Marvin Gaye was in a weird spot in 1973. He’d just changed the world with What’s Going On, a heavy, socially conscious masterpiece that made everyone look at the world differently. But then he pivoted. He went from singing about the environment and war to singing about, well, the bedroom. Come get to this lyrics are the gateway to that shift. They aren't complex. They aren't trying to solve a political crisis. They are just pure, unadulterated joy.
Honestly, when you listen to the track, the first thing that hits you isn't even the words. It’s that shuffle. It’s a throwback sound. Even in '73, Marvin was looking backward to the doo-wop and early R&B of the 50s. He wanted something that felt like a homecoming.
What Come Get to This Lyrics Actually Mean
Most people think it’s just a standard "I missed you" song. It’s deeper than that, though. Marvin had been away. Not just physically, but mentally. The opening lines—"Girl, you've been gone away a long time"—set a stage of genuine longing. It’s the sound of a man who is tired of being lonely.
The song appears on the legendary Let's Get It On album. While the title track of that record is almost aggressively sexual, "Come Get to This" is sweeter. It’s more about the relief of a partner returning home. He talks about how he’s "been waiting" and how he "needs" her. It’s vulnerable. You don't see that a lot in modern R&B where everything is about "flexing." Marvin was okay with sounding desperate for affection.
The 50s Influence and Why It Works
You have to understand the musical landscape of the early 70s. Everything was getting psychedelic. Funk was getting heavy. Then Marvin drops this track that sounds like it could have been recorded in 1959 at a sock hop.
The come get to this lyrics mimic that era too. Simple rhymes. Clear emotions. No metaphors that require a PhD to decode.
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- "I'm so glad you're home"
- "I'm gonna love you good"
- "Ooh baby, what a joy"
It’s conversational. It feels like a phone call. Or a late-night whisper.
The Production Magic Behind the Words
The lyrics do a lot of heavy lifting, but the arrangement is what makes them stick. Recorded at the "Hitsville West" studios in Los Angeles, the track features some of the best session players of the era. We're talking about guys like Joe Sample and Wilton Felder. They captured a "live" feeling that you just can't fake with a drum machine.
Marvin’s vocal delivery on this track is specifically interesting. He’s multi-tracking his own voice. If you listen closely, he’s doing his own background harmonies. It creates this "wall of Marvins" that makes the sentiment feel even more intimate. He’s literally surrounding the listener with his voice.
Some critics at the time were actually annoyed. They wanted more "Inner City Blues." They wanted more protest songs. But Marvin knew that people needed to dance. They needed to feel good. He was right.
Why We Are Still Searching for These Lyrics in 2026
It's a "vibe." That’s the simplest way to put it. In a world where music is often over-produced and polished until it's sterile, "Come Get to This" feels human. It’s got mistakes. It’s got grit.
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The come get to this lyrics have been sampled more times than I can count. Producers love that opening hook. They love the way Marvin says "baby" like it’s a prayer. From hip-hop to neo-soul, the DNA of this song is everywhere.
Misconceptions About the Song
People often lump this song in with "Sexual Healing." That’s a mistake. "Sexual Healing" is a 1980s synth-heavy track about recovery. "Come Get to This" is a celebration. It’s much more upbeat. It’s a "get ready" song.
There’s also this idea that Marvin wrote this about one specific woman. In reality, his life was a mess of complicated relationships during this period. The lyrics represent an ideal of a relationship rather than a specific diary entry. He was chasing a feeling of stability that he rarely actually had in his own life. That makes the song a bit bittersweet if you know the history.
Technical Nuance in the Writing
Look at the structure. It doesn't follow a rigid verse-chorus-verse-chorus pattern perfectly. It’s fluid. Marvin ad-libs throughout. The lyrics "Ah, honey, honey" and "sugar, sugar" aren't just filler; they are rhythmic elements.
He uses his voice as a percussion instrument. The words are the melody, but the way he says them is the beat.
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- The "Old-School" Greeting: He starts with a recognition of time passed.
- The Physical Need: He moves into the "loving" part of the song.
- The Invitation: The chorus is a direct call to action.
It’s a perfect three-act play in under three minutes.
Actionable Takeaways for Music Lovers
If you're trying to really understand the soul of this track, don't just read the lyrics on a screen. You have to hear them in context.
Listen to the "Let's Get It On" Deluxe Edition.
There are alternate takes of this song that show how Marvin experimented with the lyrics. In some versions, he’s much more aggressive. In the final cut, he chose the "sweetness." It tells you a lot about his creative process.
Watch the 1970s Live Footage.
Marvin’s stage presence during this era was unmatched. Seeing him perform these lyrics live gives you a sense of the charisma he was pouring into the microphone. It wasn't just a job; it was an exorcism of his own loneliness.
Compare it to "What's Going On".
If you want to understand songwriting, look at the difference between these two albums. One is about "us." The other is about "you and me." Mastering both styles is why Marvin is the GOAT.
To truly appreciate the song, pay attention to the transition between the tracks on the album. "Come Get to This" follows the heavy, slow burn of the earlier songs and acts as a shot of adrenaline. It’s the moment the party actually starts.
Next time you hear it, don't just listen for the words. Listen for the breath. Listen for the way he slides into the notes. That’s where the real story is.