Stevie Wonder: Fulfillingness' First Finale

Album Review Featuring You Haven't Done Nothin'

Jan 26, 2009

Following the critical success of Innervisions and the success of lead single 'You Haven't Done Nothin', expectations were high for Wonder's fourth record in two years.

Despite being part of a serious car accident in September 1973, Wonder released Fulfillingness First Finale just ten months later in July 1974. The album became his first Billboard number one record since Recorded Live: The Twelve Year Old Genius in 1963.

An uncharacteristic melancholy pervades the record, encapsulated in the opener, 'Smile Please'. Despite the positive and hopeful lyrics, pointing towards a brighter tomorrow, the composition lacks the triumphant horns and energetic vocals of Wonder's other positive message songs. The subdued tone continues to mask the optimism of the lyrics throughout the album, carrying through to 'Heaven Is 10 Zillion Light Years Away' (with Paul Anka on backing vocals) and the bashful yet sweet ballad 'Too Shy To Say'.

Boogie On Reggae Woman

The increasing influence of Bob Marley on the music world is evidenced by 'Boogie On Reggae Woman', the first upbeat, danceable track of the record, and a R&B number one. The yearning lyrics stay the right side of sleazy due to Wonder's expressive vocals and some boogie woogie piano playing creating a sense of fun for the track.

'Creepin' makes atmospheric use of synthesizers and the multi-octave voice of Minnie Riperton. A slight echo on Wonder's voice adds to the ethereal effect of the track, and the wailings of Wonder's own backing vocals creates a disembodiment with his lead.

You Haven't Done Nothin'

The lead single and a pop and R&B number one, 'You Haven't Done Nothin'' was a scathing attack on the Nixon administration, which would cease to exist within three weeks of the album's release. Following the squelching clavinet work of 'Superstition', the track is built upon such trademark sounds of early-70s Wonder, with the welcome use of a horn section, and the Jackson 5 on backing vocals for the chorus. Following the contrasting nature of the record, the track's angry lyrics are counterpointed with the most upbeat music of the album.

Fulfillingness' First Finale then returns sharply to its brooding norm, with the occassional flourish appearing, such as the Wonderlove-featuring multi-vocal climax to 'It Ain't No Use'. The haunting 'They Won't Go When I Go' sees Wonder understandably reflecting on his mortality, again aided by an evocative use of the Moog synthesizer and echo-stained vocals.

The record makes an attempt to end on a positive note, following the bleak sounds of 'They Won't Go When I Go', with the harmonic 'Bird Of Beauty' and the Persuasions-featuring 'Please Don't Go'. The record seems to reflect a desire for Wonder to move on from his ordeal and approach the future positively.

'Bird Of Beauty' features a verse sung in Portugese, translated for Wonder by Sergio Mendes, and criticises the drug culture by extolling the possibilities of the imagination. In opposition to the other love songs on the album, 'Please Don't Go' is an uptempo declaration of feeling, complete with a swinging harmonica solo akin to those which filled his records as Little Stevie.

Fulfillingness' First Finale won another Best Album Grammy, and set Wonder up as the biggest star in American music. The record enalbed him to sign a massive $13 million contract with Motown, and the anticipation for his follow-up was unprecedented. It would take two years for it to appear.

The copyright of the article Stevie Wonder: Fulfillingness' First Finale in Soul Music is owned by Karl Keely. Permission to republish Stevie Wonder: Fulfillingness' First Finale in print or online must be granted by the author in writing.