Live! At The London Palladium (Remastered) Marvin Gaye

• 1 Intro Theme (Live At The London Palladium/1976) 02:35
• 2 All The Way 'Round (Live At The London Palladium/1976) 03:50
• 3 Since I Had You (Live At The London Palladium/1976) 05:00
• 4 Come Get To This (Live At The London Palladium/1976) 02:25
• 5 Let's Get It On (Live At The London Palladium/1976) 06:22
• 6 Trouble Man (Live At The London Palladium/1976) 06:32
• 7 Medley I (Live At The London Palladium/1976) 08:50
• 8 Medley II (Live At The London Palladium/1976) 09:49
• 9 Medley III (Live At The London Palladium/1976) 10:26
• 10 Thanks (Live At The London Palladium/1976) 01:09
• 11 Distant Lover (Live At The London Palladium/1976) 05:31
• 12 Closing Theme/ I Want You (Live At The London Palladium/1976) 04:00
• 13 Got To Give It Up 11:52
• Total Runtime 01:18:21

Info for Live! At The London Palladium (Remastered)

The shows comprising „Live! At The London Palladium“ were Marvin Gaye's first London concerts in a decade due to his fear of flying. This overseas layoff did nothing to douse Gaye's magical live presence as he performed a set of songs spanning his career. On Live! the debonaire singer charms the audience and peppers the early part of this set with some of his more sensual material including 'Since I Had You,' 'Come Get To This' and 'Let's Get It On.' The bulk of Live! is divided between three medleys. The first consists of material from his solo '60s period and features 'Ain't That Peculiar,' 'Pride And Joy' and 'Hitchhike.' A medley of Gaye's early-'70s, socially conscious canon quickly follows and includes ''What's Going On' and 'Save The Children.' The third medley finds Florence Lyles playing Kim Weston/Tammi Terrell/Diana Ross during the duets section that includes 'You're All I Need To Get By' and 'It Takes Two.' 'Got To Give It Up' (whose single version went to the top of the American pop charts) is also included due to producer Art Stewart's belief that more material was needed to round out the set.

Marvin Gaye, vocals, keyboards
Florence Lyles, vocals
Chuck Bynum, lead guitar
Johnny McGhee, guitar
Terry Evans, guitar
Michael Stanton, electric piano
Fernando Harkness, saxophone
Nolan Smith, trumpet
Gerald Brown, bass
Bugsy Wilcox, drums
Jack Ashford, tambourine
Melvin Webb, congas
Frankie Gaye, background vocals
Jan Hunter, background vocals
Odell Brown, organ, synthesizer
Elmira Amos, percussion
Frankie Beverly, percussion (Milk Bottle & Spoon)

Recorded live at the London Palladium, London, England
Produced and engineered by Art Stewart

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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