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For an artist who had spent each decade of his life in the public eye, the years leading up to Stevie Wonder’s 77-minute opus, A Time to Love, were uncharacteristically fallow. Steeped in intrigue and plagued by delays, the album’s decade-long development became a story in itself. Though Wonder had long led the way in studio innovation, it appeared the infinite possibilities of the digital age, combined with his notorious tendency for tinkering, had finally begun to overwhelm him. Twice, hard deadlines came and went. Deep tensions formed between Wonder and his longtime label, Motown, who was pouring resources into the recording and counting on the results to help buttress its flagging bottom line.

01 Uptight Everything's Alright
02 Fingertips Pts. 1 & 2
03 Little Water Boy
04 Music Talk
05 Work Out Stevie, Work
06 Monkey Talk
07 Frankie & Johnny
08 Mary Ann
95 09 Blowin' In The Wind
10 Sad Boy
11 With A Child's Heart
12 I Was Made To Love Her
13 Ain't That Love
14 My Baby's Gone
15 Yester-Me, Yester-You, Yesterday
16 Teach Me Tonight
17 Ebb Tide
18Beyond The Sea

滚石杂志对他的评价是：“虽然他可能看不见，但他却饱览了美国的风景，尤其对黑人的生活有着敏锐的洞察力”。Stevie把他对美国社会的思考和自己的理想表达在音乐里，一手包办了自己的大部分专辑。
这张专辑在滚石杂志选出的500张历代最强专辑中排名第23位。

I find that summer—particularly summer vacation—is what’s truly wasted on the young. Even in the summers where I worked 20 or 30 hours a week at some fast-food spot or convenience store, I still took the relative freedom of the days for granted. I still got to wake up late, stay out later, fuck around for most of my waking hours, and do it all again. Stripped of what I now appreciate as that exhilarating freedom, summer on the other side of adulthood can leave much to be desired. I don’t so much mind the increase in responsibilities, or the earlier alarm, or the more-constant temptation of sleep. But, like so much nostalgic longing, there’s a feeling that I can’t as easily access. Yet I know that even as you read this, you know that feeling, or something like it, even if our definitions of the feeling aren’t the same. It can be unearthed, sometimes, in a scene: a sunset, the taste of a drink, a waning bonfire, and yes, a song. Something to interrupt what otherwise might as well be a long series of hot days that keep getting hotter by the year.

The Hope for Haiti Now global telethon is also an extraordinary digital album including performances by Alicia Keys, Coldplay, Bruce Springsteen, Stevie Wonder, Shakira, John Legend, Mary J. Blige, Taylor Swift, Christina Aguilera, Sting, Beyoncé, Sheryl Crow, Kid Rock, Keith Urban, Madonna, Justin Timberlake, Jennifer Hudson, Emeline Michel, Jay-Z, Bono, the Edge, Rihanna, Dave Matthews, Neil Young and Wyclef Jean along with a bonus track from Jay-Z, Bono, the Edge and Rihanna. You can also own the two-hour telethon video.
All proceeds from album and video sales will go to the Clinton Bush Haiti Fund, Oxfam America, Partners in Health, Red Cross, UNICEF, United Nations World Food Programme and Yele Haiti Foundation.

Like the sidewalks of Hollywood Boulevard, Harlem’s Apollo Theater has its own “Walk of Fame” that displays the names of pioneering Black musicians. Stevie Wonder is one of them, his name carved into a plaque and embedded in the pavement in 2011, nearly 50 years after he first performed there. In 1961, then known as Little Stevie Wonder, he was one of the first child stars in the country to be signed to Motown. When he performed at the Apollo in December of 1962, it was clear that he was following in the footsteps of seasoned performers who had undertaken this necessary rite of passage.

Songs in the Key of Life is the eighteenth studio album by American singer, songwriter and musician Stevie Wonder. It was released on September 28, 1976 by Tamla Records, a division of Motown. The double album has been regarded by music journalists as the culmination of Wonder's "classic period" of recording.

Songs in the Key of Life is the eighteenth studio album by American singer, songwriter and musician Stevie Wonder. It was released on September 28, 1976 by Tamla Records, a division of Motown. The double album has been regarded by music journalists as the culmination of Wonder's "classic period" of recording.