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Marvin Gaye: Albums
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Marvin Gaye was a master at the slow jam. In the book "Divided Soul" - David Ritz (which I HIGHLY recommend!!) Marvin says that his favorite type of music is "1950's doo-wop" & that is what he had in his mind as he composed the songs for the album "Let's get It On".
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Marvin Gaye articulated love and lust in ways that presented sex as what it is for adults, a temporary escape from the world. Not until Prince's "1999" (the single, not the album) did someone articulate the dichotomy between social awareness and personal necesities more succinctly.
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Bleaker days now litter the Marvin Gaye biography. His relationship to Anna ruptured for good--or rather, bad. In the mid-1970s, divorce proceedings drained his energy. Even when he returned to the studio, his next effort was a court-ordered album whose earnings would go to his ex.
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The second phase of Gaye's career began in 1971 with "What's Going On". One of Motown's first artist to have complete artistic control over his records. "What's Going On" was a self-composed and produced song cycle that could be called a concept album. The album hit number six and produced three Top Ten Singles: "What's Going On" (2, 1971), "Inner City Blues (Make Me Wanna Holler" (#9, 1971, and "Mercy Mercy Me (the Ecology)" (#19, 1974), but the project was one of the many things Gaye did with Motown that he felt was forced upon him.
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A play co-composed by Gaye's baby sister Zeola about the singer is currently playing. On June 19, 2007, Hip-O Records reissued Marvin'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 intact and included a different mix of the album, which was recorded in London and ... including the original songs from the Love Man album, which were in fact songs that were later edited lyrically for the songs that made the In Our Lifetime album.
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As on his well-known works, Gaye broods audibly over the meaning of his lyrics on The Vulnerable Sessions. "Funny, Not Much," for instance, finds him mulling over the moves of an unfaithful lover until his every sigh is suffused with bitterness. Though he didn't complete a full album of these songs, the seven restrained performances and three equally compelling alternate takes prove that Gaye could turn even the most hackneyed lounge-act tunes into forthright, spellbinding testimony.
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