Stevie Wonder album by album

Stevie Wonder in 1973, at the start of his classic period.

Introduction

Stevie Wonder was part of the musical background of my childhood. His Motown singles are threads in the tapestry  - no, they are notes in the nostalgic and evocative songs of my youth. I grew up with the Beatles, Bob Dylan and Motown, so Stevie Wonder is a significant part of my history, and when I became a teenager and was exploring further, and looking  for something more me and more meaningful than the pop of my youth, so was Stevie Wonder. He was making his early classic period albums just as I was getting serious about life, music, and the universe. Talking Book was a revelation to me. It was mature, ambitious, accomplished, and very soulful. I lost touch with his later classic period work as I was exploring more radical and more underground music, and when he entered his 80s commercial streak, I lost faith in him as an artist I was interested in. But he has always interested me.....

Life and Career

Stevie Wonder is both popular and critically acclaimed. Born a blind black man in the racially intolerant southern state of Mississippi in the Fifties his future wouldn't have seemed promising, but with a confident personality, and a gift for harmony, he went on to become one of the top 60 best selling music artists of all time, and the recipient of the most Grammy Awards for a solo male artist.

His work is largely seen as in three sections - the singles of the Sixties, the albums of the Seventies, and the commercial work of the Eighties. The albums he made during the Seventies are seen as his classic period, and are an interesting body of work, blending soul and funk in an harmonious way. The work he produced during the Sixties belongs more to the Motown Sound than to Wonder himself, and if it were not for the Seventies albums, he would be viewed as just another part of Motown; the Eighties albums are very popular, but not interesting enough to sustain critical or academic interest, so if his reputation were to rest just on those, his name would gradually fade from history. Antonio Salieri was a highly successful, influential and popular composer during his lifetime, but if it where not for the film Amadeus, in which he is shown in contrast to the boy genius Mozart, his name would not now be known. Popularity in their own lifetime does not guarantee any artist lasting fame. Robustness of the work produced is what ensures enduring interest - and for Stevie Wonder, that is the classic albums of the Seventies.

Wonder has a tendency toward what Robert Christgau calls "mush" - that is, he can be twee and over sentimental both in music and in lyrics. His lyrics are acceptable, rather than engaging. But his grasp and handling of melody and rhythm is very fine indeed. The music is great, the voice is awesome, but the lyrics suck lemons dry. Superficial and awkward - they are best not listened to closely, but just appreciated as sounds. We listen to and appreciate Wonder for his music - for his instinctive ability to get our toes tapping, and our mood happy; and for how, at his very best, his music can engage our intellect as well as our emotions, to create a satisfying and rewarding sound that feels composed rather than put together. During the Sixties he made a series of albums and singles under the influence of those around him in Tamla Motown, and his Sixties work, while pleasant and at times very decent, does not quite show his individuality - the extraordinary bravado of "Fingertips" apart. It is when he has grown up, and is shrugging off Motown in the Seventies, that we get the Stevie Wonder that will stand the test of time. His Sixties work belongs to the Motown Story, his Eighties work - popular but ephemeral - earned him money, but his Seventies work is what earned him respect, and that is what will endure.

His sound is influenced by the Motown Sound, Ray Charles, James Brown, The Isley Brothers, Sly Stone, and other soul and funk acts of the Sixties. Where it is distinctly and recognisably Stevie Wonder is in the combination of a compulsive beat and attractive harmony, a blend of schmaltz and funk, simplistic but effective romantic lyrics juxtaposed with leaden social consciousness lyrics, well composed rhythmic layers, orchestral synthesisers, and Wonder's rich, warm and varied voice. There's a commanding professional confidence and gloss about all his work, even the failures, and when it all comes together successfully, that confidence inspires joy and admiration - the feeling of being secure in the playful hands of a master.

His first single, "I Call It Pretty Music, but the Old People Call It the Blues", released August 1962, almost went into the Billboard 100, but stopped at 101. After the big hit, "Fingertips" from Recorded Live: The 12 Year Old Genius, which hit No 1 on Billboard and the R&B charts, there followed a quiet period during which Wonder's voice was changing as he grew up. Motown were not sure what to do with him, and were considering dropping him from the label. Indeed, they would have done, if it were not for Sylvia Moy persuading label owner Berry Gordy to give Wonder another chance, and then helping him create "Uptight (Everything's Alright)" which was a bit hit, followed by other successful Sixties singles. The albums during the Sixties were collections of songs, usually by a range of writers, sometimes on a theme - beach, Christmas, etc, but none of them are significant. Motown controlled Wonder, and Motown were not an album orientated label - the focus was always on songs, and songs that would make good singles.

When Wonder came of age, his contract with Motown was over, and he came into the money they had held in trust for him. Wonder was now independent, and used the money to record the albums he wanted. He struck a deal with Berry Gordy so Motown retained him as a recording artist, but on Wonder's terms. So began Wonder's classic Seventies period in which freed from restraint he was able to explore as he wanted. Exactly which of the albums recorded and released in the Seventies are part of the "classic" canon is open to debate; however, all are agreed that at the core are Talking Book and Innervisions - interestingly, the only two albums in which Wonder is shown not wearing black glasses. The classic period ends with Songs In The Key Of Life, and that simultaneously marks the start of the commercial period - the album containing elements of both periods - though for me it's more commercial than classic.

Once we enter the 80s critical interest in his music declines markedly; though critics keep paying attention in the hope he'll return to making music as good as his early 70s period. The 2005 album, A Time To Love, indicates that he might just now be doing that.

The albums

The Jazz Soul of Little Stevie  (1962)

Stevie Wonder's first released album - the instrumental The Jazz Soul of Little Stevie, is, as it says on the tin, a rather cool and snazzy jazz soul album. Easy listening, it's a pleasant enough album, and though not written or sung by Wonder, and not in what would be later recognised as the Motown Sound, it is very much in the easy, melodic, middle-of-the-road sound that is Wonder's bag. It would be an enjoyable album recorded by anyone, but knowing that the performer is only 12 years old, you are impressed, and suspect that the kid will do well. Knowing that this is the début album of Stevie Wonder makes it a somewhat more interesting listen, as you pick up musical phrasing that will be heard 10, 20 and 30 years later on records known and loved around the world. The track "Wondering" was co-written by Wonder, and though not his first recorded composition (that is "Sunset" from the Tribute to Uncle Ray album), it is the first to be released. The album opens with the studio version of "Fingertips" that would be later recorded live and released as his first number one single. This album is livelier and of more interest and energy than any of the big selling Eighties albums; but, it has to be admitted, is essentially a rather light piece.

Released	September 1962
Studio	Hitsville USA, Detroit
Genre	Funk[1]
Length	29:51
Language	Instrumental[1]
Label	Tamla
Producer	Henry Cosby Clarence Paul

Side one

1. "Fingertips" (Henry Cosby, Clarence Paul) – 3:00 - Little Stevie on bongos
2. "The Square" (Cosby, Paul) – 3:03 - Little Stevie on harmonica
3. "Soul Bongo" (Marvin Gaye, Paul) – 2:20 - Little Stevie on bongos
4. "Manhattan at Six" (Cosby, Paul) – 3:47 - Little Stevie on drums
5. "Paulsby" (Cosby, Paul) – 2:47 - Little Stevie on organ and harmonica

Side two

1. "Some Other Time" (Cosby, Paul) – 5:11 - Little Stevie on harmonica
2. "Wondering" (Paul, Stevie Wonder) – 2:51 - Little Stevie on organ
3. "Session Number 112" (Paul, Wonder) – 3:18 - Little Stevie on piano and harmonica
4. "Bam" (Berry Gordy, Jr.) – 3:34 - Little Stevie on harmonica

Non-album singles
* "I Call It Pretty Music..."
* "Little Water Boy" (with Clarence Paul)

Wikipedia
AllMusic:
Rating: 4

Tribute to Uncle Ray  (1962)

Though released as Wonder's second album, Tribute to Uncle Ray was recorded first. Mainly covers of Ray Charles songs, the album is interesting merely because it shows the strength of Wonder's voice when still only 11 years old. Also for "Sunset", the earliest known performance of one of his own songs.

Released	October 1962
Recorded	1962
Studio	Studio A, Hitsville USA, Detroit
Genre	Soul, jazz
Length	31:13
Label	Tamla
Producer	Henry Cosby, Clarence Paul

Side One

1. "Hallelujah I Love Her So" – 2:28
2. "Ain't That Love" – 2:42
3. "Don't You Know" – 3:03
4. "The Masquerade" (Herbert Magidson, Allie Wrubel) – 4:19
5. "Frankie & Johnny" (Traditional; arranged by Clarence Paul) – 2:51

Side Two

1. "Drown in My Own Tears" (Henry Glover) – 4:01
2. "Come Back Baby" - 2:50
3. "Mary Ann" – 2;59
4. "Sunset" (Stevie Wonder as Stevie Judkins, Clarence Paul) – 3:32
5. "My Baby's Gone" (Berry Gordy, Jr.) – 2:28 

Wikipedia
AllMusic:
Rating: 3

Recorded Live: 
The 12 Year Old Genius (1963) 

Recorded Live: The 12 Year Old Genius open with the blistering live Fingertips, and then continues to impress with the energy (if not the music) of Soul Bongo, before descending into a mishmash of songs that while are impressively performed by a 12 year old, and also rather obviously performed by a 12 year old. Did I mention that he is 12? That seems the main point of this. Other than Fingertips, this isn't a great album, but you can listen to it.

Released	May 21, 1963
Recorded	June 1962
Venue	Regal Theater, Chicago
Genre	Soul
Length	23:36
Label	Tamla
Producer	Berry Gordy

Side One

1. "Fingertips" (Henry Cosby, Clarence Paul) – 6:40 (Little Stevie on bongos, harmonica and vocals)
2. "Soul Bongo" (Marvin Gaye, Paul) – 3:01 (Little Stevie on bongos)
3. "La La La La La" (Paul) – 2:34 (Little Stevie on drums and vocals)

Side Two

1. "(I'm Afraid) The Masquerade Is Over" (Herbert Magidson, Allie Wrubel) – 5:13
2. "Hallelujah I Love Her So" (Ray Charles) – 2:48 (Little Stevie on piano and vocals)
3. "Drown in My Own Tears" (Henry Glover) – 3:23
4. "Don't You Know" (Charles, Berry Gordy) – 3:19 (Little Stevie on piano and vocals)

Video:
*"Fingertips" Poor quality recording of Stevie Wonder on the Motown Revue

Wikipedia
AllMusic:
Rating: 4

With a Song in My Heart  (1963) 

With a Song in My Heart is an album of standards that stretches the young Wonder's voice. The lush, sophisticated production painfully exposes the inappropriateness of the songs for Wonder's young, straining voice. Ouch. This is not nice, and all copies should be destroyed.

Released	December 28, 1963
Recorded	1963 at Hitsville USA (vocals); Los Angeles (instrumentation)
Genre	Soul, jazz
Length	32:41
Label	Tamla
Producer	Clarence Paul, William "Mickey" Stevenson

Side One

1. "With a Song in My Heart" (Lorenz Hart, Richard Rodgers) – 3:11
2. "When You Wish Upon a Star" (Ned Washington, Leigh Harline) – 2:59
3. "Smile" (Charlie Chaplin, Geoffrey Parsons, John Turner) – 3:20
4. "Make Someone Happy" (Betty Comden, Adolph Green, Jule Styne) – 5:04
5. "Dream" (Johnny Mercer) – 2:50

Side Two

1. "Put on a Happy Face" (Charles Strouse, Lee Adams) – 2:37
2. "On the Sunny Side of the Street" (Dorothy Fields, Jimmy McHugh) – 3:58
3. "Get Happy" (Harold Arlen, Ted Koehler) – 2:12
4. "Give Your Heart a Chance" (Ron Miller, Orlando Murden, Kenneth O'Neil) – 2:16
5. "Without a Song" (Edward Eliscu, Billy Rose, Vincent Youmans) – 4:14

Wikipedia
AllMusic:
Rating: 1

Stevie at the Beach  (1964)

Stevie at the Beach is a collection of songs on a beach theme in an attempt to catch the surfing music fad. Mostly instrumentals with Stevie on harmonica - the tracks that include Wonder singing show his voice in flux. On some tracks, such as "Hey Harmonica Man", he still sounds young; on some other tracks, such as "Castles in the Sand",  his voice is starting to mature but is not quite there. After this album Gordy and the team were seriously considering dropping Wonder. They had tried a few styles with insufficient success, and what they knew worked - his youthfulness - was leaving him. It would be two years during which his voice matured, and Sylvia Moy intervened to save his career, before his next album.

Released	June 23, 1964
Recorded	1963–1964
Studio	Hitsville USA (vocals); Los Angeles (instrumentation)[citation needed]
Genre	Surf music, pop, R&B, soul
Length	24:27
Label	Tamla
Producer	Hal Davis, Marc Gordon, Dorsey Burnette

Side One

1. "Castles in the Sand" (Hal Davis, Marc Gordon, Mary O'Brien, Frank Wilson) - 2:11
2. "Ebb Tide" (instrumental) (Robert Maxwell, Carl Sigman) - 1:45
3. "Sad Boy" (Dorsey Burnette, Gerald Nelson) - 2:28
4. "Red Sails in the Sunset" (instrumental) (Hugh Williams, Jimmy Kennedy) - 2:01
5. "The Beachcomber" (instrumental) (Arthur Wright) - 1:46
6. "Castles in the Sand" (instrumental) (Hal Davis, Marc Gordon, Mary O'Brien, Frank Wilson) - 1:52

Side Two

1. "Happy Street" (George Everette Hemric, Jule Styne) - 2:19
2. "The Party at the Beach House" (Frank Wilson) - 2:03
3. "Hey Harmonica Man" (Marty Cooper, Lou Josie) - 2:38
4. "Beachstomp" (Hal Davis, Frank Wilson) - 2:38
5. "Beyond the Sea" (Charles Trenet, Jack Lawrence) - 2:46

Wikipedia
AllMusic:
Rating: 2

Up-Tight (1966) 

Wonder has co-writing credit on five of the 12 tracks on Up-Tight, but that's about as far as interest goes. The album sounds like Motown songs that failed Berry Gordy's audition. It's all a bit second-rate. Harmless, but not pleasurable or interesting. The title track is, of course, awesome, but it does throw the other songs into relief.

Released	May 4, 1966
Recorded	1965 - 1966; 1962 ("Contract on Love"); 1964 ("Pretty Little Angel")
Studio	Hitsville U.S.A., Detroit
Genre	Soul
Length	33:16
Label	Tamla
Producer	Henry Cosby, William "Mickey" Stevenson, Clarence Paul, Brian Holland, Lamont Dozier

Side One

1. "Love a Go Go" (Beth Beatty, Ernie Shelby) - 2:46
2. "Hold Me" (Morris Broadnax, Clarence Paul, Wonder) - 2:36
3. "Blowin' in the Wind" (Bob Dylan) - 3:46
4. "Nothing's Too Good for My Baby" (Henry Cosby, Sylvia Moy, William Stevenson) - 2:39
5. "Teach Me Tonight" (Sammy Cahn, Gene De Paul) - 2:39
6. "Uptight (Everything's Alright)" (Wonder as Stevie Judkins, Moy, Cosby) - 2:54

Side Two

1. "Ain't That Asking for Trouble" (Moy, Paul, Wonder) - 2:49
2. "I Want My Baby Back" (Harvey Fuqua, Cornelius Grant, Eddie Kendricks, Norman Whitfield) - 2:49
3. "Pretty Little Angel" (Paul, Mike Valvano, Wonder) - 2:12
4. "Music Talk" (Ted Hull, Paul, Wonder) - 2:52
5. "Contract on Love" (Janie Bradford, Lamont Dozier, Brian Holland) - 2:06
6. "With a Child's Heart" (Vicki Basemore, Cosby, Moy) - 3:08

Wikipedia
AllMusic:
Rating 3

Down to Earth (1966) 

Down to Earth contains the single "A Place in the Sun", some songs by Wonder, some covers, some staff songs. The usual Sixties Motown album. Pleasant enough, but meaningless. You can listen to this and enjoy it, but then instantly forget it. "A Place in the Sun" apart, the Wonder written songs are the best.

Released	November 16, 1966
Recorded	1965-1966 at Hitsville U.S.A., Detroit
Genre	Pop, R&B, Soul
Length	33:13
Label	Tamla (Motown)
Producer	Clarence Paul, Henry Cosby

Side One

1. "A Place in the Sun" (Ron Miller, Bryan Wells) - 2:52
2. "Bang Bang" (Sonny Bono) - 2:42
3. "Down to Earth" (Miller, Avery Vanderberg) - 2:50
4. "Thank You Love" (Henry Cosby, Sylvia Moy, Stevie Wonder) - 2:55
5. "Be Cool, Be Calm (And Keep Yourself Together)" (Cosby, Moy, Wonder) - 2:43
6. "Sylvia" (Cosby, Moy, Wonder) - 2:34

Side Two

1. "My World Is Empty Without You" (Holland-Dozier-Holland) - 2:53
2. "The Lonesome Road" (Gene Austin, Nat Shilkret) - 3:06
3. "Angel Baby (Don't You Ever Leave Me)" (Cosby, Moy) - 2:45
4. "Mr. Tambourine Man" (Bob Dylan) - 2:30
5. "Sixteen Tons" (Merle Travis) - 2:42
6. "Hey Love" (Morris Broadnax, Clarence Paul, Wonder) - 2:41

Wikipedia
AllMusic:
Rating: 3

I Was Made to Love Her (1967) 

I Was Made to Love Her consists of three Wonder songs, some covers, and other songs by Motown staff. It's as listenable as his Eighties work - competent songs, delivery and production. A professional job. Nice enough but meaningless.

Released	August 27, 1967
Recorded	April–July 1967 at Hitsville U.S.A., Detroit
Genre	Soul
Length	32:15
Label	Tamla
Producer	Henry Cosby, Clarence Paul

Side One

1. "I Was Made to Love Her" (Wonder, Henry Cosby, Sylvia Moy, Lula Mae Hardaway) – 2:36
2. "Send Me Some Lovin'" (Lloyd Price, John Marascalco) – 2:29
3. "I'd Cry" (Wonder, Moy) – 2:33
4. "Everybody Needs Somebody (I Need You)" (Wonder, Clarence Paul) – 2:36
5. "Respect" (Otis Redding) – 2:21
6. "My Girl" (Smokey Robinson, Ronald White) – 2:55

Side Two

1. "Baby Don't You Do It" (Holland-Dozier-Holland) – 2:11
2. "A Fool for You" (Ray Charles) – 3:16
3. "Can I Get a Witness" (Holland-Dozier-Holland) – 2:42
4. "I Pity the Fool" (Deadric Malone) – 3:04
5. "Please, Please, Please" (James Brown, John Terry) – 2:40
6. "Every Time I See You I Go Wild" (Wonder, Cosby, Moy) – 2:52

Wikipedia
AllMusic:
Rating 3

Someday at Christmas (1967) 

Someday at Christmas is pure schmaltz and mush and trite nonsense. Wonder has a warm, pleasant and versatile voice, and does what he can with this mix of standards and new songs by a Motown staff writer all on the theme of Christmas.

Released	November 27, 1967
Genre	Soul, Christmas
Length	34:57
Label	Tamla
Producer	Henry Cosby

Side One

1. "Someday at Christmas" (Ron Miller, Bryan Wells) – 2:49
2. "Silver Bells" (Jay Livingston, Ray Evans) – 2:22
3. "Ave Maria" (Franz Schubert) – 3:56
4. "The Little Drummer Boy" (Katherine K. Davis, Henry Onorati, Harry Simeone) – 3:05
5. "One Little Christmas Tree" (Ron Miller, Bryan Wells) – 2:41
6. "The Day That Love Began" (Ron Miller, Deborah Wells) – 3:33

Side Two

1. "The Christmas Song" (Mel Tormé, Robert Wells) – 3:06
2. "Bedtime for Toys" (Ron Miller, Orlando Murden) – 3:28
3. "Christmastime" (Sol Selegna) – 2:32
4. "Twinkle Twinkle Little Me" (Ron Miller, William O'Malley) – 3:13
5. "A Warm Little Home on a Hill" (Ron Miller, Bryan Wells) – 3:26
6. "What Christmas Means to Me" (Anna Gaye, Allen Story, George Gordy) – 2:27

Wikipedia
AllMusic:
Rating 2

Eivets Rednow (1968) 

Eivets Rednow (Stevie Wonder backwards) is an easy-listening harmonica based instrumental album which was created to cash in on the success of the easy-listening harmonica based instrumental single "Alfie". It's a cheap and nasty album. One of Wonder's worse.

Released	November 20, 1968
Recorded	1967–1968
Studio	Hitsville U.S.A., Detroit
Genre	Soul
Length	32:01
Label	Gordy
Producer	Henry Cosby

Side One

1. "Alfie" (Burt Bacharach, Hal David) – 3:14
2. "More than a Dream" (Henry Cosby, Stevie Wonder) – 3:48
3. "A House Is Not a Home" (Burt Bacharach, Hal David) – 3:32
4. "How Can You Believe" (Stevie Wonder) – 3:04
5. Medley: "Never My Love/Ask the Lonely" (Don Addrisi, Dick Addrisi/Ivy Jo Hunter, William "Mickey" Stevenson) – 2:30

Side Two

1. "Ruby" (Mitchell Parish, Heinz Roemheld) – 6:48
2. "Which Way the Wind" (Stevie Wonder) – 2:47
3. "Bye Bye World" (Stevie Wonder) – 3:21
4. "Grazin' in the Grass" (Philemon Hou) – 2:57

Wikipedia
AllMusic:
Rating: 2

For Once in My Life  (1968) 

Wonder wrote eight of the twelve songs on For Once in My Life, and was involved in the production. The title track is so typically Wonder, and suggestive of his classic period, though was not written by Wonder. "Shoo-Be-Doo-Be-Doo-Da-Day", though a minor song in the Wonder canon, was a modest hit, and does point firmly to the classic period with the range and expressiveness of Wonder's voice, and the melodic use of a clavinet - an electronic keyboard. The rest of the songs are funky and relatively sophisticated, and while there's nothing really great here, this is a much more mature album than what has gone before - it shows Wonder growing as an artist, and is worth checking out.

Released	December 8, 1968
Recorded	1967
Studio	Hitsville U.S.A., Detroit
Genre	Soul
Label	Tamla
Producer	Henry Cosby, Don Hunter, Stevie Wonder

Side One

1. "For Once in My Life" (Ron Miller, Orlando Murden) 2:48
2. "Shoo-Be-Doo-Be-Doo-Da-Day" (Henry Cosby, Sylvia Moy, Stevie Wonder) 2:45
3. "You Met Your Match" (Lula Mae Hardaway, Don Hunter, Wonder) 2:37
4. "I Wanna Make Her Love Me" (Henry Cosby, Hardaway, Moy, Wonder) 2:52
5. "I'm More Than Happy (I'm Satisfied)" (Henry Cosby, Cameron Grant, Moy, Wonder) 2:56
6. "I Don't Know Why" (Hardaway, Hunter, Paul Riser, Stevie Wonder) 2:46

Side Two

1. "Sunny" (Bobby Hebb) 4:00
2. "I'd Be a Fool Right Now" (Cosby, Moy, Wonder) 2:54
3. "Ain't No Lovin'" (Hardaway, Hunter, Riser, Wonder) 2:36
4. "God Bless the Child" (Arthur Herzog Jr., Billie Holiday) 3:27
5. "Do I Love Her" (Wonder) 2:58
6. "The House on the Hill" (Lawrence Brown, Berry Gordy, Allen Story) 2:36

Wikipedia
AllMusic:
Rating 4

My Cherie Amour (1969) 

Other than the title track, and "Yester-Me, Yester-You, Yesterday", My Cherie Amour consists of trivial songs, only four written by Wonder.

Released	August 29, 1969
Recorded	1969 ("My Cherie Amour" recorded in 1967-68)
Studio	Hitsville U.S.A., Detroit
Genre	Pop soul, R&B
Label	Motown
Producer	Henry Cosby

Side One

1. "My Cherie Amour" (Henry Cosby, Sylvia Moy, Stevie Wonder) – 2:54
2. "Hello, Young Lovers" (Oscar Hammerstein, Richard Rodgers) – 3:05
3. "At Last" (Mack Gordon, Harry Warren) – 2:51
4. "Light My Fire" (John Densmore, Robby Krieger, Ray Manzarek, Jim Morrison) – 3:25
5. "The Shadow of Your Smile" (Johnny Mandel, Paul Francis Webster) – 2:41
6. "You and Me" (Beatrice Verdi, Deke Richards) – 2:45

Side Two

1. "Pearl" (Richard Morris) – 2:42
2. "Somebody Knows, Somebody Cares" (Cosby, Moy, Lula Mae Hardaway, Wonder) – 2:33
3. "Yester-Me, Yester-You, Yesterday" (Ron Miller, Bryan Wells) - 3:06
4. "Angie Girl" (Cosby, Moy, Wonder) – 2:56
5. "Give Your Love" (Cosby, Don Hunter, Wonder) – 3:15
6. "I've Got You" (Moy, Wonder) – 2:35

Wikipedia
AllMusic:
Rating: 3

Stevie Wonder Live (1970)

Stevie Wonder Live is a filler album. The opening tracks "Pretty World" and "Theme from Romeo and Juliet"  give a flavour of the album. Unlikely to appear on anyone's best album list.

Released	March 6, 1970
Genre	R&B
Label	Tamla (Motown)

1. "Intro/Pretty World" (Antonio Adolfo, Alan Bergman, Marilyn Bergman, Tiberio Gaspar) - 3:20
2. "Sunny" (Bobby Hebb) - 2:41
3. "Love Theme from Romeo and Juliet (A Time for Us)" (Nino Rota, Eddie Snyder, Larry Kusik) - 3:00
4. "Shoo-Be-Doo-Be-Doo-Da-Day" (Henry Cosby, Sylvia Moy, Stevie Wonder) - 5:47
5. "Everybody's Talkin'" (Fred Neil) - 2:53
6. "My Cherie Amour" (Henry Cosby, Sylvia Moy, Stevie Wonder) - 2:55
7. "Yester-Me, Yester-You, Yesterday" (Ron Miller, Bryan Wells) - 2:36
8. "I've Gotta Be Me/Once in a Lifetime" (Leslie Bricusse, Walter Marks, Anthony Newley) - 5:57
9. "A Place in the Sun" (Ron Miller, Bryan Wells) - 2:20
10. "Down to Earth" (Ron Miller, William O'Malley, Avery Vandenberg) - 2:24
11. "Blowin' in the Wind" (Bob Dylan) - 6:30
12. "By the Time I Get to Phoenix" (Jimmy Webb) - 4:00
13. "Ca' Purange" (Mussapere) - 6:45
14. "Alfie" (Burt Bacharach, Hal David) - 5:00
15. "For Once in My Life/Thank You Love" (Ron Miller, Orlando Murden/Henry Cosby, Ron Miller, Sylvia Moy, Stevie Wonder) - 3:37

Wikipedia
AllMusic:
Rating: 2

Live at the Talk of the Town (1970)

Live at the Talk of the Town was a UK only release. It has a better song selection than Stevie Wonder Live, but is otherwise equally unremarkable.

Released	1970
Venue	Talk of the Town, London
Genre	R&B
Length	53:06
Label	Tamla (Motown)
Producer	Norman Smith

1. "Pretty World" (Antonio Adolfo, Alan Bergman, Marilyn Bergman, Tiberio Gaspar) – 3:35
2. "Never Had a Dream Come True" (Henry Cosby, Sylvia Moy, Wonder) – 3:40
3. "Shoo-Be-Doo-Be-Doo-Da-Day" (Cosby, Moy, Wonder) – 4:52
4. "My Cherie Amour" (Cosby, Moy, Wonder) – 3:13
5. "Alfie" (Burt Bacharach, Hal David) – 2:01
6. "Drum Solo" (Wonder) – 4:23
7. "Bridge over Troubled Water" (Paul Simon) – 8:35
8. "I Was Made to Love Her" (Cosby, Lula Mae Hardaway, Moy, Wonder) – 5:29
9. "Yester-Me, Yester-You, Yesterday" (Ron Miller, Bryan Wells) – 2:55
10. "For Once in My Life" (Miller, Orlando Murden) – 3:56
11. "Signed, Sealed, Delivered I'm Yours" (Lee Garrett, Hardaway, Wonder, Syreeta Wright) – 5:22

Wikipedia
AllMusic:
Rating 3

Signed, Sealed & Delivered  (1970)

With Signed, Sealed & Delivered there's a sense of Wonder getting back to the mature promise shown on For Once in My Life, though this, while attractive in places, is more of a Motown album than a Stevie Wonder album. There are hints at the transition that is about to occur, but we're not there yet - the music is fairly simple, the singing mostly breathy and/or shouted, but with little of the warmth and subtly that is about to emerge.

Released	August 7, 1970
Recorded	Hitsville U.S.A., Detroit
Genre	Soul
Length	35:32
Label	Motown
Producer	Stevie Wonder, Henry Cosby, Ron Miller, Steve Marcel Bega

Side One

1. "Never Had a Dream Come True" (Stevie Wonder, Henry Cosby, Sylvia Moy) - 3:13
2. "We Can Work It Out" (John Lennon, Paul McCartney) - 3:19
3. "Signed, Sealed, Delivered I'm Yours" (Lee Garrett, Lula Mae Hardaway, Wonder, Syreeta Wright) - 2:41
4. "Heaven Help Us All" (Ron Miller) - 3:13
5. "You Can't Judge a Book By Its Cover" (Cosby, Pam Sawyer, Wonder) - 2:32
6. "Sugar" (Don Hunter, Wonder) - 2:52

Side Two

1. "Don't Wonder Why" (Leonard Caston) - 4:54
2. "Anything You Want Me To Do" (Hunter, Hardaway, Paul Riser, Wonder) - 2:19
3. "I Can't Let My Heaven Walk Away" (Joe Hinton, Sawyer) - 2:53
4. "Joy (Takes Over Me)" (Duke Browner) - 2:12
5. "I Gotta Have a Song" (Hunter, Hardaway, Riser, Wonder) - 2:32
6. "Something to Say" (Hunter, Wonder) - 3:26

Wikipedia
AllMusic: 6
Rating 3 1/2

Where I'm Coming From (1971)

Where I'm Coming From  is sometimes considered Wonder's first independent album, though still recorded while under contract to Motown. Released around the same time as Marvin Gaye's What's Going On, with similar social awareness ambitions, the two albums were compared, with Wonder's being seen as the weaker. Few people seriously consider this as being part of Wonder's classic period. However, it's a more serious and a more considered album than Wonder had previously made. But serious and considered does not necessarily equal interesting and/or attractive. Having said that, there are sounds here that will be heard on the classic albums. While the album is patchy, incomplete, and uncomfortably earnest, it is clear that Wonder has been picking up on the social and musical ideas around him, and putting them together in an accomplished manner. What is missing is the special melodic flavour that Wonder can bring to tunes and the use of TONTO. And that will come.

Released	April 12, 1971
Recorded	July 1970–February 1971
Studio	Hitsville U.S.A., Detroit
Genre	Soul, pop, funk
Length	34:46
Label	Tamla
Producer	Stevie Wonder

All songs by Stevie Wonder and Syreeta Wright.

Side One

1. "Look Around" – 2:45
2. "Do Yourself a Favor" – 6:10
3. "Think of Me as Your Soldier" – 3:37
4. "Something Out of the Blue" – 2:59
5. "If You Really Love Me" – 3:00

Side Two

1. "I Wanna Talk to You" – 5:18
2. "Take Up a Course in Happiness" – 3:11
3. "Never Dreamed You'd Leave in Summer" – 2:53
4. "Sunshine in Their Eyes" – 6:58

Wikipedia
AllMusic:  9
Rating: 4 1/2

Music of My Mind (1972)

Music of My Mind is a mature album for a 21 year old. It was made independently by Wonder, and then sold back to Motown under a new contract. Rich with synthesisers and a bold and bright funk music, this is a sharp and sophisticated album that puts Wonder firmly on the road that will deliver Talking Book and the other classic period albums. For some observers the classic period starts here, and one can certainly see the relevance of that argument, especially as this is the first to use TONTO, and all the other classic period albums also used TONTO. The opener, "Love Having You Around", is a strong piece of studied and sophisticated funk, bold and fresh and confident, it balances well the lighter, frothier, slightly twee "Happier Than the Morning Sun". A little of the twee works well as contrast now and again; unfortunately it is a style of music that Wonder would later too consistently cling to.  "Superwoman (Where Were You When I Needed You)"  is widely acknowledged as the most accomplished of the songs on the album - it could easily have appeared on Talking Book as it has the same perfect touch, and a very similar sound and feel. A really good album. If you like Talking Book you'll like this.

Released	March 3, 1972
Studio	Media Sound, Electric Lady (New York, New York) Crystal Industries (Los Angeles, California)
Genre	Soul, funk
Length	47:53
Label	Tamla
Producer	Malcolm Cecil, Robert Margouleff, Stevie Wonder

Side one

1. "Love Having You Around" (Wonder, Syreeta Wright) – 7:21
2. "Superwoman (Where Were You When I Needed You)" – 8:08
3. "I Love Every Little Thing About You" – 3:46
4. "Sweet Little Girl" – 4:54

Side two

1. "Happier Than the Morning Sun" – 5:18
2. "Girl Blue" (Wonder, Yvonne Wright) – 3:36
3. "Seems So Long" – 4:22
4. "Keep On Running" – 6:40
5. "Evil" (Wonder, Y. Wright) – 3:33

Wikipedia
AllMusic: 9
Rating: 7

Talking Book (1972)

Talking Book is my Stevie Wonder album. I had a copy of the gate-fold vinyl album, acquired at around the time of the original release, though I don't remember exactly how I obtained it: gift, purchase, theft.... Anyway, I somehow had it. Why I had it, I don't know. Stevie Wonder wasn't a big name then. Yes, he'd had some Motown hits, but he wasn't a rock artist. He'd supported the Rolling Stones on their 1972 American tour, and after seeing stuff like this, thousands of rock fans went home and bought Wonder's album when it came out later in the year. But I hadn't seen that tour. And nor had anybody in the UK, as it was a North America only tour. I do recall the sense I had that the album was highly respected by critics, so there may have been some high profile positive coverage of the album in the UK music papers - highly likely to be the NME, which was my music bible.

For me, this is the best Wonder album. His most intimate, most warm, and most emotional (though that emotion tends to be melodic rather than human).  It's an album that I considered to be grown up music - it does belong with other  middle-of-the-road, easy-listening albums: non-demanding, quiet, refined, pleasant music. The opening bars of the opening track, "You Are The Sunshine Of My Life", create a relaxed, cosy, evening feel. Music to play late at night, or on lazy Sunday afternoons. Mood music. Not an album I ever get excited about, but I like to wrap it around me like a warm, familiar blanket. It's my favourite Wonder album. It was my introduction to him, and it has remained a constant friend. I love the melodic weaving and polyrhythmic layers of "Maybe Your Baby"; the liquid beauty of  "You and I (We Can Conquer the World)", with its shimmering synthesisers; the melodic and toe-tapping  funk of "Superstition" - almost impossible to listen to without some part of the body moving in response; the gentle cool jazz of  "Lookin' For Another Pure Love"; and the transcendental hymn like qualities of the closing track, "I Believe (When I Fall in Love It Will Be Forever)". It's a very attractive album, and even the filler tracks are pleasant moments. The lyrics are poor, and let it down, and that mushy, schmaltzy, easy-listening feel means that it's hard to engage with it on a meaningful level - this is not genuine emotion, it's manufactured romance, Tin Pan Alley feelings; glib, clever, at times very sophisticated, but never hard and real. Wonder's use of synths rather than genuine, played instruments, and his production method of mainly playing all the instruments solo and multi-tracking, takes away the emotion, the groove, and genuine feel. It's like the difference between listening to a recording, or experiencing the concert in person. However, the end result is a warm, comfy album one can sink into.

Released	October 27, 1972
Recorded	1972
Studio	Electric Lady, New York City Crystal Sound, Hollywood Record Plant, Los Angeles AIR, London
Genre	Progressive soul  funk  soul  rock  jazz
Length	43:29
Label	Tamla
Producer	Stevie Wonder  Robert Margouleff (assoc.) Malcolm Cecil (assoc.)

All tracks are written by Stevie Wonder, unless otherwise noted.

Side one

No.	Title	Writer(s)	Length
1.	"You Are the Sunshine of My Life"		2:58
2.	"Maybe Your Baby"		6:45
3.	"You and I (We Can Conquer the World)"		4:39
4.	"Tuesday Heartbreak"		3:09
5.	"You've Got It Bad Girl"	Wonder Yvonne Wright	4:55
Total length:			22:13

Side two

No.	Title	Writer(s)	Length
1.	"Superstition"		4:26
2.	"Big Brother"		3:35
3.	"Blame It on the Sun"	Wonder Syreeta Wright	3:28
4.	"Lookin' for Another Pure Love"	Wonder Syreeta Wright	4:45
5.	"I Believe (When I Fall in Love It Will Be Forever)"	Wonder Yvonne Wright	4:48
Total length:			21:16

Wikipedia
AllMusic: 10
Rating 9

Innervisions (1973)

Innervisions was my second Stevie Wonder album. It's a more complex, expansive and politic album than Talking Book. It's a return to the more ambitious lyrical and musical ideas of Where I'm Coming From, though this time more successfully. I find the album's tones too high, too sharp, and the music blends are a little too limited and repetitive for this to be an entirely comfortable and engaging listen. I suspect for some critics, the very musical edges I find uncomfortable, they feel act as an interesting counter-balance to Wonder's tendency toward sugary sweet schmaltz, and that the musical edginess is matched by the lyrical edginess, with social commentary on drug use, organised religion, city life, and racism.  The most appealing and attention grabbing track is "Living for the City", a strong rhythm, Wonder's earnest delivery, social conscious lyrics, a funky vamp, and a spoken drama of a naive black boy getting arrested, all combine to create a memorable event that is greater than its parts. The other stand-out track is "He's Misstra Know-It-All", with some of Wonder's best lyrics - a subtle song that cynically defines and describes man's flaws as effectively as Bob Dylan or Lennon & McCartney. But, for me, despite the earnest attempt to write social commentary, the album doesn't quite work - the lyrics, mostly, are too flat, and state rather than evoke or describe. There's nothing sharp or significant in Wonder's observations and commentary, same as there's nothing moving about Wonder's love songs. It's an OK album - but most of the songs are so-so: I can take them or leave them. There's nothing essential here. 

Released	August 3, 1973
Recorded	1973
Studio	Record Plant (Los Angeles) Mediasound (New York City)
Genre	Progressive soul  funk  soul  rock  jazz
Length	43:52
Label	Tamla: T326
Producer	Stevie Wonder  Robert Margouleff (assoc.) Malcolm Cecil (assoc.)

All songs written, produced, and arranged by Stevie Wonder.

Side one

1. "Too High" – 4:37
2. "Visions" – 5:25
3. "Living for the City" – 7:23
4. "Golden Lady" – 4:49

Side two

1. "Higher Ground" – 3:40
2. "Jesus Children of America" – 4:10
3. "All in Love Is Fair" – 3:39
4. "Don't You Worry 'bout a Thing" – 4:43
5. "He's Misstra Know-It-All" – 5:26

Wikipedia
AllMusic: 10 
Rating: 7

Fulfillingness' First Finale  (1974)

Of the four albums that are most often considered as being Wonder's "classic period", Fulfillingness' First Finale is usually placed fourth. The songs are competent rather than essential, and the album is quite patchy with more filler than brilliance. Best tracks are "Boogie On Reggae Woman", "You Haven't Done Nothin'", and "Bird of Beauty", the three liveliest tracks - the first two were singles. Not an album that will often find itself on my turntable, but listenable enough when it is. 

Released	July 22, 1974
Studio	Record Plant (Los Angeles) Westlake (Los Angeles) Mediasound (New York City) Electric Lady (New York City)
Genre	Progressive soul[1]
Length	42:21
Label	Tamla
Producer	Stevie Wonder Robert Margouleff (assoc.) Malcolm Cecil (assoc.)

All songs written by Stevie Wonder, except "They Won't Go When I Go", written by Wonder and Yvonne Wright.

Side one

1. "Smile Please" – 3:26
2. "Heaven Is 10 Zillion Light Years Away" – 5:01
3. "Too Shy to Say" – 3:31
4. "Boogie On Reggae Woman" – 4:54
5. "Creepin'" – 4:17

Side two

1. "You Haven't Done Nothin'" – 3:27
2. "It Ain't No Use" – 3:58
3. "They Won't Go When I Go" – 5:59
4. "Bird of Beauty" – 3:46
5. "Please Don't Go" – 4:06

Wikipedia

AllMusic:  9
Rating: 5

Songs in the Key of Life  (1976)

For a number of critics Songs in the Key of Life is Wonder's best album. It was included in the Classic Albums documentary series. After making music constantly since he was 12, Wonder took a little break after Fulfillingness' First Finale. He seriously considered giving up music to help children in Africa; but the council of friends and family, and the awareness of how much record companies wanted to pay him to keep recording, made him change his mind. After a break of a year, Wonder spent a year making the double album. It was an immediate commercial and critical success, and for some is not just Wonder's greatest album, but one of the greatest albums of all time. It certainly bridges well Wonder's classic 70s period and his commercial 80s period marking the end of one and the start of the other, and containing elements of both. For me, it edges just a bit too much into the commercial fluff. There's little genuine feel here, little excitement, little sense of the energy that drove him on to make the early 70s albums. This is carefully made and well crafted stuff, but a lot of emotion, energy, and excitement is lost in the careful crafting. And, in particular, TONTO is not involved. Best tracks are the funky and fun (but rather empty) "Sir Duke", the very groovy  "I Wish",  the successfully twee "Isn't She Lovely", and "Pastime Paradise", the base for Coolio's (excellent) "Gangsta's Paradise". The rest of the album ranges from listenable, to rather boring. It's not an album for me - more a collection of songs than a unified album. Perhaps with a greater focus, and a trimming of the songs down to a single album this could have worked for me, but even then it wouldn't hold the particular charm of Talking Book, or the almost faultless perfection of the series of songs that comprises Innervisions.

Released	September 28, 1976
Recorded	1974–1976
Studio	Crystal Sound, Hollywood; Record Plant Los Angeles; Record Plant Sausalito; The Hit Factory, New York City
Genre	Soul funk R&B avant-pop[ jazz fusion
Length	104:38
Label	Tamla
Producer	Stevie Wonder

Side one

No.	Title	Length
1.	"Love's in Need of Love Today"	7:05
2.	"Have a Talk With God" (Calvin Hardaway, Wonder)	2:42
3.	"Village Ghetto Land" (Gary Byrd, Wonder)	3:25
4.	"Contusion"	3:45
5.	"Sir Duke"	3:52
Total length:		20:49

Side two

No.	Title	Length
1.	"I Wish"	4:12
2.	"Knocks Me Off My Feet"	3:35
3.	"Pastime Paradise"	3:20
4.	"Summer Soft"	4:16
5.	"Ordinary Pain"	6:22
Total length:		21:45

Side three

No.	Title	Length
1.	"Isn't She Lovely"	6:33
2.	"Joy Inside My Tears"	6:29
3.	"Black Man"	8:29
Total length:		21:31

Side four

No.	Title	Length
1.	"Ngiculela – Es Una Historia – I Am Singing" (translation by Mdalose, Raymond Maldonado)	3:48
2.	"If It's Magic"	3:11
3.	"As"	7:07
4.	"Another Star"	8:19

Wikipedia
AllMusic: 10
Rating: 4

Journey Through "The Secret Life of Plants" (1979)

Journey Through "The Secret Life of Plants" is a double album of mostly instrumental electronic music. Quirky, odd, overambitious, experimental, and largely considered a failure. It is the soundtrack to a film about plants. It brought an end to Wonder's "classic period".  Avoid.

Released	October 30, 1979
Recorded	Digitally February–April 1979
Studio	Various
Genre	Pop  R&B[1]
Length	90:05
Label	Tamla
Producer	Stevie Wonder

Side one

1. "Earth's Creation" – 4:06 (Instrumental)
2. "The First Garden" – 2:32 (Instrumental)
3. "Voyage to India" – 6:29 (Instrumental)
4. "Same Old Story" – 3:44
5. "Venus' Flytrap and the Bug" – 2:25
6. "Ai No, Sono" – 2:06

Side two

1. "Seasons" – 2:53 (Instrumental)
2. "Power Flower" – 5:29
   • Lyrics by Michael Sembello.
3. "Send One Your Love (Music)" – 3:05 (Instrumental)
4. "Race Babbling" – 8:51

Side three

1. "Send One Your Love" – 4:01
2. "Outside My Window" – 5:29
3. "Black Orchid" – 3:47
   • Lyrics by Yvonne Wright.
4. "Ecclesiastes" – 3:42 (Instrumental)
5. "Kesse Ye Lolo De Ye" – 3:03
6. "Come Back as a Flower" – 4:59
   • Lead vocals and lyrics by Syreeta Wright.

Side four

1. "A Seed's a Star/Tree Medley" – 5:53
   • Lyrics by Stevie Wonder and Stephanie Andrews.
2. "The Secret Life of Plants" – 4:16
3. "Tree" – 6:01 (Instrumental)
4. "Finale" – 6:50 (Instrumental)

Wikipedia
AllMusic:
Rating: 1

Hotter than July  (1980)

A commercially successful album, but while some of the songs are pleasant and have decent harmony hooks, the album doesn't have the harmonic feel or unity of his best from the Seventies. Contains the chart hits, "Master Blaster", "Happy Birthday", and "Lately". Those are the best songs, and none are original or interesting, treading familiar and well worn Wonder musical and lyrical ideas.

Released	September 29, 1980
Recorded	1979-1980
Studio	Wonderland Studios (Los Angeles, California)
Genre	Pop funk[1] R&B[2]
Length	45:52
Label	Tamla
Producer	Stevie Wonder

Side one

1. "Did I Hear You Say You Love Me" – 4:07
2. "All I Do" (music: Wonder; lyrics: Wonder, Clarence Paul, Morris Broadnax) – 5:06
3. "Rocket Love" – 4:39
4. "I Ain't Gonna Stand for It" – 4:39
5. "As If You Read My Mind" – 3:37

Side two

1. "Master Blaster (Jammin')" – 5:07
2. "Do Like You" – 4:25
3. "Cash in Your Face" – 3:59
4. "Lately" – 4:05
5. "Happy Birthday" – 5:57

Wikipedia
AllMusic: 9
Rating: 3

The Woman in Red (1984)

The Woman in Red is a soundtrack album to the film of the same name. Only eight tracks, it contains his biggest hit, the slightly irritating and twee "I Just Called to Say I Love You", and was a global hit. Overall slightly more melodic than Hotter than July, but equally lacking in interest.

Released	August 28, 1984
Recorded	1983–1984
Genre	R&B soul funk pop
Length	41:19
Label	Motown
Producer	Stevie Wonder, Gary Olazabal

1. "The Woman in Red" – 4:39
2. "It's You" (with Dionne Warwick) – 4:55
3. "It's More Than You" (Instrumental) – 3:15
4. "I Just Called to Say I Love You" – 6:16
5. "Love Light in Flight" – 6:54
6. "Moments Aren't Moments" (Solo by Dionne Warwick) – 4:32
7. "Weakness" (with Dionne Warwick) – 4:13
8. "Don't Drive Drunk" – 6:33

Wikipedia
AllMusic: 6
Rating: 3

In Square Circle (1985)

In Square Circle is another commercially successful album, continuing Wonder's modestly pleasant, unambitious, and melodic route through the Eighties. It's competent, professional, polished, and quite empty, with a lot of Eighties synthesisers. Contains the hit, "Part-Time Lover".

Released	September 13, 1985
Recorded	1984–1985
Studio	Wonderland Studios (Los Angeles, California)
Genre	R&B soul electronic adult contemporary
Length	43:33 45:56 (CD version)
Label	Tamla
Producer	Stevie Wonder

Side one

1. "Part-Time Lover" – 4:12
2. "I Love You Too Much" – 5:27
3. "Whereabouts" – 4:17
4. "Stranger on the Shore of Love" – 5:00
5. "Never in Your Sun" – 4:06

Side two

1. "Spiritual Walkers" – 5:13
2. "Land of La La" – 5:12l
3. "Go Home" – 5:18
4. "Overjoyed" – 3:42
5. "It's Wrong (Apartheid)" – 6:52 (CD version)

Wikipedia
AllMusic: 6
Rating: 3

Characters (1987)

Characters also sold well, but did not achieve what the other Eighties albums achieved, and remained out of the top ten of the charts. All these Eighties albums are pretty much the same.

Released	November 6, 1987
Recorded	1986–1987
Studio	Wonderland Recording Studios, Los Angeles, 1 Der 1 Mobile Unit, Westside Studios, London[1]
Genre	R&B, soul, synthpop, dance-pop
Length	48:37 (vinyl) 61:33 (CD)
Label	Motown
Producer	Stevie Wonder

Side one

1. "You Will Know" - 5:00
2. "Dark 'n' Lovely" (Gary Byrd, Stevie Wonder) - 4:39
3. "In Your Corner" - 4:30
4. "With Each Beat of My Heart" - 5:28
5. "One of a Kind" - 5:10

Side two

1. "Skeletons" - 5:24
2. "Get It" (featuring Michael Jackson) - 4:31
3. "Galaxy Paradise" - 3:52
4. "Cryin' Through the Night" - 5:48
5. "Free" - 4:12

Wikipedia
AllMusic: 5
Rating: 3

Jungle Fever (1991)

Jungle Fever is another soundtrack album. Funkier and fresher than the Eighties albums, it's still an album that lacks any serious intent or ambition. Clearly the work of someone melodically skilled, but who is not making any effort.

Released	May 28, 1991
Genre	New jack swing R&B[1]
Length	51:06
Label	Motown
Producer	Stevie Wonder, Nathan Watts

All songs written by Stevie Wonder, except "Chemical Love", lyrics by Stephanie Andrews.

1. "Fun Day" – 4:41
2. "Queen in the Black" – 4:46
3. "These Three Words" – 4:54
4. "Each Other's Throat" – 4:17
5. "If She Breaks Your Heart" (sung by Kimberly Brewer) – 5:03
6. "Gotta Have You" – 6:26
7. "Make Sure You're Sure" – 3:30
8. "Jungle Fever" – 4:55
9. "I Go Sailing" – 3:58
10. "Chemical Love" – 4:26
11. "Lighting Up the Candles" – 4:09

Wikipedia
AllMusic: 6
Rating: 3

Conversation Peace  (1995)

Conversation Peace is a smoother, more mature and considered work than the crude commercial albums of the Eighties. While it is patchy, this is listenable, pleasant and engaging. While not exactly a return to the form of the Seventies, it is an album that can be listened to perhaps more than once.

Released	March 21, 1995
Recorded	1993–1995
Genre	R&B, new jack swing
Length	73:32
Label	Motown
Producer	Stevie Wonder

All songs written and composed by Stevie Wonder, except where noted.

1. "Rain Your Love Down" – 6:08
2. "Edge of Eternity" – 6:04
3. "Taboo to Love" – 4:25
4. "Take the Time Out" – 5:05
5. "I'm New" – 5:41
6. "My Love Is with You" – 5:54
7. "Treat Myself" (Wonder, Stephanie Andrews) – 4:55
8. "Tomorrow Robins Will Sing" (Wonder, Edley Shine) – 4:46
9. "Sensuous Whisper" – 5:47
10. "For Your Love" – 5:00
11. "Cold Chill" – 6:53
12. "Sorry" – 6:15
13. "Conversation Peace" – 6:39

Wikipedia
AllMusic: 5
Rating: 4

Natural Wonder (1995)

Natural Wonder is a live album, recorded from a Japanese TV special. It's a competent performance of a range of his songs, but it's not an essential recording.

Released	November 21, 1995
Recorded	March and August 1995
Genre	Rhythm and blues
Length	112:18
Label	Motown
Producer	Stevie Wonder

Disc one

1. "Dancing to the Rhythm" – 7:07
2. "Love's in Need of Love Today" – 6:02
3. "Master Blaster (Jammin')" – 3:36
4. "Stevie Ray Blues" – 2:27
5. "Higher Ground" – 3:59
6. "Rocket Love" – 4:47
7. "Stay Gold" – 4:21
8. "Ribbon in the Sky" – 8:37
9. "Pastime Paradise" – 3:22
10. "If It's Magic" – 3:34
11. "Ms. & Mr. Little Ones" – 4:17
12. "Village Ghetto Land" – 3:26
13. "Tomorrow Robins Will Sing" – 4:20

Disc two

1. "Overjoyed" – 3:59
2. "My Cherie Amour" – 3:20
3. "Signed, Sealed, Delivered, I'm Yours" – 2:45
4. "Living for the City" – 4:26
5. "Sir Duke" – 2:46
6. "I Wish" – 4:06
7. "You Are the Sunshine of My Life" – 2:21
8. "Superstition" – 5:37
9. "I Just Called to Say I Love You" – 4:38
10. "For Your Love" – 5:06
11. "Another Star" – 5:55

Wikipedia
AllMusic: 6 

Rating: 4

A Time to Love  (2005)

A Time to Love is an assured album. Confident, relaxed, mature, and very pleasant. Reception was muted. There was nobody expressing delight at the album, but few who actively disliked it. Respect for his Seventies albums was widely mentioned, and while it was recognised that there is much in this album that echoes his classic period, it didn't generate any enthusiasm - indeed, many expressed disappointment that they had waited ten years for what was widely seen as a respectable but dull album. I think there is more here to admire than the critics gave credit for, and I think the muted response was perhaps more due to waiting ten years, and then unfavourably comparing the album to legendary favourites, rather than listening and respecting the album for what it does. The buying public had a similar response - buying it, but not in the numbers they had during the Eighties. It's a nice album - better than anything he has done since the Seventies.

Released	September 27, 2005 (iTunes) October 18, 2005 (physical)
Recorded	2004–2005
Genre	Ballad, rhythm and blues
Length	77:41
Label	Motown
Producer	Stevie Wonder

No.	Title	Writer(s)	Length
1.	"If Your Love Cannot Be Moved" (with Kim Burrell)		6:11
2.	"Sweetest Somebody I Know"		4:31
3.	"Moon Blue"	Wonder, Akosua Busia	6:44
4.	"From the Bottom of My Heart"		5:11
5.	"Please Don't Hurt My Baby"		4:40
6.	"How Will I Know" (with Wonder's daughter Aisha)		3:39
7.	"My Love Is on Fire" (Hubert Laws on flute)		6:16
8.	"Passionate Raindrops"		4:50
9.	"Tell Your Heart I Love You"		4:30
10.	"True Love"		3:32
11.	"Shelter in the Rain" (with Kirk Franklin)		4:19
12.	"So What the Fuss" (with En Vogue and Prince)		5:04
13.	"Can't Imagine Love Without You"		3:45
14.	"Positivity" (with Aisha Morris)		5:07
15.	"A Time to Love" (with India.Arie and Paul McCartney)	Wonder, India Arie Simpson	9:17

Wikipedia
AllMusic: 8
Rating: 5 1/2

Conclusions

Being a great tune-smith, multi-instrumentalist, popular (albeit superficial) lyric writer, and hugely commercially successful, invites comparison with Paul McCartney. His commercial appeal and song-writing ability also invites comparison with Elton John. He's also been compared with Marvin Gaye and with Michael Jackson.

He picked up on musical ideas developed by Curtis Mayfield - and was part of the development of funk and soul into something quite melodic and therefore more commercially appealing. I don't think his work broke new ground, but like The Beatles, he took strands from what was was bubbling  around him, and wrapped it all together in one large and commercially attractive ball, so making those musical ideas more accessible to more people. While he wasn't the first black artist to gain artistic control over his music (Ray Davies and James Brown, for example, had achieved that much earlier, and he was following close on the heels of Marvin Gaye), he did so in a public and overt manner, and with a lasting commercial success. While he dealt with social commentary and politics in his lyrics,  he wasn't saying anything significant or anything different to the mood of the time. That's not to diminish what he was saying, but to put it into context.


Voice/Musicianship (15), Image (5), Lyrics/Music (20), Impact/Influence (10), Popularity (5), Star quality (5), Emotional appeal (5), Authenticity (25), and Legacy (10).


Voice/Musicianship 8/15

Image/Star quality 7/10

Lyrics/Music 13/20

Impact/Influence 7/10

Popularity 5/5

Emotional appeal 3/5

Authenticity 15/25

Legacy 7/10

Total: 65/100

Artistic importance: 6/10 Social importance: 6/10 Musical appeal: 7/10 Musical competence: 8/10 Lyrical competence: 4/10
Total: 29/50

Summary 

[Note: Aspects which go toward final score are given a rough percentage figure of how much that aspect may have influenced the overall score. However, some bands may well exceed that percentage, particularly if their main focus is in that area.]

Voice/Musicianship (15%)

Very warm, competent and soulful - his voice is unique and recognisable. His phrasing is assured and playful, and has had an influence on other singers. He is multi-instrumental; however, other than his distinctive harmonica playing, the playing is competent rather than special.

Image/Star quality (5%)

He emerged from the Motown period, where he was regarded as a talented youngster, to develop into a hip, cool, slightly rebellious, right on, and very musical individual. Liked by music critics, the general public, and soul and rock audiences. His image has been slightly tarnished by his superficial commercial work in the Eighties, but he seen as a very likeable and fairly cool person.

Lyrics/Music (20%)

His weakness is his lyrics, but they are competent enough. His music, however, is melodically and harmonically attractive. His key period is when he worked with TONTO, the complex synthesiser which unlike other synthesisers breathed life and originality into every note, Wonder and TONTO together formed a musical union which is immediately recognisable.   

Impact/Influence (10%)

He was part of the Motown impact during the Sixties, then broke out into decisive independence during his golden period during the Seventies when for a while he was the most significant black artist. He lost his way during the Eighties to become simply a commercial unit, but that broadened his appeal both to white and black audiences.

Popularity (5%)

Yes. Recognised, liked, and a considerable seller over the years. 

Emotional appeal (5%)
His sentimental songs have a commercial, undemanding appeal, though are critically regarded as twee; but his approach to rhythm invokes a natural positive emotional response that is highly regarded.  

Authenticity (15%)

There was a belief and a passion and a commitment to music and what it could do during the Seventies. That was his period of authenticity. The rest of his career has been almost the opposite of that.

Art (5%)

The core classic albums are minor works of art.

Classic albums/songs (5%)

The four albums and related singles of his classic period. He also released some timeless singles before and after ("Fingertips")

Originality/Innovation (5%)

His work with TONTO is remarkable. His blend of Motown and funk with mainstream pop, while not entirely original, was cutting edge. 

Legacy (10%)

For the Seventies albums, of course.

Total: 67/100

Discography

• The Jazz Soul of Little Stevie (1962)
• Tribute to Uncle Ray (1962)
• With a Song in My Heart (1963)
• Stevie at the Beach (1964)
• Up-Tight (1966)
• Down to Earth (1966)
• I Was Made to Love Her (1967)
• Someday at Christmas (1967)
• Eivets Rednow (1968)
• For Once in My Life (1968)
• My Cherie Amour (1969)
• Signed, Sealed & Delivered (1970)
• Where I'm Coming From (1971)
• Music of My Mind (1972)
• Talking Book (1972)
• Innervisions (1973)
• Fulfillingness' First Finale (1974)
• Songs in the Key of Life (1976)
• Stevie Wonder's Journey Through "The Secret Life of Plants" (1979)
• Hotter than July (1980)
• The Woman in Red (1984)
• In Square Circle (1985)
• Characters (1987)
• Jungle Fever (1991)
• Conversation Peace (1995)
• A Time to Love (2005)

Best of and ranking lists - Albums

* Stereogum
* BEA
* Rolling Stone
* UCR
* The Guardian

Songs

* Smooth Radio
* Rolling Stone
* Top Tens
* Time Out
* Independent
* CRH

Influenced By

Ray Charles
Sam Cooke
Benny Benjamin
Frankie Lymon
Jackie Wilson
James Brown
Duke Ellington
Johnny Ace
Little Walter
Toots Thielemans
Bob Dylan
King Curtis
Marvin Gaye,
Sly and the Family Stone
Clarence Paul
Rev James
Earl Van Dyke
Eric Clapton
Donnie Hathaway

Smokey Robinson

The Isley Brothers:  Freedom from 1970 album Get into Something

***

All Time Best Stevie Wonder Singles

No 1

"Fingertips" 
(Spotify) (1963)
Clarence Paul and Henry Cosby

No  2

"Superstition" 
(Spotify) (1972)
 Stevie Wonder

No 3

"You Are the Sunshine of My Life" 
(Spotify) (1973)
 Stevie Wonder

No 4

"Living for the City" (1973)
 Stevie Wonder

No 5

"I Wish" (1976)
Stevie Wonder

No 6

"Uptight (Everything's Alright)" (1965)
Stevie Wonder, Sylvia Moy, and Henry Cosby

No  7

"My Cherie Amour" (1969)
Stevie Wonder, Sylvia Moy, and Henry Cosby

No 8

"For Once in My Life" (1968)
Ron Miller & Orlando Murden

No 9

"Sir Duke" 
(Spotify)  (1977)

Stevie Wonder

No  10

"You Haven't Done Nothin'" 
(Spotify) (1974)

Stevie Wonder

No 11

"Higher Ground" (1973)

Stevie Wonder

No 12

"Boogie On Reggae Woman" (1974) 
Stevie Wonder

No 13

"Signed, Sealed, Delivered I'm Yours" 
(Spotify) (1970)
Stevie Wonder, Lee Garrett, Syreeta Wright, Lula Mae Hardaway

No 14

"He's Misstra Know It All" (1974) 
Stevie Wonder

No 15

"Never Had a Dream Come True" 
(Spotify) (1970) 
Stevie Wonder, Sylvia Moy, and Henry Cosby

No 16

"Superwoman (Where Were You When I Needed You)"
(Spotify) (1972) 
Stevie Wonder

No 17

"Don't You Worry 'bout a Thing" 
(Spotify) (1974) 
Stevie Wonder

No 18

"Isn't She Lovely?" 
(Spotify) (1976)
 Stevie Wonder

No 19

"Yester-Me, Yester-You, Yesterday"
(Spotify) (1969)

Ron Miller and Bryan Wells

No 20

"I was Made to Love Her"
(Spotify) (1967)

Stevie Wonder, Lula Mae Hardaway, Henry Cosby, Sylvia Moy

***

Top Ten Stevie Wonder Sixties Singles

No 1

"Fingertips" (1963)
Clarence Paul and Henry Cosby

No 2

"Uptight (Everything's Alright)" (1965)
Stevie Wonder, Sylvia Moy, and Henry Cosby

No 3

"My Cherie Amour" (1969)
Stevie Wonder, Sylvia Moy, and Henry Cosby

No 4

"For Once in My Life" (1968)
Ron Miller & Orlando Murden

No 5

"Yester-Me, Yester-You, Yesterday" (1969)

Ron Miller and Bryan Wells

No 6

"I was Made to Love Her" (1967)

Stevie Wonder, Lula Mae Hardaway, Henry Cosby, Sylvia Moy

No 7

"A Place in the Sun" (1966)

Ron Miller and Bryan Wells

No 8

"Shoo-Be-Doo-Be-Doo-Da-Day" (1968)

Stevie Wonder, Sylvia Moy, Henry Cosby

No 9

"Nothing's Too Good for My Baby" (1966)
Henry Cosby, Sylvia Moy, Willam Stevenson

No 10

"I'm Wondering" (1967)

***

Top Ten Stevie Wonder
Sixties Singles

All Time Best
Stevie Wonder Singles

Links

* Official site

* Fan site

* Wikipedia

* AllMusic

* Encyclopaedia Britannica  (never ceases to amaze me how wrong the EB can be: gets the spelling of his real name wrong - it's Stevland not Steveland, says he was blind from birth, rather than becoming blind due to being born premature, and says Berry Gordy gave him the name Little Stevie Wonder - it was Clarence Paul)

* Singles stats 

* TONTO & Stevie

** Creating TONTO 

***

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