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" 'Til Tomorrow "- The Sexual Healing Session
Marvin Gaye Sessions - 'Til Tomorrow
I grew up in NYC in a musical environment, attended the
High School of Music & Art, studied briefly with Joe
Allard, went to Germany with my opera singing parents
when I was 17 and have been ping-ponging it back and
forth between the US & Europe ever since.
Marvin Penz Gaye
It was a typical Munich summer's afternoon in 1982
when I got back to my apartment and found a message, that I
was to call Arco Studios back about a "Marvin Gaye Session".
I had been doing a modest amount of studio work in those days, mostly as a tenor saxophone soloist, as saxophone solos were common on many pop recordings of the '70's & '80's.
Munich, as far as Europe went, was a pretty major recording town. It was a center of the "Disco" boom of the '70's, and the city boasted several film music recording studios, hosting rooms large enough to hold entire orchestras. Arco was one of those places.
I called the number which was left with the message and a guy with a deep, resonant Barry White type voice answers. I gave him my name and that I was contacted about a session.
I had been doing a modest amount of studio work in those days, mostly as a tenor saxophone soloist, as saxophone solos were common on many pop recordings of the '70's & '80's.
Munich, as far as Europe went, was a pretty major recording town. It was a center of the "Disco" boom of the '70's, and the city boasted several film music recording studios, hosting rooms large enough to hold entire orchestras. Arco was one of those places.
I called the number which was left with the message and a guy with a deep, resonant Barry White type voice answers. I gave him my name and that I was contacted about a session.
Arco Recording
Studio, Munich, Germany
He asked, "Are you working tonight?".
"No", I replied.
"Do you wanna work tonight?"
"Sure!" I responded.
He told me it was for a new Marvin Gaye album and gave me the time and place, which happened to be Arco. Interestingly enough, I had recorded an LP under my own name there several years earlier.
I was, as to be expected, kind of excited. I mean, Marvin Gaye was somebody I had constantly heard on the radio for the past twenty years or so.
When I got there, I guess I was a little early. They were still setting up for the session, so I got some coffee in the canteen and sat down with one of the assistant engineers who had given them my name, an English dude who's name escapes me after all these years.
Then at some point, a tall, impressive looking black gentleman, who wasn't Marvin Gaye, entered the room briefly and then left. I don't believe he stopped to introduce himself at that point, but I assumed it was the guy I had spoken to on the phone earlier that day. It was, and I found out shortly that his name was Harvey Fuqua, and that he was a producer.
"No", I replied.
"Do you wanna work tonight?"
"Sure!" I responded.
He told me it was for a new Marvin Gaye album and gave me the time and place, which happened to be Arco. Interestingly enough, I had recorded an LP under my own name there several years earlier.
I was, as to be expected, kind of excited. I mean, Marvin Gaye was somebody I had constantly heard on the radio for the past twenty years or so.
When I got there, I guess I was a little early. They were still setting up for the session, so I got some coffee in the canteen and sat down with one of the assistant engineers who had given them my name, an English dude who's name escapes me after all these years.
Then at some point, a tall, impressive looking black gentleman, who wasn't Marvin Gaye, entered the room briefly and then left. I don't believe he stopped to introduce himself at that point, but I assumed it was the guy I had spoken to on the phone earlier that day. It was, and I found out shortly that his name was Harvey Fuqua, and that he was a producer.
Harvey Fuqua
I had never heard of Harvey Fuqua and it wasn't until
some months later, after I happened to read his credits as
producer on the back of a "Junior Walker & the All Stars"
LP that I had, that I even began to realize who Harvey Fuqua
was.
It wasn't until years after that, with the advent of the internet, that I began to fully understand what an important influence this man had on the history of R&B and American Popular Music in general, and that he and Marvin went way back. In fact, Harvey Fuqua is the person who brought Marvin Gaye to Motown. They were reunited on this project for Columbia.
Suddenly, through the doorway, appeared none other than the man of the hour: Mr. Marvin Gaye, himself, live and person. He seemed upbeat, full of energy and excited about how his album project was going. He was open, unpretentious, friendly and made me and everybody else feel completely relaxed. Since they still weren't ready to record, he got himself some tea and sat down at the table with us and started talking.
Among other things, I remember him mentioning how, back in the day, he "owned" Detroit and that the cops wouldn't even give him a traffic ticket. I also remember him saying something about how cocaine was "good for the skin" and that he used it "medicinally". He came off like a very down to earth, regular dude, and after several minutes, I felt like I had known him for a bunch of years.
It wasn't until years after that, with the advent of the internet, that I began to fully understand what an important influence this man had on the history of R&B and American Popular Music in general, and that he and Marvin went way back. In fact, Harvey Fuqua is the person who brought Marvin Gaye to Motown. They were reunited on this project for Columbia.
Suddenly, through the doorway, appeared none other than the man of the hour: Mr. Marvin Gaye, himself, live and person. He seemed upbeat, full of energy and excited about how his album project was going. He was open, unpretentious, friendly and made me and everybody else feel completely relaxed. Since they still weren't ready to record, he got himself some tea and sat down at the table with us and started talking.
Among other things, I remember him mentioning how, back in the day, he "owned" Detroit and that the cops wouldn't even give him a traffic ticket. I also remember him saying something about how cocaine was "good for the skin" and that he used it "medicinally". He came off like a very down to earth, regular dude, and after several minutes, I felt like I had known him for a bunch of years.
The Roland TR-808
Drum Machine
He told me that he played all the basic tracks on the
album himself, with the exception of guitar, which was played
by his cousin, Gordon Banks. He said he did the whole thing
using Roland Jupiter or Juno keyboards and a Roland TR-808
drum machine.
I still didn't know squat about any of that stuff at the time. This was still the pre-MIDI era, and it wasn't until a few years later when I was able to start putting together my own little computer driven bedroom recording studio, that I became familiar with the 808's synthetic sounds, especially it's sub bass sine wave kick drum, which was usually sampled and used to death. However, this was one of the first major successful album productions to make use of the "808" exclusively.
I still didn't know squat about any of that stuff at the time. This was still the pre-MIDI era, and it wasn't until a few years later when I was able to start putting together my own little computer driven bedroom recording studio, that I became familiar with the 808's synthetic sounds, especially it's sub bass sine wave kick drum, which was usually sampled and used to death. However, this was one of the first major successful album productions to make use of the "808" exclusively.
Finally, we were ready to record, so they let me hear
the track. It was a slow grinder, an archetypical
"ooo-baby-baby" type Soul / RnB ballad, by one of the genre's
all time great progenitors.
To make sure I didn't miss the point, Harvey Fuqua came out of the booth and told me, "I need you to play this like you tryin' to get the woman into the bed with your horn".
"The woman in bed with my horn?", I said. "But what about me, ha ha ha?".
Even though this was a simple tune harmonically, I asked Harvey if he could write out the chord changes for me. He came out and sat at the piano for a few minutes and scribbled them out. I usually like to see see the chords, if possible, as well as hear them. I guess it makes me feel more secure or something.
As far as I can remember, I pretty much nailed it in one take, although they may have dropped me in on the last descending riff starting on altissimo high C (tenor), I'm not sure.
Everybody involved seemed to be happy with the results. The tune was eventually titled 'Til Tomorrow" and was the only ballad to be featured on this album, his last, entitled "Midnight Love".
Marvin seemed real happy. I remember him standing out on the studio floor with me as I was packing my horn, making small talk, when he said, "Can we play the rough mix of "Sexual Healing" for Bobby?". I said, "Man, you've got a song called "Sexual Healing"? You think they're ready for that?".
Duhhh!
"Yeah, I'd like to know what you think", he said. "Wow", I thought. "Marvin Gaye wants to know what I think about his song. That's deep."
So they ran the tune.......you've heard it, and as I'm listening, I'm thinking, "Man, here's this voice I've been hearing almost all my life, this is a trip!".
When the tune finished, he asked me, "So whatchya think?". I told him the only thing that came to my mind, which was the honest truth: "It sounds like........Marvin Gaye!"
When I heard the bell ring and saw the green lights go off in the faces of everyone in the room, I knew I had given the "right" answer, and that they weren't gonna beat me down with baseball bats!
The truth is, if I had a nickel for every time I had to play "Sexual Healing" over the next 30 years at a wedding or club or whatever in a top 40 type situation....well, you know.
But it was very cool at that moment and in that context to be one of the first people to hear it.
To make sure I didn't miss the point, Harvey Fuqua came out of the booth and told me, "I need you to play this like you tryin' to get the woman into the bed with your horn".
"The woman in bed with my horn?", I said. "But what about me, ha ha ha?".
Even though this was a simple tune harmonically, I asked Harvey if he could write out the chord changes for me. He came out and sat at the piano for a few minutes and scribbled them out. I usually like to see see the chords, if possible, as well as hear them. I guess it makes me feel more secure or something.
As far as I can remember, I pretty much nailed it in one take, although they may have dropped me in on the last descending riff starting on altissimo high C (tenor), I'm not sure.
Everybody involved seemed to be happy with the results. The tune was eventually titled 'Til Tomorrow" and was the only ballad to be featured on this album, his last, entitled "Midnight Love".
Marvin seemed real happy. I remember him standing out on the studio floor with me as I was packing my horn, making small talk, when he said, "Can we play the rough mix of "Sexual Healing" for Bobby?". I said, "Man, you've got a song called "Sexual Healing"? You think they're ready for that?".
Duhhh!
"Yeah, I'd like to know what you think", he said. "Wow", I thought. "Marvin Gaye wants to know what I think about his song. That's deep."
So they ran the tune.......you've heard it, and as I'm listening, I'm thinking, "Man, here's this voice I've been hearing almost all my life, this is a trip!".
When the tune finished, he asked me, "So whatchya think?". I told him the only thing that came to my mind, which was the honest truth: "It sounds like........Marvin Gaye!"
When I heard the bell ring and saw the green lights go off in the faces of everyone in the room, I knew I had given the "right" answer, and that they weren't gonna beat me down with baseball bats!
The truth is, if I had a nickel for every time I had to play "Sexual Healing" over the next 30 years at a wedding or club or whatever in a top 40 type situation....well, you know.
But it was very cool at that moment and in that context to be one of the first people to hear it.
Back to the solo - 'Til Tomorrow
If I were to rate my own work here, I'd say that I did the job that they paid me for, which was to add a counterbalance and support to Marvin's vocal and the track in general within the allotted space given to me.
Nothing earth-shaking or spotlight stealing here, just another flavor to support the subject matter, which is getting or giving up the drawers.
And in the tradition on this site of freebie downloads, heah 'tis! (See link below).
Remember the words of a wise man: It should be played "like you tryin' to get the woman into the bed with your horn!".
If I were to rate my own work here, I'd say that I did the job that they paid me for, which was to add a counterbalance and support to Marvin's vocal and the track in general within the allotted space given to me.
Nothing earth-shaking or spotlight stealing here, just another flavor to support the subject matter, which is getting or giving up the drawers.
And in the tradition on this site of freebie downloads, heah 'tis! (See link below).
Remember the words of a wise man: It should be played "like you tryin' to get the woman into the bed with your horn!".
After seemingly scoring some points with Marvin
(Gaye) and Harvey (Fuqua) with a brief tenor solo on "'Til
Tomorrow" (see
Part 1), I talked my way into having them invite me
back for some more fun the next day.
When I found out they were going to be recording in Munich for a few more days, before Marvin headed back over to Ostend, Belgium, I had to try to convince them I could still be useful; and while I don't consider myself one of those individuals born with the gift of gab, whatever I told them worked.
When I found out they were going to be recording in Munich for a few more days, before Marvin headed back over to Ostend, Belgium, I had to try to convince them I could still be useful; and while I don't consider myself one of those individuals born with the gift of gab, whatever I told them worked.
Little Walter
Jacobs
So back I was. I had told them I played bluesharp,
which I had done since I was in high school. I loved me some
Muddy Waters and my main man was bluesharp king and
innovator Little Walter Jacobs. By the time I was 15, I had
learned pretty much all of his recorded harp solos, at least
those which were released on LP or 45 rpm at that time, and
which I could get my hands on. This was before I knew about
Bird or 'Trane or anybody like that and memorizing Little
Walter's harp solos was my first lesson in jazz phrasing.
I didn't do anything like that here, though. Marvin said he had written this reggae in memory of Bob Marley, who had passed away the previous year. I'm not sure if he said he wasn't particularly into reggae or that he didn't think he could pull one off, but in any case, he wanted to do one in Marley's memory.
That tune was "Third World Girl". In the original reggae version, which was released in 1998 as part of "Midnight Love and the Sexual Healing Sessions", Marvin starts out with a "woooo-ooo-ooo" type Native American Indian holler, which he instructed me to imitate on the harp. I thought that was real cool and very effective, but on the original album release, they cut the harp out of the beginning and brought it in first later in the song. Throughout, I just kept it very simple and basic.
On the 1998 release, unbeknownst to most, they did a classic turntable-type tempo / pitch drop of one whole step, from the original key of A, to the key of G.
Why? I'm only guessing, but probably, because somebody (remix producer / dj) thought that the original tempo (bpm) was too fast for a reggae. What I don't get is the fact that they had digital "time stretch" technology in 1998, which could have slowed down the tempo, but kept the original pitch.
I didn't do anything like that here, though. Marvin said he had written this reggae in memory of Bob Marley, who had passed away the previous year. I'm not sure if he said he wasn't particularly into reggae or that he didn't think he could pull one off, but in any case, he wanted to do one in Marley's memory.
That tune was "Third World Girl". In the original reggae version, which was released in 1998 as part of "Midnight Love and the Sexual Healing Sessions", Marvin starts out with a "woooo-ooo-ooo" type Native American Indian holler, which he instructed me to imitate on the harp. I thought that was real cool and very effective, but on the original album release, they cut the harp out of the beginning and brought it in first later in the song. Throughout, I just kept it very simple and basic.
On the 1998 release, unbeknownst to most, they did a classic turntable-type tempo / pitch drop of one whole step, from the original key of A, to the key of G.
Why? I'm only guessing, but probably, because somebody (remix producer / dj) thought that the original tempo (bpm) was too fast for a reggae. What I don't get is the fact that they had digital "time stretch" technology in 1998, which could have slowed down the tempo, but kept the original pitch.
Transcribe!
It really bothers me whenever I hear it, which is
not that often. It sounds like Marvin has the flu. Just A -
B it with the original 1982 album release and you'll hear
what I mean. Luckily, I was able to pitch it back up, for my
own listening, with and / or without the original tempo,
using a readily available program like Transcribe!
The other tune I played on was the funky / dance joint "Joy", on which I did some ad libs on the intro as well as on the vamp out at the end of the tune. I didn't play in the horn section, which sounded really tight. That was done in L.A., I guess.
I cheated a bit on this one, and you heard it first here, after all these years.
The tune was in Eb concert (F tenor key), which because of the fingering, was not the best key on the tenor for me to do what I wanted to do on this tune, which was to play some bluesy, funky pentatonic stuff, using the altissimo range in spots. That meant altissimo Ab, Bb & C which was very difficult for me to negotiate with any decent kind of speed in those days. Even today, it's still somewhat awkward, though over the years I've discovered much better and smoother altissimo fingering combinations.
But....I could play the hell out of some E minor blues / pentatonic (F# tenor). Since I was playing more fusion / funk with guitars, etc, in those days, I was much more accustomed to playing in E, a guitar key, anyway.
So rather than mess around and waste those good folks time and money, I asked the engineer if he could speed up the tape so that it would sound one half step higher (from Eb to E concert) so I could record my thing in E, then lower it back down to the original speed and key of Eb, so it would sound like I played it in that key. I'd seen that done in studios before so I knew it could be done, and it worked out fine.
Betchya you wouldn't have known if I hadn't told ya.
The other tune I played on was the funky / dance joint "Joy", on which I did some ad libs on the intro as well as on the vamp out at the end of the tune. I didn't play in the horn section, which sounded really tight. That was done in L.A., I guess.
I cheated a bit on this one, and you heard it first here, after all these years.
The tune was in Eb concert (F tenor key), which because of the fingering, was not the best key on the tenor for me to do what I wanted to do on this tune, which was to play some bluesy, funky pentatonic stuff, using the altissimo range in spots. That meant altissimo Ab, Bb & C which was very difficult for me to negotiate with any decent kind of speed in those days. Even today, it's still somewhat awkward, though over the years I've discovered much better and smoother altissimo fingering combinations.
But....I could play the hell out of some E minor blues / pentatonic (F# tenor). Since I was playing more fusion / funk with guitars, etc, in those days, I was much more accustomed to playing in E, a guitar key, anyway.
So rather than mess around and waste those good folks time and money, I asked the engineer if he could speed up the tape so that it would sound one half step higher (from Eb to E concert) so I could record my thing in E, then lower it back down to the original speed and key of Eb, so it would sound like I played it in that key. I'd seen that done in studios before so I knew it could be done, and it worked out fine.
Betchya you wouldn't have known if I hadn't told ya.
Here Come the
Robots
I mean, that's nothing compared to all the digital
manipulation that goes on today with literally every
recording. Everything is available from auto-tune, to
virtual instruments, all kinds of fx plugins, beat mapping,
etc. Stuff that can be had on any computer. Anyone can pull
the trigger, with the "music" sounding more and more robotic
all the time.
So again, everyone seemed to be happy with the results of my efforts. So now it was time to........ get paid!
So again, everyone seemed to be happy with the results of my efforts. So now it was time to........ get paid!
Harvey Fuqua had given me cash for the previous
day's session, I think I used to charge something like 300,-
Deutsch Marks (ca. $300) in today's money) for a session,
depending on the number of tunes. It seemed that on that
day, though, nobody had any cash. Marvin said that if I'd
wait around for a bit while he finished up some overdubs,
he'd take me over to his hotel and pay me with a personal
check.
So I just hung out for what must have been several hours. I'm not sure any more exactly what Marvin was doing, or on what tune, but it seemed to me that he was experimenting, trying some things out both on the keyboard and vocally.
I don't remember exactly what I did the whole time, either, but I do remember Harvey Fuqua and the woman from the record company were both crashed out, leaning on each other, fast asleep in the control room. I might have taken a nap myself. It was getting late, late.
By the time Marvin said, "Let's go," the sun was up and the birds were chirping. It must have been about 4 or 5 AM. We got into his funky, older model Mercedes Diesel. He drove, and seemed very awake. I think he was really happy with the way his new album was shaping up.
During the 15 minute or so ride to the hotel, we talked about, among other things, living in Europe and he said, "I think German woman really like black men," and I replied, "Yeah, especially when his name is Marvin Gaye!" We chuckled and when I looked over at him, the hair on the front of his head was sticking up, kind of like Don King, not your typical Marvin Gaye image. I couldn't help thinking something like, "Man, how cool is this, cruisin' around Munich at 5 AM in a Benz with my Big Bro' Marvin". Shit could have been wurst. Bratwurst!
He had a suite on the top floor of one of the large hotels in the eastern part of Munich, I forget exactly which one. When we entered the suite, he opened the door to a room on the right and peaked in and I could see a couple of kids asleep. We then went into the main room and there was a fine blonde laying on the fold-out couch. She was wearing jeans and a tee shirt and didn't look surprised at all about having company at this late hour, so I suppose Marvin had phoned in advance before we left the studio. I don't remember her name, but I remember her as being beautiful and friendly and that she was Dutch.
So I just hung out for what must have been several hours. I'm not sure any more exactly what Marvin was doing, or on what tune, but it seemed to me that he was experimenting, trying some things out both on the keyboard and vocally.
I don't remember exactly what I did the whole time, either, but I do remember Harvey Fuqua and the woman from the record company were both crashed out, leaning on each other, fast asleep in the control room. I might have taken a nap myself. It was getting late, late.
By the time Marvin said, "Let's go," the sun was up and the birds were chirping. It must have been about 4 or 5 AM. We got into his funky, older model Mercedes Diesel. He drove, and seemed very awake. I think he was really happy with the way his new album was shaping up.
During the 15 minute or so ride to the hotel, we talked about, among other things, living in Europe and he said, "I think German woman really like black men," and I replied, "Yeah, especially when his name is Marvin Gaye!" We chuckled and when I looked over at him, the hair on the front of his head was sticking up, kind of like Don King, not your typical Marvin Gaye image. I couldn't help thinking something like, "Man, how cool is this, cruisin' around Munich at 5 AM in a Benz with my Big Bro' Marvin". Shit could have been wurst. Bratwurst!
He had a suite on the top floor of one of the large hotels in the eastern part of Munich, I forget exactly which one. When we entered the suite, he opened the door to a room on the right and peaked in and I could see a couple of kids asleep. We then went into the main room and there was a fine blonde laying on the fold-out couch. She was wearing jeans and a tee shirt and didn't look surprised at all about having company at this late hour, so I suppose Marvin had phoned in advance before we left the studio. I don't remember her name, but I remember her as being beautiful and friendly and that she was Dutch.
Marvin sat down next to her and I sat down across
the room from them. He got his check book out, asked me how
much, scribbled out the amount, signed it and handed it to
me. I, of course, thanked him very much.
It was a personal check with his name "Marvin Penz Gaye" printed in the upper left corner. I've never been one to collect autographs or memorabilia and the like, but I do regret now, not having made a photocopy of the check before I cashed it. I mean, what he said next gave me reason enough to believe I might be getting a few more of them.
He then told me, "I'll be going out on tour next year (1983); the whole year, the whole world! You're really a fantastic musician and I'd love you to be part of it."
I, of course was like, "Wow! That'd be awesome!"
I then remembered that I had recently been accepted to Berklee on a tuition scholarship, so I told him that I was planning to be in Boston, but as of yet, had no way to be contacted there personally.
At this point, as I was talking to him, I remember he laid down on the couch next to the chick and pulled the covers over himself, still fully clothed, which I thought looked kind of funny.
He said, "Don't worry. Here's my parent's home number in LA, where you can reach me. I'll give you my manager's number in Belgium, and a number at Columbia Records. When you get set up in Boston, get in touch with me."
He wrote those three numbers down on a slip of paper, which I immediately put in my wallet. We chatted a bit more before I got up, thanked him, said good bye and left.
I took a taxi home, feeling like I had hit the lottery.
It was a personal check with his name "Marvin Penz Gaye" printed in the upper left corner. I've never been one to collect autographs or memorabilia and the like, but I do regret now, not having made a photocopy of the check before I cashed it. I mean, what he said next gave me reason enough to believe I might be getting a few more of them.
He then told me, "I'll be going out on tour next year (1983); the whole year, the whole world! You're really a fantastic musician and I'd love you to be part of it."
I, of course was like, "Wow! That'd be awesome!"
I then remembered that I had recently been accepted to Berklee on a tuition scholarship, so I told him that I was planning to be in Boston, but as of yet, had no way to be contacted there personally.
At this point, as I was talking to him, I remember he laid down on the couch next to the chick and pulled the covers over himself, still fully clothed, which I thought looked kind of funny.
He said, "Don't worry. Here's my parent's home number in LA, where you can reach me. I'll give you my manager's number in Belgium, and a number at Columbia Records. When you get set up in Boston, get in touch with me."
He wrote those three numbers down on a slip of paper, which I immediately put in my wallet. We chatted a bit more before I got up, thanked him, said good bye and left.
I took a taxi home, feeling like I had hit the lottery.
Marvin Gaye Sessions #3 - Tomorrow's Gone
When "Midnight Love" finally hit the streets in the autumn of 1982, it marked the triumphant return of Marvin Gaye. I first got wind of it when, half asleep in the back seat of a car riding through Belgium on a November afternoon, en route to a gig in Luxembourg, I heard this tenor saxophone coming over the radio and, in my half conscious state, thought it sounded like Michael Brecker on one of his top forty disco type solos of that era. But when I heard the unmistakably familiar voice of Marvin Gaye as well as the vague familiarity of the tune itself, I suddenly realized, "Holy shit! That's me!" The tune was "Joy", one of the album cuts I played on. When we got to Luxembourg, I found the nearest record store and bought the album (Vinyl LPs were still the main medium for recorded music).
Fast
forward about a month or so and I'm in Boston, about to enter
Berklee on a tuition scholarship. "Sexual Healing" was at the
top of the charts and Marvin Gaye was everywhere in the media. I
remember telling the lady in the admissions office that I may
not be around for the full semester, since I expected to be
touring with the Marv.
So, once I got settled in Boston, I started calling the numbers he gave me. All were either constantly busy or disconnected. This was understandable, since Marvin Gaye, with his new found success, was probably the most in demand person on the planet.
So as days turned into weeks and weeks into months, and after many attempts at contact the best I knew how, it became obvious that I wasn't going to be on any Marvin Gaye "the whole world, the whole year" tour.
Oh well, that's show biz (which sucks, for the most part), but I survived.
So, once I got settled in Boston, I started calling the numbers he gave me. All were either constantly busy or disconnected. This was understandable, since Marvin Gaye, with his new found success, was probably the most in demand person on the planet.
So as days turned into weeks and weeks into months, and after many attempts at contact the best I knew how, it became obvious that I wasn't going to be on any Marvin Gaye "the whole world, the whole year" tour.
Oh well, that's show biz (which sucks, for the most part), but I survived.
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