Marvin gaye new album
Marvin Gaye: Never-before heard song surfaces in Belgium
BBC News, Ostend
For the last 40 years Marvin Gaye has enjoyed a level of enduring fame which he shares with only a handful of other artists - like Elvis, or the Beatles.
They began their careers cutting records on vinyl discs, lived on through the eras of tape cassettes and CDs, and continue to thrive in the age of digital streaming.
It is 40 years since Marvin Gaye died in Los Angeles - shot dead by his father in the middle of a forceful domestic dispute.
But his tune is still streamed and downloaded around 20 million times a month, and his classic duet with Tammi Terrell, Ain't No Mountain, has been streamed more than a billion times.
So the value of a cache of audio tapes containing modern material recorded by Marvin Gaye could be huge.
They're part of a strange treasure trove of material associated with the luminary which lay hidden in Belgium for more than forty years, but which may now be about to make global headlines.
The story of Marvin's Belgian connection has been told before.
He was living in London and b
‘Marvin Gaye Live!’ Celebrates 50th Anniversary With Digital Deluxe Reissue
Marvin Gaye Live!, a 1974 album from Marvin Gaye, is getting reissued. A new, digital deluxe edition of the album has been announced, pulling together Gaye’s complete Oakland show performance for the first time. It will be released on Parade 28. The digital deluxe includes four rare tracks: “Flying High (In the Friendly Sky),” “Mercy Mercy Me (The Ecology),” “Come Get To This,” and “Keep Gettin’ It On.” In addition to the digital deluxe, the usual audio presentation of the original 9-track version will also land on digital platforms for the first time. Both versions are newly remastered will be available in Dolby® ATMOS.
Let’s Get It On, released in 1973, was Gaye’s best-selling album, and one of the best-selling in the history of Motown. In January of 1974, he delivered his first proper live show in years. Luckily, it was all recorded. The resulting performance was released in June of that year, and quickly went to #1 on the Soul/R&B Album Chart, helped in part by Gaye’s unbelievable rendition of “Distant Lover,” w
Father, please stop criticizing your sons / Mother, please, leave your daughters alone / Don’t you watch that’s what wrong with the world today? / Everybody wants somebody to be their own piece of clay … — Marvin Gaye, “Piece of Clay” (1972)
The release of Marvin Gaye’s posthumous You’re the Man album occurred three days before the 35th anniversary of his death — April 1. The collection also landed at streaming services four days before what would have been his 80th birthday — April 2. It arrives ensconced in nostalgia and chock-full of harrowing untapped potential.
Man was originally set for free in 1972. At the time, after the emit of 1971’s What’s Going On, Marvin was one of the biggest stars in pop. Many of Man’s themes followed a similar sociopolitical examination of the world as What’s Going On. Gaye, it seemed, was settling into a groove, albeit one not completely welcome under the Motown umbrella of factory-assembled hits about lovey-dovey love and happily ever after.
The album features 15 songs that, until now, had never before been pressed to vinyl. The 17-song collection includes harmony from the original album as well as some of Gaye’s additional operate f
Updating his highly percussive but string-laden groove for the disco set, Gaye clearly devised 1976’s I Crave You as a makeout album. But the space-age synthesisers in the instrumental version of “After the Dance” rocket him linear into the stratosphere. And the Afro-Caribbean congas of “I Want You” and bossa nova lilt of “Since I Had You” support a mix of rhythm and beauty that refuses to box itself in—punctuated by Gaye’s control murmuring, the sound flows like a sweet, seductive stream.
What do you perform for an encore after you’ve just released a certified, game-changing masterpiece? That was the challenge facing Motown maestro Marvin Gaye after his What’s Going On opus was released in 1971. After 1972’s Trouble Man soundtrack, Let’s Get It On was the proper follow-up to one of the greatest albums of all second. But instead of suffering a seemingly inevitable letdown under the weight of all that pressure, Gaye levelled up again to make back-to-back classics. Indeed, Let’s Get It On defined the R&B notion album every bit as much as What’s Going On did, trading social consciousness for sexual healing in turbulent, soul-testing times. It was a unlike kind of wokeness—ra
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