Innervisions is one of those records that lives forever through the relatable moments in the themes behind the outstanding instrumentation. From the synth keys that shine through on the first cut, “Too High” or to the very elegant and emotionally driven piano on “All In Love Is Fair,” there is always a substantial use of ability behind Wonder’s sense of direction. The beauty is present throughout and always manages to co-exist within this magnificent sense of consistently shifting styles of tempo and chord progressions.
The way that Stevie Wonder moves on into “Visions” with the incredibly subtle acoustic guitar and beautiful arrangement of poetic vocals provides different looks into his artistic tone. Wonder describes, “I’m not one who make believes, I know that leaves are green. They only change to brown, when autumn comes around. I know just what I say, today’s not yesterday and all things have an ending.” Through the slower, but steady increase of movement which then leads into “Living For The City” where the entire emotional setting is drastically changed as well.
Wonder then thankfully changes topics and becomes more focused on a more upbeat sense of story where he describes a “Golden Lady” that is heaven on Earth. He shouts over the dance heavy piano, “And golden lady, golden lady, I’d like to go there.” It is filled with clasping hi-hats and bongo styled drums that reflect well on the variation behind Innervisions. Especially as Wonder then moves into “Don’t You Worry ‘Bout A Thing,” a Central America styled instrumental with heavily clasping and maracas that have Wonder yelling “Everybody needs a change, a chance to check out the new. But you’re only one to see, the changes you take yourself through.”
Innervisions is a powerful movement that follows Wonder’s view on the world. The immaculately talented artist can open the listeners mind and still be a relevant release even forty-five-years later.