Stevie Wonder, “Innervisions”

Chris McJaggerly:

Stevland Hardaway Morris was discovered by Berry Gordy of Motown Records as a kid and given the stage name Little Stevie Wonder. Gordy supervised Stevie’s recordings – including lots of hit singles — until he turned 21. At that age, Stevie allowed his Motown contract to expire and started to independently record. This gave him leverage to re-sign with Motown on his own terms. Gaining artistic control under his 1972 contract, Stevie started his “classic period” of thematic albums, which include Music of My Mind and Talking Book from 1972, Innervisions (1973), Fulfillingness’ First Finale (1974), and the double album Songs in the Key of Life (1976). Then he slowly drifted into suck, succumbing to the tiny hints of schmaltz contained in those “classic period” albums, and bottoming out with the all-time cringe-fest, “I Just Called To Say I Love You.”

But nevermind Stevie’s low point, Innervisions is an absolute stone-cold Top 100 album. Lyrically, it was an important record because Stevie was a black crossover star with a career built on agreeable dance and love songs who took a chance by adding politics and some hard-hitting cial commentary to his songwriting. Musically, it was a tour de force because Stevie played almost every instrument himself, and virtually invented the synthesizer and clavinet sound that all of us now associate with Seventies funk and pop. And vocally, it’s amazing from start to finish.

The big hits – “Living For The City” and “Higher Ground” – are about as good as danceable-pop-music-with-a-conscience gets. Another hit, “Don’t You Worry ‘Bout A Thing,” is irresistible Cuban-influenced pop, so catchy that UPS made it into an ad jingle. But like any great album, the proof is in the songs that weren’t hits. “Golden Lady” is a sweeping mid-tempo love song with a classic Motown feel. “Jesus Children Of America” is a simmering, slow groove that just sounds like a big city in America in 1973. “All in Love is Fair” is a ballad that could have been the centerpiece of a Broadway musical, in a good way. Even “He’s Misstra Know-It-All” — a dumb name for a song — slowly pulls you in until Stevie’s vocal blows you away.

My only complaint is that Innervisions doesn’t have enough of the mouth harp. Stevie Wonder is – without a doubt – the greatest harmonica player that ever lived.

I give Innervisions 32 2/3.

Tom Heerman:

Nice review, I can dig it. I have not listened to much Stevie Wonder, except of course what is on the radio. But I really enjoy this one on the headphones. The Moog Synth was fairy new when this came out, although the Who and the Beatles had dabbled by then. Stevie really found great funk in that thing.

One funny thing, on Visions, is it correct to say, “I’m not one who make believes,” as Stevie sings, or is it “I’m not one who makes believe?” It was probably discussed in the recording studio listening room. I wonder if they debated that, or if people just thought, if Stevie said it, it’s just fine. I think it’s incorrect the way he says it, and strangely, most internet lyrics sites show it the grammatically correct way.

Interesting reference: The once hugely popular Richard Pryor quotes “Living for the City” on one of his comedy albums and on a single called “Our Text for Today.” It’s pretty funny, he imitates a preacher, while reciting the lyrics:

A boy is born in hard time Mississippi 
Surrounded by four walls that ain’t so pretty 
His parents give him love and affection 
To keep him strong moving in the right direction 
Living just enough, just enough for the city

That was the first time I ever heard that song.

As for my overall impression, its a killer record. This is why huge stars get to be huge stars. They usually have unique talent, and when allowed to be great, they are.

I give this one a 32

Kevin Decker:

For social commentary, which is negative at times, but not in your face, and for the grooves, and for a general high level of quality, I give it a 32.