Sixteen Track, Twenty Years, Stevie discussed on The Right Time with Bomani Jones

Automatic TRANSCRIPT

Like smokey kinda needed a career kick and redid it hits like five or six years later and like stevie probably forgot. He wrote that when it happened. Right and then smoke like hey. I'm going to do that song. Which one i have like thousands. Oh that one okay. Cool go take it take it but when he did a cover took it from you right because we can work it out we can work it out of stevie song anytime. He did a cover. It became instantly better when he did standards. Have you ever heard seaweed. Just rip off a standard. Don't if you really like another version of because it belongs to him. Now as black person and i realized we can work it out was cover right and then i got to the beatles version which by the way is very good it is a very good saw and i really like it when they slow it down for i and fighted and then they rented band gum. Okay cool then you go here stevie with the guitar start owner in old. No this is something completely different here and by the way guys for that that is again stevie wonder at nineteen years old twenty years on like that's where he is is for people who don't know the ark of the stevie wonder career this is where it gets interesting. His contract runs out a motel. He decides to go to usc to take some music. Classes like takes music theory classes. It tried to negotiate. A deal and motown had been breaking people on these deals. Awful deals for the log. It's now berry gordy always makes the argument. We were given the same deals as everybody else right. We took our contracts as a template from mgm or somebody like that okay but they come see the trying to work out the deal. They kinda hard line stevie like hey guys. I got to albums done right here. Wherever i go. I am taking these two apples. I can go somewhere else. Or i could stay here. What's it going to be very gorgeous. Like i guess it's going to be here because by then he didn't need simply line. He didn't need any of the cats that they And there's another thing too. This is where technology and stevie wonder meet. It's incredible to me by the way. How much of the world is figure it out with his ears. Because one thing tying him to motown was technology i e he needed a backup band right. Stevie was one of the first to figure out those royalties. Go a lot farther. If i don't have to split them with people and if i don't have to expend the money going forward and one of the ways in which he heard that and figured it out was electric music coming along. Okay because nine hundred seventy one. Seventy two steve starts messing with rooms. Full of knobs dials and plugs okay he recruits two guys to do this right to electric music pioneers but also consider for the most part working with something called tahoe. That make it cooler. There's this giant. Since thing computer creature called tahoe that steve is just kind of talking to. He's trying to figure out all the keyboards that he's gonna use on all of its classic albums figures out. Hey man i can just play at all like on the classic track on superstition. How much of that is stevie everything but the hor- oh yeah oh yeah oh yeah oh yeah because you go get like thinking about this right. He gets the motown with two albums. Can one of them is pretty good. One of them is very good. Where i'm coming from. I see is pretty good music of my mind and if you saw that atlanta episode. I think it's the teddy harbor episode. Right it starts with. It does start superwoman. I can't remember what the song that plays into beginning. I think it's superwoman. Because i think it's okay because all the way out it's evil right but both of those like the binding tie of that is a sweet little girl that was the one on the way in which we little girl and then on the way out and like oh. This is a smoking record. Superwoman for me. Is the number one st track. That is my not trying to be cute. People like strategy cute like that is my number one and then we get to talk and book where we get to superstition and you and i talked about this. My theory has been lashing. I'll let you break this down about what is incredible about what is and is not in superstition. Okay so things that are not in superstition okay. There's not a baseball player. The baseline is played on. Sent by steve's left hand at that point that mold that everybody was using no it was basically seedy and know when you talk about who put that in the mix and who made that something. People wanted to use it stevie. Okay it's tanto. It's working with these gigantic rooms full of stuff that looks like a radio shack and old radio shack threw up right. That's what he's working with. Okay in the dark. Like figure out that he's just sitting there twiddling knobs as a blind man figuring out what sounds best and he did it better than anyone else without. Is that bonkers. Okay so you won't hear a bass player which you hear is the baseline plate on the left hand. You won't hear any drummer except stevie okay because stevie is playing the drums. Okay on a real simple kit to okay because most of the time not to get super technical here but there's only three rhythm tracks on this thing. There's only three now most of the time. When you're mixing a sixteen track studio song in the early seventies mid seventies..

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