The Rewind Button is a group blogging project that I’m participating in. We’re taking on Rolling Stone‘s Top 40 albums of all time and writing our own reviews of them.

For this entry, I’m going to write down my initial thoughts about each song as I listen to the album, which I’ve never heard before tonight.

“Too High”: I like the funkiness. The breakdown solo in the middle is jammin’. The lyrics are kind of shallow. But this song is not about the lyrics. It’s about the groove, and it sure is groovy.

“Visions”: I like the guitar. This is definitely a smooth song, a close my eyes and sway my head back and forth tune. Yeah, I’m really digging the guitar playing in this one. Oh, that step down in the melody was cool. Stevie Wonder has a good voice. He holds a note and keeps it steady, not like most of those dramatic hacks on American Idol who think they have to throw as many notes and pitches in a vocal line just to try to prove they have talent. Nice pregnant pause there, Stevie.

“Living for the City”: Hey, I’ve heard this song before! Have you listened to this one with headphones on? If not, do it. That synthesizer can’t decide which ear it wants to get with and make sexy time.  Oh yeah, Stevie, sing it. Handclaps! Backing singers! I’m nodding my head to this one, even making my douche-duck face. Wait a minute, this song isn’t over. It’s like Lord of the Rings: The Return of the King. Whoa, I just heard the “n” word. I think the song is about over. Wait for it. Wait for it. Ah, there it is.

“Golden Lady”: Good segue from the last song. I like when songs merge together. There are a lot of instruments in this song, making it sound busy. I’m not feeling it with this one. Those first three songs were killers, and this one is like the rest period in the corner for a boxer. I wonder if this where I take my pee break.

“Higher Ground”: I’m so glad Stevie put a cover song on his album. It really helps him connect with contemporary society. I kid. The Red Hot Chili Peppers haven’t been relevant in decades. See, the boxer had his rest with that last song, and now he’s back out there in the ring landing another body blow.

“Jesus Children of America”: I like the way the snare drum sounds on this one. And all those synthesizers overlapping, that’s nice. There’s a warm feeling I get from this song. It’s not as good as the last one, but it’s holding its on. It’s like the kid brother of the rest of the songs (well, except for “Golden Lady,” which is the runt of the litter), who trying really hard to prove it’s got the skills to hang with the older crowd. Yep, it’s definitely holding its on.

“All in Love is Fair”: Jarring transition from the last song. Good melody, but I immediately think of a soft-focused video of a lady dressed in all white looking forlornly while thinking of a past love. If I was to produce a soap opera, this song would play during the opening credits.

“Don’t You Worry ‘Bout a Thing”: Great intro! This may be my favorite song so far on the album. It’s another track with a lot of instrumentation, but this time they all seem to fit perfectly. I’m not the only one who imagines this is Stevie’s go-to tropical island number, right? As the second-to-last song, I suspect he’s setting us up for a big finish. Don’t disappoint me, Stevie.

“He’s Misstra Know-It-All”: Another jarring transition from the last song. I sense a bit of the Charlie Brown theme song in the piano  in this one. Okay, this tune isn’t really the closer I was hoping for, though I like Stevie’s growling halfway through the song. I feel like this is the tired encore to an already energetic concert. I should have left after the last song of the original set.

Overall, I liked this album. After listening to it once for this review, I’d definitely listen to it again. I knew Stevie Wonder was talented, but I never appreciated how great that talent was until I heard Innervisions. My hat off to you, Stevie.

Please visit these other blogs participating in The Rewind Button project: