Hosted by Mangus Khan
[Soft fade-in of a swirling synth line. Vinyl hiss like cigarette smoke in a quiet room.]
“You’re listening to Late Night Grooves.
WHOT—the hottest in the cool.
I’m Mangus Khan. And tonight, we kick off something special.
25 deep cuts.
25 nights.
No hits. No fluff. Just truth.
And we’re starting with the prophet himself: Stevie Wonder.
Not the crowd-pleaser. Not the pop machine.
We’re talking about Innervisions.
This wasn’t just an album. This was a broadcast from the soul of a man who had seen too much—with no eyes at all—and was finally ready to speak plainly.
You want joy? He gives you ‘Golden Lady.’
You want fire? He gives you ‘Living for the City.’
You want warning? He opens the whole thing with this:
“Too High.”
Now this track isn’t subtle.
It’s not asking you to decode it.
It’s telling you straight up—this is what happens when you float too far from yourself.
“She always seems so happy in a crowd / Whose eyes can be so deceptive…”
The groove is slick. Almost too slick.
It’s a trap.
Synths swirl like smoke. Bassline crawls. The vocal is smooth on the surface, but listen close—it’s haunted.
This is Stevie writing not to entertain you, but to warn you.
Because Innervisions is that rare thing in a musician’s catalog: a moment of total clarity.
Before the gloss of Songs in the Key of Life.
Before the heartbreak of Journey Through the Secret Life of Plants.
This is Stevie at the intersection of genius and urgency.
And in my book?
Innervisions is the crown jewel.
Yeah, I said it.
You can argue for Talking Book or Key of Life, sure.
But Innervisions is the one where he stops trying to impress and just tells the truth.
And that’s why we’re starting here.
Because if you’re gonna go deep, you need someone who’s already lived there.
Stevie Wonder—Too High.
Episode 140.
The beginning of a 25-night descent into the soul of music that matters.
Late Night Grooves.
WHOT.
And I’m Mangus Khan.
Still here. Still listening. Still ready.”