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  donderdag 18 maart 2004 @ 10:27:48 #1
38849 Notorious_Roy
Doomed since 1889
pi_17795667
Stevie Wonder, één van de grootste artiesten ALLERTIJDEN! Had volgens mij nog geen eigen topic. Hierbij dus wel

quote:
Biography:
b. Steveland Judkins, 13 May 1950, Saginaw, Michigan, USA. Born Judkins, Wonder now prefers to be known as Steveland Morris after his mother's married name. Placed in an incubator immediately after his birth, baby Steveland was given too much oxygen, causing Steveland to suffer permanent blindness. Despite this handicap, Wonder began to learn the piano at the age of seven, and had also mastered drums and harmonica by the age of nine. After his family moved to Detroit in 1954, Steveland joined a church choir, the gospel influence on his music balanced by the R&B of Ray Charles and Sam Cooke being played on his transistor radio. In 1961, he was discovered by Ronnie White of the Miracles, who arranged an audition at Motown Records. Berry Gordy immediately signed Steveland to the label, renaming him Little Stevie Wonder (the "Little" was dropped in 1964). Wonder was placed in the care of writer/producer Clarence Paul, who supervised his early recordings. These accentuated his prodigal talents as a multi-instrumentalist, but did not represent a clear musical direction. In 1963, however, the release of the ebullient live recording "Fingertips (Part 2)" established his commercial success, and Motown quickly marketed him on a series of albums as "the 12-year-old genius" in an attempt to link him with the popularity of "the genius", Ray Charles. Attempts to repeat the success of "Fingertips" proved abortive, and Wonder's career was placed on hold during 1964 while his voice was breaking. He re-emerged in 1965 with a sound that was much closer to the Motown mainstream, scoring a worldwide hit with the dance-orientated "Uptight (Everything's Alright)", which he co-wrote with Henry Cosby and Sylvia Moy. This began a run of US Top 40 hits that continued unbroken (apart from seasonal Christmas releases) for over six years.

From 1965-70, Stevie Wonder was marketed like the other major Motown stars, recording material that was chosen for him by the label's executives, and issuing albums that mixed conventional soul compositions with pop standards. His strong humanitarian principles were allowed expression on his version of Bob Dylan's "Blowin' In The Wind" and Ron Miller's "A Place In The Sun' in 1966. He co-wrote almost all of his singles from 1967 onwards, and also began to collaborate on releases by other Motown artists, most notably co-writing Smokey Robinson And The Miracles" hit "The Tears Of A Clown", and writing and producing the (Detroit) Spinners' "It's A Shame".

His contract with Motown expired in 1971; rather than re-signing immediately, as the label expected, Wonder financed the recording of two albums of his own material, playing almost all the instruments himself, and experimenting for the first time with more ambitious musical forms. He pioneered the use of the synthesizer in black music, and also widened his lyrical concerns to take in racial problems and spiritual questions. Wonder then used these recordings as a lever to persuade Motown to offer a more open contract, which gave him total artistic control over his music, plus the opportunity to hold the rights to the music publishing in his own company, Black Bull Music. He celebrated the signing of the deal with the release of the solo recordings, Where I'm Coming From and Music Of My Mind, which despite lukewarm critical reaction quickly established him at the forefront of black music.

Talking Book in 1972 combined the artistic advances of recent albums with major commercial success, producing glorious hit singles with the polyrhythmic funk of "Superstition" and the crafted ballad, "You Are The Sunshine Of My Life". Wonder married fellow Motown artist Syreeta on 14 September 1970; he premiered many of his new production techniques on Syreeta (1972) and Stevie Wonder Presents Syreeta (1974), for which he also wrote most of the material. Innervisions (1973) consolidated his growth and success with Talking Book, bringing further hit singles with the socially aware "Living For The City" and "Higher Ground'. Later that year, Wonder was seriously injured in a car accident; his subsequent work was tinged with the awareness of mortality, fired by his spiritual beliefs. The release of Fulfillingness" First Finale in 1974 epitomized this more austere approach. The double album Songs In The Key Of Life (1976) was widely greeted as his most ambitious and satisfying work to date. It showed a mastery and variety of musical forms and instruments, offering a joyous tribute to Duke Ellington on "Sir Duke", and heralding a pantheon of major black figures on "Black Man". This confirmed Wonder's status as one of the most admired musicians and songwriters in contemporary music.

Surprisingly, after this enormous success, no new recordings surfaced for over three years, as Wonder concentrated on perfecting the soundtrack music to the documentary film, The Secret Life Of Plants. This primarily instrumental double album was greeted with disappointing reviews and sales. Wonder quickly delivered the highly successful Hotter Than July in 1980, which included a tribute song for the late Dr. Martin Luther King, "Happy Birthday", and a notable essay in reggae form on "Masterblaster (Jamming)".

The failure of his film project brought an air of caution into Wonder's work, and delays and postponements were now a consistent factor in his recording process. After compiling the retrospective double album Stevie Wonder's Original Musiquarium I in 1982, which included four new recordings alongside the cream of his post-1971 work, Wonder scheduled an album entitled People Move Human Play in 1983. This never appeared; instead, he composed the soundtrack music for the film The Woman In Red, which included his biggest-selling single to date, the sentimental ballad "I Just Called To Say I Loved You".

The album on which he had been working since 1980 eventually appeared in 1985 as In Square Circle. Like his next project, Characters in 1987, it heralded a return to the accessible, melodic music of the previous decade. The unadventurous nature of both projects, and the heavy expectations engendered by the delay in their release, led to a disappointing reception from critics and public alike.

Wonder's status as an elder statesman of black music, and a champion of black rights, was boosted by his campaign in the early 80s to have the birthday of Dr. Martin Luther King celebrated as a national holiday in the USA. This request was granted by President Reagan, and the first Martin Luther King Day was celebrated on 15 January 1986 with a concert at which Wonder topped the bill. Besides his own recordings, Wonder has been generous in offering his services as a writer, producer, singer or musician to other performers. His most public collaborations included work with Paul McCartney, which produced a cloying but enormous hit, "Ebony And Ivory", Gary Byrd, Michael Jackson, and Eurythmics, and on the benefit records by USA For Africa and Dionne Warwick & Friends. Conversation Peace in 1995 was an average album with no outstanding songs, but our expectation of Wonder is different to that of most other artists. He could release ten indifferent, poor, weak or spectacular records over the next 20 years and nothing would change our fixed perception of him and of the body of outstanding music he has produced since 1963.
quote:
Discography:
YEAR ALBUM TITLE LABEL
1962 A Tribute to Uncle Ray Motown
1962 The Jazz Soul of Little Stevie Wonder Motown
1963 Workout Stevie, Workout Tamla
1963 Little Stevie Wonder Motown
1963 The 12 Year Old Genius Motown
1963 With A Song in My Heart Motown
1964 A Call It Pretty Music Stateside
1964 Stevie at the Beach Tamla
1965 Stevie Wonder Motown
1966 Down to Earth Motown
1966 Up-Tight (Everything's Alright) Motown
1967 Down to Earth/I Was Made to Love Her Motown
1967 I Was Made to Love Her Motown
1967 Someday at Christmas Motown
1968 Eivets Rednow...Alfie Motown
1968 Alfie Motown
1968 For Once in My Life/Uptight Motown
1968 For Once in My Life Motown
1969 My Cherie Amour Motown
1970 Stevie Wonder Live Tamla
1970 Talk of the Town Motown
1970 Signed, Sealed & Delivered Motown
1971 Where I'm Coming From Motown
1972 Music of My Mind Motown
1972 Talking Book Motown
1973 Innervisions Motown
1974 Fulfillingness' First Finale Motown
1976 Portrait EMI
1976 Songs in the Key of Life Motown
1979 Journey Through the Secret Life of Plants Motown
1980 Hotter Than July Motown
1984 The Woman in Red Motown
1985 Love Songs Motown
1985 In A Square Circle Motown
1987 Characters Motown
1991 Jungle Fever Motown
1995 Conversation Peace Motown
1995 Natural Wonder - Live Motown
quote:
Tracklist:
1. Fingertips Part 2
2. Uptight (Everything's Alright)
3. Hey Love
4. I Was Made To Love Her
5. For Once In My Life
6. My Cherie Amour
7. Signed, Sealed, Delivered (I'm Yours)
8. You Are The Sunshine Of My Life
9. Superstition
10. Higher Ground
11. Living For The City
12. You Haven't Done Nothin'
13. Boogie On Reggae Woman
14. Sir Duke
15. I Wish
16. Master Blaster (Jammin')
17. That Girl
18. Do I Do
19. I Just Called To Say I Love You
20. Overjoyed
21. Part-time Lover
Deze MOET je hebben
The hardware is just a box you buy only because you want to play Mario games - Yamauchi
Mr. Zurkon doesn't need bolts, his currency is pain
Roy-O-Rama | Backlog | Wish-list
pi_17795712
Wat een kerel
  donderdag 18 maart 2004 @ 10:36:02 #3
48870 Abbadon
Gevallen Engel
pi_17795791
Stevie is de man!
Give a man a fire and he'll be warm for a day. Set a man on fire and he'll be warm for the rest of his life.
pi_17809095
Knap staaltje knip-en-plakwerk van de topicstarter! Maar waarom vind je Stevie zo goed? Omdat een of andere biograaf dat zegt?
Maar goed, over kwaliteit valt niet te twisten, maar de essentiele Stevie Wonder plaat is naar mijn bescheiden mening:
In dat Spaanse cafe danste wij ole, Maria Magdalena
Met je ogen zo zwart stal je heel mijn hart, Maria Magdalena
Sinds ik jou heb gekust vind ik nergens rust, Maria Magdalena
Ja, jou alleen wil ik steeds om mij heen, Jou en anders geen
pi_17813235
Van z'n muziek wordt je altijd direct vrolijk, nou ja, van het meeste dan.
pi_17814152
quote:
Op donderdag 18 maart 2004 20:21 schreef MuadDib het volgende:
Maar goed, over kwaliteit valt niet te twisten, maar de essentiele Stevie Wonder plaat is naar mijn bescheiden mening:
[afbeelding]
helemaal mee eens

innervisions is ook briljant natuurlijk
pi_17814294
Songs in the key of live is prachtig idd.. ik heb bijna alles, en hij blijft erg belangrijk, zelfs nu weer/nog bij jongeren.

Ik kreeg de eerste keer dat ik de remake/cover, hoe noem je zoiets als ie zelf meedoet, hoorde van Signed, sealed, deliver gewoon ff ouwerwets kippevel.
Omdat ik hem al volg vanaf '67 ong.
Zie idols (sorry hoor) als je ze vraagt naar Motown nummers, komen de kids ook bijna allemaal alleen op Stevie (of MJackson)
pi_17832905
Deze man zingt uit zijn hart en daar hou ik van

en hij maakt altijd mooie muziek en is nog actief
pi_17834099
Stevie is natuurlijk een grootheid onder de funkateers.
Echter soms springt het glazuur van mn tanden zo zoet.
100% Funk
pi_17835501
Lately!
Beste nummer van hem.
Alleen zingt hij...
"Lately I've been starring in the mirror..."
pi_17835538
Ik vind Stevie Wonder's klassieke werk uit de jaren 70 echt top: Innervisions, Talking Book, Songs in the Key... prachtig allemaal. Maar hij moet zich niet lenen voor die goedkope remake-bagger of gastvocalen bij Top 40-wegwerpacts, dat doet imo alleen maar afbreuk aan zijn reputatie.
Like a steam locomotive, rollin' down the track
He's gone, gone, and nothin's gonna bring him back
  vrijdag 19 maart 2004 @ 22:55:13 #12
63890 bugeye
Fok verlaten heeft :'(
pi_17835543
hoe heette dat nummer ook alweer die gecoverd is door George Michael met een andere vrouw
ik kan er niet opkomen
Ik zit niet langer meer hier.... snik....
pi_17835582
quote:
Op vrijdag 19 maart 2004 22:55 schreef bugeye het volgende:
hoe heette dat nummer ook alweer die gecoverd is door George Michael met een andere vrouw
ik kan er niet opkomen
"As", van Songs in the Key of Life.
Like a steam locomotive, rollin' down the track
He's gone, gone, and nothin's gonna bring him back
pi_17835649
As. George Michael en Mary J. Blige.

Stevie is my man.
Hoop dat hij ooit weer een keer Nederland doet.
Want mijn doel is om hem een keer live te zien.

Mijn vader heeft hem een keer live gezien en ja, daar ben ik best jaloers op

Maar goed, Stevie is tha man.
Een levende legende, raakt me met zijn muziek en dat kan bijna geen enkele artiest.

Ja, ben een superfan
(Mede door mijn pa).
  vrijdag 19 maart 2004 @ 23:01:46 #15
63890 bugeye
Fok verlaten heeft :'(
pi_17835711
quote:
Op vrijdag 19 maart 2004 22:56 schreef Zander het volgende:

"As", van Songs in the Key of Life.
ah tuurlijk, een korte titel zoals ik al had gedacht
Ik zit niet langer meer hier.... snik....
pi_20525809
Vind al zijn nummer goed, maar dan ook allemaal. Ik hoor hem ook al heel mn leven, omdat mijn vader de blanke stevie wonder is (maar dan niet blind), heb zelfs de '12' inches allemaal..
Heb ik een vraagje--> Die track die hij met zijn dochter zingt weet iemand misschien hoe die heet(is niet zo oud)??
GRAS MAAR EEN WAPJE!!!
pi_20526737
26-07-2004 komt de nieuwe cd van stevie wonder uit,a time 2 love.............
  zaterdag 10 juli 2004 @ 10:58:29 #18
99186 Outckast
Lachuh Toch
pi_20526786
Stevie Wonder owns \o/
pi_20526835
Iemand hem gezien bij Oprah, samen met zijn dochter Aicha?
Stevie
[i]"you left me standing here, a long long time ago"[/i]
pi_20533048
Ja, gaaf was dat, vooral toen die Jake zo schrok.

Heb zijn nieuwe cd maar gelijk besteld, A time 2 love.
Komt de 27e deze maand uit.

Maar mooi nr met Aisha, How will I know.
  donderdag 9 september 2004 @ 21:46:25 #21
6845 Ringo
als een rollende steen
pi_21847380
Stevie Wonder is natuurlijk wel briljant.
He's simple, he's dumb, he's the pilot.
pi_25055592
"I Believe (When I Fall In Love It Will Be Forever)"
Eenvoudig, maar glorieus nummer. Prachtig ook zoals gebruikt bij de ending credits van "High Fidelity".
pi_25055636
Sir Duke blijf ik een geniaal nummer vinden.
  dinsdag 3 mei 2005 @ 16:56:19 #24
2890 Zanderrr
A Face Made For Radio
pi_26701353
Heeft iemand die nieuwe Stevie Wonder-single met Prince gehoord? Was er echt aangenaam verrast door, klinkt 100x beter dan alles wat hij de laatste twintig jaar gedaan heeft. Lekker Moog-basje ook. Ik ben zowaar benieuwd naar z'n nieuwe album.
"You fear Jazz. You fear the lack of rules, the lack of boundaries"
  dinsdag 3 mei 2005 @ 16:58:04 #25
15967 Frollo
You know I am a righteous man
pi_26701420
'Shame on me' of zoiets?
Die heb ik gehoord vanochtend op Radio 3. Maar wist niet dat die met Prince was, al viel het funky gitaartje me inderdaad wel op!
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