Mainstream America’s first exposure to the phenomenon of Little Stevie Wonder came on the strength of the epochal live single “Fingertips Part 1&2,” a number one on both the pop and R&B charts in May 1963. This subsequent album of concert recordings demonstrates Wonder’s already electric acumen as a live performer, one who on Motown Revues regularly stole the show from stalwarts like Marvin Gaye and Martha Reeves and The Vandellas. The opening “Fingertips” is worth the price of admission alone, seven minutes of harmonica driven hard funk and vocal exhortation in the manner of James Brown at the peak of his powers. Elsewhere this is largely a demonstration of Little Stevie’s insanely polygamous abilities with drums, vocals and harp, at times seeming almost more athletic than musical. Still, it is hard not to be stunned into admiring silence on Wonder’s mesmerizing reading of Henry Glover’s devastating “Drown In My Own Tears.” In total, a muscular display of budding greatness, gradually putting the crucial elements of his future masterworks in place.