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MUSIC HISTORY:
JAZZ / ROCK / BLUES / ETC.
Reviews, News, Commentaries
and Music Biographies by Randy
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All written works contained herein are under the exclusive ownership of Lark Publishing, Inc. (Randy). All rights reserved. Duplication prohibited. No text may be used in whole or in part without expressed written consent of Lark Publishing, Inc.
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Marvin Gaye in 1971. One of the greatest singers to come out of the sixties, his skill and subtlety were unmatched; he was also a thoughtful and uncompromising artist. As Janet Jackson astutely noted, "He was our John Lennon."
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Review / Overview
(April 2004)
Looking Back: Marvin Gaye In The '70s
20 Years After His Death, Marvin Gaye's Music Still Speaks Volumes
Marvin Gaye, in some respects, is very much overlooked. Since his death in 1984, Gaye's legacy has not fared well. He is primarily remembered for his stunning 1968 single, "I Heard It Through The Grapevine" -- which critic Dave Marsh gave the number one spot to in his book, The 1001 Greatest Singles Ever Made (1989) -- and his magnum opus LP, What's Going On (1971). Let's Get It On (1973) and the "Sexual Healing" single from 1982 seem to be little more than notable afterthoughts in the Gaye canon, and Trouble Man (1972) and Here, My Dear (1978) are invariably never mentioned. His talent is not as widely acknowledged as that of his compatriot and label mate Stevie Wonder (whom Gaye was something of a mentor to), and both his influence and talent are critically and commercially shortchanged.
Well, not at my house. Gaye's numerous extended suites through the seventies (including those mentioned above) were rife with strong grooves, insightful lyrics, and moody (sometimes lascivious) atmospheres that were unique, hip, and in some cases the product of true brilliance.
After battling Berry Gordy and his Motown production stronghold for complete creative and artistic control of his work -- the first artist to do so at Motown -- Gaye released what many consider to be one of the greatest albums of all time, the tremendous What's Going On. Suffice it to say Gaye effectively reinvented soul with that recording, as there was nothing else remotely like it in music history. Jazzy grooves were laced with funky, melodic bass runs from bassist extraordinaire James Jamerson, and Gaye's lyrical perspective was both introverted and outward looking: a balanced expression of the world around him and its effect upon him. This alone would be enough to mark the arrival of a truly transcendent artist. But Gaye had yet more to offer, and other facets of himself to explore.
1972 brought Marvin Gaye into the Hollywood realm when he wrote, arranged and produced the soundtrack for the film Trouble Man. Clearly Gaye was proud of this work, as the title track remained in Gaye's live repertoire until the end of his life, and is easily one of his greatest songs. With a nod to the modal jazz of Miles Davis, Gaye sings over an impeccably swinging and laid-back rhythm of drums, guitar and sax that was inherently sophisticated and the essence of cool. Where Curtis Mayfield had chosen to use his soundtrack work (for 1972's Superfly) as a jumping off point for observation and social commentary on the film's subject, Gaye merely used the film as an excuse to explore instrumental jazz, which he'd had a longtime interest in as a fan as well as a creative artist. Though the odd cliche of film music rings out on a track or two, Trouble Man illustrated that the spectrum of Gaye's talent was limitless. As an extension of the ideas started on What's Going On, Trouble Man was an insightful look into the art and mind of Marvin Gaye.
1973 brought a different Marvin Gaye to the table, with the sensual spin of Let's Get It On. But while the album's attempt at connecting sex with spiritual unity got all the attention, songs like "Distant Lover" showed that the album was also a sharp updating of Gaye's roots in doo-wop. Complete with state-of-the-art sound, accentuated funk bass lines, with romantic doo-wop lyrics exchanged for the sexually outspoken delivery that was fresh and topical for 1973, Let's Get It On was an engrossing, multi-faceted work that conveyed sexual aching like never before. What's Going On showed Gaye's hopes and desires for the world; Let's Get It On laid bare Gaye's hopes and desires for himself, in a suite of sexual obsession and spiritual paradox.
In 1976, Motown issued Gaye's follow-up to Let's Get It On, the groove-laden disco-funk-fest entitled I Want You. Essentially a tribute to Gaye's continued sexual obsession with Janis Hunter, the album was another extended suite written not by Gaye but by Leon Ware, who's original intention was to release the work under his own name. Berry Gordy allegedly heard the title track and thought it would be an effective number for Gaye to record. Upon hearing it, Gaye agreed to record the song if Ware would produce the entire album. From there, Gaye added his own take on the lyrics, spending months overdubbing layered vocals on Ware's rhythm tracks. The result was a sensual pop record, that while impressive, did not match the level of Gaye's previous works.
Here, My Dear (1978) may be Gaye's most underappreciated work. A two record set which chronicled his divorce from Anna Gordy Gaye, the album has what must be the most unusual back-story of any in rock or soul history. After essentially leaving his wife in 1973, thirty-two-year-old Gaye began a relationship with the aforementioned seventeen-year-old Janis Hunter, whom he had met at the start of the sessions for Let's Get It On. (Hunter was the stunningly beautiful daughter of jazz musician Slim Gaillard.) After Hunter moved in with Gaye and then gave birth to two of Gaye's children, it was more than clear to Anna Gordy Gaye that their marriage was over, and she filed for divorce in 1976. It was agreed that in lieu of the cash settlement of $1,000,000 that Anna Gordy was demanding, she would receive in full the next advance on royalties that Gaye had coming to him (an estimated $307,000), as well as an additional $293,000 to be taken off the top of the first royalties made from Gaye's next release (the publishing to which Gaye would retain ownership). In total, Anna Gordy Gaye would receive $600,000.
As a result, Gaye decided to make what became a sprawling extended work, mining the emotions and disagreements that perforated their relationship, as well as the anguish of coming to terms with a failed marriage and its legal implications. Each song reflects a different angle on Gaye's relationship with Anna Gordy: custody battles, the nature of love, betrayal, jealously, redemption. Gaye as always is in staggeringly emotional form vocally: his voice glides and shouts, never veering off-key, his refined subtlety and quintessential cool delivery intact. "Is That Enough" is as strong and emotionally direct as John Lennon ever got, and ranks as one of Gaye's best works, both musically and lyrically. Over a slow, dark, funk-jazz groove, Gaye sings of attorney's fees, possessiveness, and jealousy. The anguish is just as clear and cutting on "You Can Leave, But It's Going To Cost You." With the exception of "A Funky Space Reincarnation" -- Gaye's pointless attempt at some form of comic relief -- Here, My Dear is one of Gaye's greatest and most fascinating works. No other African-American artist did work that was so deeply personal.
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Marvin Gaye's Here, My Dear (1978): A fascinating chronicle
of Gaye's painful and messy divorce. Rarely have the emotions
tied to such a private, personal relationship been so exposed
by a major artist.
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By the end of the seventies, Marvin Gaye was mired in another failing marriage (to Hunter), tax evasion, bankruptcy, severe cocaine addiction, various music business difficulties, and in result, a faltering career. Financially and spiritually, he would never recover. His death at the hand of his own father in 1984 -- the penultimate expression of their tense relationship -- would send shockwaves through those who had not yet recovered from the pointless death of John Lennon just three-and-a-half-years earlier.
Yet another kernel of Gaye's talent was unearthed in 2001, with the release of the 2-CD set, The Very Best of Marvin Gaye, which contained two amazing and illuminating bonus tracks: "Where Are We Going?," from an aborted session after Trouble Man and before Gaye began the sessions for Let's Get It On, and "Keep Your Eye On The Sparrow," one of Gaye's rare forays into pure spiritual music. First released on Donald Byrd's Black Byrd in 1972, "Where Are We Going?" is as good as any of Gaye's best work, which showed him ahead of the curve on the influence that jazz fusion would have on the pop market: a brief and minimalistic Gillespian trumpet solo pops up after the middle eight, a guitar plays Montgomeryesque octaves in the coda, while the lyrics (penned by Mizell & Gordon) are tinged with more concern over the state of the human condition. It's a model of stunning pop paradox: joyful sadness. It should have been one of Gaye's most revered singles, instead of being relegated to lost classic status on a greatest hits. Better now than never.
The scope of Marvin Gaye's artistic vision should not be underestimated. His influence is incalcuable -- whether it be on singing, subject matter, song form, or image. The guy was like no other, and every year without him is a reminder of how much he was needed, then as well as now.
Copyright © 2004 by Lark Publishing, Inc. (Randy). All rights reserved. Duplication prohibited.
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