Diana & Marvin

[jobeterob]

A couple pictures from Facebook that I’ve never seen before

They look happy

[marybrewster]

Diana's a better actress than she's given credit for then.

[jobeterob]

As time goes by, I don’t know if it’s social media, but some of these tired worn stories seem to have less and less to them.

[Ollie9]

Judging by how she singled him out at Motown 25, i think Diana always had a soft spot for Marvin regardless of what transpired while recording their duets album.

[jobucats]

My comment is not an indictment or insult; however, I always thought that the pictures of Diana, with Marvin, where she's wearing the white top/dress appeared that she was just waking up and still in her bed clothes just before they would share coffee and breakfast.

[reese]

My comment is not an indictment or insult; however, I always thought that the pictures of Diana, with Marvin, where she's wearing the white top/dress appeared that she was just waking up and still in her bed clothes just before they would share coffee and breakfast.

I used to have all of Diana's albums hanging on my wall. One of my cousins noted the inner photo from the DIANA AND MARVIN album and said basically the same thing you wrote.

[captainjames]

Naw don't believe all the media hype.... Diana and Marvin were vocal and upfront with each other. I remember a concert that Marvin showed up when Diana was at the top of her game and she called him on stage. I believe it was also at the last performance of he Supremes. And then there was "Missing You".

[RanRan79]

Diana and Marvin had a difficult time with one another for at least one of their recording sessions together. I don't think the stories about it are exaggerated at all. But just because they had a bad day- or even a couple bad days- together, doesn't mean they didn't mean a lot to one another nor does it mean they were always at odds with each other. Look at Diana and Florence. We know that relationship had some combative moments that made whatever went down between Marvin and Diana look like an episode of Muppet Babies. Yet, we also know how they felt about one another and how their relationship seemed to get back on track until it was too late.

Fights and arguments happen, especially when people are working very closely together and are artistic, temperamental, diva types. It doesn't always mean hatred.

[jobeterob]

I think we all agree more or less

There’s way too much focus on the negative but little focus on the positive

As Janie Bradford said “Diana is a target, she has money, has an ego”. Even Mary had to spice up her book.

[sup_fan]

i think Marvin and Diana definitely cared about one another. they had a long history together at the label. but they were both divas and in 1972 were both at massive peaks in their careers. and there was probably major jealousies between them.

Diana was the queen of motown, lavished with money and attention by berry. had tv specials, a huge movie hit, massive hits with the Sups, big tours, etc. but she didn't have control of her career and music like marvin did

Marvin was the prince of motown but that's a slightly lower rank than queen. he had had big hits and had been given the opportunity to be another Nat King Cole - his shows were full of the MOR content [[especially in the later 60s) and he'd done several beautiful concept albums. supposedly he was lined up for some tv specials and i think they could have come to fruition but apparently he didn't agree with the concepts. but he wasn't being lavished with the money and attention diana got. but he had, after major fighting, wrestled control of his music.

so the whole situation about his smoking pot in the studio while D was preg, i'm sure it happened. but that doesn't mean they hated one another. it means they were just two highly sensitive and demanding artists being forced to do a project together. Frankly much of the music was subpar. just not worthy of the two of them. and both were intelligent and thoughtful enough artists to know when they were being made to record drek. i'd guess that was 95% of the problem. Diana had just done all this amazing jazz work and Marvin had done What's Going On. and then they're being forced to sing this nonsense.

[reese]

i think Marvin and Diana definitely cared about one another. they had a long history together at the label. but they were both divas and in 1972 were both at massive peaks in their careers. and there was probably major jealousies between them.

Diana was the queen of motown, lavished with money and attention by berry. had tv specials, a huge movie hit, massive hits with the Sups, big tours, etc. but she didn't have control of her career and music like marvin did

Marvin was the prince of motown but that's a slightly lower rank than queen. he had had big hits and had been given the opportunity to be another Nat King Cole - his shows were full of the MOR content [[especially in the later 60s) and he'd done several beautiful concept albums. supposedly he was lined up for some tv specials and i think they could have come to fruition but apparently he didn't agree with the concepts. but he wasn't being lavished with the money and attention diana got. but he had, after major fighting, wrestled control of his music.

so the whole situation about his smoking pot in the studio while D was preg, i'm sure it happened. but that doesn't mean they hated one another. it means they were just two highly sensitive and demanding artists being forced to do a project together. Frankly much of the music was subpar. just not worthy of the two of them. and both were intelligent and thoughtful enough artists to know when they were being made to record drek. i'd guess that was 95% of the problem. Diana had just done all this amazing jazz work and Marvin had done What's Going On. and then they're being forced to sing this nonsense.

In an article in the Billboard magazine devoted to her 30th anniversary, Diana admitted to the pot problems during their duet sessions but she doesn't mention any other strain. So it was probably just that one instance, especially since there were at least two occasions in later years where Marvin attended her shows and even sang.

In DIVIDED SOUL, Marvin admitted to being jealous of Diana. He said something like while he had his wife Anna [Berry's sister] to talk to Berry on his behalf, Diana had Berry himself.

[BayouMotownMan]

At the end of the day they had a lot of admiration for one another but were also wary of each other. They were the King and Queen of Motown. From all involved, Gaye was jealous to a degree that Diana crossed so many barriers. From recording artist to a brilliant actress, he too tried acting and gave credible performances in two forgotten films, but he was no threat to Ross. I also heard Gaye was annoyed that Levi Stubbs was Gordy's first choice to play Louis McKay while Gaye was never considered.

About the lp, Gaye was steadfastly against it. Gordy put pressure on him as he was still a family member and he wanted Diana involved in a project while she was pregnant to keep her occupied. Gaye felt the lp was an affront to his success with Tammi Terrell. So while Gordy promised him more promotion on his upcoming lps, he did the lp without having his heart in it, and it shows really. Only when he was irritated with Ross did his vocals come alive, like on Pledging My Love and Special Part Of Me where he sings her off the record.

The marijuana thing again was Gaye asserting his territory. For years he got high before recording. That Diana was pregnant was something SHE had to worry about. Even when Gordy stepped in to convince him not to smoke this in the studio around his pregnant protege, it made him more determined to do it.

The resulting lp was so maudlin that Gordy shelved it. After the huge success of Touch Me In The Morning and Let's Get It On did Gordy revive the lp with Russ Terrana remixing and bringing some life to the album.

The idea of touring together to promote it was never considered. Adding insult to injury to Gaye was Diana being billed ahead of him. That had not happened with previous duets.

Ever the gentleman, I remember when Gaye did a Soul Train in late 73 one of the Soul Train gang asked him if he'd do another lp with Ross. He lamented on how much he loved her and gave a not so convincing answer of yes he'd do another lp with her.

Because it had so many producers the lp just had no cohesiveness. His best duet work remains his recordings with Tammi Terrell. And that is as it should be.

[Ollie9]

I never understand the negativity regarding the Diana & Marvin album. To me it’s a classic duets album, better then most and one that has managed to stand the test of time. The album cover is iconic.

[captainjames]

I never understand the negativity regarding the Diana & Marvin album. To me it’s a classic duets album, better then most and one that has managed to stand the test of time. The album cover is iconic.

I would have to agree with you.....I love the album.

[sup_fan]

I never understand the negativity regarding the Diana & Marvin album. To me it’s a classic duets album, better then most and one that has managed to stand the test of time. The album cover is iconic.

IMO it never really delivers what was truly possible with these two. these are two of the most significant and talented singers of their time in the pop/r&b market. maybe an example would be compare The Boss or Baby It's Me with Why Do Fools Fall in Love. while some fans really slam WDFFIL, i think it's a decent album. but it's not a classic nor is it worthy of a debut album with a new label. meanwhile an album like Surrender or The Boss or BIM is just a major milestone. a masterpiece.

given D and M, this should have been and could have been a masterpiece

[jobeterob]

I think the album is now highly regarded and sold very well; many of the cuts are listed on the Spotify charts.

[Ollie9]

I think the album is now highly regarded and sold very well; many of the cuts are listed on the Spotify charts.

I love the chilled out vibe of the set. If I had to pick a least favourite track it would probably be “Don’t Knock My Love” which apparently Diana herself wasn’t crazy about.
I think the album contains some of her best singing, particularly on the sublime “You Are Everything”.

[RanRan79]

While I agree that the album didn't exactly do anything to progress either of their careers, the album has gone down as a classic. There is some mediocrity on the album, which is salvaged due to Diana and Marvin's voices, but overall I think it's a pretty well done set. With the lovemaking Lets Get It On, and the mellowness of Touch Me In the Morning, Diana and Marvin fit right in with where the two were at the time, and I consider the album sort of a bridge between the other two albums. It's definitely an album for lovers. [[I always thought it should have been called Love Twins.)

I love it. I'm not particularly crazy about "Pledging My Love" and "My Mistake", and for the life of me I can't really get into the fan favorite "Just Say", but I love all the other cuts. I do think the album would have been better if [[a) Marvin wrote and produced the material, [[b) Ashford and Simpson had wrote and produced the entire album. However, as is, I give it an A.

[RanRan79]

So was any of the songs recorded in 1973, or was the whole thing done in 1972 and shelved until 1973?

[reese]

So was any of the songs recorded in 1973, or was the whole thing done in 1972 and shelved until 1973?

I haven't seen recording dates but I think the sessions for the album started with A&S producing in 1972 while Diana was pregnant with Tracee. After the problems during the later sessions, I don't know if there was an immediate decision made to salvage the project by recording separately or if the album was temporarily shelved.

In her book, Ray Singleton wrote that Hal Davis and Russ Terrana kept listening to and tinkering with the tracks and convinced Berry to release it in fall 1973. I gather it was then a good time as Diana was hot with LADY and TOUCH ME..., and Marvin was hot with LET'S GET IT ON.

[reese]

I never understand the negativity regarding the Diana & Marvin album. To me it’s a classic duets album, better then most and one that has managed to stand the test of time. The album cover is iconic.

I've always enjoyed this album. Plus I have fond memories of purchasing it, for $5 at Sears and Roebuck. I barely had it for a couple of weeks before one of my aunts borrowed it and kept it for what seemed like forever. Later, she bought me a t-shirt with the inner photo of D&M on it. But I digress...

I think both Diana and Marvin gave great vocal performances on the album. My favorites are JUST SAY, JUST SAY, MY MISTAKE, and INCLUDE ME IN YOUR LIFE. I also really like the unreleased [at the time] track I'VE COME TO LOVE YOU SO MUCH. It makes me wonder how an album totally produced by Ashford and Simpson might have turned out. Perhaps we would have heard Diana and Marvin singing GIMME SOMETHING REAL or I NEED YOUR LIGHT.

But I suspect for some, the Marvin/Tammi duets might have cast a long shadow over any duets Marvin did before or after her. Plus for some reason, it is always mentioned that Diana and Marvin did their vocals separately and some take issue with that, even though many duets are done that way.

[BayouMotownMan]

I've always enjoyed this album. Plus I have fond memories of purchasing it, for $5 at Sears and Roebuck. I barely had it for a couple of weeks before one of my aunts borrowed it and kept it for what seemed like forever. Later, she bought me a t-shirt with the inner photo of D&M on it. But I digress...

I think both Diana and Marvin gave great vocal performances on the album. My favorites are JUST SAY, JUST SAY, MY MISTAKE, and INCLUDE ME IN YOUR LIFE. I also really like the unreleased [at the time] track I'VE COME TO LOVE YOU SO MUCH. It makes me wonder how an album totally produced by Ashford and Simpson might have turned out. Perhaps we would have heard Diana and Marvin singing GIMME SOMETHING REAL or I NEED YOUR LIGHT.

But I suspect for some, the Marvin/Tammi duets might have cast a long shadow over any duets Marvin did before or after her. Plus for some reason, it is always mentioned that Diana and Marvin did their vocals separately and some take issue with that, even though many duets are done that way.

Very good point. The bulk of the Marvin and Tammi sessions were done separately. In fact, several songs on United and much of You're All I Need were Tammi solos that Marvin recorded over to make a duet. There is still much debate as to whether Tammi is on Easy at all, but two tracks, More, More, More and I Can't Believe you Love Me were Tammi solos. And, I'm sorry the voice on those two tracks is different than the other 10 songs on that lp. I don't think Gaye was lying when he told David Ritz that it was Valerie Simpson on the last lp.

[sup_fan]

I think the album is now highly regarded and sold very well; many of the cuts are listed on the Spotify charts.

it sold VERY well. Touch Me In The Morning was released 6/22 and peaked at #5 pop. it was on the charts for 28 weeks

Let's Get It On was released on Aug 28 and peaked at #2 pop. I don't know the number of weeks but i'm sure it was on the charts for a long time

the duets album was released on 10/26 and entered the charts on 11/17. peaked at #26. but it FLEW up the charts. the peak was on 12/15 so a few weeks after entering the charts.
IMO that's a bit low of a peak position, given the chart success of their individual albums. but it stayed on the charts for 47 weeks!!!!

[lucky2012]

I've always enjoyed this album. Plus I have fond memories of purchasing it, for $5 at Sears and Roebuck. I barely had it for a couple of weeks before one of my aunts borrowed it and kept it for what seemed like forever. Later, she bought me a t-shirt with the inner photo of D&M on it. But I digress...

I think both Diana and Marvin gave great vocal performances on the album. My favorites are JUST SAY, JUST SAY, MY MISTAKE, and INCLUDE ME IN YOUR LIFE. I also really like the unreleased [at the time] track I'VE COME TO LOVE YOU SO MUCH. It makes me wonder how an album totally produced by Ashford and Simpson might have turned out. Perhaps we would have heard Diana and Marvin singing GIMME SOMETHING REAL or I NEED YOUR LIGHT.

But I suspect for some, the Marvin/Tammi duets might have cast a long shadow over any duets Marvin did before or after her. Plus for some reason, it is always mentioned that Diana and Marvin did their vocals separately and some take issue with that, even though many duets are done that way.

I always like and look forward to your posts, reese. My favorites are You Are Everything, Just Say Just Say, Love Twins, My Mistake, Include Me In Your Life and the unreleased I've Come To Love You So Much. Yes, I've wondered about Ashford & Simpson doing more for the album, e.g. Ain't Nothin' But a Maybe from DR76 as a duet.

For me, Diana & Marvin is just as classic as the Marvin/Tammi duets.

[Ollie9]

I've always enjoyed this album. Plus I have fond memories of purchasing it, for $5 at Sears and Roebuck. I barely had it for a couple of weeks before one of my aunts borrowed it and kept it for what seemed like forever. Later, she bought me a t-shirt with the inner photo of D&M on it. But I digress...

I think both Diana and Marvin gave great vocal performances on the album. My favorites are JUST SAY, JUST SAY, MY MISTAKE, and INCLUDE ME IN YOUR LIFE. I also really like the unreleased [at the time] track I'VE COME TO LOVE YOU SO MUCH. It makes me wonder how an album totally produced by Ashford and Simpson might have turned out. Perhaps we would have heard Diana and Marvin singing GIMME SOMETHING REAL or I NEED YOUR LIGHT.

But I suspect for some, the Marvin/Tammi duets might have cast a long shadow over any duets Marvin did before or after her. Plus for some reason, it is always mentioned that Diana and Marvin did their vocals separately and some take issue with that, even though many duets are done that way.

Always nice to hear memories of how we came by certain albums reece.
I think it rather unfair when Diana & Marvin is compared unfavourably to Marvin’s duets of the 60’s. The 70’s production and style of singing being more sophisticated and less overblown than those 60’s recordings. It’s like chalk and cheese.

[RanRan79]

The pairing of Marvin and Tammi was classic. Iconic, even. Anybody Marvin sang with after Tammi was always going to live in that shadow. And as much as I love the Diana and Marvin album, it does pale in comparison to the chemistry and fire that existed between Marvin and Tammi's vocals. Not to mention Marvin and Tammi's duets were part of the beloved Motown Sound. Marvin, Tammi, Hitsville, that's a combination Diana and Marvin were never going to be able to live up to. But own it's own merits, the Diana and Marvin pairing are great, IMO.

Btw, my favorite cuts on the album are "Love Twins", "Special", "Think I'm Falling In Love" and "Include Me In Your Life". I also really love the outtakes of "I've Come To Love You So Much" and "The Things I Will Not Miss". I'm still hoping for the expanded edition of this album where we might get the full solos of the songs recorded by each singer, and of course any additional alternates, which I think we've only gotten alternates of "Don't Knock My Love" and "Special Part of Me".

[rovereab]

The pairing of Marvin and Tammi was classic. Iconic, even. Anybody Marvin sang with after Tammi was always going to live in that shadow. And as much as I love the Diana and Marvin album, it does pale in comparison to the chemistry and fire that existed between Marvin and Tammi's vocals. Not to mention Marvin and Tammi's duets were part of the beloved Motown Sound. Marvin, Tammi, Hitsville, that's a combination Diana and Marvin were never going to be able to live up to. But own it's own merits, the Diana and Marvin pairing are great, IMO.

Btw, my favorite cuts on the album are "Love Twins", "Special", "Think I'm Falling In Love" and "Include Me In Your Life". I also really love the outtakes of "I've Come To Love You So Much" and "The Things I Will Not Miss". I'm still hoping for the expanded edition of this album where we might get the full solos of the songs recorded by each singer, and of course any additional alternates, which I think we've only gotten alternates of "Don't Knock My Love" and "Special Part of Me".

I so agree with the notion of a deluxe/expanded edition. The version of Stop Look Listen on Diana's expanded To Love Again shows what can be done to improve on the original mixes. I'd also like to hear what was cut out of You Are Everything at track time 2:18 where there is clearly an edit.

[BayouMotownMan]

it sold VERY well. Touch Me In The Morning was released 6/22 and peaked at #5 pop. it was on the charts for 28 weeks

Let's Get It On was released on Aug 28 and peaked at #2 pop. I don't know the number of weeks but i'm sure it was on the charts for a long time

the duets album was released on 10/26 and entered the charts on 11/17. peaked at #26. but it FLEW up the charts. the peak was on 12/15 so a few weeks after entering the charts.
IMO that's a bit low of a peak position, given the chart success of their individual albums. but it stayed on the charts for 47 weeks!!!!

Diana & Marvin was a modest seller. As you said it zoomed up the charts to peak at No. 26 and then began a steady slow fall. This indicates an album that had high initial interest by the radio stations that peaked too soon. What usually sidelines such a big start is negative reviews or bad word of mouth resulting in the lack of radio requests for the material. I'm pretty sure it did not reach gold status.

Another big problem was neither artist really went out and promoted it either in public or on tv. Diana did add My Mistake to her show in LA in 1974 and had G.C. Cameron sing Marvin's part. Very mysterious there, not sure in Gaye was in LA at the time [[likely he was) or if he turned down the request to sing it with her [[good chance of that too.)

Marvin Gaye was in a full rebellion against Motown. His marriage with Anna was ending as he was taking up with teenage Jan. He was really only interested in his own productions and he produced none of the songs on the lp. Neither Marvin nor Diana has had much to say about the album over the years. That too is very telling.

You can be sure had the lp been a big hit Gordy would have ordered a follow up

[Boogiedown]

Plus for some reason, it is always mentioned that Diana and Marvin did their vocals separately and some take issue with that, even though many duets are done that way.

I've challenged this notion before and I think that three or four duets got mentioned as having been done this way.... so I wouldn't call that anywhere near the norm. Why would they want to do it this way ? Its more trouble than its worth ...besides being fake . ...

Of course that's what's necessary when one or both artists are dead [hey, has anyone come up with a two-dead-artists-spliced-together "duet" yet??]


For me I can hear the results in these Gaye/Ross recordings. They sound like they are singing AT each other.

[rovereab]

Diana & Marvin was a modest seller.

The album was very successful in the UK as per this extract from the album's WiKi:

"It was far more successful in the United Kingdom, where Gaye and Ross had substantial fan bases, reaching number 6 on the UK albums chart and was certified gold for sales in excess of 100,000 copies."

Many friends at the time bought the album and it remains one of my favourite albums. I don't care if some songs were recorded separately. Some of Marvin & Tammi's songs were too, including the classic Ain't No Mountain High Enough.

[captainjames]

[Circa 1824]

I did not like most of Ross’ vocals on this album. Marvin sounded much better.

[jobeterob]

https://the-circuit.greasylake.org/i...a-album-sales/

I don’t see Diana and Marvin on this sales list but I’ve seen it written that it ultimately sold 2 million copies

[rovereab]

https://the-circuit.greasylake.org/i...a-album-sales/

I don’t see Diana and Marvin on this sales list but I’ve seen it written that it ultimately sold 2 million copies

The Supremes and Four Tops albums are not listed so I wonder if the list is strictly Supremes/Diana Ross and Supremes information?

[milven]

I've challenged this notion before and I think that three or four duets got mentioned as having been done this way.... so I wouldn't call that anywhere near the norm. Why would they want to do it this way ? Its more trouble than its worth ...besides being fake . ...

Of course that's what's necessary when one or both artists are dead [hey, has anyone come up with a two-dead-artists-spliced-together "duet" yet??]


For me I can hear the results in these Gaye/Ross recordings. They sound like they are singing AT each other.

I read that Diana and Marvin Gaye recorded many of their duets separately because of their conflicting schedules. Also, Diana was pregnant and did not like Marvin's habit of smoking marijuana in the studio.

I'm aware of one duet where the recordings of two dead people were spliced together to form a duet. At the time that Elvis had a hit with ARE YOU LONESOME TONIGHT in 1960, I had no idea that it was an old song dating back to the 1920's. A YouTuber, Nigel Dreiner, took the time to put two recordings together to create a duet with two deceased artists, Elvis and Al.
Did a good job too.

[BayouMotownMan]

https://the-circuit.greasylake.org/i...a-album-sales/

I don’t see Diana and Marvin on this sales list but I’ve seen it written that it ultimately sold 2 million copies

Those appear to be worldwide sales ESTIMATES. You'll notice several marked as Motown Data. Motown was not audited for accuracy until just a few years before Gordy sold it.

Motown always inflated sales figures to the public to get the artist top dollar bookings. When it came to paying royalties, those numbers dropped dramatically. There is no way of knowing what the majority of Motown releases sold. Everything accounting was done manually. The only way to get good estimates is examining the charts from the major mags of the time [[BB, RW, CB) and even those are confusing. Take for instance The Return of The Magnificent 7. It struggled to get to the upper 150s on BB. In CB is made it into the upper 70s. a huge difference in terms of sales. The High Energy lp was a huge success on BB, making it to No. 42. The other magazines never had it in the Top 100.

[milven]

... Motown always inflated sales figures to the public to get the artist top dollar bookings. When it came to paying royalties, those numbers dropped dramatically...

Kind of like Donald had one set of figures for IRS and another set for banks to obtain loans

[sup_fan]

it seems the albums for Marvin and Tammi contained much more original material, although i realize a lot of it was maybe initially intended just as Tammi solo material and Marvin was added later. but it's a stark contrast to the cover-heavy Temp/Sup, Diana/Marvin and most of the Sup/Top duets. with the Sup Tops, they did end up doing about 1 album worth of original material, spread out across the 3 lps. but unfortunately it's not nearly the quality of material as Tammi/Marvin worked with

[rovereab]

I found this picture on the internet years ago. They appear to have good fun around each other.

[jobeterob]

I found this picture on the internet years ago. They appear to have good fun around each other.

That’s an even better one than I found - awesome

I think some of these pictures are better than what they used for artwork

I think in the end this was a successful album - more successful than any of the other duet albums Marvin did

[captainjames]

That’s an even better one than I found - awesome

I think some of these pictures are better than what they used for artwork

I think in the end this was a successful album - more successful than any of the other duet albums Marvin did

Agreed - Heck we are not sure if all the recordings Marvin did had any of female counterpart's in the studio with him but I still love them.

[rovereab]

I always thought John Perone’s duetting of the separate Diana and Marvin versions of Dark Side Of The World showed how powerful a real duet would have been.

Thinking about the songs on the album, I would have forgone Don’t Knock My Love for an upbeat happy song, perhaps, picking up on the mid 60s feel that both artists lived through. Something like Frank Wilson’s Do I Love You [[Indeed I Do).

[RanRan79]

I think in the end this was a successful album - more successful than any of the other duet albums Marvin did

I think that's a safe bet, and probably owes itself to the time and the two people involved and where they were in their careers.

But none of those songs approach the popularity of some of what Marvin did with Tammi. That was just always going to be a hard combo to beat.

[RanRan79]

it seems the albums for Marvin and Tammi contained much more original material, although i realize a lot of it was maybe initially intended just as Tammi solo material and Marvin was added later. but it's a stark contrast to the cover-heavy Temp/Sup, Diana/Marvin and most of the Sup/Top duets. with the Sup Tops, they did end up doing about 1 album worth of original material, spread out across the 3 lps. but unfortunately it's not nearly the quality of material as Tammi/Marvin worked with

Cover heavy albums were still pretty much industry standard in the late 60s when the Supremes and Tempts albums were recorded, so I kind of get it. But by the time of the Supremes and Tops, and definitely Diana and Marvin, you would think the task would be original songs with maybe one cover, two tops.

[captainjames]

To quote "As Diana said: “Marvin was great to work with. He made it very easy for me.”

[midnightman]

https://the-circuit.greasylake.org/i...a-album-sales/

I don’t see Diana and Marvin on this sales list but I’ve seen it written that it ultimately sold 2 million copies

I don't buy this at all. The only country where it was certified was in the UK where it's gold [[100,000 copies+). In America, it sold around 500,000 copies, a BIG BOMB considering how much it was initially hyped. I think the album had been shelved for a year before Motown put it out.

None of the songs on the album made the top ten of the Hot 100, the biggest single, "You're a Special Part of Me", only reaching number 12, while the follow up, "My Mistake", reached number 19 in early 1974. Then their cover of "Don't Knock My Love" failed to crack the top 40.

So I think its overall sales could've been around 650k. When the CD boom occurred, I don't think it was ever released in that format until much, much later.

They fared better in the UK likely cause of pirate radio supporting "You Are Everything" [[a top five smash in the UK and a few other European countries where the original didn't perform all too well).

Lack of promotion hurt matters too, plus Marvin wasn't really into the album and Diana wasn't. But maybe the reason for Diana was due to her doing Las Vegas shows and working on the Mahogany film later in 1974.

[midnightman]

I think that's a safe bet, and probably owes itself to the time and the two people involved and where they were in their careers.

But none of those songs approach the popularity of some of what Marvin did with Tammi. That was just always going to be a hard combo to beat.

No one remembers ANY of the Marvin/Diana duets these days unless you're a diehard fan of them both.

But ask anyone of:
Ain't No Mountain High Enough
Your Precious Love
Ain't Nothing Like the Real Thing
You're All I Need to Get By

Ears will perk up. The Marvin/Tammi duets are forever iconic compared to the duets with Ross, Mary Wells and Kim Weston [[though It Takes Two is still pretty memorable today).

[midnightman]

Agreed - Heck we are not sure if all the recordings Marvin did had any of female counterpart's in the studio with him but I still love them.

Ashford & Simpson are on the record saying Marvin and Tammi started recording in the studio together to record Your Precious Love and also recorded Ain't Nothing Like the Real Thing and, after Tammi's first surgery following her first brain tumor diagnosis, You're All I Need to Get By. They also claimed Tammi was in the studio to do the Easy album but I don't know if Marvin was in the studio at the time [[likely not).

I think Marvin & Kim recorded together. Not sure about him and Mary though. I think I read somewhere that the duets were separate too.

[midnightman]

Those appear to be worldwide sales ESTIMATES. You'll notice several marked as Motown Data. Motown was not audited for accuracy until just a few years before Gordy sold it.

Motown always inflated sales figures to the public to get the artist top dollar bookings. When it came to paying royalties, those numbers dropped dramatically. There is no way of knowing what the majority of Motown releases sold. Everything accounting was done manually. The only way to get good estimates is examining the charts from the major mags of the time [[BB, RW, CB) and even those are confusing. Take for instance The Return of The Magnificent 7. It struggled to get to the upper 150s on BB. In CB is made it into the upper 70s. a huge difference in terms of sales. The High Energy lp was a huge success on BB, making it to No. 42. The other magazines never had it in the Top 100.

Yeah Motown HEAVILY inflated during those years. It was probably embarrassing to talk about.

[Spreadinglove21]

I found this picture on the internet years ago. They appear to have good fun around each other.

Well it's a photo shoot so no doubt they are doing various poses and trying to evoke different moods. Maybe they were genuinely having fun while doing this job, or they were acting for the purposes of the shoot as they were on the job. Who knows, but don't read too much personal into a professional photo shoot outtakes.