Happy 45th Anniversary to Stevie Wonder’s nineteenth studio album Hotter Than July, originally released September 29, 1980.
In September 1980, Stevie Wonder released his nineteenth studio album Hotter Than July as the follow-up to Journey Through “The Secret Life of Plants” (1979), his first critical and commercial failure. Wonder had garnered so much respect that critics took it easy on him when reviewing Journey. It was described as “courageous,” “achingly sweet,” and “bafflingly beautiful.” If you take Journey out of the equation, Wonder’s seventies output was without fault and unparalleled. He had no equal, period.
1972’s Music of My Mind and Talking Book kicked off his “classic period,” at which point the then 22-year-old Wonder quickly shed the image of a teen prodigy. He was a grown-ass man making music that was universally adored. He followed those two albums with Innervisions (1973), Fulfillingness’ First Finale (1974) and Songs in the Key of Life (1976), each winning a GRAMMY Award for Album of the Year.
His fans, fairly anticipating something spectacular, knew that this kind of excellence sets a high standard. When Journey Through “The Secret Life of Plants” crashed and burned, he made guest appearances on several songs, most notably Jermaine Jackson’s “Let’s Get Serious.” The song was produced and co-written by Wonder and became Billboard’s #1 R&B single for 1980.
Wonder’s focus turned to his next album, Hotter Than July, which stands out as a record that’s both a party and a protest, a love letter and a call to action. Wonder was back in his wheelhouse. Hotter Than July is a blast from start to finish. However, beyond that, Wonder leveraged the album to respond to the times, blending joy with justice, and love with activism.
“Did I Hear You Say You Love Me” starts the album with a bang, the horns blaring and the music groove making you want to move, while Wonder’s voice is filled with its usual playfulness. It’s catchy, optimistic, full of that infectious Motown spirit, but with the matured sound palette he’d been refining since “Superstition.” It’s an opener that tells you to buckle up, this album’s going to move.
“All I Do” is slick, poignant, and steeped in a sea of longing. The harmonies are lush, and the melody just glides. This song, with its layered vocals and the familiar harmonica, delivered a more sophisticated sound than his previous love songs, while retaining their appeal. If you’re a fan of his ballad side, this is a highlight. Wonder wrote the song with Clarence Paul and Morris Broadnax in 1966. Tammi Terrell sang the first version, but it remained in Motown’s vaults until 2002 when it was included in the compilation A Cellarful of Motown released only in the UK.
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Now we’re in pure romantic territory. “Rocket Love” is dreamy, with Wonder’s metaphors, both cosmic and intimate, floating gently through the listener’s ears. The synths are warm, and the chorus soars. The song is a testament to his talent; it’s a simple, heartfelt love song, proving that even after the intricate layers of Songs in the Key of Life, he still had the ability to write a beautiful, touching tune.
Wonder’s “I Ain’t Gonna Stand for It” embraces a country-soul style with a funky rhythm, a twangy guitar, and a lighthearted, teasing vocal performance. It’s a reminder that Wonder never shied away from experimenting with genre, something he’d been doing since his early days at Motown (“Sixteen Tons” and “Blowin’ in the Wind”). The track also features backing vocals by the Gap Band’s Charlie and Ronnie Wilson.
“As If You Read My Mind” closes out side one. The irresistible groove, combined with lyrics about a mysterious connection with someone who just “gets” you, is delivered with Wonder’s signature, soulful charm. The song served as a mid-album burst of energy and a perfect place to pause. The thing I love about albums is they are like two-act plays. You flip the album over, get some snacks, and prepare for side two.
“Master Blaster (Jammin’)” is a celebration of unity and good vibes, inspired by Bob Marley who performed with Wonder at The Wonder Dream Concert in 1975. The song is a reference to Marley’s song “Jammin” from his Exodus (1977) record. The groove is infectious, and the message is timeless: “We’re jammin’ until the break of dawn.”
The playful “Do Like You” and the biting social commentary of “Cash in Your Face” keep the album moving. The latter song confronts housing discrimination and racism, sharing an all-too-familiar story. Wonder had never been afraid to use his platform for social commentary (see “Living for the City”), and this track is a sharp, funky reminder of that legacy. The groove never lets up, but the message hits hard.
“Lately,” a ballad, is so raw and emotional that it feels like a punch to the gut. The piano is sparse, Wonder’s vocals are aching, and the lyrics cut deep. The song’s vulnerability makes it easy to understand why so many artists have covered it.
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The final track on the album is a timeless classic, its influence destined to endure long after Wonder is gone. For the last 45 years, there has not been a year in which “Happy Birthday” was not sung at a birthday celebration I’ve attended. Wonder wrote the song as a plea for Martin Luther King Jr.’s birthday to be a national holiday, but the impact of it went far beyond that initial goal. We don’t have many songs that are joyful, catchy, and powerful; however, the ones that are tend to be unforgettable. It is the perfect ending to the Stevie Wonder album we really needed at the time.
Hotter Than July is Stevie Wonder doing what he does best: making you dance, making you think, and making you feel. The album showcases his range and passion, encompassing everything from tender love songs to passionate protest anthems, with funky grooves and reggae jams woven throughout.
Listen: