Here My Dear Deluxe Edition

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Here My Dear Deluxe Edition album cover
Album Information
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Total Tracks: 28   Total Length: 153:15

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Hua Hsu

eMusic Contributor

Hua Hsu edits the hip-hop section of URB Magazine and writes about music, culture and politics for Slate, the Village Voice, The Wire and various other magazine...more »

11.16.10
A wrenchingly personal, impossibly real divorce album
2008 | Label: Hip-O Select / Motown

Over the course of Marvin Gaye’s career, he recorded stunning albums with an esteemed circle of leading ladies: Mary Wells, Kim Weston, Tammi Terrell, Diana Ross. In a perverse way, this baffling 1978 double-album works similarly, though instead of pantomimed affections, its engine was Gaye’s acrimonious divorce from Anna Gordy. Having lapsed on a series of alimony and child support payments, Gaye agreed to give Gordy half the proceeds of Here, My Dear—thus the title. Gaye toyed with the idea of sabotaging the album, as a way of spiting Gordy. Instead, he relived their break-up in excruciating, at times uncomfortable, detail. “This is what you wanted,” he seems to mock on the title track, its harmonies and strings feeling hollow and ironic beneath Gaye’s sarcastic accusations. He sings at half-strength, bitterly accusing Gordy of using their son as a way of keeping him “in line.” Even for an artist like Gaye, who had no problem wearing his emotions on his sleeve, Here, My Dear is wrenchingly personal. He describes the bounds of his frustration on the funky “Anger,” his words clashing with the smooth, controlled sound of his voice. “A Funky Space Reincarnation” is a masterpiece of cosmic funk, as… read more »

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Sad Ending...But What A Story!!!!

isaacmusicman

Divorce! Wow, nobody likes it, but at that time it was Marvin's reality. And just like all his other albums in the 70's, Marvin said everything that was going on in his life. "Here My Dear" blew my mind when I finally heard it in '95, and to me, if I was old enough, I would have bought it so Marvin could pay Ana what he owned her in alimony and child support. People slept on this on, and they should have been ashamed! Marvin told it like it was, but because it wasn't a "Let Get It On" record, people ignored it. Over 30 years later, I think it finally made enough money, but it was way too late. This also started troubles for him and Janis as well. But now that you know that it's thight, take a download chance on this one.

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Pre-dating the voyeuristic tendencies of reality television by 20 years, Here, My Dear is the sound of divorce on record — exposed in all of its tender-nerve glory for the world to consume. During the amazing success of I Want You and his stellar Live at the London Palladium album, Marvin Gaye was served with divorce papers from his then-wife Anna Gordy Gaye (sister of Motown Records founder Berry Gordy). One of the conditions of the settlement was that Gordy Gaye would receive an extensive percentage of royalties as well as a portion of the advance for his next album. Initially, Gaye was contemplating giving less than his best effort, as he wouldn’t stand to receive any money, but then reconsidered at the last moment. The result is a two-disc-long confessional on the deterioration of their marriage; starting from the opening notes of the title track, Gaye viciously cuts with every lyric deeper into an explanation of why the relationship died the way it did. Gaye uses the album, right down to its packaging, to exorcise his personal demons with subtle visual digs and less-than-subtle lyrical attacks. The inner sleeve had a pseudo-board-game-like illustration entitled “Judgment,” in which a man’s hand passes a record to a woman’s. One side of the sleeve has Gaye’s music and recording equipment, while the other side of the board included jewelry and other luxurious amenities. Musically the album retains the high standards Gaye set in the early ’70s, but you can hear the agonizing strain of recent events in his voice, to the point where even several vocal overdubs can’t save his delivery. Stripped to its bare essence, Here, My Dear is no less than brilliantly unsettling and a perfect cauterization to a decade filled with personal turmoil.
Well over a decade after the first CD version of the album was issued on Motown, Hip-O Select put together a two-disc expanded edition. On the first disc, an alternate mix of “Ain’t It Funny (How Things Turn Around)” is added to the album’s original track list. The second disc contains the original instrumental mix of “A Funky Space Reincarnation,” but the remainder of the disc’s content is billed as “Hear, My Dear: Sessions 1976-1978.” These tracks are actually new remixes — remixes in the purest sense, meaning no overdubs or outside elements. A wide range of musicians and producers, including Leon Ware and Gerry “The Gov” Brown, ?uestlove and James Poyser (as the Randy Watson Experience), Prince Paul, Salaam Remi, Bootsy Collins, and Easy Mo Bee, contribute to this alternate version of the album. While the originals will always be preferable, the remixes are far from Motown Remixed territory; they are not flashy, drastically mutated re-workings that make even non-purists cringe. There’s also plenty to absorb in the packaging: vivid artwork reproductions, session information, Curtis M. Shaw’s original liner notes, notes from Gaye biographer and collaborator David Ritz, and notes from Universal A&R VP Harry Weinger. More importantly, the discovery of the session reels enabled a listing of musician credits that is far more extensive than what was provided in the notes to the 1994 CD release (which relied on trumpeter and road band director Nolan Smith’s recollection). Hats off to Motown, Hip-O Select, and Universal for making this deep, complex, and rich album available in such valuable form. – Rob Theakston & Andy Kellman

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