| length = 44:15
| label = Tamla
| producer =
- Stevie Wonder
- Malcolm Cecil
- Robert Margouleff
| prev_title = Talking Book
| prev_year = 1972
| next_title = Fulfillingness' First Finale
| next_year = 1974
| misc =
Innervisions is the sixteenth studio album by American singer, songwriter, and musician Stevie Wonder, released on August 3, 1973, by Tamla, a subsidiary of Motown Records. A landmark recording of Wonder's "classic period", the album has been regarded as completing his transition from the "Little Stevie Wonder" known for romantic ballads into a more musically mature, conscious, and grown-up artist.
On Innervisions, Wonder continued to experiment with the revolutionary T.O.N.T.O. (The Original New Timbral Orchestra) synthesizer system developed by Malcolm Cecil and Robert Margouleff. Wonder's previous two albums, 1972’s Music of My Mind and Talking Book, boosted his standing in the music industry, transforming him from a reliable hitmaker into a "master" of the new album format. The album became hugely influential on the future sound of commercial soul and black music.
Recording
As with many of Wonder's albums, the lyrics, composition, and production of Innervisions are almost entirely his own work, and he also played all, or virtually all, the instruments on many of the album's tracks. He made prominent use of synthesizers throughout the album.
The nine tracks of Innervisions encompass a wide range of themes and issues: from drug abuse in "Too High", through inequality and systemic racism in "Living for the City", to love in the ballads "All in Love Is Fair" and "Golden Lady". The album's closer, "He's Misstra Know-It-All", is thought by some to be a scathing attack on then-US President Richard Nixon, similar to Wonder's song "You Haven't Done Nothin'" from the following year. "Living for the City" was one of the first soul music songs to deal explicitly with systemic racism and to incorporate everyday sounds of the street, such as traffic, voices, and sirens, in with music recorded in the studio.
It was Wonder's friend and tour director Ira Tucker who first elicited some response from him: