Think we’re kidding? Start with the brassy, hook-filled and positively effusive chart-topping singles “Sir Duke” and “I Wish”, both of which have soundtracked countless barbecues and wedding receptions for decades now. In the era of the overblown rock epic, Wonder had created the most sprawling, empathetic and searching soul album ever released. The album was effortlessly melodic, broad in scope, deeply personal-and often just plain weird. How did Wonder do it? By positioning himself as the benevolent overlord of a vast self-drawn cosmos, one with a remarkable cache of songs: Songs in the Key of Life runs nearly 90 minutes long, and rumours spread that there may have been as many as 200 demos left in the studio vault. More than two years had passed since Wonder’s previous album-an eternity, given Wonder’s previous productivity-and all that pent-up demand made Songs in the Key of Life the fastest-selling album in history (it would sit at the top spot of the US album charts for more than three months). But when Wonder’s next album, the sprawling double album Songs in the Key of Life, finally appeared in 1976, all was quickly forgiven. Was it a all ploy in contract negotiations with Motown? Perhaps. By telling the press that he was planning a farewell tour-and announcing he’d donate the proceeds to Ghanian charities-Wonder signalled that he didn’t feel his music was up to the challenge of making the world a better and more equitable place. He was also considering leaving the music industry altogether. In 1974, Stevie Wonder was a multiple Grammy winner and the most critically revered pop star in the world.
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