Marvin Gaye existed on another plane. It's almost impossible to fathom why a musical genius like him suffered so much in real life and yet sounded and demonstrated absolute mastery in his music. Let's Get It On continues where What's Going On left off - with Marvin completely in the creative zone. Predating Sexual Healing by quite a few years, Let's Get It On was no doubt an instant classic, channelling Timeless Soul and Living Room Love into a seamless sophisticated package. Play this seamlessly from start to end, and then press play again.

Only Marvin Gaye could sing the lines he did and not make it cliched. He meant what he sang. Gaye's albums were tour de forces that work better than his compilations by taking listeners into a world of musical depth and soul; and different directions which were truly ahead of its time, yet of its time.

Music from this era had to truly be inspired. It is music that all generations like to hear; music that will always be around. this particular recording is still being played, the words are relavent to today, and the music is still soul stirring. the new stuff, will pass on, and no one will hardly remember the words, but this is stuff that will last.

Up to this point in my life(over half a century), no other male SOUL-R/B-JAZZ-POP singer has staked his claim over Marvin, his body of work is insurmountable..., what impresses as much if not more than Marvin's vocal stylings and lyrics, are the creation and composition of the Background vocals, on "Let's get it On" and more specifically..."I Want You", I have not heard anything, ANYTHING, close to being as good as or better!
IF ever in his lifetime he wanted to create Music as close to God and Perfection that he could make...in my humble opinion, "I Want You" is that is just that...

After the amazing 1971 album "What's Going On" where Marvin focused on the problems in society and trying to find relief by gospel inspired songs about faith and spirituality, He defenitely changed direction with the successor "Let's Get It On" which is a seductive and lustful plea to make love, incase the album title wasn't straight forward enough. It's infact completely diffrent from "What's Going On" and that is also the beauty of it. Instead of stomping on the same ground, Marvin creates the most seductive album in history, Prince, Keith Sweat and R. Kelly are excused but this album takes the price. From song 1-8 and all way through the album we have the same concept of brilliant and truly unforgettable romantic and sexual love songs.

The original plan was the record an album with simular message to "What's Going On", Marvin made the sountrack to the film "Trouble Man" but wanted to make another political album right after. Some songs had been recorded for a new album but it went slow and dropping a great sequal to an award winning album was difficult. A man called Kenny Stover wrote a politican song called "Let's Get It On" but when Gaye's songwriting partner Ed Townsend heard he thought it would be better suited for a love song between a man and woman "getting it on" and he and Marvin re-wrote the lyrics. Poor Stover never got songwriting credits, but this was the start for a groundbrealking concept album about love, sensuality and romance. The title track peaked at #1 on the pop charts and the album became the most selling in the history of Motown, at this point. Let's take a closer look at the songs.

It all starts with the title track, which is a plea for sexual liberation. Coming from a strict religious home where his father was a pastor and back in the early 70's when this album was released, it wasn't as obvious as it may be today to release such song, Infact there weren't many songs as daring and straightforward as "Let's Get It On" on radio in 1973. And in my oppinion this is the ultimate love theme. The passion and energy that Marvin delivers on this song is second to none and it's a wonderful song aswell. "Please Stay (Don't Go Away)" is another touching song full of emotion where Marvin pleas to a woman to stay after spending a romantic night together. A beautiful romantic ballad called "If I Should Die Tonight" probably takes the price for emotion. On the hook he sings "If I should die tonight love Darlin'/ though it be far before my time/ I won't die blue/ 'Cause I've known you". "Keep Gettin' It On" which is a sequel to the title track is next up. It features the same music and same theme, just some diffrent lyrics. The first 4 songs were part of side 1 that were written and produced by Gaye and Townsend.

Side 2 was produced by Gaye and have slower songs with diffrent arrangements and less energy but still with a lot of sensuality and romance. "Come Get to This" the second single of the album deals with the return of an old love. It reached #21 on the pop charts and feature a funky band backing him. On "Distant Lover" the theme is the reverse, Marvin calling out for a lover that is miles away leaving him with emptyness and pain. Some say it was a tribute to his friend and singing partner Tammi Terrell that died in 1970. This is the slowest song of the album starting with a slow falsetto singing and ending with emotional wail. The next song is the most straightforward and sexual. "You Sure Love to Ball" is no typo, that's the original title. The song deals with a man that dedicates all his time for his lover. The dreamy arrangements here perfectly match the seductive singing and lyrics which is tender pillow talk. The last song "Just to Keep You Satisfied" is also very slow but also sad. It was written several years prior by him and his wife Anna Gordy and recorded for other artists as a dedication from a caring husband to his wife. But when Marvin re-recorded it his marriage with Gordy was going towards the end so he changed the arrangements making it more somber and depressing.

Overall, This is a classic album. Not only that it was recorded by a legendary singer but also cause it's a wonderful concept album promoting love, sensuality and emotion. The themes and straight forward lyrics were ahead of it's time when it came out in 1973, making it a remarkable album to look back at over 30 years later. But it's also an album about liberation, from family and from a strict society. Marvin fulfilled that, but it would eventually be the argument of his secular lifestyle that started the brawl with his father in 1984 that led to his death. However, as far as this album goes and the emotion and energy in his muic he's still very much alive today. Often emulated, never imitated. Classic.

After Marvin released a visionary, transcendent, lovely R&B masterpiece with What's Going On, an album that touched on every issue you could imagine, Marvin turned from Motown's resident seer to Pervo Deluxe, cranking out an entire album that's about one thing, and it's sure not the world and its ills. And there's more padding here than in the asylum I've had to call home ever since the dread Ice Cream Social incident (which I'd explain if it weren't for that government man over there with the suitcase of Franklins telling me I hush up about it) - the songs are all quite similar, musically and lyrically. There's even a reprise of the title song, called Keep Gettin' it On, that's not welcome at all.
Now this is still Marvin Gaye, and he still can make some very good songs - the best of course being the title track: solid drumming, great overdubbed vocals, subtle strings... classic song. So is Come Get to This, nice sax part even if the beat is a bit wearing. While I prefer the live version, this take on the aching Distant Lover's no slouch either, and as far as sex jams go they don't get much better than You Sure Love to Ball. The three songs I have yet to bring up - If I Should Die Tonight, Just to Keep You Satisfied, Please Stay (Once You've Gone Away) are just sheer fillers, nothing else. And no Funk Brothers? That's a problem.
Let's Get It On is an okay album, but I prefer his more personal works (What's Going On; Here My Dear) hugely.