STEVIE WONDER
FULL DISCOGRAPHY DEEP DIVE (CONDENSED)
INTRO:
There is no denying that the entirety of Stevie Wonder’s output is worthy of exploration, but some artists hit such an elevated and condensed streak of creativity that it screams for focused appreciation. Cue Wonder’s five-album (Music Of My Mind, Talking Book, Innervisions, Fulfillingness' First Finale, & Songs In The Key of Life), four-year (‘72-’76) run. It would be hard to refute these classics as being anything but one of the most impressively ground-breaking combination of consecutive albums in the history of modern music. Thus the 'CONDENSED' edition of this particular DEEP DIVE.
Though I have listened to these albums countless times, I had never taken the time to focus-in with the purpose of writing about them. This experience returned deep joy and undeniable awe. If you’ve never dug in - or if it has been a while - I highly recommend giving it a go. Cheers & enjoy (I know you will!).
NOTE: For each album, in addition to including thoughts, I will be offering a Thumbs Up/Thumbs Down rating, as far as whether I would suggest the album - as well as a letter Grade to more specifically share where each album falls on my personal scale. For what it’s worth.
Additionally, one slight addendum. Whereas I normally list PERSONNEL for individual albums within a given FULL DISCOGRAPHY DEEP DIVE, an exception must be made here. Wonder infamously recorded the majority of what is heard on these albums himself. Contributions & collaborations - especially on the Production front - happened (and will be noted in my individual album reviews), but it makes the most sense to enter in just surrendering to the fact that Wonder is a visionary and musical genius.
Music Of My Mind
Produced by: Stevie Wonder, Malcolm Cecil & Robert Morgouleff
Recorded at: Electric Lady (NY), Mediasound (NY)
Released: March 3, 1972
OK - can’t help myself - a little timeline set-up is needed.
With Wonder (though he has hit singles on both sides of this grouping of albums), these albums are THE PLACE to focus on. It truly is one of the most significant runs of output that any singer/songwriter has experienced - even more so when considering this took place within a tight four years (and change) and that he was barely twenty-six by the time he released these albums.
As far as where he lands on the musical frontier landscape - it is also significant. To me, these albums walk a very interesting & unique path. What I think I appreciate the most is the very specific new musical hybrid that Wonder displays - and which (spoiler alert) he will only get better at over the next four albums. It’s not quite ‘pure’ soul or funk or pop, but a beautifully alluring melting pot. Best of all, it is so singularly committed to. Even when you explore the various genre niches I mention of the era - which even slightly fall under the umbrella of R&B - there just isn’t anything that sounds like these five albums.
As a slight precursor to Music Of My Mind, Stevie did break from his status as Motown golden boy (and safe bet hitmaker) to jumpstart this run (& clear musical break from the past) with ‘71’s Where I’m Coming From. Though clearly a contemporary of Marvin Gaye’s monolithic What's Going On?, Stevie's effort just lands as too disjointed & wandering to compete - even though he worked to mirror some of the same social concerns that Gaye tackles on his album - thus the fact that it has never been considered as being on the same playing field. Wonder definitely made the right choice in shifting to more personal (& humorous) subjects for the songs he prepared for MOMM.
On to Music of My Mind -
It certainly would be easy enough to take the lazy-river approach in talking about any of these albums by simply laying on the butter & honey of accolades they most certainly deserve, but with these fresh and concentrated listens, I will attempt to really dig in.
It doesn’t take long to fully realize the scope of musical & lyrical genius that we are in for as the first two songs are jam-packed with layers & layers of utter brilliance. Out of the gate, “Love Having You Around” & “Superwoman” explode with confidence and determination to be themselves - true originals in the echelon of soul music. And I so appreciate how they take their full time (that is, the time that is needed) to very naturally and organically express their intentions. At 7:23 & 8:10, respectively, I guess there could be an inclination to fault Wonder for excessive noodling - but my feeling is that the sections that close out the tracks - even in their ongoing loop approach - really bring such rich character to these songs. More succinctly, they demonstrate Wonder’s commitment to artistry over expected hit-making songwriting strategies.
“Love Having You Around” is such a wicked sex-romp wonder - full of delicious sexual innuendos. I mean, come on - ‘I want to fly my kite’ and ‘I want to get on my camel and ride’ - that is some funny shit. And boy - what a sly outro message in sharing that he still wants the girl even if she messes around on him (‘which is very often’).
He then counters that with a true masterclass in songwriting - “Superwoman”. I can’t go on enough about what a brilliant track this is. Essentially, a 2-song suite, Wonder hits some heavy-duty jazz chord progressions and seems to lay down (especially considering MOMM was released 3/72) some phrasing & styling that Steely Dan really paid attention to when they hit the studio during the summer of that same year to record their debut. It is a sad song lyrically, but it is bolstered by uplifting musical expression - making the end result deeply emotional. That lift is added to significantly with the excellent guitar lead lines that accompany the perfectly manicured closing loop, courtesy of session musician Buzz Feiten, who worked with everyone from Aretha Franklin to Bob Dylan.
As mentioned, one of the things about these albums that I really love is the humor that Wonder so effortlessly (not to mention subtly) folds-in to the proceedings. I have always thought that this aspect of his work was the one thing that Prince picked up on the most from Wonder. The various ‘voices’ he employs and the silly phrasing that are sometimes buried in deep layers of his swirling sections are laugh-out-loud funny. Even some of the musical passages & synth lines are so tightly wound with a joyful spirit that it completely gets its message across without overdoing it.
Probably the best (and most hilarious) example are the ‘raps’ he lays on his lady throughout the half-tempo sections of “Sweet Little Girl” - especially mentioning Sweet Sweetback’s Baadassss Song - a ‘71 blaxploitation film directed by Melvin Van Peebles (Mario’s dad) in which, infamously, Melvin performs actual sexual acts on film instead of simulating - HAHA!!!
And then you have “Happier Than The Morning Sun” - truly one of the most joyful songs ever. I have always thought it was such an inspired choice to strip the arrangement down to just his voice & clavinet. Though not released as a single, I have wondered before (as I did this time) if it might have blown-up quite a bit more with a full arrangement. However, as is, it remains pure and perfect - another testament to Wonder’s artistic integrity.
And so it goes - really satisfying balance between laugh-out-loud humor or romantic musings and more serious life contemplations. The irresistible web of layers (jazzy & complicated) of “Girl Blue” countered by the full-on groove of “Keep On Running” ping-ponging back to the album’s heaviest track, “Evil” - such a final statement of surrender to disillusion & loss.
What I fully credit these concentrated listenings with making me more fully understand is the supreme role that Malcolm Cecil & Robert Morgouleff of Tonto’s Expanding Head Band played in molding/crafting the sounds that lift these songs and the production in so many ways. Though it has always been obvious that Wonder’s main instrument is the keyboard, I would have never thought to consider these albums ‘synth’ albums, but I have had to drastically reconsider that opinion. Focusing in on the sounds crafted and employed throughout, the imaginative and groundbreaking sonics created throughout are absolutely jaw-dropping. Wonder was definitely very lucky to have them in his corner for these albums - and BIG credit is deserved.
**Side Note - As I had never heard it before the mention in the Wonder Wikipedia article - I did take the time to check out the synth album, Zero Time, released by Tonto’s Expanding Head Band. The entire album hit a super solid place in making me have to consider them real players in that particular DNA strand. Not sure how they slipped by me. An easy Grade B+ album on its own merits.
Verging on the edge of heresy, maybe the one slightly critical thought which has caught my attention before - and did so again with these listens - was the ‘silo’ effect that can happen when a singular musician tackles creating an album solely by themselves. No doubt, Wonder has the absolute talent to pull it off and none of the track’s various instrumental parts suffer, but even the simple add of trombone & guitar, respectively, in the opening two tracks - likewise the female vocals in “Keep On Running” - make such an impactful positive contribution to the numbers that I found myself wishing he might have explored collaboration a bit more.
Bringing up the Prince connection again (as a point of perspective), his first 5 albums up to Purple Rain are essentially just him. Each album, very minimally, adds new players to the mix and it is my opinion that each one grows in overall quality because of this. With Purple Rain he clearly made the decision to include full-band performances (thus the addition of ‘and The Revolution’) and it clearly became the pinnacle of his work up to that point.
CONCLUSION: Though I am quite familiar with all of these Wonder albums, it is always such a sincere pleasure to re-enjoy them. What I have thought about MOMM before is that, comparatively speaking, this album represents Wonder’s Revolver-moment. That is, a really energy-charged spurt of growth, maturity, and artist integrity laid out in all aspects of songwriting, performance, arrangements & production.
Even folding-in the knowledge that Wonder was only twenty-one when he wrote and recorded this album, there is no denying its strength, maturity & complex musicality. Beyond the fantastic songs, the collection scores major points for both the balance that is struck in exhibiting various approaches and styles as well as the incredibly intriguing and original hybrid of sound that Wonder has developed. Like this entire discography journey, no surprise that this one earns an easy Thumbs Up and a confident Grade of A-. Pumped to dive into the next album!!!
Talking Book
Produced by: Stevie Wonder, Malcolm Cecil & Robert Morgouleff
Recorded at: Electric Lady (NY), Record Plant (LA)
Released: October 27, 1972
I guess I should get the HUGE personal connection to this album out of the way so that you can better understand my unshakable (and overly nostalgic) attraction. No doubt further inspired by its use in the film High Fidelity - though I was certainly aware of the song prior - “I Believe (When I Fall In Love It Will Be Forever)” earned an exalted place for my wife, Carol Dee, and I as ‘our song’ - and the one we would have our first dance to at our wedding.
I have always found it to be the most successful song about the hope of what love can do - having faith in truly stepping out of the darkness (and glance at his lyrics - I’m talking DARK!) to be delivered to a higher place. Best news of all - as great as that closing track is, it is just one golden nugget in a bag full of them.
Thinking about this album - and being even more fully confident in saying this following these recent listens - there are several prime contributing factors that make it such a perfect musical statement.
First & foremost - as is usually the case with my all-time favorite albums - you have to start with the strength of the songs. Though he certainly was already a well-established songwriter by this point (and just months earlier released another fantastic collection in MOMM), it is crushingly impressive the growth Wonder was displaying as a writer & performer. The fact that MOMM & TB came only seven months apart from each other can’t be overstated as a testament to Wonder’s incredible talent and the insane creative streak he was on with these albums. Just fucking stunning.
Echoing the approach he took with MOMM, Wonder alternates evenly between uptempo & ballad/mid-tempo numbers - creating both a very engaging listening experience and a wholly artistic flow.
Obviously, with “You Are The Sunshine” & “Superstition” he unleashes two of his most known songs - and man oh man do they just both explode with life. But beyond those and “I Believe” (which I’ve already praised), Wonder unleashes two jaw dropping ballads in “You & I” and “Blame It On The Sun”. Clearly - even without the hits, those tracks would have to qualify this album for A+ status all on their own.
Lyrically, Wonder really lays on the sorrow and searching themes in pronounced ways. Interestingly, the bookends of “You’re The Sunshine Of My Life” and “I Believe” are the only tracks that hint at joy in love. All the other songs just drip with being ditched or searching for some sort of happiness. On that point, I appreciated how he snuck some of those sentiments into deceivingly ‘up’ musical settings - “Tuesday Heartbreak” and the jazzy vibe of “You’ve Got It Bad Girl” (again, hinting at his influence on Steely Dan) are great examples. And I have to admit, though the hits are just that, the deeper cuts in this album really work their way into your subconscious. Though “You Are The Sunshine” is sophisticated ear candy of the highest order, I have to admit that “You’ve Got It Bad” & “Blame It On the Sun” both really laid their roots into my brain with these listens.
Clearly a major contributing factor in this album’s success is the clever & perfectly placed collaborations that add so many nuances throughout. As I said about Prince’s growth with his early albums as he added more & more featured performers, it seems Wonder really set the template for this approach as the folks he enlisted all bring such great additions. Standouts include Ray ‘Ghostbuster’ Parker Jr’s & Jeff Beck’s skillful guitar lines throughout “Maybe Your Baby”, & “Lookin’ For Another Pure Love” (respectively), great horn adds on “Tuesday Heartbreak “ & “Superstition”, groove percussion throughout, and super in-the-pocket backing vocals on several tracks - especially on “Blame It On The Sun”.
Perhaps the oddest choice was Wonder handing over the first two lines of “You Are The Sunshine” to two different vocalists before he shows up. I did a little research regarding that decision, but couldn’t find details. No mind, it works. All in all, these choices add up to more texture being leveraged to even stronger songs - easily equaling musical bliss.
The overall sound and production texturing of the album is another major high point. This whole collection is like ground zero for perfect & iconic ‘70s keyboard sounds.
Holy fuck, “Maybe Your Baby” is just so dirty & low-key funky that you can literally feel your temperature rising as you listen. I also love Wonder’s playful vocalizing and realized more clearly than I ever before that vocal choices like this totally inspired Prince later on - especially regarding some of the more comical vocal parts added to the brilliant Sign O’ The Times.
And though he mostly avoided using acoustic piano prior - Wonder convincingly showcases his outstanding gospel-tinged piano chording with “You & I”. Even as brilliant as his playing is, the real showcase of that track is the subtle swirling of synths that the returning Production team of Malcolm Cecil & Robert Morgouleff contribute. They simply outdo themselves. As I gave that track several focused listens, I feel I could stand firmly behind making a case that the sounds were manipulated in ways that could have easily provided inspiration for other synth pioneers like Vangelis.
CONCLUSION: Don’t even think of giving this album anything but a massive Thumbs Up and a confident Grade of A+. It is brilliant through & through - and perhaps the best compliment I can offer is that despite more listens than I can count, it never once fails to reveal some new layer that only makes me love it more.
Innervisions
Produced by: Stevie Wonder, Malcolm Cecil & Robert Morgouleff
Recorded at: Record Plant (NY), Mediasound (NY)
Released: August 3, 1973
I have always considered this collection a total sister-companion to Talking Book. So much so, in fact, that I can’t imagine being dissatisfied had the two been packaged together as a double album. Again, we are only looking at three stellar albums in fifteen months - just incredible!!
The first thing that always jumps out to me is the lyrical content throughout. Wonder seems laser-focused on better hitting the target of social concerns than his earlier (& uneven) Where I’m Coming From album (and, perhaps, even an effort to match the greatness of Marvin Gaye’s What’s Going On? - In fact, Wonder’s “Golden Lady” even seems to emulate some of the bongo-driven grooves featured throughout Gaye’s iconic recording).
I think Wonder succeeds in reaching for that lofty goal - in big ways. Even if you don’t delve into reading the specific lyrics for each track, it is impossible to miss the general weight that is added by the tone of the messaging. Wonder tackles a range of issues and, as on previous albums, matches each to really intriguing musical landscapes.
Clearly, the centerpiece on that front is “Living In The City”. This seven-minute-plus epic packs so much anger and frustration that the message boils over in impactful ways. Watching a short doc about the recording of this track, it was revealed that Cecil & Morgouleff (returning again brilliantly as Producers) pushed Wonder to sing the track a huge amount of times - each time criticizing his performances (literally pestering him) in an effort to get him angry while also pushing his vocals to hit a more frayed & gruff sound. Boy did that approach pay-off! Musically, the keyboard sounds and short bridge sections between the verses are just too outstanding for words.
And though I will take Wonder to task later in this review for pulling back on his collaborations for this album, the fact remains - knowing that he sang & played every single thing on “Living” - that his unique ability and talent is incredibly ferocious. Just listen to the complex intertwined vocals at the end of the track (with some sounding convincingly female) and it is impossible to miss his attention to detail.
Side Note: (**The last n-word spit-out at the end of the ‘story snippet’ section was perfectly sampled and used by Public Enemy on their classic prison track “Black Steel In The Hour of Chaos”)
Though Wonder mostly continues his song-tracking approach to bounce back & forth from uptempo to ballad/mid-tempo numbers, the real star on the performance side is his widest gathering of different musical styles. From the smooth jazz chording of “Too High” (continuing to navigate similar stylings of Steely Dan in all the best ways) to the feverish funk of “Higher Ground” (matching step for step the drive of “Superstition” and Wonder’s in the pocket groove mastery) to the Latin-stylings of “Don’t You Worry Bout A Thing” (which displays another look at Wonder’s humor with his semi-gibberish Spanish at the beginning), These switch-ups add great variety and help the listener to engage more deeply.
The songs themselves express a deep patience and mature approach - and were honored as such in earning Wonder’s first Best Album Grammy. Cecil & Morgouleff were also recognized with a Best Engineered Album Grammy.
My only (very) slight complaint about the album is that Wonder steps slightly backwards in choosing to record the majority of the tracks by himself. No background vocals beyond the opening track, no guitar parts other than on “Visions” (definitely the strongest ballad & a track that TOTALLY stands-out with the addition of those beautiful guest guitar musical lines), and no horns at all - even though both “Higher Ground” and “Don’t You Worry” seem to scream out for them.
Obviously, this is to take nothing away from Wonder’s performances throughout - the dude is so amazing on every single front that it absolutely makes you fully appreciate his masterful instrumental prowess - but my notes remain of what might have elevated the experience even more had there been deeper collaboration.
CONCLUSION: I love this album and a Thumbs Up is an absolute given. And while I give it a Grade of a rock-solid A, it only misses hitting an A+ just slightly because of the additional musician omissions that I feel would have pushed it into A+ territory.
Fulfillingness' First Finale
Produced by: Stevie Wonder, Malcolm Cecil & Robert Morgouleff
Recorded at: Electric Lady (NY), Record Plant (NY)
Released: July 22, 1974
This is definitely Wonder’s most subdued outing yet. Probably seems doubly so considering the anger & frustration found on Innervisions. The songs cruise by and the lyrical content turns pointedly inwards with musings on love and spirituality. I have wondered how much the mood of the album was influenced by the serious car crash that Wonder suffered just after the release of Innervisions - leaving him in a ten-day coma and requiring a long recovery. Wonder (and many close to him) have commented how the experience greatly impacted his focus on spirituality and valuing the preciousness of life. Seems this had to have played a role in the writing & recording of this collection.
Of these albums, this has always been the one I return to the least. That said, these listens were a very enjoyable experience.
The pace set by the mellow ‘smooth jazz meets yacht rock’ vibe of “Smile Please” sets the tone perfectly. I just love the melody and phrasing. The Fender Rhodes and those harmony vocals are just so deeply alluring that this is one of those tracks that could have stretched on 3 or 4 times as long and I wouldn’t have minded one bit.
From there, Wonder breaks the trend he had previously established by (mostly) keeping things much more on a reflective tip. “Heaven Is 10 Zillion Light Years Away” is an album high-point for me. It is fairly understated in its approach, but it carries a significant weight in its vibe. Just a perfectly solid example of Wonder’s songwriting and musical prowess, as he handles all of the instrumentation in really thoughtful ways. And I love that Paul Anka sings backup!!
Both “Zillion” and “Too Shy To Say” are meditative pieces that really solidify the sort of spiritual flow that completely buoys the collection.
The elastic funk of “Boogie On Reggae Woman'' really lands as the one stand-alone showcase uptempo number. It shines with Wonder’s coy humor and with its well-placed piano lines - maintaining a feel that fits perfectly in the company of the more ruminative numbers. I always find “You Haven’t Done Nothin’ (despite its politically-charged lyrics, killer horn parts, & ‘doo-wap’ harmony hook) as a bit of a 2nd rate “Superstition”, void of any real bite.
Interesting that he picked the Jackson 5 to back him on a song called “Creepin’”, but as they really don’t add a ton to the track, it sort of sneaks by unnoticed. And I may be projecting, but the general mellow groove of the track feels like it could have inspired early MJ numbers like “I Can’t Help It” or “Human Nature”.
“They Won’t Go When I Go” is another repeat-worthing ballad that both exposes Wonder’s pure talent as a deep writer and his good luck in securing Cecil & Morgouleff as Producer cohorts for four of this five-album run. Their touch, as minimal as it might seem on the surface, is lush and quite breathtaking.
Keeping with the mid-tempo theme and chill vibrations, “Bird of Beauty” (with its alluring samba groove) and “Please Don’t Go” (sounding every bit like classic ‘60s Motown) wrap-up the album in excellent form.
CONCLUSION: Total Monday morning quarterback here, but it seems it would have been incredibly tempting (& maybe easy) for Wonder to just keep pushing a copy of the formula that had been working so well for him on the previous three collections. The fact that he stepped back into this more meditative spot speaks volumes to his commitment to artistry. No huge singles or epic “Living In The City” moments - we are, instead, rewarded with a satisfyingly reflective ride. I’d even be willing to argue the point that many fundamentals that make this album a success have earned, in my mind, direct DNA-lineage to serve as a real foundational inspiration for the ‘yacht rock/soft rock’ sub-genre. I thoroughly enjoyed this cruise and award it a clear Thumbs Up with a heartfelt Grade of B.
Songs In The Key of Life
Produced by: Stevie Wonder
Recorded at: Record Plant (LA), The Hit Factory (NY)
Released: September 28, 1976
Especially given the pull inward to a more intimate collection of songs on FFF, it feels like it just wouldn’t have computed correctly had Wonder not ended this run of phenomenal releases with anything less than a double-album magnum opus.
I would agree that it doesn’t completely convey the truth (& perhaps it might even be a bit lazy) to suggest that SITKOL lines-up as Wonder’s ‘White Album’, but it would be hard to deny that some of the trappings of similarities are there. The first big hurdle is that, as a solo artist, there is certainly a more defined cohesion to the collection, but it’s clear that Wonder took a pronounced focus in delivering a vastly expanded offering of musical styles, moods, and approaches.
Before I dig into specifics, singing the praises of how masterfully Wonder handles and displays these various approaches, I do want to mention the one thing that I have thought about before, but which really jumped out to me in significant ways with these recent listens - and that is the fact that this whole album (even with its musical side roads) really does such pronounced job of defining ‘soft rock’ in new ways. With, essentially, twelve of the collection’s seventeen tracks (and two more if you count the sister four-song EP - which is added to the Apple Music edition) falling into this category, it is undeniable that his unique hybrid of crafting pop & soul seemed to really hit an all-time peak with this album.
This isn’t to try and dumb-down or simplify Wonder’s music with painted-in-a-corner categorization. Actually, the opposite. The brilliant way that he manipulates these particular songs is just fascinating - and infinitely entertaining. The craft is top-notch, the instrumentation (and detailed texturing) is completely engaging, and Wonder seems the champion of making something that is indescribably difficult seem easy. Take “Knocks Me Off My Feet” - a supreme A++ example of Wonder’s mastery of this sort of track. It breezes by so convincingly in seemingly simple strokes, but there is much at work in the sophisticated chording, instrumental nuances, and deeply alluring melody. And there is simply no denying the untouchable winning formula that supports a monster hit like “Isn’t She Lovely”.
Beyond that, it does feel like, because of the unique range of styles (even for Wonder) that some individual spotlighting is required.
We have, in the album’s most recognizable track, perhaps one of the wildest of Wonder’s mad-scientist concoctions with “Sir Duke”. With its heart belonging to Wonder’s love of Duke Ellington, the track is a pure joy combo of horn-driven funk and modern jazz swing. Major props to bassist Nathan Watts for his killer runs - & his exceptional contributions throughout the album! And though I didn’t dig deep to confirm this - perhaps the only Top 20 single to feature a slide whistle - HAHA!! Lastly, I must say, Stevie’s laughs and shouts during the horn breaks never fail to make me smile - the uplifting vibe is palpable. Just fantastic!
Though I don’t need to write a novel about it - certainly the song represents itself just fine - but I have to shine a light on probably my favorite track, “As” (the last of the album’s five released singles). One of four tracks that break the seven-minute mark, it just hits such an alluring stride to me and is combined with great call-and-response vocals and keyboard fills. And man, Wonder’s affected vocals towards the end are just off-the-chart amazing and so filled with convincing bravado.
In the category of weird-ish one-offs, we have a mixed bag of oddities. This includes the early disco stride of “Another Star” (which, with its bongo-line REALLY reminds me of Barry Manilow’s “Copacabana” which would be released a few years later). The most recognizable Wonder rap-sample (used in Coolio’s hit “Gangsta Paradise”) is found within “Pastime Paradise” - a curious track unlike Wonder’s usual approaches, but one that still wins out in its uniqueness.
I think the top award for ‘Most Unexpected” has to go to the crazy on-target prog-jazz-fusion of the album’s sole instrumental - “Contusion”. A real head-shaker of an inclusion - and something that would have sounded way more at home on a Mahavishnu Orchestra or Weather Report album - the track completely contributes to my ‘White Album’ comparison and leaves (me, at least) wishing that Stevie had explored an entire album with this particular approach. Wow-zah!
**FUN FACT: Researching the track a bit more as it had, inconceivably, alluded me giving it as close of a degree of attention previously as these recent listens did, I found out that the on-fire lead guitarist, Michael Sembello, was only 17 when Wonder first tagged him to play on FFF’s “Smile Please” before serving as a core musician on this album. He went on to be a notable songwriter working with Diana Ross & Micheal Jackson before delivering his most known song, “Maniac” (which he sang & which was a #1 hit & Academy Award nomination), to the Flashdance soundtrack. He would go on to contribute songs to films in the ‘80s by both Steven Spielberg & Ron Howard.
I might be stretching here, but “I Wish” seems to have served as a launch pad of inspiration for two Jacksons. With its soft funk and particular chording of the chorus, I definitely heard distinct foundational work that seemed to be echoed in both Michael’s “Bad” and “Working Day & Night”. And then, if only for a moment, I did have to laugh at the 2:14 mark when a woman’s voice cuts in to call Wonder ‘you nasty boy!’ - HAHA - serving that turn of phrase for Janet to scoop up (or at least planted a seed for Jimmy Jam & Terry Lewis, who co-wrote/produced “Nasty”.) Who knows? That said, in one of those circle-of-life musical moments, was I the only one who noticed that the intro was extremely reminiscent of Earth, Wind & Fire’s ‘75 hit, “Shining Star”? What comes around goes around…
Another track I feel obligated to touch-on is the ambitious funk-drive social commentary of “Black Man”. In my younger years, perhaps in the throes of Public Enemy & Spike Lee-inspired ‘black experience understanding’, I found this track to be quite revolutionary & effectively militant. With time - though I still appreciate its groove and super-slick keyboard lines, as well as the track’s reach - this song doesn’t hit me quite the same way. I don’t really find any specific faults, but at 8 & ½ minutes I’m just not quite as blown-away as I am by mostly everything else on this album. It also kind of goes without saying that the ‘perfectly fine’ mid-’70s inclusion of ‘red man’ & ‘yellow man’ - as well as the complete avoidance of adding contributions by women - hinder the track from aging well.
I did have some concerns that the end of Wonder working with Cecil & Morgouleff as Producers would create a noticeable gap. In the end, I'm not sure that was the case. The truth is, there are many moments throughout that certainly emulated those extraordinary texturing moments and touches - even if those weren’t delivered with quite the same inspired panache. Working as sole Producer, Wonder does an excellent job of continuing to add the same sort of details that so benefitted earlier albums in this run. “Have A Talk With God” is a great example as it takes what would have been a perfectly fine mid-tempo spiritual and then layers it with a sci-fi-inspired background keyboard loop (not to mention the harmonica touch). It shouldn't work, but it ultimately elevates the track to something that stands out in truly original ways.
It would be fair to remark, as a mild criticism, that Wonder’s inclination towards heavy repeating & looped coda refrains seem to (perhaps) go on too long. I get it, but really in no place (other than possibly “Black Man”) did that even register as a slight negative to me.
CONCLUSION: Bucketloads of musicians - from Elton John to George Michaels (& even Wonder himself) list SITKOL as a Mt Everest release - and who am I to argue? I might, on most days, still select Talking Book as my favorite Wonder release, but when considering the scope & ambition of this iconic double album, I find it an absolute no-brainer to offer the highest of Thumbs Up and another Grade of A+.
