That's the Way Love Is (album)
That's the Way Love Is is the tenth studio album by soul musician Marvin Gaye, released on January 8, 1970, on the Tamla label. Built on the success of the title track taken from M. P. G. and much like Gaye's "I Heard It Through The Grapevine" after its success, was released with intent to sell albums based on the success of one particular single. Gaye was showing signs of disillusionment from the label's powers-that-be mentality but it didn't affect the singer's performance as he gave a powerful vocal in the title track and was impressive with his version of The Beatles' "Yesterday", he achieved some success with a cover version of "How Can I Forget?", which just missed out on the US Pop Top 40, making #41, reached #18 on the R&B Charts. It's B-Side, a cover of Jimmy Ruffin's "Gonna Give Her All the Love I've Got", made a separate chart entry, peaked at #67 and #27 on the Pop and Soul Charts respectively. Gaye recorded a version of Ruffin's "Don't You Miss Me a Little Bit Baby" for the album.
The LP features Gaye's rendition of the conscious tune "Abraham, Martin & John", which became a hit in the UK, peaking at #9 in June 1970. The single is regarded as a hint of what would follow a year with his What's Going On, he covered The Temptations' hits "I Wish It Would Rain" and "Cloud Nine". Side One "Gonna Give Her All The Love I've Got" - 3:21 "Yesterday" - 3:26 "Groovin'" - 2:57 "I Wish It Would Rain" - 2:50 "That's The Way Love Is" - 3:44 "How Can I Forget?" - 2:04Side Two "Abraham, Martin & John" - 4:30 "Gonna Keep On Tryin' Till I Win Your Love" - 2:46 "No Time for Tears" - 2:26 "Cloud Nine" - 3:19 "Don't You Miss Me A Little Bit, Baby?" - 2:14 "So Long" - 2:27 Marvin Gaye - lead vocals The Andantes - background vocals The Originals - background vocals The Funk Brothers - instrumentation
I Heard It Through the Grapevine (album)
I Heard It Through the Grapevine! is the eighth studio album by soul musician Marvin Gaye, released on August 26, 1968 on the Motown-subsidiary label Tamla Records. Released as In the Groove, it was the first solo studio album Gaye released in two years, in which during that interim, the singer had emerged as a successful duet partner with female R&B singers such as Kim Weston and Tammi Terrell; the album and its title track are considered both as Gaye's commercial breakthrough. By 1968, Marvin Gaye had released only a few solo singles in three years. Between his Kim Weston duet, "It Takes Two" and his Tammi Terrell duets, "Ain't No Mountain High Enough" and "Your Precious Love" among others, Gaye released only one single, "Your Unchanging Love", which peaked at number 33 on the Billboard Hot 100. Motown brought Gaye back to the studio to record a solo album. Recording difficulties aside, Gaye's vocals went through a transition through this period. Done on purpose, Gaye's earlier collaborator Norman Whitfield and his pupil, Frank Wilson, began to write songs they felt fit the singer's chaotic personal life: Gaye's marriage to Anna Gordy was turbulent as was life on the road in which Gaye grew a constant dislike to live performances and his personal disagreements with Motown CEO Berry Gordy had started to create strain in his relationship with the Motown label.
On top of that, during an October 1967 engagement at Hampden-Sydney College with Terrell, the younger Terrell collapsed from exhaustion into Gaye's waiting arms. Terrell was diagnosed at the end of the year with having a brain tumor, which depressed Gaye; some speculate Terrell's illness and subsequent death two and a half years affected Gaye's performances in which he went from being a soul stylist in the same way his idol Sam Cooke had been into a more gospel-influenced soul vocalist who sounded more in par with Otis Redding, James Brown, Temptations lead singer David Ruffin. However, during the recording of what would become Gaye's biggest-selling and signature single of his career, "I Heard It Through the Grapevine", Whitfield decided to force Gaye to raise his vocal register higher than what he was used to, which Whitfield tried on Ruffin during the recording of the Temptations hit, "Ain't Too Proud to Beg". Though Gaye and Whitfield argued over the sessions of "Grapevine", Whitfield was able to get what he wanted from Gaye, the duo started a collaboration that lasted into the beginning of 1970.
When Whitfield presented "Grapevine" to Berry Gordy, the producer was stunned when Gordy turned it down sensing the song "wasn't a hit" and that "it sucked". Whitfield released a version of the song by Gladys Knight & the Pips in an attempt to "out-funk Aretha Franklin's "Respect". Gordy agreed to allow "Grapevine" in the album, now titled In the Groove, but Whitfield was still determined to get Gaye's version of the song released as a single. Motown instead issued the Ivy Jo Hunter-produced "You", recorded after "Grapevine" and showcased Gaye hollering in falsetto for the first time. Another single, "Chained", would peak at number 32 on the pop chart; the latter song was climbing the chart when radio deejays began playing "Grapevine", much to Berry Gordy's chagrin. To everyone's surprise, when Gordy allowed the release of Gaye's version of "I Heard It Through the Grapevine", the song blew up on the charts upon its October 1968 release. By the end of the year, the song had hit number-one on both the Billboard Hot 100 and the Hot-Selling Soul Singles charts and by 1969 had reached number one on the UK Singles chart becoming Gaye's first international smash.
However, when Gaye heard about its success, he acted coldly to it due to his depressed state over Tammi Terrell. He told a biographer he felt the song's success was "undeserved". Motown re-released the album as I Heard It Through the Grapevine and, due to the song's success, the album shot up to number 2 on the R&B albums chart and peaked at number 63 on the pop albums chart. Gaye's album wasn't the only album to be re-released after a hit single: in 1970, The Miracles' Make It Happen album released in 1967, was re-released in 1970 as Tears of a Clown, after that song hit number-one in the US and internationally; that same year, Diana Ross' self-titled debut album was re-released as Ain't No Mountain High Enough after that song's success. Though Whitfield only produced just one song on the album and Whitfield will embark on a two-album collaboration. However, after "That's the Way Love Is" became a hit for Gaye in 1969, Motown released the song a second time on the album of the same name; this album marked Gaye's first attempts at producing himself in the studio with his own self-penned songs, the funky gospel dancer, "At Last I Found a Love", the smoother "Change What You Can".
Marvin Gaye – lead vocals The Andantes – background vocals The Originals – background vocals Gladys Knight & The Pips – background vocals Telma Hopkins – background vocals Joyce Vincent Wilson – background vocals Pamela Vincent – background vocals The Funk Brothers – instrumentation Detroit Symphony Orchestra – instrumentation Norman Whitfield – producer Ivy Jo Hunter – producer Frank Wilson – producer
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Soul music is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown and Stax were influential during the Civil Rights Movement. Soul became popular around the world, directly influencing rock music and the music of Africa. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an tense vocal sound; the style occasionally uses improvisational additions and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture.
The new-found African-American consciousness led to new styles of music, which boasted pride in being black. Soul music dominated the U. S. R&B chart in the 1960s, many recordings crossed over into the pop charts in the U. S. Britain and elsewhere. By 1968, the soul music genre had begun to splinter; some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul; the United States saw the development of neo soul around 1994. There are several other subgenres and offshoots of soul music; the key subgenres of soul include a rhythmic music influenced by gospel. Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s.
The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States. According to musicologist Barry Hansen,Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time. According to AllMusic, "oul music was the result of the urbanization and commercialization of rhythm and blues in the'60s." The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term "soul" in African-American parlance has connotations of African-American culture. Gospel groups in the 1940s and'50s used the term as part of their names; the jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music functioned as an umbrella term for the African-American popular music at the time.
Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, Etta James. Ray Charles is cited as popularizing the soul music genre with his series of hits, starting with 1954's "I Got a Woman". Singer Bobby Womack said, "Ray was the genius, he turned the world onto soul music." Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, James Brown both were influential. Brown was nicknamed the "Godfather of Soul Music", Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin'", because his music embodied elements of all three, since he inspired artists in all three genres. Sam Cooke and Jackie Wilson are acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group The Soul Stirrers, before controversially moving into secular music, his recording of "You Send Me" in 1957 launched a successful pop music career.
Furthermore, his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience". Jackie Wilson, a contemporary of both Cooke and James Brown achieved crossover success with his 1957 hit "Reet Petite", he was influential for his dramatic delivery and performances. Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had enjoyed enormous success, as had James Brown and Sam Cooke — in a pop vein. E
More (Theme from Mondo Cane)
"Ti Guarderò Nel Cuore" released under the international title "More", is a film score song written by Riz Ortolani and Nino Oliviero for the 1962 Italian documentary film Mondo Cane. Ortolani and Oliviero composed it as an instrumental, it has become a pop standard. The film Mondo Cane is a documentary, uses a variety of music to accompany various segments; some melodies are used in different styles, each named for the part of the movie where the music is used. Of the 15 music tracks on the soundtrack album, one melody is presented 6 times, another melody 2 times; the melody which became known as "More" is presented 4 times, named "Life Savers Girls", "The Last Flight/L'Ultimo Volo", "Models In Blue/Modelle in Blu", "Repabhan Street/Repabhan Strasse", in styles ranging from lush to march and 3/4 waltz. "More" is one of Ortolani's influential works. It was nominated for the Academy Award for Best Original Song at the 36th Academy Awards in 1964, where it was performed in english by Katyna Ranieri.
The nomination led Ruggero Deodato to hire Ortolani to compose the score for his film Cannibal Holocaust. Katyna Ranieri recorded “'Ti Guarderò Nel Cuore” with italian lyrics in 1962, with an orchestra conducted by the composer Ortolani, her husband, it was issued as a 45rpm single by MGM. Ranieri sang “More” live in english at the 36th Academy Awards in 1964, where the song was nominated for an Oscar. "More" first caught U. S. attention as a pop instrumental hit by jazz trombone player Kai Winding, arranged and conducted by Claus Ogerman, released as a single on Verve 10295. Popular in the summer and autumn of 1963, the record peaked at #2 on the Easy Listening chart and at #8 and lasted 15 weeks on the Billboard Hot 100. Rather than employing a traditional jazz instrument, the recording's melody was instead performed on the electronic Ondioline by Jean-Jacques Perrey. Verve retitled the parent album Soul Surfin' containing "More" and other songs performed by Winding's big band!!!! More!!! to capitalise on the single's popularity.
While Winding's brassy performances feature top jazz players, notably Kenny Burrell on guitar, the arrangements are in so-called "surf music" style. After Winding's recording became popular, United Artists added to the soundtrack cover a starburst stating "INCLUDED IN THIS ALBUM THE HIT SONG "MORE". A vocal version of "More" by Vic Dana stalled at #42 in early October 1963, two weeks before Winding's rendition dropped off the Billboard chart, but the song did much better over the years, recorded hundreds of times by many artists, ranging from Frank Sinatra to the Baja Marimba Band. It is now considered a pop standard. A 1976 cover by Carol Williams on the Salsoul label was popular when disco was breaking into the mainstream and is seen as an early disco classic. "More" was the first 12-inch commercial all over the world. It made # 8 on the Dance Music/Club Play Singles and # 98 on the R&B Singles. Frank Sinatra's swinging version, with accompaniment by Count Basie and his orchestra and arranged by Quincy Jones, is on his 1964 album It Might as Well Be Swing.
Duke Ellington recorded a ballad version of the song on his Ellington'65 album. Nat'King' Cole recorded a version on his 1965 album L-O-V-E. Sergio Franchi performed this song at many of his concerts, on several TV shows, he recorded "More" on The Exciting Voice of Sergio Franchi. Andy Williams released a version of the song on his 1964 album, The Academy Award-Winning "Call Me Irresponsible" and Other Hit Songs from the Movies. Al Bishop and the Faxar from Iceland recorded the song in Oslo on August 23, 1967, released as single HMV 45-AL 6149. Roy Orbison recorded a version on his 1969 album Roy Orbison's Many Moods. Glen Campbell recorded the song in 1969 on his album Glen Campbell Live The song was notably covered by The Supremes in their American and European performances from 1966 to 1968, their version is found on Live on Greatest Hits: Live in Amsterdam. The group performed the song on The Ed Sullivan Show in 1966. Vic Damone recorded a version on his 1997 album Greatest Love Songs of the Century.
The song was covered by Italian singer Matteo Brancaleoni in four different versions in his albums Just Smile, Live in studio, Live! and New Life. Other artists who have covered this song include Bobby Darin, The Ventures, Shirley Bassey, Tom Jones, Matt Monro, Jack Jones, Booker T. & the M. G.'s, The Rascals, Alma Cogan, Doris Day, Harry James, Herb Alpert and the Tijuana Brass, Judy Garland, Line Renaud, Connie Francis, Caterina Valente, Nancy Wilson. Lyrics of this song at MetroLyrics
Harvey Fuqua was an American rhythm and blues singer, record producer, record label executive. Fuqua founded the seminal R&B/doo-wop group the Moonglows in the 1950s, he is notable as one of the key figures in the development of the Motown label in Michigan. His group gave Marvin Gaye a start in his music career. Fuqua and his wife at the time, Gwen Gordy, distributed the first Motown hit single, Barrett Strong's "Money", on their record label, Anna Records. Fuqua sold Anna Records to Gwen's brother Berry Gordy and became a songwriter and executive at Motown, he was the nephew of the uncle of the filmmaker Antoine Fuqua. Fuqua was born in Kentucky, he was the nephew of Charlie Fuqua of the Ink Spots. In 1951, with Bobby Lester, Alexander Graves and Prentiss Barnes, he formed a vocal group, the Crazy Sounds, in Louisville moving with other members of the group to Cleveland, Ohio. There they were taken under the wing of disc jockey Alan Freed, who renamed them the Moonglows, after his own nickname, Moondog".
The Moonglows' first releases were for Freed's Champagne label in 1953. They recorded for the Chance label in Chicago, before signing with Chess Records in 1954, their single "Sincerely" reached number 1 on the Billboard R&B chart and number 20 on the Hot 100 in late 1954. Recording for Chess Records, Fuqua shared lead vocals with Lester but asserted himself as the leader of the group; this changed in 1957 when he, in effect, fired the other members and installed a new group known as the Marquees, which included Marvin Gaye. The new group, billed as Harvey and the Moonglows, had immediate success with "Ten Commandments of Love". Fuqua left the group in 1958; the Moonglows reunited temporarily in 1972. They were inducted into the Rock and Roll Hall of Fame in 2000. While on the Chess label, Fuqua sang duets with Etta James, having hits with "If I Can't Have You" and "Spoonful". Fuqua left the Moonglows. At Anna Records, Fuqua began working with Billy Davis, Lamont Dozier and Johnny Bristol, he introduced Marvin Gaye to Anna's brother, Berry Gordy, married their sister Gwen Gordy.
In 1961, he started his own labels, Tri-Phi Records and Harvey Records, whose acts included the Spinners, Junior Walker and Shorty Long. However, tiring of running a small independent label, Fuqua welcomed the opportunity to work at Motown. Fuqua brought the Spinners and Johnny Bristol to co-produced several hits for Bristol, he was responsible for bringing Tammi Terrell to the label and for suggesting and producing her duets with Marvin Gaye, including "Ain't No Mountain High Enough" and "Your Precious Love". In 1962, with the Five Quails, Fuqua had a minor hit with "Been a Long Time". Around 1971, Fuqua left Motown and obtained a production deal with RCA Records, for which he had particular success with the band New Birth, he discovered the disco pioneer Sylvester and "Two Tons o' Fun", producing Sylvester's hit singles "Dance" and "You Make Me Feel" in 1978 and his album Stars in 1979. He served as Smokey Robinson's road manager. In 1982 he reunited with Marvin Gaye to produce the singer's Midnight Love album, which included the single "Sexual Healing".
In 2000 he set up his own record company. He served as a trustee of the Rhythm and Blues Foundation. Fuqua co-wrote one of the most famous disco instrumentals, "K-Jee", recorded by The Nite-liters, an offshoot of New Birth, Philadelphia session musicians MFSB for the movie Saturday Night Fever. Fuqua resided in Las Vegas, until his death from a heart attack in a hospital in Detroit on July 6, 2010. In March 1995, Fuqua and with his wife, incorporated the Foundation for the S. T. A. R. S. A nonprofit organization that reaches out to address some of the difficulties to underprivileged youth in the inner cities of America, with the belief that every dream should have the opportunity to be realized. In November 1982, disco star Sylvester filed a lawsuit against Fuqua and Fantasy Records, which led to a judgment that the company had been withholding money from him, in the amount of $218,112.50. Fuqua was unable to pay more than $20,000, so that Sylvester never received most of the money, owed to him. Harvey Fuqua discography at Discogs Harvey Fuqua on IMDb The Fuqua's Foundation for the S.
T. A. R. S. Website Beaudaddy's Memorial Website Dedicated to Harvey
Here, My Dear
Here, My Dear is the fifteenth studio album by music artist Marvin Gaye, released December 15, 1978, on Motown-subsidiary label Tamla Records. 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's being dedicated to the fallout of Gaye's marriage to his first wife, Anna Gordy Gaye. A commercial and critical failure upon its release, it was hailed by music critics as one of Gaye's best albums in the years following Gaye's passing. "It's taken me a while," Anna admitted in years, "but I've come to appreciate every form of Marvin's music." 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, sought child support for their adopted son, Marvin Gaye III. Gaye argued his spending habits were causing him to fall behind on payments.
In September 1976, a warrant was issued for Gaye's arrest. Several weeks Gaye accepted an offer to do a tour of Europe. Between October and December 1976, Gaye performed in the United Kingdom, 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 Marvin 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 in June. When Gaye was set to start production on the record, he said he figured he would just do a "quickie record - nothing heavy, nothing 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 his ex-wife, the more it fascinated him, stating he felt he "owed the public my best effort."
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."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 didn't write his lyrics, composed on the spot, mumbling over prerecorded tracks or to his own accompaniment; the mumblings were "embryonic melodies", which evolved into lyrics after three or four takes. Gaye ended up playing all the keyboard parts of the album, saying "I didn't plan it that way, it just turned out to be a hands-on project." According to PopMatters journalist Mike Joseph, Here, My Dear's music was "largely midtempo funk, with elements of traditional soul and doo-wop mixed together with a slight hint of disco". The title track opens the album, in the album's liner notes David Ritz describes Gaye's tone in the song as "self-serving, self-justifying 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, anger, regret". 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. "Everybody Needs Love" is described as an "attempt to empathy". "Time to Get It Together" includes a confessional, influenced by Stevie Wonder's song, "As". "Anna's Song" is described as "the heart" of the album. "A Funky Space Reincarnation" alluded to Star Wars as well as the music of George Clinton's Parliament-Funkadelic. "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". An Allmusic reviewer 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 several vocal overdubs can't save his delivery; 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. The back cover features a temple with the word "matrimony" collapsing around a mock-Rodin sculpture of a romantic couple; 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; the scales of justice sit above the game. David Ritz described the ju