Stevie Wonder. The name conjures up a musical titan, a virtuoso who, by age 12, was already laying down tracks for Motown. He's got 25 Grammys, and a catalog of his own hits that could soundtrack a lifetime of good vibes.
But here’s a fun little secret the music industry has been keeping: Beyond his own iconic voice, Wonder was a ghostwriter (or, well, a secret writer) for some of the biggest tracks of his era. He penned hits for other legends that you've undoubtedly sung along to, without ever knowing his genius was behind the curtain.
The Tracks You Didn't Know Were Wonder's
“Tears of a Clown” by Smokey Robinson & The Miracles
Picture this: It's 1967. Stevie Wonder is just 16 years old. Most teenagers are struggling with algebra; Wonder is co-writing a future #1 hit. He teamed up with Hank Cosby and Smokey Robinson for “Tears of a Clown,” a song that would eventually top the charts in the U.K. and then, a few years later, the Billboard Hot 100 in the U.S. Because, of course, a 16-year-old would perfectly capture that bittersweet clown-who-cries vibe.
We're a new kind of news feed.
Regular news is designed to drain you. We're a non-profit built to restore you. Every story we publish is scored for impact, progress, and hope.
Start Your News Detox“It’s a Shame” by The Spinners
In 1970, The Spinners got a little help from their friend. Wonder didn't just write “It’s a Shame” specifically for them; he also produced it. This was a first for him, proving that his Midas touch extended beyond the pen and onto the mixing board. The lead vocals were handled by G.C. Cameron, but the magic behind it? Pure Stevie.
“Until You Come Back to Me (That’s What I’m Gonna Do)” by Aretha Franklin
Even the Queen of Soul got a Wonder original. Though Aretha Franklin wasn't a Motown artist, she was tight with the crew. Wonder, still in his teens, wrote this track with Morris Broadnax and Clarence Paul. He didn't even release his own version until 1977. Instead, he handed it over to Franklin, whose rendition soared to number three on the Billboard 100 in 1974. A true king sharing with a queen.
“Perfect Angel” by Minnie Riperton
Minnie Riperton's 1974 album, Perfect Angel, was practically a Wonder-fest. He wrote the title track and “Take a Little Trip.” Oh, and he produced the entire album, including Riperton’s massive hit, “Lovin’ You.” For his production credits, Wonder went by the wonderfully dramatic pseudonym “El Toro Negro” (Spanish for “the black bull”), presumably to avoid any Motown-related drama. A man of many talents, and many secret identities.
“Thelonius” by Jeff Beck
This one’s a bit of a thank you note, in song form. Wonder wrote “Thelonius” for guitar god Jeff Beck, possibly as a nod to Beck’s input on Wonder’s own smash hit, “Superstition.” They’d cooked up “Superstition” together in the studio, and while it was originally meant for Beck’s band, Wonder’s version dropped first and became, well, Superstition. A few years later, Beck’s Blow By Blow album featured “Thelonius” and another Wonder-penned tune. A fair trade, we’d say.
“Do I” and “Everything’s Coming Up Roses” by Eddie Murphy
Yes, that Eddie Murphy. In the 1980s, the comedian decided to dabble in music, releasing an album in 1985 that featured the Rick James-produced “Party All the Time.” But Wonder also contributed two tracks to the album: “Do I” and “Everything’s Coming Up Roses.” Because when you’re Stevie Wonder, you write hits for everyone, even the guy who talks to a donkey. Let that sink in.
