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“Mercy Mercy Me (The Ecology)” – Marvin Gaye
(Words/music: Marvin Gaye, available on What’s Going On, Motown 1971)

When presented with a soapbox, Marvin Gaye responds with a snapshot rather than a sermon.  The What’s Going On album draws on a host of social issues, yet it’s not driven by a specific agenda.  Take “Mercy Mercy Me,” a song that still seems relevant as the world’s leaders meet in Copenhagen right now to discuss the global climate.  Gaye describes the fragile state of the environment in a subdued yet soulful tone.  While he implies judgment on the situation when he notes that “things ain’t what they used to be,” he never pushes his agenda.  In this case, it’s an asset to the song; Gaye’s arrangement feels intimate and contemplative, and any attempt at sloganeering wouldn’t fit the situation. 

So why bring up the environment at all?  In this case, it seems like an issue of conscience.  Gaye seems intent on crafting an accurate depiction of his world and wrote songs about what he saw.  “Mercy Mercy Me” depends on this feeling of authenticity; otherwise, the Hollywood strings and orchestral touches might feel cheesy.  Instead, these embellishments give Gaye’s impassioned vocals and serious subject matter the gravitas it deserves.  Anything else – whether a truncated vision of the world, an out-of-character rally cry, or the privileging of persona over person – makes “Mercy Mercy Me” laughable.  While other scenarios use personas to their advantage (and Gaye does this as well, especially in his “Let’s Get It On” days), a disarmingly beautiful song like “Mercy Mercy Me” calls for complete truth.  Even if the truth is that Gaye doesn’t have an answer (and if anyone did, our leaders wouldn’t be in Copenhagen right now), he does his part by getting the conversation rolling.

More on Marvin Gaye: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: marvin gaye | 1971 | 1970s | motown | current events |
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[Flash 9 is required to listen to audio.]

“Let’s Get It On” – Jack Black
(Words/music: Marvin Gaye and Ed Townsend, available on High Fidelity OST, Hollywood Records 2000)

Jack Black is many things, but he is not Marvin Gaye, and a prerequisite for this cover working as well as it does is that Black understands this.  That’s not to say Black turns this into a Tenacious D song, because that wouldn’t work as well.  Like his character in the film, Black turns in a sincere version of the song that pays homage to the original without trying to one up it.  He sings in a comfortable place in his vocal range, occasionally dipping into his falsetto but only to hit high notes.  In fact, Black sings without any of the usual theatrics that fill his Tenacious D songs (or his performance in the movie – think of his unnatural swiveling during “Walking on Sunshine” when we first meet him), instead sounding relaxed and almost reserved.  It’s a testament to Black both as a singer and an actor, knowing when and where to turn on his absurdist charm and where to refrain.  Ultimately, Black’s personality yields to the song, one Gaye sang with his natural charisma and Black’s (relatively) subdued performance works as a silent hat tip to Gaye’s original performance; Appropriately, Black’s version becomes enjoyable because it doesn’t force us to compare it to the original and pick out the “superior” version.  Instead, it becomes a loving tribute to a soul standard and, to those who hadn’t seen the HBO episodes, a public introduction to Jack Black as a singer, one that (at least in part) helped create the opportunity for his ridiculous career as a rock frontman.

More on Jack Black: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: jack black | 2000 | 2000s | track comparison | cover song | marvin gaye | tenacious d | high fidelity |
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