Ever had a song stuck in your head for a decade? Stevie Wonder did. Most people hear the bright, four-on-the-floor groove of "All I Do" and think of the 1980s. They picture the Hotter Than July album cover, the braided hair, and the beads. But the truth is, Stevie Wonder All I Do Is Think Of You—or just "All I Do" as it's officially titled—was actually a "ghost" track that haunted the halls of Motown for fourteen years before we ever got the definitive version.
It’s one of those rare instances where a song has two entirely different lives. One as a forgotten 60s ballad and another as an absolute titan of R&B dance floors. If you've ever felt like the track has a certain "old school" soul buried under that slick 80s production, you’re not imagining things.
The 1966 Mystery: It Wasn't Always Stevie's
Let’s go back. 1966. Stevie is just sixteen years old. He's a "Little Stevie" no more, but he's still figuring out his adult voice. He sits down with collaborators Clarence Paul and Morris Broadnax and they pen this heartbreakingly simple melody.
They didn't give it to a male singer. Not at first.
The song was originally titled "All I Do Is Think About You." It was first recorded by the legendary Tammi Terrell. Yeah, the same Tammi who gave us those iconic duets with Marvin Gaye. Her version was slow. It was pained. It was a classic Motown "vault" track—the kind of song Berry Gordy would listen to and then decide to lock away for years. Brenda Holloway recorded a version too. Neither saw the light of day for decades.
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It’s honestly wild to think that one of Stevie’s most infectious hits spent fourteen years gathering dust. Stevie eventually realized that the song he wrote as a teenager was too good to leave in a filing cabinet. When he started working on Hotter Than July in 1979, he pulled it out, stripped away the 60s orchestral gloom, and added that unmistakable bounce.
Why The 1980 Version Hits Differently
When Stevie finally released the song in 1980, he changed the vibe completely. He traded the "woe is me" balladry for a celebratory, almost obsessive joy.
You’ve probably heard the background vocals and thought, "Man, those guys are good." You're right. That's because the "background" singers are basically a Hall of Fame lineup. We're talking:
- Michael Jackson (fresh off the success of Off the Wall)
- Eddie Levert and Walter Williams of The O'Jays
- Betty Wright
Having Michael Jackson sing backup for you is the ultimate flex. But that’s Stevie Wonder for you. The track features Stevie playing nearly every instrument—drums, Fender Rhodes, synthesizer, even the bells. It’s a masterclass in "One-Man Band" production that feels like a full party in the studio.
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The Great Title Confusion: "All I Do" vs. "All I Do Is Think Of You"
Here is where things get messy for fans. If you search for Stevie Wonder All I Do Is Think Of You, you're actually looking for two different musical legacies that often get tangled up in the Google search results.
- Stevie’s "All I Do" (1980): The upbeat, funk-soul track from Hotter Than July.
- The Jackson 5’s "All I Do Is Think Of You" (1975): This is a completely different song written by Michael Lovesmith and Brian Holland. It’s a slow jam. It’s beautiful. It was famously covered by the R&B group Troop in 1989.
Because the lyrics are so similar—both songs repeat the phrase "all I do is think of you"—people mix them up constantly. If you're looking for the song that makes you want to two-step at a wedding, you want Stevie. If you're looking for the song that makes you want to cry in your room about a middle-school crush, you're probably thinking of the Jackson 5/Troop track.
The J Dilla and Hip-Hop Connection
Stevie’s version didn't just stay in the 80s. It became a foundational text for hip-hop producers. Most notably, the late, great J Dilla.
Dilla had a deep obsession with Stevie’s catalog, but his use of "All I Do" is legendary among crate-diggers. He saw the "swing" in Stevie's drumming on that track—that slightly off-kilter, human feel—and used it to help define the "Neo-Soul" sound of the late 90s and early 2000s.
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Whenever you hear a modern R&B track that feels "bouncy" but still soulful, there’s a direct line back to Stevie's 1980 reimagining of his 1966 teenage daydreams.
Actionable Insights for Music Lovers
If you want to truly appreciate the depth of this song, don't just stream the radio edit. Do this instead:
- Listen to the Tammi Terrell version first. You can find it on the A Cellarful of Motown! compilation. It will completely change how you hear Stevie's version. You’ll hear the "ghost" of the 60s inside the 80s funk.
- Pay attention to the 3:30 mark. That's where the vocal layering really kicks in. Try to isolate Michael Jackson’s voice in the mix; his high-tenor "Oohs" are what give the chorus 그 "sparkle."
- Watch the live Tokyo Dome performance (1990). Stevie stretches the song out. It’s faster, more aggressive, and proves that the song was built for the stage, not just the studio.
Stevie Wonder didn't just write a hit; he curated a melody across three decades of his life. It’s a reminder that great art doesn't have an expiration date. Sometimes, it just needs fourteen years to simmer until the world is ready for it.
Check out the full Hotter Than July album if you haven't lately—it's widely considered his last "perfect" record before he moved into the more synthesized era of the mid-80s.