The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- An early Tamla pressing of Stevie Wonder's 1974 Soul Masterpiece with superb Double Plus (A++) sound or BETTER on both sides
- Finding the right balance between Tubey Magical Richness and Transparency is the trick, and we think this copy strikes that balance as well as any pressing we've heard
- "Boogie On Reggae Woman" and "You Haven't Done Nothing" were the big hits but the other tracks on the album are where the REAL Stevie Wonder MAGIC can be found
- 4 1/2 stars [but we give it 5]: "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')."
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We're big fans of Stevie here at Better Records, but it's always a challenge to find good sound for his albums. Tons of great songs here, including the ones everybody knows, "Boogie On Reggae Woman" and "You Haven't Done Nothing." Both sound WONDERFUL on this pressing.
For the first time in my life, over the course of the last five years or so I've really gotten to know the album well, having found a CD at a local store to play in the car (and now I also have a cassette to play in my Walkman while working out).
I've listened to Fulfillingness’ First Finale scores of times. I now see that it is some of the best work Stevie Wonder ever did, right up there with Innervisions and ahead of any other Stevie Wonder album, including Talking Book and Songs in the Key of Life.
The best songs on the album to my mind are the quieter, more heartfelt and emotional ones, not the rockers or funky workouts. My personal favorites on side one are: "Smile Please," "Heaven Is 10 Zillion Light Years Away," "Too Shy to Say" and "Creepin'," which, as I'm sure you've noticed, are all the songs that weren't hits.
On side two the two slowest songs are the ones I now like best: "It Ain't No Use" and "They Won't Go When I Go" (famously and brilliantly covered by George Michael on Listen Without Prejudice Vol. 1 in 1990).
What The Best Sides Of Fulfillingness’ First Finale Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1974
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Transparency Is Key
What is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is transparency.
And that also turns out to be the main issue with Fulfillingness. Many copies are thick and opaque. Finding the right balance between Tubey Magical Richness and Transparency is the trick, and we think this copy strikes that balance well.
What We're Listening For On Fulfillingness’ First Finale
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness common to most LPs.
- Tight, note-like bass with clear fingering -- which ties in with good transient information, as well as the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
- Then: presence and immediacy. The musicians aren't "back there" somewhere, way behind the speakers. They're front and center where any recording engineer worth his salt would have put them.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
A Must Own Soul Record
We consider this album a Masterpiece. It's a superb recording should be part of any serious Soul Music Collection.
Others that belong in that category can be found here.
- Smile Please
- Heaven Is 10 Zillion Light Years Away
- Too Shy to Say
- Boogie On Reggae Woman
- You Haven't Done Nothin'
- It Ain't No Use
- They Won't Go When I Go
- Bird of Beauty
- Please Don't Go
AMG 4 1/2 Star Review
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."