Oct. 19, 1974 review: Stevie Wonder at the Aud
Even with all the love and acclaim he continues to receive, it’s still startling to rediscover how totally transcendent Stevie Wonder was in the Fall of 1974. When his tour brought him to Memorial Auditorium, he was riding high on a string of hits and the latest of them – “You Haven’t Done Nothin’” and “Boogie On Reggae Woman” – were on his newly-released “Fulfillingness’ First Finale” album.
Oct. 19, 1974
Stevie Makes It His Night
By Outstunning Them All
It was Stevie Wonder Day Friday, officially proclaimed for
all of
There were two ways to greet the occasion. Au naturel was
the old denim route. The other was as a stunning creature. Furs, feathers,
faces and fancy platform shoes would do the trick.
“Flyin’?” observed my associate, who spent most of Stevie
Wonder Day working up a mighty stun. “I got a $900 coat here. They think they’re
flyin’?”
Unfortunately, nobody was flyin’ for Rufus, the opening
band and one of Wonder’s several protégés. And Rufus wasn’t flyin’ either, not
even with something under their belts like “Tell Me Something Good,” a hit for
them written by Wonder.
* * *
WHAT HURT
was the sound, pitifully unbalanced and far from being full enough. It stifled
their talented female singer, Chaka Khan. When their hit didn’t prove to be the
rouser it was on the radio, it was all over except for the waiting.
Wonder sent out his 10-piece band, Wonderlove, to show
their highly competent chops, instruments first, then three sisters who sang
backup, then a darkened stage and Wonder’s voice singing scat syllables to a
sunny song.
The lights came up and it was him in white with a bright
orange turtleneck, sunglasses shading his blindness, toying with the keyboards
as he brought the whole place alive singlehandedly.
* * *
HE STARTED
slow but broke it with the first of many impishly playful bits – a hunt for the
perfect quack on the synthesizer, which he converted into the insistent rhythm
for “Higher Ground.”
He went up for a couple songs, down for a shimmery trio
climaxed with “Golden Lady,” then up, bringing the whole crowd of maybe 9,000
up with “Boogie On Reggae Woman” as he bumped and boogied with the backup
ladies.
Over to the grand piano and suddenly he was a late ‘50s
producer, instructing his hornmen in the subtleties of ooo-ah harmony for what
turned out to be “Earth Angel” and a string of upbeat oldies like “Grapevine”
and “Respect” until it subsided again with “My Cherie Amour.”
* * *
THEN THEY
introduced him like in his early days. 1963. Little Stevie Wonder. “Fingertips”
on the harmonica. Then down again for a love trilogy.
He loosened after City Comptroller George D. O’Connell
presented him with a plaque, hoped to keep being “an inspiration in some kind
of way to all of you” and topped it with a quiet new social song, “Living Off
the Love of the Land.”
He finished sassy with a flourish of hits. A drum solo on “Don’t
You Worry ‘Bout a Thing” and a dash through “You Haven’t Done Nothin’,” “Living
for the City” “You Are the Sunshine of My Life” and “Superstition.”
The lights came up immediately. He needed no encore. Two
hours and 10 minutes of Wonder had outstunned them all.
* * * * *
IN THE PHOTO:
Stevie Wonder in 1974.
* * * * *
FOOTNOTE: The
Memorial Auditorium date does not show up on setlist.fm, but the following
night’s show in
Higher Ground
I’ve Been Away Too Long
Lookin’ for Another Pure Love
Visions
Uptight (Everything’s
Alright)
My Cherie Amour
Fingertips
Don’t You Worry ‘Bout a Thing
Living for the City
You Are the Sunshine of My
Life
Superstition
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