Marvin’s GOD IS LOVE is very different on the WGO album and the single. And the single only SAD TOMORROWS is actually FLYING HIGH IN THE FRIENDLY SKY.

WHAT’S HAPPENING BROTHER is a revamped WHAT’S GOING ON. Ditto KEEP GETTIN IT ON with LET’S GET IT ON.

What I mean is that from 1970 on, it was common practice to revamp a song while keeping the same social message. With STILL WATER the same title was kept and both versions ended as both sides of a single. But Marvin’s approach is the same. Let’s not forget Obie Benson from the Tops who is a common piece of those recordings.

The earlier 60s versions of songs split on both sides of a 45 were done either to :
- see what the public/the DJs would like best [[LITTLE STEVIE WONDER “I CALL IT PRETTY MUSIC” comes to mind)
- split a track too long to be put complete one one side of a single [[mostly live tracks, a bit like it had been done with WHAT I’D SAY)

The earlier 70s tracks that appeared on both sides were repeated to stress on the social messages the lyrics.

From 1972 on it seems the longer tracks appeared as part 1 and part 2 on a sale single just to allow people to dance or groove more than within the 4+ minutes of one side of the single.
Think about EDDIE KENDRICKS “Girl you need a change a change of mind” or J5s “I Am Love”

From the late 70s on And throughout the 80s we got instrumental tracks as b sides so that everyone would be able to pretend to be Stevie or Marvin.

The 90s was the era of remixes. Yech!

So it’s interesting to note that when 2 versions of a as same song were on each side of a early 1970s single, the songs always has a social message.

Things change mid-1972 after Marvin Gaye’s “You’re the Man” IS released. And before EDDIE KENDRICKS “Keep on Trucking” and “Can I” were.

This is only some personal thoughts and you may disagree. But I see it that way anyway