Trouble Man Marvin Gaye
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- 1Main Theme From Trouble Man (Part 1)02:32
- 2T Plays It Cool04:26
- 3Poor Abbey Walsh04:12
- 4The Break In (Police Shoot Big)01:57
- 5Cleo's Apartment02:09
- 6Trouble Man03:49
- 7Theme From Trouble Man02:05
- 8T Stands For Trouble04:50
- 9Main Theme From Trouble Man (Part 2)03:53
- 10Life Is A Gamble02:32
- 11Deep In It01:24
- 12Don't Mess With Mister T03:04
- 13There Goes Mister T01:37
Info for Trouble Man
„In 1972, things were rapidly shifting in Marvin Gaye's world. He was coming off of one of his most wide-reaching hit albums with 1971's instant classic What's Going On, and his recording contract with Motown subsidiary Tamla was renewed for a cool million dollars and total creative control, making him one of the most successful R&B artists of his day. With Motown's offices migrating west from Detroit to Los Angeles, Gaye followed suit, beginning work on Trouble Man, both the score to a blaxploitation film of the same name and the soundtrack that would be his next album. With minimal singing (Gaye sings through only the title track, adding fragmentary vocalizations minimally throughout the rest of the album), Gaye wrote, arranged, and conducted the entire soundtrack, working with both Motown players and a full orchestra over the course of its recording. It's been speculated by some that Trouble Man was a concerted effort to move away from the expectations of a carbon-copy follow-up to the almost immeasurably high standards of What's Going On, but it's best to look at the record as an entity unto itself rather than the next Marvin Gaye album in the chain. Though largely absent of his one-of-a-kind vocal presence, the arrangements are richer and more sophisticated than the majority of early blaxploitation fare, with some of the same theatricality and filmic urgency of the best Morricone or David Axelrod soundtracks. With instrumentation more ambitious than even the enormity of What's Going On, Trouble Man never stays in one place for long. "'T' Plays It Cool" paints a hustling cityscape with its solid beat and nervous synthesizer bubbles. Plaintive sax trades verses with rudimentary keyboards and Marvin's soulful wails on "Life Is a Gamble," and mournful passages of chamber strings give way to bounding funk grooves. Isaac Hayes' Shaft soundtrack would become debatably more widely remembered than the movie it scored, and Curtis Mayfield's Superfly soundtrack had a similar reception. Likewise, Trouble Man the soundtrack album outperformed Trouble Man the movie by leaps and bounds, enjoying Top 20 chart success in its day while the movie sank rapidly into obscurity. Looking at the album outside the trends of its era and inward to the art that Gaye was sculpting shows Trouble Man as a mostly wordless statement on the rapidly changing times for both young black America and Marvin's personal life. The compositions well over with equal parts tension and detached cool, moving through modes of heartbreaking struggle, searching wonder, and playful street scenes. While it's been relegated to the lesser status of Gaye's one-off blaxploitation soundtrack, it rises far above the wandering wah-wah guitars and dated bongos of its peers. Trouble Man might not be as immediate or universally relatable as Gaye's soul-searching on What's Going On or his later sensual fixations, but a deep listen will show it's very much part of the same overarching genius that touched all of his work.“ (Fred Thomas, AMG)
Marvin Gaye, vocals, drums, keyboards, piano, synthesizers
Trevor Lawrence, alto, tenor and baritone saxophones
Dale Oehler, horn & rhythm arrangements (on track 9)
Eli Fountain, alto saxophone
Marty Montgomery, soprano saxophone
Gene Page, strings (on track 9)
Bob Ragland, piano, string arrangements (on track 7)
James Anthony Carmichael, horn arrangements (on track 7)
Recorded 1972 at Hitsville West, Los Angeles, California
Produced by 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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