HOME
The Info List - Innervisions





Innervisions
Innervisions
is the 16th studio album by American musician Stevie Wonder, released August 3, 1973, on the Tamla label for Motown Records, a landmark recording of his "classic period".[2] The nine tracks of Innervisions
Innervisions
encompass a wide range of themes and issues: from drug abuse in "Too High", through inequality and systemic racism in "Living for the City", to love in the ballads "All in Love Is Fair" and "Golden Lady". The album's closer, "He's Misstra Know-It-All", is a scathing attack on then-US President Richard Nixon, similar to Wonder's song a year later, "You Haven't Done Nothin'".[3] As with many of Stevie Wonder's albums, the lyrics, composition and production are almost entirely his own work, with the ARP synthesizer used prominently throughout the album. The instrument was a common motif among musicians of the time because of its ability to construct a complete sound environment. Wonder was the first black artist to experiment with this technology on a mass scale, and Innervisions
Innervisions
was hugely influential on the subsequent future of commercial black music. He also played all or virtually all instruments on six of the album's nine tracks, making most of Innervisions
Innervisions
a representative one-man band.

Contents

1 Post-release car accident 2 Critical reception 3 Commercial performance 4 Legacy 5 Track listing 6 Personnel 7 Charts

7.1 Weekly charts 7.2 Singles

8 Certifications 9 See also 10 References 11 External links

Post-release car accident[edit] Three days after the commercial release of Innervisions, on August 6, 1973, Wonder played a concert in Greenville, South Carolina. While on the way back, just outside Durham, North Carolina, Wonder was asleep in the front seat of a car being driven by his friend, John Harris, when they were snaking along the road, behind a truck loaded high with logs. Suddenly the trucker jammed on his brakes, and the two vehicles collided. Logs went flying, and one smashed through the wind shield, sailing squarely into Stevie Wonder's forehead. He was bloody and unconscious when he was pulled from the wrecked car. For four days he lay in a coma caused by severe brain contusion, causing media attention and the preoccupation of relatives, friends and fans.[4] It was his friend and tour director Ira Tucker who first elicited some response from him:

... I remember when I got to the hospital in Winston-Salem. Man, I couldn't even recognize him. His head was swollen up about five times normal size. And nobody could get through to him. I knew that he likes to listen to music really loud and I thought maybe if I shouted in his ear it might reach him. The doctor told me to go ahead and try, it couldn't hurt him. The first time I didn't get any response, but the next day I went back and I got right down in his ear and sang Higher Ground. His hand was resting on my arm and after a while his fingers started going in time with the song. I said yeah, yeah!! This dude is going to make it! — Ira Tucker

Wonder's climb back to health was still very long and slow. When he regained consciousness, he discovered that he had lost his sense of smell (which he later largely recovered).[5] He was deeply afraid that he might have lost his musical faculty, too.

... We brought one of his instruments—I think it was the clavinet—to the hospital. For a while, Stevie just looked at it, or didn't do anything with it. You could see he was afraid to touch it, because he didn't know if he still had it in him—he didn't know if he could still play. And then, when he finally did touch it ... man, you could just see the happiness spreading all over him. I'll never forget that. — Ira Tucker

Still, Wonder had to take medication for a year, tired easily, and suffered severe headaches. The August 6 accident particularly changed his way of thinking. His deep faith and spiritual vision made him doubt that it was "an accident". He stated, "You can never change anything that has already happened. Everything is the way it's supposed to be.... Everything that ever happened to me is the way it is supposed to have been." Wonder also commented when he was interviewed by The New York Times
The New York Times
that "the accident opened my ears up to many things around me. Naturally, life is just more important to me now ... and what I do with my life". Confirming Stevie's belief in destiny, Michael Sembello, Wonder's lead guitarist at the time, said

... Well, I think he'd always had some awareness of the spiritual side of life. But the accident really brought it to the surface. Like now I know he really sees and uses every concert as the spiritual opportunity it is, to reach people.... The accident made him recognize God, it changed him a lot. Sometimes he'd just drift off in conversation, he'd just ... be some place else. He got really intense after the accident, his ESP got really strong. — Michael Sembello

... I would like to believe in reincarnation. I would like to believe that there is another life. I think that sometimes your consciousness can happen on this earth a second time around. For me, I wrote Higher Ground even before the accident. But something must have been telling me that something was going to happen to make me aware of a lot of things and to get myself together. This is like my second chance for life, to do something or to do more, and to value the fact that I am alive. — Stevie Wonder

Before the accident, Wonder had been scheduled to do a five-week, 20-city tour between March and April 1974. It was postponed, with the exception of one date in Madison Square Garden
Madison Square Garden
in late March. That concert began with Stevie pointing to his scarred forehead, looking up, grinning, and giving "thanks to God that I'm alive". 21,000 people in the crowd roared with applause, and as a Post critic noted, "it was hard not to be thrilled." Critical reception[edit]

Professional ratings

Review scores

Source Rating

AllMusic [6]

The Austin Chronicle [7]

Christgau's Record Guide A[8]

Creem B+[9]

Encyclopedia of Popular Music [10]

The Great Rock Discography 10/10[10]

Los Angeles Times [11]

MusicHound 5/5[10]

The Rolling Stone
Rolling Stone
Album
Album
Guide [12]

Slant Magazine [13]

Although Innervisions
Innervisions
was recorded and released before Wonder's accident, most people associated it with the musician's fast recovery. As with both Music of My Mind
Music of My Mind
and Talking Book
Talking Book
the previous year, Innervisions
Innervisions
was received warmly by music critics. Wonder's versatile musical skills were praised by critics. Billboard published that "the liner credits Stevie with playing all the instruments on seven of the nine tunes. So in essence this is a one-man band situation and it works. His skill on drums, piano, bass, and arp are outstanding, and all the tracks work within the thematic framework." The New York Times wrote, "Stevie identifies himself as a gang and a genius, producing, composing, arranging, singing, and, on several tracks, playing all the accompanying instruments. But Stevie Wonder, you see and want to know more. At the center of his music is the sound of what is real. Vocally, he remains inventive and unafraid, he sings all the things he hears: rock, folk, and all forms of Black music. The sum total of these varying components is an awesome knowledge, consumed and then shared by an artist who is free enough to do both."[14] Many others also praised the variety of musical styles and themes present in the album. One reviewer from Playboy
Playboy
wrote, "Stevie Wonder's Innervisions
Innervisions
is a beautiful fusion of the lyric and the didactic, telling us about the blind world that Stevie inhabits with a depth of musical insight that is awesome. It's a view that's basically optimistic, a constant search for the 'Higher Ground', but the path is full of snares: dope ('Too High'), lies ('Jesus Children of America') and the starkly rendered poison of the city ('Living for the City'). Wonder seems to say that all people delude themselves but have to be well to pay their dues and existentially accept the present. 'Today's not yesterday,/And all things have an ending' is the way he puts it in 'Visions,' the key tune of the album—pretty yet serious, harmonically vivid. There's a lot of varied music here—Latin, reggae, even a nod to Johnny Mathis
Johnny Mathis
('All in Love is Fair')—but it's all Stevie, unmistakably."[citation needed] Some reviewers were less enthusiastic. Jon Tiven
Jon Tiven
from Circus argued that there was a lack of memorable material: "Just when Stevie had some momentum going, he went and put together a concept album of homogeneous music and rather typical lyrics. Unlike his last two albums, there are no real low spots on this album, which I suppose is an improvement, but there are no songs on Innervisions
Innervisions
which are truly outstanding either. There's no 'Superstition,' no 'I Believe (When I Fall in Love It Will Be Forever).' By constructing a solid ground from which to work, Stevie has lowered the ceiling, and put a damper on his talents."[15] Musicians also showed consummate respect for the achievements of the album, with Roberta Flack
Roberta Flack
saying to Newsweek
Newsweek
that "It's the most sensitive of our decade ... it has tapped the pulse of the people."[citation needed] Innervisions
Innervisions
won Grammy Awards
Grammy Awards
for Album
Album
of the Year and Best Engineered Non-Classical Recording in 1974, while "Living for the City" won the Grammy for Best R&B Song. Commercial performance[edit] After Talking Book
Talking Book
hit the top 5 of the Billboard albums chart in early 1973 and achieved steady sales during the rest of the year, Innervisions
Innervisions
became another considerable hit in the charts. The album debuted on the Billboard albums chart on August 18, 1973 at number 85, then climbed up weekly to number 22, number 14, number nine, number six until reaching its peak position of number four on September 15. The album remained inside the top 20 until the end of the year and remained inside the top 200 during the whole calendar year of 1975. It was also Wonder's second consecutive soul album to top the Black Albums chart where it remained for two weeks. (In the Cashbox chart, Innervisions
Innervisions
reached number one near the end of the year.) In the UK the album also achieved success, and became Stevie Wonder's first album ever to reach the UK top 10, peaking at number eight. Three hit singles were issued from the album. "Higher Ground", released some weeks before Innervisions, reached number four on the singles chart in late October 1973 (it was also a number one on the Cashbox singles chart). "Living for the City" was released immediately and reached number eight in early January 1974. Both singles reached number one on the R&B chart. Finally, "Don't You Worry 'bout a Thing" was released in March, reaching number 16 in early June, and also peaked at number two on the R&B charts. In the UK, "Higher Ground" and "Living for the City" were released as singles but achieved modest success, reaching only numbers 29 and 15, respectively. Only a third single issued there, "He's Misstra Know-It-All", managed to reach the top 10, peaking at number eight on the UK Singles Chart. "All in Love Is Fair" was a later a hit for Barbra Streisand, who recorded it and released as a single in 1974. Legacy[edit] Innervisions
Innervisions
has been considered by many fans, critics, and colleagues to be among Stevie Wonder's finest work and one of the great albums in popular music history.[16] The album was revisited countless times in different lists of the greatest albums of all time. In his Rock & Roll Review: A Guide to Good Rock (1991), Bill Shapiro wrote "This recording represents the pinnacle of a very important artist's career, and of his physically blind, but nonetheless extraordinary humane vision. For all intents and purposes, and for all of its richness and variety of texture, it is essentially all Stevie Wonder. He personally created and arranged every sound heard. His canvas stretches from the tough realities of ghetto streets to the transcendent joy of spiritual acceptance, each rendered with an original, unique musical palette. The feel is a little more jazz than funk, the result is simply glorious pop music – uplifting sound and message." In 2001, VH1
VH1
named it the 31st greatest album of all time with the following statement: "The whole message of this album seems to be caution – Wonder seems to be warning the black community to be aware of their own plight, strive for improvement, and take matters into their own hands. But this is all against the backdrop of the harsh social realities of America circa 1973, and nowhere does this conflict hit home more than in Wonder's magnum opus, 'Living for the City', a raw piece of modern blues on which Wonder played every instrument. The message of urban struggle resonates even more strongly now than it did thirty years ago, proving that the 'inner-visions' of this LP were visionary as well." In 2003, the album was ranked number 23 on Rolling Stone
Rolling Stone
magazine's list of the 500 greatest albums of all time, and re-ranked number 24 in the 2012 book version.[17] The magazine wrote in that occasion:

...  Stevie Wonder
Stevie Wonder
may be blind, but he reads the national landscape, particularly regarding black America, with penetrating insight on Innervisions, the peak of his 1972-73 run of albums–including Music of My Mind
Music of My Mind
and Talking Book. Fusing social realism with spiritual idealism, Wonder brings expressive color and irresistible funk to his synth-based keyboards on "Too High" (a cautionary anti-drug song) and "Higher Ground" (which echoes Martin Luther King Jr.'s message of transcendence). The album's centerpiece is "Living for the City", a cinematic depiction of exploitation and injustice. — Rolling Stone

As further evidence of the album's classic status, Innervisions
Innervisions
was re-released in the UK on September 15, 2008 to coincide with Wonder's critically acclaimed autumn 2008 European tour.[18] Track listing[edit] All songs written, produced, and arranged by Stevie Wonder. Side one

"Too High" – 4:36

Stevie Wonder
Stevie Wonder
– lead vocal, Fender Rhodes, harmonica, drums, Moog bass Lani Groves – background vocal Tasha Thomas
Tasha Thomas
– background vocal Jim Gilstrap – background vocal

"Visions" – 5:23

Stevie Wonder
Stevie Wonder
– lead vocal, Fender Rhodes Malcolm Cecil
Malcolm Cecil
– upright bass Dean Parks – acoustic guitar David T. Walker – electric guitar

"Living for the City" – 7:22

Stevie Wonder
Stevie Wonder
– lead vocal, background vocals, Fender Rhodes, drums, Moog bass, T.O.N.T.O. synthesizer, handclaps

"Golden Lady" – 4:40

Stevie Wonder
Stevie Wonder
– lead vocal, piano, Fender Rhodes, drums, Moog bass, T.O.N.T.O. synthesizer Clarence Bell – Hammond organ Ralph Hammer – acoustic guitar Larry "Nastyee" Latimer – congas

Side two

"Higher Ground" – 3:42

Stevie Wonder
Stevie Wonder
– lead vocal, Hohner clavinet, drums, Moog bass, tambourine, handclaps

"Jesus Children of America" – 4:10

Stevie Wonder
Stevie Wonder
– lead vocal, background vocal, Fender Rhodes, Hohner clavinet, handclaps, tambourine, handclapping, drums, Moog bass

"All in Love Is Fair" – 3:41

Stevie Wonder
Stevie Wonder
– lead vocal, piano, Fender Rhodes, drums Scott Edwards – electric bass

"Don't You Worry 'bout a Thing" – 4:44

Stevie Wonder
Stevie Wonder
– lead vocal, background vocal, piano, drums, Moog bass Yusuf Roahman – shaker Sheila Wilkerson – bongos, Latin gourd

"He's Misstra Know-It-All" – 5:35

Stevie Wonder
Stevie Wonder
– lead vocal, background vocal, piano, drums, handclaps, T.O.N.T.O. synthesizer, congas Willie Weeks
Willie Weeks
– electric bass

Personnel[edit]

Recordist – Dan Barbiero, Austin Godsey Tape operator – Gary Olazabal Mastering – George Marino Recording coordinators – John Harris, Ira Tucker Jr. Synthesizer
Synthesizer
programming – Robert Margouleff, Malcolm Cecil Album
Album
art – Efram Wolff

Charts[edit] Weekly charts[edit]

Chart (1973) Peak position

Australian Albums (Kent Music Report)[19] 26

UK Albums (BMRB)[20] 8

Cashbox Pop Albums 1

Billboard Soul LP's[21] 1

Billboard Top LP's & Tape[22] 4

Singles[edit]

Billboard

Year Single Chart Position

1973 "Higher Ground" Adult Contemporary 41

1973 "Higher Ground" Black Singles 1

1973 "Higher Ground" Pop Singles 4

1973 "Living for the City" Black Singles 1

1974 "Don't You Worry 'bout a Thing" Adult Contemporary 9

1974 "Don't You Worry 'bout a Thing" Black Singles 2

1974 "Don't You Worry 'bout a Thing" Pop Singles 16

1974 "Living for the City" Pop Singles 8

Certifications[edit]

Region Certification Certified units/Sales

United Kingdom (BPI)[23] Gold 100,000^

^shipments figures based on certification alone

See also[edit]

List of Billboard number-one R&B albums of 1973

References[edit]

^ Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations, Volume 1. ABC-CLIO. p. x. ISBN 0313379068. Wonder integrated soul, funk, rock, torch song, and jazz on his 1972 album Talking Book
Talking Book
and his 1973 album Innervisions.  ^ Some observers count six classic albums, some count five, and others count four. Bogdanov, Vladimir; Woodstra, Chris; Erlewine, Stephen Thomas (2001). All music guide: the definitive guide to popular music (4 ed.). Hal Leonard Corporation. pp. 447–448. ISBN 0-87930-627-0.  Cramer, Alfred William (2009). Musicians and composers of the 20th century. 5. Salem Press. p. 1645. ISBN 1-58765-517-9.  Brown, Jeremy K. (2010). Stevie Wonder: Musician. Black Americans of Achievement. Infobase Publishing. p. 57. ISBN 1-60413-685-5.  ^ James E. Perone. The Sound of Stevie Wonder: His Words and Music. Greenwood Publishing Group Date=Jan 1, 2006. p. 54. ISBN 978-0-27598-723-7.  ^ " Stevie Wonder
Stevie Wonder
Biography - Chapter 9". Steviewonder.org.uk. August 6, 1973. Retrieved February 25, 2012.  ^ "I heard that Stevie Wonder
Stevie Wonder
lost his sense of smell. Is that true?". Retrieved February 13, 2013.  ^ Bush, John. Review: Innervisions. Allmusic.com. Retrieved 2010-05-08. ^ Moser, Margaret. Review: Innervisions. The Austin Chronicle. Retrieved 2010-05-08. ^ Christgau, Robert (1981). "Stevie Wonder". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 0899190251. Retrieved September 26, 2015.  ^ Christgau, Robert (December 1973). "The Christgau Consumer Guide". Creem. Retrieved September 26, 2015.  ^ a b c "Innervisions". Acclaimed Music. Retrieved September 26, 2015.  ^ Hilburn, Robert (April 1, 2000). " Motown
Motown
Releases Remind Us of Stevie Wonder's Impact". Los Angeles Times. Retrieved September 25, 2015.  ^ Considine, J. D. (2004). "Stevie Wonder". In Brackett, Nathan; Hoard, Christian. The New Rolling Stone
Rolling Stone
Album
Album
Guide. Simon & Schuster. pp. 885–87. ISBN 0743201698. Retrieved September 25, 2015.  ^ Henderson, Eric. Review: Innervisions. Slant Magazine. Retrieved 2010-05-08. ^ " Stevie Wonder
Stevie Wonder
- Innervisions". Superseventies.com. March 2, 1974. Retrieved February 25, 2012.  ^ " Stevie Wonder
Stevie Wonder
- Innervisions". Superseventies.com. March 2, 1974. Retrieved February 25, 2012.  ^ Acclaimed Music Accessed November 11, 2007 ^ "News". Rolling Stone. Retrieved February 25, 2012.  ^ Stevie Wonder
Stevie Wonder
classic 1995 interview by Pete Lewis, 'Blues & Soul' re-published September 2008 ^ Kent, David (1993). Australian Chart Book
Book
1970–1992. St Ives, New South Wales, Australia: Australian Chart Book. ISBN 978-0-64611-917-5.  ^ Roberts, David, ed. (2006). British Hit Singles & Albums (19th ed.). London, England: Guinness World Records Ltd. p. 609. ISBN 978-1-90499-410-7.  ^ "Billboard Soul LP's". Billboard: 40. September 8, 1973.  ^ "Billboard Top LP's & Tape". Billboard: 58. September 22, 1973.  ^ "British album certifications – Stevie Wonder
Stevie Wonder
– Innervisions". British Phonographic Industry.  Enter Innervisions
Innervisions
in the search field and then press Enter.

External links[edit]

Innervisions
Innervisions
at Discogs Album
Album
Accolades at acclaimedmusic.net Track listing, Musicians, Artwork and Lyrics at steviewonder.org.uk

v t e

Stevie Wonder

Studio albums

The Jazz
Jazz
Soul of Little Stevie Tribute to Uncle Ray With a Song in My Heart Stevie at the Beach Up-Tight Down to Earth I Was Made to Love Her Someday at Christmas Eivets Rednow For Once in My Life My Cherie Amour Signed, Sealed & Delivered Where I'm Coming From Music of My Mind Talking Book Innervisions Fulfillingness' First Finale Songs in the Key of Life Hotter than July In Square Circle Characters Conversation Peace A Time to Love

Live albums

Recorded Live: The 12 Year Old Genius Stevie Wonder
Stevie Wonder
Live Live at the Talk
Talk
of the Town Natural Wonder

Soundtracks

Stevie Wonder's Journey Through "The Secret Life of Plants" The Woman in Red Jungle Fever

Compilations

Looking Back Stevie Wonder's Original Musiquarium I Song Review: A Greatest Hits Collection At the Close of a Century Ballad Collection The Definitive Collection 20th Century Masters The Complete Stevie Wonder

Top ten singles

" Fingertips
Fingertips
- Part 2" "Uptight (Everything's Alright)" "Blowin' in the Wind" "A Place in the Sun" "I Was Made to Love Her" "I'm Wondering" "Shoo-Be-Doo-Be-Doo-Da-Day" "For Once in My Life" "My Cherie Amour" "Yester-Me, Yester-You, Yesterday" "Never Had a Dream Come True" "Signed, Sealed, Delivered I'm Yours" "Heaven Help Us All" "If You Really Love Me" "Superstition" "You Are the Sunshine of My Life" "Higher Ground" "Living for the City" "He's Misstra Know-It-All" "You Haven't Done Nothin'" "Boogie On Reggae Woman" "I Wish" "Sir Duke" "Send One Your Love" "Master Blaster (Jammin')" "I Ain't Gonna Stand for It" "Happy Birthday" "That Girl" "Do I Do" "Ebony and Ivory" "I Just Called to Say I Love You" "Love Light in Flight" "Part-Time Lover" "That's What Friends Are For" "Go Home"

Other singles

"Hey Harmonica
Harmonica
Man" "Hey Love" "I Don't Know Why" "Never Dreamed You'd Leave in Summer" "Superwoman (Where Were You When I Needed You)" "Don't You Worry 'bout a Thing" "As" "Another Star" "Lately" "Ribbon in the Sky" "Overjoyed" "Faith"

Other songs

"You and I (We Can Conquer the World)" "Golden Lady "All in Love Is Fair" "They Won't Go When I Go" "Knocks Me Off My Feet" "Pastime Paradise" "Isn't She Lovely" "Black Man"

Collaborations

"Ebony and Ivory" "We Are the World" "Just Good Friends" "California Roll"

Related articles

Discography Lula Mae Hardaway Syreeta Wright KJLH Wonderin' "Wonder-ful"

Book Category

v t e

Grammy Award for Album
Album
of the Year

1959–1979

The Music from Peter Gunn
The Music from Peter Gunn
Henry Mancini
Henry Mancini
(1959) Come Dance with Me! – Frank Sinatra
Frank Sinatra
(1960) The Button-Down Mind of Bob Newhart
The Button-Down Mind of Bob Newhart
Bob Newhart
Bob Newhart
(1961) Judy at Carnegie Hall
Judy at Carnegie Hall
Judy Garland
Judy Garland
(1962) The First Family – Vaughn Meader
Vaughn Meader
(1963) The Barbra Streisand
Barbra Streisand
Album
Album
Barbra Streisand
Barbra Streisand
(1964) Getz/Gilberto
Getz/Gilberto
– Stan Getz, João Gilberto
João Gilberto
(1965) September of My Years Frank Sinatra
Frank Sinatra
(1966) A Man and His Music Frank Sinatra
Frank Sinatra
(1967) Sgt. Pepper's Lonely Hearts Club Band
Sgt. Pepper's Lonely Hearts Club Band
The Beatles
The Beatles
(1968) By the Time I Get to Phoenix – Glen Campbell
Glen Campbell
(1969) Blood, Sweat & Tears – Blood, Sweat & Tears (1970) Bridge over Troubled Water
Bridge over Troubled Water
– Simon & Garfunkel (1971) Tapestry – Carole King
Carole King
(1972) The Concert for Bangladesh – Various (1973) Innervisions
Innervisions
Stevie Wonder
Stevie Wonder
(1974) Fulfillingness' First Finale
Fulfillingness' First Finale
Stevie Wonder
Stevie Wonder
(1975) Still Crazy After All These Years
Still Crazy After All These Years
Paul Simon
Paul Simon
(1976) Songs in the Key of Life
Songs in the Key of Life
Stevie Wonder
Stevie Wonder
(1977) Rumours – Fleetwood Mac
Fleetwood Mac
(1978) Saturday Night Fever – Bee Gees/Various (1979)

1980–2000

52nd Street – Billy Joel
Billy Joel
(1980) Christopher Cross
Christopher Cross
Christopher Cross
Christopher Cross
(1981) Double Fantasy
Double Fantasy
John Lennon
John Lennon
and Yoko Ono
Yoko Ono
(1982) Toto IV
Toto IV
– Toto (1983) Thriller – Michael Jackson
Michael Jackson
(1984) Can't Slow Down – Lionel Richie
Lionel Richie
(1985) No Jacket Required
No Jacket Required
Phil Collins
Phil Collins
(1986) Graceland – Paul Simon
Paul Simon
(1987) The Joshua Tree
The Joshua Tree
– U2 (1988) Faith – George Michael
George Michael
(1989) Nick of Time – Bonnie Raitt
Bonnie Raitt
(1990) Back on the Block
Back on the Block
Quincy Jones
Quincy Jones
and various artists (1991) Unforgettable... with Love Natalie Cole
Natalie Cole
(1992) Unplugged – Eric Clapton
Eric Clapton
(1993) The Bodyguard – Whitney Houston
Whitney Houston
(1994) MTV Unplugged – Tony Bennett
Tony Bennett
(1995) Jagged Little Pill
Jagged Little Pill
Alanis Morissette
Alanis Morissette
(1996) Falling into You
Falling into You
Celine Dion
Celine Dion
(1997) Time Out of Mind – Bob Dylan
Bob Dylan
(1998) The Miseducation of Lauryn Hill
The Miseducation of Lauryn Hill
Lauryn Hill
Lauryn Hill
(1999) Supernatural – Santana (2000)

2001–present

Two Against Nature
Two Against Nature
Steely Dan
Steely Dan
(2001) O Brother, Where Art Thou? Soundtrack (2002) Come Away with Me
Come Away with Me
Norah Jones
Norah Jones
(2003) Speakerboxxx/The Love Below
Speakerboxxx/The Love Below
Outkast
Outkast
(2004) Genius Loves Company
Genius Loves Company
Ray Charles
Ray Charles
and various artists (2005) How to Dismantle an Atomic Bomb
How to Dismantle an Atomic Bomb
– U2 (2006) Taking the Long Way
Taking the Long Way
Dixie Chicks
Dixie Chicks
(2007) River: The Joni Letters – Herbie Hancock
Herbie Hancock
(2008) Raising Sand
Raising Sand
Robert Plant
Robert Plant
& Alison Krauss
Alison Krauss
(2009) Fearless – Taylor Swift
Taylor Swift
(2010) The Suburbs
The Suburbs
Arcade Fire
Arcade Fire
(2011) 21 – Adele
Adele
(2012) Babel – Mumford & Sons (2013) Random Access Memories
Random Access Memories
Daft Punk
Daft Punk
(2014) Morning Phase
Morning Phase
Beck
Beck
(2015) 1989 – Taylor Swift
Taylor Swift
(2016) 25 – Adele
Adele
(2017) 24K Magic – Bruno

.