Published on Apr 11, 1998
I consider
Innervisions to be the perfect follow-up album. To me,
follow-up albums should have elements that appeal to those who
liked the previous album, but should also show new wrinkles and a
sense of artistic growth. Stevie Wonder used this recipe when he
followed his fine
Talking Book album with this one.
Talking Book contains Wonder’s two best remembered songs:
“Superstition” and “You Are The Sunshine Of My Life” so this was
indeed a tough act to follow. If Wonder could not quite match those
two singles in terms of popularity (both were #1 hits), he
compensated by making a greater overall album.
Innervisions satisfies those that like funky, bass-driven
numbers. “Jesus Children Of America” has a slow groove that
gradually builds to a rousing finish. “Higher Ground” has a
synthesizer masquerading as a triple guitar attack like its
predecessor “Superstition.” “Living For The City” has a pounding
beat that must have had George Clinton in awe, and the album opens
with the jazzy lilt of “Too High.”
And Wonder’s trademark ballads are equally..er..Wonder-ful. “All
In Love Is Fair” is a poetic, piano-based love song. “Visions” has
a dreamy, wistful sound and if “Golden Lady” may seem a bit dated
lyrically, it still has a seductive melody that is difficult to
forget.
So, people wanting
Talking Book II will be satisfied, but here is what
Innervisions offers on top of this. The lyrical content of
the songs are more diverse. Wonder downplayed the love songs and
offered his view on the social situations of the time, many still
resonating today.
“Living For The City” is arguably Wonder’s most powerful song.
It starts out depicting the life of a black family down south and
the hardships they endure. The words and the music are tough and
uncompromising. The middle of the song, which has the son moving to
New York for a better life and instead is framed for a crime and
sent to jail, is acted out with spoken word and sound effects. The
third part of the song has the son out of prison roaming the
streets of New York. Here, Wonder’s uses a very gritty vocal as if
he is feeling the character’s pain. Simply, the song is a
masterpiece.
However, Wonder also examines other points of views. “He’s
Misstra Know It All” examines the life of an irresponsible,
dishonest person. “Higher Ground” is about Wonder’s personal quest
to be a better person. In “Visions” he yearns and has hope for a
better world. And if his skeptical examination of the Christian
youth movement in “Jesus Children Of America” is no longer topical,
the anti-drug message in the song “Too High” is undoubtedly
relevant today.
This is a diverse album musically as well: every song has a
distinctive sound. He added a Latin tinge to his repetoire in the
thoroughly enjoyable “Don’t You Worry ‘Bout A Thing” and he was not
afraid to shift gears from tougher, weighter material to softer,
innocuous material in the song sequence. This versatility is even
more amazing when you consider he is the only musician on half the
tracks, with occasional support on bass, guitar, percussion, and
backup vocals on the other tracks. “Golden Lady” is the only cut on
the album with a full band.
Innervisions is an album that makes statements, but it is
also a fun listen. It stands as the peak of Wonder’s long recording
career, and is one heck of a follow-up album.