Stevie Wonder

Already a pop veteran at age 22, this was Wonder's first LP masterpiece, a breathtaking exploration of soul, sound and the sonic possibilities of the recording studio. Wonder's use of synthesizers is so natural that you don't notice how avant-garde the album is; using technology to expose his humanity, not cover it up. Surprisingly, "Superwoman" was only a moderate hit.

It's only when I stop dancing and singing all around the room and sit down to think critically
about it, that it occurs to me Stevie Wonder's new album may not be the great album of the
year. It's certainly the best thing to come out of Motown since Marvin Gaye's What's Goin'
On and perhaps even more impressive as a personal achievement considering Wonder not
only wrote, arranged and produced the entire album but (with the exception of... More >

Making the most of the inevitable, Motown boasts on the back cover that "this album is virtually the work of one man"--he plays everything but one solo each on guitar and trombone. Sure could teach John Fogerty a thing or two about multitracked spontaneity--this music is mercurial above all else. Just like the blind genius he's always compared to, Wonder transcends taste. But because the specifics are less inspired than the gestalt--which is not to say I don't love "Love Having You Around" and catch myself enjoying the regrettable "Superwoman"--it doesn't quite hold together. (Grade - B+)