The Greatest Oldies Music

Oldies Musics

Marvin Gaye – Let’s Get It On

About the Song

In the realm of soul music, few names resonate with the power and passion of Marvin Gaye. His voice, a velvety instrument brimming with emotion, could effortlessly convey the deepest throes of heartache and the exhilarating heights of romantic bliss. Amongst his illustrious discography, one particular song stands out as a testament to his artistry and enduring legacy: “Let’s Get It On.”

Released in 1973, “Let’s Get It On” marked a turning point in Gaye’s career, showcasing his evolution from a balladeer of heartbreak to a connoisseur of sensual expression. The song’s opening notes, a delicate interplay of piano and strings, set the stage for an intimate journey into the heart’s desire. Gaye’s voice, initially tender and restrained, gradually ascends into a soulful plea, yearning for physical and emotional connection.

The lyrics, penned by Gaye himself along with Ed Townsend and René Hall, are a masterclass in seduction, weaving a tapestry of suggestive imagery and unspoken desires. Gaye’s words paint a picture of a lover eager to shed inhibitions and explore the depths of physical intimacy, all while promising a love that transcends mere passion.

The song’s production, a collaboration between Gaye and arranger Al Green, is a masterpiece of subtlety and nuance. Lush strings and understated percussion provide a backdrop for Gaye’s impassioned vocals, while the subtle funk groove adds an irresistible undercurrent of danceable energy.

“Let’s Get It On” was an instant commercial success, topping the charts in both the United States and the United Kingdom. However, its impact extended far beyond the realm of popular music. The song became an anthem for sexual liberation and romantic expression, capturing the zeitgeist of a generation yearning for freedom and authenticity.

Gaye’s performance on “Let’s Get It On” is nothing short of electrifying. His voice, imbued with raw emotion and unrestrained passion, conveys the song’s message with an intensity that is both captivating and unsettling. He is not just singing about love; he is embodying it, laying bare his soul for all to hear.

The song’s legacy extends beyond its commercial success and critical acclaim. “Let’s Get It On” has been sampled and covered by countless artists across genres, from hip-hop to rock, cementing its status as a timeless classic. Its influence can be felt in the music of today, as artists continue to draw inspiration from Gaye’s raw emotion and soulful delivery.

In conclusion, “Let’s Get It On” stands as a testament to Marvin Gaye’s genius as a songwriter, performer, and arranger. It is a song that has transcended time and genre, remaining an enduring symbol of love, passion, and the human desire for connection. Gaye’s soulful expression and the song’s timeless message continue to resonate with listeners worldwide, ensuring its place among the greatest musical creations of all time.

Video 

Lyrics: Let’s Get It On

I’ve been really tryin’, baby
Tryin’ to hold back this feeling for so long
And if you feel, like I feel baby
Then come on, oh come on, ooh

Let’s get it on, oh baby
Let’s get it on, let’s love baby
Let’s get it on, sugar
Let’s get it on, whoa

We’re all sensitive people
With so much to give, understand me sugar
Since we got to be here
Let’s live, I love you

There’s nothin’ wrong with me
Lovin’ you, baby love, love
And givin’ yourself to me can never be wrong
If the love is true, oh baby

(Let me love you)
Don’t you know how sweet and wonderful life can be? Oh, oh
(Let me love you)
I’m askin’ you baby to get it on with me, oh oh
(Let me love you)
(Let me love you)
I ain’t gonna worry, I ain’t gonna push
(Let me love you)
I won’t push you baby
(Let me love you)
So come on, come on, come on, come on baby
Stop beatin’ ’round the bush, hey

Let’s get it on, let’s get it on
You know what I’m talkin’ ’bout
Come on baby, hey, hey
Let your love come out
If you believe in love
Let’s get it on, ooh, let’s get it on baby
This minute, oh yeah let’s get it on
Please, let’s get it on
I know you know what I been dreamin’ of, don’t you baby?
(My body wants some)
My whole body makes that feelin’ of love, I’m happy
(My body wants some)
I ain’t gonna worry, no I ain’t gonna push
I won’t push you baby, woo
Come on, come on, come on, come on darling
Stop beatin’ ’round the bush
Oh, gonna get it on, threatenin’ you, baby
I wanna get it on
You don’t have to worry that it’s wrong
If the spirit moves you
Let me groove you good
Let your love come down
Oh, get it on, come on baby
Do you know the meaning?
I’ve been sanctified, hey hey
Girl, you give me good feeling
So good somethin’ like sanctified
Oh do right baby
Nothing wrong with love
If you want to love me just let yourself go
Oh baby, let’s get it on

Related Post

THEY CLAIMED HE WAS KILLING COUNTRY MUSIC… Throughout the 1970s, the Nashville establishment treated Waylon Jennings like an outcast. Radio programmers blacklisted his tracks. Studio executives labeled him “unmanageable.” The word on Music Row was unanimous: “His career is finished.” He refused to conform. He traded the traditional rhinestones for worn leather and let his hair grow wild. He looked the industry giants in the eye and rejected their polished, manufactured sound. Even his inner circle was terrified, telling him: “You’re committing professional suicide.” His contract was on the line. The press had already drafted his career’s obituary. But the reality was far different… Waylon wasn’t the enemy of country music. He was its savior. He demanded the impossible: the right to pick his own music, his own musicians, and his own production—a level of control no artist had ever achieved. That defiance sparked the Outlaw Movement and redefined the soul of the genre. Against all odds, “Wanted! The Outlaws” became the first album in country history to ever go platinum. Sometimes the man they brand a traitor… is the only one brave enough to lead the way. Would you have the courage to gamble everything just to stay true to yourself?

HE WAS 70, STRUGGLING TO STAND, AND THE INDUSTRY HAD ALREADY WRITTEN HIM OFF — UNTIL HE COVERED A TRACK BY A ROCK STAR HALF HIS AGE AND BROKE THE WORLD’S HEART. By 2002, Johnny Cash was a man surviving on memories. He had outlived most of his peers. His record label of nearly three decades had abandoned him. His health was a wreckage of diabetes, pneumonia, and failing nerves. There were moments in the recording booth when his producer, Rick Rubin, could hear the literal sound of a voice breaking. Then Rubin presented him with a raw, industrial rock song about the depths of depression and self-harm. Cash made one simple change — replacing a profane lyric with “crown of thorns” — and transformed a young man’s angst into his own final testament. The music video was shot inside his shuttered museum in Nashville, a place crumbling under the weight of dust and silence. June Carter was there, looking at him with an expression of profound, tragic realization. She would be gone in three months. He would follow her just four months later. When the original songwriter finally saw the footage alone one morning, he broke down. He later admitted that the song no longer belonged to him. The video went on to win a Grammy and was hailed by critics as the greatest music video ever filmed. It has been streamed hundreds of millions of times since. But its true power isn’t in the numbers or the awards. It continues to haunt us two decades later because it is the sound of a man who has stopped running from the end — a man who sat down in the fading light and finally told the absolute truth.

“SHE WASN’T ON THE PROGRAM. SHE WASN’T EVEN SUPPOSED TO BE THERE.” Sixty-five years ago, an unknown woman stepped onto the legendary stage of the Grand Ole Opry, dressed in a gown she had sewn herself and clutching a guitar that wasn’t even her own. That woman was Loretta Lynn—and the moment she opened her mouth, the entire auditorium went still. There was no laughter. There was no movement. Her vocals lacked the shine of a studio star, but they possessed a raw honesty—a sound that felt like heartbreak meeting resilience. Every lyric she uttered seemed to carry the weight of the Kentucky coal mines and the silent hopes of a lifetime spent in the shadows. As the final chord echoed through the hall, the audience realized they hadn’t just heard a song; they had experienced a transformation. On that single night, a girl from the mountains rewrote the future of Nashville. And the melody she chose to sing… it remains a haunting presence within the Opry’s walls to this very day.

You Missed

Country

HE WROTE THESE WORDS AS A LIGHTHEARTED TRIBUTE TO A FRIEND — BUT NO ONE KNEW IT WOULD BECOME THE ANTHEM OF HIS FINAL BATTLE. Back in 2017, during a charity golf event at Pebble Beach, Toby Keith found himself sharing a cart with the legendary Clint Eastwood. Clint was nearing his 88th birthday, yet he was still working, still directing, and still full of life. Toby, curious about how the Hollywood icon stayed so sharp, asked for his secret. Clint’s answer was simple but profound: “I just don’t let the old man in.” Toby was so moved by that philosophy that he went straight home and turned those words into a song. When he recorded the first demo, Toby actually had a bad cold. His voice was unusually gravelly, tired, and raw. Clint heard that “imperfect” version and insisted it stay exactly that way for his 2018 movie, The Mule. Back then, it was just a quiet, soulful track that most of the world barely noticed. Everything changed in 2021 when Toby received his stomach cancer diagnosis. Suddenly, the song he wrote for Clint became the story of his own life. Those lyrics were no longer just a tribute—they became a daily prayer for strength. The world finally felt the true weight of that song in September 2023. Toby stepped onto the People’s Choice Country Awards stage to accept the Icon Award. He was visibly thinner, and his hands trembled slightly, but his spirit was unbroken. He joked about his “skinny jeans,” then he began to sing. There wasn’t a dry eye in the house. Overnight, a song from five years prior surged to the top of the charts. After playing his final trio of shows in Las Vegas that December, Toby peacefully passed away on February 5, 2024, at age 62. Clint Eastwood later shared a photo of them together, a final salute to his friend. Time eventually catches up to everyone, but Toby Keith showed us all how to face it with dignity, courage, and a guitar in hand. Do you remember the title of this final, powerful masterpiece by Toby Keith?

Country Oldies Musics

THEY CLAIMED HE WAS KILLING COUNTRY MUSIC… Throughout the 1970s, the Nashville establishment treated Waylon Jennings like an outcast. Radio programmers blacklisted his tracks. Studio executives labeled him “unmanageable.” The word on Music Row was unanimous: “His career is finished.” He refused to conform. He traded the traditional rhinestones for worn leather and let his hair grow wild. He looked the industry giants in the eye and rejected their polished, manufactured sound. Even his inner circle was terrified, telling him: “You’re committing professional suicide.” His contract was on the line. The press had already drafted his career’s obituary. But the reality was far different… Waylon wasn’t the enemy of country music. He was its savior. He demanded the impossible: the right to pick his own music, his own musicians, and his own production—a level of control no artist had ever achieved. That defiance sparked the Outlaw Movement and redefined the soul of the genre. Against all odds, “Wanted! The Outlaws” became the first album in country history to ever go platinum. Sometimes the man they brand a traitor… is the only one brave enough to lead the way. Would you have the courage to gamble everything just to stay true to yourself?

Country Oldies Musics

HE WAS 70, STRUGGLING TO STAND, AND THE INDUSTRY HAD ALREADY WRITTEN HIM OFF — UNTIL HE COVERED A TRACK BY A ROCK STAR HALF HIS AGE AND BROKE THE WORLD’S HEART. By 2002, Johnny Cash was a man surviving on memories. He had outlived most of his peers. His record label of nearly three decades had abandoned him. His health was a wreckage of diabetes, pneumonia, and failing nerves. There were moments in the recording booth when his producer, Rick Rubin, could hear the literal sound of a voice breaking. Then Rubin presented him with a raw, industrial rock song about the depths of depression and self-harm. Cash made one simple change — replacing a profane lyric with “crown of thorns” — and transformed a young man’s angst into his own final testament. The music video was shot inside his shuttered museum in Nashville, a place crumbling under the weight of dust and silence. June Carter was there, looking at him with an expression of profound, tragic realization. She would be gone in three months. He would follow her just four months later. When the original songwriter finally saw the footage alone one morning, he broke down. He later admitted that the song no longer belonged to him. The video went on to win a Grammy and was hailed by critics as the greatest music video ever filmed. It has been streamed hundreds of millions of times since. But its true power isn’t in the numbers or the awards. It continues to haunt us two decades later because it is the sound of a man who has stopped running from the end — a man who sat down in the fading light and finally told the absolute truth.

Country

NO ONE KNEW WHY TOBY KEITH KEPT VISITING THE OK KIDS KORRAL EVERY WEEK DURING HIS FINAL 2 YEARS — EVEN AS HIS OWN CANCER WAS TAKING OVER… UNTIL A NURSE FINALLY TOLD THE TRUTH In 2006, Toby Keith launched a foundation for children battling cancer, inspired by the loss of his lead guitarist’s 2-year-old daughter to a tumor in 2003. By 2014, he turned that vision into reality, opening the OK Kids Korral in Oklahoma City—a sanctuary where families of pediatric patients could stay for free. Then, in 2021, the world stopped when Toby was diagnosed with stomach cancer. Yet, instead of retreating into his own pain, Toby began appearing at the Korral every week. He wasn’t there to sign autographs or put on a show. He would simply stand in the quiet hallways, watching the children go about their days. Outsiders assumed he was inspecting the building. The staff figured he was there to lift spirits. But following Toby’s passing in February 2024, a veteran nurse finally shared what really happened. She had asked him why he pushed himself to come when he was so exhausted. Toby leaned heavily against the wall and whispered: “These kids showed me how to be a warrior long before I ever had to fight for my own life. I’m just here to pay my respects—while time still allows.” The world believed Toby Keith built the Korral to rescue those children. In reality, it was those children who were quietly holding him together at the end. What remained a secret until his very last visit—just 11 days before he slipped away—was how Toby stopped in front of a single name on the memorial wall: the little girl whose story began it all two decades earlier. He stood there in total silence, longer than anyone had ever seen him stay in one place.