Marvin Gaye’s You’re The Man:  How do you follow up a masterpiece?

Nearly 50 years after its recording, Marvin Gaye’s follow up to his 1971 classic What’s Going On was finally released to the public on March 29, 2019.  You’re The Man is just as politically charged as its predecessor, and was scrapped after the release of the title track due to Motown founder Berry Gordy’s fear of alienating his conservative audience.  Much of the material on this “lost album” was released back in 2001 on the deluxe version of Gaye’s sexually charged Let’s Get It On.  Nonetheless, the release of the full album in all its glory cements its importance in Marvin’s discography.  

The album starts off strong, beginning with “You’re the Man” – a political call to action that addresses the candidates of the 1972 presidential election, and most notably Democratic Candidate George McGovern.  Lyrically and sonically impressive, “You’re the Man” is, hands down, one of the strongest tracks on the album. “The World is Rated X” features Marvin lamenting the evil in the world, through the forms of war, drugs, and theft.  Fusing soul, funk, and R&B, this track is another one of the highlights of the album, and I absolutely love the piano flourishes Marvin sprinkles in here and there.

“Piece of Clay” is where the album begins to falter, as it becomes tiresome long before the end of its 5 minute runtime.  The song is a piano ballad, and Marvin sings of the desire to mold others to our will. Despite the decent lyricism, the slow tempo and boring instrumentation lets this song fall flat.  “Where Are We Going” greets listeners with an amazing congo groove, and more of the great piano embellishments similar to those found on “The World is Rated X.” With this underrated gem, Marvin reflects on uncertainty of the trajectory in America in anticipation of a turning point, a feeling shared by many during the time of turmoil in which this song was recorded.  

On “I’m Gonna Give You Respect,” Marvin sings of his insecurity and paranoia of infidelity that poisons his relationships.  This paranoia contributed to his troublesome marriage to his first wife, in which he would drive by motels certain she was cheating on him.  “Try It, You’ll Like It” is a rather cliche call to love thy fellow man, but Marvin’s great singing and the bop-style beat keep this one catchy.  Unfortunately, there are quite a few mediocre sappy love songs on this album that drag it down – “You Are That Special One,” “We Can Make it Baby,” “I’d Give My Life For You,” “My Last Chance,” and “Symphony” all are a little too sickeningly sweet, and the smooth saxophone seals their fate.  “Woman of the World” is a very strange song, and Marvin sings of the newly liberated woman and her newfound opportunity and independence. However, one can’t help but feel that Marvin feels a little threatened, as he subtly questions if this is what women really want through lyrics like “there isn’t anyone…for you to look up (you’re on your own now).”  “Christmas in the City” is a purely instrumental track filled with electronic piano. Unfortunately, the track doesn’t feel too brilliant and Marvin certainly isn’t playing to his strong points on this one. “I Want To Come Home For Christmas” is one of the worst songs on the album, sung from the perspective of a prisoner of war in Vietnam. The intention is there, but the delivery feels forced and the pathos is a little bit over the top.  

Isaac Hayes and Curtis Mayfield funk and soul are the hallmarks of “I’m Going Home”, and the theme of home being a haven from the cruelty of the world is a poignant message that plays along nicely with the themes introduced in “The World is Rated X”.  Electric guitars and twangy bass lines surprised me as the final song, “Checking Out (Double Clutch)” began. The song showcases Marvin’s versatility quite well, and the groove is undeniable. Sonically, this closing track is probably the most interesting on the album.  Like bookends, the few strong beginning and closing tracks flank a muddled collection of mediocre love songs and half baked ideas. One can’t help but wonder if the album in this state was a finished product or not. It pales in comparison to the fleshed out What’s Going On, both in overall quality and cohesiveness.

For Marvin Gaye fans, this album will certainly provide some enjoyment as it showcases one of the most visionary R&B artists hot off the trail of his 1971 cultural and political commentary.  There are a sprinkling of great songs in here, but they are diluted by boring and one dimensional songs that are far from Marvin’s best. What’s Going On was impossible to follow up, and Marvin’s attempts at creating additional socially conscious music paled in comparison.  The decision to scrap this album, whether for political or quality reasons, was probably a good one. Like many sequels, it would have never lived up to the classic genius of its predecessor.  By branching into a different style and thematic arena with 1973’s Let’s Get It On, Marvin managed to find a new direction for his music.  Nonetheless, this album has filled in a gap in Marvin’s history, and we can only be thankful that it was released at all, for posterity’s sake.

Article by Everett Williams