Innervisions [Remastered] - Stevie Wonder

...best original album are (1) Innervisions released in 1973, (2) Music of my Mind released in 1972, (3) Talking Book released in 1973, (4) Songs in the Key of Life released in 1976, and (5) Hotter than July released in 1980. Along with, I believe, a lot of his fans, my favourite is Innervisions, which I am about to review.


** The Tracks **


The album opens with TOO HIGH, which I would describe as funky jazz. ...
...there are some great backing harmonising vocals on this track, with cymbals and bass helping to keep the beat.

Stevie sings about being “too high” in a “superficial paradise” (of drug abuse), and of one particular girl’s death.

“She a girl in a dream
She sees a four-eyed cartoon monster on the TV screen
She takes another puff and says
‘It’s a crazy scene’
That red is green
And she’s ... more

** The Artist **

Knowing a little about Stevie Wonder’s early life is important to understanding what inspired him musically. He was born blind in Michigan in 1950. Four years later his family moved to Detroit, where he began singing in his church's choir. He loved to sing and wanted to learn more about music, but his family couldn’t afford a music instructor. That didn’t stop this very determined boy. He taught himself by reading a braille book. By the time he was 10 he knew how to play the drums, piano and harmonica.

He also listened to as much and as many different kinds of music as possible. The radio was one of his best friends and by the age of 12 he had been signed by Motown Records and recorded his first album for them.

In accepting an honorary doctor of music degree at the University of Alabama at Birmingham in 1996, he said: "Many years ago, but not so long ago, there were those who said, ‘Well, you have three strikes against you: you're black, you're blind and you're poor.’ But God said to me, 'I will make you rich in the spirit of inspiration, to inspire others as well as create music to encourage the world to a place of oneness’.”

Without buying the whole of Stevie Wonder’s back catalogue, of about 30 albums, there are two ways that you can buy the best of his songs. One is to get a compilation, which is likely to span most, if not all, of his career, so far. The disadvantage of this is that by spanning the whole of his career some of what many would consider his best music will be left out. The other is to buy one or more of what most of his fans consider to be his best albums in their original form. The competitors for his best original album are (1) Innervisions released in 1973, (2) Music of my Mind released in 1972, (3) Talking Book released in 1973, (4) Songs in the Key of Life released in 1976, and (5) Hotter than July released in 1980. Along with, I believe, a lot of his fans, my favourite is Innervisions, which I am about to review.

** The Tracks **

The album opens with TOO HIGH, which I would describe as funky jazz. Stevie’s voice and harmonica play an important part, and there are some great backing harmonising vocals on this track, with cymbals and bass helping to keep the beat.

Stevie sings about being “too high” in a “superficial paradise” (of drug abuse), and of one particular girl’s death.

“She a girl in a dream
She sees a four-eyed cartoon monster on the TV screen
She takes another puff and says
‘It’s a crazy scene’
That red is green
And she’s a tangerine.

Did you hear the news about the girl today?
She passed away.”

Next, VISIONS, is a soft spiritual ballad, in which Stevie visualises a perfect life in which, “Hate’s a dream and love forever stands.” The main “instrument” is Stevie’s voice, which sounds like he is caressing the lyrics.

“The law was never passed
But somehow all men fell they’re truly free at last.”

The gentle backing guitar music reminds me of rippling water, and can make me feel very relaxed, until the next track brings me sharply back to a harsh lifestyle.

LIVING IN THE CITY is an artistic masterpiece about the grim side of city life including racism, poverty, crime and pollution. Unfortunately, I believe this is still very relevant, over thirty years after its first release.

In the middle of this track there is a mini-drama about a naïve young man arriving in the city for the first time. He is soon tricked into carrying something illegal, caught, tried by jury and sent to prison for 10 years. His innocence is replaced by harsh reality in a rapid and cruel way.

As far as I know, this album version is the only, and certainly the easiest, way of buying the full length seven minutes long version of this haunting track. The version of this track on the greatest hits albums misses out the dramatisation and is only about half the length.

In the song poverty either equals frustration, which turns into crime, or working extra long hours, in some cases in polluted environments, which results in premature death.

Musically it has a strong rhythm in a minor key, and the sad, soulful vocals get the intended messages across extremely well. Interspersed between the verses is a catchy chorus.

This track is artistically excellent, with a strong impact to get the dark social messages across to all who hear it. The conclusion is in the final verse before the ending chorus.

“I hope you hear inside my voice of sorrow,
And that it motivates you to make a better tomorrow.
This place is cruel. No where could be much colder.
If we don’t change, the world will soon be over.
Living just enough, stop giving just enough for the city!”

In strong contrast to the previous track, GOLDEN LADY is a love song for romantics. There is a strong, medium paced beat with the trumpet, cymbals and piano playing the most important parts besides Stevie’s voice.

I love this ballad and it makes my heart melt, but some who appreciate other music styles on this album, may find this too “cheesy”. You can make your own mind up from this sample of the lyrics.

“A touch of rain and sunshine made the flower grow
Into a lovely smile that’s blooming.
And it’s so clear to me that you’re my dream come true.
There is no way that I’ll be losing.”

There is no doubt in my mind that this is far superior to his best known romantic single release “I Just Called to Say I Love You”, which was a huge commercial success. (But then I can’t recall a time when I believed that the singles chart was a reliable barometer of good music: I believe it’s usually only made up of what the record companies most want to promote.)

Next comes a funky track with an electronic guitar accompaniment, reminiscent of his Superstition song. This has feel good rhythms and lyrics about learning from mistakes to reach HIGHER GROUND.

“Don’t let nobody bring you down.
God is gonna show you higher ground.
He’s the only friend you have around.”

Another song about religious belief follows, JESUS CHILDREN OF AMERICA. The word children here has nothing to do with age, but with the need for spiritual development. Voice, electronic guitar, and tambourine dominate this funky track. Stevie urges us to rectify the way with live with Jesus’ help.

“Are you hearing
What He’s saying?
Are you feeling
What you’re praying?
Are you hearing, praying, feeling
What you say inside?”

ALL IN LOVE IS FAIR is a slow, sad, soulful track about relationships that don’t work. The pain of losing in love comes through strongly in Stevie’s voice. Although weepy style love songs aren’t particularly appealing to me, I appreciate the musical talent that has made this track a good one for its genre, showing the power and range of his voice. The main accompaniment comes from the piano.

“Love’s a crazy game
Two people vow to stay
In love as one they say . . . . .
But all is fair in love
I had to go away.”

A great feel-good, Latin sounding track follows, DON’T YOU WORRY ’BOUT A THING. The introduction has repeatedly made me smile. It starts with the singer trying to impress with what seems to be a scanty knowledge of other languages, and continues with reassuring lyrics.

“Everybody needs a change,
A chance to check out the new.
But you’re the only one to see
The changes you take yourself through.

Don’t you worry ’bout a thing . . .
Cos I’ll be standing in the wings
When you check it out.”

When I listen to the staccato piano, accompanied by the shakers and bongos,
I imagine chilling out at a party on a tropical island.

HE’S MISSTRA KNOW-IT-ALL is a mickey taking, catchy song. Stevie’s voice, both his normal singing voice and the growling “dum bum bum ba bum bum”, along with the piano, dominate this upbeat track. A strong beat, with hand clapping where Stevie sings, “give a hand to the man” helps the choruses and closing verses along.

“He’s a man
With a plan
Got a counterfeit dollar in his hand.”

This is a lot happier sounding song than Living in the City, but the sarcasm shows that Misstra Know-It-All is one of the con men we would be better off without.

** Conclusion **

This is a great, classic album, featuring a variety of music styles, from unashamed romantic, carefree, and spiritual, to stark reality, with some very strong messages.

The lyrics are meant to be heard, and the accompanying inlay gives them in full.

As the album was written, produced and arranged by Stevie Wonder, who was also responsible for most of the singing and instruments, the credits to other musicians is minimal compared to the complexity of some of the tracks and their diversity.

This album was originally released in 1973. The sound quality on the digitally remastered CD I have, released in 2000, is very good.

You can hear samples of the tracks on the Amazon site, where you can buy it for the bargain price of £6.97.

 

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