© Jay Blakesberg

Stevie Wonder: Man Of Today And Tomorrow

By David Nathan

(Originally Published: 01/01/1973, Blues & Soul)

One of the most rewarding and exciting aspects of taking any serious interest in any field of music is observing the artistic development and progress of a particular performer and when you witness the blossoming of talent, it's always a refreshing experience. Over the years only a mere handful of entertainers have progressed continually with the enormity of Stevie Wonder.

Starting way, way back with "Little" tagged to his name, with 'Fingertips' and 'Hi Heel Sneakers' to his credit, on to pop and R&B success as an adolescent with a string of hits --'Uptight', 'I Was Made To Love Her' and 'Nothing's Too Good For My Baby' and countless others, through to a stage of sophistication with numbers like 'My Cherie Amour' and reaching further heights on the soul scene with smashes like 'Signed, Sealed, Delivered' up to now; at the ripe old age of 22, having broken the proverbial chains of categorization as Stevie Wonder, soul singer, to Stevie Wonder, respected musician and songwriter whose talent knows no boundaries.

Perhaps more than any other single Motown artist, Stevie can lay claim to having fully established himself with the progressive/rock market, if the reaction to his latest (and in the opinion of many, his best) album, Talking Book is anything to go by, certainly without losing any of his staunch fan following.

I can recall speaking to the young gentleman just one year back --prior to the release of the Music Of My Mind album: having just seen him with his then newly-formed group, Wonderlove. I had many personal reservations about the direction his music was taking and felt that it possibly veering too far away from his previous musical background. Considered in many ways a milestone, Music Of My Mind captivated most of Stevie's fans adding some new followers too --and eating my words (B&S 77), I found myself buying the album too! And, as if further to emphasize that my reservations were without any basis, twelve months later Stevie stands at Number One, both pop and r&b in the States with 'Superstition' and it may well hold the same position in this country by the time you read this.

His album, Talking Book has already made the same kind of sales impact in the States and looks set to become his best-ever seller in terms of the album market in this country.

Here for a couple of days as a special guest of Burt Bacharach to record two spots for a television show to be aired later in the year (Stevie performs 'Alfie' and 'Superstition'). Stevie indicated that my previous skepticism was not entirely unfounded since he freely admits that he had to bring his new musical directions to the attention of his public gradually and says that the first album of the three he's done in a less restrictive vein. Where I'm Coming From was frankly, not a success --partly he feels, because it featured songs more or less exclusively about love and because he feels. "It wasn't put together properly" --in respect of running order.

He's also quite candid about the initial failure of Wonderlove --he recalled the group's first performance in Chicago. "The act wasn't together --we had lost our regular drummer, who'd missed his flight and we had to replace him with someone who was plain clumsy. Plus the singers were all running into each other --and I made the mistake of doing one song and stretching it out too much!" Stevie's sensible enough to know that no one can be "overly sure" and although he felt the time was right for him to expand musically, he was naturally anxious that acceptance should come --and it did.

Perhaps one of the keys of Stevie's continuing success is his devotion to his music. Not only does he write nearly all of his own material, he also plays practically all the instruments on his sessions --mainly because, he says, he's often the only one around in the studio at the time --and if he gets an idea, he'll lay down the basic concept right there and then. The result of his consuming interest is that he now has over one hundred tracks in the can --the result of quite a few sessions!

He recalls that he cut over forty tracks prior to the Music album and one or two --for example, 'Blame It On The Sun' found their way on to the new album. Wherever he goes, you can be sure that Stevie takes a tape recorder --not only for which he gets ideas, but to play tracks he's cut. Last time he was here, he played Music Of My Mind to anyone who wanted to listen --and on this occasion, Stevie played two tracks from what should be his next album, due out in March or April in the States.

In complete contrast, one was a really funky raw blues and the other was an enchantingly beautiful tune entitled 'Images'. Originally, Stevie intended the album to be called "The Last Days Of Easter" but he's scrapped the idea of that title --although he will build the album around the concept of the last days of situations and people --the last days of life, of love, of youth and so on.

Contrast is one of the main features of Stevie's work and to prove that he will not have his music labeled, he played a song he wrote at the same time he'd written 'Never Dreamed You'd Leave In The Summer' --a cross between country folk and funk! Indeed, Stevie professed a liking for country music although he says he doesn't follow it all that closely. Then to further indicate the diverse directions his music can take, he played a song he'd written specifically for Syreeta --'Your Kiss As Sweet As Candy (But Honey Beats It By A Million Miles)' --which is nothing short of out-and-out reggae --a form of music that Stevie has considerable admiration for and one that he feels should mean more in the States than it does.

Speaking of Syreeta, Stevie has done a new album on the lady --but he determined that the attendant promotion should not stress that she's his former wife. In his own words, "She has the talent to make it on her own!"

It's only natural that with such musical ability, Stevie should work closely with his fellow artists and to this end, he's just finished working with The Supremes. He feels that there is a certain something in Jean Terrell's voice which has yet to be captured and he's hoping to have done this on one of the three tracks the group has worked with him on --'Bad Weather', 'Soft Days' and 'I'll Wait A Lifetime'.

He also worked with Eric Clapton and Jeff Beck during the course of the last year and he originally gave the track of 'Superstition' to the latter to record --for some reason, he never got around to it and Motown decided to make it a single for Stevie --we all know the rest! What with his own recording and work on the upcoming Syreeta album. Stevie has found little time to work with anyone else and he's going to be giving some of the stockpile of material he's created to other artists whom he feels can use them. He's hoping to get time to work with other artists who "have something to say" and he cherishes an ambition to work one day with one of his idols, Ray Charles.

Naturally, with his present increased acceptance outside of the normal pop and soul circles, a lot of people are anxious to see Stevie in action. Unfortunately at present there are no plans for him to play the Rainbow and unquestionably he'd be playing to sell out audiences right now. He says he may be in Holland in March --so perhaps we'll get a glimpse of him then. In the meantime, we'll have to be content with listening to Talking Book certainly a musical innovation for the man and a further milestone in his career. And the Braille message which appeared on the American copies sums up Stevie's attitude to his music and his followers: "Here's my music to let you know that your love keeps my love strong."