Adept at both writing his own material and covering other people's songs, Stevie Wonder's music tells a number of stories about his life and the causes dear to his heart. He wrote and sang about his childhood, his musical influences, his family and love - but also about poverty, drug use, racism, and several scathing rebukes of sitting presidents. But what inspired him and what is the real meaning behind these Stevie Wonder greatest hits?
Over the course of Wonder's career, he crafted a number of classic albums, pioneered innovative recording techniques, and sold a ton of records - landing over 30 top ten singles and selling over 100 million albums and singles. But many of his songs had many layers to them, and unique, telling backstories and meanings that might not be immediately perceived by those listening to the great Stevie Wonder discography.
Here are the hidden meanings and backstories behind some of the most well-known Stevie Wonder songs. Read on to learn the real stories behind the top Stevie Wonder tracks, and the hidden meanings this great musician folded into his music.
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Superstition
While Wonder’s monster hit is credited solely to him, the track actually began its life as a collaboration with guitarist Jeff Beck. He’d asked to join Wonder in the sessions for his 1972 album Talking Book, in exchange for Wonder writing Beck a song. When Beck began playing a funky beat on the drums as a goof, Wonder joined in with the iconic keyboard part and “Superstition” was the result.
Beck assumed this was the song Wonder would write for him and recorded his own version, but it wasn’t released until after Wonder’s recording of it became a smash.
You Haven't Done Nothin'
A collaboration between Wonder and the Jackson 5, “You Haven’t Done Nothin’” is one of Wonder’s most nakedly political songs, taking aim at President Richard Nixon’s administration and legal trouble.
Nixon did, in fact, resign just two days after the track’s release – and the anger over his administration propelled the track to number one on both the pop and soul charts. It also continued Wonder’s studio experimentation, being one of the first pop songs to employ a drum machine.
Sir Duke
Yet another monster hit, Wonder wrote the song as a tribute to the great jazz singers who influenced him, specifically Duke Ellington. He claims he started with the title and worked backwards to make the song an acknowledgement of those who came before him. Wonder had already experienced the passing of two jazz greats he wanted to work with, Dinah Washington and Wes Montgomery, and felt he needed to speak out.
Higher Ground
Though it stalled as a single, “Higher Ground” was a major leap in Wonder’s use of studio experimentation, including innovative synthesizers, pedals and filters. The lyrics reflect Wonder’s interest in Eastern religion, specifically reincarnation and past lives.
It also proved to be prescient about his own life, as just after recording “Higher Ground,” Wonder was involved in a car accident that left him in a coma for four days.
Living for the City
A #1 hit on the R&B charts, “Living for the City” was one of Wonder’s great one-man band displays. He wrote and produced the track, playing every instrument including the drums.
Using traffic sounds, voices, and sirens to go with socially conscious lyrics, the song tells the story of a young African American man who arrives in New York City from Mississippi, is tricked into acting as a drug mule, and is arrested. He’s then convicted and sentenced to ten years in prison – reflecting the brutal realities for inner city youths trying to survive what Wonder perceived as a racist and unfair justice system.
Isn't She Lovely
Wonder wrote “Isn’t She Lovely” as a tribute to his newborn daughter Aisha. In fact, the album track includes both a recording of a baby being born, and a lengthy outro featuring samples of Wonder playing with his daughter.
The radio edit cuts out both almost entirely, and was released against Wonder’s wishes. He felt the track was too personal and wasn’t an appropriate single. It charted as an album track anyway, and has been covered by numerous artists, including Frank Sinatra.
Signed, Sealed & Delivered
A number one hit in 1970, “Signed, Sealed & Delivered” was the first single that the 20-year-old Wonder produced on his own. He credits the iconic chorus to his mother Lula (listed as a co-writer on the track), who exclaimed the words after listening to her son playing around with the melody.
It earned Wonder his first Grammy nomination, and later became the theme for Barack Obama’s presidential campaign.
Uptight
Co-written by Wonder when he was just 15 years old, the song describes a poor man’s happiness in finding a rich girlfriend who can see past his lowly status. It was such a hit that Motown rushed out an entire album called Uptight in 1966, which was mostly covers, including a version of Bob Dylan’s “Blowin’ in the Wind” that Wonder made a crossover hit.
A note-for-note re-recording of the track was used as the backing music for Bill Cosby's 1967 single, "Little Ole Man (Uptight, Everything's Alright)."
Never Dreamed You'd Leave In Summer
One of Wonder’s most heartbreaking ballads, “Never Dreamed You’d Leave in Summer” was originally a B-side to his 1971 cover of The Beatles song “We Can Work it Out.” The single flopped, but this album track became a staple of Wonder’s live show. He also performed it at Michael Jackson’s funeral, his voice breaking on the last line.
Wonder rewrote the track as “Superwoman (Where Were You When I Needed You)” the next year for his album Music of My Mind.
For Once in My Life
Though Stevie Wonder made it a top five hit, “For Once in My Life” had a long and difficult recording process. Penned by Motown staff writers Ron Miller and Orlando Murden, the track went through a number of singers and versions, including a slow ballad rendition by The Four Tops, before landing with The Temptations in 1967.
Tony Bennett also cut a version of it around the same time, as did Wonder, though Motown head Berry Gordy didn’t care for Wonder’s take on the song, and had to be talked into releasing it. It hit number two on the Billboard Hot Singles chart, where it was kept out of the #1 spot by another song Gordy had vetoed – Marvin Gaye’s “I Heard it Through the Grapevine.”