I’m embarrassed to admit that I don’t really know Stevie Wonder’s music at all, except for the ’60s hits and some exposure to his ’70s heyday. A recent feature in Mojo has reminded me that I should fill in this blind spot.
What would you experts advise? Go straight to Innervisions and wander around back and forth from there? Start with Signed Sealed Delivered and work my way through chronologically till he runs out of steam, or I do? Is there a relatively comprehensive compilation that might suit (and satisfy?) a novice better? (I recently wisely decided to get The Essential Sly & the Family Stone instead of the newly released box set, and that turned out to be exactly what was called for.) Should I get all four of the ’72-’74 acknowledged masterpieces all at once and immerse myself? Any ‘musts to avoid’?
I’m a little apprehensive, because Wonder’s voice is a little problematical for me. His over-melismatized vocal style has been such a bad influence on subsequent artists, I’m concerned about coming to it after the fact and finding it hard to get past. But everyone seems to agree that his early ’70s work is above reproach. Even my man Randy Newman always speaks of that stuff with reverence.
So anyway I’m open to suggestions on what to do about this gaping hole in my musical knowledge.
So glad you asked this question, BigSteve. I’d recommend the classic 2-CD set Musicquarium (I think that’s the title) and then filling in some of his ’60s stuff with a good comp or two, then proceeding with extreme caution. It’s a matter of time before you happen upon his over-melismatized odes to the Lord/a hot woman. I know, one and the same. The singing style he supported is bad enough; wait ’til you hear his influence on ponderous, follow-the-bouncing-ball, “tv church” numbers. Really bad stuff. His sap is as sappy and hard to take as the sap of a solo McCartney album. The problem with Wonder is that he never had an 8-year stretch during which he had to fight with other supremely talented songwriters to get 5-6 songs on an album. He’s had a free ride from Day 1, and it’s resulted in a lifetime of material swinging from the highest of highs to the lowest of lows.
I was going to say that if you could find the “Anthology” release (a former 3-record set). It covers all the early stuff up to “innervisions”. It was probably released orignally in ’72 or ’73.
FWIW – My fav Stevie song is “Yesterme, Yesteryou, Yesterday”. A good transition song for Stevie. Cool song structure, hot bass, and other good conventions (prock-wise)
I think saying he’s had a free ride is harsh, Mr. Mod. The competition with another songwriter is an energy producer, not an energy drain. I can’t stand Stevie’s sappy side, and only his most funk or rock tunes generally work for me. I had a similar experience to Steve of feeling like I should check out his golden age records. I had a twofer of Signed, Sealed, Delivered with My Cherie Amour, and I love that stuff. So I went and bought Music of My Mind and Fulfillingness’ First Finale. (Zany title got me!) I enjoy them, and find them to be pretty solid. I really am a fan of the album material that show’s an artist’s quirks, and I’ve heard all of Musiquarium a’plenty, so I picked these two. The tune “Evil” is a hit, and will surely show up in this year’s Christmas show with Big Mess. IMO, no record from those years is a bad spend. But later? Whoo! No thanks, I’ll leave that vacuum right where it is…
I liken Wonder’s greatness – and he is great – to that of Creedence Clearwater Revival. CCR cranked out their 30 or so tremendous singles, but based on the couple of CCR albums I’ve picked up, I feel no need to examine more of their deep cuts. I’ve got one or two of the “acknowledged masterpieces,” as I think Steve put it, and they couldn’t be loaded with more 8-minute, crucifix-coke mirror moments.
I had forgotten about Musiquariam, so the question is, why not just get that? Then when I looked at it, I see there are only 16 tracks, including four that aren’t released anywhere else … and for $26.99. For just $34.97 I can get At the Close of the Century, a 4-disc box that includes a whole disc of early Motown-era stuff, and 2 discs with what looks like a fuller sampling of the 70s. But then there’s a 4th disc with material from the 80s. Ugh.
Actually Amazon has remastered versions of the original albums very reasonably priced, so that I could get Music of My Mind, Talking Book, Innervisions, and Fulfillingness for a total of $36.88. Hhhmmm….
BigSteve, looks like no one’s really stepping forward with much to recommend beside the hits collections. Let me know what you think if you end up buying those full albums. I can see your point in terms of economics.
As for the 4 previously unreleased tracks on Musiquarium, you’ll wish they’d stayed unreleased. Another example of the as-yet-to-be tried Rock Crime of the previously unreleased tracks tacked onto Greatest Hits collections.
Thanks about the warning on Musiquarium, Mr. Mod. It seems like the best plan is to buy one or more of the big 4, especially since they’re so cheap, and go from there.
Hey, BigSteve — though I recommend against the Musiquarium route (definitely grab those classic LPs instead, starting with, oh, “Innervisions,” I guess), I want to go on record as saying Mr. Mod is fulla shit re: the extra traxx on the greatest hits LP. The traxx in question are:
1. Ribbon In the Sky — okay, let’s get the cheeseball out of the way first. I happen to like this song, but I recognize my love for its sappy, over-long, soul-jazz groove puts me in a distinct minority in rockist crowds like this one. So be it.
2. Front Line — one of Stevie’s more more strident anti-racism numbers, this one is on a par with any number of his havily funky early 70s numbers. Maybe not his *best* material, but a solid B+ from Stevie is worth more to me than 90% of the A+ material from from 90% of everybody else out there.
3. That Girl — light and breezy in a very good way, this may have been the last of Wonder’s quality radio hits. This is *not* cut from the same cloth as, say, “I Just Called to Say I Love You” or (shudder) “Part Time Lover” — it’s well written and interestingly Stevie-ish in a way his later hits were definitely not.
4. Do I Do — how can you *not* like this song, Moddie? Is the extended groove a the end too indulgent for your ascetic rok tastes? Do you have a problem with roping in aging jazz musicians to spice up the mix? (Diz plays a tasty solo as part of the outro.) What?
Just wanted you to know.
Townsman Hrrundi, I wasn’t thinking of “That Girl” and “Do I Do” when I made my warning. I only recalled the horrible “Front Line” (I don’t care if that song raised MLK and Malcolm X from the dead, it’s really bad – a precursor to the worst funk metal of Living Color) and “Ribbon in the Sky”, which you describe accurately and, more importantly, honestly. I heartily agree with you on “That Girl” and “Do I Do”, so I stand corrected, both accurately and, more importantly, honestly.
In fact, the more I think about it, “Do I Do” may be the song that best explains all that is great, giving, and endearingly over the top about Stevie. I LOVE the long outro. I am ashamed of myself for not realizing that this had been a previously unreleased track. Rock Town Hall, I ask for your forgiveness.
Mr. Moderator: Rock Town Hall, which of its great mercy hath promised forgiveness of sins to all those who with hearty repentance and true faith turn unto it, have mercy upon you, pardon and deliver you from all your Stevie-related sins, confirm and strengthen you in all goodness, and bring you to the ability to really appreciate and seriously *get into* “The Secret Life Of Plants.”
Now, go forth and sin no more.