MARVIN GAYE & TAMMI TERRELL You're All I Need GERMAN PRESS EX+

	£		25
	$		33

A BREAKDOWN OF THE ARTIST/S :-

Born Marvin Pentz Gay Jnr., 2 April 1939, Washington, DC, USA, d. 1 April 1984, Los Angeles, California, USA. Gaye was named after his father, a minister in the Apostolic Church. The spiritual influence of his early years played a formative role in his musical career, particularly from the 70s onwards, when his songwriting shifted back and forth between secular and religious topics. He abandoned a place in his father's church choir to team up with Don Covay and Billy Stewart in the R&B vocal group the Rainbows. In 1957, he joined the Marquees, who recorded for Chess Records under the guidance of Bo Diddley. The following year the group was taken under the wing of producer and singer Harvey Fuqua, who used them to re-form his doo-wop outfit the Moonglows. When Fuqua moved to Detroit in 1960, Gay went with him: Fuqua soon joined forces with Berry Gordy at Motown Records, and Gay became a session drummer and vocalist for the label.

In 1961, the singer married Gordy's sister, Anna, and was offered a solo recording contract. Renamed Marvin Gaye, he began his career as a jazz balladeer, but in 1962 he was persuaded to record R&B, and notched up his first hit single with the confident "Stubborn Kind Of Fellow", a Top 10 R&B hit. This record set the style for the next three years, as Gaye enjoyed hits with a series of joyous, dance-flavoured songs that cast him as a smooth, macho, Don Juan figure. He also continued to work behind the scenes at Motown, co-writing Martha And The Vandellas' hit "Dancing In The Street", and playing drums on several early recordings by Little Stevie Wonder. In 1965, Gaye dropped the call-and-response vocal arrangements of his earlier hits and began to record in a more sophisticated style. The striking "How Sweet It Is (To Be Loved By You)" epitomized his new direction, and it was followed by two successive R&B number 1 hits, "I'll Be Doggone" and "Ain't That Peculiar". His status as Motown's bestselling male vocalist left him free to pursue more esoteric avenues on his albums, which in 1965 included a tribute to the late Nat "King" Cole and a misguided collection of Broadway standards.

To capitalize on his image as a ladies' man, Motown teamed Gaye with their leading female vocalist, Mary Wells, for some romantic duets. When Wells left Motown in 1964, Gaye recorded with Kim Weston until 1967, when she was succeeded by Tammi Terrell. The Gaye/Terrell partnership represented the apogee of the soul duet, as their voices blended sensually on a string of hits written specifically for the duo by Ashford And Simpson. Terrell developed a brain tumour in 1968, and collapsed onstage in Gaye's arms. Records continued to be issued under the duo's name, although Simpson allegedly took Terrell's place on some recordings. Through the mid-60s, Gaye allowed his duet recordings to take precedence over his solo work, but in 1968 he issued the epochal "I Heard It Through The Grapevine" (written by Whitfield/Strong), a song originally released on Motown by Gladys Knight And The Pips, although Gaye's version had actually been recorded first. With its tense, ominous rhythm arrangement, and Gaye's typically fluent and emotional vocal, the record represented a landmark in Motown's history - not least because it became the label's biggest-selling record to date. Gaye followed up with another number 1 R&B hit, "Too Busy Thinking 'Bout My Baby", but his career was derailed by the insidious illness and eventual death of Terrell in March 1970.

Devastated by the loss of his close friend and partner, Gaye spent most of 1970 in seclusion. The following year, he emerged with a set of recordings that Motown at first refused to release, but which eventually formed his most successful solo album. On "What's Going On", a number 1 hit in 1971, and its two chart-topping follow-ups, "Mercy Mercy Me (The Ecology)" and "Inner City Blues", Gaye combined his spiritual beliefs with his increasing concern about poverty, discrimination and political corruption in American society. To match the shift in subject matter, Gaye evolved a new musical style that influenced a generation of black performers. Built on a heavily percussive base, Gaye's arrangements mingled jazz and classical influences into his soul roots, creating a fluid instrumental backdrop for his sensual, almost despairing vocals. The three singles were all contained on What's Going On, a conceptual masterpiece on which every track contributed to the spiritual yearning suggested by its title. After making a sly comment on the 1972 US presidential election campaign with the single "You're The Man", Gaye composed the soundtrack to the "blaxploitation" thriller Trouble Man. His primarily instrumental score highlighted his interest in jazz, while the title song provided him with another hit single.

Gaye's next project saw him shifting his attention from the spiritual to the sexual with Let's Get It On, which included a quote from T.S. Eliot on the sleeve and devoted itself to the art of talking a woman into bed. Its explicit sexuality marked a sea-change in Gaye's career; as he began to use cocaine more and more regularly, he became obsessed with his personal life, and rarely let the outside world figure in his work. Paradoxically, he continued to let Motown market him in a traditional fashion by agreeing to collaborate with Diana Ross on a sensuous album of duets in 1973 - although the two singers allegedly did not actually meet during the recording of the project. The break-up of his marriage to Anna Gordy in 1975 delayed work on his next album. I Want You was merely a pleasant reworking of the Let's Get It On set, albeit cast in slightly more contemporary mode. The title track was another number 1 hit on the soul charts, however, as was his 1977 disco extravaganza, "Got To Give It Up".

Drug problems and tax demands interrupted Gaye's career, and in 1978 he fled the US mainland to Hawaii in a vain attempt to salvage his second marriage. He devoted the next year to the Here, My Dear double album, which provided a bitter commentary on his relationship with his first wife. Its title was ironic: he had been ordered to give all royalties from the project to Anna as part of their divorce settlement. With this catharsis behind him, Gaye began work on an album to be called Lover Man, but he cancelled its release after the lukewarm sales of its initial single, the sharply self-mocking "Ego Tripping Out", which he had presented as a duet between the warring sides of his nature. In 1980, under increasing pressure from the Internal Revenue Service, Gaye moved to London, England where he began work on an ambitious concept album, In My Lifetime. When it emerged in 1981, Gaye accused Motown of remixing and editing the album without his consent, of removing a vital question mark from the title, and of parodying his original cover artwork. The relationship between artist and record company had been shattered, and Gaye left Motown for Columbia Records.

Persistent reports of Gaye's erratic personal conduct and reliance on cocaine fuelled pessimism about his future career, but he relocated to the incongruous surroundings of Ostend, Belgium and re-emerged in 1982 with a startling single, "Sexual Healing', which combined his passionate soul vocals with a contemporary electro-disco backing. The subsequent album, Midnight Love, offered no equal surprises, but the success of the single seemed to herald a new era in Gaye's music. He returned to the USA, where he took up residence at his parents" home. The intensity of his cocaine addiction made it impossible for him to work on another album, and he fell into a prolonged bout of depression. He repeatedly announced his wish to commit suicide in the early weeks of 1984, and his abrupt shifts of mood brought him into heated conflict with his father, rekindling animosity that had festered since Gaye's adolescence. On 1 April 1984, another violent disagreement provoked Marvin Gay Snr. to shoot his son dead, a tawdry end to the life of one of soul music's premier performers.

Motown and Columbia collaborated to produce two albums based on Gaye's unfinished recordings. Dream Of A Lifetime mixed spiritual ballads from the early 70s with sexually explicit funk songs from a decade later, while Romantically Yours offered a travesty of Gaye's original intentions in 1979 to record an album of big band ballads. Although Gaye's weighty canon is often reduced to a quartet of "I Heard It Through The Grapevine", "Sexual Healing", What's Going On and Let's Get It On, his entire recorded output signifies the development of black music from raw rhythm and blues, through sophisticated soul to the political awareness of the early 70s, and the increased concentration on personal and sexual politics thereafter. Gaye's remarkable vocal range and fluency remains a touchstone for all subsequent soul vocalists, and his lover man stance has been frequently copied as well as parodied.

Discography:
The Soulful Moods Of Marvin Gaye (Tamla 1961)***, That Stubborn Kind Of Fella (Tamla 1963)****, Recorded Live: On Stage (Tamla 1964)***, When I'm Alone I Cry (Tamla 1964)***, with Mary Wells Together (Motown 1964)***, Hello Broadway This Is Marvin (Tamla 1965)**, How Sweet It Is To Be Loved By You (Tamla 1965)***, A Tribute To The Great Nat King Cole (Tamla 1965)***, Moods Of Marvin Gaye (Tamla 1966)***, with Kim Weston Take Two (Tamla 1966)***, with Tammi Terrell United (Tamla 1967)***, In The Groove (Tamla 1968)***, with Terrell You're All I Need (Tamla 1968)***, with Terrell, Weston, Mary Wells Marvin Gaye And His Girls (Tamla 1969)***, with Terrell Easy (Tamla 1969)***, M.P.G. (Tamla 1969)***, That's The Way Love Is (Tamla 1970)***, What's Going On (Tamla 1971)*****, Trouble Man film soundtrack (Tamla 1972)***, Let's Get It On (Tamla 1973)*****, with Diana Ross Diana And Marvin (Motown 1973)***, Live! (Tamla 1974)**, I Want You (Tamla 1976)****, Live At The London Palladium (Tamla 1977)***, Here, My Dear (Tamla 1978)****, In Our Lifetime (Tamla 1981)***, Midnight Love (Columbia 1982)****, Romantically Yours (Columbia 1985)***, The Last Concert Tour (Giant 1991)**, Vulnerable (Motown 1997)***, Midnight Love & The Sexual Healing Sessions (Columbia/Legacy 1998)***, The Final Concert 1983 recording (Capitol 2000)***, What's Going On Deluxe Edition (Motown/Chronicles 2002)*****, Let's Get It On Deluxe Edition (Motown/Chronicles 2002)*****, I Want You Deluxe Edition (Motown/Chronicles 2003)****, North American Tour (Universe 2003)H, Live In Montreux 1980 (Eagle 2004)**.

Compilations:
Marvin Gaye's Greatest Hits (Tamla 1964)****, Marvin Gaye's Greatest Hits Vol. 2 (Tamla 1967)***, with Tammi Terell Marvin Gaye & Tammi Terrell: Greatest Hits (Tamla 1970)***, Super Hits (Tamla 1970)***, Anthology (Motown 1974)***, Marvin Gaye's Greatest Hits (Tamla 1976)****, Every Great Motown Hit Of Marvin Gaye (Motown 1983)****, Dream Of A Lifetime (Columbia 1985)***, Motown Remembers Marvin Gaye (Tamla 1986)***, 18 Greatest Hits (Motown 1988)****, Love Songs (Telstar 1990)****, The Marvin Gaye Collection 4-CD box set (Tamla/Motown 1990)*****, Seek And You Shall Find: More Of The Best (1963-1981) (Rhino 1993)***, Love Starved Heart (Motown 1994)***, The Master: 1961-1984 4-CD box set (Motown 1995)****, Early Classics (Spectrum 1996)***, The Love Songs (Motown 2000)****, with Terrell The Complete Duets (Motown 2001)****, The Master 1961-1984 (Universal 2004)****, Got To Give It Up: The Funk Collection (Spectrum 2004)***.

THE COVER :- Single textured sleeve

THE LABEL :- Tamla Motown labels

THE VINYL VISUALLY :- On initial inspection of this piece of vinyl I cannot see any areas of immediate concern. The vinyl sits perfectly flat on the turntable so there are no nasty warps to worry about. The vinyl still retains its just pressed quality, full of deep shine and lustre. I have not noted anything that would affect play. A lovely piece of vinyl. Near Mint visually.

THE VINYL PLAY GRADED :- The playgrading of the vinyl reveals no lessening in the sound quality. It lives up to its visual grading. There is barely any surface noise. If being critical you may hear the odd whisp between tracks but none during the tracks. The sound quality is high with a full dynamic range and very detailed sound. I feel certain this album has been played carefully if at all and stored well over the years. I would grade the audio playback as Excellent Plus condition.

THE SLEEVE FRONT CONDITION :- This is the very earliest 1st press textured sleeve. The front of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. The sleeve reveals no ringwear and no creases. The top layer of the surface has gotten very cloudy. I've seen this before, it happens when the shrinkwrap has been on for a very long time and then someone decides to remove it, it will remove a little gloss from the surface. The colours are bright and crisp nevertheless. I would grade the front of the cover as Excellent condition.

THE SLEEVE REAR CONDITION :- The rear of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. There are no creases on the rear of the sleeve and no ringwear. Again the rear still retains its original crisp colours. The white is still a very vibrant white. I would grade the rear as Excellent Plus condition.

THE LABEL SIDE ONE CONDITION :- Original Tamla Motown label in excellent order free from stickers or writing and no damage at all. No signs of play around the spindle hole. Near Mint condition.

THE LABEL SIDE TWO CONDITION :- Original Tamla Motown label in excellent order free from stickers or writing and no damage at all. No signs of play around the spindle hole. Near Mint condition.

THE SPINE CONDITION :- The writing on the spine is crystal clear. No spine splits at all. Just very light signs of shelfwear in the two corners. Excellent Plus condition.

THE TOP EDGE CONDITION :- The top edge is in Near Mint condition with no issues.

THE BOTTOM EDGE CONDITION :- The bottom edge is in Near Mint condition with no issues.

THE OPENING EDGE CONDITION :- The top edge is in Excellent Plus condition with no just a little rubbing in the corners.

THE INNER SLEEVE CONDITION :- Generic white inner in Excellent condition

THE EXTRAS :- No extras were given with this album

THE CATALOGUE NUMBER :- WL72208

THE YEAR OF RELEASE :-  1968

THE LABEL :- TAMLA MOTOWN

THE COUNTRY OF ORIGIN :-  UK

PLAYING FORMAT :- STEREO

THE MATRIX NUMBERS :-  859003 1Y//Y 420  &  859003 2Y//Y 420

TRACK LISTING :-

SIDE ONE :-

1. AINT NOTHING LIKE THE REAL THING
2. KEEP ON LOVING ME HONEY
3. YOU'RE ALL I NEED TO GET BY
4. BABY DONT'CHA WORRY
5. YOU AINT LIVIN' TILL YOU'RE LOVIN'
6. GIVE IN, YOU JUST CAN'T WIN

SIDE TWO :-

1. WHEN LOVE COMES KNOCKING AT MY HEART
2. COME ON AND SEE ME
3. I CAN'T HELP BUT LOVE YOU
4. THAT'S HOW IT IS (SINCE YOU'VE BEEN GONE)
5. I'LL NEVER STOP LOVING YOU BABY
6. MEMORY CHEST

WHAT WE PLAY THE RECORD ON :- 

We use a Project 6 Perspex Turntable to play grade our records which delivers a rich authoritative sound and achieves a rich and weighty vibrancy unrivalled by the majority of decks within its price range

HOW WE CLEAN YOUR RECORD :- 

We use a V.P.I. HW-16.5 record cleaning machine to clean your vinyl. "A highly recommended machine" as quoted by Stereophile magazine. This removes any excess dirt before playing

HOW WE PACKAGE YOUR RECORD :- 

Your record will be package very securely to minimise any risk of damage during transit. We remove the record from the outer sleeve unless asked not to do so. This helps to minimise the risk of seam spliting. We use a high quality record mailer which is designed to give superior protection for your vinyl record. We place stiffeners either side of the record for added protection. The album will also be placed in a 450 gram Poly outer sleeve for even extra added protection

POSTAGE AND PACKAGING CHARGES FOR UK CUSTOMERS :-

We advise that items reaching over £50 in price to be insured and sent by Special Delivery. This protects both of us and ensures better handling of the parcel during transit.We are in no way out to make money from postage. The postage price includes the record mailer, stiffeners and plastic sleeve. We just want your item to reach you in the best possible condition. A breakdown of insured postal services are listed below. Please choose to use the relevant postal service for your own protection as once these rare records are lost they can quite often seldom be replaced

 SECOND CLASS RECORDED (INSURED UP TO £50) :- FREE

FIRST CLASS RECORDED (INSURED UP TO £50) :- £0.45

SPECIAL DELIVERY NEXT DAY UPTO 500g :- £3.80

SPECIAL DELIVERY NEXT DAY FROM 500g - 1000g :- £5.00

(SPECIAL DELIVERY INSURES YOUR ITEM UPTO £500)

POSTAGE AND PACKAGING FOR THE EUROPEAN UNION :-    

All records reaching under £10 are sent to the European Union by Airmail small packets. We will not ship abroad without insured post for items reaching over £10

AIRMAIL SMALL PACKETS  :-  £6.22 (For items under £10)

INTERNATIONAL SIGNED FOR :-  £11.37 (For items £10 - £50)

INTERNATIONAL SIGNED FOR :-  £13.97 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

POSTAGE AND PACKAGING FOR THE USA AND CANADA :- 

All records reaching under £10 are sent to the USA & Canada by Airmail small packets. We will not ship abroad without insured post for items reaching over £10

AIRMAIL SMALL PACKETS  :-  £8.78 (For items under £10)

INTERNATIONAL SIGNED FOR :- £13.93 (For items £10 - £50)

INTERNATIONAL SIGNED FOR :- £16.53 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

POSTAGE AND PACKAGING FOR THE AUSTRALIA AND JAPAN AND ROW :- 

All records reaching under £10 are sent to the Australia & Japan by Airmail small packets. We will not ship abroad without insured post for items reaching over £10

AIRMAIL SMALL PACKETS :- £9.06 (For items under £10)

INTERNATIONAL SIGNED FOR :- £14.21 (For items £10 - £50)

INTERNATIONAL SIGNED FOR :- £16.81 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

PLEASE NOTE THAT WE DO NOT PROFIT FROM POSTAGE, THE PRICES WE QUOTE ARE QUITE ACCURATE AND INCLUDE THE PACKAGING MATERIALS AT COST PRICE

NOTE FOR INTERNATIONAL BUYERS:

PLEASE AWAIT AN INVOICE BEFORE PAYING SO WE CAN WORK OUT THE CORRECT POSTAGE/SHIPPING CHARGES

BUYERS OF MULTIPLE ITEMS :- 

Postage prices and courier methods for multiple purchases will be calculated after the auction end. It is impossible for us at the pre auction stage to determine these prices as the final weight is unknown.If you are the winner of multiple items the please await contact from us or alternately contact us yourself for a breakdown of the shipping costs.You will only pay the stamp price + relevant packaging charges so there are big savings to be made with multiple purchases

HOW TO PAY FOR YOUR RECORD :-

We can accept the following payment methods

UK BUYERS :- 

• PayPal
• Personal cheque (Please allow to clear)
• Bankers Draft
• Postal Order

OVERSEAS BUYERS :-

• Paypal only

TERMS AND CONDITIONS :-

We always try to appraise the record for sale as openly and honestly as possible and provide plenty of pictures for you to look at but please be aware that errors however rare do occur and not everyone has the same audio  equipment. There is no problem that cannot be worked out in a civilised manner. We urge you to contact us so that we can discuss any small problems that may occur. We offer a refund of the purchase price for returned items within 7 days of purchase and are happy to help you with any questions or concerns you may have during the auction

SAVE US TO YOUR FAVOURITES LIST AS WE INTEND TO LIST MANY MORE RARE VINYL TREATS OVER THE COMING MONTHS AND YEARS