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Published in 1973, The Secret Life of Plants was written by Peter Tompkins and Christopher Bird. Wonder’s technical mastery (he produced the disc and plays almost every instrument) works well in the service of the all-suggestive mysticism at the center of both the film’s subject (plants’ secret lives as a key to human knowledge) and his own career.It means even on the lower levels of life, there is a profound consciousness or awareness that bonds all things together. Stevie Wonder creates sounds that are impossible to identify: the high, wafting trills that float through Journey through the Secret Life of Plants‘ four sides might have been made by synthesizers, a string section, clarinets, any combination of these or none at all. Out of a cool, primordial silence emerge the wet, squeaky sounds of seeds thrusting up and out, like one of those Walt Disney nature documentaries in which stop-action photography shows a tulip blossoming in seconds. The opening cut is called “Earth’s Creation,” and for once such a presumptuous title doesn’t overreach. The entire first side, for example, coheres as a musical-botanical Talking Book of Genesis. Most of the music here is from the soundtrack for a three-year-old film, The Secret Life of Plants, which was, in turn, based on a best-selling book.Īs movie music, the LP succeeds, sometimes to mesmerizing effect. The most problematic aspect of this album is the way it’s been presented: as Stevie Wonder’s first major studio release since Songs in the Key of Life in 1976. One person’s nectar is another’s Karo syrup, and the stamens of Wonder’s Plants are bursting with both. Not only that, but the song works on an additional level as a sly parody of the kind of sweet bombast associated with silent-film melodramas.Īfter the delights of “Finale,” however, you’re on your own, since plucking the exhilarating moments from Journey through the Secret Life of Plants is a harrowing, highly subjective task. “Finale” commences with a quick, slapstick keyboard fill and then expands into an undulating instrumental whose billowing bass and synthesizers evoke a quivering field of flowers in bloom. Stevie Wonder’s Journey through the Secret Life of Plants is so uneven, so full of tiny pleasures and bloated tedium, that for some assurance that Wonder hasn’t lost his touch, you ought to start by listening to the LP’s last cut.
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