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Home»Entertainment»Arts & Music»Stevie Wonder: Songs in the Key of Life – The EP Album Review
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Stevie Wonder: Songs in the Key of Life – The EP Album Review

channel1la.comBy channel1la.comOctober 10, 2026No Comments
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Stevie Wonder: Songs in the Key of Life - The EP Album Review
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Like most miracles, it arrived without warning. Songs in the Key of Life EP appeared at 4:54 AM on September 28, 2026, a date and time carrying significance for Stevie Wonder. On that day 50 years earlier, he released Songs in the Key of Life, the cumulation of a hot streak that’s still unparalleled in pop history: five years of masterpieces, each finding a wider audience than its predecessor. The timing isn’t coincidental, either. The Songs sessions concluded at 4:54 AM, commemorated by bassist Nathan Watts shouting “Fo’FiftyFo’!,” an exclamation that became a catchphrase in Wonder’s inner circles.

Such glimpses into Stevie’s private sanctum are vanishingly rare, which is part of why the existence of Songs in the Key of Life EP—a collection of four outtakes chosen by Wonder, mixed for release by the album’s original engineers, John Fischbach and Gary O Adante—is such a surprise. As prolific as Prince, who talked about his vault of unreleased projects while he was alive, or Bob Dylan, who has made a cottage industry of his ongoing Bootleg Series, Wonder is reputed to have written and recorded more music than he’s issued. It’s known that he shelved a completed album called Fullingness Second Finale prior to embarking on Key of Life, but he’s been reluctant to let any recordings out of the vault. Unlike so many artists of his stature, he’s never released a deluxe edition of his classic albums, nor have many of these recordings leaked out on bootlegs; they’re known as rumors and whispers, existing as song titles without form.

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That’s true of three of the four songs on this EP. The exception is “I Can See the Sun in Late December,” a song he gave to Roberta Flack for her 1975 LP, Feel Like Makin’ Love, and a tune he performed himself in a languid arrangement for Musikladen in 1974; he also sang a moving rendition at Flack’s memorial last year. Familiar as the melody may be, the version here is a revelation: The slightly swifter tempo and full arrangement transform the elegiac longing into a tender celebration of everyday beauty.

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