Written by Nickolas Ashford & Valerie Simpson, it became one of the few Motown recordings of the 1960s that was not recorded with the familiar "Motown sound". Instead, "You're All I Need to Get By" had a more soulful and gospel-oriented theme surrounding it, that was influenced by the writers, who also sing background vocals on the recording, sharing vocals in a church choir in New York City. Marvin and Tammi recorded the song at Hitsville. Ashford & Simpson later stated how the session was hard as Terrell was recovering from surgery on the malignant brain tumor that ultimately caused her death less than two years after they recorded the song.[citation needed]
During moments in the recording, Gaye can be heard encouraging Terrell to sing her verses, ad-libbing "come on Tammi" several times. A year later, Gaye was performing this song with Stax vocalist Carla Thomas at the Apollo Theater, when Terrell, who was seated in the front row in her wheelchair, began singing along, prompting Gaye to leave the stage and sing the song with Terrell, who was offered a microphone. It was Terrell's final performance before her death in March 1970. The song was played during Terrell's funeral while Gaye gave a brief, tearful eulogy.
The original recording by Gaye and Terrell peaked at number seven on the Billboard Hot 100 and number-one on Billboard's Hot R&B/Soul Singles chart for five weeks,[1] becoming one of the longest-running number one R&B hits of 1968 and the most successful duet recording of Marvin Gaye's career. It reached #19 on the British singles charts in late 1968, staying there for 19 weeks.
Billboard described the single as a "driving rhythm follow-up" to the duo's previous hit single "Ain't Nothing Like the Real Thing" which "will hit hard and fast."[2]Cash Box called it a "tremendous ballad with a hearty beat," saying that the "scintillating opening excites listener response with an impending explosion that develops slowly unfolding solid performance."[3]
Their version of "You're All I Need to Get By" peaked at #47 on the Billboard Hot 100, #10 on the Hot Soul Singles Chart, #16 on the Adult Contemporary chart,[13] and #45 on the UK Singles Chart. It did best on the Canadian Adult Contemporary chart, where it reached #5.[14]
Critical reception
Billboard wrote, "The version here brings fresh spirit to the Ashford & Simpson number within a nicely crafted Jack Gold production."[15]
Tony Orlando & Dawn's version became the third to reach the U.S. Top 40, peaking at #34 in 1975. It also reached #13 on the Adult Contemporary chart[23] and #55 in Canada.[24]
Kathy Troccoli recorded her version on her debut album Stubborn Love in 1982. The lyrics had minor changes to make it fit into the CCM genre.
The song was covered in the 2021 film CODA, which tells the story of the hearing child of deaf parents who discovers her own singing abilities. The song was performed as a duet by Emilia Jones and Ferdia Walsh-Peelo several times throughout the film.
References
^Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 225.
^"Spotlight Singles"(PDF). Billboard. July 20, 1968. p. 66. Retrieved 2021-02-22.
