Hi!
I've been into Stevie Wonder's music lately, and tho I really love and appreciate a lotta trax, I can't deny I think that the only thing that makes them special and beautiful is his voice on them, 'cause I find the production so tacky and poor. Think about I just called to say I love you... it sounds like a midi

Don't you think so?

Well, I won't fault you for thinking that way since you're a new fan, but check it, here's where you should pay attention to(production-wise, since we're talking about it)...

Not just Talking Book -- the production for every single album he released in the '70s (from SS&D to JTTSLOP) is top-notch and flawless.

These fullas are right!
Head straight to his 70's albums.
His production was way ahead of it's time. The drums are real, which IMO sounds far hipper than the tacky drum machine sounds from later on, not to mention his voice was even better in that period!

If you only know his hits from the 80's then you will be delving into a whole new exciting world with the following!

1972 Music of My Mind
1972 Talking Book
1973 Innervisions
1974 Fullfillingness First Finale
1976 Songs In the Key Of Life (double album)

Once you've listened to these albums, you will understand why he is one of the greatest of all.
_

I agree....check out the 70s albums,if you wanna hear some flawless production.

whiteheat said:

OK, that's probably his lamest song ever. And the song itself is cheese. I think the production captures that element perfectly, so...

SoulAlive said:

True, but his 80's stuff wasn't "tacky and poor" either. The production was on point, for the 80s, at least. whiteheat picked the poorest song to draw a conclusion about Stevie's production.

Hey, SoulAlive, I've been playing SITKOL all morning.

Is it time for another thread about this, or did we just have one. I can't remember.

You CANNOT start a conversation about Stevie Wonder's music with a song from the 80's!!!!!?????

The 1970s were Stevie's best decade, thus far.

Adisa said:

I agree. For the 80s, it was good. He was one of the first people (that I can remember) to do a full digitally recorded project (Characters). So, today...it does sound "dated" and like a midi; but for the time, it was pretty advanced. Besides, wasn't "I Just Called..." an outtake from the SIKOL sessions?

it's the other way around for me
even though I'm a huge fan of the voice
it's the music that makes me swoon

I don't have to repeat
what is already being said in here
start with the creme de la creme
*aka* the 70's stuff

AlexdeParis said:

I picked that as a start,,,,too much greatness might be overwhelming

Harlepolis said:

I know, right?! I thought Songs in the Key of Life was the shit but when you listen to Talking Book and Innervisions over and over again, you're worn out by the majesty of the songs' productions!

Stevie was simply THE man of the '70s alongside Marvin for me.

Timmy84 said:

You really can't take one without the other.

Though, one could imagine what those 2 would bring out had they collaborated on at ALEAST 2 songs. I trip thinking about that,,,,and its a shame how Berry Gordy missed that point.

Harlepolis said:

I mean WOWZER...
picture that shit

Harlepolis said:

Berry Gordy lost the point entirely with Marvin and Stevie because he figured his one trusted artist - Smokey - would be the only artist to be "the creative force" so when Marvin and Stevie made their moves, he was shocked that their talents took them far away from what he wanted to do. Once "What's Going On"/"Trouble Man" and "Music of My Mind"/"Talking Book" took off, BG couldn't stop 'em.

As for Marvin and Stevie collaborating on at least one song... OH SHIT!

Imagine if they did do something WITHOUT Smokey and Diana in the picture... damn... LOL I can imagine it being a very funky production.

Timmy84 said:

I tried to stop myself from talking smack about brotha Smokey,,,,,but fug it

Those 2 cats were at it(Smokey and Berry), if you know what I mean. I really believe so

Mofo had greatness under nose but was too fuckin' stupid and greedy to nurture it,,,,Norman, Marvin, Stevie, Michael. I don't know what it is, but since he left Detroit and went to L.A., I firmly believe that he left his mind behind him.

Suzzane De Passe(or whateva her name is) was the one who REALLY did the massive work during the 70's.
[Edited 4/17/08 10:06am]

Harlepolis said:

I have always believed that for a number of years. Smokey basically kisses Berry's ass all the time. He even go as far as "trying to convince" Berry to release "What's Going On" when Berry and Marvin fought over its release. But he basically was Berry's pusher man. And yeah, not only was Berry's mind left behind in Detroit but so was his heart and soul. He became a soulless person when he went to Los Angeles. Suzanne de Passe basically saved his ass in the recording department during the '70s but that didn't stop the Jacksons, Marvin, Diana and 'em to leave the label.

Timmy84 said:

@ the both of you. Smokey tried to get his publishing rights back from Berry and Berry basically told him to f*&# off!

Does anyone know if Smokey ever at least acquired co-publishing?

Adisa said:

I don't think he did but that's how much of a pussy he is. Berry Gordy pimped him until he sold Motown in '88 yet you wouldn't know that in public.

whiteheat said:

You do know that Stevie made records in the '70s don't you?

I certainly wasn't that impressed with the production on his most recent record. There are a few good songs on there, but imo much of their effect is sapped due to the samey, no-risks production, which just turns me off. When I realised the cool, P-Funky Prince featuring track was still my favourate even after playing the record twice, I knew we were in trouble .

Mr Wonder, like so many 'legends', even with all his lengthy methods, seems to have nobody to tell him, 'Actually, Stevie, the production on this is superbland and you're 'crafting' and 'smoothing' the soul and character out your music with every extra day you spend on these tracks. Oh, and that song you binned back on day two of the sessions three years ago is better than anything on the current tracklist .'

Imo this all began when he parted ways with the Tonto guys back in 1975(?). I suppose it's called the 'MJ syndrome' these days. Tho at least Stevie seems to have real production input in all his songs, not just some.

I'd bet the demos for the newest record are better than the final tracks - more spontaneous.

Stop chasing hits, Stevie, and remember you're the guy that gave us 'Sir Duke' and 'Pastime Paradise'.


And I must give some respect to Mr Smokey Robinson - a true music legend and in his prime one of the great songwriters of his age. He helped build the house that the likes of Marvin and Stevie redocorated later on .
[Edited 4/17/08 14:16pm]

Miles said:

THAT is true, lol.

Thanks so much to everyone for sharing your views!
Seems like I've said the wrong thing and I've been proved wrong!
I guess I'll go buying Stevie 70s' records then...

Bye guys

whiteheat said:

that's surprising. Stevie has a great voice but I think often his production and the music often trumps his lyrics. I really noticed this when listening to later albums. They sound great, even if at times cheesy and very eighties, but his lyrics in comparison were just uninspired. I think even the production on "A Time 4 Love" is strong.

On a side note: Someone posted the Stevie concert I went to on December 1, 2007.

http://youtube.com/watch?...re=related