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Playing Royal Scam right now
This one has suffered from poor CD transfers from the start (I have both a US and Japanese copies; you can tell the Japanese version is from the same "damaged" master given they clearly tried to clean it up...It's an improvement, but still suffers). I agree in that 1960s Atlantic (notably 1962-67) was definitely below par regarding sonics; the original '60s LP, however, is not distorted: I programmed this entire LP at least once many moons ago and the station copy was free from any distortion whatsoever.This could have been better:
The version I'm listening to on Qobuz is distorted--it was an Atlantic release from 1964 originally, so that could be the problem (they never had the best-sounding recordings back in the day). It was the first set of recordings from the Bill Evans Trio following the death of bassist Scott LaFaro (which happened just after the Village Vanguard gigs), with Chuck Israels taking over on bass. The co-billing means Evans is kind of buried in the background, and the whole album is kind of low-key. If Mann had recorded with Evans' trio on Riverside, it would have sounded a lot better...
I may have to seek out an original pressing of it.This one has suffered from poor CD transfers from the start (I have both a US and Japanese copies; you can tell the Japanese version is from the same "damaged" master given they clearly tried to clean it up...It's an improvement, but still suffers). I agree in that 1960s Atlantic (notably 1962-67) was definitely below par regarding sonics; the original '60s LP, however, is not distorted: I programmed this entire LP at least once many moons ago and the station copy was free from any distortion whatsoever.
(This full version of "Do I Do" includes Dizzy's trumpet solo. A highlight to a great Stevie song! This was a non-album track that originally appeared on Original Musiquarium I.)
(This full version of "Do I Do" includes Dizzy's trumpet solo. A highlight to a great Stevie song! This was a non-album track that originally appeared on Original Musiquarium I.)
As a college student, my wife had a 10 hour bus ride home along with a special needs man who played Stevie’s “I Wish” on repeat for 10 solid hours. Now she can’t stand hearing him!
Motown made many 12 inch singles which offered instrumental versions on the flip side of the original versions and I had a few of those over the years
I prefer Stevie's earlier work. The first record I heard by him on the radio was his instrumental of Alfie. The Talking Book and later recordings got so overplayed in this area that I still change the station when most of them come on.Sure, I'm a white boy from Montana but I've always liked Stevie Wonder's music. He had a sharp "quality curve" of his best music, at least for me. His first few records were good-not-great, because he was being led around like a puppy by Berry Gordy. Then he won creative control of his music, got out of the "leash" as it were, and came out with Music of My Mind, followed quickly by the Big Four: Talking Book, Innervisions, Fulfillingness' First Finale, and Songs in the Key of Life. Then he took a bit of a nose-dive when he got a little pretentious (Secret Life of Plants) and finally started using too many synths and auto-drums in his music.
I like a lot of the later hits ("Part Time Lover" is a particular favorite) but I pretty much got off the bus after the In Square Circle album.
Of his later works, I'd have to say Hotter Than July is my favorite, but you can't top Innervisions and Fulfilllingness in my book. I know it was a huge hit, but I cannot stand "I Just Called to Say I Love You." I can't listen to any of the compilations either, it's gotta be the albums for me. I think it's because of the way his songs always segue together.
I would love to see him in concert, but the chance of his ever coming anywhere near Montana at this point is probably somewhat less than the chance of ever seeing Sergio Mendes around here.
He had quite a run and yes, that was a sweet spot for me as well, up through Hotter Than July or actually, Original Musiquarium Vol. 1, which was the first Stevie album I bought, and has four new studio tracks on it, two of them getting heavy local airplay ("That Girl" and "Do I Do"). This was a case where I had heard some of Stevie's tracks over the years (I wasn't much of a radio listener when his albums were first popular), and Musiquarium opened the floodgates to buying up others in his back catalog.His first few records were good-not-great, because he was being led around like a puppy by Berry Gordy. Then he won creative control of his music, got out of the "leash" as it were, and came out with Music of My Mind, followed quickly by the Big Four: Talking Book, Innervisions, Fulfillingness' First Finale, and Songs in the Key of Life.
I had picked up the Anthology series for a number of the Motown artists. I would get them free with any album purchase through Columbia House.He had quite a run and yes, that was a sweet spot for me as well, up through Hotter Than July or actually, Original Musiquarium Vol. 1, which was the first Stevie album I bought, and has four new studio tracks on it, two of them getting heavy local airplay ("That Girl" and "Do I Do"). This was a case where I had heard some of Stevie's tracks over the years (I wasn't much of a radio listener when his albums were first popular), and Musiquarium opened the floodgates to buying up others in his back catalog.
Secret Life of Plants is a bit weak, but mainly because it's a soundtrack album to a documentary film, with incidental music intended to accompany the visuals on the screen. (Motown probably figured they cash in on Stevie's success with a double album, especially since Key of Life was a blockbuster.)
Anything past July I find to be spotty--In Square Circle and Characters had some good moments, but the Woman in Red soundtrack...the less said about that one, the better. Although I'm a bit hard on that album since it has "that song" (which shall remain nameless) on it. There are still some pleasant tracks on it.
Pre-Music of My Mind, there is one album, Where I'm Coming From, which was the first album he made after voiding his Motown contract, and had no input from the label. It's a bit awkward and too "messagey" in places, but still has a few good tracks on it. I have never been a fan of the Motown sound of the 60s, and while his hits from that era still sound good, that's about all I can handle--the hits. The rest is way too repetitive and generic for me. Even that three-LP Anthology set is overkill for my needs--I rarely play it.
I think I only listened one time each to Jungle Fever, Conversation Peace and A Time to Love, and nothing ever caught my ear. In fact, I ended up buying two copies of Conversation Peace, since apparently it was so forgettable to me, that I forgot I owned it!
Lots of good memories with his music, though!
Sure, I'm a white boy from Montana but I've always liked Stevie Wonder's music. He had a sharp "quality curve" of his best music, at least for me. His first few records were good-not-great, because he was being led around like a puppy by Berry Gordy. Then he won creative control of his music, got out of the "leash" as it were, and came out with Music of My Mind, followed quickly by the Big Four: Talking Book, Innervisions, Fulfillingness' First Finale, and Songs in the Key of Life. Then he took a bit of a nose-dive when he got a little pretentious (Secret Life of Plants) and finally started using too many synths and auto-drums in his music.
I like a lot of the later hits ("Part Time Lover" is a particular favorite) but I pretty much got off the bus after the In Square Circle album.
Of his later works, I'd have to say Hotter Than July is my favorite, but you can't top Innervisions and Fulfilllingness in my book. I know it was a huge hit, but I cannot stand "I Just Called to Say I Love You." I can't listen to any of the compilations either, it's gotta be the albums for me. I think it's because of the way his songs always segue together.
I would love to see him in concert, but the chance of his ever coming anywhere near Montana at this point is probably somewhat less than the chance of ever seeing Sergio Mendes around here.
Touche` to that! However, it's the Big Five as I consider Music Of My Mind as the creative equal of the subsequent four. I actually enjoy Secret Life Of Plants a great deal...but it is a soundtrack, so it's expected to be have a different aura.Then he won creative control of his music, got out of the "leash" as it were, and came out with Music of My Mind, followed quickly by the Big Four: Talking Book, Innervisions, Fulfillingness' First Finale, and Songs in the Key of Life.
Agreed. Overall, the music is much too simple to garner repeated listening. That said, it was meant for dancing and disposable consumption...no one in 1966 thought that 56 years later anyone would give a hoot about it.I have never been a fan of the Motown sound of the 60s, and while his hits from that era still sound good, that's about all I can handle--the hits. The rest is way too repetitive and generic for me.
I agree--it's music produced for the Top 40 market, and in and of itself it's not bad music by any means, but they had found a formula that worked and built their business model around it. Successful, but too much repetition of the formula will wear itself out with the public.Agreed. Overall, the music is much too simple to garner repeated listening. That said, it was meant for dancing and disposable consumption...no one in 1966 thought that 56 years later anyone would give a hoot about it.