Among Stevie Wonder’s 23 studio albums, there’s bound to be some buried gold that’s been outshone by his titanic singles. Ahead of his performance at BST Hyde Park on 12 July, let’s comb through his discography and dig up some treasures.
‘Be Cool, Calm (And Keep Yourself Together)’ (Down To Earth, 1966)
The fifth track of 1966’s Down To Earth contains many of the melodic flourishes that will come to characterise his iconic catalogue. With an up-tempo backbeat and a euphoric chorus, this early cut exemplifies Wonder’s ability to take the sound of the time and remake it in his image. Despite being Wonder’s fourth studio album, he’s only 16 years old when it’s released.
‘You Can’t Judge A Book By Its Cover’ (Signed Sealed And Delivered, 1970)
You can hear the inspiration of bands like Alabama Shakes in the deep lead riff that gives this track its momentum. Developments in recording techniques at the turn of the decade coincided perfectly with Wonder’s forays into funk, the benefits of which can be heard across the album. Basslines take on an increasingly important role for Wonder, lending extra energy and movement to this swaggering cut.
‘Love Having You Around’ (Music Of My Mind, 1972)
As the opening track to what critics call Wonder’s “classic period”, ‘Love Having You Around’ sets the tone for one of the greatest winning streaks in pop music. A gurgling vocoder echoes the main vocal, combining with the funky keyboard part to produce a sonic signature that Wonder returns to time and time again. It never gets old.
‘Jesus, Children Of America’ (Innervisions, 1973)
While Innervisions as a whole is a universally acclaimed record, track six often gets undervalued in favour of more famous singles like ‘Higher Ground’. A significant track in establishing Wonder’s move from pure Motown to soulful funk, the song’s lyrics encapsulate his mounting focus on societal, political and spiritual issues. The chorus suggests “You’d better tell/ Your story fast/ And if you lie/ It will come to pass”. A more ominous undertone creeps into his messaging during this period, as he contemplates religion’s potential for both exploitation and redemption.
‘Bird Of Beauty’ (Fulfillingness’ First Finale, 1974)
‘Bird Of Beauty’ draws on Latin Rhythms, creating a refreshing counterpoint to the rest of the album. Many of Wonder’s lyrics point to the power of the mind, a theme continued here. Perhaps in a critique of strong over-the-counter drugs that prevailed at the time, he states “Oh, there is so much in life for you to feel/ Unfound in white, red or yellow pills”.
‘Contusion’ (Songs In The Key Of Life, 1976)
Sitting in the midst of Wonder’s most prestigious collection of songwriting, ‘Contusion’ shines a light on his fierce instrumental chops. As a technical instrumental, it also helps us to appreciate the astounding quality of musicians that Wonder worked with during this period. Guitarist Michael Sembello seizes the spotlight, blasting through a jazz-rock guitar line that guides the track through dizzying chord changes.
‘Race Babbling’ (Journey Through The Secret Life Of Plants, 1979)
‘Race Babbling’ is a 9-minute long work of proto-techno. A rushing noise heaves across your headphones before you’re transported to a bizarre alternate universe where the world’s biggest pop star has had enough of producing chart-topping singles, choosing instead to unleash the weirdest parts of his imagination. Wonder’s usually powerful vocals are given a ghostly quality, as if you’re hearing them through a phone line that diverts through another dimension. Emphasis is instead placed on sound design which, considering his instrumental skill, is a fascinating glimpse into his approach to new technology.
This soundtrack to a film about botany by Walon Green cut short the greatest winning streak in pop music. Widely panned by critics and eliciting a disappointed response from Wonder’s own label, Motown Records, his 1979 record holds a curious place in the discography. As the second ever album to be digitally produced, it’s quite fitting that it contains a lot of experimentation.
‘As If You Read My Mind’ (Hotter Than July, 1980)
Elements can be heard that feed into the UK’s acid jazz scene, which was developing around the same time across the pond. The skittishly funky drums take no time to rest—it’s easy to imagine this track being extended indefinitely on-stage. Nascent digital recording techniques give much of the album a slightly chintzy feel, but it suits the urgency of this particular cut quite well.
‘Sensuous Whisper’ (Conversation Peace, 1995)
Conversation Peace comes 12 years after Wonder’s previous non-soundtrack album. Wonder continues to move with technology, using a digitally sampled drum loop that lurks underneath a gloriously funky piano part. Many in his audience considered the LP a return to form, reminiscent of his classic period. ‘Sensuous Whisper’ makes a convincing argument for this, with its fusion of contemporary recording techniques and his signature songwriting style.
My Love Is On Fire (A Time To Love, 2005)
Wonder’s latest album to date doesn’t receive very much attention, but buried in the middle is the disco-flecked My Love Is On Fire. Silky strings and a plucky flute part give the track an irresistible sheen that holds throughout the entire six minutes. While the record as a whole lacks the era-defining magic of earlier works, this particular track demonstrates his seemingly bottomless supply of creativity.
As we look ahead to his appearance at BST Hyde Park, we’ll be listening out for any of these hidden gems that sneak their way into the setlist.
You can find a list of Stevie Wonder’s UK tour dates here.
Words by Ben Browning
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