Let's Get It On (Remastered) Marvin Gaye
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- 1Let's Get It On04:52
- 2Please Stay (Once You Go Away)03:29
- 3If I Should Die Tonight04:02
- 4Keep Gettin' It On03:13
- 5Come Get To This02:43
- 6Distant Lover04:17
- 7You Sure Love To Ball04:46
- 8Just To Keep You Satisfied04:26
Info for Let's Get It On (Remastered)
Relishing the artistic freedom afforded by the success of „What‘s Going On“, Marvin Gaye recorded this sultry paean to sex. Where its predecessor relied on complex arrangements, the straightforward sound of „Let’s Get It On“ focused attention on its tight rhythms, strong melodies, and Gaye's expressive, nuanced singing. For sheer sensual come-on, it's hard to beat the title track, one of the finest celebrations of the joys of human chemistry ever recorded. But the self-explanatory 'Come Get to This' and 'You Sure Love to Ball' aren't far behind in terms of passionate execution and visceral impact.
Though „Let’s Get It On“ has its reflective moments, notably the beautiful ballad 'Distant Lover,' Gaye's focus is on the here and now, and the intensity of his vocal performances and the silky, fluid feel of the arrangements inform the sensual 'carpe diem' philosophy. Just as „What‘s Going On“ opened the floodgates for political soul music, „Let’s Get It On“ defined the 'lover man' genre populated by luminaries like Al Green, Barry White, and Isaac Hayes.
„Gaye's persuasive manner allows him to interpret songs that speak of the heart of the ghetto. This album is standard Gaye fare -- fine in terms of vocal attack and material. It touches on the excellent in terms of instrumental support through the inclusion of several guest names from the pop and jazz fields. Their collective unionism provides a bright dash of spirit to Gaye's own pleadings. These Los Angeles musicians include Welton Felder (of the Crusaders), David T. Walker, Emil Richards, Marv Jenkins, Joe Sample (of the Crusaders) and Victor Feldman. Best cuts: 'Let's Get It On,' 'Distant Lover.' (Billboard)
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
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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