Moods of Marvin Gaye / In The Groove [ORIGINAL RECORDING REMASTERED] [IMPORT]

Marvin Gaye

Product Details

• Audio CD (May 15, 2001)
• Original Release Date: 2001
• Number of Discs: 1
• Format: Original recording remastered, Import
• Label: Universal Import
• ASIN: B000059RKY
• Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #327,873 in Music (See Bestsellers in Music)

Track Listings

1. I'll Be Doggone

2. Little Darling (I Need You)

3. Take This Heart of Mine

4. Hey Diddle Diddle

5. One More Heartache

6. Ain't That Peculiar

7. Night Life

8. You've Been a Long Time Coming

9. Your Unchanging Love

10. You're the One for Me

11. I Worry 'Bout You

12. One for My Baby (And One More for the Road)

13. You

14. Tear It on Down

15. Chained

16. I Heard It Through the Grapevine

17. At Last (I Found a Love)

18. Some Kind of Wonderful

19. Loving You Is Sweeter Than Ever

20. Change What You Can

See all 24 tracks on this disc

Editorial Reviews

Product Description

2 albums in one package, digitally remastered.

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Marvin Gaye At His Best, April 18, 2003

By	Jorden P. Taylor Jr. "Showtime Nupe" (Austin, TX USA) - See all my reviews (REAL NAME)

Quite frankly, "Moods of Marvin Gaye" is one of the greatest albums Marvin ever put out. It is simply incredible to hear these Sinatra like songs. The music is excellent, and Marvin's voice sounds golden. My personal favorite tracks are number 7, "Night Life," number 11, "I Worry `Bout You," and number 12, "One For My Baby (And One More For The Road)." These are songs that can instantly set the mood in any nightclub. The sound is reminiscent of that of the 1920's. Imagine yourself during the Harlem Renaissance at an exclusive club, sipping on your favorite drink, and listening to the band. As the band plays on, you admire people in their pinstriped suits and sultry dresses. Through the cloud of cigarette smoke, you see a well dressed man walking up to the RCA 44 Ribbon Style Microphone, and as he begins to sing, the crowd is breath taken. That man is Marvin Gaye, and this is a classic album.

What's even better is that you get the album "In The Groove" as a bonus! You can't beat that with a bat! Get this album right away!

4.0 out of 5 stars Golden period Marvin, golden period Motown, October 23, 2008

By	Laurence Upton (Wilts, UK) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

Judging from the large sums being asked for this CD, it must have gone out of print. This is a shame, as these two consecutive albums from 1966 and 1968 catch him in the midst of his sixties hit-making period, and during Motown's heyday. To say he was Motown's top male vocalist at the time is high praise indeed considering the competition from Smokey, Levi, David Ruffin and Eddie Kendricks, but he quite possibly was, and these are superb, confident, exquisitely light performances, with dexterous treatments from the Funk Brothers.

Moods Of Marvin Gaye contains versions of past singles I'll Be Doggone/You've Been A Long Time Coming (1965), Ain't That Peculiar (1965), One More Heartache (1966) and Take This Heart Of Mine (1966). It later produced Little Darling (I Need You)/Hey Diddle Diddle (1966) and Your Unchanging Love (1967). The remaining four tracks were taken from a scrapped album of mainly standards, to be called Vulnerable, and are in a quite different style, Nat King Cole-influenced with lush big band backing. They range from Willie Nelson's Night Life, Billie Holiday's I Wonder 'Bout You and Frank Sinatra's One For My Baby to a new Stevie Wonder song called You're The One For Me.

In The Groove was at one time re-titled I Heard It Through The Grapevine to capitalise on the phenomenal success of the single that was released from it, a number one in the US and the UK. It also included the singles You/Change What You Can, Chained/At Last and the US B-side of Grapevine, You're What's Happening In The World Today (all from 1968). Like Moods, it wasn't envisioned as an album, the remaining tracks being two Drifters covers left in the can following a New York session in 1966 and recordings with different producers in 1967 and 1968, including an early version of Tear It On Down, later to be recorded by Martha Reeves and the Vandellas, and a smooth cover of the Four Tops' Loving You Is Sweeter Than Ever.

Should a revised edition be in the pipeline, it could perhaps include as bonus tracks from the same timeline the non-album single Pretty Little Baby (1965) and the rarely collected B-sides When I Had Your Love (1966), She's Got To Be Real (1965) and I'll Take Care Of You (1967).

4.0 out of 5 stars Moods is one of Motown's crowning achievements of 1966, February 26, 2006

By	T. A. Shepherd "tas50l" (Palmdale, Ca. 93550) - See all my reviews (REAL NAME)

Moods of Marvin Gaye: A landmark album for Marvin Gaye in the fall of 1966, this album contained no fewer than five hits at the time of release. (An album track, Your Unchanging Love was re-mixed with the piano track up front for an exciting single in early 1967.) The hits spanned over a year from I'll Be Doggone to Take This Heart of Mine. Pretty Little Baby, however, was skipped for some reason. Evidence shows that it was slated to appear on the album because it is mentioned in the original liner notes . Unlike common practice at Hitsville, this album contained only two B-sides, You've Been a Long Time Coming and Hey Diddle Diddle. The latter became a springboard for the 5th Dimension's debut single, I'll Be Loving You Forever. Its use of nursery rhyme lyrics give it a rather glib topic, but the Funk Brothers are in full command, with the brass section working overtime. The exceptional concept of this album rests in its diversity. Three tracks from a standards album he was working on (that would be "Vulnerable") were stuck on at the last minute. Why they didn't use B-sides from the hits is unknown, but the ideas worked. Willie Nelson's Night Life is given a jazz-blues vocal while Ivy Hunter's (?) piano fills in the spaces. A Frank Sinatra standby, One For My Baby, is tackled with a soulful vocal that only MG could give it, while I Worry `Bout You comes from a Billie Holiday angle. Marvin did things with his vocals only others could dream of, but when he took a Smokey Robinson production to task, all the stops were out. Ain't That Peculiar, with its piano riff and chord changes was only the beginning of how complex Smokey's music could be. In One More Heartache, the riff is carried by Robert White's (?) guitar and the end result is nothing short of spectacular. The biggest hit here, though is the opening track, I'll Be Doggone, also guitar driven. Jack Ashford's Latin-like bongos take it on home. Smokey was also at the height of his lyrical prowess in these days. He couldn't miss if he tried. Take This Heart of Mine was aimed at stirring the young people away from drugs with lines like "Take as much as you want to; there is no overdose", making it clear that romance was far more fulfilling than substance abuse. Holland-Dozier-Holland contributed three overlooked gems in Gaye's catalog: The wonderful B-side of "Doggone" , You've Been a Long Time Coming contains one of their best melodies, coming from the same mold as Stay in My Lonely Arms. The other, Little Darling, I Need You moves like heard of runaway buffalo, and the same can be said for Your Unchanging Love. The latter comes from the spiritual, Hold to God's Unchanging Hand, but here Marvin promises to be unmoved and faithful. Last and best of all is Stevie Wonder's beautiful composition, You're the One for Me. Its mournful beginning is complimented by his harmonica played over the top in a dirge that only adds to the longing in the lyric. With Martha & the Vandellas "Watchout!" album, "Moods of Marvin Gaye" was one of Motown's crowning achievements of 1966.
In the Groove: As it was originally titled in the summer of 1968, I Heard it Through the Grapevine was put on as an afterthought. I recall the same held true with Gladys Knight's version as well. For Knight and Gaye, "Grapevine" was buried on both albums months before becoming giant hits. "Groove" also contained Gaye's two previous hits, "You" and "Chained". These records were not half bad themselves! The former had a foreboding melody that could haunt long after the fade-out, while the on latter he agonized over his helplessness to break away from a bad lover. Paranoia looms in both songs at opposite ends, but the shining moment is the B-side, "Change What You Can". You think you're watching one of those detective TV shows! "Change" is pure jazz with all its tension and release in just the right spot. Why they never used this song in a movie is beyond me. This is one unbelievable record. Another one of my favorites is Ashford & Simpson's "Tear it on Down". It's chord structure is strict leaving little room for improvisation, but then it may have been a trial run waiting for Tammi Terrell's vocals to be added later. Since they were not, the song was given a much different treatment by Martha & the Vandellas. They had a mild hit with it a year and a half later. Mama Reeves took it straight to church and it hasn't been the same since. Another beauty is "Every Now and Then", a forceful lyric torn into by the fantastic Marvin Gaye. Only Levi Stubbs could have pulled it off any better, but that's as far as I'll go. The rest is strictly album fare and although not exactly garbage, it does not hold up to the tracks mentioned. Two old Drifters tracks fill in the blanks and not very well. After the huge success of Gaye's version of "Grapevine", the album title was changed to honor the hit single, a common practice at Motown.
"Moods" is an unreserved classic by itself. "Groove", or "Grapevine", is not as adventurous throughout, but at least four tracks stand out as true art, so the album deserves three stars, while "Moods" takes five. If you love Marvin Gaye like I know I do, you will want to at least hear these two albums.