Let's Get It On

Musicians

• Marvin Gaye

  Vocals, Backing Vocals
  AKG C12 Microphone, Neumann U87 Microphone
• Arthur G. Wright

  Electric Guitar
• Don Peake

  Electric Guitar
• Joe Sample

  Piano
• Gary L. Coleman

  Vibraphone
• Ernie Watts

  Tenor Saxophone
• Plas Johnson

  Baritone Saxophone
• Buddy Collette

  Flute
• Wilton Felder

  Bass
  1968 Fender Precision Bass
• Eddie "Bongo" Brown

  Bongos
• Bobbye Hall

  Congas
• Paul Humphrey

  Drums

Track Facts

Let's Get It On

Marvin Gaye

Let's Get It On.

Marvin Gaye's words from the original liner notes:

I can't see anything wrong with sex between consenting anybodies. I think we make far too much of it. After all, one's genitals are just one important part of the magnificent human body. I have no argument with the essential part they play in the reproduction of the species; however, the reproductive process has been assured by the pleasure both parties receive when they engage in it.

I contend that SEX IS SEX and LOVE IS LOVE. When combined, they work well together, if two people are of about the same mind. But, they are really two discrete needs and should be treated as such. Time and space will not permit me to expound further, especially in the area of the psyche. I don't believe in overly moralistic philosophies. Have your sex, it can be exciting, if you're lucky.

I hope the music that I present here makes you lucky.

"Birth and copulation and death, that's all the facts when you get to brass tacks." T.S. ELIOT

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From an article in Mix Magazine Online, by Steve Jennings in 2002 we learn some interesting facts about the recording:

"At that time, the Hitsville-West control room was equipped with a Quad 8 console and 3-M 16-track recorder, and the house engineers favored vintage German mics mostly, especially Neumann, AKG and Sennheiser models. To get so many musicians down on just 12 tracks (four were saved for lead and background vocals) required expert mic placement and economical premixing: Drums were only on three tracks, the strings on two (high and low) and the reeds on just one. "What was great about 16-track is that it lets you spread things out a bit," says engineer Art Stewart, who worked on "Let's Get It On" after William McMeekin was taken off the project, recording the overdubs and all of Gaye's lead and background vocals. "Still, with a group that big, you still had to combine things. I had no problem with that. I always preferred to do drums on just three tracks, and I'd mix them as I was recording them, place them where they belong. And you could say the same thing about working with a big group and recording live like that - you've got to record it right, have everything balanced correctly, and that makes mixing it later much easier."

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Despite being the song that quite possibly launched an entire genre of "music to make love by," (Quiet Storm anyone?) Let's Get It On was actually written in the 1950's by Ed Townsend for a much different reason. Apparently the theme of moving on from addiction, complete with religious sentiments, was Ed's approach in that early version. However, after a brief stint as a political song, Ed himself is credited with the idea that Let's Get It On should be a love song in Marvin's hands.

Marvin was also open about his love for Janis Hunter being the inspiration for this and other songs on the Let's Get It On album. In fact she is said to have been at the studio during recording, and would eventually become his second wife.