Believe it or not, back in 1974, people weren’t actually sure The Wiz was going to make it. Critics were skeptical. The initial reviews were, honestly, pretty lukewarm. But then something shifted. It wasn’t just the neon sets or the vibrant costumes that saved the show—it was the music. Charlie Smalls, the man behind most of the songs of the Wiz, managed to bottle lightning by blending traditional Broadway structure with the grit and groove of R&B, soul, and gospel.
It’s iconic.
You’ve got "Ease on Down the Road" which became a literal anthem. Then you’ve got "Home," a song so powerful it basically redefined what a "11 o'clock number" could be. When Stephanie Mills first opened her mouth to sing those notes, she wasn’t just performing; she was testifying. That’s the thing about this soundtrack—it doesn't just sit there. It moves. It pushes. It feels like a Sunday morning in Harlem and a Friday night at the Apollo all at once.
The Soulful DNA of Songs of the Wiz
If you look at the landscape of the mid-70s, Broadway was undergoing a massive identity crisis. You had the tail end of the Golden Age trying to play nice with the rock revolution. Into this vacuum stepped The Wiz. It didn't try to be Oklahoma! and it didn't try to be Hair. It was unapologetically Black.
The genius of the songs of the Wiz lies in their versatility. Take "Mean Ole Lion." It’s a character study, sure, but the rhythm is pure funk. It gives the performer permission to growl. Or look at "So You Wanted to Meet the Wizard." It’s grand, intimidating, and theatrical, yet it maintains that rhythmic pocket that makes you want to nod your head.
Luther Vandross was involved. Yeah, that Luther Vandross. People often forget he wrote "Everybody Rejoice (A Brand New Day)." Originally, the show needed a big finale after the Wicked Witch of the West, Evillene, gets melted. Vandross, who was a backing singer at the time, stepped up. That song has since become a staple of graduations, weddings, and church services because it captures a very specific type of communal joy that is hard to manufacture in a writing room.
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Why "Home" is the Ultimate Power Ballad
There is a specific kind of magic in "Home." Every singer from Diana Ross to Whitney Houston to Jazmine Sullivan has tried their hand at it. Why? Because the composition is a masterclass in emotional escalation. It starts small. It's hesitant. Dorothy is realizing that the glitter of Oz—the "silver slippers" and the "Emerald City"—doesn't actually mean anything if you don't have a place where you belong.
Musically, the song utilizes a series of rising modulations that mirror the character's growing resolve. By the time the final chorus hits, the orchestration is massive. It’s a physical experience. For many Black audiences in the 1970s, hearing a young girl sing about the sanctity of home in such a soulful, Broadway-adjacent way was revolutionary. It bridged a gap.
The Quincy Jones Influence and the 1978 Film
We have to talk about the movie. Even if you think the film version is a bit of a bloated mess compared to the stage play, you cannot deny the music. Quincy Jones took the songs of the Wiz and gave them the "Off the Wall" treatment. He brought in Michael Jackson to play the Scarecrow.
Think about the difference between the stage version of "Ease on Down the Road" and the film version. The film version is slicker. It’s more disco-infused. It’s got that signature Quincy Jones horn section that feels expensive. While some purists argue the film lost the "theatricality" of the original score, it undeniably brought the music to a global audience. Michael’s performance of "You Can't Win" is a standout. Interestingly, that song wasn't even in the original Broadway production; it was pulled from Charlie Smalls' trunk of demos and worked back in.
The film's soundtrack went Gold. It showed that "theatre music" could be "radio music." This was a pivotal moment in music history where the lines between genres began to blur permanently.
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The Hidden Gems: "Be a Lion" and "Believe in Yourself"
Everyone knows the hits. But if you really want to understand the brilliance of the score, you have to look at the "encouragement" songs. "Be a Lion" is a beautiful duet between Dorothy and the Lion. It’s a slow burn. It teaches vulnerability.
Then there’s "Believe in Yourself." It’s sung by Glinda, the Good Witch. It’s a simple message, but the melody is soaring. In the 2015 The Wiz Live! on NBC, Uzo Aduba performed this, and it reminded everyone that these songs aren't just fluff. They are lessons. They are meant to empower the listener.
Cultural Impact and Modern Revivals
When the revival hit Broadway in 2024, people were worried. Would it still hold up? Or would it feel like a 70s time capsule?
The reality is that the songs of the Wiz are timeless because they are rooted in the blues. The blues doesn't age. The struggle for identity doesn't age. The 2024 production updated some of the arrangements—sharpening the drums, adding some more contemporary R&B flourishes—but the core remained untouched. You can't fix what isn't broken.
What’s fascinating is how these songs have been sampled in hip-hop. Producers love the brassy stabs and the soulful vocals of the original cast recording. It’s a testament to Charlie Smalls’ ear for a hook. He wasn't just writing for the stage; he was writing for the culture.
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The Tragic Story of Charlie Smalls
It’s worth noting that Charlie Smalls didn't get to see the long-term legacy of his work fully unfold. He died at 43 during emergency surgery. He left behind a body of work that effectively changed the face of the American musical. Before The Wiz, Black musicals were often relegated to "revues" or "specialty shows." Smalls proved that a Black creative team could take a classic Western narrative (The Wonderful Wizard of Oz) and completely reclaim it.
He didn't just translate the story; he reimagined the soundscape of the journey.
Actionable Steps for the True Fan
If you're looking to dive deeper into this sound, don't just stick to the Spotify "Top 10."
- Listen to the 1975 Original Cast Recording first. This is where the raw energy lives. Stephanie Mills’ voice at 17 years old is something you have to hear to believe.
- Compare the "Ease on Down the Road" versions. Put the Broadway version and the Michael Jackson/Diana Ross version side-by-side. Notice how the tempo and the "swing" change the entire mood.
- Watch the 2015 Live Performance. It features Mary J. Blige and Queen Latifah. It shows how the songs can be adapted to a more modern, powerhouse vocal style without losing their soul.
- Check out the sheet music. If you’re a musician, look at the chord progressions in "Home." They are surprisingly complex, utilizing jazz substitutions that you don't typically find in standard "pop" Broadway scores.
The songs of the Wiz are more than just a soundtrack. They are a blueprint for how to tell a story with conviction, rhythm, and an unwavering sense of hope. Whether you're "easing on down the road" or just trying to find your way "home," these tracks provide the perfect rhythm for the journey.
The best way to experience it? Turn it up loud. These songs weren't meant to be background noise. They were meant to be felt in your chest.