Marvin Gaye would become a pioneering force in Motown, but his debut record, The Soulful Moods of Marvin Gaye, was an inauspicious start. The album’s title was misleading, primarily comprising covers of jazz standards from the Great American Songbook as Gaye refused to indulge in Motown’s younger R&B sound. A commercial failure, Gaye’s career wasn’t achieving the lift-off he or Motown hoped it would.
Despite his initial lack of success, Gaye remained a busy figure at Hitsville Studios as a session drummer. Gaye appeared on several Motown recordings, working with the Contours, Mary Wells, and the Marvelettes, appearing on the latter’s number-one hit ‘Please Mr. Postman’. While some of Gordy’s charges were making headway in the R&B charts, pop hits had remained elusive until the release of ‘Please Mr. Postman’, which would become the benchmark sound for Motown.
However, Gaye was still reluctant to adhere to Motown’s more pop-orientated sound, and reeling him into the company line was a gradual process. Gaye’s refusal to attend Artist Development Sessions did little to improve his popularity in the label, with murmurings that his behaviour was only tolerated as Gordy was soon to be his father-in-law.
Despite these issues, Gaye was proving to be influential as a songwriter, and the success of the Marvelettes’ single ‘Beechwood 4-5789’, which he co-wrote, finally turned Gaye around to Gordy’s vision. Back in the recording studio, Gaye would finally score a hit with the single ‘Stubborn Kind of Fellow’, which reached the top ten of the R&B charts. Further success would follow with ‘Hitch Hike’, his first top 40 pop hit, and Gaye was soon working on his second album, That Stubborn Kind of Fellow.
Like most Motown efforts of the period, That Stubborn Kinda Fellow was produced quickly to cash in on Gaye’s newfound commercial success. Gaye wrote or co-wrote the majority of the album’s material, often with William “Mickey” Stevenson but also alongside George Gordy, Barrett Strong, and Norman Whitfield. Additionally, Gaye added instrumentation alongside the Funk Brothers, playing the piano and drums on several tracks. That Stubborn Kinda Fellow incorporated doo-wop, blues, and R&B elements, Gaye fully on board with Motown’s quintessential sound. The record also featured backing vocals from a young group called the Del-Phis, who would later become the Vandellas.
The album kicks off with ‘Stubborn Kind of Fellow’, providing a rollicking start. It’s a Motown treasure, with its driving backbeat, sharp backing vocals courtesy of the Del-Phis, and even a neat jazz flute solo. Gaye brings an abundance of energy, throwing off his crooner tag and giving a raw, powerful performance that many suggested typified a man fighting for his career. The humorous title could be interpreted in several ways, but it allegedly stems from a throwaway comment by Gaye’s soon-to-be wife, Anna Gordy.
‘Pride and Joy’ would later crack the top ten of the pop charts; it is a smoother effort with a sophisticated groove, featuring some scatty piano work and punchy brass arrangements. ‘Hitch Hike’ is rougher, though again, the horns give it a nice, chugging rhythm, and Gaye’s interplay with the Del-Phis is nice, somewhat countering the weak lyrics. ‘Got My Hands On Some Lovin’ features some similarly vigorous call-and-response, while Gaye shows off his impressive vocal range with a brief falsetto. ‘Wherever I Lay My Hat’ is a sweet number, and Paul Young’s 1983 cover would see him briefly conquer the UK charts.
‘Soldier’s Plea’ is a slower, more one-paced number that serves as a response to the Supremes’ single ‘Your Heart Belongs to Me’. Gaye’s vocal performance is excellent, and the military-style drumming is a nice touch, but it lacks a significant hook, and it’s not surprising it failed to chart. ‘It Hurt Me Too’ is a gentle, soulful effort, the Del-Phis backing vocals countering Gaye’s raw and raspy delivery. Musically it’s rather simplistic, though the drumming provides a nice rhythm, particularly with its use of fills.
Anna Gordy co-wrote the last three songs on the album, starting with the bright doo-wop of ‘Taking My Time’. ‘Hello There Angel’ has a floaty romanticism, with some nice guitar licks and bassy horns; it’s delicate but unremarkable, a prime example of where Motown’s attempts at heartfelt ballads seep into sappy territory. Gaye’s vocal performance is decent, echoing Sam Cooke without the gravitas. ‘I’m Yours, You’re Mine’ provides a bouncing, uptempo conclusion, Gaye supported excellently by his backing vocalists, the Love Tones, while there’s a much-welcome saxophone solo in there.
That Stubborn Kinda Fellow is a vital record within Gaye’s catalogue; while it may not be as lauded as some of his later work, it marks the beginning of a highly productive period. The “Prince of Motown” had found his feet. Producers within the US were impressed with the album’s sound, with Phil Spector reportedly so excited by the sound of ‘Stubborn Kind of Fellow’ that he almost crashed his car. In the UK, several songs became popular with its thriving mod scene, with many British groups covering Gaye’s songs throughout the sixties. Gaye had achieved lift-off, and the best was yet to come.