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Editorial Reviews
Amazon.com
Stevie Wonder was getting his fusion of soul, rock, and various other styles together when Music of My Mind appeared in early 1972. A bit shapeless compared with Talking Book, the masterpiece he'd release by the end of the year, this disc nonetheless finds the then-21-year-old self-assuredly deploying an array of synthesized textures and natural voices: check out the drawl lurking around the edges of "Sweet Little Girl." Not an essential album, but an entertaining one--and one that, in retrospect, carried enormous implications for the future of American music. --Rickey Wright
Product Description
This 1972 release included the hit Superwoman (Where Were You When I Needed You) .
Customer Reviews
Most Helpful Customer Reviews
31 of 34 people found the following review helpful
Format:Audio CD
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?)
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?)
24 of 27 people found the following review helpful
By Samhot
Format:Audio CD
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.
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.
8 of 8 people found the following review helpful
By Marvin Carey
Format:Audio CD
Before it's time is the perfect definition. You grant Wonder complete artistic control of his music, plus access to innovative synth machines and this is the end result!!! If it sounds as futuristic as it dose now, imagine what heads were thinking in 72'. One of Steveland's more electric, "tripy" albums. Still, nothing less than beautiful!!!!
Most Recent Customer Reviews
1.0 out of 5 stars
Plodding and tedious
This album is supposed to be the first of Wonder's 70s classics. With nary a melody or groove to sink your teeth into, it's the perfect cure for insomnia. Read more
Published 5 months ago by Sodenfir
5.0 out of 5 stars
Funky 70s gem
The kid was just 21 when he made this in 1972, playing everything, except a solo here or there. Full of retro 70s Motown funk. Awesome, still, to this day. Read more
Published 9 months ago by Brad Smith
5.0 out of 5 stars
I like this cd every good
Wow,music on my mind by the great Stevie Wonder is an album to have in your collection because there are so many hits as usual with any Stevie Wonder song.
Published 10 months ago by charles
5.0 out of 5 stars
The Motion Of Music For Steveland
From the moment I first heard this album,I instantly realized from it's opening it was one of those recordings like no other. There are many in pop. Read more
Published 21 months ago by Andre S. Grindle
4.0 out of 5 stars
A classic
As usual, with Amazon, it was delivered quickly and was well packaged. What can I say? I am old school. I still listen to CDs. Read more
Published 21 months ago by E. hall
3.0 out of 5 stars
Stevie Wonder - Music of my mind
Music of my mind is for me the first album of the new musical career of Stevie Wonder in the 70's. He played all instruments and produced this album. Read more
Published 21 months ago by Pedro Ribeiro
5.0 out of 5 stars
A true classic!
In 1970, pop star little Stevie locked himself in a room full of instruments (among them some great analogue synthesizers). Read more
Published on February 27, 2011 by Helge Krabye
5.0 out of 5 stars
Stevie Wonder -- Music of My Mind
Stevie Wonder _ Music of My Mind
This Cd marks the start of Stive's transision from a soul artist to a super creative musical genious. Read more
This Cd marks the start of Stive's transision from a soul artist to a super creative musical genious. Read more
Published on November 7, 2010 by Robert Kalakay
5.0 out of 5 stars
the start of his classic run
nobody in music since to me has had the run of must have albums since Stevie Wonder. he truly left a mark with a sound and he was in the zone as a Incredible Singer, Songwriter,all... Read more
Published on February 14, 2010 by A customer
5.0 out of 5 stars
classic
Where I'm Coming From was Stevie Wonder trying to kill Little Stevie Wonder, and with its political lyrics and more serious songs, was quite a stab. Read more
Published on November 26, 2009 by Bill Your 'Free Form FM Print DJ
