"Living for the City" | |||||||
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Single by Stevie Wonder | |||||||
from the album Innervisions | |||||||
B-side | "Visions" | ||||||
Released | November 1973 | ||||||
Format | 7" 45 RPM | ||||||
Genre | Soul | ||||||
Length |
7:21 (full-length version) 3:41 (single edit) |
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Label | Tamla | ||||||
Writer(s) | Stevie Wonder | ||||||
Producer | Stevie Wonder | ||||||
Stevie Wonder singles chronology | |||||||
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"Living for the City" is a 1973 hit single by Stevie Wonder for the Tamla (Motown) label, from his Innervisions album. Reaching #8 on the Billboard Pop Singles chart and #1 on the R&B chart,[1] the record is driven by a slow bass synth groove (provided by the enormous TONTO modular synthesiser) that manages to exude a certain amount of tension, an appropriate soundscape for the angry social commentary of the song. Rolling Stone ranked the song #104 on their list of the 500 Greatest Songs of All Time.
Contents |
The song begins with Wonder describing the life of a boy born in "hard time Mississippi". His family is poor, but his parents work hard and encourage him, in spite of the dreadful conditions they live in, which include lack of food and money, and racism. As the track progresses, the tension and anger build in Wonder's voice, matching the growing frustrations of the subjects in the song.
A spoken interlude midway through the song has the young boy, now a young man, arriving in New York City for a new beginning. He is tricked into transporting drugs, arrested and sentenced to 10 years in jail. The tension in Wonder's voice boils over at this point into an angry growl, but then subsides again as he ends the song on a positive note. In commercial radio airplay, the spoken dialog is usually edited out, possibly because the word "nigger" is used as he is thrown into a jail cell. Also, the last two verses, following this scenario, are omitted as well.
The spoken interlude can be seen as an electro-acoustic experiment, exploring the composer's main sensory input. Stevie Wonder's growling voice reveals the inner rage that has been building throughout the song. "Living for the City" still holds a substantial edge in social commentary.
In an interview broadcast in 2010 on UK radio station Radio 4, producer Malcolm Cecil revealed how they made the last verse obtain the raspy, angry vocal sound they were after: "We had to get find a way to get the vocal rougher and harder, sound like someone who'd been through some real shit, so we decided the only thing to do was try and get Steve real angry and get his voice hoarse, so when we were recording that vocal for the last verse again we kept on doing stuff that would get him angry and one of the things he hates is stopping the tape, you know if he doesn't say stop the tape in the middle of a vocal then... well, we broke that rule! We kept on stopping the tape, "Come on Steve, you can do better than that, this is shit" and I was really shirty with him, and we got him hoarse, we wouldn't give him tea, he likes this tea with no milk in it, with the lemon to clear the throat, We didn't give him the tea. (Laughs) He was getting real upset; I think he's still upset with me about that, but we got a great track!"
Chart | Peak position |
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U.S. Billboard Pop Singles | 8 |
U.S. Billboard Black Singles | 1 |
U.K. | 15 |
Preceded by "If You're Ready (Come Go with Me)" by The Staple Singers |
Billboard's Hot Soul Singles number one single December 29, 1973 - January 5, 1974 |
Succeeded by "Until You Come Back to Me (That's What I'm Gonna Do)" by Aretha Franklin |
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