After the failure of the inconsistent Where I'm Coming From, Stevie headed to New York, where he set about producing a wealth of new material, which was to truly reflect what he as an artist wanted to achieve.
These sessions produced the backbone of Music Of My Mind, and also spawned Syreeta for his wife. Embracing the technology of the ARP and Moog synthesizers, Stevie was now able to leave the Motown studios and players behind, and accurately lay down the music, quite literally, from in his mind.
Love Having You Around
The album starts with a bold outpouring of his creative juices on the seven-minute jam, 'Love Having Around'. Utilising The Bag, an early talk box, and extensive use of synthesizers, clavinets, and the trombone of Art Baron, the song is full of funk, finally marrying the frenetic quality Stevie could produce with his voice to music of the same calibre.
The trick is repeated and perhaps bettered later in the album by 'Keep On Running'. It is simple lyrically, but in terms of the numerous keys and synthesizers bustling underneath it is inventive. The final few minutes, with its repeated refrain and tight rhythm is pure, unadultered funk.
I Love Every Little Thing About You
There was still room on the album for some love songs, but even then Stevie was pushing in new directions. 'Happier Than The Morning Sun' makes the clavinet sound like more like an acoustic guitar, and makes use of Stevie's varied vocals by using him in a selection of backing parts, playing off his lead.
'I Love Every Little Thing About You' had first appeared on Syreeta, and is adapted here in to a lighter affair, minus the bubbling bass lines of the original. Stevie reaches an almost giddy state of elation in the chorus. The use of Stevie's noted close-mike technique to produce percussion through his voice is subtle, effective, and moreover inventive.
Superwoman
Inventiveness flows throughout Music Of My Mind, Stevie clearly reveling in his new found freedom. 'Girl Blue' sees a slight distortion on his vocal, which creates a sense of confusion essential to the song's themes, and 'Sweet Little Girl' balances expressive harmonica with a spoken word, slightly creepy monologue.
In comparison to Where I'm Coming From however, these different sounds blend together here, as on 'Superwoman (Where Were You When I Needed You)'. The previous album's muddled and confused 'Sunshine In Their Eyes' is advanced with 'Superwoman' - which provoked initial criticism - but produced two songs musically but one lyrically.
The first part, sweetened by Buzzy Feiton's guitar, details a woman looking to be a star, overstretching herself and leaving people behind. Stevie wants her to know him as well as he knows her, but they are drifting apart. A synthesizer melody takes us through to the aftermath, when Stevie admits he needs this woman, and longs for her return. The track exemplified a musical and thematically mature Wonder.
