And i just felt that the way that certain people that, you know, they well, here s the deal. i felt that if you re going befriend someone and if, god forbid, they pass away, then why do you come after they die to talk about their business? i was not feeling that at all. larry: we re back with stevie wonder. i guess the song that more singer sing, nightclub performances, whatever, my wife sings it, she sings a lot of club songs, is for once in my life. so you need me to write your wife a song? larry: yeah, i d love you to. are you serious? larry: yeah. i ll do that. seriously, i will do it. and the reason i ll do it is because as much as some of the things i did see when you were doing the whole thing about michael jackson kind of pissed me off a little bit, but i thought the spirit in which you
elephandella, that s the name i keep hearing elephandella larry: that could be a hit. i don t think so. it wasn t then. it s not now. larry: what was the first hit? the first hit we had was a song called fingertips. and originally larry: third album, right? that was in the, yeah, third album, yes. it was a jazz sort of the first time it was recorded the jazz little stevie. it was a project that motown did with me playing the harmonica and piano and drums and stuff. kind of jazz project. and than we did a tribute to uncle ray, which was a tribute to ray charles that we did. and then we were on the motown
Something that obviously growing up in detroit you d hear the different harmonica players come and playing the blues as they re walking down the streets. when i was off for the christmas holiday season, an uncle gave me a harmonica, chromatic harmonica. and obviously, i didn t know what to got button. i said what is this for? so it s like but then i figured for me playing the harmonica after a while was like the saxophone to me. so it was like larry king larry: you take to music, you re called a genius. did that bother you, being called a genius so young? the amazing thing about being called a genius is i never paid any attention to it. i appreciated it.
Live and work together. just as on my piano, why can t we? so it was a great song. larry: and at a larry king cardiac gala we sang that song together. i remember that. larry: but we didn t do i didn t do ivory. what did i say? you may have been ebony. larry: no. that s right. i was ebony and you were ivory. yeah. larry: let s see if we remember a little bit of it. let s see here. larry: i don t remember the first line. ebony ebony and ivory live together in perfect harmony side by side on my piano keyboard oh lord, why can t we side by side on my piano keyboard oh, lord, why can t we
larry: appropriately enough. was it it had to be tough. i ve interviewed george shearing. i m sure you knew george shearing. he was great. great man. larry: he said that when you ve never seen he didn t regard it as a handicap because that s the only thing he knew. yeah. i mean, it s definitely more difficult for someone who has seen and then lost their sight. because obviously you re used to seeing and you re used to being able to look at something and point right at it or go right to it. even though that s, you know, true, it s not impossible to survive and to live. so larry: obviously, you ve proven it. we re going to trace an extraordinary musical career. we ve just started with stevie wonder. we ll talk more about his innervisions 2. don t go away. now, let me say this too. i want to interview you too. i m a fan of yours. larry: we ll let you do that, stevie. but this is your hour. stevie wonder!