20 extraordinary albums turning 50 this year

2. Court and Spark by Joni Mitchell

Purists may prefer Mitchell’s Blue, but there’s no reason an artist can’t have two “best” albums, is there? I’ve written a rather detailed tribute to Mitchell’s sixth album, so I won’t rehash all of that. Let’s just say this is her most accessible blend of the jazz rhythms she would continually explore throughout her career with simply brilliant pop songs.

“Help Me” and “Free Man in Paris” were justifiable hits. “Car on the Hill” is an epic tale of a jilted lover. “People’s Parties” wraps its insecurity in a lovely pop sheen. And “Raised on Robbery,” with Robbie Robertson’s insistent guitar, is simply one of the best songs of the year. As for “Twisted,” which closes the album – that’s one of those songs you have to hear to understand.

1. Fulfillingness’ First Finale by Stevie Wonder

Stevie Wonder was already the king of pop music by the time FFF came out in 1974. He was just 24, but already had 16 albums under his belt. Innervisions had won the Grammy the previous year, and you could easily make the case that the two albums that preceded it were worthy of the award as well.

He had been a child prodigy in the ‘60s. Now he was a mature adult and his music was getting bolder and better. If anything, FFF is a somewhat laid-back version of what he had been doing. With the exception of the epic anger pouring out of “You Haven’t Done Nothin,” it is a fun, romantic album. But it still has the undeniable groove that seemed to flow out Wonder’s soul.

“Boogie on Reggae Woman” is a funky crowd-pleaser. The rest of the album practically shimmers with sultry emotion. “Creepin’” and the somber “They Won’t Go When I Go” slow things down quite a bit, but they maintain a dramatic tension that makes them essential listening.

I’ll admit that I prefer Innervisions and the sprawling Songs in the Key of Life, which followed, but even if I place FFF in a virtual tie with Talking Book, being the third-best album from Stevie Wonder is still better than virtually anything other musicians are capable of.

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