I Want You (Instrumental Mix)
I Want You (Instrumental Mix) >>> https://blltly.com/2tD1mt
Cliff White of NME called the album "almost a voyeur's delight", and was not favorable of Gaye's sensual themes, stating "Although getting down, getting mellow, and getting it on are paramount considerations in the privacy of my own home, I don't particularly want to be party to someone else's night life. Not on record anyway ... Like peeking through the windows of the Gaye residence in the wee wee hours. Perhaps that's your kick, but personally I find it a mite frustrating."[25] White also criticized the album's sound, describing the songs as "all expressions of the same mood. Sensual, satisfied, and spaced out", and calling I Want You "simply the explorative aftermath of Let's Get It On. The sweet nuthin's of a drowsy, sweat-streaked lover."[25] Robert Christgau of The Village Voice wrote favorably of the album's sound quality.[21] However, he criticized the lyrical content, as well as Ware's involvement in songwriting, stating "was it Ware who instructed Marvin to eliminate all depth and power from his voice? I mean, if you're into insisting on sex it's in bad taste to whine about it."[21]
Originally conceived by Motown songwriter Leon Ware and his songwriting partner "T-Boy" Ross, it was originally intended to be included in Ware's Musical Massage album.[3] When Ware, who was also signed to the label as a solo artist, presented the rough draught of his album to Motown-CEO Berry Gordy, the mogul was appreciative of the songs,[4][5] including a rough version of "I Want You". But after hearing it, he convinced Ware to give some of the songs to Gaye,[3] who was coming off the release of his acclaimed 1973 record, Let's Get It On, his final duet recording with Diana Ross and a commercially successful live album and was coming off a US tour at the time. Marvin, who called himself a perfectionist, had struggled with creating a follow-up album to Let's Get It On. When Ware played Gaye the rough draft of "I Want You", Gaye, then inspired by his relationship with his girlfriend Janis Hunter,[6] was motivated to record a convincing performance of the song,[5][7] which was about a man trying to convince a wayward lover that he wanted the woman to love him as much as he loved her.[8]
I am getting this question a lot. More and more people are asking for this to be done... it is primarily because of synch and licensing. Many Licensing companies require having instrumental mixes readily available in order to secure synch licenses for film, tv and advertising. The thought goes like this. If a song gets synched and the vendor wants to use an edit between the final master and the instrumental of the song than in order for them to be able to make a seamless edit the sonic character of these two files will have to match as closely as possible. Thus the thought behind "mastering" the instrumental tracks. This is one way to go... the other way to go is to send the vendor "un-mastered" mix files of the song and to have them edit between the files that were supplied by the mix engineer. In many (if not all cases) this will be more than sufficient. My thinking goes, whomever does the post-production audio for film and or tv will likely set his or her own levels and may even apply some processing to the audio in order to achieve the desired results for the synch. As well the end format and resolution is higher for some video formats than for CD audio, so giving the Video post-production house tracks that are mastered for CD or (HORRORS) an mp3 could actually degrade the potential sonic presentation of your track. I should state however that not everyone shares my view on this and some would claim that the difference between the mixed file and mastered audio file is so significant that they would not feel that to deliver un "mastered" files would represent the full integrity of the finished work. So there you go. In my opinion if your record is being mixed by A level talent and they are supplying TV and INST mixes as High-Res Digital files I would use those for Film and TV synch and licensing and save your self a little dough and not bother mastering the instrumentals... If you are self-producing and self-mixing your project and find that your Mastering Engineer is doing deep rescue work to your mixes you may prefer to have him Master the Instrumentals to ensure continuity among potential formats. Mastering dollars in my opinion are best spent on preparing final mixed records for duplication and distribution for CD, LP and the internet. 781b155fdc