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"Happy Birthday" was released as a single in several countries. In the UK, the song became one of Wonder's biggest hits, reaching number two in the charts in 1981. [3] When Wonder performed the song at Nelson Mandela Day at Radio City Music Hall on July 19, 2009, he slightly changed the lyrics, "Thanks to Mandela and Martin Luther King!" in the ...
Blind since shortly after his birth, Wonder was a child prodigy who signed with Motown's Tamla label at the age of 11, where he was given the professional name Little Stevie Wonder. Wonder's single " Fingertips " was a No. 1 hit on the Billboard Hot 100 in 1963, when he was 13, making him the youngest solo artist ever to top the chart.
Robert Christgau, that poll's creator, ranked the album eighteenth on his own year-end list [17] and wrote in a retrospective review that, while "Master Blaster" and perhaps "Happy Birthday" were the only "great Stevie here", the pleasure with which Wonder performed the songs was evident in "his free-floating melodicism and his rolling ...
Stevie Wonder recorded this song in 1967, but it remained unreleased for a decade, so no less a performer than the Queen of Soul, Aretha Franklin, was the first to release it, doing so in 1973. ...
"Superstition" is a song by American singer-songwriter Stevie Wonder. It was released on October 24, 1972, as the lead single from his fifteenth studio album, Talking Book (1972), by Tamla . [ 7 ] The lyrics describe popular superstitions [ 8 ] and their negative effects.
"Isn't She Lovely" is a song by Stevie Wonder from his 1976 album, Songs in the Key of Life. The lyrics celebrate the birth of his daughter, Aisha Morris. Wonder collaborated on the song with Harlem songwriter and studio owner Burnetta "Bunny" Jones. [1]
Days after releasing ‘Innervisions’, Stevie Wonder narrowly escaped death. On the 50th anniversary of the car crash that nearly took the musician’s life, Martin Chilton chronicles that ...
The song, both in its sound and length, was a change of pace for Wonder, who was trying to establish his own identity outside of the Motown sound. Besides its floaty ambience, it featured the singer as a virtual one-man band. [1] Cash Box said of the song "Superwoman, superproduction, supersong, superhit: AM and FM, pop/soul and MOR." [2]