Let's Get It On

Did You Know?

• The album's third track 'If I Should Die Tonight' originally appeared on vinyl in a shortened version; the full-length version was restored for the 1986 CD reissue.
• Let's Get It On was reissued as a two-disc deluxe edition on September 18, 2001, featuring 24-bit digital remastering and previously unissued material.

Background

In spring 1972, Marvin Gaye experienced writer's block after the success of What's Going On and the Trouble Man soundtrack. Motown had renegotiated a $1 million contract with him, making him the highest-earning soul and black artist at the time, and granting more creative control. Gaye struggled with relocating to Los Angeles following Motown CEO Berry Gordy's move of the label and studio. He also faced emotional pressure from his separation from wife Anna Gordy, Berry's sister. Gaye was coping with childhood abuse from his preacher father Marvin Gay Sr., who had disciplined him under strict moralistic teachings. This left Gaye with disturbing questions about sex, leading to impotence and sadomasochistic fantasies. He turned to spirituality, incorporating it into his music as he had on What's Going On. After a brief separation from Anna, Gaye used his creative control to record an album exploring themes beyond sex, using love and romance as a metaphor for God's love.

Recording

Gaye recorded politically conscious material at Golden World Records studio (Motown's Studio B) and preliminary vocals for Let's Get It On there. From February to July 1973, he recorded at Hitsville West in Los Angeles with The Funk Brothers, who received their first official credit. Unreleased songs like 'The World is Rated X' and 'Where Are We Going?' and the single 'You're the Man' were recorded at Golden World. Gaye planned an album titled You're the Man, but it was shelved. The title track 'Let's Get It On' was composed with Ed Townsend; originally a religious ode, it was rewritten with sexual overtones after Townsend's suggestion. The lyrics were inspired by Janis Hunter, whom Gaye met through Townsend and later became the basis for his 1976 album I Want You. Gaye revived unfinished recordings from his 1970 sessions at Hitsville U.S.A. while recording the title track.

Critical reception

Let's Get It On received positive reviews. Billboard praised its vocal attack and material, citing the title track and 'Distant Lover' as best recordings. Jon Landau of Rolling Stone found Gaye's performance on par with What's Going On, noting 'near cosmic overtones' and eloquent phrasing. Robert Christgau of Creem called it 'post-Al Green What's Going On, about fucking rather than the human condition.' Later writers viewed it as a milestone in soul. Jimmy Guterman described it as 'a bit more conventional musically and much more focused lyrically' than its predecessor. Greg Kot of the Chicago Tribune commended Gaye's use of multi-tracked vocals to convey intimate desires. Jason Ankeny of AllMusic called it 'a record unparalleled in its sheer sensuality and carnal energy,' dubbing it 'one of the most sexually charged albums ever recorded.' BBC Music's Daryl Easlea found Gaye 'in supreme command of his material,' viewing it as 'an iconic, rapturous work.'

Legacy and influence

Let's Get It On marked a change in Motown's sound and production, as the label's trademark 'Motown Sound' was fading in popularity. Gaye used his artistic control to incorporate funky instrumentation, melismatic vocalization, and heavy vocal multi-tracking, contrasting with Motown's established style. He and Ed Townsend followed a suite-form arrangement similar to What's Going On, opposing Berry Gordy's emphasis on hit singles. The album influenced Motown artists like Lionel Richie and Rick James. Its vocal multi-tracking and instrumentation impacted contemporary R&B and slow jams; AllMusic called it 'the blueprint for all of the slow jams to follow.' Engineer Russell Elevado's work on neo soul albums like D'Angelo's Voodoo and Erykah Badu's Mama's Gun was influenced by Gaye and Townsend's production techniques.