Marvin Gaye Sings His Way Through a Patchy 1970 Covers Set — 8/10

Marvin Gaye’s 1970 album That’s the Way Love Is is a singer’s record, built entirely around one voice. It is not a concept album or a statement of intent. It is a collection of twelve tracks, some covers and some originals, held together by Gaye’s delivery. The album sits in a strange place, between the polished pop of his 1960s work and the deeper, more personal soul that would define his next record.

The goal is straightforward: let Gaye sing, and let the material rise or fall on his performance. When the songs cooperate, the results are excellent. When they do not, the voice still makes them worth hearing.

Walking Through the Twelve

The album opens with “Gonna Give Her All the Love I’ve Got,” a bright, upbeat number that sets a cheerful tone. It is pleasant but slight, a warm-up rather than a statement. Gaye sells it, but the song itself never quite takes off.

“Yesterday” follows, and here the record starts to find its footing. Gaye slows the familiar standard down and lets the ache in his voice do the work. It is one of the strongest cuts on the album, proof that he could inhabit any song and make it feel like his own confession.

“Groovin’” is lighter fare, a breezy treatment that sounds relaxed and playful. It is not essential, but it is a pleasant detour. “I Wish It Would Rain” brings the mood down again, and this is where Gaye’s emotional range shows most clearly. The song’s grief is palpable, delivered with a restraint that makes the pain feel real rather than performed.

The title track, “That’s the Way Love Is,” is the centerpiece. It is the moment where everything clicks, where the arrangement, the melody, and Gaye’s voice align perfectly. The song has a sweeping quality, and Gaye rises to meet it, delivering one of his great vocal performances. It is the reason to own the record.

The Middle Stretch

“How Can I Forget” is a short, sweet ballad that does not overstay its welcome. It is a minor track, but Gaye’s phrasing keeps it from feeling like filler. “Abraham, Martin and John” is more ambitious, a tribute that Gaye approaches with sincerity. It is not a perfect match, but his conviction carries it.

“Gonna Keep on Tryin’ Till I Win Your Love” is a return to the upbeat, and it is one of the lesser tracks here. The arrangement feels generic, and Gaye’s energy cannot quite save it. “No Time for Tears” is similarly forgettable, a ballad that never finds a distinct identity.

A Strong Finish

“Cloud Nine” is the surprise. The track gets a Gaye makeover that works, with a harder edge that suits him. It is one of the most energetic moments on the album, and it shows a side of Gaye that the rest of the record only hints at. “Don’t You Miss Me a Little Bit Baby” is a sweet, understated track that benefits from a lighter touch.

“So Long” ends the album on a quiet note. It is a simple goodbye, and Gaye delivers it with a warmth that feels earned. It is not a grand finale, but it is a fitting one.

The Bottom Line

That’s the Way Love Is is a mixed record, but the highs are high enough to carry it.

The album’s flaws are clear. Several tracks feel like filler, and the uptempo numbers rarely match the quality of the ballads. But Gaye’s voice is a force, and when he is given material worth his time, the results are superb. The title track alone justifies the purchase, and “Yesterday” and “I Wish It Would Rain” are nearly as good.

“Only on the title song does everything come together for a great performance.”

That assessment, from Rolling Stone, is fair, but it undersells the record’s overall quality. Gaye’s superlative vocal stylings, as the same publication noted, almost bring the whole thing off.

The record is a document of a singer in transition, still working within a polished pop framework but clearly ready to break free. It is not the masterpiece that came next, but it is a worthy listen for anyone who wants to hear Gaye stretch his voice across a wide range of material.

For what it is, it is very good.

8 of 10.

70s music · album review · classic soul · Marvin Gaye · Motown · vinyl