Stevie Wonder’s, Innervisions, was his first studio album transitioning from his ‘Little Stevie’ era. It deservedly won Best Album in 1973 and remains one of the defining sounds in jazz, pop, and funk. Stevie fuses these three genres together so delicately and masterfully. This album brought together the music snobs and the casual listeners to make a fusion album that pleases everyone. In every track, Stevie shows off his incredible piano, bass, and drum skills to create pop-like chords with jazz structures. This technique is widely admired by critics and casuals alike. Throughout the whole album we hear the infectious warbly bass, smooth Rhodes piano and tight drums, and ever changing chord progressions.

Unsurprisingly, Wonder starts of his first mature album with an absolutely stunning and groovy track. You can hear the undeniable jazz influence in Too High, with obscure chords that always manage to resolve so nicely. Here we are also introduced to that warbly bass that continues throughout. On the next track, Visions, we start to slow down and get emotional. Stevie is alone with his acoustic bass and guitar at the beginning of this track, with a much slower tempo. We also get soulful and warm Stevie vocals. He finds little pockets in the track that are perfect for some silky vibrato. Next up, Living for the City is the perfect song for a confidence boost, giving off a strong and brazen energy with Stevie putting a little bit of gusto behind his singing. The fourth song, Golden Lady is my personal favorite on the album. In this song he comdemns the greed of America and its drug use in the 1970's. The best part of this track is the end, where he transposes the chorus of the song 8 times to show the versatility of his chords. That’s how you know you have a good melody. Higher Ground is the most popular song on the album, and for good reason. Though it does conform to the cookie-cutter formula that is a catchy pop song, Stevie does it in such a charming way. I believe the next track, Jesus Children of America is too short. Wonder could have totally fit in one more verse or chorus. Instead, I always have to play this song twice because I can’t get enough of his acapellas. At this point in the album, I want to highlight his transitions throughout. It’s such an easy listen because each track smoothly shifts into the new key or groove. I’ve heard a million songs like the next track, All in Love Is Fair. One thing you can’t escape when you’re listening to older pop albums is the dramatic love song that goes on for way too long, and is most certainly made just to get some sort of soundtrack placement. Stevie still does his thing on this track, I just find it a little underwhelming is all. However, a smile made its way onto my face as soon as I heard the Latin piano intro on the next track, Don’t You Worry ‘Bout a Thing. Yes Stevie! It’s important to try something new especially late into an album listen. On this seriously groovy track, the thing I love most is the walking bass. To top off the whole album, He’s Misstra Know-It-All is a great closer. It’s feels like the end of a movie listening to this track, and it builds quickly in the middle of the track. Given the time period, many listeners believe that Stevie is calling Nixon a know it all, with a “counterfeit dollar in his pocket.”