#MarvinGaye – Tom MacInnes, Writer

The Top 500 Songs in Modern Music History…Song #85: What’s Going On by Marvin Gaye (RS)

This list of songs is inspired by lists published by radio station KEXP-FM from Seattle in 2010, as well as the latest poll taken in 2021 by Rolling Stone Magazine. For the most part I will faithfully countdown from their lists, starting at Song #500 and going until I reach Song #1. When you see the song title listed as something like: Song #XXX (KEXP)….it means that I am working off of the official KEXP list. Song XXX (RS) means the song is coming from the Rolling Stone list. If I post the song title as being: Song #xxx (KTOM), it means I have gone rogue and am inserting a song choice from my own personal list of tunes I really like. In any case, you are going to get to hear a great song and learn the story behind it. Finally, just so everyone is aware, I am not a music critic nor a musician. I am a music fan and an armchair storyteller. Here is the story behind today’s song. Enjoy.

KEXP: The Top 500 Songs in Modern Music History.

Song #85: What’s Going On by Marvin Gaye.

It was a time of unrest and disillusionment in America, as the Summer of Love gave way to the dawning of the 1970s. The Rolling Stones had a fan lose their life at a concert at Altamont Speedway. There were many clashes between protestors and National Guardsmen regarding the Vietnam War. The War, itself, was still in full swing, with many US soldiers returning home in body bags or else, scarred with physical and emotional injuries. The hopefulness of JFK’s Presidency had given way to President Johnson and now, to President Nixon who was inching closer and closer to impeachment. Racial tensions remained high, too, with The Watts Riots of 1965, unrest in Detroit, as well, all adding to a sense of restlessness and hopelessness across the land. In the midst of this stood singer, Marvin Gaye, singing his love songs for Motown.

All throughout the 1960s, Marvin Gaye was employed by Motown Records and faithfully fulfilled his contractual obligations with a series of solo hits, as well as, many duets, too. In particular, Gaye was known for his rapport with singer, Tammi Terrill. Many point to her death at age 25 as being a pivotal moment in the life and career of Marvin Gaye. While they were never a romantic couple, Gaye and Terrill were certainly fond of each other. It is said that Marvin Gaye was the first kind man Terrill had ever met. His kindness shown toward her was such that Gaye was the only person associated with Motown Records to be invited to be at her funeral. So, as his musical partnership with Terrill had ended and America slipped into a deep malaise, Marvin Gaye found himself at a crossroads.

At the same time, in California, The Four Tops were set to perform a concert at a local arena. But, upon arrival, the band members were witness to a clash between police and students; with many of the students being battered by billy clubs and other weapons of brute force. The entire band was stunned to see the police beating people who were barely older than children. One of the men in The Four Tops was named Renaldo “Obie” Benson. He took pen to paper and wrote of his shock and anger in the form of some rough song lyrics. These lyrics would go on to become “What’s Going On”. First, Benson brought the lyrics to the other members of The Four Tops but, they felt uneasy about singing, what they dubbed, a “protest song”. But, Benson did not give up. The very next time he was in Detroit, he showed the lyrics to a friend named Al Cleveland who, in turn, showed them to Marvin Gaye. For Gaye, seeing those lyrics was an epiphany. Being a very empathetic man, Marvin Gaye was certainly aware of the suffering that was going on around him in the world. He was, especially concerned with racial matters in Detroit, as well as, across America. As he looked at Benson’s lyrics, he asked himself how could he possibly continue with Motown, singing romantic love songs at time when his voice was needed for greater things. So, he asked to record Benson’s song. Benson agreed. The rest would be History, as they say, if not for an additional wrinkle to the story.

As we have seen, time and time again, during this countdown, there were no freelancers at Motown. The organizational structure of Motown was well-established. There was an assembly line process in place and, as such, nobody just up and sang songs without, first, getting the ok from Motown head, Barry Gordy. So, when Marvin Gaye approached Gordy with the idea for “What’s Going On”, Gordy rejected it out of hand. There was no way Motown was going to involve itself in the creation of protest songs. This left Marvin Gaye with two choices: accept Gordy’s directive and abandon the song or else, do what he did, which was, to go on strike. Marvin Gaye (and Stevie Wonder, separately) laid down an ultimatum to Gordy which stated that he would no longer sing any songs for Motown unless he was allowed to record “What’s Going On” as he saw fit. Unbeknownst to Gordy, Gaye recorded the song without awaiting a reply. He gathered up his own session players, booked his own studio time, produced the song, himself and then, when it was in its finished form, played it for Gordy. Gordy still hated it. But Gaye persisted and so, “What’s Going On” was released on the subsidiary of Motown called, Tamla Records.

Needless to say, “What’s Going On” was received by the public as an instant classic. Marvin Gaye captured the essence of the unease and anger many were feeling at the time. His calls for an end to police brutality, sadly enough, are as relevant today as they were back in 1971, when the song was released. “What’s Going On” speaks to a universal truth which is that we should be protecting and nurturing each other, not resorting to any means necessary in order to impose our will upon those weaker or more disadvantaged than us. It is a song that is, at turns, sad yet, hopeful, angry yet, optimistic. It is the song that, among all of his hits, is most revered and respected.

Marvin Gaye had a productive decade ahead of him with solo hits such as “Sexual Healing”, “Mercy, Mercy Me”, “Got To Give It Up” and “Let’s Get It On” still to come after the release of “What’s Going On”. However, this decade also marked a slow but, steady descent into drug use and depression which ended in 1984, when he was shot to death by his own father during an argument. Marvin Gaye left a rich legacy of beautiful and important music, as well as, a lifetime lived for the betterment of others. His treatment of Tammi Terrill is every bit as important as his catalogue of hits. Marvin Gaye was a good man who happened to be a good singer, too. Thank you for everything, Marvin. I hope you are resting in power.

So, without further delay, here is the classic commentary for our times, “What’s Going On” by Marvin Gaye. Enjoy.

The link to the video for the song, “What’s Going On” by Marvin Gaye, can be found here.

The link to the official website for Marvin Gaye, can be found here.

Thanks, as always, to KEXP, for supporting important music and the artists who create it. The link to their wonderful website can be found here.

The Top 500 Songs in Modern Music History…Song #268: Ain’t No Mountain High Enough by Marvin Gaye and Tammi Terrill (RS)

RS: The Top 500 Songs in Modern Music History.

Song #268: Ain’t No Mountain High Enough by Marvin Gaye and Tammi Terrill.

“Ain’t No Mountain High Enough” is all the proof you need to know that the roots of Soul and R&B music lay in Gospel. Of the many rousing, soaring, Gospel-influenced songs written in the Motown era, “Ain’t No Mountain High Enough” is one of the most popular. While this song is being sung, you can close your eyes and easily imagine that you are listening to a choir singing in a church, rather than singers on a concert stage. However, despite the joyous nature of this song, “Ain’t No Mountain High Enough” has a ribbon of tragedy sewn into its’ fabric. That tragic tale involves both singers, Marvin Gaye and Tammi Terrill and is remarkable for how devastating it all turned out to be for both.

In his early days with Motown Records, Marvin Gaye was often paired with female singers and, as a result, many of his early hits were duets. The way Motown was organized saw songwriters teamed with specific singers; the songwriters would write songs and submit them to CEO Barry Gordy who, in turn, would assign them to his stable of musical talent. Many of these songwriters, such as Smokey Robinson, went on to enjoy successful careers of their own, after they had “paid their dues” as writers first. Like Smokey Robinson, Motown employed a husband and wife team of songwriters, who went on to be successful later on, named Nick Ashford and Valerie Simpson. Ashford and Simpson wrote many hits songs but, for the most part, they were assigned to write duets for pairs such as Marvin Gaye and whoever he happened to be singing with at the time. It was Ashford and Simpson who wrote “Ain’t No Mountain High Enough” for Gaye and Terrill. But, before we get into that, let’s get to know Tammi Terrill.

Her story began the very day she was born. Back in the 1950s, there were no such things as ultrasounds and, consequently, no such things as gender-reveal parties and the like. In those days, you went to the hospital and discovered the sex of your baby the second it was born. Terrill’s birth was the first experience at childbirth for her parents. Like many men of the day, her father hoped to have a son to carry on the family name. He was so convinced that his child would be a boy that he had picked out a name already. That name was to be Thomas. When Terrill was born and found to be female, the father was devastated! So much so that he refused to abandon his dream of a son and thus, his first born daughter was named, “Thomasina”. Her full name was Thomasina Winnifred Montgomery. She was called, “Tommie” up until age twelve when she saw a movie at a theatre that contained a character named “Tammi”. From that point on, she went by the name Tammi Montgomery.

Tammi Montgomery sang in church, like so many people of colour tended to do. She loved singing Gospel songs and became noted for her beautiful, delicate figure and strong, powerful voice. At age 17, she was noticed by one of the most influential men in America at the time, singer James Brown. He hired her to be a back-up singer in his “James Brown Revue”. As you may know by now, Brown was a man who demanded absolute obedience from his crew and was prone to fits of violence and temper should he feel that someone wasn’t pulling their weight or following his orders to a tee. One night, his wrath fell upon the diminutive, Tammi Montgomery. He accused her of not paying enough attention to him while he sang and gave her a severe beating that resulted in much loss of blood and multiple head injuries. Luckily, Montgomery had enough fortitude to walk away from her contract.

After healing, she left her musical career and enrolled in university. However, while at university, she was approached by an executive from a new record label and given a new contract to sing her own songs. She had several minor hits while still managing to keep up with her schooling. Soon, however, she came to the attention of Motown CEO, Barry Gordy, who signed her to a new, richer contract and, just like that, Tammi Montgomery became a Motown singer. Gordy demanded that she change her last name to something that sounded “sexier” and thus, Tammi Montgomery became Tammi Terrill.

Not long after she joined Motown, Terrill became involved with singer, David Ruffin, who, at the time, was with “The Temptations”. Unfortunately for Terrill (and for Ruffian, too, I suppose), Ruffin began drifting from the group, demanding more money and a bigger spotlight and, worst of all, he began dabbling in drugs. In the course of his addiction, he assaulted Terrill, striking her about the head with a motorcycle helmet. She was only 23-24 years old at the time.

Finally, she was paired with singer, Marvin Gaye. Gaye was always known for his lovely singing voice but, he was, also, known for being somewhat a quiet, introverted person when it came to stage presence. By pairing Gaye with the outgoing, vivacious Terrill, Gaye was able to step forward and command the stage with a little more confidence. The two became one of Motown all-time leading musical couples on stage. Off-stage, they became very good and trusting friends. It was to this partnership that Ashford and Simpson bequeathed their favourite song, “Ain’t No Mountain High Enough”. That song became a #1 hit for Marvin Gaye and Tammi Terrill. It was just the first of many the duo enjoyed, in partnership with Ashford and Simpson, over the next year.

Then, as if happiness was poison, Terrill collapsed on stage one night into Gaye’s arms. She had always had a history of migraine headaches and, along with the head trauma she received from James Brown and David Ruffin, it turned out that Terrill was suffering from brain cancer. She underwent several unsuccessful operations to remove her tumours. At age 25, she passed away. Mrs. Montgomery, Terrill’s mother, was furious at everyone involved at Motown for contributing to the circumstances that, in her words, accelerated her daughter’s medical condition. At Terrill’s funeral, the only Motown personality allowed to attend was Marvin Gaye. His kind treatment of Terrill stood in stark contrast to how most men had treated her over the course her lifetime.

For Gaye, Terrill’s death touched him deeply. Many believe that his descent into drug and alcohol addiction that characterized his later years, all started with the loss of Terrill from his professional and personal life. As many of you know, Marvin Gaye was shot dead by his own father. He was only in his 40s.

As if to resurrect “Ain’t No Mountain High Enough” from the pit of misery it suddenly found itself in, Diana Ross received permission to record the song as part of her first solo album. The result was a huge hit for Ross. Consequently, the song was such a hit that many people mistakenly believe that “Ain’t No Mountain High Enough” is, actually, a Diana Ross song. It is not. It was a Marvin Gaye-Tammi Terrill song…..until it was too heartbreaking to be theirs anymore.

I will play their version of the song first and then, for those who like Diana Ross’ version, I will play that, too. In both cases, please enjoy this beautiful, uplifting, joyous song. As you do, spare a few thoughts for the two original singers. May they both rest in peace.

The link to the video for the song, “Ain’t No Mountain High Enough” by Marvin Gaye and Tammi Terrill, can be found here.

The link to the video for the song, “Ain’t No Mountain High Enough” by Diana Ross, can be found here.

The link to the official website for Marvin Gaye, can be found here.

The link to more information on the life of Tammi Terrill, can be found here.

The link to the official website for Diana Ross, can be found here.

Thanks, as always, to KEXP for supporting the very best musicians, from all eras and musical genres. The link to their wonderful website can be found here.

The Top 500 Songs in Modern Music History: Song #437…I Heard It Through the Grapevine by Marvin Gaye (RS)

RS: The Top 500 Songs in Modern Music History.

Song #437: I Heard It Through The Grapevine by Gladys Knights and the Pips (covered famously by Marvin Gaye)

For the second time in this countdown list, we come across a song that would have tripped me up if it was the focus of the final championship question in the World Trivia Finals. The first song to do this was, “Crazy”, which I had always believed was a Patsy Cline song but, in reality, turned out to be written and originally recorded by Willie Nelson. The same scenario is true of “I Heard It Through The Grapevine”. This is not, in fact, a Marvin Gaye song! He was actually the THIRD act to record and release this song. All three versions of this song were created as part of the Motown music system. In that system, teams of songs writers wrote songs and then, producers like Quincy Jones, would decide which acts would be given which songs to record. In the case of “I Heard It Through The Grapevine”, this song was first recorded and released by Gladys Knight and the Pips. Her version of the song went to #1 on the R & B charts and stayed there for six weeks! Gladys Knight and the Pips’ rendition of “‘Grapevine” has also been selected for inclusion in the Rock n’ Roll Hall of Fame’s Song category, as being one of the most culturally significant songs of all time. I have never, ever heard anyone sing this song besides Marvin Gaye, let alone, someone of Gladys Knight’s calibre. If this song was the focus of the trivia championship’s final question, I would have bet all of the hair on my daughter’s head that this was a Marvin Gaye song and, as a result, my sweet Sophie would be bald but, we would all be that much more knowledgable and wiser from the experience.

As mentioned previously, Gaye was the third to be given the chance to record this song. Second chance went to The Miracles (of “Smokey Robinson and the Miracles” fame). Their version didn’t chart so, Marvin Gaye was given a shot. Three years after Gladys Knight and the Pips reached #1, Marvin Gaye’s now-familiar version of the song reached #1 and stayed there for seven weeks. It, too, has been selected for inclusion in the Song category of The Rock n’ Roll Hall of Fame.

The content of the song is straight-forward enough. It is a song about a man (in Gaye’s version) learning, via word of mouth from his friends and hers, that his partner may, in fact, be unfaithful to him. But, did you know that the phrase, “I heard it through the grapevine” is actually something whose meaning stretches all the way back to the time of The Underground Railroad? For anyone unaware, The Underground Railroad was an organized system that helped slaves escape from the southern U.S. to live as free people in Canada. The Underground Railroad operated in a very clandestine, hush-hush fashion. For example, one of the ways that a person on the run knew where they could turn if they needed a hiding spot in a home or a meal or whatever, was by the colour of the washing hung on clothes lines outside of the home they were told to look for on their way. If they got to that particular house and saw a red blanket hung, second from the left, for example, that was a signal that it was safe to stop there. These safe houses and the codes which signified the true meaning of any given situation became known as “The Grapevine”. Thus, when you hear Marvin Gaye (or Gladys Knight) speak of hearing information from “the grapevine”, they are saying that the information they posses is credible and can be counted on to be true.

I will play the Marvin Gaye version of this song below. But, I will, also, play the Gladys Knight take on this song. She was the one who recorded and released it first and she deserves full credit for her great work. In both cases, I trust that you will enjoy this terrific song; especially, now that you know a bit more about the cultural significance of that popular saying, “I Heard It Through The Grapevine”. Enjoy.

The link to the music video for “I Heard It Through the Grapevine” by Gladys Knight and the Pips can be found here. ***The lyrics version can be found here.

The link to the music video for “I Heard It Through the Grapevine” by Marvin Gaye can be found here.

Gladys Knight and the Pips have their own website which can be accessed by clicking on the link here.

Marvin Gaye has his own website that you can view by clicking on the link here.

Thanks to Rolling Stone Magazine for helping to inspire the writing of this post. A link to their website can be found here.

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