50 years later, ‘Fulfillingness’ First Finale’ by Stevie Wonder is still a sacred journey of spiritual reflection
Revisitng one of Stevie Wonder's most introspective albums no one really talks about
In the summer of 1973, 23 years old and only three days after the release of his glimmering album Innervisions, Stevie Wonder was in a coma fighting for his life. He and his cousin, John Wesley Harris, were traveling to a concert benefit in North Carolina when they collided with a logging truck. The artist had to endure months of rehabilitation and regain his ability to taste and smell. But a few months later he emerged far more different than once before.
When you look at the cover art for Fulfullingness’ First Finale you’re staring into an abstract collage of Wonder’s life up at that point— a piano staircase ascending to the sky, Grammy Awards, “Little” Stevie Wonder, Motortown Revue and a shiny red car with a log crashed into the windshield.
First Finale was an abstract, yet distinct turn sonically compared to his other successful predecessors such as the soulful yearning of Talking Book, bluesy and fervent Music Of My Mind, and the uplifting, jazzy and political themes of Innervisions. The artist was in a new, alternative realm— perhaps a testament of his musical growth, or a reflection of his own journey.
The album was released on July 22, 1974, under Tamla— a subsidiary of Motown Records. It was Wonder’s 17th studio album, but is considered to be under what is called his golden, “classic period.” It was produced by Wonder, working alongside Robert Margouleff and Malcolm Cecil; a dream team who revolutionized the sound of the synthesizer with The Original New Timbral Orchestra (TONTO) heard across many popular Stevie Wonder records. Wonder also plays almost all the instruments across the album.
What made First Finale so vast from previous releases was its less funky, somber and reflective tone across the album. The opening song, “Smile Please,” is a delicious blend of harmonies that is considered a fresh perspective on life. “Heaven is 10 Zillion Miles Away,” the second song on the album, is another phenomenally composed song about God’s presence in our lives, and being surrounded by the warmth of his spirit. Wonder never emphasizes what higher power this is, but is reflective of the existence of divinity.
Other popular hits from the record include the shimmying reggaeton “Boogie On Reggae Woman,” and “Creepin’” featuring Minnie Riperton. The album also doesn’t shy away from Wonder’s passion for social justice, with the politically raging anti-Nixon song that shot to No. 1 on the Billboard Charts “You Haven’t Done Nothin’” featuring the doo-wops of the Jackson 5. (And President Nixon ironically resigned two days after the song's release.)
The melancholy and despair of “They Won’t Go When I Go” is a stark contrast to the album itself. It’s a classical, brooding crying tune reminiscent of a hymn. It is also interpreted as a reflection of the darkness of Wonder’s accident, not only the physical turmoil he endured but also the mental.1
First Finale was Wonder’s second album to top the Billboard Chart and in 1975, won 3 Grammys for Best Male Pop Vocal, Best Male Rhythm and Blues Performance and Album of the Year.
Fulfillingness’ First Finale is not often cited as one of Stevie Wonder’s greatest works. It succeeds in its blend of a new alternative sound, which was not quite heard once before for the time, and gives a meditative look at the world, spirituality, mortality and self. For that, it stands the test of time and remains empathetic and relatable five full decades later.
Wonder experienced nervousness about performing on stage again after his car accident in 1973, and was later influenced to hit the stage again after a push from his friend and musical peer Elton John, according to an article in The Independent.