When you think of Stevie Wonder, you’ll often be drawn to Talking Book or Songs In The Key Of Life, but as I reflect on Hotter Than July I’m amazed that this was Wonder’s nineteenth studio release. Perhaps such shock is derived from the fact that so few of us have explored Wonder’s extensive catalogue of music, instead focusing on the aforementioned titles, and while Hotter Than July may not be a landmark release, like these other records, there is little doubt that it’s one of Wonder’s best albums.
The same could not be said, however, for the Hotter Than July 2011 vinyl reissue from Mobile Fidelity Sound Lab. It was cold, clinical, and lacked any resemblance to Stevie Wonder’s unique sound signature, depth, and overall spaciousness. Think for a moment about the worst recording you’ve ever heard and you’ll come close to that monstrosity. Even though this review is penned post the MOFI debacle, I had this experience years before and sold the record well before it became clear that the once highly touted reissue label was being less than honest with their process. Of course, it’s important to note that this was a Silver Series release; one that has always been declared as being mastered from a production master rather than the original master tapes. Still, with that in mind, it simply wasn’t good and I would strongly advise that you avoid it like the plague.
As a result of being bitten once, I’m naturally a little hesitant to pick up another vinyl reissue of this album and have found that the lossless Apple Music stream, an Apple Digital Master, is exquisite with a sound reproduction that I feel is not only perfect for the style of music but arguably as good as this album is ever going to sound. There’s a warmth in the digital stream that was sorely lacking from the aforementioned vinyl reissue. Interestingly, Apple Music also has the non-Apple Digital Master edition; essentially a CD facsimile. That particular edition is comparable to the aforementioned digital master, but it’s a little shallower in the mid and low end and, therefore, as someone who appreciates a solid authoritarian thump to their Stevie Wonder music, the Apple Digital Master is just that little bit more refined and makes for a more immersive listening experience. Essentially, you’ll feel your body wanting to move involuntarily to the rhythm whereas the CD equivalent lacks that aspect and you’ll find yourself listening rather than being absorbed by the music. It’s a minor variation, but one that’s important to music lovers the world over.
Did I Hear You Say You Love Me is a perfect opener but wasn’t necessarily the best choice of song to launch Hotter Than July with. While I acknowledge my contradiction, I am a strong proponent that something can both be and not be at the very same time for it depends on one’s subjective feeling at the moment when the song, in this case, is being experienced. Subsequently, there are times when I consider it to be too harsh as an opener and other times when I consider it sets the tone of the album. Yes, dear reader, I’m a complicated man but if I’m not in a funk or upbeat mood, then Did I Hear You Say You Love Me will prevent me from listening to the rest of the album. It’s a divisive track, as will be my opinion of it, but at least we’re talking about it for it could simply be an adequate opener.
All I Do is a fantastic song and while the backing vocals are recessed a little more than I’d like, Michael Jackson’s inclusion is notable and is a perfect complement to Wonder and the music itself.
Rocket Love is a beautiful tune if you don’t listen to it for its literal meaning as it becomes a sombre song of love lost. Still, it’s one of my favourite songs on the album and I can generally block the lyrics from my mind when I listen to it, instead focusing on Wonder’s harmonies and allowing me to appreciate his vocal as if it were another instrument in the mix.
I Ain’t Gonna Stand For It sees Stevie Wonder delve into Country Music territory, yet it’s masterfully performed and showcases just how exceptionally talented Wonder is. Seriously, few musicians could take cues from so many varied genres and merge them in a manner that not only makes sense but sounds as if it should have always been that way. Yet, Wonder knows no limits in this regard; a master musician!
Eric Clapton recorded the song, but as much as I generally appreciate Slowhand’s musicality, this cover is an abomination.
As If You Read My Mind is a sharp flow from I Ain’t Gonna Stand For It and while it delivers a shock to the senses, you quickly get past it and even expect it if you’ve listened to the album often enough, but it isn’t until the chorus that the song really comes into its own removed from the jolty transition. Wonder’s harmonica on this track is of particular note as it’s the perfect solo that’s also complementary to the song itself. As If You Read My Mind may not be a standout tune, but it’s funky and sometimes that emotive element is all a song needs in order to be thoroughly enjoyable.
Master Blaster (Jammin’) has so much of a reggae feel to it, you’d swear it was a Bob Marley tune. As a fan of Marley, this tip of the hat is thoroughly appreciated and Wonder certainly captured not only the musical style but the core of what makes reggae music so compellingly addictive. While there’s a little of Marley’s Jamming influence here, Wonder’s funk and pop styling drove the song’s direction; the result of which is nothing short of exceptional.
Do Like You returns us to your more traditional Stevie Wonder-styled song. While Master Blaster (Jammin’) was exceptional, Wonder has certain techniques that are standouts in their own right and when listening to Do Like You, the intricate layers of musical elements culminate into a classic Stevie Wonder song. Plus, that ending is not only hilarious but further validates that Do Like You is Stevie Wonder 101. Brilliant!
Cash In Your Face has a more mellow tone compared to Do Like You, but it’s appreciated as it gives the senses a chance to downshift. Cash In Your Face is a perfect toe-tapping head-bopping tune that also has a social element pertaining to racial inequality. I’d like to say that since 1980 the song is no longer relevant but that would be a blatant lie for discrimination is sadly alive and well. For all the influence musicians have, it is truly disappointing to note that societal changes move at glacial speeds, despite their endorsements.
Lately is a magnificent, albeit sombre, ballad. Wonder has a stunningly beautiful vocal presentation and while it’s always present in his songs, it takes a ballad for it to come alive and for the approximate 4-minute runtime, you’ll swear he’s in the room with you for the mix perfectly places him on top of the musical backdrop. It really is a masterful recording and one of Wonder’s greatest songs.
Happy Birthday can be seen as an upbeat politically fused song but regardless of the noble intent to honour Martin Luther King Jr., I find Happy Birthday to be the most cringeworthy song on the album; from an audible, not literal, perspective. The problem is that my mind has settled into the stunning Lately and the shift detracts from that relaxed reflection. Having listened to Hotter Than July countless times, over the years, you’d expect that I would be familiar with it and accept it, and to a certain extent I do, but I do wish that Happy Birthday was positioned earlier in the album.
There is little doubt that Hotter Than July is one of the better albums in Stevie Wonder’s extensive catalogue of music. Songs In The Key Of Life, however, is his musical opus, but Hotter Than July is difficult to ignore for its upbeat musicality will compel your interest well before his dictums do. Of course, that is Wonder’s gift for his music can be appreciated by those who look for deep lyrical meaning as well as those, such as myself, who wish to experience and enjoy music in a more ethereal manner that merges with the musical aspects of our soul. Stevie Wonder’s Hotter Than July is subsequently one of the more compelling releases of 1980 and should be in every music lover’s library.