Marvin Gaye’s Overlooked 1965 Nat King Cole Tribute Holds Up: 8/10

Marvin Gaye’s A Tribute to the Great Nat King Cole is a 1965 album that does exactly what its title promises. Gaye, then a rising soul star, steps away from the dancefloor to croon twelve standards associated with the Alabama-born singer and pianist. It is a record built on affection, not reinvention, and it was largely overlooked when it first arrived. Time has been kinder to it.

An Album Built on Affection

The album runs 36 minutes across 12 tracks, all drawn from Cole’s deep catalog. Gaye does not imitate Cole’s voice — he could not, and he does not try. Instead, he applies his own silky tenor to songs that were already classics. The result is a warm, unhurried set that sits comfortably alongside Gaye’s more famous soul work, even if it never got the same attention.

AllMusic has called it a hidden gem, and uDiscoverMusic notes that Gaye proved he was as capable of crooning jazz standards as he was turning out soul hits. The praise is fair. This is not a novelty record or a contractual obligation. It is a sincere tribute from one great singer to another.

Nature Boy Opens the Set

The record opens with “Nature Boy,” the song most tied to Cole’s legend. Gaye takes it slowly, letting the melody breathe. His phrasing is precise, and the orchestration stays lush without smothering him. It is one of the album’s best moments, and it sets the tone for everything that follows.

Mona Lisa and the Middle Stretch

“Ramblin’ Rose” keeps the pace gentle. Gaye’s voice glides over the strings, and the song’s sentimental core lands without feeling forced. “Too Young” follows, and here Gaye’s youth — he was 26 when the album came out — gives the lyric an extra ache. “Pretend” is lighter, a bit of whimsy that Gaye sells with a wink in his tone.

“Straighten Up and Fly Right” is the first real shift. It is a swing number, and Gaye handles it with more bounce than the surrounding ballads. He does not swing as hard as Cole did, but he finds his own groove. “Mona Lisa” returns to the slow lane, and it is another highlight. Gaye treats the song with care, and the result is quietly stunning.

Unforgettable and the Final Tracks

“Unforgettable” is the title track in spirit, and Gaye delivers it with restraint. He does not oversing. “To the Ends of the Earth” is shorter and sweeter, a simple love song that Gaye makes feel personal. “Sweet Lorraine” picks up the pace a little, with a jauntier arrangement that suits Gaye’s voice well.

“It’s Only a Paper Moon” is a standard that could tip into corniness, but Gaye keeps it grounded. “Send for Me” is a pleading, mid-tempo number that shows off his range. The album closes with “Calypso Blues,” the longest track at just over four minutes. It is a change of mood — a bit of island rhythm — and it ends the record on a relaxed, easy note.

Where the Record Drags

The lesser tracks — “Ramblin’ Rose,” “Pretend,” “To the Ends of the Earth” — are pleasant but not essential. They do not diminish the record, but they do not elevate it either. The album’s strength is in its highlights:

• “Nature Boy”
• “Mona Lisa”
• “Unforgettable”
• “Straighten Up and Fly Right”

These four tracks carry the record. The rest is tasteful filler, well sung and well arranged, but filler nonetheless.

A Voice That Honors Cole

Gaye was not a natural jazz singer in the way Cole was. His voice is higher, lighter, and more obviously pop-oriented. But that difference works in his favor. He is not competing with Cole’s ghost. He is paying respect to it. uDiscoverMusic describes Gaye’s voice as bathed in lush orchestration, and that is accurate. The strings are everywhere, but they never drown him.

The phrasing is the key. Gaye’s ultra-smooth delivery reveals Cole’s influence without copying it. He holds notes a little longer, bends them a little softer, and lets the songs do their own work. It is a confident performance, and it never sounds like a singer out of his depth.

The Verdict

A Tribute to the Great Nat King Cole is a record that deserves better than its initial reception. It is not a radical statement or a reinvention of Gaye’s sound. It is simply a great singer honoring another great singer, and it works.

The album was buried on release, but it has aged well. Gaye’s affection for these songs is audible in every line, and the orchestration holds up. It is not his most important work, but it is one of his most charming.

This is a warm, skillful record that rewards a patient listen. It gets an 8 of 10.

1965 album · album review · jazz standards · Marvin Gaye · Nat King Cole · soul music