The soul star who Marvin Gaye hated: “Let him shadow us”
Owing to the fact that their words are etched into the immortal history books through their music, artists can sometimes be unfairly held to a higher standard. While this case study mostly veers into the confines of politics, in this particular Marvin Gaye instance, it was all about friendship.
You see, I’ve practically lived by every word Marvin Gaye has uttered. I’ve publicly claimed that What’s Going On is the greatest album of all time and often flick on ‘What’s Happening My Brother’ when trying to soothe myself from moments of meaningless rage, like being cut up in traffic or waiting too long in a queue. The smooth tones of Gaye’s philanthropic voice are usually the antidote for everything.
By proxy, I’ve subconsciously categorised him as a lover of all, devoid of any human hate and master of the patient relationship. Surely, a man who sings so poignantly about the state of a broken society can’t hate anyone? Well thats not what the rumour mill says.
Apparently, the soul icon reserved a particular hatred for his musical contemporary, Teddy Pendergrass, an artist many critics were keen to dub as the ‘next Marvin Gaye’. A label made all the more irritating due to Gaye’s subtle chart decline at that point, because come the late 1970s, after the release of ‘Got To Give It Up’, Gaye’s musical allure was starting to dwindle.
The music industry decided that it was Pendergrass who could fill Gaye’s boots. It was a backdrop that made for any potential of amicabliity between the pair difficult, but then made impossible by Pendergrass’ budding romance with Gaye’s ex-wife, Janis.
“Teddy stood tall as black America’s new romantic dream-boat,” Janis explained. He was also one of the only men self-confident enough to ask me out. Others were intimidated by Marvin, but not Teddy.”
When the pair went out for a date, not even Gaye’s mega-stardom could prevent him from exercising fits of jealous rage and insecurity. Following the pair, he sat in the car park and watching the newer, younger and more successful version of himself enjoy a romantic evening with his ex-wife. Understandably, Janis was embarrassed and was keen to end the night early for the dignity of all involved, until Teddy said “I’m not afraid of Marvin. Let him shadow us all he wants. As long as you’re comfortable with me, I’m comfortable with you.”
It was a soap opera backdrop to a musical rivalry that could have been built upon a more beneficial sense of respect. Labelling artists as “the next” is always reductive, no matter how similar the two respective parties are and its no different in this case. Pendergrass carved his own niche, his own artistic identity, one that was an ode to the sultry soul of Gaye but by no means a rip off. Gaye’s voice had more range, that’s what made him a fitting collaborator when given the chance and I’m sure in the case of a Pendergrass crossover, it would have been very much the same. I guess, we’ll never know.
