100 Essential CDs – Number 95 – Martha Reeves & Vandellas – Compact Command Performances

images

Compact Command Performances: 24 Greatest Hits –

Martha Reeves and The Vandellas (Motown 1986)

martha1

The Compact Command Performance series was an early compilation CD series which put out the best of an artist’s back catalogue some for the first time on CD.  The tracks were made from masters from Motown’s studios although this CD claims it was made in Germany.  It is pretty much a no-frills release with nothing in the way of notes and just basic information on the writers and producers on each track.  Others in the series included Diana Ross, Marvin Gaye, Four Tops, Temptations.  Many of these acts had vinyl “Anthology” releases which had appeared on Double CD’s but this series offered a single CD overview.  I didn’t purchase any of the other releases but this 24 tracker offering the best of the under-rated Martha Reeves gets played regularly.

The tracks here span the years 1963-1971 taking Reeves from Motown secretary who was in the right place at the right time and ready to make an impression when other artists were not available to the star unwilling to make a move from her Detroit home when the label uprooted to Los Angeles and so departing from the label which had given her 12 US Top 40 hits over 4 years and 8 UK Top 40 hits over an eight year period.  Reeves was often in conflict with label bosses, especially Berry Gordy, over what she saw as favouritism towards The Supremes, and particularly Diana Ross as well as unfair treatment over royalties and was prepared to speak out publicly whilst others kept quiet.  In the scheme of things this probably wasn’t the best for her career as it saw her slipping down the pecking order as hits were being dished out and although she made some great music, she felt under-promoted and disgruntled by Motown.  It took a while for her to manage to break free from the label but her post Motown years were without commercial success.

martha2

She’s still going strong.  There have been periods of ill health and a large number of Vandellas as Martha has switched from a solo career to reigniting the group.  She has become a valuable figure in politics in the Detroit home she wouldn’t give up on when Berry Gordy saw bigger fish to fry in Hollywood.  I saw her perform in our local theatre a year or so back in a show which was disarmingly charming.  The voice wasn’t what it was and the heels of her shoes were a little high to make much movement possible but she won an audience over by the strength of the back catalogue and her warm stage personality.  When you consider the career trajectories of Diana Ross and Martha Reeves there’s a huge difference.  At one time the two women were directly challenging one another to be the Queen Of Motown.  Reeves lost that particular power struggle but the battle has left us with some great music.  These 24 tracks provide a great introduction to that music.

martha10Martha Reeves -still performing

Martha had early ambitions to be a solo jazz singer but also was part of a group who became the Del-Phis where she was not the lead singer.  Invited to a Motown audition the group was rejected but Martha found herself with a clerical job as assistant to A&R man and producer Mickey Stevenson.  The communal atmosphere of the early days at the label meant everyone tended to chip in and when backing singers were needed for some Marvin Gaye tracks Martha got her group back and “Stubborn Kind Of Fellow” was a hit single taking those backing vocals to a large audience.  When Mary Wells failed to turn up for a recording, Martha, now lead vocalist got the girls Rosalind Ashford and Annette Beard back in which led to their first recordings as Martha and The Vandellas (not because they were female vandals as often suggested but because Martha lived in Van Dyke Street and was a big fan of  singer Della Reese).

martha6

There are four words which explain the early success of Motown’s newest signing.  Those words are Holland, Dozier and Holland, the production team which turned  the label into Hitsville USA.  The female vocal trio were the first girl group to work with the male production trio – predating The Supremes who were still looking for that first hit when Martha’s recordings began to ascend up the charts.  This hit was “Come And Get These Memories” a teen-heartbreak song of returning love tokens once the relationship had soured.  In her autobiography (written with Mark Bego) “Dancing In The Street: Confessions Of A Motown Diva” (1994) Martha had this to say about the song:

“According to Berry’s eldest sister, Esther Gordy, when Berry heard our recording of “Come And Get These Memories” he exclaimed, “that’s the sound I’ve been looking for.  That’s ‘the Motown Sound.” The song had a steady beat, great background harmony parts, horns, catchy lyrics, and a story line that everyone could identify with.  I knew instantly that it would be a hit.  I’ve always thought that the song really shows off the great harmonies  that Rosalind and Annette and I had in the very beginning.”

The opening track on this CD is a very catchy tune that worms its way into the subconscious but it is fairly standard girl-group fare and doesn’t sound to me the revolutionary game-changer that Berry Gordy was reputed to acknowledge.  It’s very much in the Shirelles mode but gave the girls a US #29 pop hit in May 1963 and nationwide attention.

martha4

It the early Motown sound was to be defined then it is in their follow-up track the tremendous “Heatwave” which is exciting, driving, a little raw around the edges, ever so slightly off-key and with everything thrown into the production it raced up the charts to number 4, helped by the girls’ hard work in the touring Motown revues which was steadily growing them a fan base.  A big hit single demanded an album which was recorded in one night and despite this hastiness, the covers of other girl group hits and standards and the odd H-D-H original is always worth a listen and one of the most durable of the early Motown album releases.

martha8

Barely contained on that album was the next hit “Quicksand” which could be said to resemble “Heatwave Part 2” but the whole pop industry of the day was built on repeating winning formulas.  This track is far more, however, than a throw-away sound-alike.  The girls “Whoo-hooing” the intro gives it an identity of its own and it deservedly became their second US Pop Top 10 hit in a row reaching number 8.  The frantic pace was kept up for next release “Live Wire” but perhaps that was HDH mining this particular seam a little too much as it missed out on the pop charts.  From its dramatic flourish of an intro this is a real Northern soul stomper and if by a more obscure act would have traded for big sums of money on the British Northern Soul scene.  Amongst the high-energy there are a couple of calmer tracks included from this period. “A Love Like Yours (Don’t Come Knocking Everyday) began life as the B-Side to “Come and Get These Memories”.  Too good to remain a B-Side the song has been covered many times and is considered a soul classic with most notable versions from fellow Motown artist Kim Weston and a 1966 Top 20 UK hit for Ike and Tina Turner.  Also dropping the tempo just a little was the next single the delightful, hand-clap heavy “In My Lonely Room” which sounds like it should have been a massive hit but wasn’t.

They did not have to wait that long for their biggest hit, however and it was a move from the then too busy Holland-Dozier- Holland to Martha’s old boss, Mickey Stevenson who produced and co-wrote with Marvin Gaye and Ivy Jo Hunter one of the label’s most iconic songs.  “Dancing In The Street” commences with a brassy call to arms into heavy tambourine crashes to get us out and dancing.  Of this song Martha, in her autobiography states that she first heard Marvin Gaye singing it and didn’t really like the song;

“but when I put myself into it and made it my own it became the anthem of the decade.  From the very beginning, no matter where it was played, everyone seemed to get up and dance to it…….I’ve always said that “Dancing In The Street” is Mickey Stevenson’s greatest gift to me.”

This particular gift got to number 2 in the US in 1964 and in the British Beat group dominated UK charts of the time became their first Top 30 hit stalling at a lowly number 28.  Five years later a re-issue climbed to number 4 and reactivated British interest in the group.  A Live-Aid inspired pairing of David Bowie and Mick Jagger gave the song a British number 1 placing in a version which is luke-warm compared to the original.

martha11

The Stevenson and Ivy Jo Hunter combination was used to produce more singles for the group.  On this CD we get “Wild One” and “Motoring”, neither of which had the magic of the big hit.  There were also personnel changes with Betty Kelly replacing Annette who retired from the music business at this time.  The career cranked up another gear with the return of Brian Holland and Lamont Dozier in production duties with another H-D-H original “Nowhere To Run”.  It sounds like this could have been another big hit for The Supremes but Martha and the girls were given the chance with this.  Martha’s grittier, more gospel-influenced voice gives this a greater edge than Diana would have done.  It feels a chilling, cold song, which HDH proved they could do well, as in tracks like “Seven Rooms Of Gloom” by The Four Tops, a hit a couple of years later for them which has the feel of this particular track. “Nowhere To Run” reached number 8 in the US and 26 in the UK.

martha7

Martha claims that one of her most favourite recordings is the gentle “My Baby Loves Me” which gives her a chance to hark back to her jazz roots over a pretty ballad produced by Stevenson and Hunter. It gave her a US#22 hit.

1966 and 1967 were another two great years for the group as they put out a string of great tracks.  As far as US pop chart success was concerned it was the last hurrah.  “I’m Ready For Love” (1966- US#9, UK#22) is not only up there amongst Motown’s best it is one of my all-time favourite singles.  The whole thing reeks with anticipation from the nervous, jiggly, driving rhythms, the plaintive vocals and great lyrics – The message Martha is conveying is “Bring it on!” She’s ready.  This is followed by the tale of the rogue Jimmy Mack (1967 UK#10, UK#21) who may or may not be coming back.  It’s single release B-Side is also included on this CD as it has always been a favourite in the UK.  “Third Finger Left Hand” is an ideal wedding fodder song, but for its singalong charm and as a mantra to remember what finger to put the ring on.  It’s a song that I felt going through my head on my wedding day!  These are all great Holland-Dozier-Holland productions.

hollanddozierLamont Dozier & the Holland brothers at the piano

From 1967 serious cracks were showing.  The hit production team were in dispute with Motown, Mickey Stevenson had left the label, relations in the group were not good, there were clashes over the label’s promotion of Diana Ross and Martha, driven by a heavy work load and touring schedule, became addicted to prescription drugs.  Around this time original member Rosalind Ashford was sacked  and Sandra Tilley recruited.  Martha’s view at this time was that the Vandellas had became just a support for touring and that other girls could be used on recording sessions.  Motown bowed a little to Reeves’ pressure and added her surname to the group which had largely been known to this point as Martha & The Vandellas.  With new production and songwriting units the hits continued with “Love Bug (Leave Me Heart Alone)” (US#25) and “Honey Chile” (US#11, UK#30) but neither of these threaten their best material.  “I Can’t Dance To That Music You’re Playing” did not meet with Martha’s approval and she abandoned it during the recording.  Motown drafted in Syreeta Wright to finish it and released it under Martha’s name, showing the label’s heavy- handed attitude towards the brand rather than the people. A nervous breakdown followed for Martha soon afterwards, the group was disbanded in 1969 and that ended their US hit career.

Martha and the Vandellas

A revitalised Reeve returned with sister Lois and Sandra Tilley and had a couple of UK hits with “Forget Me Not” (UK#11-1971), which for some reason is not included on this CD and “Bless You” (UK#33- 1972) which is a great little track and was written and produced by The Corporation, which was in itself a response to production teams getting too big for the label and also did great work with early Jackson Five, later revealed to be Berry Gordy alongside Motown staffers Frank Mizell, Freddie Perren and Deke Richards (the latter also having produced “I Can’t Dance”).

Martha Reeves’ solo career did not amount to much commercial success, which might explain why she is still touring small theatres in the UK in her 70’s singing these Motown hits.  I was certainly pleased about that when I saw her but you cannot help feeling that this under-rated star has good reason to feel a little despondent about the music industry, considering the volume of records she sold in her early career.

martha9

This single CD of 24 tracks seems to me to be the perfect introduction to these Motown legends.  Anyone wanting a little more could look at the 2006 double CD “Gold” and the three disc “50th Anniversary – Singles Collection” from 2013.  There’s also much pleasure to be had from the re-released studio albums. Whatever you choose Martha will soon have you “Dancing In The Street.”

Compact Command Performances is currently available from Amazon in the UK for £2.99 and used from £0.95. In the US it is available used for $3.00.   

Advertisements

100 Essential CDs – Number 5 –The Best Of – Michael Jackson & Jackson Five

images

The Best Of – Michael Jackson & Jackson Five  (Polygram 1997)

 UK Chart Position – 5

jacksons2

Throughout the sixties Motown, nicknamed “The Sound Of Young America”,  had been an unassailable force in popular music.  The Marvelettes had scored the label’s first US#1 Pop single back in 1961 with “Please Mr Postman” and the rest of the decade saw a group of young African-American artists becoming household names worldwide and transforming the face of music on the way.  By 1969, however, the label was looking just a little vulnerable.  Major hitmaking writing and production team Holland, Dozier and Holland had departed, the label’s biggest money-spinning act The Supremes had split with Diana Ross facing a solo career where she did not know whether she would be be embraced or blamed.  Marvin Gaye’s career was in the doldrums affected by the terminal illness of duet partner Tammi Terrell and the Temptations had sacked the disctinctively voiced maverick David Ruffin with some loss of identity.  What was needed was an act which would inject a breath of fresh air into the proceedings to ensure the label’s relevance for the new decade and, boy, did they find it with five youngsters from Gary, Indiana.

jacksons1

Michael + bubblegum = worldwide hits

One of the most successful musical trends in 1969 was bubblegum pop.  This is best personified by two of the year’s biggest hits “Dizzy” by Tommy Roe and The Shondells and, especially, “Sugar Sugar” by The Archies.  This type of youth-orientated pop was often recorded by session musicians which meant there was not a great deal of identity going on.  In fact, the Archies were a cartoon group based on the long-running comic characters.  The planning behind Motown’s new signing was genius, to produce music in this genre with a strong identifiable group and who knows, maybe get a cartoon series of their own! So at the end of 1969 to an unsuspecting record-buying public came “I Want You Back” by The Jackson Five.  These were no session singers.  This group, and especially the lead singer were singing for their lives.  It explodes from the very first note, never lets up and is one of the greatest pop singles of all time.

“I Want You Back” is the opening track of 20 on this 1997 Polygram compilation which showcases the early years of this musical phenomenon, the six years they spent on Motown as The Jackson Five and the solo tracks of one Michael Jackson.  This period could be seen as a musical apprenticeship for one of the biggest recording stars ever but it is more than that because a number of these tracks represent his and his band of brothers’ best work.

“I Want You Back” is Motown’s best hit single both in terms of sound and what it represents.  Saleswise it was no slouch either topping the US charts and getting to number 2 in the UK.  It was written and produced by “The Corporation” which may have been Berry Gordy’s attempt at bubble-gum anonymity or a response to Holland, Dozier &  Holland’s sound becoming bigger than the artists – anyone making demands could be slipped out of “The Corporation” without the upheaval of HDH’s departure.  The Corporation was later revealed to be Berry Gordy alongside Motown staffers Frank Mizell, Freddie Perren and Deke Richards. This track began a golden run for the group as their next three singles would also top the American charts and the two after that would get to number 2.  They would get their own TV cartoon series and inspire at least one other chart-topping act, the former Barbershop family group The Osmonds who created a close an approximation to the Jackson sound as possible and got their first hit, the chart-topping “One Bad Apple” thus beginning the other musical dynasty of the 70’s and beyond.jacksons3

Hearing these first five singles one after the other in chronological order on this CD is a joy to behold.  The energy invested in these tracks is sensational and the powerhouse behind it is the amazing vocal of the best child star ever, Michael Jackson.  On “ABC” (UK#8), “The Love You Save” (UK#7) and “Mama’s Pearl” (US#2,UK#25) his performance is exhausting.  Even if you do not like this sort of music the achievement of this pre-teen has to be applauded.  If pop-soul and bubblegum pop is seen as anodyne here is the antidote –a boy who is singing as hard as any James Brown or Jackie Wilson and of course the live performances of these numbers, with the group bedecked in 70’s flares and bright patchworks of colour are absolutely mesmerising.  Somebody in Motown, was thinking ahead and amongst these pop stormers were released a couple of excellent soul ballads which showed a whole other side to the group.  “I’ll Be There” gave the rest of the group a chance to have their moment in the spotlight and topped the US charts for 5 weeks (UK#4).  The Corporation were temporarily abandoned as Gordy worked with two other Motown staff writers and producers Hal Davis and Willie Hutch.  This track became the biggest Motown song to date which was a real indication that this group would have longevity.  “Never Can Say Goodbye” was a song written by Clifton Davis for the Ross-less Supremes.  The decision was made to give it to the Jackson Five.  Although it got to number 2 in the US it became their smallest British hit to date (#33).  It was up to later acts such as Gloria Gaynor  and The Communards to take this song up to the higher reaches of the chart.

jacksons4

After this run of five hits there was huge demand to record Michael as a solo artist.  The first choice for single release seems so inappropriate that it is a joy.  Who thought a good song for a twelve year old boy would feature lyrics that stated he was intending to be around when his love woke up in the morning with the implication that he would be there in bed with her?  Lyrically dubious, this is one of the first examples of the naivety of the group and those surrounding them.  Luckily, the song (and the exemplary performance) was good enough to get such thoughts out of our grubby minds and “Got To Be There” reached #4 in the US,#5 in UK.  The follow-up seemed more age appropriate and may have been a nod to the old-song revivals that Donny Osmond was recording as “Rockin’ Robin” had reached #2 Stateside for Bobby Day in 1958.  It had not been such a big hit in the UK (#29).  Jackson’s version matched Day’s chart position in the US and reached #3 in the UK.  If you remember this track as being amazingly twee, have another listen.  The tweeness is not in the fact that it’s recorded by a child (get “Long Haired Lover From Liverpool” out of your mind straight away) it’s actually the flute line that gives it a sugary coating.  Jackson’s vocal which is bordering on raspy certainly does not.  In the UK Jackson also scored a big solo hit with his version of Bill Withers’ “Ain’t No Sunshine” (#8- 1972).  The most notorious of the early run of Michael’s solo hits was of course, “Ben” hopefully the only hit song to be addressed to a rat.  A tender love song from a horror film sequel this song showed really for the first time the vulnerability which Jackson could also convey with his voice which at times resembles his great friend and inspiration Diana Ross. “Ben” gave Jackson his fourth US Top 20 hit and his first number 1.  In the UK it was also his 4th hit and reached number 7.

Meanwhile whilst Michael was topping charts things were not going so well for the family group.  A run of under-performing singles from mid 1971-2 is represented on this CD only by “Looking Through The Windows” which became the first of their singles to do better in the UK than US (US#16,UK#9).  This change of fortunes was cemented when their version of Jackson Browne’s “Doctor My Eyes” only became a hit in Britain (UK#9). By mid 1973 it could seem that their days at Motown could be numbered.  The attempt to get back the effervescence of their early hits led to the Freddie Perren produced “Hallelujah Day”  a gospel-esque track from one of the few African-American groups of the time not to come from a gospel background.  This reached #28 in the US and #20 UK.  It’s very likely that anyone would say that this is their favourite Jacksons track.  It is catchy and bubbles away but it feels like very cheap champagne after “I Want You Back” and ends up all rather inconsequential.  This is something that might have been picked up by the Jacksons’ management as negotiations began for them to move away from Motown.  I do have more of a soft spot for “Skywriter” with  its distorted, aeroplane inspired vocals which took them to #25 in the UK.  Their US career renaissance “Dancing Machine” which took them to number 2 in 1974 but was passed on by us Brits is not included on this CD.

jacksons5

So with Motown owning the name and Jermaine deciding to stay with the label as he had married the boss’ daughter Hazel Gordy, Michael and the remaining Jacksons eventually decided to take the plunge and move to Epic (a move that would be rewarded with their only UK number 1 the understated “Show You The Way To Go” from 1977, which is beyond the remit of this album).  What we are left with on this CD, apart from the obligatory “I Want You Back” remix (a number 8 UK hit in 1988) are more examples of the solo Jackson.  “Happy” is a lovely song which maintains Diana Ross connections both through Michael’s solo performance and the fact that it was inspired by the Oscar nominated vehicle “Lady Sings The Blues”.  Written by Smokey Robinson, it was inspired by the instrumental love theme composed for the film by Michel Legrand.  It does not appear in it and in fact there is not a lot “happy” about that particular film focusing on the difficulties of Billie Holiday’s life.

After Jackson made his spectacular comeback with “Off The Wall” which showed the transition of the boy star to the adult superstar he was to become there was  a great demand for tracks he had recorded at Motown and they were prepared to come up with the goods.  One of these “One Day In Your Life” gave him his first UK number 1 in 1981 despite being recorded six years earlier.  Recorded in his mid-teens this is a sublime track and probably features one of his last great vocal performances – as his career progressed he became more of a vocal stylist than a technically proficient singer.  For a while this opened the re-release floodgate in the UK – many tracks that had been languishing on under-promoted albums or in the Motown vaults whilst the group’s tenure on the label was looking dubious.  This must have been frustrating for the adult Jackson trying to establish his new identity with “Off The Wall” and even up to the point of the release of “Thriller” where teen-pop fluff such as “Farewell My Summer Love” made #7 in 1984.  There’s delights to be found here with “We’re Almost There” (UK#46 in 1981), a great track which sounds very much like the songs The Supremes were recording at the time, although admittedly it does run out of steam a little before the end and “Girl You’re So Together” which ended the Motown re-release run reaching #33 in 1984.

The Motown Years of Michael Jackson and Jackson Five cannot be brushed away as them learning their craft.  Michael may have become bigger but he was not often better than in these songs and performances.  The Jacksons also went on to have a solid career but the rest of the brothers were always going to be overshadowed by Michael.  This is something that should not have caused them too much distress as it was evident right from when he was very young that he was extraordinarily special.  As you might have gathered from my enthusiasm for this CD that we have not quite finished with the members of this family just yet……………………

The Best Of Michael Jackson and The Jackson Five is available from Amazon in the UK for £4.33 and used from £0.01.  There are of course other compilations available but I prefer the separation of the Motown tracks from the later years.  A UK release it takes some finding in the US.  American listeners might wish to explore “The Jackson Five – The Ultimate Collection” as a fair substitute.

100 Essential CDs – Number 53 –Marvin Gaye – The Very Best Of

images

The Very Best Of – Marvin Gaye (Motown 1994)

UK Chart Position -3

marvingaye1

Following on from my appreciation of The Four Tops I would like to stay with the Motown label to take time out to celebrate one of the all-time great soul singers, whose life came to a premature end at the hands of his father on 1st April 1984 (on the eve of his 45th birthday).  This was a man with a story to tell and an intense, disturbed story it is as well but let’s not let his life (or death) overshadow the phenomenal creative talent.  I’m sure Marvin Gaye would not have been easy to live with but when on form he is almost peerless in the field of American popular music. I say on form, because this was not always the case.  Marvin released some albums which challenged the patience of even his greatest fans and for me, even his most celebrated albums have the odd dodgy track or have not aged well.  This is why I have opted for a Best Of compilation to join my Essential CDs list.  A lot of people would agree with me as this CD, released ten years after his death reached his highest ever UK album chart position, even though it was the 7th compilation album of his to chart since 1968’s “Greatest Hits”.

In the US, however, Marvin was more consistent as an album artist with a run of four Top 20 studio albums in the early 70’s.  His highest charting album “Let’s Get It On” reached number 2 in the US in 1973 yet only scraped to #39 in the UK.  Perhaps his most famous album “What’s Going On?” which is now seen as a milestone in pop music history got to #6 (US) in 1971 but has never made an appearance in the UK Top 40 album charts.  We seemed to love Marvin over here more as a singles artist and this collection of 22 tracks shows why.

Marvin came to Motown hoping to be the “Black Sinatra” crooning standards.  To begin with Berry Gordy was not that impressed,  using him as a session player and drummer.  Gaye’s ambitions were bigger than this and a marriage to Berry Gordy’s sister, Anna,  seventeen years older than him,  cemented his relationship with the Motown family .  His first break came with “Hitch Hike” (US#30 1963) with backing from Martha and The Vandellas –a typical Motown call and response type track which started off a run of hits with a similar feel.  Of these only the gospel-esque stomper “Can I Get A Witness” (US#22) is included on this CD.

marvingaye4

Someone at Motown had the good idea of pairing this good looking, growing in popularity male singer with their most successful female singer, Mary Wells and the two recorded an album together.  The single“Once Upon A Time” got to #15 (US in 1964) and made a very brief appearance in the UK Top 50.  Wells had recorded a string of US hits but was just coming off her worldwide smash “My Guy”.  This track turned Mary’s head.  She thought she was indispensible as Motown’s female star and became one of their first casualties – leaving the label at the height of her fame and finding little success elsewhere.  It was a hard lesson, no-one was indispensable to Motown, especially with the ambitious Diana Ross waiting in the wings.  The Gaye/Wells pairing was so well-received that it set a precedent for pairing him with other female artists over the years and eight of the tracks on this album are duets and are amongst his finest work.

Partner number 2 was Kim Weston and they also sounded good together.  The highlight of their association “It Takes Two” is an all-time classic and in reaching number 16 in the UK in 1967 (US#14) became his biggest British hit to date.

marvingaye5

Tammi and Marvin

Partner number 3 followed hot on the heels of Kim .  Marvin Gaye’s recordings with Tammi Terrell show such chemistry that they are probably the greatest duet act of all time. There are five Marvin and Tammi duets on this CD and three of them are outstanding tracks .  All are written by Nicholas Ashford and Valerie Simpson and are great examples of duet-songwriting.  Ashford and Simpson of course went on to score duet hits of their own (biggest hit “Solid” in 1985) and they knew just how to pitch the songs for two voices and as a life-long couple themselves could certainly write love songs.  Perhaps the best of all is “You’re All I Need To Get By” (1968 UK#19, US#7) closely followed by “Ain’t Nothing Like The Real Thing” (1968 UK#34 US#8) but I have a huge affection also for the UK only hit “The Onion Song” (1969 #9).  A rather heavy-handed metaphor for the state of the world telling us to “plant love seeds” this is just performed so beautifully and moves along at a great lick.  What was not known at the time is much of the female vocals are actually Valerie Simpson’s as Tammi was too ill with a brain tumour to finish the recording.  The single was actually released posthumously.  Surprisingly absent is their other essential duet the original of “Ain’t No Mountain High Enough”, which when reworked became a massive solo hit for Diana Ross.  I think I would have preferred this on the CD to the lesser “Good Lovin’Ain’t Easy To Come By”.  Albums of just Marvin and Tammi’s duets (they recorded three together) as well as CDs with all of his duets are available and very well worth considering should you like this aspect of Gaye’s work.  Tammi’s death sent Gaye into a spiral of depression which affected his life and his career.

marvingaye6

Diana and Marvin

By `1974 Motown were ready to pair him up again.  This time with Diana Ross.  For me the album they recorded together is a commercial triumph rather than a creative one.  There’s a little too much sweetness in the tracks chosen for the UK market “Stop Look (Listen To Your Heart) (1974#25) and even “You Are Everything” (1974 #5), both Thom Bell and Linda Creed songs which had been previously recorded by The Stylistics.  The duo had a couple of completely different US Top 20 hits released from this duet album – but they do not appear on this CD.

marvingaye8

I heard it through the grapevine it might be worth visiting the launderette

Marvin’s most famous solo single kicks off this CD.  “I Heard It Through The Grapevine” topped the charts on both sides of the Atlantic in 1968/69.  In the UK it became Motown’s third chart-topper.  The song had previously got to number 2 for Gladys Knight and The Pips the year before and their version is something of a mid-paced gospel shouter.  Norman Whitfield decided to transform this song that he had co-written with Barrett Strong to turn out a completely different production.  Gaye’s version is chilling.  From the opening chords and the snare drum beat Marvin sounds like a doomed man as he lament the fact that gossip told him that his love had found someone new.  That ominous beat, excellent use of backing vocals and the tortured vocals make this an all-time classic.  If someone wants to know what Soul Music is all about this makes a perfectly good introduction.  A certain Levi jeans advert and a stripping Nick Kamen revitalised this track and on re-issue it gave Gaye a posthumous UK#8 hit in 1986.  There’s more classic soul in “What’s Going On?” the title track from a protest concept album that Berry Gordy did not want to release and in the title track from the follow-up album which went from protest to the bedroom with the sublimely sensual “Let’s Get It On”.  There’s the original and perky version of the track which became a huge debut hit for Paul Young “Wherever I Lay My Hat” which is full of charm.  Another high spot is the elegy for Lincoln, Luther King and Kennedy “Abraham, Martin and John” another Whitfield production which ranks amongst Marvin’s best.

Marvin Gaye did not just sing a track, he coloured it in and there were cases where there was more colouring than song.  Some of his post “Let’s Get It On” work could seem a little self-indulgent.  This was the man who was ordered by a judge to give royalties to his next album to Berry Gordy’s sister Anna as part of their divorce proceedings.  The result “Here My Dear” is an intense, brooding listen which many fans gave up on (was that the intention all the time?) .  From this we get the best track “When Did You Stop Loving Me When Did I Stop Loving You”.  This was an album which tried my patience although it is now recognised amongst his classics by some.  Gaye’s second of this two US number 1 hits was the funk workout “Got To Give It Up (1977 UK#7).  I’m a little ambivalent about this party-in-the-studio track but it certainly remains influential.  The biggest song of 2013 “Blurred Lines” by Robin Thicke with Pharrell Williams and T.I found itself in breach of copyright infringement by not acknowledging the debt to Gaye’s track.

marvingaye9

After years in the doldrums and a departure from Motown to CBS including a period of rehabilitation in Ostend, attempting to put his life back together Gaye co-wrote and produced “Sexual Healing” a track which proved a thrilling comeback and happily sits there amongst his best recordings.  A UK#4, US#3 hit in 1982 gave Gaye his long-awaited Grammy award and with the big selling “Midnight Love” album it looked as if Gaye was back for good.  I’m very pleased that Motown have put this non-Motown track on this CD.  It all ended for Gaye just a couple of years later in tragic circumstances.

For twenty two tracks which shows the breadth, range and talent of this artist I think this is an essential CD to have in your collection.  Marvin Gaye may have been a troubled soul but just listening to his music his importance shines through.

“The Best Of Marvin Gaye”  is currently available from Amazon in the UK for £3.99 and used from £1.99.  It can be downloaded for £5.99. In the US it is available for $8.99 and used from $1.94.  It is also available to stream from Spotify.