In my life i love you more

Songs In The Key Of Life - Stevie Wonder (1976)

Acclaimed critically and commercially from its release, Stevie Wonder's Songs In The Key Of Life further advances and likely culminates Wonder's journey from the whizkid hijinks of "Fingertips" to the groovy maturity of Fulfillingness' First Finale (1974).

Much is written of the painstaking attention to detail Wonder poured upon the production of these two LPs and the accompanying EP. The sheer quality and quantity of original material generated and released all at once is as prolific and ambitious as it is groundbreaking.

Only George Harrison, with All Things Must Pass (1970), and the Nitty Gritty Dirt Band, with Will The Circle Be Unbroken (1972), had previously released studio triple-albums. While each a classic, the magnitude of Wonder's creative energy is unrivalled. Harrison's third disc is simply a jam session, while Nitty Gritty worked live-in-the-studio with a number of hall-of-fame guests on standards and covers.

The only other triples released by this time were live recordings from the likes of Charles Mingus, the Grateful Dead, Yes, Leon Russell, Keith Jarrett, Santana and Emerson, Lake & Palmer; or compilations with multiple artist contributions such as 1970's Woodstock: Music From The Original Soundtrack And More, 1971's The Concert For Bangladesh and The First Great Rock Festivals Of The Seventies: Isle Of Wight/Atlanta Pop Festival. It is also worth noting that the inimitable Harry Partch dropped Delusion Of The Fury in 1971, a double-live album with a bonus disc demonstrating the instruments he had created.

In total, Songs In The Key Of Life contains over one hundred minutes of high-grade music. Boasting twenty-one tracks, each was brand new, innovative and destined to remain relevant and esteemed for years to come.

Our friend, the announcer, welcomes listeners to the album to begin "Love's In Need Of Love Today", (92/100), and all I can say, even all these years later, is 'amen, brother. Amen." Whatever it is that we manage to accumulate over our lives just ends up being too much of it. Meanwhile, like Roberta Flack and Donny Hathaway sang in 1972, "Where Is The Love?" As Hal David wrote in 1965, "it's the only thing that there's just too little of."

"Have A Talk With God", (93), sounds like it's ripping the vinyl in half while laying down its heavy synth hook. Slightly evocative of the bass synth of "Boogie On Reggae Woman", it will at least tear its way into your temporal lobe. It's just one of many sonic treats on this awesome track, all played by Wonder himself. Stevie's brother, Calvin Hardaway, helped write the song, one of only four on the album that Stevie shares credit for.

Simply Stevie and his synthesizer, "Village Ghetto Land", (72), draws attention to the deplorable living conditions that many people suffer through. The song's paucity, especially in contrast with the symphonic grandiosity elsewhere on the album, is perhaps a picture of the disparity between the haves and have-nots. Not surprising, "Village" is co-written by the social conscience of Gary Byrd, who turns up again later. "Contusion", (85), is instrumental funk, not counting a few do-do-do's, and features the guitar stylings of Michael Sembello. The feeling is light and animated.

"Sir Duke", (90), and "I Wish", (88), remain radio staples to this day. Over some of the happiest trumpets I've ever heard, the former, Wonder's shout-out to Duke Ellington and "music's pioneers", becomes both a tribute and a prime example of the joy of music itself. "I Wish" is a nostalgic look at childhood, especially the mischief thereof. Both songs reached the top of the Billboard Hot 100 in the U.S.

Playing every instrument on "Knocks Me Off My Feet", (91), Wonder takes a slow piano melody and escalates it into a colossal declaration of love. Wonder's drumming, particularly on high-hat as the chorus takes off, is especially enthralling.

Wonder samples Bach in "Pastime Paradise", (95), developing one of the most infectious hooks ever laid down on reel-to-reel. Coolio (featuring L.V.) sampled Wonder on his own "Gangsta's Paradise" in 1995, ensuring its neccesary heredity to another generation. It also features exotic percussion and the chanting tones of a Hare Krishna choir, giving this album another slight connection to George Harrison. The strings render an unearthly quality to the song that the Krishnas along with a gospel church choir bring to a spirited climax.

Like "Knocks Me Off My Feet", "Summer Soft", (93), begins with laid-back piano verses which gradually build to uptempo choruses, this time comparing lost love to the changing of the seasons. Soul-jazz grinder Ronnie Foster, who had already covered Wonder's "Superwoman" on his 1972 album, Sweet Revival, contributes cool organ vibes to this tune. There may not be a more sprightly lament than this.

Reality seems to set in on "Ordinary Pain", (97), (http://www.mediafire.com/?aaozxz08e1vh5zf), though. A breakup song written from both parties' perspective, this could really be two songs for the price of one. Stevie delivers mid-tempo sorrow at the outset, but finds no sympathy as the song explodes into an unrelenting funk assault at 2:42. Shirley Brewer's wickedly stunning reply is only amplified by her background vocalists out for blood.

Featuring the cries and coos of his newborn daughter, as well as the distinctive wail of his chromatic harmonica, "Isn't She Lovely?", (82), quickly became one of Wonder's most popular songs. Receiving frequent radio airplay despite never being released as a single has also led to it being one of Wonder's most covered. The jazzy ambience makes it a natural for artists like Frank Sinatra, but others as diverse as Keb' Mo', Me First And The Gimme Gimmes, even Clair Huxtable on a 1986 episode of The Cosby Show, have added their interpretations to the list.

Wonder slows it down on "Joy Inside My Tears", (93), without sacrificing any funk. The pace actually allows the emotion to simmer slowly, while Wonder takes his time laying down a thick and mellow groove. Passion unfolds through spontaneous vocalization, intensifying the song's resonance. "Joy", then, manages an immediacy absent in many meandering ballads.

For those who won't dance without educational incentive, "Black Man", (83), connects the brain and heart to the feet. Most noble in concept, demonstrating that our history's advancements have come through contributions from all races and genders, the execution leans a little pedantically. Notwithstanding, try sitting still through this one. It is also co-written by Byrd and seems a dress rehersal for a future epic single of his own. Recorded by Gary Byrd And The GB Experience seven years later, "The Crown" was co-written and produced by Wonder, who contributed vocals to a verse as well.

The chorus of "Ngiculela - Es Una Historia - I Am Singing", (78), is sung through in Zulu and Spanish before the English translation comes in. Once again, Wonder is singing of his devout desire that "love will reign throughout this world of ours." "If It's Magic", (72), upholds that aspiration with Wonder's voice backed only by the enchanted strumming of celebrated jazz harpist Dorothy Ashby (and just a touch of Stevie's mouth harp towards the end).

The album proper then closes with no less than two tremendous finishes. "As", (96), (http://www.mediafire.com/?7q8inr7ju7ckp7x), lists all of the impossible things that will happen before Wonder stops "loving you". Herbie Hancock lends his considerable skills on Fender Rhodes but this song is convincing foremost in its absolute exuberance.

Then "Another Star", (97), revolves around a latin rhythm inciting a festive energy, relentless until its fadeout. Amongst abundant flute, brass, timbales, even George Benson's guitar, Wonder's drumming once again takes command, driving the song -- and album -- to well-deserved classic status.

The A Something's Extra bonus record is a mini-33 1/3 EP that accomplishes being just what it purports to be. While not containing anything absolutely essential, it does present four more songs, a little extra something to tack on to the experience. Something's begins with "Saturn", (74), Wonder's escapist utopian fantasy. Co-written by Sembello who also contributes lead guitar to the track, the ringed gas giant is apparently the planet to be if you want to "live to be two hundred and five".

"Ebony Eyes", (75), is a Tin Pan Alley love song with an odd Broadway feel to it. For one final obscure George Harrison link, Wonder calls for a saxophone solo at 1:33. It is played by Jim Horn, who first played for Harrison during 1971's The Concert For Bangladesh, and ended up on a number of Harrison albums over the years through to Cloud Nine (1987) and the two Traveling Wilbury efforts.

"All Day Sucker", (77), is one final total funk-out before "Easy Goin' Evening (My Mama's Call)", (85), ends the album with an appropriately breezy harmonica-fueled instrumental.

While the key of life naturally alternates through sharps and flats, majors and minors, Stevie Wonder's album capably embodies all of it and is a worthwhile listen at any point.

Songs In The Key Of Life (album): 88/100.