But what are you supposed to do with a 12-year-old virtuoso The Fingertips you love the 45 single spread out over two sides is on 1963s Recorded Live: The 12 Year Old Genius), but Motown songwriting greats Henry Cosby and Clarence Paul whip up a half-hours worth of jazzy delights.

While these LPs are ranked from least to greatest, its important to note that there are no bad Stevie Wonder albums just efforts that occasionally arent worthy of his mind-blowing talent.

Capitalizing on the surf music craze of the early 1960s probably may sound exploitative, but 14-year-old Wonder rises to the occasion with the strikingly pensive Castles in the Sand.

To his credit, the youngster places an original spin on every standard kicked his way (e.g.

Ebb Tide, Red Sails in the Sunset and Beyond the Sea), but this is like using a Ferrari to haul lumber.

But even if you didnt know what was to come, you probably wouldve gotten the sense of something squandered by hearing this one-of-a-kind talent knock out covers of Get Happy, Smile and When You Wish Upon a Star.

But, man, Wonders rendition of On the Sunny Side of the Street soars.

As for something youd listen to outside of a lift, its interesting in that Wonder gets solo credit on a few of the tracks, but theyre pretty forgettable.

Stevie messes around on the covers to interesting effect (e.g.

Alfie), and his version of Grazing in the Grass is far more interesting than The Friends of Distinctions.

Its a mixed bag of Ray Charles hits and shopworn standards like The Masquerade and Frankie Johnny.

A pseudonymous Stevie shares a songwriting credit with Clarence Paul on Sunset, and, unsurprisingly, its the albums highlight.

Wonder was experiencing vocal issues and couldnt get back in the studio quick enough for Berry Gordys liking which worked out because he had the title track and Yester-Me, Yester-You, Yesterday sitting on the shelf.

Aside from those two standouts, its a mess of covers and b-sides.

The Shadow of Your Smile is forgivable if only because every living recording artist was required by law to issue a version of it, but Hello, Young Lovers from The King and I under any circumstance is egregious.

The exception: Wonders bizarre, uptempo run-through of At Last.

Awash in aggro strings, brass and Stevies rambunctious harmonica, he turns Etta Jamess signature standard into a cacophonic joy.

A 16-year-old kid has no business crooning Chers Bang Bang or, worse, Tennessee Ernie Fords Sixteen Tons (the latter sounds like someone was having a laugh at Wonders expense).

As often seems to be the case, Wonder had exhausted every thing in his arsenal when he tried out an unfinished tune.

The result was Uptight (Everythings Alright), and, in terms of Wonders career, everything was at least back on track.

Wonder fit like a glove with The Funk Brothers (who didnt), and though the rest of the album feels like reworked leftovers from previous Motown hits (Love a Go Go is practically a cover of Dancing in the Street for a few bars), its got a consistent groove that keeps you listening.

The Wonder co-written Pretty Little Angel sounds like a girl-band track and shouldve been a hit for another Motown artist.

Theres still some cover filler (Stevie does little with Blowin in the Wind), but the adult Stevie is peeking through.

Then he drops a maddeningly repetitive, nine-minute track like Race Babbling, and youre reminded that even (especially) the greats can completely lose their creative bearings.

The first half of the LP is basically a little bit prog, a little bit new age and of interest to those with an adventurous ear.

Wonder shouldve closed out the LP with the title track, but, hey, a little more bloat at least feels thematically appropriate.

Steve Wonder Discography Torrent