(March 16, 2025). For more than six decades, ever since a 13-year-old Stevie Wonder topped the Billboard charts in 1963 with his classic “Fingertips, Pt 2,” the word “genius” has become synonymous with his name.
For over 30 years, Wonder rolled out hit after incredible hit — accumulating 20 No. 1 singles on the Billboard soul/R&B/Hip-Hop chart and ten on the pop (Hot 100) list — while making landmark LPs that, collectively, are among the most acclaimed of all time, especially during his classic album period of the 1970s.
But Stevie has also written countless hits for other people, unreleased songs he may have had in his vault or others that he outright wrote for another artist to record. Some have become timeless classics.
This article explores those he wrote that were recorded by women… titans like Aretha, Diana, Gladys, Roberta, Patti, Chaka, and so many others. Some of these were initially recorded by Wonder himself but became more famous when sung by the ladies.
Take a look at this list, ranked from No. 20 to No. 1, and enjoy each audio clip that follows (or the Spotify playlist below the rankings). Also, feel free to provide your opinions in the comment section below the rankings.
20. “Your Kiss is Sweet” – Syreeta (1974)
This reggae-flavored tune from Syreeta Wright’s highly underrated sophomore album, Stevie Wonder Presents: Syreeta, flips the script on all those fellas who think their kisses are “as sweet as candy.” Syreeta lets her jilted lover know that his kisses may be sweet, but honey beats them “by a million miles.” Wonder and Wright’s divorce two years before the song’s release provided an interesting subplot to this “diss tune” (long before we started calling them that), which the two exes co-wrote. The song ends on a hilarious note, with a male voice (Stevie’s?) shouting “your breath stinks!” as laughter ensues.
19. “Baby Don’t You Let Me Lose This” – Syreeta (1972)
By 1972, the love affair between Stevie Wonder and his wife Syreeta Wright had come to an end. But their musical partnership, first made famous on co-penned songs like the Spinners’ “It’s a Shame,” and Wonder’s own “Signed, Sealed, Delivered (I’m Yours)” and “If You Really Love Me,” remained strong enough for Wonder to produce Wright’s debut self-titled album that year. One of its standout tracks was “Baby Don’t You Let Me Lose This,” a mid-tempo tune that could have easily fit on one of Stevie’s classic albums of the period.
18. “Let Me Fall in Love with You” – Martha Reeves & the Vandellas (1972).
Wonder wrote this with then-wife Syreeta around 1971 or ’72. Now considered a long-lost gem, “Let Me Fall” was likely recorded during the sessions for The Vandellas’ last album, ‘72’s Black Magic, but didn’t see the light of day until their anthology compilation Spellbound: Motown Lost & Found (1962-1972) was released in 2005. While the liner notes for Black Magic credit the Funk Brothers on instrumentation, it sounds like an unlisted Wonder’s clavinet is all over this track.
17. “The Force Behind the Power” – Diana Ross (1991)
The Boss, Ms. Ross, never had another Hot 100 single after 1986’s “Chain Reaction,” but it wasn’t for lack of trying. Her 1988 return to Motown (after a successful seven-year stint with RCA Records) saw her release Workin’ Overtime in 1988 and The Force Behind the Power in 1991. Neither album produced a top 40 pop hit, but she continued to have success overseas, including in the UK where the latter album sold over half a million copies and became her biggest seller there. Stevie Wonder wrote, produced and played all the instruments on this new jack swing-styled title track.
16. “Go On and On” – Elton John and Gladys Knight (1993)
Coming off the moderate success of his Jungle Fever soundtrack (1991), Wonder contributed this quirky number to Elton John’s Duets album a couple years later. Although never released as a single, the playful, off-beat “Go On and On” was as compelling a duet as John’s No. 1 hit with Kiki Dee (“Don’t Go Breaking My Heart”) seventeen years earlier… and on repeat listens, just as catchy. The song makes this list by virtue of Knight’s credit and also served as a mini reunion between the three “Friends” (Stevie, Elton, and Gladys) on Dionne Warwick’s 1986 No. 1 smash, “That’s What Friends Are For.”
15. “Betcha Wouldn’t Hurt Me” – Quincy Jones ft. Patti Austin (1981)
Quincy Jones’ iconic 1981 album, The Dude, is known for many classics, including ballads “Just Once” and “One Hundred Ways” (both sung by the late James Ingram), and the disco-ey “Razzamatazz” (vocals by Patti Austin). Austin sang the lion’s share of tunes (four) on The Dude, with her other three (including “Razzamatazz”) being written by the late Rod Temperton. But it was the lone-Stevie Wonder tune that graces this list, the deceptively mellow, “Betcha Wouldn’t Hurt Me,” which he co-wrote with Stephanie Andrews.
14. “Open Up Your Heart” – LaBelle (1973)
This legendary trio, consisting in 1973 of Sarah Dash, Nona Hendryx, and Patti LaBelle, recorded “Open Up Your Heart” for the album Pressure Cookin’, their lone release for RCA Records. This Stevie Wonder-penned tune was one of only two songs on the album not written by Hendryx (the other was penned by Speedy Keen and Gil-Scott Heron). With clever lines like, “they call me ‘love’ for short, but my name is really ‘love is what you need,’ the song showcased Wonder’s humorous (at times) lyrical side. LaBelle moved to Epic Records a year later where they recorded the No. 1 classic “Lady Marmalade.”
13. “The Real Thing” – Vanessa Williams (2009); Sergio Mendes feat. Katie Hampton (2010)
The late Brazilian musician Sergio Mendes was the first to record this Stevie tune for his 1977 album aptly titled Sergio Mendes and the New Brasil ’77 album. It’s been covered several times since then, including in a jazzy version by former Miss America and recording artist Vanessa Williams (2009) and the following year by Mendes again, this time with featured vocalist Katie Hampton taking the lead. Both Williams and Hampton’s versions get the nod here, with a slight personal preference going to Hampton’s faster-paced version.
12. “Chan’s Song (Never Said)” – Dianne Reeves (1987)
Jazz vocalist Dianne Reeves had a shining moment with “Better Days” (a/k/a “the Grandma Song”), which introduced Reeves to mainstream audiences and was a mid-charting R&B hit in 1988. She followed that with the equally worthy “Chan’s Song,” a jazzier piece that Wonder penned with Herbie Hancock. “Chan’s Song” never charted, but it has aged well… and it helped make her self-titled album her first No. 1 on the Billboard Contemporary Jazz Albums chart.
11. “Black Maybe” – Syreeta (1972)
On Syreeta Wright’s first album, produced entirely by Stevie the same year they divorced, one can hear flashes of Wonder’s signature clavinet playing (featured prominently on his own Talking Book album later that same year). But while Wonder’s album contained mostly love songs (with “Big Brother” being its most socially conscious effort), Syreeta’s contained more socially conscious fare, including “Black Maybe,” which explores themes of racial identity, oppression, unity, and the injustices dealt the Black community for centuries in America. Musically it sounds dreamy enough, but it carries a heavy message.
10. “Bad Weather” – Supremes (1973)
The Supremes were badly in need of a hit record in 1973 when they and Motown Records turned to Stevie Wonder for a fix. The result was this proto-disco number that turned out to be the last single of the legendary trio’s Jean Terrell era. Terrell, backed by Mary Wilson and Lynda Laurence, sang lead on this track and left the group shortly after its release. Laurence, who had sung with Stevie’s backing band Wonderlove and was replacing Cindy Birdsong while the latter was on maternity leave, left soon afterwards. “Bad Weather,” written by Wonder and Laurence’s brother Ira Tucker, Jr., failed to make the American top 40 but remains a cult favorite of Supremes fans and an early feather in Motown’s disco cap, despite the label being largely criticized by music historians for being late to the disco party.
9. “Cause We’ve Ended As Lovers” – Syreeta (1974)
Many songs have been written about lovers ending a romance and remaining friends. But few come across as genuinely as this Stevie-penned ballad that opened Side 2 of his ex-wife’s sophomore album, and for obvious reasons. The two were married from 1970-72 and remained close for decades after their divorce, with Syreeta contributing vocals to several of his albums. Wright died of congestive heart failure in 2004 (age 58) after also suffering from breast and bone cancer.
8. “You Are My Heaven” – Roberta Flack ft. Donny Hathaway (1980)
The last song ever recorded by Donny Hathaway was this mid-tempo R&B number from the project that was to be Flack and Hathaway’s reunion duet album. Sadly, Hathaway died tragically on the same day that his final vocal tracks were laid down (Jan. 13, 1979). The song was released a year later and became a top ten R&B hit (and top 50 pop). Flack sadly passed away earlier this year at age 84.
7. “Spinnin’ and Spinnin’” – Syreeta (1974)
The criminally underrated Syreeta Wright co-wrote this sweeping tune with her ex-husband for her second album, 1974’s Stevie Wonder Presents: Syreeta. Recorded as a slow waltz, Wonder and Wright hypnotize listeners with the tune’s catchy, melodic keyboard arrangement (and Wright’s sweet vocals) in a carnival-like atmosphere. But the ride speeds up near the end when Stevie adds an ad lib with a comic twist on the song’s title hook (“Spending, I’m spending, I’m spending around; we’ll paint the town, never coming down, ‘cause I’ve got money, plenty money…”), punctuating what is easily the album’s shiniest moment.
6. “All I Do Is Think About You” – Tammi Terrell (1966)
The late Tammi Terrell recorded this Stevie-penned gem shortly after she signed with Motown and before she had her first hit duet with Marvin Gaye (“Ain’t No Mountain High Enough,” 1967). It was also 14 years before Wonder recorded a popular version for his Hotter Than July album (1980). While his “cover” may be the best-known rendition of the song, Terrell’s original is now considered a lost Motown classic, one no less deserving of praise some 45 years after her untimely passing from brain cancer at age 24 (1970).
5. “Perfect Angel” – Minnie Riperton (1974)
Cancer also claimed the life of the late Minnie Riperton at a young age (31), leaving her many fans to wonder what could have been for the songbird with a five-octave singing range. Her breakthrough album in 1974, Perfect Angel, included the Stevie Wonder-produced “Lovin’ You,” which topped the pop charts in 1975, and this luscious title track that Wonder wrote and co-produced (with Riperton’s husband Richard Rudolph). Recorded just five years before her death, this heavenly tune includes the playfully sung line, “my mama told me if I was goodie, that I would find me someone to love me.” It was one of many times Wonder had fun with his female proteges on their collaborations.
4. “Tell Me Something Good” – Rufus (1974)
The year 1974 was arguably the most prolific for Stevie. In addition to his own No. 1 album, Fulfillingness’ First Finale, he wrote an entire album for his ex-wife, Syreeta Wright, co-produced Minnie Riperton’s Perfect Angel LP (and wrote two of its tracks), and wrote this No. 3 classic by the group Rufus. “Tell Me Something Good,” was (famously) his second offering to the band after lead singer Chaka Khan boldly rejected his first — the song “Come and Get This Stuff” — which ex-wife Syreeta recorded for her album. “Tell Me” became Rufus’ first and biggest pop hit. Coincidentally, Wonder and Chaka collaborated ten years later on her biggest solo hit, “I Feel for You,” — another No. 3 pop smash — on which the Motown genius famously played his trademark harmonica.
3. “Don’t Make Me Wait Too Long” – Roberta Flack (1980)
Roberta Flack’s last album featuring Donny Hathaway, appropriately titled Roberta Flack…Featuring Donny Hathaway, contains several gems, “You Are My Heaven” (see below) and “Back Together Again” among them. But, for my money, “Don’t Let Me Wait Too Long” is the album’s best track with almost eight minutes of pure post-disco listening pleasure. Even the nearly one-minute-long fade feels sublime. The melody pulls you in, the bass evokes Chic-like funk (as do the drums and the song’s breakdown midway through), and Flack’s sweet vocals perfectly suit this forlorn tale of one-night-stand victimhood. A close listen to the second and third post-choruses reveal distinctive backing vocals from a pre-fame Luther Vandross – a past and future contributor to recordings by Flack and Wonder. Flack sang this over a track Wonder originally recorded in 1979, including a playfully sexy rap at the song’s breakdown, which lightens an otherwise somber tale of a fleeting rendezvous.
2. “Sleeping Alone” – Pointer Sisters (1975)
Perhaps no song captured the Pointer Sisters’ true spirit like the sublime “Sleeping Alone,” an eclectic mix of three or four musical styles all squeezed into four short minutes. Wonder penned this gem for their 1975 album, Steppin’, while he was also writing and recording music for his 1976 blockbuster, Songs in the Key of Life. The song morphs abruptly – but seamlessly – from a ballad to a mid-tempo jazzy number to a fast-paced rocker and then back again, before finishing with a bluesy coda. In between is a rousing instrumental bridge that contains an unmistakable electric piano riff from Wonder himself. Upon lead singer Anita Pointer’s death in December 2022, “Sleeping Alone” became this blogger’s most listened-to song for 2023.
1. “Until You Come Back to Me (That’s What I’m Gonna Do)” – Aretha Franklin (1973)
Stevie Wonder first recorded “Until You Come Back to Me” in 1967, ironically the same year Aretha Franklin had her first hit with Atlantic Records after leaving Columbia. No one heard Wonder’s version until it was included in an anthology ten years later. But Franklin’s 1973 cover became one of her biggest hits (and one of the rock era’s most famous songs about stalking). It reached No. 1 on the soul chart and No. 3 pop, the latter achievement making her the first artist ever to have a different song peak at each position within Billboard’s top ten (Marvin Gaye, Madonna, Drake and Taylor Swift have since joined her in this elite accomplishment). But the Queen did it first, and it’s fitting that she also ranks first on this list with what has to be considered one of her all-time greatest recordings!
And there they are — the 20 most essential songs Stevie wrote for female artists… a perfect way to celebrate both his legacy and the legendary women he collaborated with — all queens in their own right!
Which of these are your favorites? Did I miss any of your top picks? Drop a comment below or join the conversation on social media.
DJRob
DJRob (he/him) is a freelance music blogger from the East Coast who covers R&B, hip-hop, disco, pop, rock and country genres – plus lots of music news and current stuff! You can follow him on Bluesky at @djrobblog.bsky.social, X (formerly Twitter) at @djrobblog, on Facebook or on Meta’s Threads.
You can also register for free (select the menu bars above) to receive notifications of future articles.
Pure genius! There is no denying what was birth out of Motown.