Customer Reviews

Let's Get It On

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3 star:		(3)
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An utterly classic, highly-recommended album, but if you have the previously-released remastered version you don't need this. The two bonus tracks are the abbreviated single edits of two album tracks - hardly worth an upgrade. If you have the two-CD special edition, you've got it all.

In 1971, Marvin Gaye put out his classic album _What's Going On?_, which largely focused on ever-present world issues (drugs, war, racism, etc), then the next year, he put out a soundtrack to a fim called _Trouble Man_. And, in 1973, he put out _Let's Get It On_. Yes, that last title means *exactly* what you think it means!

On these eight wonderful tracks, Marvin takes us on a romantic odyssey which is every bit as seductive as the title suggests - so seductive, you can almost taste it. Smooth-as-silk vocals give way to fiery, impassioned, ecstatic releases, which are punctuated by the caramel harmony vocals, hushed congas and bongas, strings and a multitude of other instruments. The result? Something as close to the actual...real thing, it's overwhelming. To borrow a quote from the man himself, "you know what I'm talkin' 'bout..." it's so good, it almost makes me cry.

Some singers had the ability to do things with their voices, that, when hearing them, they almost seemed like a totally different being than human, and they almost seemed as if they went somewhere else, while they were doing what they did with their voices, and as listeners, we were able to go somewhere else -- someplace higher -- while we were listening, too. Some singers had this, some didn't. Marvin had it, and he had it in droves.

The things listed in the last two paragraphs apply *largely* to tracks like the title cut, and it's companion "Keep Gettin' It On." In fact, the latter seems more like an extended coda to the title hit, and it could have easily been added as the coda to the original. Either way, both are a sheer joy to have.

On "Come Get To This," things fasten up a bit. Marvin's seductive sensuality is still in tact, but this time, he doesn't take as much time as he did in much of the other songs. On "Distant Lover," Marvin returns to the slow-burning ecstasy found in songs like the title track, and the yearning throughout the song, especially the pleading--more like crying--near the end of the song, is so painful for me to listen to, even after hearing the song for the longest time, while the last song, the dramatic "Just To Keep You Satisfied," was said to be written about Marvin's ex-wife at the time. This song ends on quite a melancholic, reflective, and almost sad note.

This is classic stuff, and a must for those who love Marvin Gaye, but come to think of it, most fans who love Marvin already own this album. If you love classic R&B, loaded with sensuality, or if you just want something that sounds good (which is an understatement, to say the least), grab this.

Music critics always cite "What's Going On?" as Marvin's best album. It's a great album, for sure, but this one is better. It was Marvin's biggest selling Motown album, it went triple platinum within a year back when the US had about a hundred million fewer inhabitants than it does now.

Let's refer to this as an album as opposed to a CD. When it was released in 1973, it was a concept album, and if you listen to it start to finish, it takes you through the phases of a relationship that starts out with a bang, and ends with the banging of a gavel.

It begins raw and pleading with "Let's Get It On", moves to declarations of true love with "If I Should Die Tonight" and ends on a sad note with "Just To Keep You Satisfied". The additional tracks don't add to the total enjoyment of the album as it was intended. It's like a going back for a salad after dessert at the end of your 7 course meal.

As a single (with a remake of the Temptations' classic "I Wish It Would Rain" as its B-side), "Let's Get It On" sold over 2 million copies during its first 6 weeks of release, eventually topping 4 million copies sold. The lyrics were originally penned by Ed Townsend, but Marvin changed them to impress his very young girlfriend, who was present at the recording of the song. You can hear an example of what the original lyrics were on "Keep Gettin' It On", which is track 4 here.

Marvin wrote or co-wrote all of the songs on the album. He also arranged and sang background vocals. He got his start in Washington, DC with a doo-wop group called the Moonglows, and that doo-wop influence is evident throughout this album, especially on "Please Stay" and "Distant Lover".

Listening to this album demands that it be dark outside, the lights inside dim, and you have someone with you that you don't mind being real close to.

This is as funky an album that you can have in your home. No one knows just HOW funky the album was, however. Mainly, listen to the opening bars of "Let's Get It On" and see what I mean by that mellow but modern funk. Marvin's vocals had a mixture of blues, soul, jazz and gospel, the music was also a mixture of the four genres and the way the backgrounds forged with the strings near the end with that flute? Ah man... if that ain't funky as it is sexy, I don't know what is.

Marvin Gaye was made to sing. You have singers and then you have SANGERS. Marvin is a SANGER. He made you feel what he was saying, especially in this 8-track tour-de-force. Even before putting the album on, you can tell the album was revolutionary from the cover. It was a different Marvin on the cover compared to the one from "What's Going On", the total opposite of "Let's Get It On".

In the former, Marvin had a solemn, distraught and sadden look to his face where it looks like he's getting ready to cry because he's sick and tired of the mess surrounding him and the world, I reckon. But in the cover to "Let's Get It On", it's a different kind of anguish. It seemed like from that cover, you knew Marvin, now draped in a red skullcaps (or kufis) and casual attire, was going through demons of the soul, the heart, the mind and the body.

Lots of people still probably think the title song was just about love and sex and heralded back to Marvin's pre-What's Going On days but listen closely. This ain't the same guy who told his girl she was his pride & joy, nor was it the one who hitch-hiked to every state to find his girl, nor was it the one who sung all them love ballads with female singers. No, this Marvin was completely different. He took what he absorbed from the political, social and religious content of "What's Going On" and made a varied and edgier personal album for "Let's Get It On". The title song was about fighting demons of the heart, body and soul. In one instance, he wants to "get it on" with his woman, in another, though, he brings in a gospel-like sensory when he asks his woman "have you been sanctified?" I mean, this guy was both sexual and religious at the same time. A simple love song built among a funk rhythm turned into a gospel sermon. You would've thought he was saying "GOD, HELP ME!" instead of "I'M BEGGING YOU TO GET IT ON!" You know?

In a 3-song suite that follows after LGIO ("Please Stay", "If I Should Die Tonight" and "Keep Gettin' It On") which he co-composed with doo-wop pioneer Ed Townsend, Marvin fights more demons. In "Please", he fights against loneliness and sadness in a few quick minutes, "If I Should Die Tonight" sounds like a man fighting for sanity while telling his woman "get prepared for whatever outcome comes along if someone takes me away". It's almost like a sad love song to fight suicide almost solemnly. "Keep Gettin' It On", however, sounds different to me. Whereas you may think it was "Let's Get It On, Part 2", it was actually the basis of the original version of the song, which was originally penned by only Townsend. The man had written a religious song to celebrate his sobriety but Marvin changed all of that. In this one, it's like Marvin was pleading to the world to love and not hate: "won't you rather make love, children, as opposed to war like you know you should?" When he asks his audience "have you ever loved somebody?", he could've been talking about different types of people. In other words, the song is not only about love but peace also. So for those who said Marvin drift away from political or social topics after "What's Going On", I think "Keep Gettin' It On" is a political and social statement.

In the second suite with songs from 5 to 8 are very different. More relaxed and more classy in terms of Marvin's own doo-wop roots, "Come Get to This" starts off the suite as one of the happiest sounding songs on the album, as if to keep the optimism going from "Keep Gettin' It On" when Marvin sings happily about a woman coming back to his life after a split.

"Distant Lover" is probably the morning after when the lover goes away "down a lonesome road" with the singer wondering if the person was ever going to come back and doesn't. But I always felt that song had double meaning for Marvin. It's almost like this girl was so special for him he's not able to let go and wonders if it was just a mirage though he reminds himself of her loving grace: "Didn't you know that at every moment I spent with you, I treasure it like it was a precious jewel", Marvin sings so sweetly before literally bleeding and crying on the track at the end.

"You Sure Love to Ball" is the only explicit song on this album because it definitely meant what it entailed: sex. No ifs, ands or butts about it. One of the first songs after Sylvia's legendary "Pillow Talk" single to include moans and groans on a song. But it has to be the last track that really when you get down to it is a really depressing if not deeply wrenching and emotional track.

"Just to Keep You Satisfied" was autobiographing the decay of Marvin's first marriage to Anna Gordy. It was so explicit in biographic detail that you're almost in Marvin's world of heartache. It's built around a sad and dark gothic-esque string quartet that solemnly carries on like somebody just died. The doo-wop backgrounds are classic and Marvin is in a depressed mood wondering if he and his soon-to-be-ex will ever find happiness apart as he solemnly put it at the end of the song. You could actually feel Marvin's tears on your ear phones as he sings "it's too late for you and me, too late for you and I, much too late for you to cry" over and over again.

It seems Marvin was fighting more than just demons of the aforementioned but also demons of love lost. The album was meant to be simply an album of love and sex but when you really listen to it, it's not that at all, it's trying to calm the anger in the spirit and the soul of the man who felt he was slowly losing his ground in life as he went from one new life and saying goodbye to a past life. All in all, it's exactly what "What's Going On" was but more personal to the sadness and anger and tension that was building inside Marvin.

To close, "Let's Get It On" is exactly what many have called it: a masterpiece. Listen to the album for real to know what I'm truly talking about here, these are not words just coming from a fan of Marvin's, I experienced some of that guilt and pain but Marvin took it to a whole new level. Now that's funky.

The original, sensual soul classic - often imitated, never duplicated. While the smash hit title track (#1 Pop, #1 R&B) is reason enough for most listeners to give this disc a listen, they will be pleasantly surprised to find that the entire disc is much deeper than it may first appear. "Let's Get It On" is basically the main theme behind each of the album's eight tracks, with the a reprise of the title cut, entitiled "Keep Gettin' It On," the only track that even comes close to sounding repetitive.

While using the same motif, Marvin manages to hit the theme from a different angle with the remaining tracks. The emotive pleading of "Please Stay (Once You Go Away)" and the concert staple "Distant Lover" (#28 Pop, #12 R&B) combines with the erogenous seduction of the hit "Come Get To This" (#21 Pop, #3 R&B) and the failed (yet brilliant) single "You Sure Love To Ball" to form one of the most multi-layered portraits of love making to ever hit the mainstream. Things get very personal on the pained, slightly bitter "Just To Keep You Satisfied," which makes the concept of gettin' it on seem more shallow than it used to be.

While Marvin was always in great voice throughout his entire career, there is something even more passionate in his delivery here, especially on "If I Should Die Tonight" and the title track, that really stands out to me. Like the single of the same name, the LET'S GET IT ON album was a massive success, hitting #2 on the Hot 200 and becoming Marvin's biggest selling album.

After the amazing 1971 album "What's Going On" where Marvin focused on the problems in society and trying to find relief by gospel inspired songs about faith and spirituality, He defenitely changed direction with the successor "Let's Get It On" which is a seductive and lustful plea to make love, incase the album title wasn't straight forward enough. It's infact completely diffrent from "What's Going On" and that is also the beauty of it. Instead of stomping on the same ground, Marvin creates the most seductive album in history, Prince, Keith Sweat and R. Kelly are excused but this album takes the price. From song 1-8 and all way through the album we have the same concept of brilliant and truly unforgettable romantic and sexual love songs.

The original plan was the record an album with simular message to "What's Going On", Marvin made the sountrack to the film "Trouble Man" but wanted to make another political album right after. Some songs had been recorded for a new album but it went slow and dropping a great sequal to an award winning album was difficult. A man called Kenny Stover wrote a politican song called "Let's Get It On" but when Gaye's songwriting partner Ed Townsend heard he thought it would be better suited for a love song between a man and woman "getting it on" and he and Marvin re-wrote the lyrics. Poor Stover never got songwriting credits, but this was the start for a groundbrealking concept album about love, sensuality and romance. The title track peaked at #1 on the pop charts and the album became the most selling in the history of Motown, at this point. Let's take a closer look at the songs.

It all starts with the title track, which is a plea for sexual liberation. Coming from a strict religious home where his father was a pastor and back in the early 70's when this album was released, it wasn't as obvious as it may be today to release such song, Infact there weren't many songs as daring and straightforward as "Let's Get It On" on radio in 1973. And in my oppinion this is the ultimate love theme. The passion and energy that Marvin delivers on this song is second to none and it's a wonderful song aswell. "Please Stay (Don't Go Away)" is another touching song full of emotion where Marvin pleas to a woman to stay after spending a romantic night together. A beautiful romantic ballad called "If I Should Die Tonight" probably takes the price for emotion. On the hook he sings "If I should die tonight love Darlin'/ though it be far before my time/ I won't die blue/ 'Cause I've known you". "Keep Gettin' It On" which is a sequel to the title track is next up. It features the same music and same theme, just some diffrent lyrics. The first 4 songs were part of side 1 that were written and produced by Gaye and Townsend.

Side 2 was produced by Gaye and have slower songs with diffrent arrangements and less energy but still with a lot of sensuality and romance. "Come Get to This" the second single of the album deals with the return of an old love. It reached #21 on the pop charts and feature a funky band backing him. On "Distant Lover" the theme is the reverse, Marvin calling out for a lover that is miles away leaving him with emptyness and pain. Some say it was a tribute to his friend and singing partner Tammi Terrell that died in 1970. This is the slowest song of the album starting with a slow falsetto singing and ending with emotional wail. The next song is the most straightforward and sexual. "You Sure Love to Ball" is no typo, that's the original title. The song deals with a man that dedicates all his time for his lover. The dreamy arrangements here perfectly match the seductive singing and lyrics which is tender pillow talk. The last song "Just to Keep You Satisfied" is also very slow but also sad. It was written several years prior by him and his wife Anna Gordy and recorded for other artists as a dedication from a caring husband to his wife. But when Marvin re-recorded it his marriage with Gordy was going towards the end so he changed the arrangements making it more somber and depressing.

Overall, This is a classic album. Not only that it was recorded by a legendary singer but also cause it's a wonderful concept album promoting love, sensuality and emotion. The themes and straight forward lyrics were ahead of it's time when it came out in 1973, making it a remarkable album to look back at over 30 years later. But it's also an album about liberation, from family and from a strict society. Marvin fulfilled that, but it would eventually be the argument of his secular lifestyle that started the brawl with his father in 1984 that led to his death. However, as far as this album goes and the emotion and energy in his muic he's still very much alive today. Often emulated, never imitated. Classic.

On a horribly stressful night, when I saw singers like Luther Vandross and Marvin Gaye singing in a late night commercial for Sexy Soul Men by TimeLife, I stopped crying, felt a loving sensuous jolt, and just logged on to do research. Within that research, I came upon this page, heard all the clips, read all the amazing reviews and praising reviewers did of Marvin's truly Blessed voice and passionate style. Then I was hooked. I sought out this CD, bought it, and have had no regrets. I am very familiar with Marvin's "Sexual Healing" as I heard it nonstop since I was born. The man died the year I was born, which always makes me shake my head with sadness. This CD felt short, which I didn't like at first, until I realized how the songs really were as good as reviewers stated here. It's quality that counts, not quantity. Within these clips I first heard Keep Gettin' It On, and I thought it was worth buying the CD for only this and the title track. Keep Gettin It On is like a funner sweeter hotter shorter version of Let's Get It On. Unfortunately, I do not love the CD to the highest possible level, which explains how little I can describe it's detailing. I don't yet have the depth of perception to appreciate Marvin as much as is humanly possible. But with the right love, I could probably rectify that in a week. Perhaps if I read the lyrics to the songs on this CD I could appreciate it's sweet heat on a higher plane. If you buy this CD, do find the lyrics. I dreamt of Marvin Gaye finding and marrying me after I heard this CD, hah! This is such an effect his music can have on a female. I realized my sister once had this album on cassette. Can't believe she threw her music away. This time, this album of Marvin is staying put! Too good to loose, too good not to get, so get it now to warm your private time.

After the success of What's Going On, Marvin Gaye moved away from social issues to issues of the flesh. Let's Get It On finds him singing about sex, not just about the physical pleasure one gets, but on a spiritual level. The title track is almost sermon like in it's delivery where Mr. Gaye dispenses with all pleasantries and asks his lover to get it on. He not only feels good, but he feels sanctified. The song has a silky sound that matches Mr. Gaye's smooth vocals. The rest of the album finds Mr. Gaye searching for a love that will help him find that balance between the real and spiritual ecstasy he so desperately craves.

Music from this era had to truly be inspired. It is music that all generations like to hear; music that will always be around. this particular recording is still being played, the words are relavent to today, and the music is still soul stirring. the new stuff, will pass on, and no one will hardly remember the words, but this is stuff that will last.

Marvin Gaye is at his seductive best here. One could argue that his 1976 "I Want You" album is even more sensual, but "Let's Get It On" is much more sweet. It does not seem unreasonable to assume that Marvin Gaye wanted this album to be played for the sole purpose of backround music for love-making. Just read the liner notes and it's hard not to believe it.
The opening, title track needs no introduction. It's an upbeat, ultimate late-night love song, but the real highlights here are the dramatic orchestrations and heartfelt lyrics of the slow ballads. The best of them, "If I Should Die Tonight," is one of the most beautiful songs I've ever heard, musically and lyrically. "Keep Getting It On" (a loose improv jam of the title track) seems intent on directing a listening couple to do just that, while "Come Get To This" is a swinging, danceable tune that keeps the mood up. The last three songs seem to wind down, again as if to guide the mood of a romantic evening. "Distant Lover" is a classic R&B slow jam, but doesn't demand nearly the attention that the album's closer does: "Just to Keep You Satisfied" is a bittersweet holdover from the "What's Going On" sessions, co-written by his then-wife Anna; the story puts their marital struggles out in the open, and the fact that they wrote it together is both confusing and amazing. In the end, that's a huge part of Marvin Gaye's appeal--his songs were from the heart because they were his life story.