Marvin Gaye ‎– Here, My Dear

Label:
Tamla ‎– T 364LP2, Tamla ‎– T 364 LP2
Format:
2 × Vinyl, LP, Album, Gatefold
Country:
Released:
Genre:
Style:

Companies, etc.

Credits

Notes

Recorded & mixed at the Marvin Gaye Studio, Hollywood, California. Mastered at the Motown Recording Studio, Hollywood, California.

This is an auto-coupled release (Record 1: Sides A/D, Record 2: Sides B/C).

℗ 1976 Motown Record Corporation.
© 1976 Motown Record Corporation.
Printed in U.S.A.

"Special thanks to all the musicians who are too numerous to mention but who are all superstars!"

2nd cat. number appears on spine and sleeve reverse.

Barcode and Other Identifiers

  • Matrix / Runout (Matrix side A, on label): T 364LP2-A
  • Matrix / Runout (Matrix side B, on label): T 364LP2-B
  • Matrix / Runout (Matrix side C, on label): T 364LP2-C
  • Matrix / Runout (Matrix side D, on label): T 364LP2-D
  • Matrix / Runout (Runout side A, etched): T-364LP2A-1̶8̶C̶ 13C PED Ja
  • Matrix / Runout (Runout side B, etched): T-364LP2B-1̶8̶C̶ 13C PED Ja
  • Matrix / Runout (Runout side C, etched): T-364LP2C-1̶8̶C̶ 13C PED Ja
  • Matrix / Runout (Runout side D, etched): T-364LP2D-1̶8̶D̶ 13D Ja PED

Other Versions (5 of 44) View All

Cat# Artist Title (Format) Label Cat# Country Year
UICY-94046, UICY-94047 Marvin Gaye Here, My Dear(2xCD, Album, Dlx, Ltd, Num, RE, RM, Gat) Tamla, Tamla UICY-94046, UICY-94047 Japan 2009 Sell This Version
2C 168 62113/4 Marvin Gaye Here, My Dear(2xLP, Album, Gat) Motown 2C 168 62113/4 France 1979 Sell This Version
T 364LP2 Marvin Gaye Here, My Dear(2xLP, Album) Tamla T 364LP2 US 1978 Sell This Version
T 364 T1 Marvin Gaye Here, My Dear(8-Trk, Album) Tamla T 364 T1 US 1978 Sell This Version
T 364 C1 Marvin Gaye Here, My Dear(Cass, Album) Tamla T 364 C1 US 1978 Sell This Version

Recommendations

Reviews Show All 8 Reviews

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Leo-Holland

Leo-Holland

December 30, 2016
I hope the expanded edition (2cd versions form 2007-2010) will be released on vinyl, just like they did with the 4lp release of What's going on. Anyone who knows if this will be the case?
blaksoulfire

blaksoulfire

July 25, 2016
No need to add further remarks on the lore of this album; I will just add that nearly 40 years since its release time has vindicated HMD as a singular classic that gets better with each passing year. Musically complex and coherent as well as immaculately rendered. I love it more and more. Thank you Mr. Gaye for this great piece of art.
cante

cante

February 8, 2015
Still one of my favorite album ever….
rkcerman

rkcerman

February 7, 2015

One of my favorite albums ever, the production on it is incredible, especially on 'Is That Enough', which is one of the greatest songs I've ever heard.
isaacmusicman

isaacmusicman

January 11, 2015
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 chance on this one.
BadCatRecord

BadCatRecord

October 27, 2014
It's funny but I can remember walking into a local record store (yes, I'm old enough to remember record stores) and literally seeing piles of this album sitting in the clearance section. Stores literally could not give this double album set away ... Here we are a couple of decades later and suddenly "Here My Dear" has attained a sheen of respectability with publications like Mojo and Rolling Stone singing it's praises. The album's background is well known, so I'll limit the biographical comments to a brief executive summary.

By the mid-1970s Gaye and first wide Anna were engaged in open warfare. The fact Gaye was living with a much younger woman (Janice Hunter) and had already fathered a child with her certainly didn't help to mend fences. Fed up with the situation, Anna filed for divorce. Unfortunately for Gaye, the trappings of a rock star existence (multiple homes, lots of cars, expensive tastes in wine, women, and drugs left him almost bankrupt. Unable to cover Anna's demands for alimony and child support for their son Marvin III (the child was reportedly actually a result of an affair Gaye had with one of Anna's nieces), Gaye's lawyer suggested a settlement that would give her a $307,000 down payment based on guaranteed royalties and another $293,000 from sales of his next record. (Gaye died before paying Anne the balance.) Popular legend has it that Gaye's original plan was to release a lame album that would tank, leaving Anna with little in the way of royalties. That plan quickly fell apart when Gaye went into the studio. Exemplified by material like the in-your-face title track, 'I Met a Little Girl', 'When Did You Stop Loving Me, When Did I Stop Loving You' and 'You Can Leave, But It's Going to Cost You' Gaye ended up recording an almost painful collection of autobiographical songs that reflected back on the marriage with Anna with plenty of finger pointing (the inner sleeve reflected a Monopoly-styled board game entitled 'Judgment' that included a man's hand giving a record album to an outstretched female hand) . Gaye rounded the collection out with a host of other personal demons that had plagued him through the years ('Anger' and 'Is That Enough'). Recorded over a two year timeframe, Gaye was initially reluctant to release the album, but Motown's insistence on releasing a new album and the need for cash ultimately saw him agree to release it. The results were far from commercial and critics drubbed the album which did little to generate sales (it proved Gaye's poorest selling release for Motown). For her part furious at the results which she saw as a slap at her privacy Anna threatened a lawsuit. Upset with the critical drubbing Gaye basically walked away from the album. He ended up splitting with his second wife and basically went into self-imposed exile.  

Hoping to recoup some of its investment Tamla tapped the album for a single in the form of :

'A Funky Space Reincarnation, Pt. 1' b/w 'A Funky Space Reincarnation, Pt. 2' (Tamla catalog number T 54298F)

Tamla also financed Gaye's first music video which you can see courtesy of the attached YouTube link: http://www.youtube.com/watch?v=mcYg3mpewMg

The funny thing is I remember being distinctly disappointed when I originally heard the album. Of course at the time I was single, had never been in a really deep relationship and was more interested in melodies and grooves than insight. I recalling thinking that album was tuneless and a complete downer and I didn't listen to it for years afterwards. I don't know where my head was all those years ago, because it's a killer album. Part of the change probably has to do with the fact I've been married and divorced and experienced many of the same feelings. Yeah, Gaye's self loathing and mean spirited rants aren't something to be proud of, but the album is simply packed with classic, if overlooked tracks and the grooves were there, though occasionally submerged in a jazzy atmosphere. I was just to dumb to notice them the first time around. Besides, how can you not laugh at a track with a title like 'A Funky Space Reincarnation', or smile at the funky workout 'Anger'. Best description for this wonderful LP - the ultimate breakup album !

"Here My Dear" track listing:
(side 1)
1.) Here, My Dear (Marvin Gaye) – 2:482.) I Met a Little Girl (Marvin Gaye) – 5:033.) When Did You Stop Loving Me, When Did I Stop Loving You (Marvin Gaye) – 6:174.) Anger (Ashby - Marvin Gaye) – 4:04
(side 2)
1.) Is That Enough (Marvin Gaye) – 7:472.) Everybody Needs Love (Townsend - Marvin Gaye) – 5:483.) Time to Get It Together (Marvin Gaye) – 3:55
(side 3)
1.) Sparrow (Townsend - Marvin Gaye) – 6:122.) Anna's Song (Marvin Gaye) – 5:563.) When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental) (Marvin Gaye) – 6:03
(side 4)
1.) A Funky Space Reincarnation (Marvin Gaye) – 8:182.) You Can Leave, But It's Going to Cost You (Marvin Gaye) – 5:323.) Falling in Love Again (Marvin Gaye) – 4:394.) When Did You Stop Loving Me, When Did I Stop Loving You (Reprise) (Marvin Gaye) – 0:47
dhettafrokid

dhettafrokid

July 14, 2014
I'm a maintenance man and I had to do a trash out and I found a Marvin Gaye CD (here my dear) but it said master legend and I realize that this is the original studio CD with Marvin's signature and a whole bunch of studio stuff on the inside of the case and the CD doesn't have the names of the songs on them can anyone tell me if its worth anything
Babaluma1

Babaluma1

June 6, 2014
edited over 4 years ago
A staggering masterpiece but also quite difficult to listen to as it is so raw. A concept album about his marriage, divorce and legal battles with Anna Gordy this LP takes all the rage and beauty of What's Going On and rather than looking at the outward world turns in into a harrow self examination. The songs cover a huge emotional range from the joy of new love, to the cocaine and sex addiction, rage and redemption. The musical styles are as varied as the lyrical content going from the sweet swinging doo wop of Everybody Needs Love, the sparse funk of Anger to the poisonous synth driven nihilism of Time To Get It Together and You Can Leave, But It's Going To Cost You which both practically invent New Jack Swing.

Even on the lightest songs there is a tension and feeling on unease, best shown on the seemingly innocuous song Sparrow which slowly reveals itself to be a vicious attack on the shallowness of his ex wife.

The album is dense with backing vocals and feels very improvised making explicit the jazz elements showcased on Trouble Man but here tied to actual songs. On some of the tracks he sounds frankly deranged, like on the cocaine sci fi disco of A Funky Space Reincarnation or the rambling Anger. These sound all come from a very dark place that makes for uncomfortable listening as if you can hear some one have a nervous breakdown through the wall of a hotel room.

This is not an easy album to like but once you commit to it as a whole the sonic layers and subtle melodies make themselves apparent and I often think of this as a sequel to Sly Stone's There's a Riot Goin' On, another work that makes the tumult of a crumbling society into a personal odyssey.

Frank @ london school of sound