My Mistake [[Was To Love You)

[rovereab]

For me this is one of the best songs on Diana & Marvin. However, I have often thought that the wrong version of the song ended up on the album...

The original album version has Marvin singing alone [[apart from the intro) for 1:07 minutes. Whereas the alternate version has Diana singing in the chorus from 0:25 minutes. She is then singing again in the chorus from 0:59. Overall the alternate version feels much more of a duet to me. However, I prefer the punchier mix of the original released version.

What's your thoughts?

[daviddh]

never heard of an alternate version
love the original version , will look for it
thanks for letting me know

[sup_fan]

never really got into this song. overall i found these duets to be lackluster and never sufficiently capturing the immense talent of the two singers

out of the songs we've received, i like You Are Everything, You're A Special Part of Me, Just Say Just Say and Alone from the bonus tracks

[danman869]

For me this is one of the best songs on Diana & Marvin. However, I have often thought that the wrong version of the song ended up on the album...

The original album version has Marvin singing alone [[apart from the intro) for 1:07 minutes. Whereas the alternate version has Diana singing in the chorus from 0:25 minutes. She is then singing again in the chorus from 0:59. Overall the alternate version feels much more of a duet to me. However, I prefer the punchier mix of the original released version.

What's your thoughts?

Rover, is the alternate you're speaking of the Quad mix version? I just listened to the Quad version and, sure enough, Diana is singing the chorus starting at both 0:25 and 0:59. I would agree, it does help the song feel a bit more of a duet. Diana's in there from the beginning!

I think my favs from the sessions that we've heard so far are:

My Mistake [[Was To Love You)
You Are Everything
You're A Special Part Of Me
Pledging My Love
Just Say, Just Say
Stop, Look, Listen [[To Your Heart)
Include Me In Your Life
The Things I Won't Miss
I'll Keep A Light In My Window

I enjoy listening to the entire album, alternate versions/mixes and unreleased tracks, but these are the ones that tend to stick with me.

[jobucats]

I've always enjoyed all of this album. There is something about the song selection and the production that causes me to visualize lovers in an intimate, but not sexual, setting like on a couch in a living room or in the back corner of a darkened restaurant.

My favorites are "You Are Everything" which rivals the original, "Just Say, Just Say' and "Stop, Look, and Listen".

[rovereab]

Danman869, it is the quad mix, so much better!

I also like the mix of Stop, Look, Listen on Diana's To Love Again album as there are additional vocals when compared to the version on the Diana & Marvin album. The version on TLA sounds so much more interesting and musical to my ears. There must be scope to remix the whole album to provide more interest, and to reinstate the section of You Are Everything at time 2:18 where its really clear that there's an edit.

[daviddh]

There was going to be an expanded edition with alternate mixs but I suppose it will never happen

[daviddh]

There is an alternate on the DR Anthology.

[Ollie9]

I always thought “My Mistake” a pleasant enough song but nothing more. The standout track for me has always been “You Are Everything”, with classic vocal performances from both singers. A top five hit in the UK, and imo the definitive version.
Other faves being the underrated “Just Say, Just Say” and “Love Twins”

[BayouMotownMan]

This album was nearly two years old when it was finally issued. There was so much contention between Ross and Gaye, mostly from Gaye who made it clear he didn't want to do the album and thought it was an affront to Tammi Terrell. When Ross became hot with Touch Me and Gaye with Let's Get It On, Gordy had Russ Terrana remix, and thus, salvage the album for a rush release. Few of the songs have Gaye and Ross in the studio together. Diana was pregnant during the production and Gaye was beligerant. When the lp was finally released and Ross's name came before his, it was said that Gaye was livid. He refused to promote the album.

The set itself is lackluster to me and most of the fans. The lead single should have been My Mistake which was the most commercial of the songs included. Gordy went with his own Special Part Of Me, which was actually an odd sounding song with a weird structure. Was not danceable, was barely listenable. The disco clubs were up and coming and they took to My Mistake and Don't Knock My Love.

[gman]

Me and my HS love played this LP to death when it was new and we loved it....well, when you're 15 you have different ears....
Like Ollie9 and many have said You Are Everything is the stand out with Just Say Just Say and Love Twins coming in right behind....I do like the energy of Don't Knock My Love and thought it should have been the first single...and Stop Look Listen is pretty nice.....the rest? eh....
You're A Special Part of Me sounds out of tune....and forget Pledging My Love, despite Marvin's wonderful opening verse...DR sounds like a screetching drunk just before last call....its been said many times Marvin sings circles around her on this LP...and I have to agree...even at her best, here it's not great...

[mysterysinger]

"Diana and Marvin" wasn't a great album for either artist. "My Mistake" was an ok track but the drums throughout don't sound good to me. The whole thing seems a bit synthetic so not as enjoyable as you might expect. "You Are Everything" is a great song but it's The Stylistics every time for me - as with "Stop, Look, Listen" really and Frankie Valli takes the Motown prize for that song by a long margin. The poorest track lyrically is "Include Me In Your Life" with the endless darlin' darlin' darlin' darlin' darlin' - I mean come on.

[lucky2012]

This album was nearly two years old when it was finally issued. There was so much contention between Ross and Gaye, mostly from Gaye who made it clear he didn't want to do the album and thought it was an affront to Tammi Terrell. When Ross became hot with Touch Me and Gaye with Let's Get It On, Gordy had Russ Terrana remix, and thus, salvage the album for a rush release. Few of the songs have Gaye and Ross in the studio together. Diana was pregnant during the production and Gaye was beligerant. When the lp was finally released and Ross's name came before his, it was said that Gaye was livid. He refused to promote the album.

The set itself is lackluster to me and most of the fans. The lead single should have been My Mistake which was the most commercial of the songs included. Gordy went with his own Special Part Of Me, which was actually an odd sounding song with a weird structure. Was not danceable, was barely listenable. The disco clubs were up and coming and they took to My Mistake and Don't Knock My Love.

I agree My Mistake would have been a better lead single than Special Part of Me, especially for the Pop market. I think it would have charted higher on the Hot 100 than Special Part of Me's #16 peak. [Special Part of Me did remind me more of the Gaye/Terrell duets.] My preference for lead single is actually Love Twins, or maybe as the follow-up single to My Mistake.

I agree the album was disappointingly lackluster, considering that Ross and Gaye were Pop and R&B superstars in 1973. The only standouts for me were My Mistake, Love
Twins, You Are Everything and Just Say, Just Say.

I don't get why Marvin was "livid" about the billing, though. Was it because his name came first on his previous duets [or indeed on most male/female duets at the time], or maybe because when the album was recorded in 1972, he was huge with What's Going On? and Lady Sings The Blues was yet to be released?

[Boogiedown]

"Diana and Marvin" wasn't a great album for either artist. "My Mistake" was an ok track but the drums throughout don't sound good to me. The whole thing seems a bit synthetic so not as enjoyable as you might expect. "You Are Everything" is a great song but it's The Stylistics every time for me - as with "Stop, Look, Listen" really and Frankie Valli takes the Motown prize for that song by a long margin. The poorest track lyrically is "Include Me In Your Life" with the endless darlin' darlin' darlin' darlin' darlin' - I mean come on.

I was going to stay neutral this round so as to not always be contrary, but it appears that others share my feelings that this project just doesn't meet expectations. So what the heck ....

Having learned years later that they didn't even record together clarified for me what the biggest problem was.

Listening to this alternate version ...Ross sounds smooth and intimate, like she's right up against the microphone while Marvin sounds strained, like he's shouting from across the room. Not a good blend.



Lyrically it doesn't even make sense ....since they each are proclaiming to be in love with each other ...why is it a mistake?? Why are they both sounding so miserable ..... Its not made clear.... are they married to other people perhaps ...


I think both of their vocals and the song's viewpoint would've sounded better without the other ....they could have each had a bigger shot with MISTAKE as a solo hit ....and I would give the nod to Diana to have better pulled it off.

imo.

added: dump the harmonica

[BayouMotownMan]

I don't get why Marvin was "livid" about the billing, though. Was it because his name came first on his previous duets [or indeed on most male/female duets at the time], or maybe because when the album was recorded in 1972, he was huge with What's Going On? and Lady Sings The Blues was yet to be released?[/QUOTE]

Yes to all of this. His name preceded Mary Wells, Kim Weston & Tammi Terrell, even though Mary Wells was the bigger star. He reluctantly agreed to the Ross pairing to appease BG, even though he was growing to dislike and distrust him. He was jealous of Ross's stature with the company and her preferential treatment, even though he loved her as a person. Gaye was relieved when the company decided not to issue the lp only to rush it out without his consent a year later. From this point forward every year that went by he became more and more of a pain for Gordy to deal with, making demands and just being ornery. Divorcing Gordy's sister Anna and taking up with a teenager didn't help matters. His last success was in 1976 with the I Want You lp and single. Everything after that did poorly. Finally in 1980, Gordy finally agreed to release him from his contract telling him, "you might as well go you're not selling any records here."

[sup_fan]

another problem with the duets is timing. You're A Special Part was released in Sept 73. Diana released in Dec 73 and Marvin released Come Get To This in Oct 73. so there's a little bit of overlap, mostly with the Marvin single.

But don't forget that TMITM hit #1 in Aug and Let's Get It On reached #1 in Sept. both of those songs were so massive they were still selling huge amounts post peak on the charts.

so motown leveraged these big solo hits to spark interest in a mediocre duet. similar to what they did with the Temps/DRATS and later Sups/Tops.

[sup_fan]

i believe the short booklet in the re-released cd set of this album mentioned that A&S were tapped to first produce it but only got a few things done prior to leaving the label. maybe having the power of that team, along with a singular focus, could have helped this project. in the end 4 or 5 producers had a hand in it

[Boogiedown]

I wonder what became of the A&S stuff?
The album jacket credits one producer ...Hal Davis.
I'm wrong Bob Guadio is on there too , on the disc label, as is Berry but I'm sure his is a $ production credit...

BayouMotownMan

Yes to all of this. His name preceded Mary Wells, Kim Weston & Tammi Terrell, even though Mary Wells was the bigger star. He reluctantly agreed to the Ross pairing to appease BG, even though he was growing to dislike and distrust him. He was jealous of Ross's stature with the company and her preferential treatment, even though he loved her as a person. Gaye was relieved when the company decided not to issue the lp only to rush it out without his consent a year later. From this point forward every year that went by he became more and more of a pain for Gordy to deal with, making demands and just being ornery. Divorcing Gordy's sister Anna and taking up with a teenager didn't help matters. His last success was in 1976 with the I Want You lp and single. Everything after that did poorly. Finally in 1980, Gordy finally agreed to release him from his contract telling him, "you might as well go you're not selling any records here."

good stuff^

How do we know he loved her as a person .... they couldn't even work it out to be in a studio together...needed some of that love to come through ...

one clarification: GOT TO GIVE IT UP went to #1 in 1977


but most of all ...
..WHO
was the teen child Gaye nestled up with ?? Good Grief!!!

[reese]

I wonder what became of the A&S stuff?
The album jacket credits one producer ...Hal Davis.
I'm wrong Bob Guadio is on there too , on the disc label, as is Berry but I'm sure his is a $ production credit...

good stuff^

How do we know he loved her as a person .... they couldn't even work it out to be in a studio together...needed some of that love to come through ...

one clarification: GOT TO GIVE IT UP went to #1 in 1977


but most of all ...
..WHO
was the teen child Gaye nestled up with ?? Good Grief!!!

Ashford and Simpson produced JUST SAY, JUST SAY [[the first track on Side 2) and I'VE COME TO LOVE YOU SO MUCH, which wasn't released on the original album but made it to the expanded edition cd.

Diana and Marvin seemed to hold no grudges against each other although if Diana did, I would have understood. She was pregnant during the sessions and Marvin wouldn't stop smoking pot around her. That's why they ended up recording separately.

Marvin fell in love with 17-year old Janis Hunter, whose mother I believe was a friend of Ed Townsend's, his co-writer on LET'S GET IT ON. He was still married to Berry's sister Anna at the time.

[Boogiedown]

reese: Diana and Marvin seemed to hold no grudges against each other

why do you say that?? they stayed away from each other for the rest of the decade... except when they didn't sing together once again on POPS WE LOVE YOU

reese:
Marvin fell in love with 17-year old Janis Hunter,

"fell in love" ---- HEE HAW --- iow he was a horny toad & was twice her high school age. No wonder he and Townsend [the creative force behind his hit] parted ways. Maybe he had scruples.



Maybe a bit Beatle -esque in the way it builds as it progresses. Like the Al Green horns inserted briefly at 2:42 ...maybe more of that would've been nice.
Since this was apparently their first attempt at dueting , it sounds like they could actually be in the same room for this one. Matching volume levels at least. In fact I think Diana might have pinched him at 2:49 [for smoking pot?] as he sure hit a pained note. Very surprised they would leave that squawk in there. Definitely grade "B" performance by both of them . In fact , imo Diana sounds horrible throughout [flat/sharp piercing], with Marvin not far behind [ both trying too hard to sound invested?]

And not sure the point of repeating JUST SAY as a lyric .......once would've been fine, if not better.


{added: vocally they are both doing ok until about the two minute mark ...then not sure what happens ...}

{more added: its Paul Riser's enhancement that's the song's saving grace. The lyrics are horrid. imo.}

[jobeterob]

It seems to me that the success of this album is not recognized fully by some fans.

If you go look at the Spotify numbers, several cuts on this album rank highly.

Also this album kept on selling for a long time and I’ve seen sales listed as high as 2.5 million copies

Too much is made of recording apart which was a common practice. As usual, especially Diana is a target. But Marvin is too - is he a womanizer compared to Berry or Gene Simmons? And so what? Kudos to Diana for protecting her unborn child.

Special Part of Me was a weak choice for the first single. I would have gone with Love Twins and then My Mistake - always my favourite choices to hear more so than the Stylistics cuts which I enjoy as well.

[Boogiedown]

It seems to me that the success of this album is not recognized fully by some fans.

If you go look at the Spotify numbers, several cuts on this album rank highly.

Also this album kept on selling for a long time and I’ve seen sales listed as high as 2.5 million copies

Too much is made of recording apart which was a common practice. But it wasn't. Every time i challenge this notion I think at most there's five examples of it claimed .... and none of them admirable. As usual, especially Diana is a target. well she sounds the worst . But Marvin is too - is he a womanizer compared to Berry or Gene Simmons? And so what? ya whats the harm in a married man birthing two kids ouside the marriage with some teenager. who does he think he is jermaine jackson ? Kudos to Diana for protecting her unborn child. yes she was a spoilt brat from before day one and we're still paying the price .

Special Part of Me was a weak choice for the first single. I would have gone with Love Twins and then My Mistake - always my favourite choices to hear more so than the Stylistics cuts which I enjoy as well.

let's listen to LOVE TWINS ....don't know it...already hate the title .....





oh gawd ....the title gave it away ..... [sorry rob]

[jobeterob]

Boogie, thanks for posting it - it’s a good one. What I like is how those voices mesh and soar together as in “let people say you won’t see one without the other, let em be aware that you and I are lovers”

But yes Diana was spoiled before she came to Motown and her head got pretty big around 1980 to 1983. And yes, as a person and druggie, Marvin was a prize asshole for a time.

But still a great bunch of music and a great album

[Boogiedown]

you're welcome Rob. I'll listen to LOVE TWINS again ...and likely comment more Already I hear something familiar in it to Gladys' IF I WERE YOUR WOMAN

hee haw, though ..
....twas Rhonda I was referring to as having been begotten spoilt.

...."for a time" ....when in your estimation did Marvin get past being a 'prize asshole'?]

[Ollie9]

It seems to me that the success of this album is not recognized fully by some fans.

If you go look at the Spotify numbers, several cuts on this album rank highly.

Also this album kept on selling for a long time and I’ve seen sales listed as high as 2.5 million copies

Too much is made of recording apart which was a common practice. As usual, especially Diana is a target. But Marvin is too - is he a womanizer compared to Berry or Gene Simmons? And so what? Kudos to Diana for protecting her unborn child.

Special Part of Me was a weak choice for the first single. I would have gone with Love Twins and then My Mistake - always my favourite choices to hear more so than the Stylistics cuts which I enjoy as well.

Interesting info. There are some really great cuts on the album that have stood the test of time well. Diana sounds her soulful best on songs such as “You Are Everything”, “Love Twins” and the melancholy “Just Say”. A few middling tracks, but you could say that of most albums.
Agree that for the USA market i would have gone with the silky “Love Twins’ as lead single. The UK had it spot on.

[brothadc]

I'm sorry, but the audio on the video that Boogiedown posted was horrible! It sounds like whoever made that video used a cheap little record player, the sound is lacking fidelity, obviously the turntable is spinning too fast, and lastly the left and right channels are in the opposite position. Diana and Marvin are not too far from sounding like chipmunks! Listening to that... "I can't". I tried, but I found out that "I can't". I looked into it, but you know what, "I can't". I Googled it, and I found that "I can't"! [LOL!]

[BayouMotownMan]

I wonder what became of the A&S stuff?
The album jacket credits one producer ...Hal Davis.
I'm wrong Bob Guadio is on there too , on the disc label, as is Berry but I'm sure his is a $ production credit...

good stuff^

How do we know he loved her as a person .... they couldn't even work it out to be in a studio together...needed some of that love to come through ...

one clarification: GOT TO GIVE IT UP went to #1 in 1977


but most of all ...
..WHO
was the teen child Gaye nestled up with ?? Good Grief!!!

I stand corrected, Got To Give It Up would have been his last big hit before he went into the doldrums. I might add the Here, My Dear lp didn't sit well with BG as Gaye tears into his sister on here. But it was a court ordered album that Gaye expected BG to not release therefore he submitted a double set with lackluster music expecting rejection. When Gordy authorized the release it shocked Gaye and made matters between them worse. Gaye didn't get a dime of payment for that lp, all royalties when to Anna. Motown released his last lp, In Our Lifetime, before Gaye was finished with it. He kept procrastinating and remixing the tracks then went into exile in Europe to escape jail time for not paying taxes, alimony or child support. When Motown released that last lp, Gaye said to the media that he would never record for Motown again and he stuck to that decision.

[Boogiedown]

I'm sorry, but the audio on the video that Boogiedown posted was horrible! It sounds like whoever made that video used a cheap little record player, the sound is lacking fidelity, obviously the turntable is spinning too fast, and lastly the left and right channels are in the opposite position. Diana and Marvin are not too far from sounding like chipmunks! Listening to that... "I can't". I tried, but I found out that "I can't". I looked into it, but you know what, "I can't". I Googled it, and I found that "I can't"! [LOL!]

whoops....yes that does sound better.... still rather chirpy .....wish I could say it rescued the song ....but "I can't".

Maybe this whole "I want a lover not a friend" concept that Diana signed off on singing here helps explain her two failed marriages. She should have strived for a lover who's also a friend

LOVE TWINS has to be the most contrived song concept/title since that gawdawful FLOY JOY.

[Boogiedown]

I stand corrected, Got To Give It Up would have been his last big hit before he went into the doldrums. I might add the Here, My Dear lp didn't sit well with BG as Gaye tears into his sister on here. But it was a court ordered album that Gaye expected BG to not release therefore he submitted a double set with lackluster music expecting rejection. When Gordy authorized the release it shocked Gaye and made matters between them worse. Gaye didn't get a dime of payment for that lp, all royalties when to Anna. Motown released his last lp, In Our Lifetime, before Gaye was finished with it. He kept procrastinating and remixing the tracks then went into exile in Europe to escape jail time for not paying taxes, alimony or child support. When Motown released that last lp, Gaye said to the media that he would never record for Motown again and he stuck to that decision.

well I guess that answers the question of when had Marv stopped being a 'prize asshole'.

I know its been told this way, but I find that story about a judge being able to tell someone to make an album to be far fetched. Makes for a good story ....maybe in truth Berry put the lean on him and confiscated it on behalf of his sister.

what does Marvin say about Berry's sister that tears into her??
Don't tell me she was off smoking dope and making babies with teenagers too!

[reese]

well I guess that answers the question of when had Marv stopped being a 'prize asshole'.

I know its been told this way, but I find that story about a judge being able to tell someone to make an album to be far fetched. Makes for a good story ....maybe in truth Berry put the lean on him and confiscated it on behalf of his sister.

what does Marvin say about Berry's sister that tears into her??
Don't tell me she was off smoking dope and making babies with teenagers too!

https://books.google.com/books?id=f0...%20jet&f=false

"Here My Dear" info begins on page 26.

[sup_fan]

well I guess that answers the question of when had Marv stopped being a 'prize asshole'.

I know its been told this way, but I find that story about a judge being able to tell someone to make an album to be far fetched. Makes for a good story ....maybe in truth Berry put the lean on him and confiscated it on behalf of his sister.

what does Marvin say about Berry's sister that tears into her??
Don't tell me she was off smoking dope and making babies with teenagers too!

i'm not a lawyer but in the divorce settlement, you're going to review their finances and determine how the assets are divided and also how future assets are divided. for a "normal" person with a regular job and salary, you can deal with wages. Marvin didn't have a salary. his future financial assets would be royalties. and the claim was that Anna was instrumental in his development as an artist and therefore would have claims on some future royalties.

[jobeterob]

Thanks for the reference to the magazine article.

Marvin is one of many husbands who don’t want to pay for their wife or child and many feel embittered and mistreated.

Sometimes the wives turn the children against the husband, sometimes with justification of a sort and sometimes not.

The term “deadbeat dad” could easily have applied to Marvin Gaye.

Anna would not be entitled to royalties unless she wrote a song. But based on past income, a judge decided the sum Marvin was supposed to pay.

Support for a spouse would not last forever - they are obliged to find a way to look after themselves eventually. Maintenance for a child can last through university.

Anna died in 2014 and it looks like Marvin had 3 children - maybe; the other 2 with Janis.

[RanRan79]

For me this is one of the best songs on Diana & Marvin. However, I have often thought that the wrong version of the song ended up on the album...

The original album version has Marvin singing alone [[apart from the intro) for 1:07 minutes. Whereas the alternate version has Diana singing in the chorus from 0:25 minutes. She is then singing again in the chorus from 0:59. Overall the alternate version feels much more of a duet to me. However, I prefer the punchier mix of the original released version.

What's your thoughts?

I agree, that version does seem more of a duet.

I used to love "My Mistake" and then I cooled off of it, and that's where I am with it. I listen to it when I play the album, but it's never a go to song. I prefer "You're A Special Part of Me".

The entire album is one of my favs. As is, I think it a very good album. Of course it could have been even better. I suspect that more original tunes would have been a plus. I also suspect that Marvin writing and producing the entire thing could have been an artistic high point for both he and Diana. I also think Ashford and Simpson doing the whole album would have been perfection.

That being said, the only songs on the album that I don't particularly care for is "Pledging My Love" and "Just Say", despite what I just said about A&S. Lol

"You Are Everything" really does rival the Stylistics. I give the Stylistics the edge on "Stop Look Listen"- I think the group had the better musical track- but Diana and Marvin's version isn't far behind.

I love "Don't Knock My Love". Perhaps had Diana and Marvin promoted the song together, it could have been a hit. I also love "Love Twins", "Think I'm Falling In Love" and "Include Me In Your Life". For a long time "Falling In Love" was my favorite song on the album, but I think "Include Me" might have overtaken it.

[RanRan79]

I stand corrected, Got To Give It Up would have been his last big hit before he went into the doldrums. I might add the Here, My Dear lp didn't sit well with BG as Gaye tears into his sister on here. But it was a court ordered album that Gaye expected BG to not release therefore he submitted a double set with lackluster music expecting rejection. When Gordy authorized the release it shocked Gaye and made matters between them worse. Gaye didn't get a dime of payment for that lp, all royalties when to Anna. Motown released his last lp, In Our Lifetime, before Gaye was finished with it. He kept procrastinating and remixing the tracks then went into exile in Europe to escape jail time for not paying taxes, alimony or child support. When Motown released that last lp, Gaye said to the media that he would never record for Motown again and he stuck to that decision.

"Got To Give It Up" was certainly Marvin's last hurrah on Motown, although In Our Lifetime was pretty good, with a couple of excellent cuts on it. But we can't forget that Marvin left Motown and then recorded and released one of the biggest songs of the year, the Grammy winning "Sexual Healing". Perhaps Marvin should have left Motown earlier than he did.

[Boogiedown]

reese: https://books.google.com/books?id=f0...%20jet&f=false

"Here My Dear" info begins on page 26.

good reading reese. I noticed they mentioned Anna's posh office high in the Motown building, to suggest it seemed that she was doing just fine in the world without Marv's financial support.

i'm not a lawyer but in the divorce settlement, you're going to review their finances and determine how the assets are divided and also how future assets are divided. for a "normal" person with a regular job and salary, you can deal with wages. Marvin didn't have a salary. his future financial assets would be royalties. and the claim was that Anna was instrumental in his development as an artist and therefore would have claims on some future royalties.

wiki says:

In September 1976, a warrant was issued for Gaye's arrest after he failed to pay alimony; .....
...... Recorded with the intention of remitting a portion of its royalties to her as alimony payments,

and

After months of delays, in March 1977, the singer's attorney, Curtis Shaw, wanted to end divorce proceedings and convinced Gaye to give up half of the percentage of album royalties he would earn from his next Motown album to Anna

Now I'm wondering: perhaps Motown [Berry] got involved and made the suggestion to Marv's attorneys that Marvin could get Anna off his back once and for all , by simply granting her half of his proceeds from his next album.

Knowing this would get Anna off his back and end the problems of his delinquent payments , Gaye would have the incentive to get off his butt and come through with an album for the label to release ....finally.

[BayouMotownMan]

The way that I remember this, and it's been a lot of years was that Gaye decided to give Anna ALL the royalties off his next lp minus production costs. But if the final evaluation was that she receive HALF of the royalties, then she still got screwed.

Marvin Gaye's 1970s albums were huge, millions of dollars came from them. So Anna, thinking she would get half of that, probably expected a 7 million dollar payoff. But Gaye was hostile toward Anna, and BG as well so he produced a lackluster album that had no obvious hit singles and failed to promote the album. This resulted in a heavily reduced sales figure and Anna not getting anywhere near what she thought. She had settled on this so she had to go with it. Gaye took extreme pleasure in needling Anna any way he could.

The album took off well and it looked like it was going to be another big seller. But negative reviews and lack of promotion soon topped off the sales and final sales figures were low, in comparison to previous sales figures. Gaye took delight in this but it hurt him in the long run as it was considered his first album failure. That stigma stayed with him when Motown finally issued In Our Lifetime against his wishes. He kept changing his mind on the mixes and was at the height of his drug usage which clouded his judgments considerably. Plus, Janis left him because of his conflicted state of mind. In Our Lifetime charted decently also but the album's final sales figures were less than impressive and Gaye swore to never record for Motown again.

[RanRan79]

Would've been interesting to see where Marvin's career went had he lived and he had taken control of his addiction and mental issues. I don't care for the Midnight Love album, feeling much of the production value beneath his talent, but I have to give it to him: he killed "Sexual Healing".

I also have to wonder if the "never record for Motown again" stance he took would have remained. Seems like all the big acts that left-Diana, Tempts, Tops- eventually came back. And I suspect some of the others- Mary Wilson, Martha, David- would have returned if a serious offer was made. I think only Gladys and the Pips and the Isleys would rather have retired than record for Motown again.

[marybrewster]

IMO, this album suffered greatly by too many song writers and producers. Was the thought to give everyone a shot? The great Russ Terrana was the engineer on this set; I'd love to hear his take.

No one was bigger than Diana and Marvin in 1973. So why didn't this album hit? Were the songs too dated? Some were recorded as early as 1971.....to be released in 1974. Would this have been a better concept in 1970?

[Boogiedown]

The way that I remember this, and it's been a lot of years was that Gaye decided to give Anna ALL the royalties off his next lp minus production costs. But if the final evaluation was that she receive HALF of the royalties, then she still got screwed.

Marvin Gaye's 1970s albums were huge, millions of dollars came from them. So Anna, thinking she would get half of that, probably expected a 7 million dollar payoff. But Gaye was hostile toward Anna, and BG as well so he produced a lackluster album that had no obvious hit singles and failed to promote the album. This resulted in a heavily reduced sales figure and Anna not getting anywhere near what she thought. She had settled on this so she had to go with it. Gaye took extreme pleasure in needling Anna any way he could.

The album took off well and it looked like it was going to be another big seller. But negative reviews and lack of promotion soon topped off the sales and final sales figures were low, in comparison to previous sales figures. Gaye took delight in this but it hurt him in the long run as it was considered his first album failure. That stigma stayed with him when Motown finally issued In Our Lifetime against his wishes. He kept changing his mind on the mixes and was at the height of his drug usage which clouded his judgments considerably. Plus, Janis left him because of his conflicted state of mind. In Our Lifetime charted decently also but the album's final sales figures were less than impressive and Gaye swore to never record for Motown again.

Good stuff!

Well, if the deal were to split the proceeds evenly, that might explain why Marvin cleverly extended it into a two-record set

wiki:

Jay Kay told Q. "And a lot of the songs are quite similarly paced. It's almost like the same song being subtly changed ten different ways

All could've been said easily in a single disc...but by doubling it up, giving it a higher price tag, ..... in essence Marvin thereby recouped the half he'd have lost on a single LP.

When Here, My Dear was released in the end of 1978, it received mostly positive reviews and modest sales, with critics calling the album "bizarre" and "un-commercial.

hee haw !

[RanRan79]

IMO, this album suffered greatly by too many song writers and producers. Was the thought to give everyone a shot? The great Russ Terrana was the engineer on this set; I'd love to hear his take.

No one was bigger than Diana and Marvin in 1973. So why didn't this album hit? Were the songs too dated? Some were recorded as early as 1971.....to be released in 1974. Would this have been a better concept in 1970?

I think the two biggest issues were that the album was released in the midst of both artists releasing two fantastic albums on their own, both containing hit songs. The other issue was there was no promotion from the artists themselves. Had Marvin and Diana teamed up for a tour of shows, or performed their duet singles and album cuts on TV to a wide audience, I think the album puts up better numbers.

But yeah, more than anything I think the album just got lost in the shuffle of LGIO and TMITM. But from what I hear from people who were around at the time, everybody and their mother had a copy of the D&M album. One thing I am beginning to really realize is that chart placements are not always a clear indication of either how popular an album or song is, nor how well it sold. Ultimately, I think the duet album was a big success.

[RanRan79]

Reese referred to the 2001 release as an expanded edition. It's worth noting that the cd wasn't billed that way. It's just a re-release with bonus tracks. Skipping right past all the negative thinking regarding the current state of the expanded editions, of the albums left that could get the EE treatment, Diana and Marvin is probably at the top of my list.

We know an EE would have the full album, the Quad versions, and any other alternates and mixes. Though the rumor has not been confirmed- as far as I know- it seems very likely that, of the songs Diana and Marvin did not record together, both singers did solo versions, which were then picked apart and spliced together to make a duet. That means it's very possible we could also get solo versions of some of these songs.

[jobeterob]

This album was a big success for both artists and Motown and it kind of stayed under the radar. The rerelease with bonus tracks was probably a response to its success.

As I mentioned when I looked at the Spotify plays for Diana Ross, quite a few cuts from this album show up on the list

[reese]

I think the two biggest issues were that the album was released in the midst of both artists releasing two fantastic albums on their own, both containing hit songs. The other issue was there was no promotion from the artists themselves. Had Marvin and Diana teamed up for a tour of shows, or performed their duet singles and album cuts on TV to a wide audience, I think the album puts up better numbers.

But yeah, more than anything I think the album just got lost in the shuffle of LGIO and TMITM. But from what I hear from people who were around at the time, everybody and their mother had a copy of the D&M album. One thing I am beginning to really realize is that chart placements are not always a clear indication of either how popular an album or song is, nor how well it sold. Ultimately, I think the duet album was a big success.

I think this is spot on. I remember there being big hype over this album, with ads and so much. It was one of the first albums that I ever bought, for $5 at Sears. One of my favorite aunts borrowed it because she loved it so. Later, she bought me a t-shirt with the inner photo on the front.

I recall reading a Black Stars magazine interview with Marilyn McCleod, who co-wrote LOVE TWINS and INCLUDE ME IN YOUR LIFE. She stated that the album went gold. Now of course, Motown didn't have officially certified RIAA gold records then, just their own in-house awards. But I wouldn't be surprised if the album sold 500,000 or did $1 million in sales, which I believe was the standard back then for a gold album. In the US, it had two Top 20 pop singles and hit the Top 30 on its own, not exactly chopped liver. And of course, it sold well in some other territories as well.

[rovereab]

I think the two biggest issues were that the album was released in the midst of both artists releasing two fantastic albums on their own, both containing hit songs. The other issue was there was no promotion from the artists themselves. Had Marvin and Diana teamed up for a tour of shows, or performed their duet singles and album cuts on TV to a wide audience, I think the album puts up better numbers.

But yeah, more than anything I think the album just got lost in the shuffle of LGIO and TMITM. But from what I hear from people who were around at the time, everybody and their mother had a copy of the D&M album. One thing I am beginning to really realize is that chart placements are not always a clear indication of either how popular an album or song is, nor how well it sold. Ultimately, I think the duet album was a big success.

From a UK perspective, the comment about lots of people having a copy is spot on. Those I know who had a copy really loved the album, as I do to this day. Putting aside all the "noise" about songs being recorded separately [[nobody ever criticises M&T's ANMHE which was recorded in the same way), there are some outstanding songs on the album with great performances from Diana and Marvin. We were very lucky in the UK to have You Are Everything released as a single which I'm sure resulted in high levels of album sales. The song is often played on the radio, it was played three times on Magic Radio two days ago within a 5 hour period.

I have never understood why YASPOM was released as a single. Its choppy nature doesn't fit well for a single and should have remained as an album track. If I could have waved a magic wand at the time, I would have included a song written by Marvin and a "feel good" up tempo song to celebrate their friendship/love.

I did initially wonder why the thread went off topic to my original post, but here I am doing it too LOL. I think it just shows how "marmite" the album is. [[For those who don't know about Marmite, it's a spread that you either love or hate).

The album thoroughly deserves the expanded edition treatment as suggested in this thread.

Am I alone in getting "neck shivers" when hearing the intro to You Are Everything? The instrumentation and Diana's soaring ooooohs just get me every time.

[Ollie9]

Putting aside all the "noise" about songs being recorded separately [[nobody ever criticises M&T's ANMHE which was recorded in the same way)
Am I alone in getting "neck shivers" when hearing the intro to You Are Everything? The instrumentation and Diana's soaring ooooohs just get me every time.

I certainly agree regarding the M&T duets.
You are not alone in your appreciation of the intro to “You Are Everything” for “i am here with you”
The opening verse is for me M’s Ross at her emotive best, although i seem to be somewhat lacking in company when admiring Diana’s vocal on “Pledging My Love”.

[rovereab]

I seem to be somewhat lacking in company when admiring Diana’s vocal on “Pledging My Love”.

I'm with you there too. I feel Diana brings a sweet contrast to Marvin's vocals that works so well.

[Ollie9]

I seem to remember “Since I Don’t Have You” as featured in the LTISH album was recorded for the Diana & Marvin set, with Marvin’s vocal never completed.

[sup_fan]

I think the two biggest issues were that the album was released in the midst of both artists releasing two fantastic albums on their own, both containing hit songs. The other issue was there was no promotion from the artists themselves. Had Marvin and Diana teamed up for a tour of shows, or performed their duet singles and album cuts on TV to a wide audience, I think the album puts up better numbers.

But yeah, more than anything I think the album just got lost in the shuffle of LGIO and TMITM. But from what I hear from people who were around at the time, everybody and their mother had a copy of the D&M album. One thing I am beginning to really realize is that chart placements are not always a clear indication of either how popular an album or song is, nor how well it sold. Ultimately, I think the duet album was a big success.

both of the solo albums are just so superior to this duets album. of course marvin was producer of LGIO and created this amazing concept. TMITM wasn't really a concept from start to finish, being cobbled together from a variety of producers and projects. But the songs did happen to share a very similar approach in tone and vocal approach. So they hold together quite nicely.

the duets is a typical motown album of whatever being tossed onto an lp. and by the early 70s people were much less likely to just accept whatever an artist or label released. they wanted quality

the album DID stick on the charts for a LONG time. 47 weeks!! Only LSTB and diana 80 out charted it

[Boogiedown]

both of the solo albums are just so superior to this duets album. of course marvin was producer of LGIO and created this amazing concept. TMITM wasn't really a concept from start to finish, being cobbled together from a variety of producers and projects. But the songs did happen to share a very similar approach in tone and vocal approach. So they hold together quite nicely.

the duets is a typical motown album of whatever being tossed onto an lp. and by the early 70s people were much less likely to just accept whatever an artist or label released. they wanted quality

the album DID stick on the charts for a LONG time. 47 weeks!! Only LSTB and diana 80 out charted it

well there is a certain attractiveness to this fantasy of the two big names of Motown singing romantically to each other.

Originally Posted by Ollie9
I seem to be somewhat lacking in company when admiring Diana’s vocal on “Pledging My Love”.

Dont anyone fall off their chair but i find some redeemable value in:



I might even go so far as to say it might be the best thing on the album [a bold claim since i haven't heard all the cuts on it]

I can't say its Diana vocals that win me over ...but the two at least sound agreeable here.
and I think the engineer at the control panel faded it out just in time before the squawking of the two got out of hand.
And really how could they go wrong with this song ...a very good choice as a duet...

I kept thinking "Beatles" while listening and suddenly I flashed on this:



am I nuts?? hee haw !!

[And yes, Yoko's vocals there are just a tad better than Diana's .. but only by a tad ]

[sup_fan]

From a UK perspective, the comment about lots of people having a copy is spot on. Those I know who had a copy really loved the album, as I do to this day. Putting aside all the "noise" about songs being recorded separately [[nobody ever criticises M&T's ANMHE which was recorded in the same way), there are some outstanding songs on the album with great performances from Diana and Marvin. We were very lucky in the UK to have You Are Everything released as a single which I'm sure resulted in high levels of album sales. The song is often played on the radio, it was played three times on Magic Radio two days ago within a 5 hour period.

I have never understood why YASPOM was released as a single. Its choppy nature doesn't fit well for a single and should have remained as an album track. If I could have waved a magic wand at the time, I would have included a song written by Marvin and a "feel good" up tempo song to celebrate their friendship/love.

I did initially wonder why the thread went off topic to my original post, but here I am doing it too LOL. I think it just shows how "marmite" the album is. [[For those who don't know about Marmite, it's a spread that you either love or hate).

The album thoroughly deserves the expanded edition treatment as suggested in this thread.

Am I alone in getting "neck shivers" when hearing the intro to You Are Everything? The instrumentation and Diana's soaring ooooohs just get me every time.

i love Diana's vocal on this track. how she softly whispers/coos "you" at 0:38. "Today i saw somebody who looked just like you..." amazing

while the Stylistics original is great, frankly i think making this a duet just elevates the whole song to something even more special