Marvin Gaye
Marvin Pentz Gaye Jr. (né Gay; April 2, 1939 – April 1, 1984)[2] was an American singer, songwriter and musician. He helped shape the sound of Motown in the 1960s, first as an in-house session player and later as a solo artist with a string of successes, which earned him the nicknames "Prince of Motown" and "Prince of Soul".
For the song, see Marvin Gaye (song).
Marvin Gaye
April 2, 1939
April 1, 1984 (aged 44)
- Singer
- songwriter
- musician
- record producer
1957–1984
-
Janis Hunter(m. 1977; div. 1982)
3, including Nona
- Vocals
- keyboards
- drums
Gaye's Motown songs include "Ain't That Peculiar", "How Sweet It Is (To Be Loved by You)", and "I Heard It Through the Grapevine". He also recorded duets with Mary Wells, Kim Weston, Tammi Terrell, and Diana Ross. During the 1970s, Gaye recorded the albums What's Going On (1971) and Let's Get It On (1973) and became one of the first artists in Motown to break away from the reins of a production company.
His later recordings influenced several R&B subgenres, such as quiet storm and neo soul.[3] "Sexual Healing", released in 1982 on the album Midnight Love, won him his first two Grammy Awards.[4] Gaye's last televised appearances were at the 1983 NBA All-Star Game, where he sang "The Star-Spangled Banner"; and on Motown 25: Yesterday, Today, Forever; and Soul Train.[5]
On April 1, 1984, on the day before his 45th birthday, Gaye was shot and killed by his father, Marvin Gay Sr., at their house in Western Heights, Los Angeles,[6][7] after an argument. Gay Sr. later pleaded no contest to voluntary manslaughter, and received a six-year suspended sentence and five years of probation. Many institutions have posthumously bestowed Gaye with awards and other honors including the Grammy Lifetime Achievement Award, and inductions into the Rhythm and Blues Music Hall of Fame, the Songwriters Hall of Fame, and the Rock and Roll Hall of Fame.[8]
Career[edit]
Early career[edit]
Following his discharge from the Air Force, Gaye and his good friend Reese Palmer formed the vocal quartet The Marquees.[45][46] The group performed in the D.C. area and soon began working with Bo Diddley, who assigned the group to Columbia subsidiary OKeh Records after failing to get the group signed to his own label, Chess.[46] The group's sole single, "Wyatt Earp" (co-written by Bo Diddley), failed to chart and the group was soon dropped from the label.[47] Gaye began composing music during this period.[47]
Moonglows co-founder Harvey Fuqua later hired The Marquees as employees.[48] Under Fuqua's direction, the group changed its name to Harvey and the New Moonglows, and relocated to Chicago.[49] The group recorded several sides for Chess in 1959, including the song "Mama Loocie", which was Gaye's first lead vocal recording. The group found work as session singers for established acts such as Chuck Berry, singing on the songs "Back in the U.S.A." and "Almost Grown".
In 1960, the group disbanded. Gaye relocated to Detroit with Fuqua, where he signed with Tri-Phi Records as a session musician, playing drums on several Tri-Phi releases. Gaye performed at Motown president Berry Gordy's house during the holiday season in December 1960. Impressed, Gordy sought Fuqua on his contract with Gaye. Fuqua agreed to sell part of his interest in his contract with Gaye.[50] Shortly afterwards, Gaye signed with Motown subsidiary Tamla.
When Gaye signed with Tamla, he pursued a career as a performer of jazz music and standards, having no desire to become an R&B performer.[40] Before the release of his first single, Gaye started spelling his surname with added "e", in the same way as did Sam Cooke. Author David Ritz wrote that Gaye did this to silence rumors of his sexuality, and to put more distance between himself and his father.[51]
Gaye released his first single, "Let Your Conscience Be Your Guide", in May 1961, with the album The Soulful Moods of Marvin Gaye, following a month later. Gaye's initial recordings failed commercially and he spent most of 1961 performing session work as a drummer for artists such as The Miracles, The Marvelettes and blues artist Jimmy Reed for $5 (US$51 in 2023 dollars[52]) a week.[53][54] While Gaye took some advice on performing with his eyes open (having been accused of appearing as though he were sleeping) and also got pointers on how to move more gracefully onstage, he refused to attend grooming school courses at the John Robert Powers School for Social Grace in Detroit because of his unwillingness to comply with its orders, something he later regretted.[55][56] Gaye was also one of the few Motown artists who took no dance lessons from Cholly Atkins.
Initial success[edit]
In 1962, Gaye found success as co-writer of the Marvelettes track "Beechwood 4-5789", on which he also played drums. His first solo success, "Stubborn Kind of Fellow", was later released that September, reaching No. 8 on the R&B chart and No. 46 on the Billboard Hot 100. Gaye first reached the pop top 40 with the dance song, "Hitch Hike",[57] peaking at No. 30 on the Hot 100. "Pride and Joy" became Gaye's first top ten single after its release in 1963.
The three singles and songs from the 1962 sessions were included on Gaye's second album, That Stubborn Kinda Fellow, released on Tamla in January 1963. Starting in October 1962, Gaye performed as part of the Motortown Revue, a series of concert tours headlined at the north and southeastern coasts of the United States as part of the Chitlin' Circuit, a series of rock shows performed at venues that welcomed predominantly black musicians. A filmed performance of Gaye at the Apollo Theater took place in June 1963. Later that October, Tamla issued the live album, Marvin Gaye Recorded Live on Stage. "Can I Get a Witness" became one of Gaye's early international successes.
Musicianship[edit]
Equipment[edit]
Starting off his musicianship as a drummer doing session work during his tenure with Harvey Fuqua, and his early Motown years, Gaye's musicianship evolved to include piano, keyboards, synthesizers, and organ. Gaye also used percussion instruments, such as bells, finger cymbals, box drums, glockenspiels, vibraphones, bongos, congas, and cabasas. This became evident when he was given creative control in his later years with Motown, to produce his own albums. In addition to his talent as a drummer, Gaye also embraced the TR-808, a drum machine that became prominent in the early '80s, making use of its sounds for production of his Midnight Love album. The piano was his primary instrument when performing on stage, with occasional drumming.[111]
Influences[edit]
As a child, Gaye's main influence was his minister father, something he later acknowledged to biographer David Ritz, and also in interviews, often mentioning that his father's sermons greatly impressed him. His first major musical influences were doo-wop groups such as The Moonglows and The Capris. Gaye's Rock & Roll Hall of Fame page lists the Capris' song, "God Only Knows" as "critical to his musical awakening".[112] Of the Capris' song, Gaye said, "It fell from the heavens and hit me between the eyes. So much soul, so much hurt. I related to the story, to the way that no one except the Lord really can read the heart of lonely kids in love."[113] Gaye's main musical influences were Rudy West of The Five Keys, Clyde McPhatter, Ray Charles and Little Willie John.[114] Gaye considered Frank Sinatra a major influence in what he wanted to be.[115] He also was influenced by the vocal styles of Billy Eckstine and Nat King Cole.[116]
As his Motown career developed, Gaye took inspiration from fellow label mates such as David Ruffin of The Temptations and Levi Stubbs of the Four Tops, whose grittier voices led to Gaye and his producer seeking a similar sound in recordings such as "I Heard It Through the Grapevine" and "That's the Way Love Is". Later in his life, Gaye reflected on the influence of Ruffin and Stubbs, stating: "I had heard something in their voices something my own voice lacked."[117] He further explained, "the Tempts and Tops' music made me remember that when a lot of women listen to music, they want to feel the power of a real man."[117]
Vocal style[edit]
Gaye had a four-octave vocal range.[118] From his earlier recordings as member of the Marquees and Harvey and the New Moonglows, and in his first several recordings with Motown, Gaye recorded mainly in the baritone and tenor ranges. He changed his tone to a rasp for his gospel-inspired early hits such as "Stubborn Kind of Fellow" and "Hitch Hike". As writer Eddie Holland explained, "He was the only singer I have ever heard known to take a song of that nature, that was so far removed from his natural voice where he liked singing, and do whatever it took to sell that song."[119]
In songs such as "Pride and Joy", Gaye used three different vocal ranges—singing in his baritone range at the beginning, bringing a lighter tenor in the verses before reaching a gospel mode in the chorus. Holland further stated of Gaye's voice that it was "one of the sweetest and prettiest voices you ever wanted to hear".[120] And while he noted that ballads and jazz was "his basic soul", he stated Gaye "had the ability to take a roughhouse, rock and roll, blues, R&B, any kind of song and make it his own", later saying that Gaye was the most versatile vocalist he had ever worked with.[120]
Gaye changed his vocal style in the late 1960s, when he was advised to use a sharper, raspy voice—especially in Norman Whitfield's recordings. Gaye initially disliked the new style, considering it out of his range, but said he was "into being produce-able".[121] After listening to David Ruffin and Levi Stubbs, Gaye said he started to develop what he called his "tough man voice"—saying, "I developed a growl."[117] In the liner notes of his DVD set, Marvin Gaye: The Real Thing in Performance 1964–1981, Rob Bowman said that by the early 1970s, Gaye had developed "three distinct voices: his smooth, sweet tenor; a growling rasp; and an unreal falsetto."[122] Bowman further wrote that the recording of the What's Going On single was "...the first single to use all three as Marvin developed a radical approach to constructing his recordings by layering a series of contrapuntal background vocal lines on different tracks, each one conceived and sung in isolation by Marvin himself."[122] Bowman found that Gaye's multi-tracking of his tenor voice and other vocal styles "summon[ed] up what might be termed the ancient art of weaving".[122]
Social commentary and concept albums[edit]
Prior to recording the What's Going On album, Gaye recorded a cover of the song, "Abraham, Martin & John", which became a UK hit in 1970. Despite some political music and socially conscious material recorded by The Temptations, Motown artists were often told to not delve into political and social commentary, for fear of alienating pop audiences. Early in his career, Gaye was affected by social events such as the 1965 Watts riots and once asked himself: "with the world exploding around me, how am I supposed to keep singing love songs?"[123] When Gaye called Gordy in the Bahamas about wanting to do protest music, Gordy told him: "Marvin, don't be ridiculous. That's taking things too far."[73]
Gaye was inspired by the Black Panther Party and supported the efforts they put forth such as giving free meals to poor families door to door. However, he did not support the violent tactics the Panthers used to fight oppression, as Gaye's messages in many of his political songs were nonviolent. The lyrics and music of What's Going On discuss and illustrate issues during the 1960s/1970s such as racism, police brutality, drug abuse, environmental issues, anti-war, and black power issues.[124] Gaye was inspired to make this album because of events such as the Vietnam War, the 1967 race riots in Detroit, and the Kent State shootings, as well as the assassinations of Martin Luther King Jr. and Bobby Kennedy.[125]
Once Gaye presented Gordy with the What's Going On album, Gordy feared Gaye was risking the ruination of his image as a sex symbol.[70] Following the album's success, Gaye tried a follow-up album, You're the Man. The title track only produced modest success, however, and Gaye and Motown shelved the album. Several of Gaye's unreleased songs of social commentary, including "The World Is Rated X", would be issued on posthumous compilation albums. What's Going On would later be described by an AllMusic writer as an album that "not only redefined soul music as a creative force but also expanded its impact as an agent for social change".[126] You're the Man was finally released on March 29, 2019, through Motown, Universal Music Enterprises, and Universal Music Group.[127]
The What's Going On album also provided another first in both Motown and R&B music: Gaye and his engineers had composed the album in a song cycle, segueing previous songs into other songs giving the album a more cohesive feel as opposed to R&B albums that traditionally included filler tracks to complete the album. This style of music would influence recordings by artists such as Stevie Wonder and Barry White making the concept album format a part of 1970s R&B music. Concept albums are usually based on either one theme or a series of themes in connection to the original thesis of the album's concept. Let's Get It On repeated the suite-form arrangement of What's Going On, as would Gaye's later albums such as I Want You, Here, My Dear and In Our Lifetime.
Although Gaye was not politically active outside of his music, he became a public figure for social change and inspired/educated many people through his work.[125]
Legacy[edit]
Gaye has been called "the number-one purveyor of soul music".[20] In his book Mercy Mercy Me: The Art, Loves and Demons of Marvin Gaye, Michael Eric Dyson described Gaye as someone "who transcended the boundaries of rhythm and blues as no other performer had done before".[128] Following his death, The New York Times described Gaye as someone who "blended the soul music of the urban scene with the beat of the old-time gospel singer and became an influential force in pop music".[129] Further in the article, Gaye was also credited with combining "the soulful directness of gospel music, the sweetness of soft-soul and pop, and the vocal musicianship of a jazz singer".[129] His recordings for Motown in the 1960s and 1970s shaped that label's signature sound. His work with Motown gave him the titles Prince of Soul and Prince of Motown.[130][131] Critics stated that Gaye's music "signified the development of black music from raw rhythm and blues, through sophisticated soul to the political awareness of the 1970s and increased concentration on personal and sexual politics thereafter".[132] As a Motown artist, Gaye was among the first to break from the reins of its production system, paving the way for Stevie Wonder.[20][133][134][135] Gaye's late 1970s and early 1980s recordings influenced contemporary forms of R&B predating the subgenres quiet storm and neo-soul.[3]
Artists including Barry White, Stevie Wonder, Frankie Beverly and many others admitted to being heavily influenced by Gaye's musicianship. For his Oscar-nominated role as James "Thunder" Ealy in the film, Dreamgirls, Eddie Murphy replicated Gaye's 1970s clothing style in the film.
According to David Ritz in a 1991 revision of his biography on Marvin, "since 1983, Marvin's name has been mentioned—in reverential tones—on no less than seven top-ten hit records."[131] Gaye's name has been used as the title of several hits, including Big Sean's "Marvin Gaye & Chardonnay" and Charlie Puth's debut hit, "Marvin Gaye", a duet with Meghan Trainor. Marvin is also referred to in the 1983 Spandau Ballet hit "True", which mentions "Listening to Marvin all night long...".
In popular culture[edit]
His 1983 NBA All-Star performance[160] of the national anthem was used in a Nike commercial featuring the 2008 U.S. Olympic basketball team. Also, on CBS Sports' final NBA telecast to date (before the contract moved to NBC) at the conclusion of Game 5 of the 1990 Finals, they used Gaye's 1983 All-Star Game performance over the closing credits. When VH1 launched on January 1, 1985, Gaye's 1983 rendition of the national anthem was the first video they aired. In 2010, it was used in the intro to Ken Burns' Tenth Inning documentary on the game of baseball.
The 1985 Commodores song "Nightshift" was a tribute to Gaye and Jackie Wilson, who both died in 1984. One verse mentions Gaye's song "What's Going On".
"I Heard It Through the Grapevine" was played in a Levi's television advertisement in 1985.[161][162] The result of the commercial's success led to the original song finding renewed success in Europe after Tamla-Motown re-released it in the United Kingdom, Germany and the Netherlands.[162] In 1986, the song was covered by Buddy Miles as part of a California Raisins ad campaign.[163] The song was later used for chewing gum commercials in Finland and to promote a brand of Lucky Strike cigarettes in Germany.[164][165]
Gaye's music has also been used in numerous film soundtracks including Four Brothers and Captain America: The Winter Soldier, both of which featured Gaye's music from his Trouble Man soundtrack. "I Heard It Through the Grapevine" was used in the opening credits of the film, The Big Chill.[166][167][168]
In 2007, his song "A Funky Space Reincarnation" was used in the Charlize Theron–starred ad for Dior J'Adore perfume. A documentary about Gaye—What's Going On: The Marvin Gaye Story—was a UK/PBS co-production, directed by Jeremy Marre and was first broadcast in 2006. Two years later, the special re-aired with a different production and newer interviews after it was re-broadcast as an American Masters special. Another documentary, focusing on his 1981 documentary, Transit Ostend, titled Remember Marvin, aired in 2006.
Earnings[edit]
In 2008, Gaye's estate earned $3.5 million (US$4,953,014 in 2023 dollars[52]). As a result, Gaye took 13th place in "Top-Earning Dead Celebrities" in Forbes magazine.[169]
On March 11, 2015, Gaye's family was awarded $7.4 million in damages following a decision by an eight-member jury in Los Angeles that Robin Thicke and Pharrell Williams had breached copyright by incorporating part of Gaye's song "Got to Give It Up" into their hit "Blurred Lines", but U.S. District Judge John Kronstadt reduced the sum to $5.3 million, while adding royalties.[170] In January 2016, the Gaye family requested that a California judge give $2.66 million in attorneys' fees and $777,000 in legal expenses.[171]
As of 2018, Gaye's estate was managed by Geffen Management Group and his legacy is protected through Creative Rights Group, both founded by talent manager Jeremy Geffen.[172]
Attempted biopics[edit]
There have been several attempts to adapt Gaye's life story into a feature film. In February 2006, it was reported that Jesse L. Martin was to portray Gaye in a biopic titled Sexual Healing, named after Gaye's 1982 song of the same name. The film was to have been directed by Lauren Goodman and produced by James Gandolfini and Alexandra Ryan. The film was to depict the final three years of Gaye's life.[173][174][175][176][177] Years later, other producers such as Jean-Luc Van Damme, Frederick Bestall and Jimmy De Brabant, came aboard and Goodman was replaced by Julien Temple. Lenny Kravitz was almost slated to play Gaye. The script was to be written by Matthew Broughton. The film was to have been distributed by Focus Features and released on April 1, 2014, the thirtieth anniversary of Gaye's death.[178][179][180][181][182][183][184] This never came to fruition and it was announced that Focus Features no longer has involvement with the Gaye biopic as of June 2013.[185][186]
In June 2008, it was announced that F. Gary Gray was going to direct a biopic titled Marvin. The script was to be written by C. Gaby Mitchell and the film was to be produced by David Foster and Duncan McGillivray and co-produced by Ryan Heppe. According to Gray, the film would cover Gaye's entire life, from his emergence at Motown through his defiance of Berry Gordy to record What's Going On and on up to his death.[187][188]
Cameron Crowe had also been working on a biopic titled My Name Is Marvin. The film was to have been a Sony presentation with Scott Rudin as producer. Both Will Smith and Terrence Howard were considered for the role of Gaye. Crowe later confirmed in August 2011 that he abandoned the project: "We were working on the Marvin Gaye movie which is called My Name is Marvin, but the time just wasn't right for that movie."[189][190][191][192][193]
Members of Gaye's family, such as his ex-wife Janis and his son Marvin III, have expressed opposition to a biopic.[194][195]
In July 2016, it was announced that a feature film documentary on Gaye would be released the following year delving into his life and the making of his 1971 album What's Going On. The film would be developed by Noah Media Group and Greenlight and is quoted to be "the defining portrait of this visionary artist and his impeccable album" by the film's producers Gabriel Clarke and Torquil Jones.[196] The film will include "unseen footage" of Gaye.[197] Gaye's family approved of the documentary.[196] In November 2016, it was announced that the actor Jamie Foxx was billed to produce a limited biopic series on Gaye's life.[198] The series was approved by Gaye's family, including son Marvin III, who was to serve as executive producer, and Berry Gordy, Jr.[198]
On June 18, 2018, it was reported that American rapper Dr. Dre was in talks to produce a biopic about Gaye.[199] In June 2021, it was announced that the film Dre would be producing was greenlighted by Warner Bros. Pictures and would be directed by Allen Hughes for a projected 2023 release.[200]
Acting[edit]
Gaye acted in two movies, featuring as a Vietnam veteran in both roles. His first performance was in the 1969 George McCowan film The Ballad of Andy Crocker, which starred Lee Majors. The film was about a war veteran returning to find that his expectations have not been met and he feels betrayed. Gaye had a prominent role in the film as David Owens.[201] His other performance was in 1971. He had a role in the Lee Frost-directed biker-exploitation film Chrome and Hot Leather, about a group of Vietnam veterans taking on a bike gang. The film starred William Smith; Gaye played the part of Jim, one of the veterans.[202][203]
Gaye did have acting aspirations and had signed with the William Morris Agency but that only lasted a year as Gaye was not satisfied with the support he was getting from the agency. In his interview with David Ritz, Gaye admitted being interested in show business particularly when he was hired to compose the soundtrack for Trouble Man. "No doubt I could have been a movie star, but it was something my subconscious rejected. Not that I didn't want it, I most certainly did. I just didn't have the fortitude to play the Hollywood game: to put myself out there, knowing they would eat my rear end like a piece of meat.” [204]