October 2, 1997
Of Motown's seemingly endless hit parade of soul superstars, perhaps none were more talented than Stevie Wonder. The piano prodigy who began recording at the tender age of 12 grew into a formidable musical polymath by the early 70's, writing all his own material and playing most or all of the instruments on his albums - a practice nearly unheard of at Motown.
Wonder's songwriting reached its zenith on Innervisions and its predecessor Talking Book, two albums which addressed the social upheavals of the late 60's and early 70's and explored personal emotion on a level that few Motown artists (with the notable exception of Marvin Gaye and his phenomenal What's Goin' On) had yet attempted.
This lofty ambition, however, never got in the way of the groove. Innervisions spawned a number of hits, including the legendary, fiery electrofunk of "Higher Ground" which the Red Hot Chili Peppers appropriated, the tense gospel burn of "Jesus Children of America" and the fierce ghetto slice of life "Living For the City", whose wah-wah Moog synthesizers make heavenly melody out of righteous rage.
The smooth, gorgeous "Golden Lady", spicy salsa rhythms of "Don't You Worry 'Bout A Thing", funkified junkie diatribe of "Too High", and straight Detroit soul of "He's Misstra Know-It-All" are all informed by Wonder's sharp, intelligent songwriting and passionate voice. Wonder's skillful use of the synthesizer is warm and subtle, relying on the then-current technology to enhance the electric groove instead of falling into a disco gimmick; Innervisions, therefore, stands as tall today as it did 25 years ago.
- Jared O'Connor
fiery electrofunk