer, Fritz Saalfeld, FuriousFreddy, Halls452, Koavf, Mike Dillon, Musicpvm, Rich Farmbrough, Starcheerspeaksnewslostwars, Swanrizla, Tassedethe, Willgee, 11 anonymous edits I Heard It Through the Grapevine Source: http://en.wikipedia.org/w/index.php?oldid=465360351 Contributors: BrothaTimothy, Cherryguy93, Chris the speller, Cmdrjameson, Dan56, Discographer, Fantailfan, Flowerparty, Fritz Saalfeld, Frka, FuriousFreddy, GoingBatty, Halls452, Jfk2lax, Jogers, Koavf, Lucasvitoriano1994, Mattisse, Mike Dillon, Peripitus, Rich Farmbrough, Starcheerspeaksnewslostwars, Stewartadcock, Swanrizla, Tassedethe, Trimp, Werideatdusk33, Woohookitty, Zos80, 13 anonymous edits M.P.G. Source: http://en.wikipedia.org/w/index.php?oldid=481954312 Contributors: -5-, Bhludzin, BrothaTimothy, Chairman S., Cherryguy93, Chuq, Cmdrjameson, Dan8700, Discographer, Flowerparty, Fritz Saalfeld, Frka, FuriousFreddy, Graham87, Halls452, Koavf, Mike Dillon, Pcg13, Rich Farmbrough, SnapSnap, Starcheerspeaksnewslostwars, Swanrizla, WikHead, Zundark, 11 anonymous edits That's the Way Love Is Source: http://en.wikipedia.org/w/index.php?oldid=472327480 Contributors: Anticipation of a New Lover's Arrival, The, AshleyMotown, Bhludzin, BrothaTimothy, Chairman S., Chris the speller, Chuq, Dan56, Discographer, Frka, FuriousFreddy, Halls452, IAMIRONICMAN, Koavf, Mike Dillon, Pcg13, Rich Farmbrough, SnapSnap, Starcheerspeaksnewslostwars, Swanrizla, Tassedethe, Wasted Time R, Woohookitty, Zundark, 6 anonymous edits What's Going On Source: http://en.wikipedia.org/w/index.php?oldid=484933701 Contributors: 2134, AaronRichard, Adelaidely, Adoniscik, Ainzboogie, Anger22, B Touch, Bearcat, Binksternet, Bitbut, Blastmaster11, BrothaTimothy, Butthisismyusername, COMPFUNK2, Carstensen, Chairman S., Chairman Sharif, Classicrockfan42, Cmdrjameson, Conman33, Corax, Crystallina, Dale Arnett, Dan100, Dan56, Dapsv, DaveGorman, David Legrand, Dickdock, Discographer, Discospinster, Fedallah, FrickFrack, Fritz Saalfeld, FuriousFreddy, GETONERD84, Gabrielll, Gamaliel, Gareth E Kegg, Ghmyrtle, Gongshow, GreatOrangePumpkin, Grstain, Hal4, Hephaestos, Hraefen, Hgsippe Cormier, Indopug, IronGargoyle, J.Rai, JLaTondre, Jairuscobb, Jbenger, Jogers, Johnatx, Johnnylewis, Kchishol1970, Koavf, Krash, La Fuente, Lightmouse, Limmerine, Ling.Nut, Live Light, MaJic, Magioladitis, Marcus2, Martpol, Maxfieldwh, McCart42, Michael Snow, Mike Dillon, Moochocoogle, Mooquackwooftweetmeow, Mrmaroon25, Neilc, Omdfg, Oneiros, Onresume, P. S. Burton, PJtP, Papa November, Pensativa, Peripatetic orb, Peter

Article Sources and Contributors

Fleet, Pilotguy, Portillo, RalfiParpa, Rasotis, Rich Farmbrough, Riotrocket8676, Rjwilmsi, Robox Miller, Rossfitz, Rothorpe, Ryan Vesey, SDC, ST47, Salamurai, Salix alba, ScudLee, Seresin, Shawncorps1, SilkTork, Sime2097, Skew-t, SleepyheadKC, Slysplace, SnapSnap, Solarblue, SpaceFlight89, Srsrsr, Starcheerspeaksnewslostwars, Static3d, Stu, Surfer Joe, T-rex, THEN WHO WAS PHONE?, TUF-KAT, Tednor, Thebogusman, Ulmanor, Varlaam, WalrusSP, Walshga, Willgee, Wizard2325, Wutschwlllm, 149 anonymous edits Let's Get It On Source: http://en.wikipedia.org/w/index.php?oldid=484799729 Contributors: Ainzboogie, Anger22, Anthonylombardi, Arcadian, Bananafish, Bearcat, Binksternet, Brianpalmer57, BrothaTimothy, Brutherhenry, Cmdrjameson, Conman33, Dan56, Dan8700, Daniel Olsen, Discographer, Efe, EoGuy, FrickFrack, Fritz Saalfeld, FuriousFreddy, GETONERD84, Gongshow, Grutness, Haham hanuka, Ianblair23, Indopug, JaGa, Jafeluv, Kappa, Kenneth Hardeman, KnowledgeOfSelf, Koavf, La Fuente, MaJic, Malleus Fatuorum, Mattisse, Merterhenz, Metao, Michael Devore, Mike Dillon, MrMarmite, Neilc, Night Time, Notahippie76, Pankaka1233, Percivl, Peter Fleet, Pie.er, Pie4all88, Piotr127, R'n'B, Randytheicon, Rich Farmbrough, Rjwilmsi, ST47, Sandybeachsurfer, Sb26554, Shawncorps1, Starcheerspeaksnewslostwars, T-rex, Tassedethe, Tim1357, Tony1, Toodope88, Tscarney, Walor, WesleyDodds, Woohookitty, 52 anonymous edits I Want You Source: http://en.wikipedia.org/w/index.php?oldid=478985134 Contributors: "D", Ainzboogie, Alan smithee, Andycjp, Ary29, BD2412, Bearcat, Binksternet, Bobblehead, Brenont, BrothaTimothy, Cmdrjameson, Conman33, Dan56, Discographer, Dissolve, Draggleduck, Flowerparty, FuriousFreddy, GETONERD84, Garion96, Gongshow, Ianblair23, Icebergslimm10, InnocuousPseudonym, JohnBarnesIII, Kappa, Koavf, KuifjeNL, LilHelpa, Ling.Nut, MegX, Megan1967, Mike Dillon, Mrblondnyc, NewSoulFan4Life, Njsustain, Overness, Patman2648, RalfiParpa, Rich Farmbrough, Starcheerspeaksnewslostwars, Swanrizla, TUF-KAT, Tassedethe, Tony1, Tp243, Woohookitty, YUL89YYZ, 39 anonymous edits Here, My Dear Source: http://en.wikipedia.org/w/index.php?oldid=478977399 Contributors: AKGhetto, Ainzboogie, Airproofing, Arcadian, Artrush, Bdve, Bearcat, Bhludzin, Blackened, Borj, BrothaTimothy, CDThieme, CarpetCrawler, Chairman Sharif, Cmdrjameson, Cosprings, Dan56, Discographer, Ekedolphin, Flutefreek, Fritz Saalfeld, Frka, Froid, FuriousFreddy, Gamaliel, Iakinw1, IbLeo, JnB987, KConWiki, Koavf, Light current, Limmerine, M.C. Brown Shoes, MaJic, MacGyverMagic, Mike Dillon, Moonriddengirl, Ninski, Pie.er, RalfiParpa, Rdgambola, Rich Farmbrough, Rjwilmsi, Rogerb67, Rothorpe, Starcheerspeaksnewslostwars, Tassedethe, Tp243, Trivialist, Wdanwatts, 40 anonymous edits In Our Lifetime Source: http://en.wikipedia.org/w/index.php?oldid=478986172 Contributors: After Midnight, Ainzboogie, Bearcat, Bhludzin, Big steve77, BrothaTimothy, Cosprings, Dan56, Discographer, ESkog, Enemyunknown, Fritz Saalfeld, Frka, FuriousFreddy, InnocuousPseudonym, J Milburn, Jacobcohen, Koavf, Luokehao, MBisanz, MaJic, Mike Dillon, Rich Farmbrough, SimonState, Starcheerspeaksnewslostwars, Tassedethe, 18 anonymous edits Midnight Love Source: http://en.wikipedia.org/w/index.php?oldid=478986143 Contributors: Ainzboogie, Airproofing, Andrzejbanas, Bearcat, Bhludzin, Big steve77, BrothaTimothy, Chris Edgemon, Dan56, DavyJAllan, Discographer, Dissolve, Draggleduck, Flutefreek, Fritz Saalfeld, Frka, FuriousFreddy, GETONERD84, Gongshow, HBP77, IbLeo, Iridescent, Jw21, Klemen Kocjancic, Koavf, LilHelpa, Luokehao, MaJic, Maksa, Moisejp, Musicbear180, Oanabay04, Optigan13, Pcg13, Pinkadelica, Rich Farmbrough, Rjwilmsi, Sbrushfan, Shenme, SnapSnap, Stevmand, TMC1982, Tassedethe, TheAllSeeingEye, Till the Casket Drops, Timhood, TonyTheTiger, Whotookthatguy, 37 anonymous edits Dream of a Lifetime Source: http://en.wikipedia.org/w/index.php?oldid=483560734 Contributors: Airproofing, Bhludzin, BrothaTimothy, CavalloRazzo, Discographer, Flowerparty, Fritz Saalfeld, Frka, InnocuousPseudonym, Johnny Sumner, Kwamikagami, Pcg13, Rich Farmbrough, TMC1982, Woohookitty, Zidane tribal, 13 anonymous edits Romantically Yours Source: http://en.wikipedia.org/w/index.php?oldid=447917259 Contributors: Airproofing, Artrush, Bhludzin, Big steve77, BrothaTimothy, CavalloRazzo, Discographer, Fritz Saalfeld, Frka, Gpuollockca1965, Highfields, Makeemlighter, Rich Farmbrough, Richhoncho, TMC1982, WikHead, 11 anonymous edits Vulnerable Source: http://en.wikipedia.org/w/index.php?oldid=483560098 Contributors: BrothaTimothy, CavalloRazzo, Discographer, Frka, KokujinMaverick, Pcg13, Tassedethe, 9 anonymous edits Trouble Man Source: http://en.wikipedia.org/w/index.php?oldid=481172065 Contributors: .snoopy., Alcuin, Big steve77, BrothaTimothy, Chairman S., Chris the speller, Dan56, Discographer, E-Kartoffel, Flowerparty, Foofbun, Fritz Saalfeld, FuriousFreddy, Ghmyrtle, Ian Pitchford, InnocuousPseudonym, Koavf, MegX, Mike Dillon, Musicpvm, Rich Farmbrough, Srsrsr, Varlaam, 15 anonymous edits Together Source: http://en.wikipedia.org/w/index.php?oldid=456861295 Contributors: BRG, Bhludzin, BrothaTimothy, Chairman S., DISEman, DabMachine, Discographer, FPAtl, Flowerparty, FuriousFreddy, Halls452, InnocuousPseudonym, Jafeluv, Koavf, Kresock, Mike Dillon, Musicpvm, SnapSnap, Swanrizla, Tassedethe, Zos80, 9 anonymous edits Take Two Source: http://en.wikipedia.org/w/index.php?oldid=468293474 Contributors: Bhludzin, BrothaTimothy, Cherryguy93, Discographer, Frka, FuriousFreddy, George Ho, Halls452, Jeff G., Koavf, Mike Dillon, Mudwater, Nymf, OlliffeObscurity, Starcheerspeaksnewslostwars, Suga babe, Swanrizla, Tassedethe, Ted87, Tjmayerinsf, Undersmoke, 2 anonymous edits United Source: http://en.wikipedia.org/w/index.php?oldid=456861294 Contributors: Aspects, Bearcat, Bhludzin, Big steve77, BrothaTimothy, C777, CanisRufus, Cmdrjameson, DabMachine, Dan56, David Couch, Discographer, Dt128, Firien, Frka, FuriousFreddy, Ghmyrtle, Halls452, Icebergslimm10, InnocuousPseudonym, JonathanLGardner, Jw21, Koavf, Lew19, Mike Dillon, Miranda, Papa November, Shipscrazy, Smb1001, Starcheerspeaksnewslostwars, Swanrizla, Tassedethe, Waacstats, 10 anonymous edits You're All I Need Source: http://en.wikipedia.org/w/index.php?oldid=468638295 Contributors: 91Bear, Bearcat, Bearly541, BrothaTimothy, C-Woodchuck, CanisRufus, Cherryguy93, Chuq, Cmdrjameson, Dan56, Discographer, Frka, FuriousFreddy, Halls452, InnocuousPseudonym, JonathanLGardner, Klemen Kocjancic, Koavf, Lightmouse, LilHelpa, Mike Dillon, NPswimdude500, Niteowlneils, Papa November, Rich Farmbrough, Starcheerspeaksnewslostwars, Swanrizla, Wuhwuzdat, Wulfo, 9 anonymous edits Easy Source: http://en.wikipedia.org/w/index.php?oldid=482411329 Contributors: Alcuin, Arcadian, B Touch, Bearcat, Bhludzin, BrothaTimothy, CCRoxtar, Crystallina, DKB29, Discographer, Discospinster, Duf Davis, Frka, FuriousFreddy, Halls452, Hmains, InnocuousPseudonym, Koavf, Marc Almond, Mike Dillon, Owen, Patrick, Pcb21, Secfan, SnapSnap, Starcheerspeaksnewslostwars, Swanrizla, TheHYPO, Vanjagenije, Waacstats, Zundark, 15 anonymous edits Diana & Marvin Source: http://en.wikipedia.org/w/index.php?oldid=478995780 Contributors: Ahoerstemeier, Alants, AxelBoldt, Bhludzin, Bokiluis, BrothaTimothy, CWesling, Cmdrjameson, Dan56, Discographer, E-Kartoffel, Explicit, FraDany, FrickFrack, Frka, FuriousFreddy, Giftednumber10, GoingBatty, Igbo, InnocuousPseudonym, Koavf, M.cellophane, MegX, Mike Dillon, Night Time, Rich Farmbrough, Robster1983, Sjones23, Swanrizla, Tassedethe, Updatehelper, Verne Equinox, Woolfian, ZhaoHong, 22 anonymous edits Marvin Gaye Recorded Live on Stage Source: http://en.wikipedia.org/w/index.php?oldid=451901811 Contributors: A930913, Alcuin, BrothaTimothy, Brz7, Chairman S., Cherryguy93, Discographer, E-Kartoffel, Frka, FuriousFreddy, J04n, Koavf, Mike Dillon, NewYorker1989, Rich Farmbrough, Shell Kinney, Starcheerspeaksnewslostwars, Winick88, Woohookitty, Zos80, 4 anonymous edits Marvin Gaye Live! Source: http://en.wikipedia.org/w/index.php?oldid=479002460 Contributors: Artrush, Bhludzin, Brettalan, BrothaTimothy, Cmdrjameson, Dan56, Discographer, Farbodd, Fritz Saalfeld, Frka, FuriousFreddy, G.AC, GETONERD84, Gaius Cornelius, Koavf, Mike Dillon, Rich Farmbrough, Swanrizla, Tassedethe, TheLH, Willgee, Woohookitty, 9 anonymous edits Live at the London Palladium Source: http://en.wikipedia.org/w/index.php?oldid=479002477 Contributors: Aspects, Brettalan, BrothaTimothy, Brz7, Cmdrjameson, Dan56, Dan8700, Discographer, Fantailfan, FluffyWhiteCat, Fritz Saalfeld, Frka, FuriousFreddy, GETONERD84, Garion96, Geodyde, IbLeo, InnocuousPseudonym, JSmith9579, Klemen Kocjancic, Koavf, May Cause Dizziness, Mike Dillon, Moonriddengirl, R'n'B, Rich Farmbrough, Rjwilmsi, ShelfSkewed, Swanrizla, Tassedethe, Vegan4Life, 10 anonymous edits Marvin Gaye at the Copa Source: http://en.wikipedia.org/w/index.php?oldid=448924795 Contributors: Airproofing, BRG, BrothaTimothy, Brz7, Colonies Chris, Discographer, Frka, Koavf, Mike Dillon, Miranda, Red star, Rich Farmbrough, Scanlan, Waacstats, YUL89YYZ, 7 anonymous edits Greatest Hits Source: http://en.wikipedia.org/w/index.php?oldid=445875343 Contributors: Angr, BCLH, Betacommand, BrothaTimothy, Discographer, E-Kartoffel, Frka, Halls452, Koavf, Salamurai, SnapSnap, Starcheerspeaksnewslostwars, Zos80 Greatest Hits, Vol. 2 Source: http://en.wikipedia.org/w/index.php?oldid=447867991 Contributors: BrothaTimothy, CSWarren, Cherryguy93, Discographer, Frka, FuriousFreddy, Halls452, Koavf, Rich Farmbrough, Starcheerspeaksnewslostwars, Swanrizla, Woohookitty, 1 anonymous edits Marvin Gaye and His Girls Source: http://en.wikipedia.org/w/index.php?oldid=470086175 Contributors: BrothaTimothy, CSWarren, Discographer, Frka, FuriousFreddy, Halls452, InnocuousPseudonym, Jj137, Koavf, Rich Farmbrough, Softairsurgeon, Starcheerspeaksnewslostwars, Swanrizla, Tassedethe, Tchernomush, Zundark, 2 anonymous edits Super Hits Source: http://en.wikipedia.org/w/index.php?oldid=448003319 Contributors: BrothaTimothy, Discographer, E-Kartoffel, Frka, GoingBatty, Jogers, Koavf, Rich Farmbrough, Swanrizla, Tassedethe, Wolfer68, Woohookitty, 1 anonymous edits Marvin Gaye and Tammi Terrell's Greatest Hits Source: http://en.wikipedia.org/w/index.php?oldid=448002672 Contributors: BrothaTimothy, Discographer, Frka, Koavf, Rich Farmbrough, Swanrizla, Woohookitty, 1 anonymous edits

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Marvin Gaye's Greatest Hits Source: http://en.wikipedia.org/w/index.php?oldid=439987226 Contributors: BrothaTimothy, CSWarren, GregorB, Jogers, Koavf, Rich Farmbrough, Swanrizla, Woohookitty, 2 anonymous edits Motown Remembers Marvin Gaye: Never Before Released Masters Source: http://en.wikipedia.org/w/index.php?oldid=374356392 Contributors: BrothaTimothy, Koavf, MaJic The Marvin Gaye Collection Source: http://en.wikipedia.org/w/index.php?oldid=439982953 Contributors: Koavf, MaJic The Norman Whitfield Sessions Source: http://en.wikipedia.org/w/index.php?oldid=461839642 Contributors: Bearingbreaker92, BrothaTimothy, Discographer, Halls452, Jeff3000, Jogers, Koavf, Rich Farmbrough, SnapSnap, Swanrizla, Tassedethe, Wafulz, Wasted Time R, Woohookitty, 4 anonymous edits The Very Best of Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=445875542 Contributors: Ashadeofgrey, Koavf, MaJic, 1 anonymous edits The Master Source: http://en.wikipedia.org/w/index.php?oldid=439982974 Contributors: BrothaTimothy, Discographer, E-Kartoffel, Jogers, Koavf, MaJic, Rich Farmbrough, Sigmundpetersen, SnapSnap, Swanrizla, Tassedethe, TheAllSeeingEye, Xihix, 18 anonymous edits Anthology: Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=454248960 Contributors: BrothaTimothy, Cdl obelix, Discographer, E-Kartoffel, Jogers, Koavf, MaJic, Mild Bill Hiccup, SnapSnap, Swanrizla, Tassedethe, Unint, Zidane tribal Marvin Gaye: The Love Songs Source: http://en.wikipedia.org/w/index.php?oldid=439987268 Contributors: BrothaTimothy, Discographer, Emeraude, Gongshow, KeiaS., Koavf, Thegargoylevine The Complete Duets Source: http://en.wikipedia.org/w/index.php?oldid=482285370 Contributors: BrothaTimothy, Cdl obelix, Egpetersen, Ghmyrtle, Halls452, InnocuousPseudonym, Jogers, Koavf, Miranda, Rich Farmbrough, Swanrizla, Waacstats, Zundark, 6 anonymous edits Irresistible Source: http://en.wikipedia.org/w/index.php?oldid=483010185 Contributors: Airproofing, Arxiloxos, Bearly541, BrothaTimothy, Discographer, Dt128, FuriousFreddy, Gaius Cornelius, Halls452, Keeper76, Kittybrewster, Koavf, Lightmouse, Pax:Vobiscum, Rjwilmsi, SlackerMom, Status, Swanrizla, Thismightbezach, Wiki Raja, 4 anonymous edits The Essential Collection Source: http://en.wikipedia.org/w/index.php?oldid=483009937 Contributors: Airproofing, BillWikiDel, BrothaTimothy, Discographer, FuriousFreddy, Gaius Cornelius, GrahamHardy, Koavf, Miranda, Skier Dude, Sumsum2010, Swanrizla, The Obento Musubi, Waacstats, 3 anonymous edits Inner City Blues: The Music of Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=401047693 Contributors: Bearcat, BrothaTimothy, Chairman S., D6, Ericorbit, FuriousFreddy, Fuzzy510, Garion96, KM*hearts*MC, Kappa, Koavf, MR. MOTOWN, Mike Selinker, Spellcast, Xihix, ZhaoHong, 4 anonymous edits "Missing You" Source: http://en.wikipedia.org/w/index.php?oldid=471241155 Contributors: Alants, Am86, BigT2006, BrothaTimothy, Carlossfsu, Dale Arnett, Discographer, Epbr123, FrickFrack, FuriousFreddy, Giant onehead, InnocuousPseudonym, JYi, Jevansen, Kittybrewster, Marcus2, Mike Selinker, Night Time, Rjwilmsi, ScottDavis, Shaliya waya, Smmurphy, Starcheerspeaksnewslostwars, Syu1963, Tassedethe, The Real One Returns, Walor, Wasted Time R, Wolfer68, Woohookitty, 22 anonymous edits "Nightshift" Source: http://en.wikipedia.org/w/index.php?oldid=455946648 Contributors: Axolotl Nr.733, BrothaTimothy, Bull-Doser, Carlossfsu, Ckatz, Cnwb, Curps, Dave3935, Dawnseeker2000, Discographer, EHonkoop, Feydey, Frannefox, Imascrabblefreak, Jonjoe, Klow, MaJic, Marvin Gay, MegX, Melly42, Nightshifttv, Novaseminary, Numen, Pigs Dying, Putnam269, Rayoflight278, RedRollerskate, Richhoncho, Sannse, Shaliya waya, Smmurphy, Snowy 1973, Soetermans, Tchernomush, TexasAndroid, The Real One Returns, The wub, Tinton5, Wolfer68, 28 anonymous edits "Let Your Conscience Be Your Guide" Source: http://en.wikipedia.org/w/index.php?oldid=384415187 Contributors: BrothaTimothy, Discographer, Richhoncho "Mr. Sandman" Source: http://en.wikipedia.org/w/index.php?oldid=484904289 Contributors: A Nobody, Ajd, Alchemagenta, Alecsdaniel, AnonMoos, ArkansasTraveler, BRG, BearWiki, Bensin, Bigpolak, Bill Herrmann, Bishonen, Blakegripling ph, BrothaTimothy, Bumm13, Cactus26, Caldorwards4, CanadianCaesar, Capnpitz, Ccady, ChrisTofu11961, Closedmouth, Dan Sellers, Darp-a-parp, Darwinek, David829, Dmoon1, Durova, EdgeOfEpsilon, Eric444, EvilCouch, Feathery Sunshine, Fisherjs, Fishhead2100, FrankLeeBoard, Furcht, Gerry D, Globalguerilla, Gunnar Hendrich, Hegria66, Hmcnally, Hockeychic9, Housewatcher, Ianhowlett, Ibeneklins, Ilovethecheese, ImaginaryFriend, Jack Cox, Jediknightelectro1997, Jeff G., Jekjekjek3, Jevansen, Jingra11, Jogers, Jujutacular, Jvictory01, K1Bond007, Kbdank71, Kbh3rd, Kelisi, Kendal Ozzel, Kicking222, Kidlittle, Killridemedly, LilHelpa, LongLiveMusic, Looper5920, Lumpy plum, MadMax, Markaci, Markt3, Materialscientist, Mbakkel2, Melos Antropon, Mentifisto, Metalkavru, Mikeo, Mirddes, Mr. Smiley, Murray Langton, Notinasnaid, Odrie, Padger, Peter S., Qirex, Quinsareth, Qwyrxian, RamblinWreck3, Ramshackle Man, Richhoncho, Rob T Firefly, Ronandsuellen, Rubber cat, Saric, Shultz, Simpsons25, Sin-man, Sluzzelin, Smumdax, Starcheerspeaksnewslostwars, Str1977, TMC1982, Tassedethe, TenPoundHammer, TheJuve, Theherald1000, Thestreamer, ThumbBlighter, Tinton5, Tondelayo, Trivialist, Wikipelli, Y2kcrazyjoker4, Zhangxingyi, Zighlveit, 208 anonymous edits "Soldier's Plea" Source: http://en.wikipedia.org/w/index.php?oldid=353710377 Contributors: BrothaTimothy, Discographer, Richhoncho, 1 anonymous edits "Stubborn Kind of Fellow" Source: http://en.wikipedia.org/w/index.php?oldid=463813559 Contributors: BrothaTimothy, CanisRufus, Chris the speller, Commander Keane, Discographer, Durova, E-Kartoffel, FuriousFreddy, FusionLord, GoingBatty, John Cardinal, Richhoncho, Smilerwithaknife, 3 anonymous edits "Hitch Hike" Source: http://en.wikipedia.org/w/index.php?oldid=482819861 Contributors: BrothaTimothy, CanisRufus, Chris Henniker, Commander Keane, Discographer, Durova, E-Kartoffel, FuriousFreddy, Glickmam, GoingBatty, Halls452, Here, Ianblair23, John Cardinal, Koavf, Ma6sab, Richhoncho, Rocket000, Slysplace, Steelbeard1, Thom84, Toyopet, Warhorus, Wayne Miller, WesleyDodds, 14 anonymous edits "Pride and Joy" Source: http://en.wikipedia.org/w/index.php?oldid=479235646 Contributors: BRG, BrothaTimothy, CanisRufus, Commander Keane, Cute 1 4 u, Discographer, Durova, E-Kartoffel, FuriousFreddy, InnocuousPseudonym, Jevansen, John Cardinal, Richhoncho, Starcheerspeaksnewslostwars, 12 anonymous edits "Can I Get a Witness" Source: http://en.wikipedia.org/w/index.php?oldid=469528581 Contributors: Bensin, Bigjimr, BrothaTimothy, CanisRufus, Chrysaor, Derek R Bullamore, Discographer, Durova, E-Kartoffel, Giovannii84, GoingBatty, Grayshi, Halls452, Hyacinth, John Cardinal, Jpete, Koavf, ShelfSkewed, SnapSnap, Thom84, Travelbird, Warren, 16 anonymous edits "I'm Crazy 'Bout My Baby" Source: http://en.wikipedia.org/w/index.php?oldid=467780748 Contributors: BrothaTimothy, Discographer, Klemen Kocjancic "You're a Wonderful One" Source: http://en.wikipedia.org/w/index.php?oldid=469529131 Contributors: Bobblewik, BrothaTimothy, Discographer, FuriousFreddy, Halls452, Hossein.ir, John Cardinal, Rich257, Richhoncho, Siepe, Synergy, 3 anonymous edits "Once Upon a Time" Source: http://en.wikipedia.org/w/index.php?oldid=452972220 Contributors: Aspects, BrothaTimothy, Discographer, Durova, Halls4521, InnocuousPseudonym, John Cardinal, Richhoncho, 2 anonymous edits "What's the Matter with You Baby" Source: http://en.wikipedia.org/w/index.php?oldid=452972371 Contributors: BrothaTimothy, Discographer, Durova, GD 6041, Halls4521, John Cardinal, Richhoncho, SnapSnap, Waacstats, 2 anonymous edits "Try It Baby" Source: http://en.wikipedia.org/w/index.php?oldid=457364222 Contributors: BrothaTimothy, Discographer, Durova, Fratrep, FuriousFreddy, Halls452, John Cardinal, Richhoncho, Tinton5, 7 anonymous edits "Baby Don't You Do It" Source: http://en.wikipedia.org/w/index.php?oldid=477968158 Contributors: Bobo192, BrothaTimothy, Cherrylimerickey, Derek R Bullamore, Discographer, Durova, E-Kartoffel, Halls452, Indopug, JaGa, Jeepday, John Cardinal, Keraunoscopia, Koavf, Neilc, Nkrosse, Nome123, Raven1977, RepublicanJacobite, Reywas92, Rlendog, Roboconnell, Rock'N'More, Salamurai, SnapSnap, Snappydoiley, The4's, Wasted Time R, Woohookitty, 23 anonymous edits "What Good Am I Without You" Source: http://en.wikipedia.org/w/index.php?oldid=456861274 Contributors: BrothaTimothy, Discographer, Halls452, Richhoncho, Tassedethe, Woohookitty, 1 anonymous edits "How Sweet It Is (To Be Loved by You)" Source: http://en.wikipedia.org/w/index.php?oldid=476497369 Contributors: Babahu, BigT2006, BrothaTimothy, CanisRufus, Carlossfsu, Commander Keane, Deltabeignet, Discographer, Durova, Enwilson, Flutefreek, FuriousFreddy, Grstain, Hamish Lawson, Hessedelahesse, InnocuousPseudonym, Jbattersby, John Cardinal, Jpete, JustAGal, Kevrhon, Koavf, Markkawika, Moonriddengirl, Moorematthews, Neurolysis, Papa November, Rich Farmbrough, Roadstaa, SMC, Sb26554, Tritoncin, Wasted Time R, Wolfer68, Zephyrnthesky, 34 anonymous edits

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"I'll Be Doggone" Source: http://en.wikipedia.org/w/index.php?oldid=484974299 Contributors: BrothaTimothy, Carlossfsu, Cjc13, Commander Keane, Discographer, Durova, Halls452, InnocuousPseudonym, John Cardinal, Richhoncho, Schnob Reider, Starcheerspeaksnewslostwars, Tassedethe, Willgee, Wolfer68, 6 anonymous edits "Pretty Little Baby" Source: http://en.wikipedia.org/w/index.php?oldid=380418069 Contributors: Ageyban, BrothaTimothy, Davegoodeelevator, Discographer, Durova, Emeraude, GoingBatty, John Cardinal "Ain't That Peculiar" Source: http://en.wikipedia.org/w/index.php?oldid=482433528 Contributors: BrothaTimothy, CanisRufus, Carlossfsu, Caseyamspacher, Cherryguy93, Cogoal, DISEman, Davegoodeelevator, Discographer, Djln, Durova, Egghead06, FMAFan1990, FuriousFreddy, GoingBatty, Goldom, Halls452, Haryadoon, Holiday56, InnocuousPseudonym, Joe n bloe, Jogers, John Cardinal, Korinkami, MegX, Rich Farmbrough, Richhoncho, Salamurai, Sb26554, SnapSnap, Sposato, Waacstats, Willgee, 22 anonymous edits "One More Heartache" Source: http://en.wikipedia.org/w/index.php?oldid=454374978 Contributors: BrothaTimothy, Densely, Discographer, Durova, Egghead06, FuriousFreddy, Richhoncho, Slysplace, Willgee, 5 anonymous edits "Take This Heart of Mine" Source: http://en.wikipedia.org/w/index.php?oldid=460732503 Contributors: BrothaTimothy, Clerks, Discographer, Egghead06, John Cardinal, LilHelpa, Lucas0707, Richhoncho, Slysplace, The Nut, Willgee, 1 anonymous edits "Little Darling (I Need You)" Source: http://en.wikipedia.org/w/index.php?oldid=479370572 Contributors: BrothaTimothy, Discographer, Durova, Egghead06, Halls452, John Cardinal, Richhoncho, ShelfSkewed, Ystonem "It Takes Two" Source: http://en.wikipedia.org/w/index.php?oldid=481172117 Contributors: BenH, BigT2006, Briaboru, BrothaTimothy, CanisRufus, ChrisTofu11961, Conquistador2k6, D6, Discographer, Dj-dom, Dreamer.se, Egghead06, Europe22, FuriousFreddy, GassyGuy, Halls452, InnocuousPseudonym, John Cardinal, Koavf, Malpass93, MastreMahem, Michaelc11, Mike Halterman, Mister sparky, OlliffeObscurity, Pietaster, Pytom, Rich Farmbrough, Richhoncho, Robofish, Rocket000, Rory096, Rose64bud, Sitush, Tassedethe, Tinton5, Tjmayerinsf, Valerio79, W guice, Wb6472, 18 anonymous edits "Ain't No Mountain High Enough" Source: http://en.wikipedia.org/w/index.php?oldid=484880793 Contributors: Alansohn, Amalthea, Another Believer, Axolotl Nr.733, Baiji, Bigar, BrothaTimothy, Bumm13, CanisRufus, Carlossfsu, Catapult, CodyBenjaminMoore, Codymooseandzee, Conor Kenny, Crumbsucker, Dan56, David Couch, David T Tokyo, Difluoroethene, Discographer, Donmike10, Download, Durova, Eric444, Ericorbit, Explicit, Fenician, Feudonym, Flutefreek, Frecklegirl, FrickFrack, FuriousFreddy, Giraffedata, Gongshow, Gyulaneni, Halls452, Helvecio, Hessamnia, Hornik, Hyacinth, InnocuousPseudonym, J Milburn, JHunterJ, Jaxsonjo, JoeSmack, Jogers, John Cardinal, Jonwood2, Keilana, Kidlittle, Koikage, Le dragon, LittleWink, Locke Cole, Lowellian, MWielage, Mab987, Mechanical digger, Mel Etitis, Mike Halterman, Mikemillenium17, Minnesotamusic, Myersboy, N5iln, Newbkid123, Night Time, Nintendo nintendo nintendo, Noneofyourfinbusiness, OmegaWikipedia, Owl order, Panapp, Paul A, Petepait, PhilKnight, Planetneutral, Purplefeltangel, Realdiamonds, Riana, Rich Farmbrough, Richhoncho, Robert K S, Rocket000, Rodrigogomespaixao, Sagcampbell, Sb26554, Schroeder74, ShelfSkewed, Sky Attacker, SlubGlub, Sluzzelin, SnapSnap, Sofffie7, Some jerk on the Internet, Stephenmcf, Supremesone, Tabletop, Tassedethe, Tbhotch, Trampikey, Usernamealreadyinuse, Vdjj1960, Vlad51, Walter Grlitz, Who, Wolfer68, Woohookitty, 185 anonymous edits "Your Unchanging Love" Source: http://en.wikipedia.org/w/index.php?oldid=469529198 Contributors: Anticipation of a New Lover's Arrival, The, BrothaTimothy, Cw6400, Discographer, Durova, John Cardinal, Richhoncho "Your Precious Love" Source: http://en.wikipedia.org/w/index.php?oldid=477107559 Contributors: Aeons, Alai, BrothaTimothy, CanisRufus, Commander Keane, Discographer, Djln, Durova, EHonkoop, FilterLive, FuriousFreddy, InnocuousPseudonym, JustAGal, Mauitunes, Nickellmusic, Richhoncho, SnapSnap, Stusutcliffe, Tassedethe, Tinton5, 16 anonymous edits "You" Source: http://en.wikipedia.org/w/index.php?oldid=396559310 Contributors: BrothaTimothy, Discographer, Durova, Richhoncho "If I Could Build My Whole World Around You" Source: http://en.wikipedia.org/w/index.php?oldid=477066495 Contributors: BrothaTimothy, CanisRufus, Commander Keane, Discographer, Durova, Feudonym, FuriousFreddy, InnocuousPseudonym, John Cardinal, Richhoncho, Tinton5, Waacstats, Willgee, Wolfer68, 17 anonymous edits "If This World Were Mine" Source: http://en.wikipedia.org/w/index.php?oldid=482134576 Contributors: Auntof6, BrothaTimothy, CanisRufus, Discographer, Durova, E-Kartoffel, Flutefreek, FuriousFreddy, InnocuousPseudonym, Jevansen, Marcus Brute, OriginalCyn3000, Smmurphy, SnapSnap, Tedius Zanarukando, The Green Archer, Tinton5, Waacstats, Wasted Time R, Wolfer68, 22 anonymous edits "Ain't Nothing Like the Real Thing" Source: http://en.wikipedia.org/w/index.php?oldid=471487559 Contributors: ....Crunk&B....Artist...., 06raym, AshleyMotown, Aspects, Belovedfreak, Bongwarrior, BrothaTimothy, CanisRufus, Carlossfsu, Cassie.ConnecticutFever, D lovell, Delage, Discographer, Durova, E-Kartoffel, Eric444, Ericorbit, Europe22, FilterLive, Flutefreek, Fratrep, FuriousFreddy, Harrisbp, IHeartAshleigh, InnocuousPseudonym, Jogers, John Cardinal, JonathanLGardner, JuJube, Msr69er, RebirthThom, Rich Farmbrough, RobinCarmody, Rodrigogomespaixao, Rossrs, SnapSnap, Supremesone, Thomas Skogestad, Tinton5, Twsx, Valerio79, Yummygjd, Zaxby, 24 anonymous edits "You're All I Need to Get By" Source: http://en.wikipedia.org/w/index.php?oldid=467972843 Contributors: ABCxyz, Am86, Barbiegurl676, BrothaTimothy, CanisRufus, Carlossfsu, CrunchyCookie, Discographer, Durova, Exodus713, Flesh-n-Bone, FuriousFreddy, Indiawilliams, InnocuousPseudonym, Jogers, John Cardinal, JonathanLGardner, Lajbi, Mrblondnyc, Newbkid123, Night Time, Noahdabomb3, Rahaeli, Rodrigogomespaixao, Sct72, Siemens2, Signothetimes90, Slysplace, Suchalady, Synergy, Tassedethe, Terrek, Toby wone, Tom Danson, Valerio79, 41 anonymous edits "Chained" Source: http://en.wikipedia.org/w/index.php?oldid=474568275 Contributors: BrothaTimothy, Discographer, Durova, Godseeker4me, Halls452, Richhoncho "Keep On Lovin' Me Honey" Source: http://en.wikipedia.org/w/index.php?oldid=477714807 Contributors: BrothaTimothy, Discographer, Durova, John Cardinal, Richhoncho, 1 anonymous edits "You Ain't Livin' till You're Lovin'" Source: http://en.wikipedia.org/w/index.php?oldid=313423846 Contributors: BrothaTimothy, Durova, Giftednumber10, Xnux "His Eye Is on the Sparrow" Source: http://en.wikipedia.org/w/index.php?oldid=480121691 Contributors: Absolon, Angr, B, CTZMSC3, Capmo, DavisMusicColl750, Domingo Portales, Dreadstar, FuriousFreddy, Gidiav, Hraefen, Hutcheson, Iridescent, KConWiki, Mattsuh, More blessing, Prismsplay, Randkcmo, Rjwilmsi, TRBP, Tanec69, Tassedethe, Textorus, Tjmayerinsf, Vary, Walloon, Weierstra, Werdan7, 44 anonymous edits "I Heard It Through the Grapevine" Source: http://en.wikipedia.org/w/index.php?oldid=477597619 Contributors: Ahoerstemeier, Airodyssey, Akamad, Alan smithee, AndrewHowse, Angusmclellan, B Touch, Bellhalla, Bensin, Bobblewik, BrothaTimothy, Calbookaddict, Carlossfsu, Cheemo, Chinatown1, Cholmes75, Chris Longley, Dcoetzee, Discographer, Doctorhawkes, DougHill, Dr Smth, Draggleduck, Drbuzzard, Duk, E-Kartoffel, EdgeNavidad, Egghead06, Engineer Bob, Eric444, Ericorbit, Esprit15d, Everyking, Evil Eye, Falcon8765, Flowerparty, Flutefreek, Fratrep, Freikorp, FrickFrack, FuriousFreddy, Gareth E Kegg, Gelma, GoingBatty, Grafen, Gunis del, Guybrush, Halls452, Halls4521, Heegoop, Huntster, Hyacinth, Ianblair23, James Epstein, Jogers, John Cardinal, Juryen, Kaldari, KelevHam, Kellywatchthestars, Les woodland, LilHelpa, MER-C, Madrazoalan, Magnet For Knowledge, Manushand, MarkS, Mattisse, Mboverload, Mel Etitis, Mike Dillon, Mike hayes, Mindmatrix, Moanzhu, Moochocoogle, Mortene, Mr link, Musicpvm, Night Time, Noahdabomb3, Notmpres, Nowyouseeme, Ohconfucius, OmegaWikipedia, Orphan Wiki, Parasoless, Pearle, Percivl, Petarmaras, Petepait, Pimlottc, PinkCake, Psychiccheese, Putnam269, Rezdave, Rich Farmbrough, Richhoncho, Rjwilmsi, RobinCarmody, Rock Soldier, Rogerd, RoySmith, SMC, ST47, Sharkface217, ShelfSkewed, SilkTork, Sjb90, Slyvan.rls08, SnapSnap, Spizrock, Sposato, Steevm, Tassedethe, Tbhotch, Tbone, The Stickler, The stuart, TheGrza, TheSubtleDoctor, TiffanyTheCreator, Tinton5, Tomyumgoong, Tregoweth, Turing, Twang, Wantnot, Wayne Slam, WesleyDodds, Who, Will Larter, Wolfer68, Xnux, Yorkshiresky, 167 anonymous edits "Good Lovin' Ain't Easy to Come By" Source: http://en.wikipedia.org/w/index.php?oldid=353712581 Contributors: BrothaTimothy, Discographer, Durova, John Cardinal, 4 anonymous edits "Too Busy Thinking About My Baby" Source: http://en.wikipedia.org/w/index.php?oldid=475572826 Contributors: BrothaTimothy, Carlossfsu, Catapult, Commander Keane, Discographer, Durova, FuriousFreddy, Halls452, Halls4521, InnocuousPseudonym, Jeff3000, John Cardinal, Koavf, Miranda, Oharab, Peterwill, Pojanji, Richhoncho, Roisterer, Teknocrat123, The alliance, Tinton5, 16 anonymous edits "That's the Way Love Is" Source: http://en.wikipedia.org/w/index.php?oldid=476492259 Contributors: Bearly541, BrothaTimothy, CanisRufus, Discographer, Durova, FuriousFreddy, GTBacchus, Halls4521, Jogers, John Cardinal, Kappa, Night Time, Punkyfish3000, Richhoncho, Syu1963, TenPoundHammer, Waacstats, 7 anonymous edits "Abraham, Martin and John" Source: http://en.wikipedia.org/w/index.php?oldid=483852006 Contributors: BearWiki, Dale Arnett, Darksun, Dbrodbeck, Egghead06, EoGuy, Klemen Kocjancic, Koavf, Mandarax, Marmelmm, Mike US 1969, Rednevog, Robert K S, Scarbluff, Ulric1313, 14 anonymous edits "What You Gave Me" Source: http://en.wikipedia.org/w/index.php?oldid=313423995 Contributors: BrothaTimothy, Durova

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"How Can I Forget" Source: http://en.wikipedia.org/w/index.php?oldid=412394265 Contributors: BrothaTimothy, Chris Capoccia, Discographer, Halls452, Halls4521, Richhoncho, Tinton5, Waacstats, Woohookitty "Gonna Give Her All the Love I've Got" Source: http://en.wikipedia.org/w/index.php?oldid=412392654 Contributors: BrothaTimothy, Discographer, Halls452, Halls4521, Richhoncho, Waacstats, 6 anonymous edits "The Onion Song" Source: http://en.wikipedia.org/w/index.php?oldid=457680565 Contributors: BrothaTimothy, Chuq, Discographer, Egghead06, Fc21, FuriousFreddy, Halls452, InnocuousPseudonym, Jo7hs2, Koavf, Martinevans123, Niraba, Rich Farmbrough, Rjwilmsi, SnapSnap, Terrek, Woohookitty, Wuhwuzdat, 7 anonymous edits "California Soul" Source: http://en.wikipedia.org/w/index.php?oldid=474350748 Contributors: 2005, Alan Liefting, BMRR, BrothaTimothy, Discographer, FlipMyWigBaby, Fratrep, Gubu13, Gurchzilla, HBHockey, Hulmem, Jeff G., Koavf, Leondegrance, Lurulu, Marcel flaubert, Mikeetc, PacificBoy, Recordgirl, Rjwilmsi, TenPoundHammer, Thegerm, Triplestop, Wageslave, Wuhwuzdat, 34 anonymous edits "The End of Our Road" Source: http://en.wikipedia.org/w/index.php?oldid=480660007 Contributors: BrothaTimothy, Discographer, Dravecky, Durova, ElCartero, Richhoncho, SnapSnap, 1 anonymous edits "What's Going On" Source: http://en.wikipedia.org/w/index.php?oldid=484391487 Contributors: Acalamari, Aguilerlittle, AndreesSC7, Andresg770, Andrewlp1991, Andrzejbanas, Another Believer, Aralvarez, Ary29, Ashley Pomeroy, BGTopDon, Belovedfreak, Blg1021, Blueblade0, BrothaTimothy, Bubba hotep, COMPFUNK2, Carlossfsu, Cartoon Boy, Cesarc1989, Chad427, Chancegordon, Charles Matthews, Chy3d12, Cmdrjameson, Colchester121891, Cyndisource, DStoykov, Dan56, Daniil Maslyuk, DantheCowMan, Dapsv, Darth Mike, Delldot, Derek R Bullamore, Didimos, Dindo94, Discographer, Dj mikv, Download, DrGaellon, E-Kartoffel, EGroup, Egghead06, Elistoughton, Epeefleche, Ethdhelwen, Fan-1967, Fcgier, Firsfron, Flutefreek, Fortunato luigi, FuriousFreddy, GWP, Gareth E Kegg, Geneisner, Ghmyrtle, Giovannii84, Glocherfan, Gobonobo, Gordonmarsh, Hektor, Hmains, J 1982, JTSomers, JYi, Jarrod76, Jbattersby, Jevansen, Jogers, John Cardinal, John of Lancaster, Jorgebarrios, Jw21, Ken Gallager, Koavf, Kotra, Kww, Levineps, LordRobert, MaJic, Marek69, Merope, Musicpvm, Mwalimu59, Nanami Kamimura, Night Time, Nikkimaria, ONEder Boy, OriginalCyn3000, PlatinumFire, RattleandHum, Raw721, Richhoncho, Rjwilmsi, Rockfang, Rsgranne, Ruennsheng, SCB '92, SGT141, ST47, Sb26554, Sbamkmfdmdfmk, Secfan, ShadowRanger, SilkTork, Sk8erock, SleepyheadKC, Sohelpme, Spaceboy492, Ss112, Starcheerspeaksnewslostwars, Strausszek, SwisterTwister, T mcbride08, TMC1982, Tassedethe, The Moving Finger Writes, TheSubtleDoctor, Valerio79, WesleyDodds, WikiGuy86, Wolfer68, Woohookitty, Xnuala, Xwomanizerx, ZanAV, Zariane, Zscout370, 173 anonymous edits "Mercy Mercy Me (The Ecology)" Source: http://en.wikipedia.org/w/index.php?oldid=471395636 Contributors: Ajsmith141, Alan Liefting, Andycjp, BrothaTimothy, Bubba hotep, C777, CanisRufus, Carlossfsu, Chris Henniker, Cjc13, DantheCowMan, Discographer, Dshun, Durova, ESkog, Editthis2662, Egghead06, Evanreyes, FuriousFreddy, Ghmyrtle, Hayadel, InnocuousPseudonym, Jbattersby, Jeleaste, Jogers, John Cardinal, Koavf, Kookyunii, LilHelpa, Moyogo, Night Time, PhilKnight, Portillo, R'n'B, RebirthThom, Richard Arthur Norton (1958- ), Sb26554, SnapSnap, TLBradbury, Tassedethe, Teknocrat123, Tinton5, Toddsschneider, Tyroc, VanzKantDanz, Wasted Time R, 34 anonymous edits "Inner City Blues (Make Me Wanna Holler)" Source: http://en.wikipedia.org/w/index.php?oldid=463446883 Contributors: Altenmann, Angry blonde, AntiAntiNegation, Asterion, Binksternet, Bobo192, BrothaTimothy, Bubba hotep, C777, CanisRufus, Carlossfsu, Colchester121891, Commander Keane, Compasspnt, Couillaud, Dan56, DantheCowMan, Derek R Bullamore, Discographer, Draggleduck, Durova, Eco84, Egghead06, FuriousFreddy, Hiphats, Jbattersby, Jehawkin, Jjmcspooh, Jogers, John Cardinal, JustAGal, LilHelpa, MagicBez, Matt Deres, Mfitkowsky, Night Time, Noahdabomb3, Otisjimmy1, Pennstatephil, Rm w a vu, Ruck, Sb26554, Slabba, Static3d, SwisterTwister, Tassedethe, Wolfer68, Wutschwlllm, Zundark, 86 anonymous edits "Save the Children" Source: http://en.wikipedia.org/w/index.php?oldid=461367901 Contributors: BrothaTimothy, Discographer, Jjmcspooh, John Cardinal, Kaiba, Richhoncho, Scapler, Scott5114, SnapSnap, Wizard2325, 1 anonymous edits "You're the Man" Source: http://en.wikipedia.org/w/index.php?oldid=477030788 Contributors: BrothaTimothy, Cosprings, Discographer, Durova, Egghead06, Esradekan, FuriousFreddy, Oatmeal batman, Richhoncho, Sb26554 "Trouble Man" Source: http://en.wikipedia.org/w/index.php?oldid=481609477 Contributors: BrothaTimothy, Discographer, Dreamafter, Drmagic, Durova, FuriousFreddy, Mattg82, Sigurd1805, TheStarmon, Uzerakount, 8 anonymous edits "I Want to Come Home for Christmas" Source: http://en.wikipedia.org/w/index.php?oldid=475495231 Contributors: BrothaTimothy, Richhoncho, ShelfSkewed, 1 anonymous edits "Let's Get It On" Source: http://en.wikipedia.org/w/index.php?oldid=477722930 Contributors: 2Pac, AaronL, Andland, BD2412, BrothaTimothy, Bubba hotep, Carlossfsu, Chris G, Colonies Chris, Dan56, Discographer, E-Kartoffel, Electrocutedcat, Ericorbit, Fayenatic london, Flowerparty, Flutefreek, FuriousFreddy, Giovannii84, Granpuff, Ianblair23, InnocuousPseudonym, James Epstein, James.Denholm, Jbattersby, Jjmcspooh, JoeSmack, Jogers, John Cardinal, Lathrop1885, Mooco2006, Musiclover1113, Neilc, Night Time, Oughgh, RebDrummer61, Richhoncho, Roadstaa, ST47, Sb26554, Sbamkmfdmdfmk, ShelfSkewed, SnapSnap, Stubblyhead, Tassedethe, TenPoundHammer, Tinton5, UnitedStatesian, Who, Wiki libs, Wikiwonka12, 36 anonymous edits "You're a Special Part of Me" Source: http://en.wikipedia.org/w/index.php?oldid=465537767 Contributors: BrothaTimothy, Discographer, Durova, FuriousFreddy, InnocuousPseudonym, Jbattersby, John Cardinal, Night Time, 2 anonymous edits "Stop, Look, Listen (To Your Heart)" Source: http://en.wikipedia.org/w/index.php?oldid=471491106 Contributors: BrothaTimothy, Deniz yildiz, Derek R Bullamore, Discographer, Durova, Egghead06, GoingBatty, Hektor, InnocuousPseudonym, Jbattersby, John Cardinal, Night Time, Peecee1978, Richhoncho, Saintlyone, Tassedethe, Tinton5, VanWikiWiki, Vdjj1960, 32 anonymous edits "Come Get to This" Source: http://en.wikipedia.org/w/index.php?oldid=442955626 Contributors: Andmark1996, BrothaTimothy, CanisRufus, Dan56, Discographer, Discospinster, Durova, Flutefreek, FuriousFreddy, InnocuousPseudonym, John Cardinal, Mutter-may-I, Rjwilmsi, Sb26554, Smmurphy, SnapSnap, 3 anonymous edits "You Sure Love to Ball" Source: http://en.wikipedia.org/w/index.php?oldid=434251853 Contributors: Bobo192, BrothaTimothy, Crystallina, Dan56, Discographer, Durova, FuriousFreddy, John Cardinal, Lightmouse, Sb26554, Serpent-A, Synergy, V1oletv, 7 anonymous edits "My Mistake (Was to Love You)" Source: http://en.wikipedia.org/w/index.php?oldid=453592850 Contributors: BrothaTimothy, Cherrylimerickey, Discographer, Durova, FlameAce, FuriousFreddy, Giftednumber10, InnocuousPseudonym, Jbattersby, John Cardinal, Night Time, Richhoncho, 4 anonymous edits "Don't Knock My Love" Source: http://en.wikipedia.org/w/index.php?oldid=461401902 Contributors: BrothaTimothy, Carlossfsu, Discographer, Durova, Hraefen, John Cardinal, Night Time, Rich Farmbrough, Salamurai, 1 anonymous edits "You Are Everything" Source: http://en.wikipedia.org/w/index.php?oldid=477032055 Contributors: ARaleksandr, Am86, Auntof6, BrothaTimothy, Davehi1, Derek R Bullamore, Discographer, Durova, Egpetersen, FuriousFreddy, Hocuspocus Skiggedyskat, InnocuousPseudonym, JamieS93, Juan Cruz, Kingpin13, Mayebella, MegX, Mikay, Music for Love, Night Time, OlliffeObscurity, PamRivers8, Peterhoneyman, Phildav76, Putnam269, Richhoncho, Roadstaa, Rosiestep, Sizzlingsteaks, SolidSapphire, SwisterTwister, Tinton5, Tom58l, Tpinville, Vdjj1960, Waacstats, Zucchinidreams, 41 anonymous edits "Distant Lover" Source: http://en.wikipedia.org/w/index.php?oldid=483885227 Contributors: BrothaTimothy, CanisRufus, Dan56, Discographer, Farbodd, FuriousFreddy, Gaius Cornelius, IbLeo, InnocuousPseudonym, John Cardinal, LilHelpa, Pagrashtak, Richhoncho, Sb26554, SnapSnap, Tassedethe, 10 anonymous edits "I Want You" Source: http://en.wikipedia.org/w/index.php?oldid=483298316 Contributors: 11JORN, 12345abcxyz20082009, A.r.lloyd, Abdull, Ajsmith141, Andycjp, Ary29, Auntof6, Baratayuda, Beautifulstranger, Binh Phan, Bisco, BlueInTheFace01, Bluesatellite, BrothaTimothy, Bvanmaele, CanisRufus, Capitalistroadster, Carlossfsu, Charmed36, Chris the speller, Cmdrjameson, Commander Keane, DMWN, Dan56, Dancefloor royalty, Daniel THA, Dawnseeker2000, Diana ross, Discographer, Drbreznjev, Durova, ElPilotoDi, Ericorbit, FuriousFreddy, Garion96, GassyGuy, GoingBatty, Hohum, Hologram900, InnocuousPseudonym, Jamdonaldson, Jayetheartist, Jeff d kirby, JoanneB, Jogers, Jwad, KM*hearts*MC, Kappa, Karrmann, Koavf, Legolas2186, Loganberry, Luigi-ish, MaJic, MegX, Megan1967, Mooquackwooftweetmeow, Night Time, Orfei, Pagrashtak, Paul75, Prunesqualer, R'n'B, Rich Farmbrough, Richhoncho, Roadstaa, Samueke, ShelfSkewed, Stusutcliffe, Tassedethe, TenPoundHammer, The Thing That Should Not Be, Thela Brown, Timeaftertimecl, Twsx, Ucandance87, Woohookitty, XLR8TION, Zntrip, 31 anonymous edits "After the Dance" Source: http://en.wikipedia.org/w/index.php?oldid=443406106 Contributors: Andycjp, BrothaTimothy, Dan56, Discographer, Durova, Flowerparty, Garion96, InnocuousPseudonym, NPswimdude500, Tassedethe, VolatileChemical, Waacstats, Xezbeth, ZhaoHong, 7 anonymous edits "Since I Had You" Source: http://en.wikipedia.org/w/index.php?oldid=465334084 Contributors: BrothaTimothy, Discographer, Huntster, John Cardinal, Kevin, Tassedethe, 1 anonymous edits

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"Got to Give It Up" Source: http://en.wikipedia.org/w/index.php?oldid=483267890 Contributors: 2007yo, 2007yo2, AALIYAH2014, Andrzejbanas, BD2412, Betacommand, Brianwilson.ny, BrothaTimothy, Bubba hotep, Carlossfsu, Carmaker1, Colchester121891, Commander Keane, DMCer, Dehbach, Discographer, Drmagic, Durova, Efe, Ericorbit, Extraordinary Machine, Flutefreek, FuriousFreddy, Gabe19, Giovannii84, GoingBatty, Holiday56, InnocuousPseudonym, J-Dizzley95, JForget, JaGa, Jbattersby, Jeepday, Jogers, Justme89, Klemen Kocjancic, MaJic, Madrazoalan, Mel Etitis, Nekoangel16, NetRanger64, Night Time, Noozgroop, Paul Richter, Rjwilmsi, Sb26554, ShelfSkewed, Shorelander, SnapSnap, Souldier77, Sunz600, SwisterTwister, Tabletop, Tassedethe, Tbhotch, Tozzano, Trivialist, W guice, Who, Woohookitty, XRaidedLoc187, 89 anonymous edits "Pops, We Love You (A Tribute to Father)" Source: http://en.wikipedia.org/w/index.php?oldid=476914191 Contributors: BrothaTimothy, Discographer, Richhoncho "A Funky Space Reincarnation" Source: http://en.wikipedia.org/w/index.php?oldid=465334395 Contributors: Ainlina, Airproofing, Bjones, BrothaTimothy, CarpetCrawler, Discographer, G-my, InnocuousPseudonym, John Cardinal, Ling.Nut, Rchohan, Rich Farmbrough, Shag54, SnapSnap, Tholly, Trackinfo, 4 anonymous edits "Anger" Source: http://en.wikipedia.org/w/index.php?oldid=465336553 Contributors: Airproofing, BrothaTimothy, Discographer, Huntster, InnocuousPseudonym, John Cardinal, 1 anonymous edits "Ego Tripping Out" Source: http://en.wikipedia.org/w/index.php?oldid=353714923 Contributors: BrothaTimothy, Discographer, InnocuousPseudonym, Jbattersby, John Cardinal, SnapSnap, Tassedethe, 3 anonymous edits "Praise" Source: http://en.wikipedia.org/w/index.php?oldid=370545573 Contributors: BrothaTimothy, Discographer, FuriousFreddy, Gaius Cornelius, InnocuousPseudonym, John Cardinal, Keraunoscopia, Koavf, Maniadis, SnappingTurtle, Tassedethe, TenPoundHammer "Heavy Love Affair" Source: http://en.wikipedia.org/w/index.php?oldid=462257978 Contributors: BrothaTimothy, Discographer, InnocuousPseudonym, SnapSnap, Tassedethe, 2 anonymous edits "Sexual Healing" Source: http://en.wikipedia.org/w/index.php?oldid=484514881 Contributors: .snoopy., 12inchwooddd, 2Pac, Acalamari, Andycjp, AngelOfSadness, Ashadeofgrey, BD2412, BHC, Basawala, Belovedfreak, Ben76266, Bigrene, Bobblewik, BrothaTimothy, Bubba hotep, C777, Cacktisjack, Carlossfsu, Chubbles, Chzz, Conquistador2k6, Crystallina, Cw6165, DMCer, Dale Arnett, Dapsv, Delirium, Dimitrii, Discographer, Drmagic, EagleFan, Efe, Eleland, Esanchez7587, Fergalkelly2000, Flutefreek, Frcm1988, Froid, Fuhghettaboutit, FuriousFreddy, Garyewen, Gen. Quon, Gibblets16, Gidonb, Gnfnrf, GoingBatty, Graham87, Hunter Kahn, I dream of horses, Ianblair23, Ihotten, InnocuousPseudonym, Jagged 85, Jahsonic, JamesAM, Jbattersby, Jcl32791, John Cardinal, Jonjoe, JuJube, Karaboom, Ketiltrout, KillerChihuahua, Kitch, Koavf, Larrymcp, Lauralongtime, Libido, Lukobe, MaJic, Maksa, Malcolmo, Mandisaj, Mathewignash, Melly42, Mickel The Vain, Mike Castle, Mikeblas, Muugokszhiion, Oanabay04, Originalsinner, Oxymoron83, Phildav76, RS 1984, RiseAbove, Rje, Roadstaa, Rocket000, Roland Kaufmann, ST47, Salamurai, Sasuke Sarutobi, Sb26554, Seraphim, ShelfSkewed, Shoy, SigKauffman, Skw1024, SnapSnap, Stevertigo, Tainter, Tassedethe, The Moving Finger Writes, The wub, Thegingerone, Tinton5, Tom Danson, TonyTheTiger, Vega84, Vipzen, Wiki alf, Woohookitty, X4u, Zephyrnthesky, 117 anonymous edits "My Love Is Waiting" Source: http://en.wikipedia.org/w/index.php?oldid=423734336 Contributors: Barticus88, BrothaTimothy, Discographer, InnocuousPseudonym, Smthomas23, SnapSnap, Woohookitty, 3 anonymous edits "'Til Tomorrow" Source: http://en.wikipedia.org/w/index.php?oldid=472814176 Contributors: BrothaTimothy, Cesium 133, Discographer, Efe, Fram, Sakurambo, 1 anonymous edits "Joy" Source: http://en.wikipedia.org/w/index.php?oldid=480116389 Contributors: BrothaTimothy, Discographer, FuriousFreddy, Richhoncho, Rjwilmsi, SnapSnap "Sanctified Lady" Source: http://en.wikipedia.org/w/index.php?oldid=465337366 Contributors: BrothaTimothy, Discographer, Johnny Sumner, Roadstaa, Roga Danar, Souldier77, 2 anonymous edits "It's Madness" Source: http://en.wikipedia.org/w/index.php?oldid=477109929 Contributors: Aspects, BrothaTimothy, CosineKitty, Discographer, Fratrep, Morgioni, Richhoncho, Roadstaa, 8 anonymous edits "Just Like" Source: http://en.wikipedia.org/w/index.php?oldid=465515715 Contributors: BrothaTimothy, Discographer, Richhoncho "The World Is Rated X" Source: http://en.wikipedia.org/w/index.php?oldid=465515565 Contributors: BrothaTimothy, Richhoncho "My Last Chance" Source: http://en.wikipedia.org/w/index.php?oldid=465338084 Contributors: BrothaTimothy, Danhm, Deltabeignet, Discographer, Gimboid13, Gpollock, Jbattersby, John Cardinal, Koavf, MaJic, Rich Farmbrough "Lucky, Lucky Me" Source: http://en.wikipedia.org/w/index.php?oldid=446053731 Contributors: BrothaTimothy, Discographer, Eeekster, Iohannes Animosus, MaJic, Richhoncho, 1 anonymous edits "Music" Source: http://en.wikipedia.org/w/index.php?oldid=481938949 Contributors: Beautifulstranger, BrothaTimothy, Dcfreak114, Debresser, Discographer, FuriousFreddy, Giant onehead, GoingBatty, InnocuousPseudonym, Jevansen, Live and Die 4 Hip Hop, Mikeblas, PhilKnight, Pichpich, Richhoncho, Rjwilmsi, Smmurphy, WikiGuy86 T.A.M.I. Show Source: http://en.wikipedia.org/w/index.php?oldid=483349079 Contributors: 123qwerty6, Addit, AnonMoos, BTLizard, Bokiluis, Bubba73, Bumm13, Captain Quirk, Charleswright3, Chris the speller, Chubbles, Chyel, DeLarge, Deathawk, Derek R Bullamore, Dfmock, Dogru144, Edison, Freshacconci, Goodgroovz, Hoverfish, InnocuousPseudonym, Jevansen, Jlouise311, Joeinwap, JustAGal, Koavf, LanusOeste, Luk, MWielage, Marcus Brute, MarnetteD, Mdumas43073, Mephistophelian, Mike Selinker, Momo san, Offenbach, Orat Perman, Pastor Theo, Penmachine, RadioBroadcast, Roy Hamilton, Steelbeard1, Taestell, Tassedethe, Themoodyblue, Tinman44, Tinton5, Ukexpat, Varlaam, Willgee, 89 anonymous edits Motown 25: Yesterday, Today, Forever Source: http://en.wikipedia.org/w/index.php?oldid=484488472 Contributors: 2ndPlaceHistorian, Akldawgs, Amontero, Ashley Pomeroy, B Touch, Bacardimayne, Brandon A. Hubbard, BrothaTimothy, CJS102793, Calm123, Candyo32, D.M.N., Dabomb87, Derek R Bullamore, DinhoGauch10, Discographer, Drmagic, E-Kartoffel, Emerson7, Erpy83, Everyking, Firsfron, FuriousFreddy, Halls452, Halls4521, Hmains, Howell98, HughesJohn, IGG8998, Jafeluv, John of Reading, Johnuniq, JoshMcCracken, JuJube, Julianhall, Kchishol1970, KingTT, Klow, Koavf, Luokehao, Madacs, Marketing Comms, Marshall Perez, Mike Selinker, Mike.lifeguard, Mister Universe, Musiclover, Mutante96, Ncpd727, PrezBHubbard, PrezHubbard97, Ratesduty, Realist2, Rich Farmbrough, Rnb, Salamurai, Sarrazip, Sceptre, Shadowjams, ShelfSkewed, SigKauffman, Signothetimes90, Sir Nicholas de Mimsy-Porpington, Smthomas23, SpeedyS, Street walker, SummerPhD, TMC1982, Tassedethe, The Obento Musubi, The Real One Returns, TimothyHorrigan, Twistedkombat, UnitedStatesian, Versesome, WhartoX, WikHead, Willgee, Zzyzx11, 202 anonymous edits Marvin Gaye: Live in Montreux 1980 Source: http://en.wikipedia.org/w/index.php?oldid=435258277 Contributors: BrothaTimothy, Koavf, Mike Selinker, 2 anonymous edits The Real Thing: In Performance (19641981) Source: http://en.wikipedia.org/w/index.php?oldid=470132282 Contributors: BlueLotusLK, BrothaTimothy, Chillum, Discographer, E-Kartoffel, Headbomb, Jogers, Koavf, Mike Selinker, TheFarix, 3 anonymous edits Marvin Gay, Sr. Source: http://en.wikipedia.org/w/index.php?oldid=480799969 Contributors: 09aidepikiw, 75pickup, AOC25, AaronL, Alan smithee, Andrew c, Ansell, B Touch, Bbsrock, Bde1982, Brighat, BrothaTimothy, CalJW, CambridgeBayWeather, Clovis Sangrail, Colin MacLaurin, D6, DGG, Deb, Drmies, Edward, Everyking, Fermion, Fluffernutter, FuriousFreddy, Good Olfactory, Graham87, GreatOrangePumpkin, GreenBayPackersfan09, Hailey C. Shannon, Heron, Jadechanwriter, Jadvii, Jauerback, JoshiDx, KConWiki, Karada, Kasreyn, Kbdank71, M.nelson, Marcus2, Marokwitz, Michael David, Mild Bill Hiccup, Molinaroah, NrDg, OfficeBoy, Oobopshark, Pastorwayne, Paul MacDermott, PenguinJockey, PrinssiFO, Punkymonkey987, Ranjithsutari, Rich Farmbrough, Rivazza, Riverstepstonegirl, Rjwilmsi, Ryulong, Sdenny123, ShelfSkewed, SimonP, TMC1982, Tabman8, Tassedethe, Tbhotch, Tedius Zanarukando, Thefixer100, Tide rolls, Tomisi77, Tommy2010, TooMuchMath, Treybien, Wifione, Woohookitty, YUL89YYZ, Zaharous, 119 anonymous edits Alberta Gay Source: http://en.wikipedia.org/w/index.php?oldid=484390568 Contributors: BrothaTimothy, CutOffTies, E0steven, Koavf, Rich Farmbrough, Tassedethe, 8 anonymous edits Frankie Gaye Source: http://en.wikipedia.org/w/index.php?oldid=480083357 Contributors: "The Hurricane" Gustav, Bnguyen, BrothaTimothy, Cosprings, Hobbes Goodyear, MrHaroldG2000, RickK, Rothorpe, Scwlong, Srich32977, The-Pope, Troy 07, Woohookitty, 20 anonymous edits Anna Gordy Gaye Source: http://en.wikipedia.org/w/index.php?oldid=483465332 Contributors: 75pickup, Bearcat, BrothaTimothy, CanisRufus, Cjc13, Cosmic Latte, D6, Discographer, Doctanner80, East718, Edward321, FuriousFreddy, Gigs, Gurch, Halls452, J Milburn, J04n, JaGa, Jetman, Joshua Scott, KConWiki, Neilc, Rattlerbrat, Rjwilmsi, Rothorpe, Sapphic, Tassedethe, Wtshymanski, Xaxle, 21 anonymous edits Denise Gordy Source: http://en.wikipedia.org/w/index.php?oldid=482819687 Contributors: Discographer, HBP77 Janis Gaye Source: http://en.wikipedia.org/w/index.php?oldid=468343997 Contributors: 231Yoko, 2T, 5 albert square, 75pickup, 777sms, 78.26, ACupOfCoffee, AarHan3, AaronL, Abce2, Acroterion, Adrian.benko, Africa4ever, Agora, Agrelou, Ahoerstemeier, Akamad, Alai, Alan Liefting, Alan smithee, Aldis90, Alecsdaniel, Alex Bakharev, Alexforcefive, Allens, Ally OBE,

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Heffley, Bobo192, BrothaTimothy, Bubbachuck, Cdhxx, Ckatz, Crystallina, Daniil Maslyuk, Derek R Bullamore, Discographer, Doctor Feelfine, E-Kartoffel, Egghead06, FMJ, Fastilysock, FuriousFreddy, George cowie, Halls452, Halls4521, Harro, Humboldtbear, Ikespirit, Jack sinclair, Jkaharper, JohnCD, Jubileeclipman, JukeJohn, Knowledgekid87, Kookyunii, Krushdiva, Liftarn, LilHelpa, Lumos3, MR. 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Turner, Drumsac, Dt128, Durova, Eduemoni, Erinsm211, Fifties, Fronkburt13, FuriousFreddy, Good Olfactory, Gus Mozart, Harro, Hjfoley, Hraphael99, Hullaballoo Wolfowitz, Hushpuckena, InnocuousPseudonym, Jafeluv, Jetman, JillandJack, Jkdhajkdh, Jpgordon, KarenErickson22, Keilana, KingMorpheus, KittenKlub, Kpt2006, Kumioko, Lancer2, Lolliapaulina51, MJ94, MR. MOTOWN, Marcika, Marcus2, Marine 69-71, Markus1976, Megfrey, Michael David, Miranda, MissMeka2011, Mongoose27, Mosmof, Mrceleb2007, Musicpvm, Nigeous, PJtP, Pinkadelica, Pinko1977, Podzz, Porterhse, RadioBroadcast, Reconsider the static, Rettetast, Rodrigogomespaixao, Rothorpe, Shipscrazy, Stifle, Tabledhote, Templetigan, The wub, TravieeT, UnitedStatesian, Valerio79, Verne Equinox, Voiceman66, Ward3001, Wildhartlivie, Winhunter, Wkharrisjr, Wknight94, Wolfman, Wuhwuzdat, 197 anonymous edits Martha and the Vandellas Source: http://en.wikipedia.org/w/index.php?oldid=484581161 Contributors: Adziura, Am86, AmericanLeMans, Andrew Norman, Aspects, B Touch, BRG, Babylove04, Barrympls, Bearcat, Bensin, Bluebaby66, BrothaTimothy, CSWarren, Canadiana, Carsonmc, Cewvero, Chairboy, Chris the speller, Chris83, Ckatz, Cmdrjameson, Cobra libre, ColinHogben, Cubfan789, Derek R Bullamore, Discographer, Drmagic, E-Kartoffel, Elyaqim, Engineer Bob, Ericamandy, Everyking, Ferdinand Pienaar, FuriousFreddy, GPHemsley, Gayboylaca, Gideon13, GoingBatty, Grm wnr, Guy Harris, Halls452, Halls4521, Harro, Hifihitman, Hmmmer, Hux, Ingman, JamesAM, Jeroen, Jidanni, Jogers, John, John Price, John of Reading, Joonasl, JoshMcCracken, KJS77, Kbdank71, Keraunoscopia, Kevin j, Kinema, Kookyunii, Leszek Jaczuk, MR. MOTOWN, Magioladitis, Materialscientist, Mboverload, Michrrleg, Mike Halterman, Mulad, Musicpvm, NBS, Phydend, Podzz, Restecp, Rjwilmsi, Rockyrococco, SAULGNRFAN, Saga City, Scorpion0422, ShelfSkewed, Shirt58, TUF-KAT, Tassedethe, TenPoundHammer, The wub, TheCustomOfLife, Tide rolls, Tim1357, Timclare, Tregoweth, TubularWorld, Ultfan, Volatile, We hope, Whooligan, Willgee, Winhunter, 171 anonymous edits Mary Wells Source: http://en.wikipedia.org/w/index.php?oldid=480083408 Contributors: (aeropagitica), Acshore86, Andrewrp, Aspects, Athaenara, B Touch, B-Machine, BeatlesLover, Bender235, Billygee12, Boleyn, Bouncehoper, BrothaTimothy, Bunnerabb, Chanlyn, Chris314, Crystallina, D6, Danielleluv, Deb, Derek R Bullamore, Discographer, Dogru144, E-DuraMater, ElectraShore, Elyaqim, Fat&Happy, Feezo, Firsfron, Flowerparty, Flutefreek, Fratrep, Fuhghettaboutit, FuriousFreddy, Gobonobo, Good Olfactory, Ground Zero, Hifihitman, Hu12, Humboldtbear, Hux, IndigoNY, JaGa, Jetman, JoaoRicardo, Joncaire, Jwy, Kingphire, Kumioko, Laalaaa, Leoniana, LilHelpa, Logan, Lukobe, Marcus2, Michrrleg, Motortown, Mtd2006,

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Musiclover, Musicpvm, New power, Nickellmusic, Ninjawarriordex, Norm mit, Notepad11, Numberonemjbfan, Oanabay04, ObiterDicta, Pinkadelica, Podzz, Rczzo21, Rjwilmsi, Rklawton, Rmhermen, Rodney Bennett, Rogerd, Rothorpe, Shadowjams, Siepe, Sionus, Someoneinmyheadbutit'snotme, Steve Casburn, TMC1982, Tassedethe, The wub, Tiger-Soren, Uhai, Veledan, Vinyl999, Volatile, Vrenator, Walor, Wildhartlivie, Willgee, Wjhonson, 105 anonymous edits Kim Weston Source: http://en.wikipedia.org/w/index.php?oldid=480083373 Contributors: AndrewHowse, B Touch, Barrympls, BrothaTimothy, CCRoxtar, CIreland, Crystallina, D6, David A. Victor, Derek R Bullamore, FuriousFreddy, Gaius Cornelius, Ghmyrtle, Gisse, Grm wnr, Hall Monitor, Harrisbp, J04n, JonathanLGardner, Jpete, Justme89, Lynn Cavadino, MR. MOTOWN, NTox, Pinkadelica, Rothorpe, Shadowjams, ShelfSkewed, Stananson, Stephen, Tabletop, Tassedethe, The wub, Tiger-Soren, Tinton5, Tjmayerinsf, Weston.kim1220, Wizardman, Xeno, 24 anonymous edits Lem Barney Source: http://en.wikipedia.org/w/index.php?oldid=480083380 Contributors: ABF, After Midnight, Akerans, Archanamiya, Bcmedia, Bender235, Bobo192, Brodnax, BrothaTimothy, Cbustapeck, Ccson, D6, David Gerard, Doprendek, Eagles247, Enigmaman, FuriousFreddy, Gcasey, Greekafella, Gypaetus, Huntr4000, Jcurtis, Johnohsee, JustAGal, Jwsvh, Masonpatriot, Meegs, Mike Selinker, Naraht, Pacholeknbnj, Phbasketball6, Pmeisel, Pop4any1, Skinics, SportsMaster, Stheman, Tckma, The wub, Tigger nitties nenisus, Tyroc, Xpendersx, Yankeedoodledandy, Yankees10, 25 anonymous edits Mel Farr Source: http://en.wikipedia.org/w/index.php?oldid=483578443 Contributors: Ayla, Badbilltucker, Bddmagic, Bender235, BrothaTimothy, Cbl62, D6, DCDuring, David Gerard, Drdisque, FuriousFreddy, GoingBatty, Group29, Gypaetus, Krushdiva, Melchoir, Nightenrock, Packerfan22, Patken4, Pearle, Phbasketball6, Sdar120, That Guy, From That Show!, TonyTheTiger, Unixer, Wizardman, X96lee15, Yankees10, 34 anonymous edits David Ritz Source: http://en.wikipedia.org/w/index.php?oldid=484308155 Contributors: Alex Middleton, Bhoeble, Blathnaid, BrothaTimothy, Dorftrottel, Dp76764, Gmalcolms, HaeB, Henrygb, JayJasper, Jmabel, Karaboom, Krelnik, Melaena, Pekinensis, Rettetast, Rsquid, Sharkentile, SnapSnap, Sugar-Baby-Love, Tednor, Warriorkoala, 14 anonymous edits Elgie Stover Source: http://en.wikipedia.org/w/index.php?oldid=474714581 Contributors: BrothaTimothy, Hmains, J04n, Masterpiece2000, Studerby, 3 anonymous edits Kenneth Stover Source: http://en.wikipedia.org/w/index.php?oldid=462778653 Contributors: BrothaTimothy, Derek R Bullamore, Masterpiece2000, Mike Selinker, Msc319, Rjwilmsi, Studerby, Tiptoety, WikHead, 1 anonymous edits Ed Townsend Source: http://en.wikipedia.org/w/index.php?oldid=481312475 Contributors: Acjelen, Billysea, BostonRed, BrothaTimothy, Captainozone, Crash Underride, D6, Ericorbit, Ghmyrtle, H2g2bob, Haham hanuka, Handtalker, Hifihitman, Hraefen, Idril, Igoulet, Johnpacklambert, Kd3569, Klemen Kocjancic, Lugnuts, MFlet1, Maximus Rex, NatureBoyMD, Pietaster, RJFJR, Rhpitts1055, Stormie, Taibeiren, Tassedethe, TheParanoidOne, Trintara, Waacstats, Will Beback Auto, 26 anonymous edits Death of Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=484204204 Contributors: Bozman7000, BrothaTimothy, CommonsDelinker, Dimadick, Eegyecats, ErrantX, Fladrif, Funandtrvl, Hugo999, Joefromrandb, John, Klemen Kocjancic, M.nelson, McSly, Mmyers1976, Molinaroah, Newyork1501, Oknazevad, Owen, Polly, Pooua, Presidentman, Rsbubar, Ryanbagueros, ShelfSkewed, Skizzik, SunnyInHouston, TMC1982, Tassedethe, Ttcarroll, Whotookthatguy, WikHead, Woohookitty, Yossarian, 71 anonymous edits Divided Soul: The Life of Marvin Gaye Source: http://en.wikipedia.org/w/index.php?oldid=478907937 Contributors: BD2412, BrothaTimothy, GoingBatty, Koavf, Rich Farmbrough, 1 anonymous edits Marvin's Room Source: http://en.wikipedia.org/w/index.php?oldid=479314901 Contributors: BrothaTimothy, Dan56, Discographer, Emerson7, Estrin1234, Eurotuber, Harm albers, Justme89, Malcolma, OttoBR, Tassedethe, Ulric1313, 12 anonymous edits 1983 NBA All-Star Game Source: http://en.wikipedia.org/w/index.php?oldid=480613338 Contributors: 205ywmpq, Ev, Frietjes, MrKing84, Myasuda, SigKauffman, TMC1982, Ulric1313, White 720, 1 anonymous edits

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File:Star full.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_full.svg License: Public Domain Contributors: User:Conti from the original images by User:RedHotHeat File:Star empty.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_empty.svg License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Conti from the original images by User:RedHotHeat Image:Marvin and Jan.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Marvin_and_Jan.jpg License: unknown Contributors: User:Dan56 File:Star half.svg Source: http://en.wikipedia.org/w/index.php?title=File:Star_half.svg License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Conti Image:Wiki letter w.svg Source: http://en.wikipedia.org/w/index.php?title=File:Wiki_letter_w.svg License: GNU Free Documentation License Contributors: Anomie, Mifter File:Flag of the United Kingdom.svg Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_the_United_Kingdom.svg License: Public Domain Contributors: Anomie, Mifter File:Flag of the United States.svg Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_the_United_States.svg License: Public Domain Contributors: Anomie Image:Frankie-Gaye.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Frankie-Gaye.jpg License: GNU Free Documentation License Contributors: User:SreeBot File:Motown's The Originals.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Motown's_The_Originals.jpg License: Creative Commons Zero Contributors: User:Godseeker4me File:All The Originals.jpg Source: http://en.wikipedia.org/w/index.php?title=File:All_The_Originals.jpg License: Creative Commons Zero Contributors: User:Godseeker4me File:Barbara Randolph edited.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Barbara_Randolph_edited.jpg License: Public Domain Contributors: User:We hope File:Nobel Peace Prize Concert 2008 Diana Ross1 cropped.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Nobel_Peace_Prize_Concert_2008_Diana_Ross1_cropped.jpg License: Creative Commons Attribution 2.5 Contributors: Nobel_Peace_Prize_Concert_2008_Diana_Ross1.jpg: Harrywad derivative work: Off2riorob (talk) File:Diana Ross is applauded by her fellow Kennedy Center honorees.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Diana_Ross_is_applauded_by_her_fellow_Kennedy_Center_honorees.jpg License: Public Domain Contributors: Shealah Craighead Original uploader was Nrswanson at en.wikipedia Image:Frederick Douglass HomestowerDetroit.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Frederick_Douglass_HomestowerDetroit.jpg License: GNU Free Documentation License Contributors: Michael Barera File:The Supremes 1966.JPG Source: http://en.wikipedia.org/w/index.php?title=File:The_Supremes_1966.JPG License: Public Domain Contributors: CBS Television File:Supremes.Star.Hollywood.Walk.of.Fam.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Supremes.Star.Hollywood.Walk.of.Fam.jpg License: Public Domain Contributors: JGKlein Image:Temptations - solid rock.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Temptations_-_solid_rock.jpg License: unknown Contributors: FuriousFreddy, Skier Dude, Tassedethe, Zos80 File:The Temptations, 1991 by Zoran Velesinovic.jpg Source: http://en.wikipedia.org/w/index.php?title=File:The_Temptations,_1991_by_Zoran_Velesinovic.jpg License: unknown Contributors: Image:TemptationsRAH2005.JPG Source: http://en.wikipedia.org/w/index.php?title=File:TemptationsRAH2005.JPG License: Public domain Contributors: Egghead06 Image:Nuvola apps arts.svg Source: http://en.wikipedia.org/w/index.php?title=File:Nuvola_apps_arts.svg License: Creative Commons Attribution-Share Alike Contributors: Manco Capac File:Martha and the Vandellas 2011 at Berns in Stockholm, Sweden.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Martha_and_the_Vandellas_2011_at_Berns_in_Stockholm,_Sweden.jpg License: Creative Commons Attribution 2.0 Contributors: Bengt Nyman File:Mel Farr.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Mel_Farr.jpg License: Public Domain Contributors: Cbl62 File:David Ritz 02A.jpg Source: http://en.wikipedia.org/w/index.php?title=File:David_Ritz_02A.jpg License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Joe Mabel

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License
Creative Commons Attribution-Share Alike 3.0 Unported //creativecommons.org/licenses/by-sa/3.0/