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The political undercurrents long simmering in Stevie Wonder's work reached their boiling point on the masterful Innervisions, a record as potent and insightful in its exploration of contemporary life as Marvin Gaye's What's Going On two years earlier. The opening "Too High," an acute condemnation of drug use, quickly establishes the record's forceful yet vibrant tone, which alternates between utopian dreamscapes("Visions") and tough minded realism ("Jesus Children of America"); the record is dueling concerns converge on the hit "Living for the City," which is both a brilliant examination of the myriad of social ills so endemic to the ghetto experience and a stirring celebration of African-American resilience. And on "Higher Ground," Wonder even points a finger at himself to detail a sinner's second chance at life, a song which took on even greater resonance in the wake of the car crash which nearly killed him just months after the release.