Stevie Wonder recently reminisced about his remarkable experience recording the classic song “Lovin’ You” over fifty years ago with his friend, the late Minnie Riperton.
Reflecting on that magical time at the Record Plant, Wonder recalled, “We were down at the Record Plant, and I was playing the Fender Rhodes. She was singing, and obviously she sounded wonderful on it.”
As he spoke, Wonder playfully engaged with a harpejji, an electric string instrument he often showcases during live performances.
He conveyed a somber sense of nostalgia, adding, “Sorry — I’m a little distracted because I’m thinking about then versus what’s happening now in this nation and how f— up it is.”
At 75, Wonder views Riperton’s music as a powerful reminder of a more compassionate time, perceiving her soothing voice as a symbol of “a commitment to music, a commitment to peace, a commitment to unity, a commitment to bringing people together.”
The emotional depth of Riperton’s work can be most palpably felt in “Lovin’ You,” a song that topped Billboard’s Hot 100 chart in April 1975.
As the next-to-last track on her album “Perfect Angel,” co-produced by Wonder and Riperton’s husband, Richard Rudolph, the song is a beautifully stripped-down ballad that captures the essence of romantic devotion, making listeners feel like they are eavesdropping on an intimate moment between a couple in love.
With its iconic high note, “Lovin’ You” played a significant role in propelling “Perfect Angel” to the top of Billboard’s R&B chart, where it reigned for three weeks before giving way to Earth, Wind & Fire’s hit “That’s the Way of the World.”
Despite her newfound fame after a decade of performing, Riperton’s brilliant career was tragically cut short when she succumbed to breast cancer at the tender age of 31.
To honor Riperton’s legacy, a tribute concert is set to take place at the Hollywood Bowl on Wednesday night, celebrating the 50th anniversary of “Lovin’ You.”
The concert features a lineup that includes Wonder, George Benson, Lizz Wright, Aloe Blacc, Alex Isley, and Chanté Moore, with more acts yet to be announced.
Wonder sees this concert as a chance to steer people toward “the truth and the light” at a time when many find themselves in turmoil.
Riperton’s music continues to resonate widely, evidenced by its inclusion in contemporary works. In 2019, Jordan Peele used Riperton’s “Les Fleurs” to underscore a pivotal moment in his film “Us,” while last year Norah Jones incorporated the same song into her live performances.
Additionally, Andra Day showcased “Memory Lane” at the NAACP Image Awards, and recently, a viral video featured SZA attempting to hit the famous high note from “Lovin’ You” backstage at the American Music Awards.
Yet despite her incredible talent, Riperton remains woefully underappreciated, according to Wonder and others who contend that the singer, notable for her whistle register, has not received the recognition she deserves.
Patrice Rushen, a seasoned jazz and R&B artist, encapsulated this sentiment by saying, “You know how they say, ‘If you know, you know’? I think that’s the situation with Minnie.”
Rushen, who recorded a virtual duet with Riperton for the posthumous album “Love Lives Forever,” praised Riperton’s unique stylistic subtleties, noting her ability to blend sweetness with earthiness seamlessly.
Rushen remarked, “There’s a simplicity to a song like ‘Lovin’ You,’ but when I say ‘simplicity,’ that doesn’t mean it’s easy. It actually shows great mastery — an understanding of what a song needs to get across.”
R&B singer Alex Isley shared her admiration for Riperton, describing her as “the prime example” of a voice that demonstrates “the strength in restraint.”
Riperton’s influence can be traced through various musical eras, resonating in the softer, more intimate tones of artists like Prince and Janet Jackson, as well as contemporary tracks from performers such as Isley and Ravyn Lenae.
Reflecting on Riperton’s enduring impact, Rudolph, Riperton’s husband and the father of comedian Maya Rudolph, expressed his joy in witnessing the younger generation of musicians still inspired by her work.
Riperton’s journey began in Chicago, where she started her music career in a girl group signed to Chess Records, where she also served as a receptionist.
Eventually, she sang backup on numerous hits, including Fontella Bass’ “Rescue Me,” which featured the talents of drummer Maurice White and vibes player Charles Stepney, who later rose to fame with Earth, Wind & Fire.
Before her solo career, Stepney brought Riperton into the band Rotary Connection, a psychedelic soul-rock group known for their eclectic sound during the late 1960s, with their records widely sampled by renowned artists such as DJ Shadow and A Tribe Called Quest.
Riperton met Rudolph in a fortuitous encounter at a rock club, a meeting he described as cinematic. The two quickly fell in love, and Rudolph began collaborating with Stepney on Riperton’s debut solo album, the ambitiously composed “Come to My Garden,” released in 1970.
Rudolph reminisced, “Charles and I thought we were gonna be the next Burt Bacharach and Hal David,” although the record did not achieve commercial success — prompting the couple to relocate to Florida, where Rudolph took on various odd jobs, including making sandals.
Despite the setbacks, they continued writing music together. The song “Lovin’ You” originated as a lullaby for their daughter Maya, which they recorded on a loop to allow them time to sneak off.
The song quickly evolved, embodying their reflections on love and life after the assassination of Dr. Martin Luther King Jr.
A college representative from Epic Records discovered their work while visiting Gainesville and subsequently persuaded the label to contract Riperton, leading the family to move to Los Angeles.
Wonder first met Riperton when she was introduced by a friend of her manager, and upon hearing her voice, he invited her to provide backing vocals on his album “Fulfillingness’ First Finale.”
While collaborating on other projects, Wonder proposed they record an album for Riperton, leading to the sessions at the Record Plant on West 3rd Street.
“Perfect Angel” employed a consistent roster of musicians who contributed to his other works, with Rudolph even stepping in to play guitar on “Lovin’ You” in the absence of Michael Sembello, who was suffering from carpal tunnel syndrome.
Rudolph humorously recounted how Wonder and Riperton would tease him in the studio, hoping to provoke a mistake as they laid down the basic tracks.
Wonder insisted on including chirping bird sounds in the song after hearing them through an open window during their initial demo recording session.
This led to an amusing adventure as Wonder, Rudolph, and Riperton trekked to UCLA’s botanic gardens to capture those sounds.
Due to contractual obligations with Motown, Wonder could not use his name on “Perfect Angel,” resorting to the moniker El Toro Negro for the album.
Ultimately, the album did not see immediate success; however, everything changed when
image source from：latimes
