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)*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + “The soundtrac! to Trouble Man is the music and feeling of the ’70s urban streets. It is simultaneously the epitome of cool and sensitivity. Marvin’s compositions for this film are among his finest wor!; they touch my soul every time I listen.” — Lenny Kravitz ) 3 ) 3 ((78933 4 + 4 + :;8<(=> Marvin Gaye’s Trouble Man is a largely forgotten masterpiece, overshadowed by his more celebrated releases from “What’s Going On” to “Sexual Healing.” It is a recording rich with history, fun! and refreshing experimentation. Four decades after ."5$04 0613 +/$$* the album’s release, its story can finally be told. !"#$%& !"#$%R ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + Marvin IT SEEMED INCONCEIVABLE DURING THE 1960s THAT MOTOWN RECORDS, A COMPANY DEEPLY ROOTED IN MICHIGAN, COULD EVER LEAVE ITS HOME Moves OF DETROIT. BY THE END OF THE DECADE, HOWEVER, the lure of Southern California, which was growing dramatically as an entertainment center and slowly diversifying (Mo)West to include African Americans, was too great. In mid-1972, company founder Berry Gordy did the by Andrew Flory unthinkable and relocated headquarters to Los Angeles. Indicative of Motown’s move was the high-profile film project Lady Sings The Blues, a vehicle for Diana Ross that went on to receive five Academy Award nominations. Behind the long shadow of Lady, however, was Marvin Gaye’s soundtrack to Trouble Man, a blaxploitation film that went nowhere. It is uncanny how these films represent the public personae and stereotypes of the characters of two of Motown's biggest stars. Lady Sings The Blues, directed by Sidney J. Furie and released by Paramount, is patterned after the racy-turned-romanticized culture surrounding American ) 3 vocal jazz during the early-to-mid-twentieth century. Supporting the biographical treatment of ) 3 ((78933 4 + 4 + Billie Holiday, the film’s soundtrack contains mostly standards that use classic instrumentation :;8<(=> and arrangements. Even the packaging uses plain brown wrappers and labels that resemble old 78-rpm releases from the 1930s and 1940s. Trouble Man, directed by former actor Ivan Dixon and released by 20th Century Fox, represents a vastly different segment of black culture. It was borne of the new “black exploitation” genre, released in the wake of Sweet Sweetback’s Badddasss Song, Shaft and Superfly. In contrast to Ross, who was commercially conservative and smart in her film debut, Gaye conveyed a propensity for risky and unstable behavior during this first attempt as a soundtrack composer. It is a common perception that Trouble Man was Gaye’s attempt to avoid comparisons with his instantly historic What’s Going On album. In fact, he was fascinated with the challenge of ."5$04 0613 +/$$* the soundtrack, mentioning it many times in later interviews as a source of pride in his oeuvre. And now, with this expanded edition, Gaye’s memories are validated. This complete explication of his work on Trouble Man makes it apparent that the project should be considered among the best of Gaye’s career. !"#$%; !"#$%9 ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + The recording history of the In late April 1972, Rolling Stone magazine published a cover story by Ben Fong-Torres called album is indelibly linked to Gaye’s “A Visit with Marvin Gaye” that vividly describes the singer at work during what would be arrival in Los Angeles. Although among his last Detroit-based sessions. At the same time, Los Angeles gossip columnist Gertrude he had recorded a series of vocal Gipson announced that Gaye would compose the musical score to Trouble Man. A few days tracks in California during early later, on May 1, Gaye’s hometown of Washington, DC celebrated Marvin Gaye Day, during May 1971 for What’s Going On, which he performed the whole of What’s Going On live at the Kennedy Center. The event was Gaye was still working mainly out celebrated as Gaye’s return to performing after a hiatus of several years. of Detroit as the company slowly According to biographer David Ritz, this is just about when Gaye started commuting to a moved westward. He hunkered small apartment in Los Angeles, but he did not begin work on Trouble Man immediately. In June down with local musicians for a 1972 he recorded vocals for four songs written and produced by Willie Hutch, who would later series of low-pressure, instrumental release his own blaxploitation soundtracks, The Mack and Foxy Brown. These songs fit the jam sessions at Motown in the fall blaxploitation mold stylistically, especially “I’m Gonna Give You Respect” with opening horns and of 1971, then returned to the falsetto vocals reminiscent of Curtis Mayfield’s Superfly, which was released to the public the studio in earnest in March 1972, next month. The opening line of “Respect” (“I don’t want to hear no trouble talk”) may be a almost a year after the completion reference to the Trouble Man film. ) 3 ) 3 ((78933 of What’s Going On. Gaye’s next recording project was “Where Are We Going,” a song produced by Freddie 4 + 4 + :;8<(=> For the next few weeks Gaye Perren and Fonce Mizell, half of the Corporation songwriting group that had just completed a produced scattered material. He magical run of songs for the Jackson 5. Gaye completed the tune in the beginning of July, just continued to work on two songs weeks after Trouble Man finished filming. A month later, he began work on a commercial duet that later appeared on Let’s Get project, his first since the death of Tammi Terrell in early 1970, this time with Diana Ross. It On, “Distant Lover” and “Just To As two of the most successful artists at Motown during the Keep You Satisfied.” He recorded company move, Gaye and Ross represented both the company’s the Bill Withers-inspired “I’m Going past and future. It was fitting, then, that Motown embarked Home,” followed by the first upon the Diana and Marvin project just after Ross and Gaye version of “You’re The Man” and had successfully made the transition to the working climate lead vocals for “Symphony.” of California. A later article in the Amsterdam News, likely a ."5$04 0613 +/$$* “You’re The Man” was released in press release reprint, argued that, “‘Diana and Marvin’ April and, almost immediately seems to be the natural progression in a chain of musical after the single was released, events which began just last year, as Motown’s first motion Gaye went to work recutting picture soundtracks, Diana’s ‘Lady Sings the Blues’ and the tune.* Marvin’s ‘Trouble Man,’ both moved up the charts in conjunction.” !"#$%D !"#$%< ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + In essence, Diana and Marvin was a Detroit-era record produced in Los Angeles, which contrasted Marvin began working with a with both artists’ newer film work. basic rhythm section in mid Another recording from the same time frame, “The World Is Rated X,” produced by Hal September 1972, recording basic Davis, who was overseeing the duets album, may have been an attempt at a song for the tracks and initial overdubs for “‘T’ soundtrack. Marvin began working on it in the middle of August and continued until Stands For Trouble” and “Main mid-September, parallel to the recording of the film score, although the vocal track was not Theme From Trouble Man 2.” A little finished until November, well after the completion of Trouble Man. Gaye sings about “fighting, more than a week later, on an early killing and dope dealing,” using lyrics to reflect his perspective on a new Los Angeles scene in Monday morning at the end of which film is a metaphor for the realities of the ghetto. September, he began the film band sessions. Although Gaye was at the “Unlike the music from most ‘blaxploitation’ films of the ’70s, Trouble Man time interested in orchestral composi- has a sophistication that mirrors its composer, Marvin Gaye. Sure, parts of tion, he needed to collaborate with the music give away its time in history, but overall, this particular score several professional arrangers, most notably Ruby Raxon and Dale Oehler, to has a timeless musicality lacking in many of the film scores of this era.” prepare music for this type of ensemble. ) 3 ) 3 ((78933 4 + —Christian McBride Raxon recorded Gaye humming his ideas 4 + :;8<(=> in a tape recorder and transcribed them. After a summer of working on material written and produced by others, Gaye began Oehler completed arrangements for the recording the soundtrack and eventual Trouble Man album, for which he wrote everything, in band, consulting Gaye about specifics September 1972. Although all of the recording dates are not certain, the album was most likely concerning the instrumental dynamics. recorded and edited during a period of about four weeks in September and October. These There was also work done on the soundtrack sessions would produce two distinct, but interrelated creative products: A film score used to by film composers Robert O. Ragland, accompany the motion picture and a soundtrack album released on Motown’s Tamla imprint. Jack Hayes and Leo Shuken, as well as jazz Trouble Man demonstrates the breadth of Gaye’s musical output at the time. On one hand, trombonist J.J. Johnson, who helped he worked with a Motown rhythm section that included many of the same musicians he would arrange the rhythm section use the following year for Let’s Get It On. On the other, he directed sessions with a studio sessions along with Oehler ."5$04 0613 orchestra, which produced film cues ranging from short bursts of jazz flute to dissonant organ and Jerry Long. passages, African rhythm ensemble passages to quotations of church hymns. Gaye’s styles ranged from lengthy orchestral smooth jazz to avant-garde snatches, and in the middle was some of the funkiest music of his career. *** !"#$%' ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + These film band sessions were recorded in a large film studio using only a few microphones and a full battery of traditional instruments. Most cues were cut in the first take, and there were no overdubs during these sessions. Nearly three hundred separate cues were recorded, ranging from ten-second interludes to passages of several minutes. In the tradition of the film industry, the material from these sessions was viewed as a set of building blocks for what would later become the soundtrack. The actual score was edited heavily in order to serve the dramatic needs of the film. Although most of the film band recordings consist of stereotypical “movie music,” there are also many cues that reflect strongly the blaxploitation genre. Gaye recorded a series of unused small-ensemble segments of African percussion jams, which are referred to on the session slates as “Wild ) 3 ) 3 ((78933 4 + Rhythm” (the tape box reads “Wild Bongo Trills”). Similar to the use of black church hymns in the 4 + :;8<(=> opening segment of Sweet Sweetback’s, there is a remarkable outtake from the film band sessions, “‘T’ At The Cross,” that includes a near-complete interpolation of the nineteenth- century Fanny Crosby hymn “Near The Cross.” The film band also recorded its own version of “‘T’ Stands For Trouble,” as used in the cues “Car Ride” and “Penthouse.” Many of the cues recorded for the film soundtrack stand up remarkably well as instrumental music. According to Oehler, the last thing completed during the film band sessions was the first movement of Gaye’s opus, the “Trouble Man” title song. The vocals for this single were recorded directly onto the film band tapes, marking the only appearance of a singer on these reels— symptomatic of the considerable pressure from the film production team to complete a vocal for radio play. ."5$04 0613 +/$$* The edited reels created by 20th Century Fox do not exist in the Motown vault. (The studio provided mono copies of the film music cues as reference for this edition.) Instead, Motown retained duplicate reels of the raw material from the film band tracking sessions. In order to hear the film cues as they appear in the movie, it was necessary to match each film cue, often !"#$%(? !"#$%(( ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + INSPIRATION comprised of several different performances, to the session vocals in “Main Theme From Trouble Man,” and several tapes held in the vault. These lost film cues were scratch vocal performances on “‘T’ Stands For Trouble.” 6# =-0&53# -.#/0,+& '1$ '5$"# !3 painstakingly reconstructed for this release, unearthing the But with the gala invitational premiere of the film '(*# .!)*3# )$/$(*$,# (",# .$//# !"# /-%$ authentic Trouble Man film soundtrack for the first time in scheduled for the end of October, and a soundtrack '!35# 35$# 3!3/$# 3)(4+1# 6# A/(:$,# !3# -%$) four decades. album needed to go along with it, Gaye ran out of time to (",# -%$)# (",# -%$)# (&(!"1# 63# *3)04+ With work on the film soundtrack complete, Gaye refine his parts and left most of them off of the album. 9$# -"# (//# /$%$/*J3$C3<# 90*!4(/!3: traveled to Illinois at the end of September to perform in Perhaps the most prominent overdubs included at this (",#-)!&!"(/!3:1 the Operation PUSH Expo at the Chicago Amphitheater. His point were those that Gaye performed on his new favorite 6"#KLMN#6#5!)$,#O(/$#P$5/$)<#'5- song “Save the Children” was used the next year as the instrument, the Moog synthesizer, which he had recently ,!,# >()%!"B*# *3)!"&# ())("&$9$"3<# 3- title of a documentary about the event. (Motown released acquired from his long-time friend and label mate Stevie ,-#("#())("&$9$"3#.-)#9$#,0)!"#$ the documentary soundtrack, featuring three live Gaye Wonder. The Moog until then was the instrument for the *$**!-"*# .-)# -*+& 2%33%$4& 56 performances, in the fall of 1974.) Gaye also appeared in serious-minded composer, and was used as such in the 7/88+.& 91:$31# 8-9$# :$()*# /(3$)< Detroit during late September at the Sterling Ball, a benefit electronic music community since the early 1960s. The !"#$%$"!"&'$()#(*#+!",#-.#(#&(/(#(", !"#35$#9!,*3#-.#9(+!"&#;#4&<1(&;#4< run by his sister-in-law Esther Gordy Edwards in memory of track “Deep-In-It” shows the instrument in this role. (#.0",)(!*$)1#2$#'$)$#3-#45--*$#3'- 6# '(*# -"$# 403# *5-)3# -"# 9:# (/=091# the late Loucye Gordy Wakefield. By the time of these sessions, however, the Moog and ) 3 *3(",(),*1#6#4/-*$,#35$#$%$"!"&#(", ) 3 ((78933 4 + 6# A03# -"# *-9$# >()%!"# ?(:$J(# That was hardly the end of the story. Returning to Los other oscillator-based programmable synthesizers like the 45-*$# 783-)9:# 2$(35$);# (",< 4 + :;8<(=> 4-9A!/(3!-"# (/=09# 5(,# Q0*3# 4-9$ Angeles, Gaye set out to construct his own version of ARP had found their way into the sonic palette of soul and =$4(0*$# 6# /-%$# >()%!"# ?(:$< -03J(",# 35$)$# '(*# 7@)-0=/$# >("; Trouble Man. Using film cues as the basis, Gaye and a team funk music, thanks in large part to Wonder’s influential 7@)-0=/$#>("1; (&(!"1#R)-9#35$)$#6#4(9$#0A#'!35#35$ of Motown engineers led by Art Stewart weaved together album Music Of My Mind. (Wonder’s Talking Book was then 6"# 35$# A)-4$**# -.# /$()"!"&# !3# .-) *50../$#7S04+:#?!)/1;#@5$:#=$()#/!33/$ a composite of orchestral material, Motown band sessions, largely complete, and was released at the end of October A$).-)9("4$#6#,!*4-%$)$,#5-'#3)0/: )$*$9=/("4$# (",# 6# (/3$)$,# 35$ and newly recorded material. 1972.) Gaye used the Moog in this context, too, notably in -)!&!"(/# (",# $44$"3)!4# 35$# .-)9# -.# &)--%$# 4-"*!,$)(=/:<# =03# 7@)-0=/$ Trevor Lawrence, the only musician credited on the the funky “‘T’ Stands For Trouble,” which has three layers of !3# !*1# 63# '(*"B3# 35(3# !3# '(*# $C(43/: >(";# '(*# ("# !"*A!)(3!-"# (",# 6# album, overdubbed saxophone solos on nearly all of the synthesizer. On several other tracks, Gaye added barely .-)9/$**D# !3# 5(,# 9-,0/$*<# /!+$# E# .!"!*5$,#9:#(/=091# tracks—becoming, in essence, the album's second voice. audible percussive electronic snaps to intensify the strong *$43!-"*# 35(3# )$A$(3$,<# EFGFH<# =03 @5$"#*-9$#9-)$#:$()*#'$"3#=:1 Marvin performed the rest of the new parts, including beats of a groove. 35$:#)$A$(3$,#!"#(#.0"":#*$I0$"4$ O-"# T$"/$:# A03# 3-&$35$)# 783-)9: lengthy sections of piano and various percussive sweeteners The final edits for the project were vast. “‘T’ Plays It '!35#%()!(3!-"*1#63#'(*#(#45(//$"&!"& ."5$04 0613 +/$$* 2$(35$)# BLU<;# (# =$"$.!3# .-)# 2(/,$" including finger snaps, foot stomps, tambourine and Cool,” which was created largely from Gaye and A!$4$#-.#90*!4#3-#/$()"1 V-",<# )!&53# ()-0",# 35$# 3!9$# -.# W/ handclaps. He also added vocals to many of the tracks, Lawrence performing improvised overdubs over a four-bar X!Y-1# T$# &-3# (# &(&&/$# -.# ,!%(*< which included lengthier realizations of “Poor Abbey loop, exemplifies the extent of the edit-based compositional !"#$%&'%()*+,, 9:*$/.#!"4/0,$,<#3-#*!"&#,)$**$,#0A Walsh” and “Theme From Trouble Man,” extra backing processes used to complete the album. Not surprisingly, !"#$%(& !"#$%(R ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + ) 3 ) 3 ((78933 4 + 4 + :;8<(=> ."5$04 0613 +/$$* !"#$%(; !"#$%(9 ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + ! GO ALL OUT"# this song has been used often as a break writing that Gaye had “created a score strong beat, and was sampled heavily during the enough to be completely independent of the film.” THE ARRANGER 1980s and 1990s by a number of DJs, includ- Aletti also helped to initiate the myth of Trouble Man BEHIND THE SINGLE ing Jazzy Jeff and DJ Premier of GangStarr. as a disappointing reaction to Gaye’s previous LP, An album assembly was completed on writing that Marvin had sidestepped “the O(/$# P$5/$)<# =-)"# !"# 8A)!"&.!$/,<# 6S<# '(*# (# October 11, 1972. The next day, the Los problem of how to follow up [the] sweeping life _^F:$()F-/,# Q(ZZ# A!("-# A/(:$)# '!35# (# 35!"# )$*09` Angeles Sentinel ran a short blurb statement” of What’s Going On. '5$"#\1\1#\-5"*-"#)$4-99$",$,#5!9#3-#())("&$#35$ discussing an upcoming Marvin Gaye Gaye was far from sidestepping. Fresh off of the nightclub tour. There was no time for rest at triumph of the What’s Going On suite, working with 35$9$#3-#-.#/0,+&'1$1#P$5/$)#5(,#4-!"4!,$"3(//:#Q0*3 the new MoWest headquarters. an orchestra seemed like the next logical step for A)-%!,$,#a0!"4:#\-"$*#*3)!"&#())("&$9$"3*#.-)#(#/!%$# Trouble Man was first screened in New his artistic development. Trouble Man was also a %$)*!-"#-.#>()%!"#?(:$B*#725(3B*#?-!"&#P"1;#T$#9$3 York on Halloween night in 1972 as a clear attempt to reach a new plateau of mixing >()%!"#*5-)3/:#(.3$)#(",#&-3#35$#.!/9#&!&1#P$5/$)#/(3$) benefit for the Negro Ensemble Company, intellectual ambition with body-moving funk. )$9()+$,# 35(3# 5$# '(*# 7'(*# -%$)'5$/9$,# (3# =$!"& a new theater group founded by the film’s Tragically, the failure of the film deemed his P$5/$)# *0=*$I0$"3/:# 5$/,# (# *$)!$*# -. star, Robert Hooks. It didn’t reach local instrumental cues to oblivion, and the mostly ) 3 45-*$"1; *3$(,:# Q(ZZ# &!&*<# '-)+!"&# '!35# R)$,,!$ ) 3 ((78933 4 + 4 + P$5/$)<#'5-#5(,#5(",/$,#())("&$9$"3* movie theaters until the middle of unfinished vocal element of the soundtrack album T0==(),<# H()9$"# >4[($<# G-==: :;8<(=> November, when it received mediocre left long-time fans wanting. .-)# 7*16(H3& F%4& 7)#.+ 35(3# :$()<# 5$/A$,# >()%!"# T0345$)*-"<#O(%!,#8("=-)"<#\-"!#>!345$//< reviews at best. Among the few positive Gaye did not go on a nightclub tour after the 3)("*/(3$# 5!*# !"*3)09$"3(/# (",# 9$/-,!4# !,$(*# 3- reviews was one in The Washington Post, album was released. Instead, after barely showing T-)(4$# 8!/%$)<# (",# -35$)*1# @-# 9(":<# A(A$)1#E.3$)#*-9$#A)$/!9!"():#'-)+<#35$:#)$4-),$,#-" which hailed the plot and Dixon’s up for several sessions with David Van DePitte, the 5-'$%$)<#5$#!*#*3!//#+"-'"#(*#35$#())("&$) (#>-",(:#9-)"!"&#!"#P43-=$)#KLMb1#P$5/$)B*#(=!/!3: direction. Far more common, however, conductor and arranger for What’s Going On, Gaye =$5!",#7@)-0=/$#>("1;#]A-"#9$$3!"!* 3-# !".0*$# *-0/FQ(ZZ# !"3-# (# .!/9# =(",# *$33!"&# '(*# was the type of review that appeared in moved on to his next recording project, updating a 5$)-# ?!/# W%("*<# *-9$-"$# A-!"3$,# -03 !9A-)3("3#3-#>()%!"1#7>()%!"#'("3$,#(#Q(ZZ#*-0",<; the Los Angeles Times, which claimed that group of old Detroit tracks and creating several new P$5/$)B*#4-""$43!-"#3-#>()%!"1#S!+$#9-*3 P$5/$)#*(!,1#725$"#6#(*+$,#5!9#5-'#9045<#5$#*(!, the film lacked style and verged on parody. songs with Ed Townsend for what would become the /!*3$"$)*#.-)#35$#/(*3#N^#:$()*<#W%("*#'(* c&-#(//#-031B;# Gaye’s soundtrack was released on Let’s Get It On album. He was back at the top of the !9A)$**$,1 E*#35$#9(!"#35$9$#3-#35$#.!/9#(",#>()%!"B*#/(3$) the Tamla label in early December; the charts in the summer of 1973 with the title song and ."5$04 0613 +/$$* “Trouble Man” single preceded it by one a few months later came the highly publicized (but (/=09<# P$5/$)B*# '-)+# '(*# (3# 35$# 5$()3# -.# =-35# 35$ !2=& 1$>& ?@A& 6.#8& .+3+1.)*& 1$>& 1$& week, peaking in popularity during the first only moderately successful) duet album, Diana and 7@)-0=/$# >(";# *!"&/$ (",# 35$# !"*3)09$"3(/# 7>(!" %$(+.B%+:& :%(*& '.C& 5+*,+.& )#$>/)(+>& 0D week of February. Vince Aletti reviewed Marvin. Less than a year after its release, Trouble '%)*1+,&;+$$%3&E++,F,1)GC)#8 @5$9$#.)-9#@)-0=/$#>("#dbe1; the album positively for Rolling Stone, Man was largely forgotten. !"#$%(D !"#$%(< ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + In the context of what was quickly becoming !Play!"#$ an outdated genre, it is important to remember Trouble’s Sax Man Gaye’s achievements as a blaxploitation I$& JKLMA& -.+B#.& 91:.+$)+& :13& 1& *1.>N:#.G%$4& 3+33%#$& composer. Though at times flirting with older 8/3%)%1$& :*#& *1>& O,1D+>& #$& .+)#.>%$43& 6#.& @.+>>%+& P%$4A& (*+ forms of jazz and swing music, his take on these I3,+D&F.#(*+.3A&'#$4#&71$(181.%1&1$>&P%$4&Q/.(%3A&1$>&:*#&*1> styles was used as an external module, in an 0++$&#$3(14+&1(&=##>3(#)G&1,#$43%>+&;1B%>&71$0#.$&%$&(*+&R1/, objectified way. Gaye used these styles to F/((+.6%+,>& F,/+3& F1$>C& 2%3& :%6+& 9D$>1A& 1& 01)G/O& 3%$4+.& 6#. convey meaning, rather than composing in 7(+B%+&=#$>+.&1$>&1&$+:&7/O.+8+A&%$(.#>/)+>&*%8&(#&'1.B%$ them. Layered over these older forms were the S1D+C& 91:.+$)+& *1>& O,1D+>& #$& =#$>+.H3& T7/O+.3(%(%#$AU& 1$> ancient sounds of primitive percussion—bongos, S1D+H3&@)-0=/$#>("#:13&$+V(A&13&(*+&31V#O*#$%3(&.+)1,,+>W stomping on the floor, handclaps—and the 25$"#6#&-3#3-#35$#*$**!-"<#35$#4-"3)(43-)#G$"#G())$33#,!)$43$, futuristic Moog synthesizer. 9$#3-#35$#5-)"#*$43!-"<#'5$)$#6#/--+$,#(3#35$#*5$$3#90*!4#(", Trouble Man was created during the heart *3()3$,#'-)+!"#)-0&5#35$#A()3*1#E.3$)#35$#.!)*3#)0",-'"#>()%!" of Gaye’s most productive period as a self- 90*3#5(%$#5$(),#*-9$35!"&<#=$4(0*$#-"#35$#"$C3#3(+$#5$#/--+$, producer. The album represents Gaye at the (3# 9$<# A-!"3$,# (",# *(!,<# 7V/(:f;# @5(3# $",$,# 0A# =$!"&# 7>(!" ) 3 ) 3 ((78933 4 + time of his move to California: experimenting, @5$9$#R)-9#@)-0=/$#>("1; 4 + :;8<(=> expanding, and exploring. It is Gaye at his 25$"#>()%!"#4-9A/$3$,#35$#*4-)$<#5$#'$"3#35)-0&5#(//#-.#35$ 40$*<#(",#(*+$,#9$#3-#*!9A/:#!9A)-%!*$#(#*$)!$*#-.#*-/-*#(", funkiest, his most cerebral and his most -%$),0=#-"#3-A1#T$#'-0/,#35$"#,$4!,$#5-'#9045#3-#0*$1 adventurous. It foreshadows the triumphs and >()%!"#(",#6#&-3#(/-"&#&)$(3g#'$B)$#=-35#E)!$*1#@5$*$#'$)$ tragedies of the next decade, when Gaye rode *A$4!(/#*$**!-"*1# the highest highs and navigated the most desperate lows. Trouble Man is an essential part of his oeuvre, only now available in a form that does justice to Motown’s earliest experiments in the @#,,#:%$4 @)-0=/$#>("< 91:.+$)+&:+$(&#$&(*+&.#1>&:%(*&(*+ blaxploitation genre. E#,,%$4&7(#$+3C&F1)G&*#8+&*+&)#$(%$/+>&(#&O,1D&:%(*&1&:*#H3N :*#& #6& O#O/,1.& 8/3%)A& %$),/>%$4& E%$4#& 7(1..A& FCFC& P%$4A& 21..D —Andrew Flory is an assistant professor of music at Carleton College in Northfield, MN, is the X%,33#$A& "#+& Q#)G+.A& 9D$D.>& 7GD$D.>A& F#$$%+& E1%((A& Y1$& ;DG+ R1.G3A& <((1& "18+3& 1$>& 81$D& #(*+.3C& 91:.+$)+A& :*#& .+81%$3 author of I Hear A Symphony: Motown and the Black Middle Class (University of Michigan Press). ."5$04 0613 +/$$* 1)(%B+&O,1D%$4&1$>&.+)#.>%$4A&%3&1,3#&1&3/))+336/,&3#$4:.%(+.&1$> ––––––– 1..1$4+.A&0+3(&G$#:$&6#.&TIH8&7#& !"#$%(' !"#$%(7 ) 3 4 + (&?8933 (&?8933 :;8<;=> &;(33 :;8<;=> :78;7=> )*%+,,-%."**/$%.010)2 .$/CA+??( ) 3 4 + One Of Us by Cameron Crowe E#I0!4+#*"(A*5-3#-.#>()%!"#?(:$<#>(:#KLMKg#8:/9()<#H(/!.-)"!(1#63B*#(#)()$/:#,-409$"3$,#3!9$#!"#35$ ()3!*3B*#/!.$1#T$B,#Q0*3#.!"!*5$,#=*1(H3&S#%$4&5$<#(",#5-AA$,#(#./!&53#.)-9#O$3)-!3#3-#S-*#E"&$/$*#3-#=$&!"#( [$4-),!"#$#-.#/0,+&'1$ *-0",3)(4+#'(*#(#*3$//()#-AA-)30"!3:#.-)#>()%!"1#T$#'(*#.)$*5#(",#.)$$< 4-F*3())!"&#)-/$#!"#("#$()"$*3#.!/9#(=-03#(#:-0"&#?)$$"#G$)$31#T$B*#_b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