Marvin Gaye

Marvin Gaye

http://soundcloud.com/umesongs/sets/marvin-gaye-1s

Gaye was named after his father, a minister in the Apostolic Church. The spiritual influence of his early years played a formative role in his musical career, particularly from the 70s onwards, when his songwriting shifted back and forth between secular and religious topics. He abandoned a place in his father's church choir to team up with Don Covay and Billy Stewart in the R&B vocal group the Rainbows. In 1957, he joined the Marquees, who recorded for Chess Records under the guidance of Bo Diddley. The following year the group was taken under the wing of producer and singer Harvey Fuqua, who used them to re-form his doo-wop outfit the Moonglows. When Fuqua moved to Detroit in 1960, Gay went with him: Fuqua soon joined forces with Berry Gordy at Motown Records, and Gay became a session drummer and vocalist for the label.

In 1961, he married Gordy's sister, Anna, and was offered a solo recording contract. Renamed Marvin Gaye, he began his career as a jazz balladeer, but in 1962 he was persuaded to record R&B, and notched up his first hit single with the confident "Stubborn Kind Of Fellow", a Top 10 R&B hit. This record set the style for the next three years, as Gaye enjoyed hits with a series of joyous, dance-flavoured songs that cast him as a smooth, macho, Don Juan figure. He also continued to work behind the scenes at Motown, co-writing Martha And The Vandellas' hit "Dancing In The Street", and playing drums on several early recordings by Little Stevie Wonder. In 1965, Gaye dropped the call-and-response vocal arrangements of his earlier hits and began to record in a more sophisticated style. The striking "How Sweet It Is (To Be Loved By You)" epitomized his new direction, and it was followed by two successive R&B number 1 hits, "I'll Be Doggone" and "Ain't That Peculiar". His status as Motown's bestselling male vocalist left him free to pursue more esoteric avenues on his albums, which in 1965 included a tribute to the late Nat "King" Cole and a misguided collection of Broadway standards.

To capitalize on his image as a ladies' man, Motown teamed Gaye with their leading female vocalist, Mary Wells, for some romantic duets. When Wells left Motown in 1964, Gaye recorded with Kim Weston until 1967, when she was succeeded by Tammi Terrell. The Gaye/Terrell partnership represented the apogee of the soul duet, as their voices blended sensually on a string of hits written specifically for the duo by Ashford And Simpson. Terrell developed a brain tumour in 1968, and collapsed onstage in Gaye's arms. Records continued to be issued under the duo's name, although Simpson allegedly took Terrell's place on some recordings. Through the mid-60s, Gaye allowed his duet recordings to take precedence over his solo work, but in 1968 he issued the epochal "I Heard It Through The Grapevine" (written by Whitfield/Strong), a song originally released on Motown by Gladys Knight And The Pips, although Gaye's version had actually been recorded first. With its tense, ominous rhythm arrangement, and Gaye's typically fluent and emotional vocal, the record represented a landmark in Motown's history - not least because it became the label's biggest-selling record to date. Gaye followed up with another number 1 R&B hit, "Too Busy Thinking 'Bout My Baby", but his career was derailed by the insidious illness and eventual death of Terrell in March 1970.

Devastated by the loss of his close friend and partner, Gaye spent most of 1970 in seclusion. The following year, he emerged with a set of recordings that Motown at first refused to release, but which eventually formed his most successful solo album. On "What's Going On", a number 1 hit in 1971, and its two chart-topping follow-ups, "Mercy Mercy Me (The Ecology)" and "Inner City Blues", Gaye combined his spiritual beliefs with his increasing concern about poverty, discrimination and political corruption in American society. To match the shift in subject matter, Gaye evolved a new musical style that influenced a generation of black performers. Built on a heavily percussive base, Gaye's arrangements mingled jazz and classical influences into his soul roots, creating a fluid instrumental backdrop for his sensual, almost despairing vocals. The three singles were all contained on What's Going On, a conceptual masterpiece on which every track contributed to the spiritual yearning suggested by its title. After making a sly comment on the 1972 US presidential election campaign with the single "You're The Man", Gaye composed the soundtrack to the "blaxploitation" thriller Trouble Man. His primarily instrumental score highlighted his interest in jazz, while the title song provided him with another hit single.

 

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