Wonder, Stevie

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    Stevie Wonder Live: A Night of Love and Mischief

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    At 74, the singer and songwriter returns to arenas with a message of healing and understanding. He’s using trademark exuberance and joy to deliver it.It was a little after 9 p.m. Thursday night at Madison Square Garden, and Stevie Wonder was finally getting loose. He’d begun “You Are the Sunshine of My Life,” one of his defining anthems, with a hopped-up-hootenanny version of the country standard “You Are My Sunshine.” He almost giggled — it was light work.Then, with fullness and verve, he jerked hard into his song, and the music went from 2-D to 3-D. He wasn’t denigrating the other one, so much as he had a point to make.“I. Feel. Like. This. Is. The. Beginning.”Each word arrived like a rocket whizzing past your ear — propulsive, powerful, so potent you almost tilted your head away ever so slightly to let it zip by. He was singing a love song, a declaration of emotional commitment, but when he really got going, it felt much more like a convocation. This love, we’re all in it together.Much of Wonder’s set list was drawn from the stretch from the late 1960s through the mid 1970s during which he released some of the most indelible entries in the history of American song.The New York TimesSo it went during this performance — part of a brief tour with the extremely chewy title, Sing Your Song! As We Fix Our Nation’s Broken Heart — which was much of the time a display of unparalleled singing, some of the time a kaffeeklatsch of feel-good utopianism, and in more places than you’d think a showcase for a very serious artist to be very silly.First, the voice: Wonder can do things with it that no popular singer in the five decades since his commercial prime has truly been able to match. It can sound like it’s falling apart while it’s in fact landing with strength and precision. With Wonder, a song is a suggestion, a framework to set up pyrotechnic runs and novel alternate melodic approaches. The song (usually) has a fixed starting and concluding point — everything else is a negotiation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Is It Too Late Now to Say Sorry? 8 Songs for the High Holy Days.

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      Apology, forgiveness, moving on: These are some of humanity’s richest themes, and they have rich songs to match.Bob DylanFiona Adams/Redferns, via Getty ImagesDear listeners,As Lindsay mentioned on Friday, she’s out on book leave for the rest of the month. Starting next week, a series of knowledgeable Times staffers will sub in to provide thoughtfully curated playlists each Tuesday. This week, however, you are stuck with me: a reporter on the Culture desk who has written about Dylan and the Dead, and whose current Spotify rotation includes CoComelon’s “Wheels on the Bus” and the “Encanto” soundtrack (possibly Lin-Manuel Miranda’s finest work).For some of us, this is a week of reflection, repentance and weaning ourselves off caffeine: It’s the Days of Awe, the 10 days between Rosh Hashana, the Jewish New Year, which was last Thursday and Friday, and Yom Kippur, the Day of Atonement, which begins this Friday night. There are more superficially appealing holidays; Yom Kippur in particular is a fast day and is not supposed to be “fun.” But I earnestly don’t know what I would do without this time of year and the space it provides to pause and take stock. You don’t need to belong to any particular faith to find that a useful exercise.A High Holiday playlist might appear a tricky proposition. Popular music is not typically a space for solemnity and self-denial. On Yom Kippur itself, sex and nonessential drugs, to say nothing of rock ’n’ roll, are prohibited. But apology, forgiveness, moving on: These are some of humanity’s richest themes, and they have rich songs to match. While we cannot skimp on some of the most obvious artists — hello, Barbra; nice to see you, Leonard — we are also including Stevie Wonder and Outkast.I hope you reflect and enjoy. And, if you celebrate, have a sweet new year and a meaningful fast.Gut yontif,MarcListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      9 Surprising Songs Sampled in Classic Hip-Hop Tracks

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      Hear where moments of Kraftwerk, Enya, Herb Alpert and more ended up in producers’ deft hands.Kraftwerk.Cyril Zingaro/Keystone, via Associated PressDear listeners,Today’s playlist is a celebration of a tried-and-true method of discovering new-to-you music: identifying the samples in hip-hop songs.In his recently released book “Hip-Hop Is History,” Questlove recalls a story from his childhood that speaks to this experience. When he couldn’t fall asleep, he’d listen to the radio in the middle of the night, when D.J.s were free to play the most outré sounds. “During those years,” he writes, “I heard a song that was bizarre synth music, completely compelling, pure hypnosis on the airwaves.” He tried to tape it but could never correctly anticipate when it would come on. Several years passed and he still hadn’t figured out what that elusive song was, but then one day he heard it — or something like it — at a roller rink birthday party. When he asked about it, the D.J. was so taken with his curiosity, he gifted him the 12-inch single. “It was ‘Planet Rock,’” he writes, referencing the legendary track by Afrika Bambaataa & Soulsonic Force. “It sampled the Kraftwerk song I had heard, which I learned was called ‘Trans-Europe Express.’ That party and that 12-inch made my day, my year and part of my life.”These days it’s much easier to track down the source of a sample, thanks to Google searches, apps like Shazam and websites like the invaluable database WhoSampled.com. But samples are still powerful portals between genres, cultures and music’s past and present. Sampling is the reason Dr. Dre is one degree of separation from the Scottish composer David McCallum, and why we know that Enya is a fan of the Fugees — and vice versa.There are so many great and unexpected samples in classic hip-hop songs that today’s playlist should be considered only a brief introduction. (Perhaps a sequel will arrive in a future Amplifier, too.) If you’re a true hip-hop head, listen to the playlist before reading the descriptions below and see how many tracks you can name from hearing the source material of their samples. And if you’re more familiar with the originals than the songs that sampled them, make sure you also check out the hip-hop classics linked in the descriptions below.We so tight that you get our styles tangled,LindsayListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      9 Great Songs Recorded at Electric Lady Studios

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      A new documentary spotlights the Greenwich Village creative hub. Listen to tracks by Jimi Hendrix, Patti Smith, Frank Ocean and more that were recorded there.Patti SmithVagabond Video/Getty Images.Dear listeners,I’m a sucker for any documentary that features scenes of people at a recording studio’s mixing board, isolating tracks from a great, intricately layered song.* Over the weekend, I watched a new film that, I am happy to report, features plenty of such footage: “Electric Lady Studios — A Jimi Hendrix Vision,” a recently released documentary that charts the origins of the famed, still vital Greenwich Village landmark.Located at 52 West 8th Street and formerly an avant-garde nightclub, the property that would become Electric Lady was purchased by Jimi Hendrix and his manager in 1968. Over the next two years, they poured somewhere around $1 million of their own money into its construction. (When the cash flow dried up, Hendrix would go play some live gigs and return with enough dough to pay the contractors.) Hendrix initially dreamed up Electric Lady as his own personal recording studio, a place where he and his friends could experiment freely without incurring exorbitant hourly rates. But, tragically, Hendrix did not live long enough to use it much at all. Construction was finally completed in August 1970; Hendrix died, at 27, on Sept. 18 of that year.Word had already gotten out that Electric Lady was special, combining state-of-the-art technology with a groovy atmosphere that made it a more comfortable place to hang out than most cramped, sterile recording studios. Thanks to some early bookings by marquee artists like Carly Simon, Led Zeppelin and Stevie Wonder, Electric Lady managed to stay afloat in those precarious first years after Hendrix’s death. More than 50 years later, it has survived ownership changes, gentrification and huge shifts in recording technology, remaining a crucial link between popular music’s past and present. Today, it’s arguably as busy as it’s ever been: Taylor Swift, Zach Bryan and Sabrina Carpenter are just a few stars who have recently laid down tracks there.Today’s playlist traces Electric Lady’s decades-long history via nine very different songs recorded within its hallowed walls. I’ve arranged them in chronological order, so you can gradually hear the way the sounds of pop music have changed over time. I hope that you’ll also hear certain echoes between now and then — similarities in the soft-rock confessions of Simon and Swift, or the genre-blurring explorations of Wonder and Frank Ocean.These are, of course, just a sampling of the thousands and thousands of songs that have been recorded at Electric Lady throughout the years. Next time you find yourself scouring a favorite LP’s liner notes or Wikipedia credits, don’t be too surprised if you see that familiar address.This is our place, we make the rules,Lindsay* (The Fleetwood Mac episode of “Classic Albums” where Lindsey Buckingham pulls up individual vocal and instrumental tracks from “Rumours” is my personal gold standard.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Music’s Most Neglected Day of the Week

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      Seven songs for Tuesdays from Stevie Wonder, iLoveMakonnen and more.Stevie Wonder, a bard of TuesdayChris Pizzello/Invision, via Associated PressDear listeners,The day after Memorial Day — or any day that directly follows a beginning-of-the-week holiday — is one of those Tuesdays that feels like a Monday. A certain temporal fog lingers and will continue to confuse you all week: “Wait, what day is it again?” Well, today it is Tuesday. And I am here to offer you a sonic cure for that fog, something to ground you in the present: a playlist of Tuesday songs.Friday, Saturday and Sunday are all perennial muses of popular music; even the dreaded Monday (Monday) has its memorable anthems. Tuesday, though, tends to get short shrift — or at least it did until 2014, when the rapper iLoveMakonnen released a ubiquitous ode to clubbing on the most banal day of the week. But Makonnen’s “Tuesday” certainly wasn’t the first song to pay tribute to (or shake a fist at) the second day of the traditional workweek. Decades earlier, Stevie Wonder and Lynyrd Skynyrd both used it as a backdrop for heartache, and it also inspired the moniker of a fictitious Rolling Stones heroine, in a song later covered beautifully by the recently departed folk singer Melanie.All those songs are featured on today’s playlist, along with tracks from Blood Orange, the Pogues and, of course, the ’80s new-wave act ’Til Tuesday. If you find yourself wondering what day it is, just hum one of these tunes and all will be well. As long as they don’t stick in your head until tomorrow …Yesterday don’t matter if it’s gone,LindsayListen along while you read.1. Stevie Wonder: “Tuesday Heartbreak”It’s bad enough to be heartbroken — but being heartbroken on a Tuesday? Stevie Wonder understands the double indignity of that situation on this jazzy number from his great 1972 album “Talking Book”: “Tuesday heartbreak seems to be unfair, ’cause you say that you found another man.”▶ Listen on Spotify, Apple Music or YouTubeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tyla Avoids a Bad Romance, and 9 More New Songs

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      Hear tracks by Olivia Rodrigo, Gary Clark Jr. featuring Stevie Wonder, Four Tet and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Tyla, ‘Safer’Following her worldwide 2023 hit “Water,” the South African songwriter Tyla has now released her self-titled debut album, merging African rhythms with English lyrics and R&B delivery. The album’s songs toggle between approach — like “Water” — and avoidance. In “Safer,” Tyla pulls away from temptation. The song harnesses the log-drum beat and sparse, subterranean bass lines of South African amapiano as Tyla worries that “This feels too good to be true” and decides, “As bad as I want you, I know that it’s danger.” Choral call-and-response vocals carry South African tradition into the electronic wilderness of 21st-century romance. JON PARELESOlivia Rodrigo, ‘So American’Olivia Rodrigo knows all too well how susceptible a young woman can be to physical attraction and a good line. With the speedy, pumping new wave rock and breathless vocals of “So American” — from the extended version of her 2023 album, “Guts (Spilled)” — she sums up a guy with “hands that make hell seem cold” who “laughs at all my jokes and says I’m so American.” For three frantic minutes, self-consciousness is no match for pheromones. PARELESRemi Wolf, ‘Cinderella’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      10 Great Oscar Winners for Best Original Song

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      Hear tracks by Billie Eilish, Keith Carradine, Isaac Hayes and more.Billie Eilish, a potential two-time Oscar winner. (We’ll find out Sunday night!)Valerie Macon/Agence France-Presse — Getty ImagesDear listeners,Happy Oscar week! The 96th Academy Awards are this Sunday, and you know which competition we’re most excited about here at The Amplifier: best original song. Today’s playlist is a brief but star-studded tour through the category’s history.First awarded at the seventh annual ceremony, best original song has long been a reflection of popular music’s evolving style — the rare honor that’s been won by both Irving Berlin and Eminem. As the two-time winner Elton John can attest, it can be a sure path to an EGOT. As the veteran songwriter Diane Warren, who has been nominated 15 times but never won, might tell you, it can also be maddening.Warren is nominated again this year for Becky G’s “The Fire Inside,” written for Eva Longoria’s directorial feature debut, “Flamin’ Hot,” but she’s got stiff competition from the year’s most commercially successful movie, “Barbie.” (Heard of it?) That film boasts the highest-profile contenders: Ryan Gosling’s theatrical showstopper “I’m Just Ken” (penned by Mark Ronson and Andrew Wyatt) and Billie Eilish’s wispy, haunting ballad “What Was I Made For?,” which last month won the Grammy for song of the year.Jon Batiste’s “It Never Went Away” or Scott George’s “Wahzhazhe (A Song for My People)” could always upset if the “Barbie” songs split the vote, but my money’s on Eilish. “I’m Just Ken” is fun, sure, but in my humble, grouchy opinion, it overstays its welcome and contributes to an overall flaw of the film, which is that the supposed villain is far and away the most charismatic character. (I’m going to go hide now.)Eilish’s song is arresting and finely crafted; with all due respect to Warren, I think it’s the most worthy winner. And if you need another reason to root for the 22-year-old musician, a victory would make Eilish the youngest person ever to win two best original song Oscars, since she already won for her 2021 Bond theme, “No Time to Die.” (Her 26-year-old brother, Finneas, with whom she co-wrote both songs, would become the second-youngest two-time winner.)Today’s playlist is a reminder of some past best original song winners and a testament to the category’s stylistic diversity. Is it the first mix to contain both Barbra Streisand’s “The Way We Were” and Three 6 Mafia’s “Hard Out Here for a Pimp”? It’s certainly the first Amplifier playlist to do so.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      7 Stellar Songs for a Saturn Return

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      Inspired by Kacey Musgraves’s latest single, hear tracks by No Doubt, Stevie Wonder, R.E.M. and more.Gwen Stefani.Kevin Lamarque/ReutersDear listeners,“My Saturn has returned,” the 35-year-old singer-songwriter Kacey Musgraves announces at the beginning of her stirring new single “Deeper Well,” the title track from her upcoming fifth album. “When I turned 27, everything started to change.”I know what she means. While I’m not much of an astrology person, I am something of an expert on the Saturn Return, the time when the ringed planet approaches the spot it was located when a person was born. It’s generally thought to be a moment of tumultuous upheaval and, eventually, of great personal transformation. Since Saturn’s orbit around the sun takes about 29-and-a-half years and stays in a particular sign for two-and-a -half years, the first return begins around one’s 27th birthday.It was music that first taught me about this concept: specifically No Doubt’s searching 2000 album “Return of Saturn,” which I listened to obsessively when it first came out. Gwen Stefani had written much of the material while she was going through her own Saturn Return, uncharacteristically depressed and questioning her place in the world. At 13, this sounded quite profound and adult to me.When I began mine years later, I researched the concept extensively and wrote an essay trying to understand why the idea has been so resonant for so many people. Is the Saturn Return just a fancy astrological name for the existential anxiety of turning 30? I’ll leave that for you to answer. But I tend to think that any framework that provokes self-reflection and a consideration of ourselves as part of a larger whole can’t be all bad. Plus, over the years, it’s inspired some pretty great music.Today’s playlist is a short compilation of songs either directly or indirectly inspired by this astrological event. It includes the aforementioned Musgraves and No Doubt, but also R.E.M., Hayley Williams and Stevie Wonder. It does contain a few notable omissions from this very specific musical canon, but I personally — forgive me — am not a fan of Katy Perry’s saturnine ballad “By the Grace of God,” and I also felt that an eight-and-a-half-minute Tool song would disrupt the flow of this particular playlist, even if it does feature Maynard James Keenan growling, “Saturn comes back around again to show you everything.” You are of course welcome to listen to those songs on your own time.I did, however, want to highlight a lesser discussed aspect of the Saturn Return: It does indeed keep coming back around, so you can expect a second one in your late 50s and, if you’re lucky, a third in your mid-80s — which means we’re in for a doozy of a Kacey Musgraves album in approximately 2074.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How ‘The Greatest Night in Pop’ Got the ’80s Right

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      The Netflix documentary revels in nostalgia. But the heart of the film spotlights the relationships between the pop superstars who recorded “We Are the World.”The title of Netflix’s new documentary “The Greatest Night in Pop,” which chronicles the recording of “We Are the World,” is a little mystifying. Pop music needs a big audience, but what happened inside A&M Studios in Los Angeles, in the vampire hours between 10 p.m. on Jan. 28, 1985, and 8 a.m. the next day, was seen by only 60 to 70 people in attendance, from Michael Jackson to a small film crew. The song that resulted in this frantic, logistically improbable session is stirring but callow, with a gospel-style chord progression that gives false weight to the platitudinous lyrics.Prince, who declined repeated entreaties to join the ensemble, sat it out because he thought the song was “horrible,” according to the guitarist Wendy Melvoin. It sold over 20 million copies, with some fans reportedly buying multiples less out of enthusiasm for the music, it seems, than a desire to donate money toward feeding Ethiopians, who were in the midst of a famine that reportedly killed as many as 700,000 people. The song won four Grammys, including song of the year, but almost 40 years later, it has all but vanished from view.But now, “We Are the World” and the private machinations that went into writing and recording it are up for reconsideration, thanks to the documentary, which was viewed 11.9 million times in its first week of release last month, topping Netflix’s list of English-language films. “The Greatest Night in Pop” earns its swaggering title in two ways. Until someone invents a time machine, it’s the greatest way to see what the mid-1980s were about, thanks to a parade of stylistic and technological hallmarks, and even anachronisms: big hair, cassette tapes, primary colors, satin baseball jackets, leather pants, leotards, fur coats, perms, walkie talkies, even a Rolodex. (Cassettes, unlike perms, have made a comeback.)It’s also a wonderful illustration of the old maxim that show business is about relationships. The “We Are the World” session brought together most of the singers who made 1984 “pop music’s greatest year,” as many have called it, and benefited from an unrepeatable set of variables. The chain of action that preceded that night was, the film shows, all about calling friends, calling in favors and cannily casting the song with a broad demographic appeal. Here’s a look at how a few accomplished musicians and one relentless manager organized a gala event in only four weeks.Harry Belafonte and Ken KragenThe actor and activist Harry Belafonte, left, approached Ken Kragen, the artist manager, with an idea for a benefit concert.Reed Saxon/Associated PressHarry Belafonte, the singer, actor and civil rights activist, wanted to draw attention to the famine in Africa, and he approached Ken Kragen, one of the industry’s most high-powered artist managers. Belafonte had seen how much money the Irish singer Bob Geldof was raising for famine relief with the “Do They Know It’s Christmas?” single, and proposed a benefit concert. Kragen had a different idea: “I said, ‘Harry, let’s just take the idea Bob already gave us. Let’s do it, but let’s get the greatest stars in America to do it,’” he recalls in one of the documentary’s archival interviews. (Kragen died in 2021.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More