Innervisions [Original recording reissued, Original recording remastered]

Stevie Wonder | Format: Audio CD

Product Details

• Audio CD (March 21, 2000)
• Original Release Date: 1973
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: Motown
• ASIN: B00004S363
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Music
• Average Customer Review: 4.9 out of 5 stars  See all reviews (208 customer reviews)
• Amazon Best Sellers Rank: #3,797 in Music (See Top 100 in Music)
  • #20 in Music > R&B > Classic R&B
  • #30 in Music > R&B > Motown
  • #43 in Music > R&B > Funk > General

Editorial Reviews

Amazon.com

One of Stevie Wonder's best albums, and the one where his more fanciful, free-form moments gel perfectly with his knack for irresistible pop singles, 1973's Innervisions swings between delicate and airy ballads, Latin-influenced rhythms (the hit "Don't Worry 'Bout a Thing"), and his own synth-heavy versions of gut-bucket soul (the determined spiritual questing of "Higher Ground"). The striking juxtaposition between "Vision," a barely breathed hope that a world of peace might be upon us, and the great "Living for the City," a funky, pulsing tale of racism, is powerful, haunting, and still all too relevant. --David Cantwell

Product Description

From the summer of '73, every cut a winner. Includes Higher Ground; Living for the City; Don't You Worry 'Bout a Thing , and more.

Most Helpful Customer Reviews

39 of 43 people found the following review helpful

5.0 out of 5 stars Stevie's Best May 1, 2004

By saxmaster3

Format:Audio CD

This is easily Stevie Wonder's best CD. Though his previous "breakout album" Talking Book did have some innovative tunes, to me it was hindered by a few overly sappy love songs. "Key of Life" is a great album, but isn't as concise. There is only one traditional love song on Innervisions ("All is Fair in Love" is a sad reflection on relationships, but certainly not a romantic ballad). Here's a track by track analysis

1) Too High: Jazzy cautionary tale about drug abuse and its consequences, but subtle enough not to be overtly preachy. It captures the feeling of an addict who exists only to "touch the sky" but never gets there. Outstanding drumming by Stevie (yes, he plays the DRUMS too!!).

2) Visions: Utterly stunning in its beauty. The acoustic guitar work is second to none.

3) Living for the City: The "epic" of the CD describes the tribulations of a man raised in poverty in the South only to find more poverty upon his migration to the city. Yeah, the interlude section is a little cheesy, but still effective and with great vocals as always.

4) Golden Lady: I love how this song keeps going up a key in the end, which signifies the yearning of the singer for his lady. What a great love song.

5) Higher Ground: Once again, outstanding drums and a very funky beat. Like most in my generation, I heard the RHCP cover first (which is a decent interpretation), but it didn't take long to me to realize that this is the definitive verision.

6) Jesus Children of America: Stevie boldly confronts religious fundamentalists, junkies, and even the listener, challenging all to "come clean," all while being backed by insistent gospel harmonies.

7) All is Fair in Love: Laced with agony and pain, Stevie teaches us all about the difficulties of a romantic relationship.

8) Don't You Worry Bout a Thing: A great song about being there to support a friend who is going through a transitional period. Very comforting.

9) Mista Know-It-All: Some think this song is a bash on President Nixon; others interpret it as a stern message against arrogant street hustlers who are looking to corrupt inner-city youth. However you interpret it, it is certainly an effective kiss-off and a creative way to end the album (as opposed to ending it with a sappy love song).

People who have only ever heard "Part Time Lover" may have a hard time accepting Stevie Wonder as a genuine artist, but trust me and the other reviewers, this CD is different. You will not regret buying it.

15 of 15 people found the following review helpful

5.0 out of 5 stars Audio Fidelity version limited to 3000 copies; different tonality than Mofi both have their own strengths April 3, 2012

By Wayne Klein HALL OF FAMETOP 100 REVIEWERVINE™ VOICE

Format:Audio CD|Amazon Verified Purchase

Stevie Wonder's music can be very frustrating for fans to collect in good sounding editions. The 2000 remasters sounded awful (to be chartiable they may have been played back and not decoded properly) compared to the Holy Grail until recently the Mobile Fidelity CD which, reportedly, is the ONLY version to use the original mastertape (it was an accident--Wonder's people provided that vs. a safety copy at the time at least it's rumored--for some reason they will not release the mastertape and haven't for ANY version except the Mofi).

The new Audio Fidelity version is a marked improvement over the 2000 reissue by Universal/Motown. The tonality is superior here and there isn't a hint of the post-production compressed used to jack up the 2000 edition. How does it compare to the Mofi? I have to be honest I had to compare it to a CD-R and not the original product but it does compare favorably. The Mofi is slightly more trebly but not necessarily in a bad way and the vocals were, to me, a bit clearer with a slightly better soundstage. As far as the SACD version I don't have it since it's not a hybrid (and I like to have those so I can rip it to my hard drive)although I have "heard" that it compares favorably beyond that, your mileage may vary.

The AF also has its merits as well--it lacks that slightly trebly quality (which may be a part of the original mastertape--I have no idea)without sounding veiled. Kevin Gray who did the remastering here has done a good job of capturing the essence of the recording based on the original vinyl and first CD mastering but with improved bass, depth, detail and less murkiness by comparison.

As to whether or not you should upgrade--it's totally up to how satisfied you are with the Mofi. The AF is DIFFERENT with strengths in different areas than the Mofi (and I, for one, do not understand the bashing that some folks have thrown Mofi's way on some of their masterings--like any studio some are spectacular and some not so much so but they ar always competitent and fun to listen to even if you don't always agree with the mastering choices). If you think the Mofi or the recent HDtracks lossless download oreven the SACD is satisfying, I'm not sure you'll find the AF to be a better choice necessarily. It's all down to taste.

I like the AF some others won't but given the pricing as of today at amazon and the limited availability (it's limited to 3000 copies), this was truly a no brainer for me to pick up. Keep in mind that your mileage may vary depending on your system, your ears and your taste and, having said that, I do like this edition of the album finding it less shrill than the 2000 remaster, with better detail and depth compared to the Japanese first edition I've heard and it compares favorably to the Mofi. If you're a fan of Kevin Gray's mastering style, you'll enjoy this. If not and you have the Mofi (which, if I recall correctly was mastered by Shawn Brittan), stick with it as it (based on the copy I have) sounds quite nice as well (but keep in mind that Brittan worked with a different source tape--the original mastertape by all accounts compared to a safety master if I recall correctly that was also the basis for ALL other masterings).

Recommended if you don't have have a good sounding version (the 2000 edition).

19 of 20 people found the following review helpful

5.0 out of 5 stars STEVIE PROVES HIS VISION IS LIMITLESS. December 7, 1999

By A Customer

Format:Audio CD

Listening to the sheer breadth of the music presented here, it's hard to believe Stevie Wonder was all of 23 when he released this masterpiece. Continuing a very fruitful collaboration with synth wizards Bob Marguleouff and Malcolm Cecil, Wonder made what is, in my opinion, his most accomplished album ever. Avoiding the artistic excesses that would threaten to topple his later works (1976's "Songs In The Key Of Life" being the most notable example), Stevie perfected his sound, production and vocal delivery on these 9 flawless numbers. "Too High" opens with a bouncing, funky bass/synth line that remains the focal point throughout this jazzy, bracing track which also features superb backing vocals by Lani Groves and Jim Gilstrap. Stevie's cymbal-accented drumming and keyboard work are also miracles unto themselves. This knockout opener segues directly into "Visions" a heartbreakingly beautiful acoustic number envisioning a perfect, "milk and honey land, where hate is a dream, and love forever stands". Sung with an almost childlike innocence, Stevie concludes each verse with the longing question "is this a vision in my mind?" Positively breathtaking. (Special Note: Before the final verse, after a brief pause in the music as the vibes and guitars fade momentarily into silence, listen as Stevie takes a deep breath before continuing the vocal passage, it almost breaks your heart.) This vision of utopia is abruptly interrupted by the looming, deep, almost ominous sounding synthesizer intro to the timeless "Living For The City" (remember Spike Lee's brilliant use of this in "Jungle Fever", and how it blew away every other song in the movie?)From the insistent, pounding rhythm of this song, Stevie's astoundingly detailed lyrics,(you can truly see all of the people he describes in this piece) to the still terrifying vision of the boy from Mississippi arriving in New York City and quickly being set up for arrest and imprisonment, this song has lost none of it's impact almost 27 years after being recorded. Stevie's vocals on this track are extremely impressive, alternating between high-pitched on the choruses to low and (literally) growling on the final verse, perfectly matching the hard and gritty reality of New York faced by the songs protagonist. Still his scariest song ever, and one of his funkiest. "Living"... gives way to the beautiful piano intro and breezy, effortless balladry of the underrated "Golden Lady". Sporting one of his loveliest melodies ever, this song closes side one on a romantic, hopeful note with Stevie repeating the chorus several times into the fade, letting the euphoric feeling wash over the listener. Side Two opens with the outstanding, one man band effort "Higher Ground" Everything Stevie does well is presented here, searing vocals, social commentary in the lyrics, driving drums, funky bass and even funkier clavinet, this was the album's biggest radio hit and still gets your head nodding to the bounding rhythm everytime. Witness his vocal whoooo! after the last chorus and you can tell he knows this one is a smoker too! Fading directly into "Jesus Children of America" another bass synth heavy mid-tempo number that touches on quite a few topics lyrically, from the homeless, religion, trancendental meditation, and drug use that sounds like a warning signal to each of us to awaken from our spiritual and moral complacency. "Al In Love Is Fair" follows and slowly works it's way into your subconcious, with it's simple, straightforward arrangement and passionate vocal delivery, another perfect song on an album chock-full of creativity. The somber mood is lifted immediately by the playful piano figure and playful foreign language come-on at the intro to "Don't You Worry 'Bout A Thing". The Latin-flavored arrangement and percussive textures make this another ear pleaser. Stevie's double-tracked vocals on the bridge are also spine tingling, you simply can't resist smiling when you hear him harmonize with himself! The largely acoustic "He's Misstra Know It All" closes out the proceedings on a relaxed yet uplifting note with the background repeating the smooth chorus over and over as the tunes drifts along on a bed of piano, laid back bass and drums bringing the track to it's gospel-tinged crescendo. A perfect close to a perfect album. R&B, pop, rock or whatever you choose to call it, this album has stood, and will continue to stand the test of time. This is indispensible and belongs in any comprehensive music collection.