Here, My Dear | ||||
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Studio album by | ||||
Released | December 15, 1978 | |||
Recorded | March 24, 1977 – July 9, 1978 | |||
Studio | Marvin's Room, Los Angeles, California [1] | |||
Genre | ||||
Length | 71:51 | |||
Label | Tamla | |||
Producer | Marvin Gaye | |||
Marvin Gaye chronology | ||||
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Singles from Here, My Dear | ||||
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Here, My Dear is the fifteenth studio album by American singer and songwriter Marvin Gaye, released as a double album on December 15, 1978, on Motown-subsidiary label Tamla Records. [2] Recording sessions for the album took place between 1977 and 1978 at Gaye's personal studios, Marvin Gaye Studios, in Los Angeles, California. The album was notable for its subject matter focusing largely on Gaye's acrimonious divorce from his first wife, Anna Gordy Gaye.
A commercial and critical failure upon its release, it was later hailed by music critics, in the years following Gaye's death, as one of Gaye's best albums. "It's taken me a while," Anna admitted in later years, "but I've come to appreciate every form of Marvin's music." [3]
Marvin Gaye was going through a personal crisis in the summer of 1976. In November 1975, Gaye's estranged first wife, Anna Gordy Gaye, sued Gaye for divorce, claiming irreconcilable differences, and sought child support for their adopted son, Marvin Gaye III. Gaye later argued his spending habits were causing him to fall behind on payments. In September 1976, a warrant was issued for Gaye's arrest after he failed to pay alimony; this made him feel vulnerable during the recording sessions, causing the singer to hide from the public for several days.
Several weeks later, Gaye accepted an offer to do a tour of Europe. Between October and December 1976, Gaye performed in the United Kingdom, France, the Netherlands and Germany. Following his return, he recorded "Got to Give It Up" and released it on his album, Live at the London Palladium . The song became an international hit, reaching number one on the Billboard Hot 100.
After months of delays, in March 1977, the singer's attorney, Curtis Shaw, wanted to end divorce proceedings and convinced Gaye to give up half of the percentage of album royalties he would earn from his next Motown album to Anna. The Gayes' divorce was finalized later that month.
When Gaye was set to start production on the record, he said he figured he would just do a "quickie record - nothing heavy, nothing even good", stating, "Why should I break my neck when Anna was going to wind up with the money anyway?" But as Gaye lived with the notion of doing an album for his soon-to-be ex-wife, the more it fascinated him, stating he felt he "owed the public my best effort." [4] Gaye stated he did the record "out of deep passion", noting he "sang and sang until I drained myself of everything I'd lived through." [4]
Shortly after the deal was made, Gaye entered his recording studio on March 24, 1977, to record the album with only engineer Art Stewart by his side. Gaye, who usually did not write his lyrics, composed on the spot, mumbling over prerecorded tracks or to his own accompaniment. [4] The mumblings were "embryonic melodies", which eventually evolved into lyrics after three or four takes. [4] Gaye ended up playing all the keyboard parts of the album, saying later, "I didn't plan it that way. It just turned out to be a hands-on project." [4]
According to PopMatters journalist Mike Joseph, Here, My Dear's music was "largely midtempo funk, with elements of traditional soul, gospel, and doo-wop mixed together with a slight hint of disco". [5] The title track opens the album, and in the album's liner notes David Ritz describes Gaye's tone in the song as "self-serving, self-justifying [and] self-pitying". "I Met a Little Girl" includes doo-wop drenched harmonies with its lyrics and music producing a "thick mixture" of sincerity and sarcasm. Considered the central melodic motif of the album, "When Did You Stop Loving Me, When Did I Stop Loving You" abandoned traditional song structure with a discursive mode, without a chorus, with its lyrics expressing "different feelings - tenderness, fear, anger, regret". [4] Described as "straight ahead and beguiling" compared to all the other songs on the album, "Anger" is considered as "part sermon and part self-retribution", describing his movement from catharsis to escape.
"Is That Enough?" was recorded shortly after Gaye returned from a day in divorce court, humming the song's melody and some lyrics. Much like some other songs, it's told in a storyteller's point of view. [4] "Everybody Needs Love" is described as an "attempt to empathy". "Time to Get It Together" includes a confessional that was influenced by Stevie Wonder's song, "As". [4] "Anna's Song" is described as "the very heart" of the album. "A Funky Space Reincarnation" alluded to Star Wars as well as the music of George Clinton's Parliament-Funkadelic. [4] "You Can Leave, But It's Going to Cost You" is produced under an assertive tone describing an argument between Marvin and his wife over his girlfriend, Janis. The final track, "Falling in Love Again", is dedicated to Janis, in which Gaye concluded on a "regenerative note". [4]
An AllMusic reviewer later wrote of the music:
...the sound of divorce on record—exposed in all of its tender-nerve glory for the world to consume... Gaye viciously cuts with every lyric deeper into an explanation of why the relationship died the way it did... Musically the album retains the high standards Gaye set in the early '70s, but you can hear the agonizing strain of recent events in his voice, to the point where even several vocal overdubs can't save his delivery. [2]
— Allmusic
The front cover featured a painting of Gaye dressed in a toga in a neo-Roman setting, created by artist Michael Bryan, who stated Gaye described how he wanted to be depicted on the cover. [4] The back cover features a temple with the word "matrimony" collapsing around a mock-Rodin sculpture of a romantic couple. [4] The fold-out illustration inside the original double album shows a man's hand reaching across to the hand of a woman's, about to give her a record. The hands are extended on a Monopoly board—with the legend JUDGMENT written on it. On the man's side are tape recorders and a grand piano; on the woman's are a house, car and ring. [4] The scales of justice sit above the game while, from arched windows, curious observers watch. David Ritz described the juxtaposition of images reflected Gaye's turbulent state of mind at the time. [4] Design and Art Direction by John Kosh and illustration by Mike Bryan.
Soul music doesn't get any deep, darker,
or more personal than this.
–David Ritz, liner note essay, 2008 [6]
Review scores | |
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Source | Rating |
AllMusic | [7] |
Chicago Tribune | [8] |
The Guardian | [9] |
Mojo | [10] |
Pitchfork | 8.7/10 [11] |
PopMatters | 9/10 [5] |
Q | [10] |
The Rolling Stone Album Guide | [12] |
Uncut | [10] |
The Village Voice | B+ [13] |
When Here, My Dear was released in the end of 1978, it received mostly positive reviews and modest sales, with critics calling the album "bizarre" and "un-commercial."[ citation needed ] The album's lack of success angered Gaye to the point that he refused to promote it any further. Motown stopped promoting Here, My Dear in early 1979, by which point Gaye had gone into self-imposed exile. Around the same time, Gaye's relationship with his second wife, Janis, had also fallen apart and the couple separated sometime in 1979. Upon hearing the album, a visibly upset Anna Gordy considered suing Gaye for invasion of privacy but, according to People , later reconsidered that decision. The album peaked at number four R&B and number 26 pop, becoming Gaye's lowest-charting studio album of the 1970s. Initial response to the album was mixed, as most critics described it as weird. However, Gaye's lyrical honesty over the laid back disco grooves of Here, My Dear was praised by many. Robert Christgau, of The Village Voice , wrote of the album:
...this is a fascinating, playable album. Its confessional ranges from naked poetry ("Somebody tell me please/Why do I have to pay attorney fees?" is a modernist trope that ranks with any of Elvis Costello's) to rank jive, because Gaye's self-involvement is so open and unmediated, guileless even at its most insincere, it retains unusual documentary charm. And within the sweet, quiet, seductive sound. Gaye is at such pains to realize, his rhythmic undulations and whisper-to-a-scream timbral shifts can engross the mind, the body, and above all the ear. Definitely a weird one. [14]
— Robert Christgau
The Bay State Banner noted that "Gaye really did a fine job of arranging the horn charts, keeping them actively involved without dominating or clashing." [15] The New York Times opined that much of the album "is simply brilliant," and wrote that "it is an inventory of the whole expressive range of black popular music at the end of the 70's, a testing of limits, and an affirmation of musical values." [16]
The album was re-evaluated in the years following its original release, and is today seen as a landmark in Gaye's career.
In 1994, the album was re-released due to increased attention on Gaye's life to commemorate the tenth anniversary of the singer's untimely death, and reached number-one on Billboard's R&B catalog chart.
Here, My Dear was voted one of the greatest albums in music history by Mojo (1995). The album has appeared on all three editions of Rolling Stone's The 500 Greatest Albums of All Time list, at #462 in 2003, #456 in 2012, and #493 in 2020. [17] [18] [19]
On February 15, 2008, Hip-O Select reissued Here, My Dear as a two-disc Expanded Edition including a song cut from the original album, "Ain't It Funny How Things Turn Around", which was remixed by funk legend Bootsy Collins. Disc two featured remastered and alternate versions of the songs from the album remixed by contemporary soul producers such as Salaam Remi, Questlove, Prince Paul, DJ Smash, Mocean Worker, and others.
"It doesn't quite get you the first time," Jay Kay told Q . "And a lot of the songs are quite similarly paced. It's almost like the same song being subtly changed ten different ways. A lot of it, lyrically, is about the break-up of his relationship. There's a track called 'Anger', which is lyrically really brilliant; and there's a track called 'Time To Get It Together' using, I think, a marimba, and it's just dreamy and lovely. He was a deep man at the time, but I think the charlie was eating him up. It's all about struggling and fighting, and you can feel it." [20]
All songs written by Marvin Gaye, except where noted.
Bonus material for the 2007 Hip-O Select Expanded Edition, with first disc of the original album with bonus tracks and second disc of recordings from the sessions for Here, My Dear.
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Year | Chart | Position |
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1979 | Pop Albums | 26 |
Black Albums | 4 |
Year | Title | Chart | Position |
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1979 | "A Funky Space Reincarnation" | Black Singles | 23 |
Additional musicians
Technical
"Special thanks to all the musicians who are too numerous to mention but who are all superstars!"
Marvin Pentz Gaye Jr. was an American soul and R&B singer, songwriter, and musician. He helped shape the sound of Motown in the 1960s, first as an in-house session player and later as a solo artist with a string of successes, which earned him the nicknames "Prince of Motown" and "Prince of Soul".
What's Going On is the eleventh studio album by American soul singer Marvin Gaye. It was released on May 21, 1971, by the Motown Records subsidiary label Tamla. Recorded between 1970 and 1971 in sessions at Hitsville U.S.A., Golden World, United Sound Studios in Detroit, and at The Sound Factory in West Hollywood, California, it was Gaye's first album to credit him as producer and to credit Motown's in-house session musicians, known as the Funk Brothers.
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Let's Get It On is the thirteenth studio album by the American soul singer, songwriter, and producer Marvin Gaye. It was released on August 28, 1973, by the Motown subsidiary label Tamla Records on LP.
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Midnight Love is the seventeenth studio album by Marvin Gaye and the final album to be released during his lifetime. He signed with the label Columbia in March 1982 following his exit from Motown. Technically, it would be Marvin Gaye’s last album before his tragic death in April 1984, a day before his 45th birthday.
You're All I Need is the second studio album by soul musicians Marvin Gaye and Tammi Terrell, released in August 1968 on Motown-subsidiary label Tamla Records. Highlighted by three hit singles written by Nickolas Ashford and Valerie Simpson, You're All I Need was recorded throughout 1966 and 1967 and features two Top 10 Billboard Hot 100 hits, "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". It peaked at #60 on the U.S. Billboard 200 Album Chart. You're All I Need was the two singers' final collaboration effort, as Terrell would become ill following recording, before succumbing to a brain tumor in 1970.
In Our Lifetime? is the sixteenth studio album by soul musician Marvin Gaye, released January 15, 1981, on Motown label Tamla Records. Recording sessions for the album took place at Marvin's Room in Los Angeles, California, Seawest Recording Studio in Honolulu, Hawaii, and at Odyssey Studios in London, England, throughout 1979 and 1980. The album cover was designed by Neil Breeden. Gaye's final album for Motown before leaving for Columbia Records, the album was the follow-up to the commercial failure of Here, My Dear, a double album which chronicled the singer's divorce from Anna Gordy. Entirely written, produced, arranged, and mixed by Gaye, In Our Lifetime? was a departure for Gaye from the disco stylings of his previous two studio efforts and was seen as one of the best albums of the singer's late-Motown period.
Leon Ware was an American songwriter, producer, composer, and singer. Besides a solo career as a performer, Ware was best known for producing hits for other artists including Michael Jackson, Quincy Jones, Maxwell, Minnie Riperton and Marvin Gaye, co-producing the latter's album I Want You.
Live at the London Palladium is a live double album by soul musician Marvin Gaye, released March 15, 1977, on Tamla Records. Recording sessions took place live at several concerts at the London Palladium in London, England, in October 1976, with the exception of the hit single "Got to Give It Up", which was recorded at Gaye's Los Angeles studio Marvin's Room on January 31, 1977. Live at the London Palladium features intimate performances by Gaye of many of his career highlights, including early hits for Motown and recent material from his previous three studio albums. As with his previous live album, Marvin Gaye Live!, production of the record was handled entirely by Gaye, except for the studio portion, "Got to Give It Up", which was managed by Art Stewart.
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The Master (1961–1984) is a chronological box set album looking back at American R&B/soul Marvin Gaye's 23-year recording career. Spanning four discs, the box set goes over all portions of Gaye's career with a repertoire that spanned doo-wop, R&B, soul, psychedelic soul and funk with a mixture of themes including dance songs, love ballads, duets, socially conscious material, sensual material and autobiographical revelations. The set includes rarities such as a recorded 1983 live track of Gaye and Gladys Knight & the Pips each singing their seminal hit "I Heard It Through the Grapevine", Gaye's famed 1983 performance of "The Star-Spangled Banner" at an NBA All-Star game and an a cappella performance of "The Lord's Prayer" taped during Gaye's exile in Belgium.
Vulnerable is the third posthumous album by Marvin Gaye. Recorded in sessions throughout 1977, the album was a decade in the making, first being worked on in 1968 during sessions in New York with Bobby Scott. Reworked by Gaye a decade later, the album was originally going to be released in 1979 under the title, The Ballads, but was shelved. Two decades later, Motown released it under the title Vulnerable, including seven songs from the sessions and three alternate cuts.
"When Did You Stop Loving Me, When Did I Stop Loving You" is a 1978 song recorded by singer Marvin Gaye. Taken from his Here, My Dear album, it was written following his 1976 divorce when he was ordered to give half the takings of his next album to ex-wife Anna Gaye. In the album, he "poured his emotions into songs agonisingly documenting their relationship's rise and fall."
"Falling in Love Again" is a 1977 song recorded by singer Marvin Gaye and issued on his 1978 album, Here, My Dear album. The song was another track on the personal album that did not discuss the demise of his first marriage. Instead of Anna Gaye, the song talked of the other woman in Marvin's life. Described in "You Can Leave, but It's Going to Cost You" as "that young girl", she was Janis Hunter, whom Gaye had married. In a solemn but still certain tone, he wanted to be sure that this time his love for Janis will be what he had always wanted. But as irony would have it, by the time of the album's release, Marvin and Janis' relationship was failing. By the end of the album's promotion, Janis had split from the singer after nearly two years as a married couple. They eventually divorced in February 1981. This song was the last song on Here, My Dear with a reprise from the album's "theme song", "When Did You Stop Loving Me, When Did I Stop Loving You", playing soon afterwards putting the album to a close for good.
"Far Cry" is the infamous unfinished recording that was included on singer Marvin Gaye's 1981 final Motown album, In Our Lifetime. The song, essentially a funk-styled instrumental, featured a vocally conscious Gaye mouthing words while playing multiple instruments, including the drums and keyboards, on the first part of the song. The brief second half features a jazz instrumental with Gaye playing piano and drums and singing in falsetto, while his fellow instrumentalists, bassist Frank Blair and guitarist Gordon Banks, accompany him. The song's release among the eight original recordings on In Our Lifetime angered Marvin to the point where he severed ties with Motown, his home for twenty years, leaving the label for Columbia. As he told his biographer David Ritz,
"I hadn't completed it....The song was in its most primitive stage. All I had was this jive vocal track, and they put it out as a finished fact. How could they embarrass me like that? I was humiliated. They also added guitar licks and bass lines. How dare they second guess my artistic decisions! Can you imagine saying to an artist, say Picasso, 'Okay, Pablo, you've been fooling with this picture long enough. We'll take your unfinished canvas and add a leg here, an arm there. You might be the artist, but you're behind schedule, so we'll finish up this painting for you. If you don't like the results, Pablo, baby, that's touch!'"
On April 1, 1984, American musician Marvin Gaye, who gained worldwide fame for his work with Motown Records, was shot and killed on the day before his 45th birthday by his father, Marvin Gay Sr., at their house in the Western Heights neighborhood of Los Angeles, California. Gaye was shot twice following an altercation with his father, after he intervened in an argument between his parents. He was pronounced dead on arrival at the California Hospital Medical Center. His father later pleaded no contest to a charge of voluntary manslaughter.
Marvin Gaye was an American music artist and singer-songwriter who won acclaim for a series of recordings with Motown Records. Gaye's personal life, mainly documented in the biography, Divided Soul: The Life of Marvin Gaye, included his faith; child abuse by his father; personal relationships with his two wives, friends, and girlfriends; and bouts of depression and drug abuse.
Anna Ruby Gaye was an American businesswoman, composer and songwriter. An elder sister of Motown founder Berry Gordy, she became a record executive in the mid-to-late 1950s distributing records released on Checker and Gone Records before forming the Anna label with Billy Davis and her sister Gwen Gordy Fuqua. Gordy later became known as a songwriter for several hits including the Originals' "Baby, I'm for Real", and at least two songs on Marvin Gaye's What's Going On album. The first wife of Gaye, their turbulent marriage later served as inspiration for Gaye's 15th studio album, Here, My Dear.
"Come Live with Me Angel" is a smooth soul song by soul singer Marvin Gaye. The song was co-written by singer-songwriter Leon Ware and lyricist Jacqueline Dalya-Hilliard for the former's album Musical Massage. However, Ware gave it to Gaye as he showed interest in it, as well as the other songs Ware had written with Arthur Ross. The song first appeared on Gaye's album I Want You as the second track.