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4.7 out of 5 stars
4.7 out of 5 stars
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Stevie did get better on the following albums, but by any standards this is still five star fare. This was his second album since taking total creative control from Motown (the first was 'Where I'm Coming From'), though still recorded and released on Gordy's label.

As a drummer I'd like to draw attention to the occasional tempos shifts in Stevie's drumming. There are several very noticeable shifts on 'Love Having You Around', the opening track. But does it ruin this excellently effusive number? No... Modern music's slavish adherence to the click is, I believe, helping destroy the freedom and feeling - the 'soul' if you like - that lies at the heart of good music (another good example would be Chameleon by Herbie Hancock, a monstrosity of musical excellence and funky groove, that ends at a significantly higher tempo than it began at, but does that lessen it's magnificence, I think not!).

'Superwoman/Where Were You When I Needed You' is Wonder at his best, as is the simple sentimental groover 'I Love Every Little Thing About You'. 'Girl Blue' and 'Seems So Long' also belong to Stevie's sentimental side, whilst 'Evil' belongs to his epic/consciousness themed catalogue. 'Happier Than The Morning Sun' has a similar feel to Talking Book's 'Big Brother' keys-wise, tho' the lyrics are obviously quite different. 'Sweet Little Girl' and 'Keep On Running' are the closest you get to filler, but they are still purty good...

Fabulous, from Stevie's golden era, and well worth having.
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on 31 January 2013
Just great. Stevie at his best and most productive. Had this originally as an album and loved it. Still own the album, but am making sure i still hold on to this beautiful, creative sound in CD format. Just wonderful. I believe music lovers of any age should be introduced to Stevie Wonder masterpieces such as this.
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TOP 100 REVIEWERon 17 February 2012
I sometimes forget this wasn`t Stevie Wonder`s debut album. In fact, it was his fourteenth! It`s just that it was the beginning of something - for Stevie, for us, and for music itself.
Whenever I think of this man`s music, despite his political and environmental concerns, which came to the fore more with each succeeding release, I think of a sunlit, richly textured, warmly sung and played world of music that communicates with passionate immediacy. If I may be fanciful, Wonder has always worn his musical heart on his sleeve. He`s less subtle musically than label-mate Marvin Gaye, say, or Al Green. By that, I simply mean that his music can be grasped at first hearing; embraced wholeheartedly in fact.
It seems pointless to go through each track on this glorious album. Like so many of his 70s records, it sounds all of a piece - almost as if he and his musicians (who must have been a meagre group, as he plays most of the instruments himself) went into the studio and just played for hours until they had an album. We`re in overdub city, but nothing sounds at all contrived, quite the opposite. MOMM is one of the most organic sets of songs I`ve heard. It`s all good, as they say.
Some of these songs are so full of sunlight, bursting positive energy, and Stevie`s
own brand of pop-soul sweetness, that it would be impossible to hear them and not feel a little better about life. To me, he has always possessed more real `soul` in his voice than Michael Jackson, or any of his soundalikes, and is far less mannered too.
This is, to my mind, virtually as good as any of the celebrated albums that followed, and musically more successful than the rather overrated, less spontaneous Songs In The Key Of Life - not that I don`t like the latter, but I play it much less often than MOMM.
Happier than the morning sun? I am when I play this joyous disc.
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on 7 October 2010
This album is the first of Stevie's big 5 albums of the Classic Period. Undeniably experimental, and dare one say it influenced by the use of performance enhancing materials Stevie does everything in this album - instrumnetals, vocals and production in itself tribute to the quite staggering talent of the man. The album contains less of the well known tracks of his other major albums, but tracks such as "Love Having you around", "I Love every little thing about You" and "Happier than the Morning Sun" give an indication of a very unusual musical sensibility with a depth and range that few before or since could master. By no means Stevie's greatest album, its importance lies in his move into new musical territories and development as one of the greatest and most important musicians of the 20th century.
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on 3 April 2009
This review focuses mainly on the validity of digitally remastering and re-releasing Stevie Wonder's albums, in 2000.

Originally released on 03.03.72, this album was digitally remastered by Kevin Reeves at Universal Mastering Studios-East, 1755 Broadway Manhattan 10019 NYC USA in 2000:

Remastering [for CD] is a process which involves compressing the original analogue master recording, in specific frequency bands, to enhance the clarity, presence and apparent volume of the music. Mastering for CD is a delicate and highly skilled procedure, which was in it's infancy when original analogue masters were digitally mastered and prepared for CD release, in the early 1980s.

The compression of masters for vinyl [LPs] is different from that for CD, & current remastering for release on CD, can breathe new life into recordings originally mastered for analogue playback/vinyl. The art of digital remastering has developed greatly since the development & birth of the CD: 1979/1982 [initially invented in 1965 by James Russell].

This album of superlative song writing was performed, produced & arranged entirely by Stevie Wonder, apart from trombone: Art Baron & the guitar solo on Super woman: Buzzy Feiton.

Album sleeve/insert notes provide full production credits.

It cannot be over emphasised what a very significant increase in detail is realized in this digital remaster for CD, over the first CD release. If you are considering replacing a pre-2000 CD with this digital remaster, and compare the sound of the two releases back to back, you may well consider replacing all your pre-2000 Stevie Wonder CDs with new digital remasters. The improvements in overall clarity, presence & volume, are strikingly dramatic, making listening to these stunning albums an even greater pleasure.

My personal favourite is track 7, Seems So Long, with it's ethereal introduction and beautifully structured soaring climaxes. The plaintive lyrics are further testimony to the awesome art of Stevie Wonder's song writing.

Although Songs In The Key Of Life is widely regarded as Stevie Wonder's seminal work, his other albums, such as Music Of My Mind, are truly remarkable, revealing the incredible depth & musical sophistication of Stevie Wonder's song writing & performing talents. If you've never heard Music Of My Mind and consider yourself a Stevie Wonder fan: buy it!

Matt Shoul/reviewer has been involved in UK music education/songwriting workshops [nursery, primary & seconday: 4-18 year olds] since 1987.
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on 23 September 2013
In the early seventies Stevie turned 21 so bring to an end his contract with Motown, he refused to renew his contract and retreated to a New York recording studio where he would begin a mammoth recording session that would provide the basic tracks for the next four albums [Music Of My Mind, Talking Book, Innervisions and Forefillingness The First Finale]. When the tracks were finished Stevie hawked the tracks around eventually extracting a lucrative contract from Motown. This album is the first release from those sessions and is a very different proposition to his Motown material, it has a distinctively jazz funk feel to it's material perhaps jazzier than the later albums, the tracks are also a bit longer than on future albums [apart from 1976's Songs In The Key Of Life', there is the beautiful 'Superwoman' and the funky 'Keep On Running' as particular favourites of mine. Things would get even better on 'Talking Book', but this album was a magnificent beginning.
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Do you mean to say you've come this far in life without owning this album? Redefine Stevie Wonder. Hear him at his very best. This recording, along with Innervisions, Talking Book and Fulfillingness First Finale, is a true black American musical landmark. There is nothing else like it. You have to own this disc!
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TOP 1000 REVIEWERon 2 April 2015
The first of Stevie Wonder's 'classic period' albums doesn't contain any of the huge hits - but it's a giant step in Stevie's development. Before he was 21 Stevie was tied to a standard Motown contract meaning track selection on albums, running order and even what to record wasn't necessarily his own choice. Passing that age barrier gave the opportunity to rip up that old contract and renegotiate on more favourable terms, which Wonder took full advantage of. Here he writes or co-writes every track, plays all instruments except guitar and trombone and produces the album too - a major artistic statement. Playful lyrics abound, although there are serious political themes too most notably on album closer "Evil" which is an anti-war statement. Rather than then typical Motown three minute pop we hear longer tracks, with single "Superwoman" clocking in at over 8 minutes. Throughout the emphasis is very much on showcasing Wonder's keyboard skills, with Moog and TONTO synthesizers to the fore in an extremely funk-driven mode. Album opener "Love Having You Around" is almost a look back to the childhood just passed, with playful, childlike lyrics simultaneously showing he could put out what he wanted since gaining majority, joy at being free of the 'Little Stevie Wonder' tag, and looking back at where he had come from. It's an album that repays repeated listening, rich in textures and clearer than ever after remastering. Excellent stuff.
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on 26 August 2016
Had the vinyl since its release back in 1972 and always been my favourite Stevie album (what! even better than Songs In The Key Of Life - okay on the same level). When first released, it was so different and as a result didn't sell particularly well, but it has stood the test of time. Brilliance from start to finish.
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on 5 August 2002
Stevie was unleashed from the restraints of the hit-making machine at Motown to do his own thing and this is the first sign of the pure GENIUS period throughout the 70s. From the gorgeous 'Superwoman' - which is an 8 minute epic that I can listen to on repeat for hours and not get sick of - to 'Girl Blue' which sounds like it was recorded yesterday, this is an album that just gets better and better over time. Go see what's in the UK/US charts at present; give it all a listen; then come to 'Music of My Mind'. This kind of album makes you realise how formulaic and insipid most of today's music is. Don't start off your Stevie Wonder discovery with this though. Leave it 'til after 'Innervisions' and 'Songs in the Key of Life' to really appreciate it.
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