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Marvin gaye anthology 1986
Marvin gaye anthology 1986











Marvin Gaye Live at the London Palladium Įspecially considering how awkward Gaye can be on stage, this isn't bad for a live Motown album-the arrangements are finky, but some of Marvin's more interesting vocal quirks seem to have survived editing. I guess when I want to hear "Trouble Man" I'll put on Anthology. But "I Want You," "After the Dance," and the live version of "Distant Lover" are embarrassed by such stellar company. Marvin Gaye's Greatest Hits Įven though it omitted "Inner City Blues" while offering "How Sweet It Is" and "Can I Get a Witness" (already included on four other Marvin Gaye compilations and who knows how many Motown anthologies), I thought this might serve a function, since I find all of Gaye's '70s albums except Let's Get It On distressingly uneven. But was it Ware who instructed Marvin to eliminate all depth and power from his voice? I mean, if you're into insisting on sex it's in bad taste to whine about it. cuts (which is more than Marvin can claim).

marvin gaye anthology 1986

Ware is the producer who cowrote every one of these.

marvin gaye anthology 1986

But as a Marvin Gaye record it's a Leon Ware record. This isn't as disgraceful as would first appear-as disco-identified mood mewzick for light necking it offers nifty engineering, pleasant harmonies, and the occasional snatch of melody. Also: seven great oldies banished to a "Fossil Medley," and "Jan," conceivably the worst song he's ever written. There's inspired singing here, but even on the stupendous version of "Trouble Man" Gene Page's orchestra intrudes-Gaye hasn't managed to mix the instruments into the unified background presence of his recent studio albums. Then again, it's an even better song, and this album prolongs its seductive groove to an appropriate thirty minutes plus. Gaye is still basically a singles artist, and the title track, as much a masterpiece as "Inner City Blues," dominates in a way "I'm Still in Love with You," say, doesn't. Post-Al Green What's Going On, which means it's about fucking rather than the human condition, thank the wholly holey. B+īuy the single unless you like soundtrack albums. Worst of all, because they're used a lot, are David Van De Pitte's strings, the lowest kind of movie-background dreck. But the rest is pretty murky even when the lyrical ideas are good-I like the words on "What's Happenin' Brother" and "Flyin' High (in the Friendly Sky)" quite a bit-and the religious songs that bear Gaye's real message are suitably shapeless. And Gaye keeps getting more subtle vocally and rhythmically. "What's Going On," "Inner City Blues," and "Mercy, Mercy Me (the Ecology)" are so original they reveal ordinary Motown-political as the benign market manipulation it is. This may be a groundbreaking personal statement, but like any Berry Gordy quickie it's baited skimpily: only three great tunes. Marvin Gaye Live at the London Palladium B.













Marvin gaye anthology 1986