Marvin Gaye "What's Going On - The Deroit Mix" (1971)

 

Stepping outside the Motown framework and operating as an individual artist, Marvin's personal expression reflecting the struggles of African-American life during the Vietnam War birthed a beautiful moment in musical history. Often considered one of the greatest records of all time by critics, What's Going On left me enamored by its grace, humanity and sorrows. Since then, its always been an enduring warmth to return too. Marvin's timeless voice a charm tragically lost from this world all too soon.

Hearing of an alternative mix to the record intrigued me greatly. Turns out this "Detroit Mix" is the original mixing before his associate Barry Gordy stepped in, who was against the album's theme long before it materialized. The subsequent changes elevated the symphony elements, the first change I noticed upon listening. It will be forever impossible to truly assess which mix better suits the music. On paper this more roomy, closer mix has an intimate quality, further authenticating Marvin's views.

Its string components are pushed back, the baseline feels neighborly, the saxophone more prominent, pushing forth the Jazz component. With a rawer voice, not overstated by layering and reverbs, this mix is admittedly less grabbing in tone. All nine songs are still beautiful and moving, reaching still through its intimate aesthetic.

With a deeply ingrained memory of the original as I knew it, this mix will always feel inferior despite offering up a cleaner take on the music. The spaciousness unlocked by its later design gives a crooning energy to the string sections. Marvin's overlapping vocal lines are magical, softer and soothing in presence. Although accompanying singers feel distant and a little less personal, pretty much all of the changes were for the best to my ears. Rawness and authenticity are not always the key principle in production. Embellishment and studio magic can bring so much if done right. For me, the original record is still the way to hear it.

Rating: 8/10

Janis Joplin "Pearl" (1971)

It was quite a few years ago that I first heard of Janis and her legendary performance at Woodstock 69. I got my hands on Pearl with a whole bunch of other records from a top 500 list and have had it on my phone since, waiting for shuffle to catch me off guard and precisely that happened the other day with Half Moon, a feel good, upbeat, jiving song on the first side of the record. Reading up on Pearl I am saddened to learn it was released posthumously a few months after her death in 1970 where she suffered a heroin overdose. Interestingly the album was recorded in the failed four channel quadraphonic format which would eventually become surround sound. It also held the top album slot for nine weeks and sold over four million copies.

Whats impressive about Pearl is its energy and dynamism, from both Janis's charisma and the wonderfully involved, vibrant instrumentation behind her. The record rocks and sways between heartfelt emotions and feel good, rocking vibes. A powerful fusion of Funk, Soul, R&B and Blues Rock jives on with a colorful intensity as the accompanying Fult Tilt Boogie Band illuminate these songs with fleshed out and inspired music making a rich setting for Janis however they too take the lime light with bursts of powerful organs and guitar licks between the ever present liveliness of the deceased Richard Bell's pianos. Its dense in its involvement, yet audibly crisp and inviting, each instrument having its space in the mix to shine as they jive in tandem.

All of the band give a riveting performance, you can simply just zone in on one instrument and be moved but the biggest mover is Janis out in front of them who has such a fascinating and emotional voice. With such sincere passion and expression in her singing, the half hit notes and croaky, scratchy strain she frequently visits become engulfed in the moment, sounding natural, charming and despite technically being "flawed" its transformed by her charisma. She even goes has far to push her voice in to a surging shriek on occasion, which is too just an unleashing of urgent expression. Its truly riveting and endearing, her young death truly a tragedy.

Its practically a flawless record, thirty four minutes of emotional engagement with exception to one track which I can't help but feel modern corporatism has spoiled as I'm sure Ive heard it in a commercial of the same name, Mercedes Benz. Its a short, lower fidelity accapella where Janis sounds a little rusty on her own, singing sarcastic prayers for consumerist products. Its really quite a nice piece but feels tainted by its snug fit with advertising culture where everything becomes a commodity, even the song, which only makes sense retrospectively.

My time with this record has taught me what I'm learning over and over again, that a musicians personal expression can transcend any preconceived musical preference if given a chance. The sixties is a fascinating chapter in the history of humanity and certainly the beginning of the cultural freedom we experience today. I'd never been keen on the music but I'm glad that's changing. Janis's voice feels free of its time but the instrumentals are firmly rooted in the era and Its great to hear familiar 60s aesthetics expressing something I can relate with, however writing that makes me realized its perhaps the ever changing self that is now coming around to this wonderful era of music and cultural significance.

Rating: Cry Baby, My Baby, Half Moon, Get It While You Can

Rating: 9.5/10

Bill Evans "The Bill Evans Album" (1971)

For as long as I can remember I have always been fascinated by Jazz music, not for just its soul, but its fade into the shadows over time. Jazz evolved and developed over several decades at a time where information and ideas moved slower. Over this time many styles, ideas and "sub genres" formed before its eruption in popularity in the 50s. This era gave birth to a lot of classic records which have since been forgotten by current generations following its rapid decline through the 70s and 80s. The emergence of Rock music and TV changed society in a big way, so much so that you can barely feel its legacy in modern music. With this disconnect it can be hard to find the right records for you, considering the substantial back catalog of Jazz thats available it is a sea of forgotten wonder to wade through, and its always a pleasure to find something to digest. "The Bill Evans Album" was certainly something I can dig my teeth into, having never heard of this musician before I had no idea what to expect, but alas here was a record I could dive into.

I find it especially difficult to differentiate the deeper artistic expressions in this music, for it is wildly different from modern music. Jazz is classy, bright and sophisticated. That may sound cliche, but its true. This music doesn't revolve around melodic hooks, repetition, beats or sing along lyrics. Its an entirely different construct of sound thats artistically inclined towards free flowing expression and atmosphere. Despite my love of this music, its one I struggle to articulate. Jazz is mysterious and felt beyond words, its as if a higher sense of self is reached through sound that strives for so much more than what we are. What I'm trying to say is despite my enjoyment of this record it doesn't leave me with much to say.

"The Bill Evans Album" is another liquid record that gracefully jams through lush fields of indulging Jazz as Rhodes keys, bright pianos and a walking bass groove vibe back and forth from one another as the kit guides them with gentle timbering ride cymbals, gracious snare fills and sensitive tom rolls. The pianos dances fluently with intricate melodics that glide through scales with a effortless free flowing spirit, signs of a great pianist at work. The bass is often a quite mode of groove, hammering away behind the Rhodes and piano, it occasionally steps into the limelight as all instruments do at one point or another. Its a warm record to feel good with a touch of introspection, more so that acceptance. With no hooks or obvious "moments" to point at, its a fluctuation of feels that wash over at their own desire, occasionally the Rhodes and piano chemistry peaks as captivating melodics overlap in brief instances. Another record in my collection, but nothing on par with the classics.

Favorite Tracks: Funkallero, Re Person I Knew

Rating: 6/10

Marvin Gaye "Whats Going On" (1971)

"Marvin Gaye, used to sing to me, he had me feeling like black was the thing to be, and suddenly the ghetto didn't seem so tough, and though we had it rough, we always had enough"..... I should have taken note at an earlier age, and how it took me so long to find Marvin is beyond me, his sweet soulful voice is medicine for blues. I find myself a little anxious and hesitant to write about this piece of music so powerful and beautiful I could never do it justice, but then again my words will never justify the experience of "listening", feeling the music, and this is music you will feel deep in your soul, but first lets talk a little about Marvin. Born in April of 39, Marvin was a singer / songwriter who rose to prominence through Motown Records in the 60s. Dealing with inner struggles, romantic endeavors and cocaine addiction, Marvin was a troubled soul with a beautiful talent and a captivating, soothing voice that touched the souls of many. His addictions and troubles would get the better of him through his career that came to a sudden and tragic end in 84 when he was shot by his father in circumstances that suggest he was aware of the fatal consequences fighting with his father would bring onto him.

Marvin's music was often inspired internally, but this conceptual album was inspired by life in the ghettos and the war in Vietnam, where he found himself asking, "Whats Going On?". Initially hesitant to support Marvin in his social conscious direction, this would turn out to be a huge hit and go on to become Motown's best selling album. The themes expressed are from the viewpoint of a Vietnam war vet returning home to America to find the struggles at home are worsening. Asking questions about the hardships of life and human behavior, Marvin finds a stunning balance between the negative and positive, offering uplifting melodies and messages alongside questioning the dark nature of war and poverty. Marvin's voice and the music work together in stunning harmony as infections soulful singing compliments moody, grooving instrumentals that are gently dramatic, harmonious and layered with instruments and percussion that give it a depth the keen ear can hear the genius subtleties in the quieter instruments. Theres fantastic variety from the large instrument pallet, many elements come in and out of focus in an organic and effortless manor, creating rich, colorful instrumentals that drive deep into the heart. The presence of the bass guitar is a consistent element through out that provides a solid emotional backbone for this record, offering up grooves and exploration playing that is constantly dancing on the fretboard. The inclusion of bongo drums in the percussive department is another fantastic element adding to the instrumental variety.

The record as a whole is a stunning musical experience, the songs move from one to the next in a continuous fashion that has some pretty obvious, rigid transitions in tempo and key that somehow sound great despite their obvious nature. The recording is heavenly, not even considering the era this album sounds cultured, colorful and bright. Their is a cluster of instruments detailing these tracks that are mixed and balanced sublimely, nothing is overpowering and everything is audible, capturing the character of all the instruments. Over it all Marvin's voice is glorious, mixed with many backing tracks, double takes and subtle choirs that breath so much energy and soul into the listener as Marvin's infectious vocal leads overlap, chime and dance with one another. Its a deep, powerful and beautiful listening experience, both for its glorious sound and socially conscious message that can make you feel good when tackling the harder subjects of our collective existence. Marvin shows the beauty in pain and gives strength to those who ask the questions.

Favorite Song: Inner City Blues (Make Me Wanna Holler)
Rating: 10/10