Forming a kind of flawless constellation, three points in triangle, that arguably represents the pinnacle of achievement Black American Music in the 60s/70s: Stevie Wonder, Michael Jackson and Thelma Houston.
This song with its highly complex lyrics, describing an addictive state of desire that makes no sense, was written by a sixteen-year-old Stevie Wonder. There is something so arresting about the music, with its heavy atmosphere of portent – those descending notes and the dramatic build – but what I like best about it is Wonder’s surprising (and idiosyncratic) vocal performance. Before the two-minute mark there is separation between Wonder’s vocal line and the music itself where he breaks away almost, sounding hazy and drugged; you can hear his breathing as it all falls apart and yet the music maintains its forward movement.
Here’s a live performance from 1969 from the Hollywood Palace; check out the ever so hip “thank you” at the start, in acknowledgment of the brief applause from the audience (other listeners appreciate his little knowing laugh later on; I like the opening curtain effect behind Stevie that happens for no reason, as he is in front of it, at the start).
Second star in the constellation …
This gem was recorded when Michael Jackson was eleven years old, or maybe 12. There’s not much to write here, as it’s all there the artistry so obvious clear from first listen, the intensity of his delivery all the extremely cute ad-libs/Soul additions, from the opening drama of the, “sure enough baby, baby …” The “darling, darling, darling” and especially the “baby dear” added to the original “You made me crawl on/This cold black earth, baby” is so sweet.
The Jackson 5 released this version on their 1970 ABC album
The third …
Thelma Houston, as a vocalist, has a lovely quality of restraint, of singing just behind the musical line and never over-stating and exaggerating things for effect. I like the way she sings in such a controlled, but sensual way: there are no playful additions here, no need. But this version is special, surely for the wonderful grace of the musicianship. Listening to this I can’t help but hear the continuum with the past, where current and earlier hip-hop feeds off this heritage. Obvious to say, I know, but listening to this it’s made so explicit the way the various elements play with notions of fusion, similarity and difference.
Other well-known artists have covered the Stevie Wonder classic then and since, including the Rolling Stones in 1969 with this out-of-synch honky tonk version that has certain charm.
According to Wik:
"The Rolling Stones released a 1969 cover of the song in 1975 on their ABKCO outtake album Metamorphosis. It was recorded on 3 July 1969 during the sessions for Let It Bleed, the night that news broke of Brian Jones' death. It was also used as the b-side for their 1975 single."
Related article: Versions: “Sunny” Bobby Hebb (Sunny, Philips, 1966)