Pop i Różności

Marvin Gaye - What's Going On (Rarities Edition) [2010]

2010-07-22T17:29:48Z

Marvin Gaye - What's Going On (Rarities Edition) [2010]


01 Sixties Medley (live) 13:23
02 Right On (live) 7:33
03 Wholy Holy (live) 3:32
04 Inner City Blues (Make Me Wanna Holler) (live) 9:06
05 What's Going On (live) 5:42
06 What's Happening Brother (live) 2:54
07 Flyin' High (In the Friendly Sky) (live) 3:51
08 Save the Children (live) 4:22
09 God Is Love (live) 1:43
10 Stage Dialogue (live) 2:34
11 Inner City Blues (Makes Me Wanna Holler) (Reprise) 5:12
12 What's Going On (Reprise) 4:07
13 What's Going On (original single version) 3:56
14 God Is Love (original single version) 2:53
15 Sad Tomorrows (original single version) 2:27
16 ''Head Title'' aka Distant Lover 4:07

Arranged By, Orchestrated By – David Van DePitte
Bass – Bob Babbit, James Jamerson, Max Janowsky
Bongos, Congas – Earl DeRouen, Eddie Brown
Celesta [Celeste], Keyboards – Johnny Griffith
Cello – Edward Korkigan, Italo Babini, Thaddeus Markiewicz
Drums – Chet Forest
Flute – Dayna Hartwick, William Perich
Guitar – Joe Messina, Robert White
Harp – Carole Crosby
Keyboards – Earl Van Dyke
Producer – Marvin Gaye
Saxophone – Angelo Carlisi, Eli Fountain, Larry Nozero, Tate Houston, William Moore
Tambourine, Percussion – Jack Ashford
Trombone – Carl Raetz
Trumpet – George Benson, John Trundell, Maurice Davis
Vibraphone [Vibes], Percussion – Jack Brokensha
Viola – David Ireland, Edouard Kesner, Meyer Shapiro, Nathan Gordon
Violin – Alvin Score, Beatriz Budinszky, Felix Resnick, Gordon Staples, James Waring,
 Lillian Downs, Richard Margitza, Virginia Halfmann, Zinovi Bistritzky
Vocals – Elgie Stover, Kenneth Stover, Lem Barney, Mel Farr, Bobby Rogers, The Andantes

What's Going On is not only Marvin Gaye's masterpiece, it's the most important and passionate record to come out of soul music, delivered by one of its finest voices, a man finally free to speak his mind and so move from R&B sex symbol to true recording artist. With What's Going On, Gaye meditated on what had happened to the American dream of the past -- as it related to urban decay, environmental woes, military turbulence, police brutality, unemployment, and poverty. These feelings had been bubbling up between 1967 and 1970, during which he felt increasingly caged by Motown's behind-the-times hit machine and restrained from expressing himself seriously through his music. Finally, late in 1970, Gaye decided to record a song that the Four Tops' Obie Benson had brought him, "What's Going On." When Berry Gordy decided not to issue the single, deeming it uncommercial, Gaye refused to record any more material until he relented. Confirmed by its tremendous commercial success in January 1971, he recorded the rest of the album over ten days in March, and Motown released it in late May. Besides cementing Marvin Gaye as one of the most important artists in pop music, What's Going On was far and away the best full-length to issue from the singles-dominated Motown factory, and arguably the best soul album of all time.

Conceived as a statement from the viewpoint of a Vietnam veteran (Gaye's brother Frankie had returned from a three-year hitch in 1967), What's Going On isn't just the question of a baffled soldier returning home to a strange place, but a promise that listeners would be informed by what they heard (that missing question mark in the title certainly wasn't a typo). Instead of releasing listeners from their troubles, as so many of his singles had in the past, Gaye used the album to reflect on the climate of the early '70s, rife with civil unrest, drug abuse, abandoned children, and the spectre of riots in the near past. Alternately depressed and hopeful, angry and jubilant, Gaye saved the most sublime, deeply inspired performances of his career for "Mercy Mercy Me (The Ecology)," "Inner City Blues (Make Me Wanna Holler)," and "Save the Children." The songs and performances, however, furnished only half of a revolution; little could've been accomplished with the Motown sound of previous Marvin Gaye hits like "Stubborn Kind of Fellow" and "Hitch Hike" or even "I Heard It Through the Grapevine." What's Going On, as he conceived and produced it, was like no other record heard before it: languid, dark, and jazzy, a series of relaxed grooves with a heavy bottom, filled by thick basslines along with bongos, conga, and other percussion. Fortunately, this aesthetic fit in perfectly with the style of longtime Motown session men like bassist James Jamerson and guitarist Joe Messina. When the Funk Brothers were, for once, allowed the opportunity to work in relaxed, open proceedings, they produced the best work of their careers (and indeed, they recognized its importance before any of the Motown executives). Bob Babbitt's playing on "Inner City Blues (Make Me Wanna Holler)" functions as the low-end foundation but also its melodic hook, while an improvisatory jam by Eli Fountain on alto sax furnished the album's opening flourish. (Much credit goes to Gaye himself for seizing on these often tossed-off lines as precious; indeed, he spent more time down in the Snakepit than he did in the control room.) Just as he'd hoped it would be, What's Going On was Marvin Gaye's masterwork, the most perfect expression of an artist's hope, anger, and concern ever recorded. ---John Bush, AllMusic Review

download (mp3 @VBR kbs):

yandex mediafire ulozto global.files workupload

back

Marvin Gaye ‎– Midnight Love (1982)

2021-04-19T10:01:17Z

Marvin Gaye ‎– Midnight Love (1982)


A1		Midnight Lady	5:17
A2		Sexual Healing	3:59
A3		Rockin' After Midnight	6:03
A4		'Til Tomorrow	4:58
B1		Turn On Some Music	5:08
B2		Third World Girl	4:35
B3		Joy	4:23
B4		My Love Is Waiting	5:08

Arranged By [Horns], Conductor [Horns] – McKinley T. Jackson
Drums – James Gadson
Drums, Electric Piano [Fender Rhodes], Synthesizer, Organ, Bells [Orchestra], Glockenspiel, Bells,
 Cymbal [Finger], Bongos, Congas  – Marvin Gaye
Guitar, Bass, Drums – Gordon Banks
Harmonica, Tenor Saxophone – Bobby Stern
Horns – David Stout And The L.A. Horn Section
Producer, Arranged By, Vocals – Marvin Gaye

Larkin Arnold, former CBS Records (Sony Music) senior executive VP, convinced Marvin Gaye to leave his flat in Belgium and sign with Columbia Records; the result would become the soul singer's last album before his untimely death. Of all his number one songs, this album's first release, "Sexual Healing," became his longest running number one single on the Billboard R&B charts (ten straight weeks). With the exception of the guitar, the Washington, D.C. native performed every instrument on this classic hit. Gaye concocted a pioneering percussive sound that was balladic in taste but stimulating in feel. As this project may not be an absolute erotic expression or a socially challenging plea from Gaye like on some of his previous albums, nonetheless, Midnight Love is a classic Marvin Gaye effort. In addition to this project thriving with Gaye's enthusiastic spirit, it has his harmonious background vocals, his stunning vocal arrangements and his creative penmanship, as he wrote all the selections. ---Craig Lytle, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto global.files workupload

back

Marvin Gaye – I Want You (1976)

2009-10-31T13:30:19Z

Marvin Gaye – I Want You (1976)


1. I Want You (Vocal) – 4:35
2. Come Live with Me Angel – 6:28
3. After the Dance – 4:21
4. Feel All My Love Inside – 3:23
5. I Wanna Be Where You Are – 1:17
6. I Want You (Intro Jam) – 0:20
7. All the Way Round – 3:50
8. Since I Had You – 4:05
9. Soon I'll Be Loving You Again – 3:14
10. I Want You (Jam) – 1:41
11. After the Dance (Vocal) – 4:40

Marvin Gaye - vocals
Chuck Rainey, Henry Davis, Ron Brown, Wilton Felder - bass
Jerry Peters, John Barnes, Sonny Burke - electric piano (Fender Rhodes)
David T. Walker, Dennis Coffey, Jay Graydon, Melvin "Wah Wah" Watson, Ray Parker, Jr. - guitars
Bobby Hall Porter, Eddie "Bongo" Brown - bongos, congas
Gary Coleman, Jack Arnold - percussion
James Gadson - drums

I Want You, while it a Top Ten smash for Marvin Gaye in 1976, is not as generally as well-known as its predecessors for several reasons. First, it marked a sharp change in direction, leaving his trademark Motown soul for lush, funky, breezy disco. Secondly, its subject matter is as close to explicit as pop records got in 1976. Third, Gaye hadn't recorded in nearly three years and critics were onto something else -- exactly what, in retrospect is anybody's guess. From the amazing Ernie Barnes cover painting "Back to Sugar Shack" to the Coleridge-Taylor Perkinson string and horn arrangements to Leon Ware's exotic production that relied on keyboards as well as drums and basses as rhythm instruments, I Want You was a giant leap for Gaye. 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. But the most astonishing things about I Want You are its intimacy (it was dedicated to and recorded in front of Gaye's future second wife, Jan), silky elegance, and seamless textures. Gaye worked with producer Leon Ware, who wrote all of the original songs on the album and worked with Gaye to revise them, thus lending Gaye a co-writing credit. The title track is a monster two-step groover with hand percussion playing counterpoint to the strings and horns layered in against a spare electric guitar solo, all before Gaye begins to sing on top of the funky backbeat. It's a party anthem to be sure, and one that evokes the vulnerability that a man in love displays when the object of his affection is in plain sight. Art Stewart's engineering rounds off all the edges and makes Gaye's already sweet crooning instrument into the true grain in the voice of seductive need. "Feel All My Love Inside" and "I Want to Be Where You Are" are anthems to sensuality with strings creeping up under Gaye's voice as the guitars move through a series of chunky changes and drums punctuate his every syllable. In all, the original album is a suite to the bedroom, one in which a man tells his woman all of his sexual aspirations because of his love for her. The entire album has been referenced by everyone from Mary J. Blige to D'Angelo to Chico DeBarge and even Todd Rundgren, who performed the title track live regularly. By the time it is over, the listener should be a blissed-out, brimming container for amorous hunger. 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. ---Thom Jurek, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to global.files workupload