Here, My Dear (Remastered) Marvin Gaye

• 1 Here, My Dear (Album Version) 02:48
• 2 I Met A Little Girl (Album Version) 05:03
• 3 When Did You Stop Loving Me, When Did I Stop Loving You 06:16
• 4 Anger 04:04
• 5 Is That Enough (Album Version) 07:47
• 6 Everybody Needs Love (Album Version) 05:48
• 7 Time To Get It Together (Album Version) 03:55
• 8 Sparrow (Album Version) 06:13
• 9 Anna's Song (Album Version) 05:56
• 10 When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental) 06:03
• 11 A Funky Space Reincarnation (Album Version) 08:18
• 12 You Can Leave, But It's Going To Cost You (Album Version) 05:32
• 13 Falling In Love Again (Album Version) 04:39
• 14 When Did You Stop Loving Me, When Did I Stop Loving You (Reprise) 00:44
• Total Runtime 01:13:06

Info zu Here, My Dear (Remastered)

Here, My Dear is the fifteenth studio album by music artist Marvin Gaye, released as a double album on December 15, 1978, on Motown-subsidiary label Tamla Records. Recording sessions for the album took place between 1977 and 1978 at Gaye's personal studios, Marvin Gaye Studios, in Los Angeles, California. The album was notable for its subject matter focusing largely on Gaye's acrimonious divorce from his first wife, Anna Gordy Gaye.

A commercial and critical failure upon its release, it was later hailed by music critics, in the years following Gaye's passing, as one of Gaye's best albums. "It's taken me a while," Anna admitted in later years, "but I've come to appreciate every form of Marvin's music."

"Ordered by a judge to turn over the profits from two albums to the first wife he'd left, Marvin Gaye produced this bitter, sad, bewildered masterwork. Over sprawling funk tracks, he questions her, himself, love, family, and, of course, asks, "Why do I have to pay attorney fees?" Both incomparably smooth and incontrovertibly twisted, Here, My Dear is Gaye with the mask off: even the multiple vocal overdubs can't hide his pain and his weariness." (Rickey Wright)

Marvin Gaye, vocals, piano, Rhodes, Roland bass, synth and horns, tape box, percussion
Charles Owens, tenor saxophone
Ernie Fields, Jr., alto saxophone
Fernando Harkless, tenor saxophone ("When Did You Stop Loving Me...", "Time to Get It Together")
Nolan Andrew Smith, trumpet
Wali Ali, guitar
Gordon Banks, guitar
Spencer Bean, guitar ("Time to Get It Together")
Cal Green, guitar ("Sparrow")
Frank Blair, bass
Eric Ward, bass ("Sparrow")
Bugsy Wilcox, drums
Elmira Collins, percussion
Gary Jones, congas

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.

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