Wonder not only has attracted a huge interracial audience and made the cover of Newsweek at a time when there is little communication between black and white musical cultures but has engaged our imaginations, made connections, become more than a performer…. At his best, he has the power to make optimism and racial reconciliation marvellously credible. Without denying "the nightmare that's becomin' real life"—pain, anger, bitterness toward oppressors, even the petty spite that can arise out of disappointment in love are all present in his lyrics, in the strange, often tormented sounds he coaxes out of the synthesizer—he can suggest that the joy of being human ultimately prevails. And because the anarchic, exploratory textural busyness of his music enlarges our sense of possibility the way Dylan's words once did, because his pleasure in the exchange between performer and audience both communicates and inspires something like love—perhaps also because we know he hasn't exactly had it easy—we are ready to believe him. But there is a delicate balance involved here, and too often it tips in the direction of romantic and religious sentimentality. Wonder's lapses are disturbing, because they call into question his successes. Does his transcendent joy reflect some sort of reality we can grasp and build on, or is it, after all, just a pleasant distraction? Is there a possibility of racial détente based on hard times ahead, on the common disillusion and defiance expressed in a song like "You Haven't Done Nothin'"? Or will the more fatuous aspects of Wonder's message of universal love simply provide the growing horde of religious escapists with still another focus for their complacency? (pp. 56-7)

[It] will come as little surprise to anyone that ["Songs In The Key Of Life"] is as accomplished as its five predecessors. The songs, with a very few exceptions, are excellent, and Wonder's arrangements and production realise them perfectly….

Thematically, Wonder's writing continues to explore social issues: the touch, taste and scent of ghetto life, and, centrally, love of every sort, from that of a father for his child to man for woman to the spiritual love of man for his fellow, which remains the very essence of Wonder's work—brotherly love, nation shall speak unto nation, and so on.

His lyrics are exceptionally exact on his two strongest commentary songs. Their extremely terse words are flung into sharp contrast by using a lush mood and delicate violin arrangement. It's true of both the futuristic "Pastime Paradise," and "Village Ghetto Land," a blunt yet caring description of ghetto life covering fear, robbery, starvation, police corruption, murder, disease, politicians' insensitivity, greed and vice—all in four verses of the six-verse song.

"Songs In The Key Of Life" is not, however, a dark or brooding album. Wonder, by his very nature, couldn't produce one. Even his songs of lost love are presented in so luxuriant a setting that the shade of blue is distinctly royal….

The whole of the first side indeed, is utterly successful. There is the opening cut, "Love's In Need Of Love Today," which sums up the basic philosophy of the album….

If side three is less convincing, it's because it's more personal to Wonder. "Isn't She Lovely" is a gay, swinging hymn to his daughter, Aisha, spoiled by an over-lengthy fade….

There are many sides (no pun intended) to "Songs In The Key Of Life," and not all will emerge to this listener, I suspect, in the first week or two. All I can say is that it is the sort of album which will make you replay all your other Stevie Wonder albums. And that's the best sort of album.