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Fulfillingness' First Finale

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Fulfillingness' First Finale album cover
01
Smile Please
3:28
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02
Heaven Is 10 Zillion Light Years Away
5:02
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03
Too Shy To Say
3:29
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04
Boogie On Reggae Woman
4:56
$1.29
05
Creepin'
4:23
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06
You Haven't Done Nothin'
3:23
$1.29
07
It Ain't No Use
4:01
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08
They Won't Go When I Go
5:59
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09
Bird Of Beauty
3:48
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10
Please Don't Go
4:07
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Album Information

Total Tracks: 10   Total Length: 42:36

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eMusic Review 0

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Michelangelo Matos

eMusic Contributor

11.16.10
The sex album
2000 | Label: Motown

Fullfillingness' First Finale was released in July 1974. The previous August, three days after Innervisions' release, the car Stevie was asleep and riding shotgun in rear-ended a truck, its bed going through the car's windshield, leaving the singer in a coma for four days and impairing his sense of smell. He was lucky to be alive, and while much of the music of the four albums Wonder issued between 1972 and 1974 were prepared during marathon sessions with synth programmers Malcolm Cecil and Robert Margouleff, there was a marked turn inward on FFF from the widescreen social and political agenda of Innervisions.

The mood on FFF is largely light, though it has its moments, particularly "They Won't Go When I Go" (which grew a lot more ponderous when George Michael put it on 1990's Listen Without Prejudice, Vol. 1). Wonder once referred to FFF in an interview as "the sex album." Certainly that's what "Boogie on Reggae Woman," one of the album's two huge highlights and hit singles, is all about — it doesn't concern itself with Jamaican music at all. The lyrics are entirely about what Stevie would like to do with the woman — boogieing on in every… read more »

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Thank you!!!

phillysongster

This is the definitive Stevie Wonder album. Of all of his albums through the years, this to me is the most brilliant!! Thank, thank you, thank you for bringing it to eMusic!!

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They Say All Music Guide

After the righteous anger and occasional despair of the socially motivated Innervisions, Stevie Wonder returned with a relationship record: Fulfillingness’ First Finale. The cover pictures his life as an enormous wheel, part of which he’s looking ahead to and part of which he’s already completed (the latter with accompanying images of Little Stevie, JFK and MLK, the Motor Town Revue bus, a child with balloons, his familiar Taurus logo, and multiple Grammy awards). The songs and arrangements are the warmest since Talking Book, and Stevie positively caresses his vocals on this set, encompassing the vagaries of love, from dreaming of it (“Creepin’”) to being bashful of it (“Too Shy to Say”) to knowing when it’s over (“It Ain’t No Use”). The two big singles are “Boogie on Reggae Woman,” with a deep electronic groove balancing organic congas and gospel piano, and “You Haven’t Done Nothin’,” an acidic dismissal of President Nixon and the Watergate controversy (he’d already written “He’s Misstra Know-It-All” on the same topic). As before, Fulfillingness’ First Finale is mostly the work of a single man; Stevie invited over just a bare few musicians, and most of those were background vocalists (though of the finest caliber: Minnie Riperton, Paul Anka, Deniece Williams, and the Jackson 5). Also as before, the appearances are perfectly chosen; “Too Shy to Say” can only benefit from the acoustic bass of Motown institution James Jamerson and the heavenly steel guitar of Sneaky Pete Kleinow, while the Jackson 5 provide some righteous amens to Stevie’s preaching on “You Haven’t Done Nothin’.” It’s also very refreshing to hear more songs devoted to the many and varied stages of romance, among them “It Ain’t No Use,” “Too Shy to Say,” “Please Don’t Go.” The only element lacking here, in comparison to the rest of his string of brilliant early-’70s records, is a clear focus; Fulfillingness’ First Finale is more a collection of excellent songs than an excellent album. – John Bush

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