George HaffendenToday marks the 65th birthday of the soul superstars that there has ever been, arguably he is the soul superstar – everybody knows his name, and we bet almost everyone can name or hum one of his songs. Stevie Wonder has been one of the most prolific artists ever, and it stands as testament to the man that he is not only still able to draw a crowd, but that his music continues to inspire and remain relevant today. From his first album ‘The Jazz Soul of Little Stevie Wonder’ to his last album ‘A Time To Love’, there is something for everyone in Stevie Wonder’s back catalogue. One of the first artists that Haff started listening to from an early age was Stevie, and he had the pleasure of seeing him live at this last set of UK arena dates back in 2008.
Joining Motown Records at the tender age of just 11, he released two albums in 1962 – ‘Jazz Soul’ and ‘Tribute to Uncle Ray’. Yet success at Motown for Little Stevie was far from guaranteed: for four years as his voice changed Motown put very little out on Stevie, or at least very little that was particularly good. Then, to save his contract and his career, he co-wrote ‘Uptight (Everything’s Alright)’ which reached #3 on the Billboard Pop Charts saving his career at Motown. Since then, Stevie has shown nothing but loyalty to Motown – he is the only ‘classic’ artist left on the roster from back in the sixties. There’s very little to say about Stevie Wonder that has not already been said – he’s a musical icon, and one that remain relevant for decades to come. In honour of Stevie Wonder, we’ve picked out some Stevie Wonder-associated cuts for your enjoyment, as well as our top ten Stevie songs.
Gary Byrd & The GB Experience – The Crown (1983)
Gary Byrd was, and still is on New York WBLS, a radio DJ who teamed up with Stevie Wonder in 1983 to create one of the best rap records ever made, but one that most people are unfamiliar with. ‘The Crown’ runs for about ten minutes, featuring a funky driving beat over which Stevie Wonder sings, and Byrd raps, telling the story of human progress from the ancient Egyptians to the present day (or, rather, 1983). It’s an incredible piece of music history that has got lost sadly: the song was a hit in the UK, but has only been re-issued as a single on a Motown compilation here – the ten minute version is restricted to vinyl only, but don’t worry because it’s on YouTube right here.
The Spinners – It’s A Shame (2nd Time Around, 1970)
The Spinners, or as they were known in the UK, The Detroit Spinners, struggled at Motown. In the shadows of acts like The Temptations and The Four Tops, they received only mediocre material to perform, and spent much of their time performing songs from other Motown groups. Then in 1970 Stevie Wonder co-wrote and produced ‘It’s A Shame’ for the group, launching them into national and international success. It’s a brilliant song, with a tasty guitar intro and a wonderful lead vocal delivered by then-lead singer G.C Cameron. Motown failed to release a worthwhile follow up to this single, and two years later the group left for Philadelphia where they had hits with Thom Bell and Linda Creed. But it says much about the quality of this song that it remains one of The Spinners’ best.
Smokey Robinson & The Miracles – Tears of a Clown (Make it Happen, 1967)
The story behind this song is that Stevie gave Smokey Robinson the music for it at the Motown Christmas party in the mid-sixties as he was struggling to come up with lyrics for this ‘circus’ like melody. Smokey took the song, added lyrics and released it in 1967 on the Make it Happen album. Nothing happened and soon 1969 swung by, and Smokey was itching to leave the group to concentrate on his role as Motown Vice-President and his family. Then in 1970 a new mix was released in the UK and the song became an instant smash; it was re-released in the US and well, the rest is history: Smokey extended his stay with the Miracles before leaving and being replaced by Billy Griffin. One of Motown’s finest songs, co-written by Stevie Wonder.
Marvin Gaye – Praise (In Our Lifetime, 1981)
The story behind this song is quite similar to that of ‘Tears of a Clown’: this slab of gospel-funk was released on Marvin’s final Motown album In Our Lifetime, and once again Stevie provided the riff. Indeed, Marvin name check’s Stevie in the closing of the song:
‘Stevie
We really dig you,
Hope you don’t mind this riff from you’
The Beach Boys – I Do Love You (The Beach Boys, 1985)
Now this is an odd one. Not that The Beach Boys didn’t have soul – their Wild Honey album was incredible soulful, indeed it even featured a cover of Stevie’s ‘I Was Made to Love Her’. But this song is taken from their self-titled album from 1985 – the first after band lost drummer Dennis Wilson. Produced by the man who produced Culture Club – hence the incredibly eighties pop vibe – this song is quite clearly a Stevie Wonder song. Carl Wilson delivers the lead vocal, and he even sort of sounds a bit like Stevie. By this point America’s band had past it in terms of their studio output (bar the 2012 album That’s Why God Made the Radio), but this song was one of the better moments on the album.
TF&SR’s Top Stevie Songs
- Do I Do – Stevie Wonder’s Original Musiquarium (1982)
This is one of the best Stevie Wonder jams out there – if you’re going to check it out, don’t settle for the four-minute single version, seek out the 10-minute album version, you will not regret it. Released as a new recording on Stevie Wonder’s Original Musiquarium I. It’s an epic piece of early eighties groove which features none other than famed trumpeter Dizzy Gillespie on a solo only on the ten-minute album version, one of his last recordings. It’s such a brilliant tune, one suitable to get anyone moving.
- Golden Lady – Innervisions (1973)
Taken from arguably his finest album Innversisions (not to demean the brilliance nor importance of Songs in the Key of Life), ‘Golden Lady’ is one of Stevie’s most delightful and romantic songs. Stevie handles most of the instrumental duties here, playing the pounding piano as well as laying down the tight-drum sound driving the song forward. The lyric is also one of Stevie’s best, and as usual he delivers it in a superb manner.
- If You Really Love Me – Where I’m Coming From (1971)
One of Stevie’s finest earlier works, this was the last song he would record using Motown’s famed house band The Funk Brothers – after this, he would record in New York playing most of the instruments himself. Indeed, this was one of the last songs that The Funk Brothers would record at Motown before Berry Gordy moved his operation to Los Angeles. The Funk Brothers laid down an irresistible groove, changing tempos masterfully – combined with those horns and Stevie’s impassioned vocal, this song could not have been anything more than incredible.
- As – Songs in the Key of Life (1976)
Critically acclaimed as his finest album, Songs in the Key of Life yielded several big hits, including ‘I Wish’, ‘Sir Duke’, ‘Another Star’ and this one, ‘As’. This version is the album version, reaching seven minutes long and again, its well worth seeking out this version over the shorter single version. The song seems to build and build and build; the background vocal arrangement is incredible, as is the instrumentation. But then that’s no surprise if you dig out the linear notes to this double-LP album: the great session bassist Nathan Watts is present, as well as the legend that is Herbie Hancock, playing the Rhodes. It’s one of the highlights from this pretty spectacular album.
- Part Time Lover – In Square Circle (1985)
In Square Circle is something of a disappointment in comparison to Stevie’s earlier albums. Sure, it had the megahit, soppy ballad ‘Overjoyed’ on it, but much of the rest of the album just seemed a little lacklustre – apart from this one. This song is classic eighties, and it does sound a little dated but it is still a brilliant Stevie Wonder jam. The lyric is incredible, and as always Stevie is on point vocally. Perhaps the best part of the song is the vocal scatting – the ‘do do, do do do-do-do’ – present throughout the song, but it’s not Stevie Wonder delivering it. It’s none other than Luther Vandross. For that alone, this song is worth checking out.
- All I Do – Hotter Than July (1980)
Originally recorded by the elegant Tammi Terrell in the sixities, Stevie recorded his own version on 1980’s platinum selling Hotter Than July album which produced hits such as ‘Masterblaster (Jamming)’, the song in tribute to Bob Marley. This song however, is another delightful mid-tempo ballad produced brilliantly by Stevie. Sure, it sounds a little dated – after all, it was 1980 and Stevie was one of the first to experiment with the new technology – but it is pretty wonderful nonetheless, especially the saxophone solo. With its catchy lyric and tasty groove, this is another one to spin.
- Did I Hear You Say You Love Me – Hotter Than July (1980)
One of the more overlooked Stevie Wonder songs – although one that Stevie performed on his last UK arena tour, and one that features on his Live in London DVD – is this, ‘Did I Hear You Say You Love Me’. It features an almost rock-esque guitar throughout, accompanying Stevie’s soaring vocals. The horns are exquisite on this track, indeed soon after many in soul would scrap actual horn arrangements in the studio, some even on tour. But this is a brilliant song, one that should be re-discovered.
- Another Star – Songs in the Key of Life (1976)
Another standout from this remarkable album, this has been overplayed in the last year what with the BBC choosing it for their theme song to their coverage of the Brazil World Cup. The song is masterpiece: it’s Latin-infused groove, tantalising background vocal arrangement, and brilliant rhythm is purely irresistible. Looking at the linear notes again, and we find a further array of top artists on the track: George Benson plays the guitar here; flutist Bobbi Humphrey is present, as is Nathan Watts again. It’s one of Stevie’s all time greatest songs, and at eight-minutes long, it thankfully goes on and on and on.
- Sir Duke – Songs in the Key of Life (1976)
Sure, this is a classic; everyone knows the horn intro to this, it’s a staple of any soul DJ on radio or in the club that is guaranteed to put a smile on anyone’s face. The song was written in tribute for Duke Ellington who had passed away in 1974, making reference to him throughout, but it also makes refernces to Stevie’s other musical idols:
“Here’s Basie, Miller, Satchmo, and the king of all, Sir Duke
And with a voice like Ella’s ringing out,
There’s no way the band can lose”
It reached #2 on the UK Singles Chart, and it’s a shame on the British public that it didn’t go higher.
- My Cherie Amour – My Cherie Amour (1969)
This is one of the best, and most covered, ballads that anyone has ever recorded. There’s not really much else to say really, expect that it is our favourite Stevie Wonder song. Stevie released so many complex and intricate recordings and maybe we should have chosen one of them, but for us this song’s jazzy romanticism is just stunning.