After hearing a preliminary mix of the songs however, Gordy figured that Ware should let Gaye handle his material. It shows a thing Quincy Jones called "ear candy." [1] During the time of recording, the instrument had entered its modern period of use and had been included in the music of such popular acts as Stevie Wonder and Led Zeppelin.
Gaye's vocalizing style was in classic doo-wop tradition accompanied by the low tempo of string arrangements and other instrumentation was provided by The Funk Brothers.[7].
[2] Los Angeles Times writer Dennis Hunt called the album "disappointing" and "only partially commendable".
The painting transmits rhythm so the experience is re-created in the person viewing it. By 1975, Marvin Gaye had come off of the commercial and critical success of his landmark studio album Let's Get It On (1973), its successful supporting tour following the album's release, and Diana & Marvin (1973), a duet project with Diana Ross. This style of technique and composition is similar to the mannerist style of 16th-century artists such as Michelangelo and Raphael, which has led Barnes to be credited as the founder of the Neo-Mannerism movement. The album's cover artwork adapts neo-mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971). [25] Aletti compared the album to Gaye's previous work, writing that "Gaye seems determined to take over as soul's master philosopher in the bedroom, a position that requires little but an affectation of constant, rather jaded horniness. Other recordings from these sessions to feature Gaye's synthesizer were later featured on the deluxe edition re-release of I Want You.[1]. According to music critics, her presence may have increased the emotion in Ware's and Gaye's conception of I Want You. [7] In an interview with writer Michael Eric Dyson, Harris said: With the opening, with the congas and the strings; it's like the sun is rising.
Ware initially composed much of the music in the same vein as his own similarly erotic-themed album, Musical Massage, with low-key production and steamy after-the-party beats and vocals. [1], While the majority of the album's songs were conceived by Ware, I Want You was transformed into a biographical centerpiece for Gaye, who was then in a volatile marriage with Anna Gordy, sister to Berry Gordy, and also in a long-standing affair with Janis Hunter, who would later become the mother of his two youngest children.
Having struggled to come up with [11] Art critic Frank Getlein later called The Sugar Shack a "stunning demonstration of the fusion of Neo-Mannerism and Genre painting that Barnes alone has perfected and practices", and went on to say: The dances of ordinary people have been a standard subject of Genre painting since it was invented by Breughel.
"[2] I Want You became his fourth album to reach the top ten of the Billboard 200 chart and his fifth number-one album on the Soul Albums chart.
[23] While not as successful sales-wise as Gaye's previous landmark albums What's Going On and Let's Get It On, I Want You sold in excess of 1 million copies in the United States with help mostly coming from its first single "I Want You".
[2] EMI Artists and Repertoire executive Gary Harris, who later assisted neo soul singer D'Angelo in recording his debut album Brown Sugar (1995), later commented on Gaye's significant artistry on I Want You and its opening title track.
Despite its chart success, I Want You received mixed reviews from music critics at the time of its release. "[13] In an interview with SoulMuseum.net, Barnes was asked whether there were any messages he was attempting to express through the painting. Perhaps that's your kick, but personally I find it a mite frustrating. The song became a staple of dance clubs and discothèques during the late 1970s. The pose has already been established in Let's Get It On, on which Gaye was hot, tender, aggressive, soothing and casually raunchy—the modern lover with all his contradictions. [27] Its standing has also improved among critics following an expanded edition release of the album on July 29, 2003, which featured extensive liner notes and photography by Ryan Null. To show that African-Americans utilize rhythm as a way of resolving physical tension"[8], Gaye was introduced to Barnes by colleague Barbara Hunter, which led to him buying eight Barnes originals, including The Sugar Shack.
[22] However, he criticized the lyrical content, as well as Ware's involvement in songwriting, stating "was it Ware who instructed Marvin to eliminate all depth and power from his voice? "[26] Robert Christgau of The Village Voice wrote favorably of the album's sound quality. Any Mannerist painter would be proud of the succession of figures in the main, central group of dancers, but the whole is infused with the innocent exuberance of Breughel and his fellow Flemings. Gaye’s obsession with the woman in her late teens is nearly palpable in the sensual textures that are the album’s aural and lyrical signature. I Want You consisted of Gaye's first recorded studio material since his highly successful and well-received album Let's Get It On (1973). The voicings and the arrangements convey not only mood but time, place and image. It was released on March 16, 1976, by the Motown Records-subsidiary label Tamla.
It's crazy. Gaye recorded the album during 1975 and 1976 at his studio Marvin's Room in Los Angeles and at Motown's Detroit-based Hitsville West studio. [2] "After the Dance" was hailed as one of Gaye's signature songs during the late 1970s and was later described by Gaye-biographer David Ritz as "emblematic for the final chapter of his career. While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo-wop-influenced sound for funky, light-disco soul, the album maintained and expanded on his previous work's sexual themes. “I Want You” is the lead single off of the 1976 album of the same name that would go on to become one of Marvin Gaye’s most successful records. I Want You, however, evolved into a sensual autobiographical narrative centered around Marvin’s real life love affair with Janis Hunter. Hunter was 17 years old while Gaye was seventeen years her senior at the time Townsend introduced them. But there's no fire here, only a well-concealed pilot light.
– 4:23, This page was last edited on 9 October 2020, at 18:06. Sensual, satisfied, and spaced out", and calling I Want You "simply the explorative aftermath of Let's Get It On. [2] Critical recognition of Ware's album later improved, being cited by AllMusic as "the perfect mix of soul, light funk, jazz, and what was about to become the rhythmic foundation for disco. [11], The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic", which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' Circuit. I Want You and its companion, Ware's Musical Massage, are the pre-eminent early disco concept albums. "[26] White also criticized the album's sound, describing the songs as "all expressions of the same mood.
[1] When Motown CEO Berry Gordy paid a visit to Ware, the songwriter was more than happy to play Gordy his selection of tracks.
Following a mixed response from critics at the time of its release, I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul. [7][29] According to one critic, Ware's arrangements "solidified the suite-like theme for the album. [15], Such musicians as Todd Rundgren, Robert Palmer and Madonna have stated they were influenced by I Want You, while songs from the album have been sampled by such hip hop artists as EPMD to Mary J. Blige, who sampled the title track for her hit song "Be Happy". [1] The recording sessions took place throughout 1975 and 1976.
The other thing about Marvin and the song is he always, no matter what he was doing, how many risks he would take, he was a radical traditionalist and always held onto his doo-wop upbringing. [14], I Want You was released March 16, 1976 in the United States on the Motown-subsidiary label Tamla Records.
I Want You is the fourteenth studio album by American soul singer and songwriter Marvin Gaye.
[1][12] Since the initial wide acclaim for The Sugar Shack, Barnes has gained further recognition from art critics as one of the best black painters of his time and was cited by the Oakland Tribune as the "Picasso of the black art world. For the instrumental version of "After the Dance", Gaye implemented it for a more spacey sound than his previous recordings had featured. The album has often been noted by critics for producer Leon Ware's cinematic, downtempo sound, the erotic themes in his and Gaye's songwriting, and the singer's prominent use of the synthesizer. It was released on March 16, 1976, by the Motown Records-subsidiary label Tamla. In his book Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye, the author and music writer Michael Eric Dyson elaborated on the relationship between I Want You and Gaye's affair with Hunter: "I Want You is unmistakably a work of romantic and erotic tribute to the woman he deeply loved and would shortly marry, Janis Hunter. And much like Let's Get It On Gaye reached for outside help, this time seeking the assistance of Leon Ware, a singer and songwriter who had found previous success writing hits for fellow Motown alum, including pop singer Michael Jackson and the rhythm and blues group The Miracles.
[7], Another significant feature of the recording sessions for I Want You was Gaye's use of the synthesizer in his music.
As author Michael Eric Dyson wrote in his book, Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye: “I Want You is unmistakably a work of romantic and erotic tribute to the woman he deeply loved and would marry shortly, Janis Hunter.
I Want You continues in the same vein but with only the faintest traces of the robust passion that shot through and sustained the earlier album ... one expects something with a little more substance and spirit. Marvin Gaye's albums always have a theme, and the songs follow the theme...this is the best of them all!
Their relationship was relentlessly passionate and emotionally rough-hewn; they played up each other's strengths, and played off each other's weaknesses. "[3], Though it was often hinted that Let's Get It On was the album Gaye had dedicated to her, Marvin has stated that this album was dedicated to Hunter, who is believed to have been in the studio when he recorded it. [10] The Sugar Shack portrays a cultural image of a shack full of black people dancing.
The perfectly controlled lighting and the elaborate poses of the elongated figures are class Mannerism.
The sweet nuthin's of a drowsy, sweat-streaked lover. The Sugar Shack was painted by Barnes in his signature post-mannerist style, using serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes.
"[29] Much like Let's Get It On, slow jam music, as well as modern soul and the quiet storm genre, are now viewed by critics to have been engendered by I Want You and by Gaye.
[27], Following the release of I Want You, Ware released Musical Massage (1976), which received little mainstream notice. "[25], Cliff White of NME called the album "almost a voyeur's delight", and was not favorable of Gaye's sensual themes, stating "Although getting down, getting mellow, and getting it on are paramount considerations in the privacy of my own home, I don't particularly want to be party to someone else's night life. [2] Gaye and Hunter were introduced to each other by producer Ed Townsend in 1973 at Hitsville West, while Townsend and Gaye were recording Let's Get It On.
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