Marvin Gaye – What’s Going On (Live) – Motown B0030147-01 – Vinyl – 1972 – ***1/2
(Marvin Gaye – vocals, piano: Robert White, George Baker – guitars; James Jamerson – bass; Uriel Jones – drums; Eddie “Bongo” Brown – bongos, congas; Jack Ashford – percussion; The Andantes – background vocals; additional players (strings and horns); Maurice King – conductor)
It is very hard, some would say impossible, to recreate a musical masterpiece. Such is the case with Marvin Gaye’s effort to replicate in a live setting, the genius studio work, that led to his 1971 album, What’s Going On. That album is considered by many to be among the very best, and arguably the definitive soul album of all-time.
When it was released, it stood as a breakthrough for Marvin, even though Berry Gordy, the owner of Motown was reluctant to approve its issuance. After all, it went way beyond anything that the label had ever released. It covered political topics of the day – political justice, police brutality, pollution of our environment. Until then, Motown, had been content to limit their artists to sweet, non-political, catchy melody tracks, dealing only with pop issues of heartbreak and love. It was material that would appeal to vanilla tastes, and nothing to offend white audiences. Don’t get me wrong, it was addictive music with just enough soul to entice audiences with its melodies. Gaye contributed mightily to the label’s success, and his duets with Tammi Terrell were a big factor.
But Marvin Gaye wanted more, and What’s Going On covered new ground. Using a heavy bass background with lots of percussion, and a jazz influenced groove, its topics were socially relevant and reached out to a new audience, ready to groove to lyrics that involved reflection. It also began a period in which Gaye later explored funk, disco, and blaxploitation. Many wonder what other idioms Marvin would have entered, if he had not been killed by a gun (over arguments with his father) in 1984.
The 1971 album met wide acclaim, and his hometown of Washington D.C. wanted to honor him, even though Gaye was resistant, feeling that Detroit was his true home. Enticed by a day named in his honor, and his parents present, he relented and in addition to receiving a hero’s welcome at his old high school, and a key to the city from the mayor, an evening concert at the esteemed Kennedy Center was set.
It had been at least four years since he had last performed live, influenced by a collapse onstage by Tammi Terrell in 1967, that deeply shook him. It is pointed out in updated liner notes for the LP reissue of this album, that Marvin Gaye suffered from strong stage fright, which he readily admitted. He was a studio genius, and loved the fact that he could tweak his studio recordings to meet his high standards.
By the time the evening concert began, hours after the audience was admitted, Gaye was probably fatigued and a bit overwhelmed by the daunting task of trying to recreate his studio produced masterpiece in front of a live audience. The resulting concert, without the benefit of rehearsal with a full 20 piece brass and string section, seems not to have come off as a successful effort.
There are times when Marvin’s sweet soulful tenor rises above the limitations he faced, and those times do a bit to counteract the disappointment of what could have been with more preparation. It is likely that what a studio could provide could never be replicated in a concert hall setting. The mic placement also gives the sound mix a distant feel as well.
This first time LP issue has two records, and it begins with one full side of his 60’s hits, that even though presented in a tentative fashion, still bring fond memories today. It’s always fun to hear “Ain’t Nothing Like the Real Thing,” “Grapevine,” “Pride and Joy,” and “Stubborn Kind of Fellow” again. There are nine tracks of 60s favorites.
Side 2 begins awkwardly with “Right On,” the first track of the second side of the iconic studio album. Gaye and his backing group sound a bit uneasy, almost like they are doing a sound check. But by “Wholy Holy” there is better control and Gaye appears more comfortable with his vocal delivery. The horns wrap him in a deep embrace. “Inner City Blues (Make Me Wanna Holler)” is uneven, and Gaye demands an onstage restart, which is only partially successful.
The title track begins Side 3, and it is easy to hear that we’ve been spoiled by the studio version with its in-studio group of friends’ vibe that we have come to love. The live version in a huge concert hall brings us back only ½ of the way. At time Gaye soars, the band cooks, but the excitement seems to fade in a let down finish. “Save the Children” is enhanced by the background vocals of The Andantes, and the song’s heart wrenching lyrics.
Side 4 begins with stage dialogue in which Marvin seems to apologize for the unevenness of how the evening has gone, and states, “Thank you for bearing with us.” The audience had been forgiving throughout the concert, and their response was adulation all evening. They were just ecstatic to be there. The concert ends with reprise performances of “Inner City Blues,” and “What’s Going On.” The former is invigorated by the horns accompaniment.
There is just enough here for Marvin Gaye fans to check out. This is the first vinyl issue of this live concert. The CD version was issued in 2001. It’s such a tragedy that Gaye’s life was cut short, before we had the chance to see where his genius would have taken him.
Tracklist:
Side 1:
Sixties Medley:
That’s the Way Love Is/ I Heard It Through the Grapevine/ Little Darling/You’re All I Need to Get By/ Ain’t Nothing Like the Real Thing/Your Precious Love/Pride and Joy/ Stubborn Kind of Fellow
Side 2:
Right On
Wholy Holy
Inner City Blues (Make Me Wanna Holler)
Side 3:
What’s Going On
What’s Happening Brother
Flyin High (In the Friendly Sky)
Save the Children
God is Love
Side 4:
Stage Dialogue
Inner City Blues (Make Me Wanna Holler)- reprise
What’s Going On- reprise
-Jeff Krow
