Hotter than July | ||||
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Studio album by | ||||
Released | September 29, 1980 | |||
Recorded | 1979–1980 | |||
Studio | Wonderland (Los Angeles, California) | |||
Genre | ||||
Length | 45:52 | |||
Label | Tamla | |||
Producer | Stevie Wonder | |||
Stevie Wonder chronology | ||||
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Singles from Hotter than July | ||||
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Hotter than July is the nineteenth studio album by American singer, songwriter, and musician Stevie Wonder, released on September 29, 1980, by Tamla, a subsidiary of Motown Records. Wonder primarily recorded the album in Los Angeles, California, at Wonderland Studios, which he had recently acquired. [3] The album peaked at number three on the Billboard Top LPs & Tapes chart and was certified Platinum by the Recording Industry Association of America (RIAA) on February 3, 1981. It was Wonder's most successful album in the UK, where it peaked at number two on the UK Albums Chart and produced four top-10 singles. Music videos were produced for the album's first, third, and fourth singles. [4]
The album was nominated for Favorite Soul/R&B Album at the 1982 American Music Awards.
The relative critical and commercial failure of Wonder's previous album Journey Through "The Secret Life of Plants" (1979), from which only one single ("Send One Your Love") reached the top 5 of a Billboard chart, left him struggling at the turn of the new decade, [5] [6] and he let the media know he felt Motown had not promoted that album very well. [7] During this time of upheaval, Wonder co-wrote the song "Let's Get Serious" with Lee Garrett for Jermaine Jackson's 1980 album of the same name and the song "You Are My Heaven" with Eric Mercury, which became a success for Roberta Flack and Donny Hathaway on Atlantic Records. Wonder was also in demand as a guest on the recordings of artists such as B.B. King, James Taylor, Quincy Jones, and Smokey Robinson. [6]
In addition to performing, Wonder handled the writing, arranging, and producing of Hotter than July, which was primarily recorded in Los Angeles at his newly-acquired Wonderland Studios. [3] "Master Blaster (Jammin')" (US No. 5; R&B No. 1), the album's lead-off single, was inspired by the reggae music of Bob Marley, who Wonder had met in 1979 after their performance at the Black Music Association in Philadelphia. [8] [9] The country-tinged "I Ain't Gonna Stand for It" (U.S. No. 11; R&B No. 4), the ballad "Lately" (U.S. No. 64) and the upbeat "Happy Birthday" were other notable successes from the album. In the UK, all four singles reached the top 10, with the first and fourth releases peaking at No. 2. [10]
"All I Do" had originally been written by a teenaged Wonder and collaborators Clarence Paul and Morris Broadnax in 1966. Tammi Terrell recorded the first version of the song that year, but it remained in the Motown vaults until it was included in the compilation A Cellarful of Motown! in the UK in 2002, 32 years after Terrell's death. Brenda Holloway also recorded a version of the song, which was released in 2005 on her Motown Anthology set. Michael Jackson, Eddie Levert and Walter Williams of the O'Jays, and Betty Wright provided backing vocals for Wonder's recording of the song for Hotter than July. The backing vocals for "I Ain't Gonna Stand for It" were handled by Charlie and Ronnie Wilson of the GAP Band, and Wonder's ex-wife Syreeta backed Wonder on "As If You Read My Mind".
While a number of Wonder's previous works, such as Songs in the Key of Life and Innervisions , had received wide critical acclaim and had chart success, Hotter than July was his first album eligible to be certified Platinum by the RIAA, as Motown sales records before 1977 were not audited by the organization after they introduced the category.
Wonder wrote "Happy Birthday" to honor Martin Luther King Jr. and used the song to campaign for King's birthday, January 15, to become a national holiday in the United States (Martin Luther King Jr. Day would be declared a federal holiday in 1983, and first be celebrated nationwide in 1986). The design of Hotter than July's original record sleeve is also dedicated to these two purposes. Both sides of the sleeve are printed in a black-and-white semi-glossy photographic process. One side features a large square photographic portrait of King inset on a black background with white lettering above and below. Above the photo is printed "Martin Luther King, Jr." "January 15, 1929 – April 4, 1968" (on two lines, centered), and below it appears a passage of text written by Wonder, which reads:
It is believed that for a man to lay down his life for the love of others is the supreme sacrifice. Jesus Christ by his own example showed us that there is no greater love. For nearly two thousand years now we have been striving to have the strength to follow that example. Martin Luther King was a man who had that strength. He showed us, non-violently, a better way of life, a way of mutual respect, helping us to avoid much bitter confrontation and inevitable bloodshed. We still have a long road to travel until we reach the world that was his dream. We in the United States must not forget either his supreme sacrifice or that dream.
I and a growing number of people believe that it is time for our country to adopt legislation that will make January 15, Martin Luther King's birthday, a national holiday, both in recognition of what he achieved and as a reminder of the distance which still has to be traveled.
Join me in the observance of January 15, 1981 as a national holiday.
Stevland Morris a/k/a Stevie Wonder
To the right of this text is a thumbprint, presumably Stevie Wonder's (Stevland Morris's), serving as his signature.
On the other side of the record sleeve is a collage of five historical photos: one filling the top third, three sharing the middle third, and one filling the bottom third. The top image is an aerial view of a low-lying urban area with a six-lane highway passing through it and thick smoke rising from many of the buildings on both sides of the highway—presumably a riot is taking place. The center three images consist of a central rectangular photo of a large peaceful demonstration march, with both black and white participants, being led by Martin Luther King Jr. and two square flanking photos of apparent police brutality: in the photo to the left, three officers in white helmets, one of whom is holding a club, are grabbing a male African-American youth by his arms and one leg, and, in the photo to the right, an officer in a white helmet stands in the foreground and looks toward an African-American man lying in a pool of blood on the sidewalk in front of an urban store, while another African-American man crouches with his back against the wall and looks away (King directly mentioned police brutality in his famous "I Have a Dream" speech). The bottom image shows a confrontation in an urban street four or five lanes wide between a large group of African Americans standing in non-violent defiance and law enforcement officers in white helmets who appear to be advancing with weapons. These images contrast with the upbeat and positive mood of the music on most of the album—"Happy Birthday" included. Exceptions are the few songs about romantic turmoil ("Rocket Love", "I Ain't Gonna Stand for It", "Lately") and the socially critical "Cash in Your Face", which protests racial housing discrimination.
Review scores | |
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Source | Rating |
AllMusic | [11] |
Christgau's Record Guide | A− [12] |
Pitchfork | 9.4/10 [13] |
Rolling Stone | [1] |
(The New) Rolling Stone Album Guide | [14] |
Sounds | [15] |
In a contemporary review for Rolling Stone , Stephen Holden said Hotter than July proved Wonder was still "our most gifted pop muralist" because of his evocative, unique synthesis of pop and African elements. [1] The album was voted the eighth best of 1980 in The Village Voice 's annual Pazz & Jop critics poll. [16] 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 overdrive, his hope and his cynicism". [12] In a review in (The New) Rolling Stone Album Guide , J. D. Considine called the album "buoyantly tuneful" and said fans viewed it as a return to form for Wonder after the commercial disappointment of Journey Through the Secret Life of Plants. [14]
Record World said of "Did I Hear You Say You Love Me" that "with its funky dance beat and Stevie's soulful vocal enthusiasm, this cut could easily have been the first hit single" from the album. [18] In Pitchfork in 2022, Hanif Abdurraqib wrote, "It is an album of seemingly endless abundance. An album that asks not only 'How do you want to feel?' but also, 'How do you want to survive?' and then turns us towards the expansive forest of ever-shifting answers." [13]
All songs written, produced and arranged by Stevie Wonder except where noted.
Year | Name | US [20] | US R&B | UK [21] | US Club Play |
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1980 | "Master Blaster (Jammin')" | 5 | 1 | 2 | 10 |
1981 | "I Ain't Gonna Stand for It" | 11 | 4 | 10 | – |
"Lately" | 64 | 29 | 3 | – | |
"Happy Birthday" | – | 70 | 2 | – | |
"Did I Hear You Say You Love Me" | – | 74 | – | – |
Weekly charts
| Year-end charts
Decade-end charts
|
Region | Certification | Certified units/sales |
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Australia (ARIA) [39] | 3× Platinum | 210,000^ |
Canada (Music Canada) [40] | 2× Platinum | 200,000^ |
France (SNEP) [41] | Gold | 100,000* |
Japan (Oricon Charts) | — | 73,000 [26] |
Netherlands (NVPI) [42] | Gold | 50,000^ |
New Zealand (RMNZ) [43] | Platinum | 15,000^ |
United Kingdom (BPI) [44] | Platinum | 500,000 [45] |
United States (RIAA) [46] | Platinum | 1,000,000^ |
Summaries | ||
Worldwide | — | 3,000,000 [45] |
* Sales figures based on certification alone. |
Stevland Hardaway Morris, known professionally as Stevie Wonder, is an American singer-songwriter, musician, and record producer. One of the most acclaimed and influential musicians of the 20th century, he is credited as a pioneer and influence by musicians across a range of genres that include R&B, pop, soul, gospel, funk, and jazz. A virtual one-man band, Wonder's use of synthesizers and other electronic musical instruments during the 1970s reshaped the conventions of contemporary R&B. He also helped drive such genres into the album era, crafting his LPs as cohesive and consistent, in addition to socially conscious statements with complex compositions. 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.
Songs in the Key of Life is the eighteenth studio album by American singer, songwriter and musician Stevie Wonder. A double album, it was released on September 28, 1976, by Tamla Records, a division of Motown. It was recorded primarily at Crystal Sound studio in Hollywood, with some sessions recorded at the Record Plant in Hollywood, the Record Plant in Sausalito, and The Hit Factory in New York City; final mixing was conducted at Crystal Sound. The album has been regarded by music journalists as the culmination of Wonder's "classic period" of recording.
Luther Ronzoni Vandross Jr. was an American soul and R&B singer, songwriter, and record producer. Throughout his career, he achieved eleven consecutive RIAA-certified platinum albums and sold over 40 million records worldwide. Known as the "Velvet Voice", Vandross has been recognized as one of the 200 greatest singers of all time (2023) by Rolling Stone, as well as one of the greatest R&B artists by Billboard. In addition, NPR named him one of the 50 Great Voices. He was the recipient of eight Grammy Awards, including Song of the Year in 2004 for a track recorded shortly before his death, "Dance with My Father". In 2021, he was posthumously inducted into the National Rhythm & Blues Hall of Fame.
Talking Book is the fifteenth studio album by American singer, songwriter, and musician Stevie Wonder, released on October 27, 1972, by Tamla, a subsidiary of Motown Records. This album and Music of My Mind, released earlier the same year, are generally considered to mark the start of Wonder's "classic period". The sound of the album is sharply defined by Wonder's use of keyboards and synthesizers.
"Sir Duke" is a song composed and performed by Stevie Wonder from his 1976 album Songs in the Key of Life. Released as a single in 1977, the track topped the U.S. Billboard Hot 100 and Black Singles charts, and reached number two in the UK Singles Chart, his joint biggest hit there at the time. Billboard ranked it as the No. 18 song of 1977.
Syreeta Wright, known mononymously as Syreeta, was an American singer-songwriter, best known for her music during the early 1970s through the early 1980s. Wright's career heights were songs in collaboration with her ex-husband Stevie Wonder and musical artist Billy Preston.
"Happy Birthday" is a song written, produced and performed by Stevie Wonder for the Motown label. Wonder, a social activist, was one of the main figures in the campaign to have the birthday of Martin Luther King Jr. become a national holiday, and created this single to promulgate the cause. The song has since become a standard for use during birthdays in general, particularly among African Americans.
"The Tears of a Clown" is a song written by Hank Cosby, Smokey Robinson, and Stevie Wonder and originally recorded by Smokey Robinson & the Miracles for the Tamla Records label subsidiary of Motown, first appearing on the 1967 album Make It Happen. The track was re-released in the United Kingdom as a single in July 1970, and it became a number-one hit on the UK Singles Chart for the week ending September 12, 1970. Subsequently, Motown released a partially re-recorded and completely remixed version as a single in the United States as well, where it quickly became a number-one hit on both the Billboard Hot 100 and R&B Singles charts.
Robert Edward Rogers was an American musician and tenor singer, best known as a founding member of Motown vocal group the Miracles from 1956 until his death. He was inducted, in 2012, as a member of the Miracles to the Rock and Roll Hall of Fame. In addition to singing, he also contributed to writing some of the Miracles' songs. Rogers is the grandfather of R&B singer Brandi Williams from the R&B girl group Blaque and is a cousin of fellow Miracles member Claudette Rogers Robinson.
Fulfillingness' First Finale is the seventeenth studio album by American singer, songwriter, musician, and producer Stevie Wonder, released on July 22, 1974, by Tamla, a subsidiary of Motown Records. It is the fourth of five albums from what is considered Wonder's "classic period".
"I Was Made to Love Her" is a soul music song recorded by American musician Stevie Wonder for Motown's Tamla label in 1967. The song was written by Wonder, his mother Lula Mae Hardaway, Sylvia Moy, and producer Henry Cosby and included on Wonder's 1967 album I Was Made to Love Her.
"My Cherie Amour" is a 1969 song by Motown singer-songwriter Stevie Wonder. The song reached number 4 on the Billboard pop chart in August to be Wonder's eighth top ten hit. The song was co-written by Wonder, Sylvia Moy, and Henry Cosby; Cosby also served as producer of the song. At the end of 1969, the song was ranked number 32 for the year.
"Signed, Sealed, Delivered " is a soul song, by American musician Stevie Wonder, released in June 1970 as a single on Motown's Tamla label. It spent six weeks at number one on the U.S. R&B chart and peaked at number three on the U.S. Pop chart. In the same year, the song was also released on the album Signed, Sealed & Delivered.
"Part-Time Lover" is a song by American R&B singer and songwriter Stevie Wonder, released as the first single from his twentieth studio album, In Square Circle (1985). The song reached number one on the Billboard Hot 100, R&B, dance, and adult contemporary charts, becoming Wonder's final number one hit to date. The song's simultaneous chart successes made Wonder the first artist to score a number-one hit on four different Billboard charts. The song was also released as a special 12" version. Lyrically, it tells the story of a man who is cheating on his wife with a mistress, only to find out in the end that his wife is cheating on him as well.
Signed, Sealed & Delivered is the 12th studio album by American recording artist Stevie Wonder, released on August 7, 1970, by Tamla Records. The album featured four hits that hit the Billboard Hot 100: "Signed, Sealed, Delivered I'm Yours", "Heaven Help Us All", "Never Had a Dream Come True" and Wonder's cover of The Beatles' "We Can Work It Out". The album hit No. 25 on the Billboard Pop Albums chart as well as No. 7 on the R&B Albums chart.
The Woman in Red: Original Motion Picture Soundtrack is the second soundtrack album released by American musician Stevie Wonder on the Motown label. Also featuring Dionne Warwick, the album was released in 1984 for the film of the same name. It features Wonder's biggest hit, "I Just Called to Say I Love You", which hit number one internationally and won the Academy Award for Best Original Song, and also features the follow-up hit, "Love Light in Flight" and "Don't Drive Drunk", the song and the accompanying music video for which were used in the Ad Council and the US Department of Transportation's Drunk Driving Prevention public service announcement the following year.
Characters is the twenty-first studio album by American singer-songwriter Stevie Wonder, released in late 1987. The album features six singles including the Grammy-nominated "Skeletons" and "You Will Know", which both reached number one on the Billboard R&B Singles chart. The album also contained a duet with Michael Jackson, "Get It", that was a minor hit.
"It's a Shame" is a song co-written by Stevie Wonder, Syreeta Wright and Lee Garrett and produced by Wonder as a single for the Spinners on Motown's V.I.P. Records label. The single became the Detroit-reared group's biggest single on the Motown Records company since they had signed with the company in 1964 and also their biggest hit in a decade.
"I Ain't Gonna Stand for It" is the second single from Stevie Wonder's 1980 album, Hotter Than July. It reached number four on the Billboard R&B singles chart and number 11 on the Hot 100. It also hit number 10 on the UK Singles Chart. The song is famous for Wonder's imitation of a seasoned country-and-western crooner and his inspiring drumming. Charlie and Ronnie Wilson of The Gap Band provide backing vocals on the song. It was covered by Eric Clapton in 2001.
"All in Love Is Fair" is a song by American singer-songwriter Stevie Wonder recorded for his sixteenth studio album, Innervisions (1973). Written and produced by Wonder, it was released as a 7" single in Brazil in 1974. The song is a pop ballad with lyrics that describe the end of a relationship through the use of clichés. Critical reaction to the song has been varied: Matthew Greenwald of AllMusic wrote that it was among Wonder's "finest ballad statements", but Robert Christgau felt that the singer's performance was "immature". Wonder has included it on several of his greatest hits albums, including the most recent, 2005's The Complete Stevie Wonder.
The album was 17 weeks in the U.S Top 10 and 16 in Britain, whter it added over 500,000 to the total tally of an estimated 3 million