Marvin Gaye - What's Going On - 50th Anniversary Edition (2LP, Mono & Stereo, Tamla)
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Piano, vocals – Marvin Gaye [click here to see more vinyl featuring Marvin Gaye]
Backing Vocals – Elgie Stover, Lem Barney, Mel Farr, Bobby Rodgers, The Andantes
Alto Saxophone – Angelo Carlisi
Tenor Saxophone – George “Sax” Benson
Baritone Saxophone – Tate Houston
Bass – Bob Babbit, James Jamerson
Bongos, Congas – Earl DeRouen, Eddie Brown
Celesta – Johnny Griffith
Cello – Edward Korkigian, Italo Babini, Thaddeus Markiewicz
String Bass – Max Janowsky
Drums – Chet Forest
Flute – Dayna Hartwick, William Perich
Guitar – Joe Messina, Robert White
Harp – Carole Crosby
Alto Saxophone – Eli Fountain
Tenor Saxophone – William "Wild Bill" Moore
Soprano Saxophone – Larry Nozero
Tambourine, Percussion – Jack Ashford
Trombone – Carl Raetz
Trumpet – John Trudell, Maurice Davis
Vibraphone, Percussion – Jack Brokensha
Viola – David Ireland, Edouard Kesner, Meyer Shapiro, Nathan Gordon
Violin – Alvin Score, Beatriz Budinszky*, Felix Resnick, Gordon Staples, James Waring, Lillian Downs, Richard Margitza, Virginia Halfmann, Zinovi Bistritzky
Detroit Symphony Orchestra
Orchestra conductor and arrangements by David Van DePitte
Arranged by David Van DePitte (D2), Paul Riser (D4)
Written by Marvin Gaye (all tracks), Al Cleveland (A1, A4, B2, C1-3, D1, D6), Renaldo Benson (A1, A4, B2, C1-3, D1, D6), James Nyx (A2, A5, B3), Anna Gordy Gaye (A5, D2), Elgie Stover (A5, D2), Earl Derouen (B1), William Robinson (C4), James Nyx (D2, D5), Delores Wilkinson (D4), Fuller B. Gordy (D4),
2LP, gatefold jacket
Original analog Master tape : YES
Heavy Press : 180g
Record color : Black
Speed : 33RPM
Size : 12'’
Stereo (A1 to C4) & Mono (D1-6)
Studio
Record Press : GZ Media
Label : Tamla
Original label : Tamla
Recorded June–September 1970 and March–May 1971 at Hitsville U.S.A (Detroit), Golden World (Detroit), United Sound Studios (Detroit), The Sound Factory (West Hollywood)
Mixed at Motown mix room, Detroit by Steve Smith (A1 to B3), Kevin Reeves (C1, C3), Harry Weinger (C3), John Morales (C4), Steve Smith (D1-2), Ken Sands (D4)
Mastered by Kevin Gray at Cohearent Audio
Produced by Marvin Gaye
Liner Notes by Marvin Gaye
Originally released in 2001 (A1 to B3 as a CD)
Reissued in September 2022
Tracks :
Side A:
- What's Going On
- What's Happening Brother
- Flyin' High (In The Friendly Sky)
- Save The Children
- God Is Love
- Mercy Mercy Me (The Ecology)
Side B:
- Right On
- Wholy Holy
- Inner City Blues (Make Me Wanna Holler)
Side C:
- What's Going On (Stripped Version)
- What's Going On (Mix 1 / No Strings Or Horns)
- What's Going On (Rhythm 'n' Strings Instrumental Mix)
- Symphony (Demo Version)
Side D:
- What's Going On
- God Is Love
- Mercy Mercy Me (The Ecology)
- Sad Tomorrows
- Inner City Blues (Make Me Wanna Holler)
- Wholy Holy
Awards:
Rolling Stone 500 Greatest Albums of All Time - Rated 1/500
Reviews :
“(…) the original version of the album minus vocal layering, keyboard overdubs, and other production techniques added in L.A. just two weeks before the album’s release. The differences are significant— the Detroit Mix production is sparse, the strings are less prominent, and there’s less sweetening overall. On Side 1, James Jamerson and Bob Babbitt’s soulful bass lines can be heard as connecting passages that were muted or absent on the final mix. In the junkie lament “Flying High (in the Friendly Sky),” Gaye’s background vocals are brought to the fore, emphasizing the call-and-response aspect of the songs. “Mercy Mercy Me (the Ecology)” sounds more contemplative and the song’s melodramatic coda is considerably subdued. As a result, these songs float wistfully on Gaye’s socially conscious lamentations and bring the work closer to the singer/songwriter convention.
On Side 2, the changes are evident from the get-go: the opening track, “Right On,” feels jazzier and more swinging. The piano, bass, and flute are more prominent, and the gimmicky ratcheted percussion, which dominates the final version, is placed lower in the mix, as are the strings. The track has a warm, inviting, intimate feel.
On “Inner City Blues (Make Me Wanna Holler),” the closing track, the pumping bass line that drove the final mix is hushed. Fittingly, the song trails off with an extended take on the solitary conga beat, rather than the startlingly dramatic hosanna ending of the final version, allowing the song, not the production, to make the final statement.” The Absolute Sound
Ratings:
Discogs : 4.84 / 5