Stevie Wonder, unique name Steveland Judkins or Steveland Morris, (conceived May 13, 1950, Saginaw, Michigan, U.S.), American artist, lyricist, and multi-instrumentalist, a youngster wonder who formed into one of the most innovative melodic figures of the late twentieth century.
Blind from birth and brought up in downtown Detroit, he was a talented performer by age eight. Renamed Little Stevie Wonder by Berry Gordy, Jr., the leader of Motown Records—to whom he was presented by Ronnie White, an individual from the Miracles—Wonder made his recording debut at age 12.
The deep nature of his shrill singing and the wild-eyed harmonica playing that described his initial accounts were apparent in his originally hit single, “Fingertips (Part 2),” recorded during a show at Chicago’s Regal Theater in 1963. In any case, Wonder was significantly more than an abnormal juvenile impersonation of Ray Charles, as crowds found when he exhibited his ability with piano, organ, harmonica, and drums.
By 1964 he was not generally portrayed as “Close to nothing,” and after two years his intense conveyance of the beating soul of “Uneasy (Everything’s Alright),” which he likewise had composed, recommended the rise of both a strangely convincing entertainer and a writer to match Motown’s steady of talented lyricists. (He had as of now co-written, with Smokey Robinson, “The Tears of a Clown.”)
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Melodic Medley: Fact or Fiction?
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Over the course of the following five years Wonder had hits with “I Was Made to Love Her,” “My Cherie Amour” (both co-written with maker Henry Cosby), and “For Once in My Life,” melodies that fit artists just as darlings.
What I’m Accustomed to, a collection delivered in 1971, implied not only at an extended melodic reach in any case, in its verses and its mindset, at another reflection. Music of My Mind (1972) made his interests much plainer. In the meantime, he had been firmly impacted by Marvin Gaye’s What Goes On, the collection in which his Motown stablemate got away from the mark’s “hit processing plant” way to deal withstand up to the disruptive social issues of the day.
Any tensions Gordy might have had an outlook on his protégé’s announcement of freedom were sufficiently quieted by the run of accounts with which Wonder annihilated the opposition during the 1970s. Talking Book (1972), Innervisions (1973), Fulfillingness’ First Finale (1974), and Songs in the Key of Life (1976) were completely viewed as works of art, and the last three of them won a large number of Grammy Awards, every one of them being named collection of the year.
Those collections created a constant flow of exemplary hit melodies, among them “Strange notion,” “You Are the Sunshine of My Life,” “Higher Ground,” “Living for the City,” “Don’t You Worry ‘Session a Thing,” “Boogie On Reggae Woman,” “I Wish,” and “Sir Duke.”
Albeit still just in his mid-20s, Wonder seemed to have dominated for all intents and purposes each maxim of African-American well-known music and to have incorporated them all into his very own language. His order of the new age of electronic console instruments made him a trailblazer and a motivation to shake performers, the imaginativeness of his vocal expressing was suggestive of the best jazz artists, and the profundity and trustworthiness of his enthusiastic projection came directly from the Black church music of his adolescence.
Such a ripe period was probably not going to keep going forever, and it reached a conclusion in 1979 with a fey and overambitious broadened work called Stevie Wonder’s Journey Through the Secret Life of Plants. From that point, his accounts became inconsistent and regularly needed concentration, in spite of the fact that his shows were not exactly awakening.
The best of his work shaped an indispensable connection between the exemplary mood and blues and soul entertainers of the 1950s and ’60s and their less financially obliged replacements. However, but refined his music became, he was never too glad to even consider composing something as obviously slight as the heartfelt pearl “I Just Called to Say I Love You” (1984).
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Wonder was the beneficiary of various distinctions. He was enlisted into the Rock and Roll Hall of Fame in 1989, and in 1999 he was granted the Polar Music Prize for lifetime accomplishment by the Royal Swedish Academy of Music.
That year he likewise turned into a Kennedy Center honoree. In 2005 Wonder got a Grammy Award for lifetime accomplishment. After four years he was granted the Gershwin Prize for Popular Song from the Library of Congress, and he got the Presidential Medal of Freedom in 2014.
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