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Gaining fame as a blind child prodigy, singer-songwriter-musician Stevie Wonder would go on to seamlessly fuse '60s soul with '70s funk, making music with a strong moral conscience that always reflected a fundamental hope and joy. His accomplishments in the early to mid-'70s are still unmatched, creating an astounding body of work that will continue to influence music for many years to come.
Stevie Wonder is a much-beloved American icon and an indisputable genius not only of R&B but popular music in general. Blind virtually since birth, Wonder's heightened awareness of sound helped him create vibrant, colorful music teeming with life and ambition. Nearly everything he recorded bore the stamp of his sunny, joyous positivity; even when he addressed serious racial, social, and spiritual issues (which he did quite often in his prime), or sang about heartbreak and romantic uncertainty, an underlying sense of optimism and hope always seemed to emerge. Much like his inspiration, Ray Charles, Wonder had a voracious appetite for many different kinds of music, and refused to confine himself to any one sound or style. His best records were a richly eclectic brew of soul, funk, rock & roll, sophisticated Broadway/Tin Pan Alley-style pop, jazz, reggae, and African elements — and they weren't just stylistic exercises; Wonder took it all and forged it into his own personal form of expression. His range helped account for his broad-based appeal, but so did his unique, elastic voice, his peerless melodic facility, his gift for complex arrangements, and his taste for lovely, often sentimental ballads.
Stevie Wonder (real name: Steveland Judkins Hardaway, born May 13, 1950) is an American composer, singer, humanitarian and social activist, blind from birth and originally from Saginaw, Michigan. At the age of eleven he began recording (under the name Little Stevie Wonder) and quickly became known as one of the most influential and innovative singer/songwriters of his time. He was also one of the most critically successful artists with the powerful Motown label. Over time, Wonder began singing with a new social consciousness, perhaps best reflected by his hit version of "Blowin' in the Wind" (Bob Dylan). He also became known as a songwriter, writing for The Spinners and Smokey Robinson & the Miracles, among other Motown artists.
Wonder charted a few more singles over the next year, but none on the level of "Fingertips, Pt. 2." As his voice changed, his recording career was temporarily put on hold, and he studied classical piano at the Michigan School for the Blind in the meantime. He dropped the "Little" portion of his stage name in 1964, and re-emerged the following year with the infectious, typically Motown-sounding dance tune "Uptight (Everything's Alright)," a number one R&B/Top Five pop smash. Not only did he co-write the song for his first original hit, but it also reinvented him as a more mature vocalist in the public's mind, making the similar follow-up "Nothing's Too Good for My Baby" another success. The first signs of Wonder's social activism appeared in 1966 via his hit cover of Bob Dylan's "Blowin' in the Wind" and its follow-up, "A Place in the Sun," but as Motown still had the final say on Wonder's choice of material, this new direction would not yet become a major facet of his work.
By this time, Wonder was, however, beginning to take more of a hand in his own career. He co-wrote his next several hits, all of which made the R&B Top Ten — "Hey Love," "I Was Made to Love Her" (an R&B number one that went to number two pop in 1967), and "For Once in My Life" (another smash that reached number two pop and R&B). Wonder's 1968 album For Once in My Life signaled his budding ambition; he co-wrote about half of the material and, for the first time, co-produced several tracks. The record also contained three more singles in the R&B chart-topper "Shoo-Be-Doo-Be-Doo-Da-Day," "You Met Your Match," and "I Don't Know Why." Wonder scored again in 1969 with the pop and R&B Top Five hit "My Cherie Amour" (which he'd actually recorded three years prior) and the Top Ten "Yester-Me, Yester-You, Yesterday." In 1970, Wonder received his first-ever co-production credit for the album Signed, Sealed & Delivered; he co-wrote the R&B chart-topper "Signed, Sealed, Delivered I'm Yours" with singer Syreeta Wright, whom he married later that year, and also scored hits with "Heaven Help Us All" and a rearrangement of the Beatles' "We Can Work It Out." In addition, two other Motown artists had major success with Wonder co-writes: the Spinners' "It's a Shame" and the Miracles' only pop number one, "Tears of a Clown."
Artist Biography - Stevie Wonder
1971 brought a turning point in Wonder's career. On his 21st birthday, his contract with Motown expired, and the royalties set aside in his trust fund became available to him. A month before his birthday, Wonder released Where I'm Coming From, his first entirely self-produced album, which also marked the first time he wrote or co-wrote every song on an LP (usually in tandem with Wright) and the first time his keyboard and synthesizer work dominated his arrangements. Gordy was reportedly not fond of the work, and it wasn't a major commercial success, producing only the Top Ten hit "If You Really Love Me" (plus a classic B-side in "Never Dreamed You'd Leave in Summer"). Nonetheless, it was clearly an ambitious attempt at making a unified album-length artistic statement, and served notice that Wonder was no longer content to release albums composed of hit singles and assorted filler. Accordingly, Wonder did not immediately renew his contract with Motown, as the label had expected; instead, he used proceeds from his trust fund to build his own recording studio and to enroll in music theory classes at USC. He negotiated a new deal with Motown that dramatically increased his royalty rate and established his own publishing company, Black Bull Music, which allowed him to retain the rights to his music; most importantly, he wrested full artistic control over his recordings, as Gaye had just done with the landmark What's Going On.
Wonder left Motown in 1971 and recorded two albums which he used as a bargaining tool while negotiating with Motown. Eventually, the label agreed to his demands for full creative control and the rights to his own songs. The two albums, Where I'm Coming From and Music of My Mind, are classics of the era. This is especially true of Music of My Mind, which was more than the typical collection of singles and was an actual LP, full-length artistic statement. Talking Book and Innervisions continued Wonder's critical and popular acclaim, addressing more and more political issues as his music progressed. This continued on Fulfillingness' First Finale (1974) and his magnum opus, Songs in the Key of Life (1976).
Wonder's next album was a soundtrack for the film, Journey Through the Secret Life of Plants. The album was panned at the time of its release but has come to be regarded as a classic album. Hotter Than July (1980) become Wonder's first platinum selling album and was a successful vehicle for his campaign to establish Dr. Martin Luther King's birthday as a national holiday. The record also included "Master Blaster (Jammin')", his tribute to Bob Marley. Since 1980, Wonder has continued to release singles and albums, however, he has not sustained the level of critical acclaim and mass popularity he once had. Wonder received Kennedy Center Honors in 1999.
Wonder finally completed the official album he'd been working on for nearly five years, and released In Square Circle in 1985. Paced by the number one hit "Part Time Lover" — his last solo pop chart-topper — and several other strong songs, In Square Circle went platinum, even if Wonder's synthesizer arrangements now sounded standard rather than groundbreaking. He performed on the number one charity singles "We Are the World" by USA for Africa and "That's What Friends Are For" by Dionne Warwick & Friends, and returned quickly with a new album, Characters, in 1987. While Characters found Wonder's commercial clout on the pop charts slipping away, it was a hit on the R&B side, topping the album charts and producing a number one hit in "Skeletons." It would be his final release of the '80s; he didn't return until 1991, with the soundtrack to the Spike Lee film Jungle Fever. His next full album of new material, 1995's Conversation Peace, was a commercial disappointment, despite winning two Grammys for the single "For Your Love." That same year, Coolio revived "Pastime Paradise" in his own brooding rap smash "Gangsta's Paradise," which became the year's biggest hit. Wonder capitalized on the renewed notoriety by cutting a hit duet with Babyface, "How Come, How Long," in 1996. Since then, Motown has released a number of remasters and compilations attempting to define and repackage Wonder's vast legacy. His far-reaching influence was felt in the neo-soul movement that came to prominence in the late '90s, and he also remained a composer of choice for jazz artists looking to incorporate harmonically sophisticated pop/R&B tunes into their repertoires. That only scratches the surface of Wonder's impact on contemporary popular music, which is why he was inducted into the Rock 'n' Roll Hall of Fame in 1989, and remains a living legend regardless of whatever else he does.
Wonder's first new album in 9 years, "A Time 2 Love" was scheduled to be released on July 27th, 2004, but it's currently delayed until around late in the year.
His track Superstition is one of the most distinctive examples of the sound of the clavinet.
His 1984 hit, "I Just Called To Say I Love You", is Motown's biggest-selling single in the UK. It was placed 13th in the all-time list of best-selling singles in the UK issued in 2002.
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1971 brought a turning point in Wonder's career. On his 21st birthday, his contract with Motown expired, and the royalties set aside in his trust fund became available to him. A month before his birthday, Wonder released Where I'm Coming From, his first entirely self-produced album, which also marked the first time he wrote or co-wrote every song on an LP (usually in tandem with Wright) and the first time his keyboard and synthesizer work dominated his arrangements. Gordy was reportedly not fond of the work, and it wasn't a major commercial success, producing only the Top Ten hit "If You Really Love Me" (plus a classic B-side in "Never Dreamed You'd Leave in Summer"). Nonetheless, it was clearly an ambitious attempt at making a unified album-length artistic statement, and served notice that Wonder was no longer content to release albums composed of hit singles and assorted filler. Accordingly, Wonder did not immediately renew his contract with Motown, as the label had expected; instead, he used proceeds from his trust fund to build his own recording studio and to enroll in music theory classes at USC. He negotiated a new deal with Motown that dramatically increased his royalty rate and established his own publishing company, Black Bull Music, which allowed him to retain the rights to his music; most importantly, he wrested full artistic control over his recordings, as Gaye had just done with the landmark What's Going On.
