Marvin constantly shortchanged his own abilities throughout his career, but the work he left behind belies all of his modesty. The album and the single came at the right place and the right time, and they still matter- "Mercy Mercy Me" and "Inner City Blues (Make Me Wanna Holler)" have more relevance now than ever.
He'd continue to score with great songs and albums up until his death- "Let's Get It On", the "Trouble Man" soundtrack, "I Want You", "Here, My Dear" (about the end of his relationship with Anna Gordy) and "Midnight Love" (with "Sexual Healing"). His revelatory and unforgettably emotional singing, both as the so-called "stooge" of the 60s and in these albums, was especially what turned him into my favorite singer of all time. No one can touch him for being purely and emotionally honest, and you hear that clear as day on "What's Going On?".
Right on and so well-said. He may not have owned it, but he was no question an artistic warrior, shaman, and sorcerer writ large who did so much in his too short life. He's one of my favorite singers too, and a perfect way to cap off this series.
Have to agree that his songs from the What's Going On album are now more relevant than ever, over half a century later. And have to hope that they continue to inspire generations today and to come.
This is a great write-up of a song that can seem too familiar but really is a masterpiece. Another song I'll add to the protest jukebox is by Syl Johnson: Is It Because I'm Black. Released in 1969, Johnson was inspired to create the song after the assassination of Martin Luther King, Jr. It features a moody vibe that would feel very familiar to anyone who's heard later songs like What's Going On, Back Stabbers, or Smiling Faces Sometimes, the song hit 11 on the Billboard R&B chart. The subsequent album was great, too, but not commercially successful, leaving Johnson's contribution to the canon of Black protest music somewhat forgotten. Let's reverse that trend here and now! https://youtu.be/6JNwqRF32ZI?si=2I-mmNW2MkrebouU
Thanks, Jeremy, for the kind words and for sharing the Syl Johnson protest song. Perfect timing as I prepare my post on honorable mentions, but also I'm suspecting that others like me have never heard it before. Agree that we must reverse that trend for an excellent protest song but also just an excellent song (arranged by Donny Hathaway). Love it.
Great piece, Ellen! No matter how many times I hear/read stories from Motown's golden era, they never get old to me - what an amazing phenomenon it was. I love the image of James Jamerson lying on the floor in the smoke-filled basement studio playing those sublime bass lines. . .
Nicely done Ellen, and a boat load of work on your part. Must admit the details of Marvin Gaye and his story completely escaped my notice during the time period, although we never turned the dial when this song aired.
Can you imagine a moment today when troops would face a crowd with bayonets fixed? Wow, what times these were.
Thanks, David. I didn't know the story either until now, just always loved the song.
The photos from People's Park were quite shocking, I have to admit. Transforming shock and tragedy into music has to be one of the most mature and effective ways to deal with the aftermath of something like that.
Hey Ellen, working a deal with my luthier for a dream guitar (Martin sc18e), mahogany back and sides, Sitka top, made in the Martin factory. Don’t know how I’m going to pay for it, but it’ll take about a year to arrive so there’s time.
Congratulations! You may have solved a music mystery for me. I distinctly remember my 11th grade black dance/drama teacher named Debbie improvising an breathtaking dance to this song circa spring semester 1970, on the stage of the Berkeley Community Theatre where the class was held. But…album released 1971! In revealing that composer Obie Benson was at People’s Park riots in May 1969, it is entirely possible that he *somehow* gave her a copy. At least that’s what I now can believe. That’s a detail I did not know before. Of course it may have been Mercy Mercy Me instead. But the breathtaking dance did happen . . . We got home on the bus passing the tear gas on Telegraph Avenue. Good times!
That's a pretty powerful memory. Both songs are fantastic, so either one could be the basis for a breathtaking dance. But glad you got home safely, and also that your music mystery might be solved.
Marvin constantly shortchanged his own abilities throughout his career, but the work he left behind belies all of his modesty. The album and the single came at the right place and the right time, and they still matter- "Mercy Mercy Me" and "Inner City Blues (Make Me Wanna Holler)" have more relevance now than ever.
He'd continue to score with great songs and albums up until his death- "Let's Get It On", the "Trouble Man" soundtrack, "I Want You", "Here, My Dear" (about the end of his relationship with Anna Gordy) and "Midnight Love" (with "Sexual Healing"). His revelatory and unforgettably emotional singing, both as the so-called "stooge" of the 60s and in these albums, was especially what turned him into my favorite singer of all time. No one can touch him for being purely and emotionally honest, and you hear that clear as day on "What's Going On?".
Right on and so well-said. He may not have owned it, but he was no question an artistic warrior, shaman, and sorcerer writ large who did so much in his too short life. He's one of my favorite singers too, and a perfect way to cap off this series.
Have to agree that his songs from the What's Going On album are now more relevant than ever, over half a century later. And have to hope that they continue to inspire generations today and to come.
This is a great write-up of a song that can seem too familiar but really is a masterpiece. Another song I'll add to the protest jukebox is by Syl Johnson: Is It Because I'm Black. Released in 1969, Johnson was inspired to create the song after the assassination of Martin Luther King, Jr. It features a moody vibe that would feel very familiar to anyone who's heard later songs like What's Going On, Back Stabbers, or Smiling Faces Sometimes, the song hit 11 on the Billboard R&B chart. The subsequent album was great, too, but not commercially successful, leaving Johnson's contribution to the canon of Black protest music somewhat forgotten. Let's reverse that trend here and now! https://youtu.be/6JNwqRF32ZI?si=2I-mmNW2MkrebouU
Thanks, Jeremy, for the kind words and for sharing the Syl Johnson protest song. Perfect timing as I prepare my post on honorable mentions, but also I'm suspecting that others like me have never heard it before. Agree that we must reverse that trend for an excellent protest song but also just an excellent song (arranged by Donny Hathaway). Love it.
Great piece, Ellen! No matter how many times I hear/read stories from Motown's golden era, they never get old to me - what an amazing phenomenon it was. I love the image of James Jamerson lying on the floor in the smoke-filled basement studio playing those sublime bass lines. . .
Thanks, Hugh. There's actually a photo taken of James playing on the floor, and it boggled my mind seeing that photo and then listening to the song.
Motown had an uncanny ability to discover genius during that era, that's for sure. And boy did we benefit from it.
This is one of my favorites from your list. I think it still really holds up - totally relevant today!
Glad you esteem it too!
Nicely done Ellen, and a boat load of work on your part. Must admit the details of Marvin Gaye and his story completely escaped my notice during the time period, although we never turned the dial when this song aired.
Can you imagine a moment today when troops would face a crowd with bayonets fixed? Wow, what times these were.
Thanks, David. I didn't know the story either until now, just always loved the song.
The photos from People's Park were quite shocking, I have to admit. Transforming shock and tragedy into music has to be one of the most mature and effective ways to deal with the aftermath of something like that.
Hey Ellen, working a deal with my luthier for a dream guitar (Martin sc18e), mahogany back and sides, Sitka top, made in the Martin factory. Don’t know how I’m going to pay for it, but it’ll take about a year to arrive so there’s time.
Sweet!
If I may quote John Lennon, “Every day, in every way, it’s getter better and better.”
John Lennon quotes always welcome.
Nice write up. I wasn’t really up on the Marvin back story.
Thanks, Daniel. I wasn't either, found it was pretty fascinating.
Congratulations! You may have solved a music mystery for me. I distinctly remember my 11th grade black dance/drama teacher named Debbie improvising an breathtaking dance to this song circa spring semester 1970, on the stage of the Berkeley Community Theatre where the class was held. But…album released 1971! In revealing that composer Obie Benson was at People’s Park riots in May 1969, it is entirely possible that he *somehow* gave her a copy. At least that’s what I now can believe. That’s a detail I did not know before. Of course it may have been Mercy Mercy Me instead. But the breathtaking dance did happen . . . We got home on the bus passing the tear gas on Telegraph Avenue. Good times!
That's a pretty powerful memory. Both songs are fantastic, so either one could be the basis for a breathtaking dance. But glad you got home safely, and also that your music mystery might be solved.