On Deck performance was live today! It was the first live performance for Bagley, who said he was a little anxious to finally share his music with everyone. But the baller, who wears No. Bagley fell in love with rap about the same time he fell in love with basketball.
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Born in Tempe, Arizona, he said he began writing lyrics at 5 or 6 years old after being inspired by a rap song on the radio. He also performed in front of family, friends and even strangers. I used to [perform] wherever. They used to have a little beat machine and I would play the Michael Jackson song. And I would just start dancing and everyone would be looking.
It just went on from there. But I really study music and rappers like Tupac and the rappers before us.
I just try to learn as much as I can and get better with my music as well as basketball. My dad told me that Shaq was able to do both. I went on YouTube to listen to Shaq songs and see the music he was doing when he was playing and how successful he was. Bagley, who was ranked as the No.
It was there where he continued his education in basketball and hip-hop. At Duke, the year-old was arguably the best college basketball player in the country as a freshman, averaging 21 points and He also attended a History of Hip-Hop class taught by the likes of Patrick Douthit, who is a Grammy-winning producer better known by the name 9th Wonder.
During his freshman year, Bagley also kept hearing word that rapper J. Cole was working out in a fitness gym that he frequented in the Raleigh-Durham, North Carolina, area. The two eventually bumped into each other. I had the music. Gaye flew across the country to fulfill an acting commitment, all the while constantly adding to the songs, even until the last moments before the final mix.
He delivered the album just under the wire — 30 days from start to finish, winning the bet with Gordy. Kids in America were being sent overseas to fight in Vietnam and kids were being beaten by the cops back at home. The Four Tops were on tour in the U. Before the taping, Benson got to chatting with a folk singer playing on the show: Joan Baez.
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After the Tops had rejected his protest song, Benson thought it might work for Baez. In mid, after working on the song with lyricist Al Cleveland, Benson finally had a chance to play it for Gaye after tracking him down on a golf course. But Benson refused to give Gaye the song unless he sang it. He was so convinced Marvin was the man for the song that Benson offered up a percentage of the songwriting credit to Gaye. Gaye tweaked the lyrics, and the rest is history. To separate himself from the finishing-school look of other Motown artists, Gaye changed his image while recording this album.
He grew a beard, wore casual attire like hoodies, denim and funky tracksuits, even though the album artwork sees him wearing a tailored suit. During the recording, Gaye began to wear a series of knit toques. Many of his fans copied his fashion sense, but Gaye later admitted to biographer David Ritz that he wore them to cover up a growing bald spot on the top of his head, and was tickled to see people wear them to look cool. Unlike most producers, Gaye sat down in the Snakepit with the musicians, leading the rhythm section and playing piano instead of producing from behind the glass in the booth.
Gaye mixed the album in Detroit with engineer Steve Smith on April 5, It was complete and ready to be pressed, but while the album jacket was being printed Gaye had a change of heart.
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Below is the Detroit mix of the album's title track. Can you hear the difference? Gaye insisted on having the photo collage as well as space for lyrics. Pepper , both albums share the exact same layout. It featured a striking image: a close-up of Gaye gazing off into the distance, his collar up, rain on his hair and beard. This was one of the last shots that photographer Jim Hendin took.
Both the front and rear cover shots for the album were taken in the backyard of the house where Gaye and his wife were living with their son, Marvin III. Dressed in a black suit, he slipped into a trench coat to defend himself from the rain and sleet of a March Detroit afternoon, completing his classic look. The picture of Gaye surrounded by abandoned childhood toys in the rain captured the death of innocence. It was the first record to give recognition to the Funk Brothers, who laid down the rhythm tracks and was the band of musicians largely responsible for the famous Motown sound.
It was the beginning of a long road to recognition for these studio musicians. The studio musicians were primarily jazz cats playing on the pop hits of Motown to earn their dollars.
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At night they would play the Detroit jazz clubs to satisfy their musical urges. The cherry-picking of certain Funk Brothers and not others put a lot of noses out of joint. The sessions were going to be fun, less pop-focused and closer to the freedom of the jazz music they all wanted to play. The album became two seamless suites of music, side 1 and side 2, rather than an album of individual tracks — another Motown first. The story goes that Gaye knew he wanted Motown session man and key Funk Brother James Jamerson to play bass on the rhythm tracks.
So he tracked Jamerson down to a local Detroit blues club, where the bassist was playing in the band. Gaye coaxed him offstage and back to the studio but Jamerson was so intoxicated he kept falling off his stool during the recording, so he lay flat on his back and laid down the bass riffs that were written out for him by arranger David Van DePitte.
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He was right. Despite his insistence on giving everyone their dues, the names of the studio engineers were left off the album credits by accident. Gaye simply forgot as he was submitting the credits over the phone, about to board a flight to L. The album was headed to the printers in Detroit, but Gaye was in L.
The only complete, live performance of the album happened almost exactly a year after its release. May 1, , in Washington, D.
The evening was capped off by a Marvin Gaye concert that night at the Kennedy Center. The concert was a miraculous success. Gaye was lifelong friends with fellow Motown star Robinson. God is working through me. The love is spiritual, deep and available to everyone. In order to get himself into a pure headspace to sing, Gaye would seclude himself in a locked room and masturbate for hours. This sound was also a product of chance. The idea was to play them alternately so Gaye could pick a favourite. Sands accidentally played both vocal tracks together and Gaye loved how his double-lead sounded, deciding to keep this unintentional duet.
The alto-saxophone riff that opens the album was the first and only take. Musician Eli Fontaine was noodling around in the studio, warming up before the session. He signalled to the booth that he was ready for a take, and was instead told to go home. Fontaine protested at being sent home, claiming he was just goofing around. A party atmosphere is created at the top of the album with layers of voices. Gaye repaid their faith in both him and the song by asking the athletes to contribute vocally on the track.
Their voices can be heard in the vocal chatter at the beginning of the song and, even with little vocal talent between them, Gaye asked the pair to sing backing vocals on the whole song. Gaye gave each of the athletes a gold record for their contribution. At the stage of the final mix, as the song was petering out, Gaye put his hand on the fader and cranked the volume back up to full.