Posts Tagged ‘Marvin Gaye’
August 14, 2015 | by Sadie Stein
On an uptown local train during the height of an August rush hour, an old man fell asleep in his seat. It should be said that the man in question probably believed his music was contained; he was wearing earbuds. But either he’d neglected to properly plug the headphones into the outlet or the mechanism was somewhat faulty. Because for whatever reason, “Let’s Get It On” started blasting loudly in the otherwise quiet car.
The average urbanite sees a few things in a lifetime of public transit. Kids fighting. Women screaming. Perverts perving. Madmen ranting violently. And the occasional eel, escaped from a shopping bag, writhing wildly down the length of a J-train car. On one occasion, a seven-foot schizophrenic caked in filth spent the better part of an uptown express trip berating a woman whom he claimed had grabbed his ass, threatening to turn her into the transit cops for sexual harassment.
And yet, I have never seen a trainful of passengers more uncomfortable than in the moment when the first four insinuating notes started to play, and Marvin Gaye’s sensuous, passion-roughened voice filled the car. Read More »
January 8, 2015 | by Dan Piepenbring
On D’Angelo’s Black Messiah and the disappearance of R&B groups.
The last number-one R&B single from a group was “Independent Women,” by Destiny’s Child. Since it slipped from Billboard’s top slot in January 2001, only solo acts have held the position.* Groups have all but disappeared from the mainstream in every genre, but their absence is especially apparent in R&B, where, in 1994, for instance, four of the ten number-one singles were by groups, and in 1974, thirteen R&B groups made it to the top of the charts. Now, zero—for fifteen years, solo artists have dominated music. Who knew the thesis of Bowling Alone applied even to this, our most collaborative art form?
Anyone can rattle off the names of big R&B groups: Earth Wind & Fire, the Isley Brothers, TLC, Boyz II Men, the Supremes, the Pointer Sisters, the Force MDs, Jodeci, and on and on. What these groups foregrounded—and what’s noticeably lacking in present-day R&B—were vocal harmonies. Obviously the Top 40 is still loaded with backup singers; I don’t mean to say that vocal harmony has gone extinct. But a certain kind of performance has gone missing from the charts, a choral style for trios, quartets, or quintets, where the harmony was just as essential as the melody. In songs like these, you could hear the genre’s connection to jazz and especially to gospel.
Not that you have to be a music scholar to enjoy the sound of people singing together. At the risk of getting all Kumbaya about it, isn’t it just sort of nice to hear voices working in harmony? To me, the sound of a group has always been more approachable than that of a soloist—a collective is bound to be more welcoming than an individual, especially if they’re a collective of really pretty voices. I think pop music at the moment is as inventive as it’s ever been, but still: Where have our great R&B groups gone, and why have they ceased to capture the public imagination? Read More »
February 7, 2014 | by Dan Piepenbring
- “This motherfucker got a sword that talks to him … Motherfuckers live in places that don’t exist, and it comes with a map. My God.” Ice-T records a Dungeons & Dragons audiobook.
- On the eve of Sochi’s Winter Olympics, writers from around the world have signed a letter urging Putin to repeal laws limiting the freedom of expression. “We cannot stand quietly by as we watch our fellow writers and journalists pressed into silence.” American signatories include Jeffrey Eugenides, Jonathan Franzen, and Jonathan Lethem.
- “What the fuck is a selfie?” In Baltimore, poverty precludes access to pop culture.
- Discovered in an old Motown LP: Marvin Gaye’s passport.
- Before car commercials learned to tug at our heartstrings and abuse the classic-rock canon, they looked like this, and we were all probably better for it. (He said, driving off in his 1985 Isuzu Gemini.)
January 15, 2014 | by Lary Wallace
The way the story most often gets told, Marvin Gaye with What’s Going On (1971) liberated himself from Motown’s formulaic method of music-making and achieved total artistic independence, whereupon the music—if not, to be sure, the man himself—went on to live happily ever after. But the story gets told incompletely, because What’s Going On was only the start of it—it was how Gaye leveraged the potential for his independence, but it wasn’t how he ventured out and completely seized that independence. To tell that story, you have to tell about Trouble Man.
It’s a story that can now be told more elaborately, with a wonderful fortieth anniversary reissue of the original album, complete with some newly released material and a supplementary booklet. Trouble Man is absolutely sui generis within the Marvin Gaye canon for being not only a blaxploitation film soundtrack—the only film score he would ever do—but for being jazz-based and largely instrumental. The booklet does a commendable job articulating Trouble Man’s importance, while the artifact itself sings, as always, with perfect eloquence to the same thing. Except that now it sings even better. Read More »