In Praise of Visions and Wonder

When I was 11 or 12 years old, I thumbed though my Uncle David’s record collection, for reasons I don’t know (other than whim), because I wasn’t allowed to just play them on my own. Halfway through the row, I stopped dead on an earth toned abstract cover depicting a man with his eyes closed and a cone of energy or light beaming from (or to?) his forehead—Stevie Wonder’s Innervisions. I thought then that my uncle was more hip than I thought. I hadn’t heard much Stevie Wonder at that time, but I knew he incorporated jazz and funk into his music from what I’d heard on the radio (and possibly his appearance on Sesame Street). I only understood his socially conscious lyrics later, when I was older and had read and heard more about him and his music. “Living for the City” was a glimpse into that side of the lyrics, and I only knew it in a memory from the radio.

But I didn’t listen to the album then.

I’ve only just heard it front to back, and it’s a masterpiece. It’s very much a collection of sounds that holds up 44 years later. I was also a bit dismayed to hear the frustration and anger of “City” and “He’s Misstra Know-It-All,” a dig at another corrupt, racist administration was only too timely. But it’s well worth listening to, and reveling in. Stevie played much of the album by himself, working through multiple instruments and bringing his typically brilliant melodic sense and gorgeous pipes to join then-shiny modular synth sounds to new audiences. It’s only 9 songs and 44:12 of your time, but I think it’s always good to discover something new that’s been with you most of your life.