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WONDER, STEVIE - FULFILLINGNESS' FIRST FINALE
ARTIST:
TITLE:
Fulfillingness' First Finale
LABEL:
CATNO:
5737838
FORMAT:
Vinyl record
DESCRIPTION:
1974 Classic Funk & Soul LP Re-issued On 180g Heavyweight Vinyl & Includes Free Download Code For The LP.
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.
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.
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Last FM Information on Stevie Wonder
Please note the information is done on a artist keyword match and data is provided by LastFM.
Stevie Wonder is the stage name of Stevland Hardaway Morris (b. Stevland Hardaway Judkins, 13 May 1950 in Saginaw, MI, USA - a.k.a. Little Stevie Wonder), a singer, multi-instrumentalist, composer, record producer and activist. He débuted, as Little Stevie Wonder, with the single "I Call It Pretty Music but the Old People Call It the Blues" (1961, Tamla Motown) and his latest album is "A Time To Love" (Oct 2005, Motown)
Stevland lost his eyesight shortly after birth. When he was four, his mother left his father, and moved with the children to Detroit. She changed her name back to Lula Hardaway and later changed her son's surname to Morris, partly for family reasons. Stevland Morris has remained Stevie Wonder's legal name ever since.
Wonder signed with Motown's Tamla label at the age of eleven, and continues to perform and record for Motown to this day. Altogether, he has released more than thirty U.S. Top 10 hits and received twenty-two Grammy Awards, the most ever awarded to a male solo artist. In 2008, Billboard magazine placed Wonder fifth in their list of the Hot 100 All-Time Top Artists. He has recorded numerous critically and commercially successful albums, as well as hit singles. Since the mid-1960s, he has written and produced songs for some of his labelmates (such as Smokey Robinson and the Miracles and The Spinners), as well as outside artists like Michael Jackson. A multi-instrumentalist, Wonder plays drums, guitar, synthesizers, congas, and most famously the piano, harmonica, and keyboards.
Wonder forged his divergent styles into a trademark sound, putting his musical signature on a quartet of albums that would change music forever: 1972's Talking Book, 1973's Innervisions, 1974's Fulfillingness' First Finale, and 1976's Songs in the Key of Life. By the end of the decade, Wonder had won a record fifteen Grammys, as well as numerous other awards.
In the following decades he wrote, among other classics, his 1982 collaboration with Paul McCartney, "Ebony and Ivory", which remained number one for seven weeks in a row. 1984's The Woman in Red produced the enduring classic "I Just Called To Say I Love You", yet another number-one hit that gained him an Academy Award.
In 1989 Wonder was inducted into the Rock and Roll Hall of Fame alongside The Rolling Stones.
His contribution to worldwide social and political change is just as impressive. He championed the effort to make Martin Luther King's birthday a national holiday, as well as becoming a driving force behind 1985's USA for Africa campaign, and being visible in U.S. musicians' fight against apartheid in South Africa. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.