It doesn't happen very often but there are some albums I listen to that leave me at a loss for words. I struggle for ages to find the appropriate words to use to describe them in a review and in the end, I often just give up.

This gem from 1972; the first of five albums widely hailed as Wonder's "classic period", is a typical example. (Wonder's 1974 album, Fulfillingness' First Finale was another. I did attempt a review some time ago and ended up babbling for a scant few lines about how listening to it was like being like a "spiritual journey". Sometimes I feel like going back and deleting the review but it's an accurate reflection of how I felt about it, so I leave it be).

And in case anyone is wondering, the other three albums from the period are Talking Book, Innervisions and, of course, Songs in the Key of Life.

"Superwoman" was the popular single from this set, the song most folks remember and the one so many people have covered but people unfamiliar with the album might be surprised to learn that the song is by no means the best thing on offer here. This is only my personal opinion but the incredibly funky tunes "Love Having You Around" & "I Love Every Little Thing About You" and the mid-tempo "Sweet Little Girl" (with it's awesome, mellow, nice & easy refrain) and the ballads "Happier Than The Morning Sun" & "Seems So Long" are much more memorable, much more soulful and much more satisfying.

Produced by the man himself and largely written by him too (he wrote a few with Syreeta Wright, although the CD inner-sleeve notes credit her as "Y. Wright"), the work is described as "virtually the work of one man". Buzzy Feiton plays a guitar solo on "Superwoman" and Art Baron a trombone solo on "Love Having You Around" but every other single instrument is performed by Wonder himself. Including the vocoder, a device Wonder was using way before Herbie Hancock or Roger Troutman (although never to modify or enhance his lead vocal) and a device that seems to be back in vogue these days. "The sounds themselves come from inside his mind," state the inner-sleeve notes. It's entirely possible he performed all the backing vocals as well. Listening to the album, it's very hard to believe (especially listening to the upbeat "Keep On Running", the other single from the album) but no backing singers are credited so, unless someone knows different..?

If you love Stevie, if you love soul or if you just love good, real music, then you either have this already or you need to check it out.

(Phew! Well, I guess I managed to find the words in the end, eh?)

Stevie Wonder has been called a genius for many years now, and I seriously find it hard to disagree with this. The man is simply amazing, and his talent is nothing short of awe-inspiring. Brilliant songwriter, lyricist, musician and person in general, he deserves every single accolade he receives, and then some.

On this early-1972 effort, Stevie is pretty much a one-man band (as said in the liner notes): with the exception of a guitar solo in one track, and a trombone solo in another track, Stevie plays *all* of the instruments; drums, clavinet, bass, organ, piano, harmonica, clavichord, synthesizers -- he does it all, and what's also astonishing is how adept he is at assembling these instruments to create works so beautiful, moving and captivating. Oh, and he also does most of the producing as well.

Some of my favorites from this album:

"Love Having You Around" is a song possibly written for Stevie's wife at the time. A steady groove is punctuated by various synthesizer textures and vocal effects which lead to a triumphant (although brief) chorus. The track is over seven minutes long, but it never drags, and seems like it ends all too quickly, since it's as engrossing as it is.

"Superwoman" is pretty much divided into two distinct halves. The first half is comprised of the most beautiful, intimate R&B to be heard. The brilliant jazzy chords and progressions maximize the dreamy, floating feel, and Stevie's breathy vocals are the guide to this ethereal, yet earthy masterpiece; it's the equivalent of a reflective Summer day, with a cool, gentle breeze for good measure. Almost equal to that of the dreamy artwork. The second half is a post-psychedelic, trippy, yet atmospheric smorgasbord of synthesizer-drenched chords, impassioned vocals and some guitar solos. Excellent stuff, here.

"Sweet Little Girl" is one of Stevie's pleasantly goofy character impersonation-filled tracks. On the verses, Stevie sings in his natural, beautiful voice, which is backed by a funky soundscape of the clavinet, bass, drums, and some harmonica. Then, on the chorus (if it's technically a chorus), the tempo changes, and he goes into this goofy, drawl-filled dialogue about how his girl treats him bad. It's hilarious as all hell.

"Happier Than The Morning Sun" is Stevie on the clavinet (or the clavichord, or synthesizer), and produces a song which is almost Paul McCartneyesque in it's melodicism. A beautiful song, and Stevie's vocals are sweet and pleasantly sugary. The keys that Stevie is using seems to mimic arpeggiated guitar chords.

"Keep On Running" is jittery, rapid-fire funk, and in some ways, it's ominous; as if we feel and sense that something in the shadows is about to jump out and grab us, as the lyrics suggest. The pulsating rhythm which embeds the melody is utterly foreboding, and Stevie's vocals sound slightly hazy, but not lacking the passion that is always present. But, in the least, this fast thing will get that old rump of yours shaking.

"Evil" is the most heart-wrenching track on the album. It's one of the earliest examples in regard to Stevie's socially-conscious musings; here, he talks about the evils of life (e.g. hatred, poverty.) It's a dramatic track, in which things start off low-key, only to escalate in atmosphere and dynamics as time progresses. The keys and synthesizers plow along, eventually reaching powerful orchestral crescendos and choir-like effects, and all along, Stevie's vocals get more intense, dramatic and emotive. All of this breaks me down everytime I hear the track; the passion in the guy's voice, alone, is enough to send one to tears.

There really isn't much more that I can say. Stevie's a genius, and his music is recommended to anyone who is willing to be moved by greatness, regardless of musical preference. You will probably want to own this, and everything up to 1976's _Songs In The Key of Life_, as it represents the best of Stevie Wonder. This album in particular will hold a special place in the hearts of many, due to it's unique, intimate charm.

If you were around in 1971 and had been used to Stevie's 60's sound, this album would have blown you away! After a decade of having to deal with papa Berry's rules of album recording (3 pop hits and the rest filler), Stevie turns 21, goes off to record this classic, and goes back to Berry to say, "I want full control over my music or else!!" Of course papa Berry gave him that freedom and the rest is American music history. On the album, he plays every instrament. As always, I'll take the album song by song.
I Say It 'Cause I Love Having You Around: A classic. A precursor to George Clinton's sound in the 70's, this song is actually a jump for joy. Sprinkled with joyous shouts and yelps, it's a very funky, synth driven romp. Stevie sings in his regular voice and his Louis Armstrong growl in this one. It's a fun song that shouldn't be taken seriously at all. Just enjoy the music and the fun and have some fun. One of the best album openers of his illustrious career. Superwoman: Another classic. This is a look into the future for Stevie. It was also a look more in depth into his relationship with his then wife Syreeta. Syreeta was a singer too and sometimes her career interfered with his. Or, more to the point, she wasn't around when he needed her. Stevie has been known to be somewhat of a male chauvinist in the past. And the title of this song kind of brings this out. He's basically saying that Syreeta should be home for him, "And all the things she wants to do she needs to leave behind". He ends each phrase by saying, "But, very well. I believe I know you very well. Wish that you knew me too very well. I and think I can deal with everything going through your head. The first part of the song is in mid-tempo then there is a musical interlude done on the synth to slow things down. The second part of the song is in a slower tempo and stripped down to just synth, drums and voice. There's a guitar solo by Jeff Beck in the mid section of the second part of the song that lifts it to another level. Overall it's a beautiful song that should not be missed. I Love Every Little Thing About You: An upbeat song basically singing about what the title suggest. I've always felt that this was his nod to the earlier work he'd done at Motown, only with a more 70's sound to it. Sweet Little Girl: Another fun song with Stevie doing a lot of things musically to make it interesting. He does his best mack daddy voice in this one, uses major and minor keys throughout, and does things on the harmonica that you've never heard before. It's probably the most erotic song he's ever done. All in good taste though, no hardcore stuff for Stevie. Happier Than The Morning Sun: Another major change musically for Stevie. This is all clavinet and voice. A beautiful, quiet and yet great song. Girl Blue: The best song on the album. This is Stevie's first collabaration with lyricist Yvonne Wright (not his ex wife Syreeta as many believe when seeing Wonder/Wright as song writers) and happily it wasn't his last. This is one of my 4 how-to-learn-about-music songs I've spoken about in the past. Ironicly, Yvonne wrote the lyrics for another one of my "how-to" songs from Stevie, They Won't Go When I Go". Much is abound in this one. Oriental percussion, poly-rhythms, distorted vocals, a great harmonica solo and great lyrics. "Little girl be fair, show yourself you care. Let others care for you. Before it's too late 'cause time won't wait 'til your hearts no longer blue". A great song and a great moment for pure music. Seems So Long: A heartwrenching song about finding someone, finally, to love. "It's been so long, since I've touched a wanting hand". It includes a great vocal by Stevie and some very moody synth work too. A must hear. Keep On Runnin': My least favorite song on the album. Ok, to be honest, I skip it all the time. It's too repetitive. He does play a mean clavinet on it though. Evil: My second favorite song on this one. Musically, he's using key changes to, I feel, relay a message. The song starts off in a minor, very dangerous sounding key and after each line, it goes up a key. It talks about evil and the power it seemingly has over many people. The final key the song ends on is very high as it ends with Stevie singing, "Leaving sweet love all alone, an outcast of the world", with the last note on the word world. The song is very cinematic, also operatic in style and leaves me with the feeling of hope. It is Stevie after all you know.
All in all, this was the beginning. The beginning of an unprecedented run of success, both commercially and critically for the one man band. It is an album that should not be missed.

Like most of the fan reviewers on this site, I believe that "Music Of My Mind" is among the most underrated of all Wonder's albums; although generally conceded by most as a good release and the beginning of his classic period, it is always considered minor when compared to what came after. However, not only is "Music Of My Mind" equally as strong as "Talking Book" and "Innervisions", it is superior to the bloated "Songs In The Key Of Life" and sounds fresher than any of the above thanks to its underplayed status. The album begins with the innovative keyboard funk of "Love Having You Around" and then moves right into the epic "Superwoman", one of the most touching and emotionally complex songs in Wonder's repertoire; his use of synthesizers in the second half is disarmingly graceful. The album then coasts from there: tracks like "Happier Than The Morning Sun" and "Girl Blue" utilize unusual keyboard arrangements and low-key vocals to project an aura of understated pleasure which manages to get under one's skin with ease. "Keep On Running" is another epic, which consistently builds its tension before streaking to an incredibly hot finish, which moves right into "Evil", one of the most appropriate closing numbers on any of Wonder's albums. The album is unified in theme and feel, more than a bit influenced by "Rubber Soul", and there is not a single weak track to be found. Instead of the politically-conscious Stevie found on his next few (brilliant) releases, "Music Of My Mind" seems to come straight from his own soul, and avoids all of the soppy sentimentality and attempts at grandiose statement that mars his more recent work. If you're a Wonder fan, this one is a must, and if you are just getting into him, this is also one of the first you should purchase.

1971s Music Of My Mind was a departure from the pop-soul stylings of the Motown hit machine to a whole new sound, direction and maturity for Stevie Wonder, where he would now be free to record the kind of music he wanted to, much in the same way Marvin Gaye did the same year with his release 'What's Going On'.

Stevie isn't on that political train of thought that his label mate Marvin was, he is however on some serious funk work-out tip, and sounds excited to finally be allowed to run free. Its as if he is overflowing with ideas and creativity, the mood here is upbeat and the production is funky. Stevies quirky nature is finally allowed to shine, and the jams are all fun and on point.

The production, as always with Wonder in the 70s, is absolutely top notch and this underrated album really catches the true flavour of Stevie Wonder, and is a great start to what would be an incredible run of classic albums in this period.