Marvin Gaye Live! (50th Anniversary Deluxe Edition) (Remastered) Marvin Gaye

• 1 Introduction (Live At Oakland Coliseum, CA/1974) 00:34
• 2 Overture (Live At Oakland Coliseum, CA/1974) 02:24
• 3 Trouble Man (Live At Oakland Coliseum, CA/1974) 06:36
• 4 Flyin' High (In The Friendly Sky) (Live At Oakland Coliseum, CA/1974) 02:17
• 5 Mercy Mercy Me (The Ecology) (Live At Oakland Coliseum, CA/1974) 02:11
• 6 Inner City Blues (Make Me Wanna Holler) (Live At Oakland Coliseum, CA/1974) 03:55
• 7 Distant Lover (Live At Oakland Coliseum, CA/1974) 06:15
• 8 Come Get To This (Live At Oakland Coliseum, CA/1974) 02:57
• 9 Jan (Live At Oakland Coliseum, CA/1974) 02:56
• 10 Keep Gettin' It On (Live At Oakland Coliseum, CA/1974) 03:07
• 11 Fossil Medley (Live At Oakland Coliseum, CA/1974) 11:36
• 12 Thanks To The Orchestra (Live At Oakland Coliseum, CA/1974) 00:55
• 13 Let's Get It On (Live At Oakland Coliseum, CA/1974) 04:45
• 14 What's Going On (Live At Oakland Coliseum, CA/1974) 04:49
• Total Runtime 55:17

Info zu Marvin Gaye Live! (50th Anniversary Deluxe Edition) (Remastered)

Marvin Gaye Live!, a 1974 album from Marvin Gaye, is getting reissued. A wonderful 70s live album from Marvin Gaye – a set that was as expansive, ambitious, and sophisticated as his studio work from the time! The album's put together almost like a 3-sided portrait of Marvin – in that it begins with a long section of current work, moves into a "fossil medley" of older hits, then returns to "now" to showcase two of his biggest his of the time. The orchestrations are sublime – wonderfully carried off in a live setting amidst some very frantic screams from the females in the audience – and Marvin's vocals are incredible too – floating out magically amidst the crowd, and easily some of his best on record from the decade. Titles include the album's hit reading of "Distant Lover" – plus "Let's Get It On", "What's Going On", "Trouble Man", "Inner City Blues", "Distant Lover", "Keep Getting It On", and "Jan".

Let’s Get It On, released in 1973, was Gaye’s best-selling album, and one of the best-selling in the history of Motown. In January of 1974, he delivered his first proper live show in years. Luckily, it was all recorded. The resulting performance was released in June of that year, and quickly went to #1 on the Soul/R&B Album Chart, helped in part by Gaye’s incredible rendition of “Distant Lover,” which was later nominated for a Grammy.

The success of the show was not assured. As legend has it, the Oakland Coliseum concert was planned extremely quickly. (The singer had committed to an early date but balked, and the rescheduled date didn’t leave much time to prepare.) Rolling Stone reported a chaotic scene backstage at the event, with an orchestra that had never rehearsed in the room and a stage that hadn’t even been built until an hour or two before the performance. However, when Gaye did finally take the stage, all doubt faded away. “Marvin Gaye’s return was not a concert, it was an event,” wrote a reviewer in the San Francisco Chronicle, “a gathering of Black pride and stargazers.” That night at the Coliseum, preserved on Marvin Gaye Live! and is as good an argument as any of Gaye’s singular musical talent.

"Released during Marvin Gaye's two-and-a-half-year sabbatical following the chart-topping success of Let's Get It On, Live! features the erratic soul superstar moving briskly through some of his biggest hits. The album-opening "Trouble Man" wields considerable weight, instantly establishing an engaging tone. From there Gaye moves toward an 11-minute medley of his '60s classics that comes across as almost a montage of nostalgia, evoking wistful memories of a more innocent and untainted Marvin. Following this medley, the album hits its fiery peak with versions of "Let's Get It On" and "What's Going On," his two biggest hits of the moment. Live! isn't quite as essential as 1977's Live at the London Palladium, lacking the scope and instrumentation of that double LP. Regardless, it's still a great snapshot of Gaye at a key point in his career -- the mid-'70s sabbatical from which he would never return quite the same." (Jason Birchmeier, AMG)

Marvin Gaye, vocals, guitar
Ernie Watts, saxophone, horn
William Green, saxophone, horn
George Bohanon, trombone
Paul Hubinon, trumpet
David T. Walker, guitar
Ray Parker, guitar
Joe Sample, keyboards
PJohn Arnold, percussion
Joe Clayton, congas
James Jamerson, bass
Ed Green, drums
Jack Shulman, violin
James Getzoff, violin
Charles Burns, backing vocals
Dwight Owens, backing vocals
Eric Dolen, backing vocals
Michael Torrance, backing vocals
Wally Cox, backing vocals
Gene Page, musical director
Lesley Drayton, musical director

Recorded January 4, 1974 at Oakland Coliseum Arena, Oakland, California

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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