The Concert Anthology

Editorial Reviews

All Music Guide - Steve Leggett
Marvin Gaye disliked touring, and truthfully, his sweetly nuanced singing style worked best in a studio setting, where every lift and turn of his phrasing could be clearly heard. The concert stage, by contrast, required large, grand gestures from his singing, and while no one would suggest Gaye was ever anything but a solid performer, the hushed intimacy that made some of his greatest songs so magnificent was often difficult to attain on-stage. Bootlegs and cobbled-together packages of live Gaye shows have been on the market for years, often with the venue mislabeled if it is listed at all and overly intrusive crowd noise. This two-disc set features two well-recorded ...
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Editorial Reviews

All Music Guide - Steve Leggett
Marvin Gaye disliked touring, and truthfully, his sweetly nuanced singing style worked best in a studio setting, where every lift and turn of his phrasing could be clearly heard. The concert stage, by contrast, required large, grand gestures from his singing, and while no one would suggest Gaye was ever anything but a solid performer, the hushed intimacy that made some of his greatest songs so magnificent was often difficult to attain on-stage. Bootlegs and cobbled-together packages of live Gaye shows have been on the market for years, often with the venue mislabeled if it is listed at all and overly intrusive crowd noise. This two-disc set features two well-recorded shows, one from 1980 and one from Gaye's final tour in 1983. The 1980 concert is probably from the Montreux stop on his tour of Europe that year, although some details are still sketchy. The singer sounds comfortable and assured here, and his sensual, nearly whispered version of "Come Get to This" is a powerful and seductive evocation of one of Gaye's enduring themes, the redemptive power of spiritual and physical love. The kinetic, horn-driven take on his groove classic "Got to Give It Up," however, manages to sound a good deal less immediate and spontaneous than the studio version, and feels forced. Still, Gaye is in control at this show, and it's obvious that no one in attendance was short-changed. The second disc of this set, drawn from Gaye's final American tour in 1983, finds the star sounding just a little exhausted, with decidedly less spark, which is particularly evident if you play both shows back to back. Gaye does "Come Get to This" in this set as well, and the difference three years makes is apparent. While still a moving performance, the hushed, tense urgency of the 1980 version seems replaced here by a tentative apprehension, as if what Gaye was saying in 1980 come here, I'll save you had been flipped to its opposite come here, save me. The highlight of the 1983 show is the ten-minute "Sexual Healing," one of Marvin Gaye's greatest songs, and a clear statement of his major theme, the use of love, lust, and sex to reach out to God. Within a year Marvin Gaye would be gone, shot to death by his father.
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Product Details

  • Release Date: 1/27/2004
  • Label: Cleopatra
  • UPC: 741157133622
  • Catalog Number: 1336

Album Credits

Performance Credits
Marvin Gaye Primary Artist, Vocals
Pete Escovedo Percussion
Lonnie Liston Smith Keyboards
Bernard Baisden Trombone
Gordon Banks Guitar, Leader
Frank Bates Vocals
Frank Blair Bass
Elmira Collins Vibes
Lynn Davis Vocals
Dean Hagen Drums
Fernando Harkness Tenor Saxophone
Carl Jones Baritone Saxophone
David Li Saxophone
Paulette McWilliams Vocals
Byron Miller Bass
Greg Moore Guitar
Robert Stevenson Vocals
Hiroshi Upshur Keyboards
Wah-Wah Watson Guitar
Bugsy Wilcox Drums
Tony Flores Percussion
Rastine Calhoun III Alto Saxophone
Frieda Woody Vocals
Steve Smith Trumpet
Sandra Akaka Conga
Dwayne Benjamin Trombone
Checo Tohomaso Percussion
Howard Westbrook Rhythm Guitar
Technical Credits
Marvin Gaye Composer
Odell Brown Composer
Barrett Strong Composer
T-Boy Ross Composer
Nick Ashford Composer
Julian Beeston Remastering
Renaldo Benson Composer
Al Cleveland Composer
Lamont Dozier Composer
Gwen Fuqua Composer
Eddie Holland Composer
McKinley Jackson Musical Director
Ali McLeod Composer
Valerie Simpson Composer
Ed Townsend Composer
Norman Whitfield Composer
David Ritz Composer
Leon Ware Composer
Athan Maroulis Annotation
Eunah Lee Graphic Design
Sandra Greene Composer
Elgie Stover Composer
Jim Britt Cover Photo
James Nyx Jr. Composer
Peggy Logan Copy Editing
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