Black History Music Pt. 20

In celebration of Black History Month, the Ear Candy Update intends to celebrate landmark recordings by black artists that have shaped the collective consciousness, mentality, and sense of cool the world over. Next, Stevie Wonder's "Innervisions."

There's a moment in every legendary recording artist's career when the artist's ability comes face to face with circumstances and happenings. Then we get to hear if they rise to the moment or not. 

Stevie met the turmoil of the early '70s head-on with an uncharacteristic sneer and a towering musicality that fused social realism with spiritual idealism. 

44 minutes. Nine tracks. One for all time. It's an across-the-board masterpiece and one that speaks to all manner of issues: drugs, spirituality, political ethics, the absurd perils of urban living, and the death of the hippie dream. All of which were drenched in funky, catchy rhythms and unmatched songwriting prowess that still staggers even us long-time fans.  

"She's the girl in her life
But her world's a superficial paradise
She had a chance to make it big more than once or twice
But no dice"

He put his stamp on injustice and exploitation on a track so dense and deep it stretched even his ability. "Living for the City" has enough raw grit and enough soul for two dozen artists to sample it. The Wu-Tang Clan, Usher, Public Enemy, Slick Rick, Ice Cube, the Roots, Easy E, and Kurtis Blow all made tracks off it. One could make an album just songs built around that track alone. And that's just one track on "Innervisions." The other eight formed a template for hip hop, funk, and soul records for years to come.

Stevie's labelmate Marvin Gaye plunged headlong into social commentary on "What's Goin' On." Bolstered by that and the fact Marvin bent Motown label head, Berry Gordy, over a barrel, Stevie Wonder uncorked. No way Motown releases this album with four (4!) tracks over five minutes in length without Marvin.

Stevie attacks without preaching from the bully pulpit. That's part of what makes him so damn brilliant. Speaking truth to power requires nerve; doing it without being preachy requires the deftest of touches.

"Cause my last time on earth I lived a whole world of sin
I'm so glad that I know more than I knew then
Gonna keep on tryin'
Till I reach the highest ground
Teachers keep on teachin'
Preachers keep on preachin'
World keep on turnin'
Cause it won't be too long
Oh no"

The early, innocent years of Little Stevie blowing the harmonica and dancing were gone. This was a fully formed artist, capable of anything instrumentally and lyrically, and delivering with power and finesse.

I want you to consider all that, and then I want you to consider the reality of a blind man in a recording studio. He has to position himself just so in front of the microphone, piano, or drumkit. A sudden turn of the head in a different direction could disrupt the whole take. He couldn't physically read music or lyrics, so everything was fed to him in an earpiece. The songs you're hearing were read to him in his ear just seconds before he delivered the lines. None of this sounds prompted or rehearsed. It's quite real and interrupted in real-time by a bonafide genius.