Stivie Wonder
Life And Works
Stevie Wonder was born in Saginaw, Michigan in 1950 as the third of six children to Calvin Judkins and Lula Mae Hardaway Morris. The product of a premature birth, the blood vessels at the back of his eyes had not yet reached the front, and an aborted growth spurt caused the retinas to detach.[11] The medical term for this condition is known as retinopathy of prematurity, or ROP, and while it may have been exacerbated by the oxygen pumped into his incubator, this treatment was not the primary cause of his blindness.
When Wonder was four, his mother left his father and moved herself and her children to Detroit. Wonder's mother changed her name back to Lula Hardaway Morris and Morris remains Wonder's legal name. Wonder took up piano at age seven, and had mastered it by age nine. During his early childhood he was active in his church choir. He also taught himself to play the harmonica and the drums, and had mastered both by age ten. Wonder also learned to play the bass during his early years.
Discovery and early Motown recordings
In 1961, at the age of eleven, Wonder was discovered singing outside a street corner by a relative of The Miracles' Ronnie White, who was later introduced to Wonder. White brought Wonder and his mother to Motown Records. Impressed by the young musician, Motown CEO Berry Gordy signed Wonder to Motown's Tamla label with the name Little Stevie Wonder.[1] Before signing, producer Mickey Stevenson gave Wonder his trademark name after remarking about him saying "that boy's a wonder". He then recorded the minor hit "I Call It Pretty Music, But the Old People Call It the Blues", which was released in late 1961. Wonder released his first two albums, The Jazz Soul of Little Stevie Wonder and Tribute to Uncle Ray, in 1962, to little success.
Music career
Early success: 1963–1971
By age thirteen, Wonder had a major hit, "Fingertips (Pt. 2)", a 1963 single taken from a live recording of a Motor Town Revue performance, issued on the album, Recorded Live: The 12 Year Old Genius. The song, featuring Wonder on vocals, bongos, and harmonica, and a young Marvin Gaye on drums, was a #1 hit on the U.S. pop and R&B charts and launched him into the public consciousness.
In 1964, Stevie Wonder made his film debut in Muscle Beach Party as himself, credited as "Little Stevie Wonder".
Dropping the "Little" from his moniker, Wonder went on to have a number of other hits during the mid-1960s, including "Uptight (Everything's Alright)", "With a Child's Heart", and "Blowin' in the Wind", a Bob Dylan cover which was one of the first songs to reflect Wonder's social consciousness, co-sung by his mentor, producer Clarence Paul. He also began to work in the Motown songwriting department, composing songs both for himself and his label mates, including "Tears of a Clown", a number one hit performed by Smokey Robinson & the Miracles.
In 1968 he recorded an album of instrumental soul/jazz tracks, mostly harmonica solos, under the pseudonym (and title) Eivets Rednow, which is "Stevie Wonder" spelled backwards. The album failed to get much attention, and its only single, a cover of "Alfie", only reached number 66 on the U.S. Pop charts and number 11 on the U.S. Adult Contemporary charts. Nonetheless, he managed to score several hits between 1968 and 1970 such as "I Was Made to Love Her"; "For Once in My Life" and "Signed, Sealed, Delivered I'm Yours". In September 1970, at the age of 20, Wonder married Syreeta Wright, a former company secretary for Motown and songwriter. For his next album known as Where I'm Coming From, his newly-wed wife Syreeta gave him a helping hand with the writing and producing aspects, with the permission of Gordy. The album flopped in the charts. Reaching his twenty-first birthday on May 21, 1971, he allowed his Motown contract to expire.[12]
In 1970, Wonder co-wrote, and played numerous instruments on, the hit "It's a Shame" for fellow Motown act The Spinners. His contribution was meant to be a showcase of his talent and thus a weapon in his on-going negotiations with Gordy about creative autonomy.[13]
Classic period: 1972–1976
Wonder independently 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 120-page contract shattered precedent at Motown and additionally gave Wonder a much higher royalty rate.[14] Wonder returned to Motown in March 1972 with Music of My Mind. Unlike most previous artist LPs on Motown, which usually consisted of a collection of singles, B-sides and covers, Music of My Mind was an actual LP, a full-length artistic statement with songs flowing together thematically.[14] Wonder's lyrics dealt with social, political, and mystical themes as well as standard romantic ones, while musically Wonder began exploring overdubbing and recording most of the instrumental parts himself.[14] This started the so-called "classic period" of Wonder's career during the 1970s. Music of My Mind marked the beginning of a long collaboration with synthesiser pioneers Tonto's Expanding Head Band (Robert Margouleff and Malcolm Cecil).[15]
