"SIR DUKE" STEVIE WONDER (1976)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #SeptSongLyricChallenge

Day 3
Hands down, “Sir Duke” is one of the most memorable musical tributes. Basie. Glenn Miller. Louis Armstrong. Ella. And, of course, Duke Ellington. Few songs celebrate music so admirably and unpretentiously. It’s pure love for the music. Pure love for the sounds that have shaped us. In many ways, it’s the same thing that drove me to start Mental Jukebox. This “hobby” of mine represents the collision of two loves of mine: music and words. Seemed like Stevie was doing the same thing in this classic.

“Music knows it is and always will be one of the things that life just won't quit. But here are some of music's pioneers that time will not allow us to forget. For there'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.”

"AS" STEVIE WONDER (1976)

The decade in which I was born has given me a strange perspective on its music. I discovered pretty much all of the 70’s sounds – from prog rock to punk to disco – well after they came into the world. It wasn’t until the late 80’s that I discovered what I was missing. I would characterize the decade as one where budding genres leaped off their inspiration pads and came to fruition. For the month of February, Mental Jukebox will feature some of these gems with a different 70’s song each day. #28DaysOf70sSongs

Songs In The Key of Life is such an appropriate title for one of the most ambitious and extraordinary albums of the 70’s. Its 21-song track listing tackles all kinds themes, including love, childhood and social injustice. It varies tempos, from mid-tempo to ballad pacing to frenetic. And, most noticeably, it spans a wide range of genres, from pop to soul to R&B to jazz. It truly showcases Stevie Wonder’s versatility as a songwriter, arranger, performer and producer. It seems like an impossible task to single out one track from Songs In The Key Of Life. So maybe today I’ll go with “As” and revisit more of the album’s treasures in a future Mental Jukebox write-up.

“As” is not only the title of the song. It’s the first word of the song as well. It’s a musical manifesto of unconditional love. It’s not clear who’s the narrator and who’s the beloved – is this a statement between two lovers? Between the Creator and the creation? Between the artist and the audience? The interpretation doesn’t really matter. What does matter is the sheer audacity of this unconditional love in a world predicated on conditions. “As” is a reminder of not what was, but what could be. In the key of life, it’s that C note on the highest octave.

“Until we dream of life and life becomes a dream. Be loving you.”

"MY CHERIE AMOUR" STEVIE WONDER (1969)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

Every now and then, I think about the question: what makes great music great? There are probably a few different ways to answer that question, and they’re all equally valid responses. First and foremost, great music has to move you. Second, great music inspires us to do great things, everything from recording the next great soul album to being a great dad. Lastly, I think great music lasts for generations. The music of Stevie Wonder hits on all three of these descriptions across. several decades. My favorite Wonder albums are Innervisions and Songs in the Key of Life. But the 60’s title track from “My Cherie Amour” is absolutely irresistible.

On “My Cherie Amour”, it all comes together. We hear the best of Stevie Wonder’s abilities as a songwriter, arranger, performer and producer. The opening to the song is composed with orchestrated elements, but quickly slips into an easy listening vibe that uses string arrangements with soul and R&B tendencies. No one else was doing this at the time. As a song about an old lover, the ease in which “My Cherie Amour” melds various genres so naturally and smoothly is a marvel. I think it’s why it’s taken on a life of its own for so many decades. There’s something about “My Cherie Amour” that appeals to each of us.

“Maybe someday, you'll see my face among the crowd. Maybe someday, I'll share your little distant cloud.”

"OVERJOYED" STEVIE WONDER (1985)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Ballads, in general, often get a bad rep for a few reasons. They frequently possess really corny lyrics, are driven by contrived melodies and leave much to be desired instrumentally. Which is why “Overjoyed”, in contrast, is a treasure. For decades, this song has flown a bit under the radar. It’s not the first, second, third or fourth song you think of when you’re asked to name one of the best 80’s ballads. But maybe it should be.

It doesn’t take a musical genius to see that Stevie wrote an ambitious melody. But what’s less obvious for the casual fan is how unusual it was to use the chords that he did. “Overjoyed” is written mostly in E flat, moves up a step, then another half step and then back down to E flat. And in true Stevie Wonder fashion, it feels effortless. His ambition keeps up on the instrumental side as well. Just beyond the synthesizer and stringed arrangement sits what are collectively referred to as environmental percussion elements in the liner notes, including crickets, birds, ocean waves and crushing leaves.

“I've gone much too far for you now to say that I've got to throw my castle away.”

"LIVING FOR THE CITY" STEVIE WONDER (1973)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

I can’t think of another music artist in all of history that intermingled different genres better than Stevie Wonder. The thing that often occurs when artists attempt to fuse disparate styles is a sense of disjointedness. But that’s never been the case with Stevie’s music. All of his multi-genre compositions are highlighted by a sense of cohesion and unity. I love the Innervisions album because this was the recording where Stevie’s crossover tendencies were at their height. And “Living For the City” is my favorite example.

It starts with funk. Then it slides into R&B with a side of soul and a sprinkle of rock. As if that wasn’t ambitious enough, “Living For the City” then slips into a momentary jazz exploration before getting back into its funk grooves. Just before the song ends, Stevie crosses over one more time with a gospel choir-inspired harmony. While “Living For the City” chronicled the story of a Mississippi boy’s journey to New York City, the musical styles cleverly reflect back the city’s rich and diverse soundscape.

“This place is cruel, nowhere could be much colder. If we don't change, the world will soon be over. Living just enough, stop giving just enough for the city.”

"WE CAN WORK IT OUT" STEVIE WONDER (1970)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

By 1970, Wonder was already ten studio albums in. Signed, Sealed and Delivered had a mix of originals and covers, demonstrating Stevie Wonder’s versatility as a co-writer and an arranger. Few artists have demonstrated the level of craft in arranging other people’s songs that he has achieved for more than half of a century. In his cover of The Beatles’ “We Can Work it Out” I’m reminded that aside from the melody and the lyrics, Stevie always saw everything else as fair game.

Deconstructing this cover, it’s easy to understand why this is considered a masterpiece in its own right. It’s not just another version. Stevie reimagined the song from the get go, inserting a soulful, driving guitar riff for the first 8 seconds. It’s a far better intro than the original. But the best thing about the recording is the complexity of the arrangement, using horns, backing vocals and more three part harmonies to add vigor and life to this Beatles classic.

“Try to see things my way. Do I have to keep on talking till I can't go on while you see it your way. Run the risk of knowing that our love may soon be gone.”

"FOR ONCE IN MY LIFE" STEVIE WONDER (1968)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Songwriting virtuoso. Crossover pioneer. One of the most talented musical arrangers of all time. It’s impossible to overhype the wonder of Stevie Wonder because few have made greatness look so easy. The genius of “For Once in My Life” may not be immediately noticeable, but there are several qualities that have made it a timeless and epic musical arrangement.

The fact that it has become a staple at wedding receptions for more than 50 years is first and foremost attributed to Stevie’s uptempo reimagination of a ballad. He transformed the song from a sleepy, romantic ode to a song that you can cut loose to on the dance floor — whether you’re an 8 year old or 80 years old. It effortlessly blends orchestral elements on a bed of R&B. And then there’s the bass playing. James Jamerson is considered by many to be the most influential bassist of all time. Hearing his approach to “For Once in My Life”, it’s not hard to see why. The entire line is improvised while complementing the melody from beginning to end like a true musical soul mate.

“For once I can say, "This is mine, you can't take it".
As long as I know I have love, I can make it.”

"HIGHER GROUND" STEVIE WONDER (1973)

This was Stevie’s funk statement. The clavinet, wah-wah pedals, Moog synthesizers, overdubs and drums were all saturated in the sounds and attitude of funk. And it was all orchestrated and recorded by the one-man band known as Stevie Wonder. He took the song about as far as anyone possibly could, and then the Red Hot Chili Peppers found a way to bring it rest of the way with a potent and explosive cover.

“Powers keep on lyin' while your people keep on dyin'. World keep on turnin' 'cause it won't be too long.”

"SIR DUKE" STEVIE WONDER (1976)

Hands down, “Sir Duke” is one of the most memorable musical tributes. Basie. Glenn Miller. Louis Armstrong. Ella. And, of course, Duke Ellington. Few songs celebrate music so admirably and unpretentiously. It’s pure love for the music. Pure love for the sounds that have shaped us. In many ways, it’s the same thing that drove me to start Mental Jukebox. In quarantine, we look for new indoor diversions. Some of us are learning new skills. New hobbies. For me, I’m just taking two things I already love and smashing them together. Music and words.

“Music is a world within itself.
With a language we all understand.”