Let's Get It On (Deluxe Edition Remastered) Marvin Gaye

• 1 Let's Get It On 04:53
• 2 Please Don’t Stay (Once You Go Away) (Album Version) 03:27
• 3 If I Should Die Tonight (Album Version) 04:01
• 4 Keep Gettin' It On 03:13
• 5 Come Get To This 02:41
• 6 Distant Lover 04:16
• 7 You Sure Love To Ball 04:46
• 8 Just To Keep You Satisfied (Album Version) 04:27
• 9 Let's Get It On (Single Version) 03:59
• 10 You Sure Love To Ball (Single Version) 03:37
• 11 If I Should Die Tonight 03:04
• 12 Let's Get It On (Demo) 05:17
• 13 Let's Get It On (Pt. II) 03:22
• 14 I Knew One Day My Day Would Come (Instrumental) 03:07
• 15 Interlude #1 00:57
• 16 Please Don’t Stay (Once You Go Away) (Alternate Mix 1) 03:57
• 17 Lovely Lady (Instrumental) 03:08
• 18 If I Should Die Tonight (Demo) 04:13
• 19 I Don’t Have To Get High To Do It (Instrumental) 03:38
• 20 Come Get To This (Alternate Mix 1) 03:06
• 21 Distant Lover (Alternate Mix 1) 04:43
• 22 You Sure Love To Ball (Alternate Mix 1 W/ Alternate Vocal) 05:11
• 23 Just To Keep You Satisfied (A Cappella W/ Alternative Vocal) 04:43
• 24 Interlude #2 00:35
• 25 If I Should Die Tonight (SaLaAm ReMi's Piano Mix) 04:01
• 26 Just To Keep You Satisfied (John Morales's Stripped Mix) 04:36
• 27 Song #1 (Instrumental) 04:20
• 28 Song #2 (Instrumental) 05:35
• 29 Song #3 (Instrumental) 05:24
• 30 Song #4 (Instrumental / Partial Vocal) 05:20
• 31 Shake Well (Instrumental) 04:33
• 32 Perfection (Instrumental) 05:28
• 33 Cakes (Instrumental) 03:28
• 34 My Love Is Growing 04:25
• 35 She Needs Me (1973 Version) 03:33
• 36 Why Did I Choose You (1973 Version) 02:37
• 37 Funny, Not Much (1973 Version) 02:45
• 38 This Will Make You Laugh (1973 Version) 02:53
• 39 The Shadow Of Your Smile (1973 Version) 03:09
• 40 I Wish I Didn’t Love You So (1973 Version) 02:38
• 41 I Won't Cry Anymore (1973 Version) 02:55
• Total Runtime 02:36:01

Info for Let's Get It On (Deluxe Edition Remastered)

In celebration of the 50th Anniversary of Marvin Gaye's iconic album, Let’s Get It On, a limited edition reissue is available in apple red opaque vinyl. Let's Get It On showcases the Prince of Soul’s creative explorations, as they continued to unfold with the production of this pivotal release. This album was originally released on August 28, 1973.

Following the stirring social consciousness of his last album, 1971's What's Going On, Gaye used the musical canvas to dive deep into matters of the bedroom. Romance, carnal desire and the intersections between the two were explored in sessions split between Motown's Detroit studio - including contributions and their newly constructed headquarters in Los Angeles, including the album's first side, co-written with Ed Townsend and featuring favorites like "If I Should Die Tonight" and the title track.

While Gaye's own relationship with intimacy was documented as difficult, owing to childhood abuse from his father and a crumbling marriage to Anna Gordy (daughter of Berry Gordy, the head of Motown), this tension led to some of the most adulated soul music of its time. Let's Get It On further established Gaye as a sex symbol, and his smooth voice and expert come-ons earned him the highest-charting album of his lifetime (No. 2 on the Billboard 200) and, with the title track, his first No. 1 pop single in five years.

Let's Get It On was given the deluxe treatment at the dawn of Universal's 2CD deluxe edition series in 2001. That wealth of session material is mostly replicated here, although all 10 of the repeated tracks have been newly mixed for this digital box set and some tracks have since been re-contextualized to other projects related to What's Going On and the unreleased You're the Man. But in their place come a further 19 previously unreleased recordings: additional outtakes from the album sessions, a fuller selection of a 1973 session cut with co-writer/producer/arranger David Van DePitte - and, perhaps most surprisingly, a set of standards and ballads intended for a long-gestating album. (Fans know that LP was originally intended for release as The Ballads in 1979. Remixed material from that album was released on several albums following Gaye's 1984 death, and was properly released as Vulnerable in 1997; however, these 1973 vocals predate that album's ultimate presentation, which featured vocals from six years later.)

This digital deluxe set will be released Friday, August 25 - three days shy of the original album's release date. That same week, on August 23, the Grammy Museum in Los Angeles will host a panel discussion on the album featuring Gaye's biographer David Ritz, Motown legend Smokey Robinson, producer Jimmy Jam and moderator Harry Weinger, longtime producer of Motown reissues. Pre-order links and the full track listing are below.

Marvin Gaye, vocals, piano, keyboards
Eddie Willis, guitar
Robert White, guitar
David T. Walker, guitar
Donald Peake, guitar
Melvin 'Wah Wah' Ragin, guitar
Louis Shelton, guitar
Ernie Watts, saxophone
Plas Johnson, saxophone
Joe Sample, piano
Marvin Jenkins, piano
Earl Van Dyke, keyboards
Johnny Griffith, keyboards
Wilton Felder, bass
Uriel Jones, drums
Victor Feldman, vibraphone
Emil Richards, vibraphone
Hall Bobby Porter, congas, bongos
Bobbye Porter, congas, bongos
Eddie 'Bongo' Brown, congas, bongos, percussion
Hank Dixon, background vocals
Fred Ross, background vocals
Freddie Gorman, background vocals
Walter Gaines, background vocals
C.P. Spencer, background vocals
Paul Humphrey & the Cool Aid Chemists

Engineered by Bill McMeekin, Larry Miles, Art Stewart, Steve Smith, Calvin Harris
Produced by Marvin Gaye, Ed Townsend, David Van DePitte, Hal Davis, Willie Hutch

Digitally remastered

Marvin Gaye
Brilliant, enigmatic, and headstrong, Marvin Gaye was an innovator. In 2009, he would have been 70 years old, and it has been 25 years since his tragic death. But today Marvin remains as influential and exciting as ever: Rolling Stone recently named him one of the greatest singers of all time.

He was born Marvin Pentz Gay Jr. on April 2, 1939, in Washington, D.C., where he dreamed of singing before large crowds; he joined a co-founded a local doo-wop group, the Marquees, who were spotted by Harvey Fuqua, who made them his new Moonglows. Marvin arrived in Detroit on tour with the Moonglows and stayed, as did Harvey, and Marvin was signed to Motown just based on raw singing talent. He was also a songwriter, an OK drummer-and handsome as hell. He wanted to sing jazz, to croon Tin Pan Alley standards, but that didn’t pan out. Motown founder Berry Gordy encouraged Marvin to sing R&B, and once Gaye sang the soulful (and autobiographical) “Stubborn Kind Of Fellow” in 1962, stardom enveloped him. The incendiary “Hitch Hike,” “Pride And Joy,” and “Can I Get A Witness” sold like crazy in 1963, and Marvin oozed silky sexiness on the 1965 classics “How Sweet It Is (To Be Loved By You),” “I’ll Be Doggone” and “Ain’t That Peculiar.”

By 1968′s immortal “I Heard It Through The Grapevine,” and on a series of electrifying duets with Mary Wells, Kim Weston (“It Takes Two”), and his ultimate singing partner, the ravishing but ill-fated Tammi Terrell (“Ain’t No Mountain High Enough,” et al), Gaye was a commercial force. He soon became recognized as an artistic one as well.

At decade’s turn, Marvin seized full control of his output with the deeply personal, socially aware 1971 masterpiece What’s Going On, which produced three hit singles: the title track, “Inner City Blues (Make Me Wanna Holler)” and “Mercy Mercy Me (The Ecology).” He defied expectations again with “Trouble Man,” a 1972 hit single featured in his haunting, jazzy score of the movie of the same name. He zoomed to the top of the charts with his passionate Let’s Get It On, while delivering a pop confection in Diana and Marvin, his duet album with Motown’s queen, Diana Ross. I Want You, released in 1976, was another sensual masterwork, a meditation on obsessive love that was also No. 1. Marvin made his personal life public through his songs, and it was never more evident in 1978′s Here, My Dear, a sprawling double-album chronicling his divorce from Anna Gordy, Berry’s sister. Even his No. 1 dance classic from 1977, “Got To Give It Up,” a studio cut added to flesh out the double-LP Live At The London Palladium, was about the singer’s reluctance to get loose on the dance floor.

Marvin left Motown in 1981, with the politically tinged album In Our Lifetime. He fled to London, then Belgium, where he created for Columbia Records “Sexual Healing,” his first Grammy® winner. But another hit was not salvation from his demons. On April 1, 1984, one day before his 45th birthday, Marvin was shot to death by his father.

Marvin’s influence reaches across the generations. He was rightfully among only the second group of artists honored with induction into the Rock and Roll Hall of Fame, in 1987. More recently, Marvin was No. 6 on Rolling Stone’s list of the 100 Greatest Singers Of All Time. “Motown Week” on American Idol 2009 (Season 8) featured remaining contestants singing not one but two of Marvin’s songs. His records-and his ringtones and his DVDs-are still going gold.

This album contains no booklet.