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I Want You is the fourteenth studio album by American soul singer and songwriter Marvin Gaye. It was released on March 16, 1976, by the Motown Records subsidiary label Tamla. Gaye recorded the album during 1975 and 1976 at his studio Marvin's Room in Los Angeles and at Motown's Los Angeles–based Hitsville West studio. The album has often been noted by critics for producer Leon Ware's cinematic, downtempo sound, the erotic themes in his and Gaye's songwriting, and the singer's prominent use of the synthesizer. The album's cover artwork adapts neo mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971). I Want You consisted of Gaye's first recorded studio material since his highly successful and well received album Let's Get It On (1973). While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo wop influenced sound for funky, light disco soul, the album maintained and expanded on his previous work's sexual themes. Following a mixed response from critics at the time of its release, I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul.

By 1975, Marvin Gaye had come off of the commercial and critical success of his landmark studio album Let's Get It On (1973), its successful supporting tour following the album's release, and Diana & Marvin (1973), a duet project with Diana Ross. However, similar to the conception and recording of Let's Get It On, Gaye had struggled to come up with an album as an appropriate follow up. And much like Let's Get It On Gaye reached for outside help, this time seeking the assistance of Leon Ware, a singer and songwriter who had found previous success writing hits for fellow Motown alum, including pop singer Michael Jackson and the rhythm and blues group The Miracles. Ware had been working on songs for his own album which he would later issue under the title Musical Massage, a collection of erotic singles Ware had composed with a variety of writers, including Jacqueline Hillard and Arthur "T Boy" Ross, brother of Diana Ross. Though it was often hinted that Let's Get It On was the album Gaye had dedicated to her, Marvin has stated that this album was dedicated to Hunter, who is believed to have been in the studio when he recorded it. According to music critics, her presence may have increased the emotion in Ware's and Gaye's conception of I Want You.

[[File:ARP Odyssey Mk I, with Roland JX 3P (top). jpg|left|thumb|upright|An ARP Odyssey, used by Gaye for the recording Much like Gaye's previous studio effort Let's Get It On, I Want You featured Gaye's contribution of background vocals and heavy multi tracking. Gaye's vocalizing style was in classic doo wop tradition accompanied by the low tempo of string arrangements and other instrumentation was provided by the Funk Brothers. Gaye's albums, and especially I Want You, have been influential on modern soul music and contemporary R&B. EMI Artists and Repertoire executive Gary Harris, who later assisted neo soul singer D'Angelo in recording his debut album Brown Sugar (1995), later commented on Gaye's significant artistry on I Want You and its opening title track. In 1976, Barnes redesigned the painting for use by television producer Norman Lear for the opening credits of Good Times, his hit CBS sitcom that ran from 1974 to 1979. The Sugar Shack portrays a cultural image of a shack full of black people dancing. The Sugar Shack was painted by Barnes in his signature post mannerist style, using serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes. This style of technique and composition is similar to the mannerist style of 16th century artists such as Michelangelo and Raphael, which has led Barnes to be credited as the founder of the Neo Mannerism movement. Art critic Frank Getlein later called The Sugar Shack a "stunning demonstration of the fusion of Neo Mannerism and Genre painting that Barnes alone has perfected and practices", and went on to say:

cquote|The dances of ordinary people have been a standard subject of Genre painting since it was invented by Breughel. The perfectly controlled lighting and the elaborate poses of the elongated figures are class Mannerism. Sugar Shack effortlessly combines the two heritages in Neo Mannerism Genre painting. Any Mannerist painter would be proud of the succession of figures in the main, central group of dancers, but the whole is infused with the innocent exuberance of Breughel and his fellow Flemings. According to Barnes, he created the original version after reflecting upon his childhood, during which he was not "able to go to a dance." In an interview with SoulMuseum. net, Barnes was asked whether there were any messages he was attempting to express through the painting. He stated "'Sugar Shack' is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re created in the person viewing it. To show that African Americans utilize rhythm as a way of resolving physical tension"

I Want You was released March 16, 1976 in the United States on the Motown subsidiary label Tamla Records. While not as successful sales wise as Gaye's previous landmark albums What's Going On and Let's Get It On, I Want You sold in excess of 1 million copies in the United States with help mostly coming from its first single "I Want You". The single topped the Billboard Soul Singles chart, quickly becoming Marvin Gaye's eleventh number one hit on that chart, while peaking at number fifteen on the Billboard Pop Singles chart. Rolling Stones Vince Aletti criticized Leon Ware's production for being too low key, and perceived that Gaye lacks the certain passion in his lyricism and singing from his previous records. Aletti compared the album to Gaye's previous work, writing that "Gaye seems determined to take over as soul's master philosopher in the bedroom, a position that requires little but an affectation of constant, rather jaded horniness. The pose has already been established in Let's Get It On, on which Gaye was hot, tender, aggressive, soothing and casually raunchy—the modern lover with all his contradictions. I Want You continues in the same vein but with only the faintest traces of the robust passion that shot through and sustained the earlier album  one expects something with a little more substance and spirit. But there's no fire here, only a well concealed pilot light." White also criticized the album's sound, describing the songs as "all expressions of the same mood. Sensual, satisfied, and spaced out", and calling I Want You "simply the explorative aftermath of Let's Get It On. The sweet nuthin's of a drowsy, sweat streaked lover." Its standing has also improved among critics following an expanded edition release of the album on July 29, 2003, which featured extensive liner notes and photography by Ryan Null. Following that release, AllMusic praised Gaye's different direction in music and the eroticism portrayed in Leon Ware's smooth tempo production and Gaye's intimate lyricism. Reviewer Thom Jurek wrote:

cquote|Its subject matter is as close to explicit as pop records got in 1976  The feel of the album was one of late night parties in basements and small clubs, and the intimacy of the music evokes the image of people getting closer as every hour of a steamy night wears on  the most astonishing things about I Want You are its intimacy, silky elegance, and seamless textures  I Want You and its companion, Ware's Musical Massage, are the pre eminent early disco concept albums. They are adult albums about intimacy, sensuality, and commitment, and decades later they still reverberate with class, sincerity, grace, intense focus, and astonishingly good taste. I Want You is as necessary as anything Gaye ever recorded, and is as compelling in the 21st century as when it was first issued. The careers of neo soul and R&B musicians including D'Angelo, Musiq Soulchild, R. Kelly, Maxwell (particularly on Urban Hang Suite), Sade, and Prince show the influence of the soulful sound and equally romantic and erotic lyrics of I Want You, Let's Get It On and Leon Ware's Musical Massage. According to one critic, Ware's arrangements "solidified the suite like theme for the album."

Sides one and two were combined as tracks 1–11 on digital reissues.