By all standards, Marvin Gaye’s 1971 album What’s Goin’ On, remains one of the greatest of all soul, pop and rock albums. There has always seemed to be a musical gap between that album and the followup Let’s Get It On and the soundtrack Trouble Man, and this release not only connects the musical dots, but shows the pull of Gaye’s creative juices at the time. This 17 song collection includes all of Gaye’s solo and non-soundtrack cuts from 1972, with production chores divided up between Gaye, Willie Hutch, Hal Davis, and the teams of Gloria Jones/Pamela Sawyer & Freddie Perren/Fonce Miell. The sessions include all stars like Funk Brothers James Jamerson/b, Wah Wah Watson/g, Michael Henderson/b, Ray Parker Jr./g as well as Wrecking Crew members like Ernie Watts/ts, Don Randi/key and Don Peake/g. The result is a series of avenues that go in different directions, all fascinating in their possible final destinations.
A handful of the songs are the logical extension of Gaye’s previous album. The pulsed percussion and sublime wacka wooka guitar of “You’re The Man,” The mix of strings, clavinet and Bill WItherish vocals for “The World Is Rated X,” a mix of church organ, long moaning electric guitar tones and female choir while Gaye pleads on “Peace of Clay” electric keys like CTI jazz for “Woman Of The World” and the cool urban grit of “I’m Going Home” are all cut from the same cloth as the classic lp.
Other times he seems to be taking a step back into “classic” Motown moods, as the chiming guitar riff of “You Are That Special One” and the upbeat and catchy “Try It, You’ll Like It” as well as the rollicking “We Can Make It Baby” have an almost polished Jackson 5 feel. Other times with velvety strings, he delivers a lovely pop ballad on “I’d Give My Life For You” and is in strong voice for the similarly soft “I Want To Come Home For Christmas.” Other ringers include a bluesy and swampy instrumental “Christmas In The City” and a couple of “message” tracks on the swaying churchified “Check Out (Double Clutch)” and the lilting read of “You’re The Man Version 2.”
None of the raw libidous drive of his next album is present here. Were there personal situations that directed his music? I’m sure there are tons of theories. Regardless, the music here is a superlative footnote, making one wonder why it had been shelved for so long. Get it on, and get it!