praising Stevie Wonder for the inspired riff for the song ("Stevie, we really dig you/hope you don't mind this riff from you"). "Life is For Learning" didn't change from the original song much except for the song's original title with the singer focusing on how he approached his music ("the artist pays the price/so you won't have to pay/if we would listen to what he has to say"). "Funk Me" was altered from the more sexually charged version from Love Man (its original title chanted "funk me" three times) and "Heavy Love Affair", his one song in which he discusses his fallout with Janis, was originally "Life's a Game of Give and Take", ironically doing the reverse of his other songs in which the original song discussed personal issues with his own life and flipping them around to focus on his fallout with Janis. "Far Cry" was the only newer song from the sessions in London to be featured along with the instrumental "Nuclear Juice". Gaye also revived and reworked "Ego Tripping Out" twice as a possible entry into the album, before ultimately omitting the song from the final album tracklist. By late December, Gaye had finished the rough draft of the album and later revised the album in a concept album format adding in synthesizer sounds to segue each song into the next, a style he had originally done with albums such as What's Going On, Let's Get It On and I Want You. However, around this time, one of Marvin's touring and recording musicians, bassist Frank Blair, decided to take the contents of the album's master tapes to Motown's Hollywood offices, which was done unbeknownst to Gaye, who was remixing and editing the album in Odyssey Studios in London. Motown, still angered over Gaye's backing away from the Love Man project, revised the album for several weeks. Release When In Our Lifetime was finally issued in recording stores on January 15, 1981, Marvin was angry over its rush release. Gaye later said, "How could they embarrass me like that? I was humiliated. They also added guitar licks and bass lines.(The former actually happened with Heavy Love Affair.) How dare they second guess my artistic decisions? Can you imagine saying to an artist, say Picasso, 'Okay Pablo, you've been fooling with this picture long enough. We'll take this unfinished canvas and add a leg here, an arm there. You