The universe is making music all the time

Posts Tagged ‘Richmond Fontaine

Mixtape: Illusions and Dreams

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Illusions and Dreams [A Fractured Air Mix]

To listen on Mixcloud:



01. K. Leimer ‘Allegory’ [Palace Of Lights]
02. Kaitlyn Aurelia Smith ‘Careen’ [Western Vinyl]
03. Circuit Des Yeux ‘Lithonia’ [Ba Da Bing!, L&L]
04. Hildur Guðnadóttir ‘Birting’ [Touch]
05. The Gloaming ‘The Girl Who Broke My Heart’ [Real World]
06. Planxty ‘Time Will Cure Me’ [Polydor/Shanachie]
07. Arthur ‘Sunshine Soldier’ [Light In The Attic]
08. Cem Karaca ‘Bir Of Çeksem’ [Pharaway Sounds]
09. Calexico ‘Woven Birds’ (Cinematic Orchestra Remixico) [City Slang]
10. The Notwist ‘Scoop’ [City Slang]
11. Aphex Twin ‘xmas_EVET10 [120] [thanaton3 mix]’ (excerpt) [Warp]
12. Theo Parrish ‘Tympanic Warfare’ (excerpt) [Sound Signature]
13. Wildbirds & Peacedrums ‘Soft Wind, Soft Death’ [Leaf Label]
14. Disappears ‘OUD’ [Kranky]
15. Mount Eerie ‘This’ [P.W. Elverum & Sun, Ltd.]
16. Dirty Three ‘I Really Should’ve Gone Out Last Night’ [Bella Union/Anchor & Hope]
17. Jonny Greenwood ‘Spooks’ [‘Inherent Vice’ OST/Nonesuch]
18. Richmond Fontaine ‘Valediction’ [El Cortez]

The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.



Whatever You Love You Are: Willy Vlautin

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This year marked the eagerly awaited release of ‘Colfax’, the debut album from The Delines, a country-soul group featuring stalwarts of the Portland, Oregon music scene, featuring novelist and Richmond Fontaine frontman, Willy Vlautin. The Delines are led by vocalist Amy Boone (The Damnations), alongside the keyboard work of The Decemberists’ Jenny Conlee, fellow Portlanders Sean Oldham and Willy Vlautin (Richmond Fontaine) and pedal steel player Tucker Jackson (Minus 5). 2014 also marked the publication of Vlautin’s fourth novel, ‘The Free’, published by Faber & Faber. Born in Reno, Vlautin is currently based in Scappoose, Oregon.

Words: Craig Carry


The LP that most affected you growing up in Reno?

WV: Willie Nelson’s ‘Greatest Hits (& Some That Will Be)’.


Your most precious Country record?

WV: (The same).


The best Punk album?

WV: Ha, if you call X punk it would be: X ‘Under The Big Black Sun’.


Favourite Dead Moon album?

WV: I’d have to say ‘Unknown Passage’.


The ultimate songwriter’s album?

WV: ‘Small Change’ by Tom Waits.


The greatest story-telling song?

WV: ‘Ode To Billie Jo’ by Bobbie Gentry.


Favourite Willie Nelson song?

WV: ‘Bloody Mary Morning’.


The Bruce Springsteen album you most identified with?

WV: ‘The River’.


Your personal favorite Calexico record?

WV: ‘Feast of Wire’.


Your favorite Richmond Fontaine song to perform live?

WV: ‘Two Alone’.


Your favorite Soul singer?

WV: Candi Staton.


The album that you always return to?

WV: Dolorean ‘You Can’t Win’.


The song or album that would best soundtrack ‘The Free’?

WV: The song ‘Fawn’ by Tom Waits.




‘Colfax’ by The Delines is available now on Decor (UK/EU) and El Cortez (USA).



Willy Vlautin’s fourth novel ‘The Free’ is available now, published by Faber & Faber.


Written by admin

December 15, 2014 at 11:47 am

Mixtape: Early Blue (A Fractured Air Mix)

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To listen on Mixcloud:



01. Ed Askew – ‘Drum Song’ (Tin Angel)
02. Áine O’Dwyer – ‘Albion Awake/Lifeboy’ (Second Language)
03. Harold Budd – ‘Wanderer’ (All Saints)
04. Calexico – ‘No Doze’ (Quarterstick)
05. This Is How We Fly – ‘Pelargonens Död’ (Playing With Music)
06. Glenn Jones – ‘My Garden State’ (Thrill Jockey)
07. Karen Dalton – ‘Katie Cruel’ (Light In The Attic)
08. Caoimhín Ó Raghallaigh – ‘Fead an Iolar’ (State Of Chassis)
09. Sarah Neufeld – ‘You Are The Field’ (Constellation)
10. Julia Kent – ‘Tourbillon’ (Leaf)
11. Colleen – ‘Geometría Del Universo’ (Second Language)
12. Moondog – ‘Symphonique #6 (Good For Goodie)’ (Columbia)
13. Julia Holter – ‘In The Green Wild’ (Domino)
14. Lucrecia Dalt – ‘Mahán’ (Human Ear Music)
15. Yo La Tengo – ‘Green Arrow’ (Matador)
16. F.J. McMahon – ‘Early Blue’ (Rev-Ola / Sacred Bones)
17. Richmond Fontaine – ‘Valediction’ (El Cortez)
18. Gram Parsons – ‘Love Hurts’ (Reprise)
19. Lambchop – ‘The Book I Haven’t Read’ (City Slang / Merge)
20. Ludovico Einaudi – ‘Fuori Dal Mondo’ (‘This Is England’ OST / Warp)
21. Lou Reed & John Cale – ‘Hello It’s Me’ (Sire / Warner Bros.)


The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.


Fractured Air. The universe is making music all the time.


Chosen One: Stiv Cantarelli

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Interview with Stiv Cantarelli.

Richmond Fontaine’s Dave Harding talks to Stiv Cantarelli about his latest album with The Silent Strangers entitled “Black Music/White Music”, a fiercely personal album made with the combination of blues, folk and punk traditions. Stiv talks to Dave about songwriting, performing live and finding his own voice in music. 

Words: Dave Harding, Illustration: Craig Carry


Stiv Cantarelli has been making music since 1999. In that time, Cantarelli has fronted the bands Satellite Inn, Gold Rust, The Jimmy Cooper Club, The Saint Four, as well as releasing records under his own name.

Cantarelli, who lives in Florence, Italy, has a deep love for American and British rock music. Throughout his career, he has forged these musical elements with his tightly wound, novelesque lyrics. Each release by Cantarelli finds him exploring another avenue of his artistic vision.

I spoke with Cantarelli (via email) on the eve of the release of his latest record, the stunning Black Music/White Music. You can read my review of the record below.

Cantarelli and his band, The Silent Strangers, were preparing to embark on a tour of the UK and Holland.

In full disclosure, I have known Cantarelli for a number of years, played in one of his bands, toured with him, and maybe even shared a pint or two of Guinness with him.


‘Black Music/White Music’ Review:

Stiv Cantarelli’s new record Black Music/White Music is his most forceful and fully realized record to date. With strong support from his band The Silent Strangers, Cantarelli melds blues, punk and folk music to create an intensely personal journey through the dark night of his soul.

Black Music/White Music starts with the gently strummed, lilting ballad “The Boy Draws on the Steamed Window”. In a dreamy voice we are told by the singer: “I’m a King, I’m a liar, I’m a kid that’s lost inside, I’m everything I want along this ride.” This song starts the record off like a hazy dream one has when just waking up.

The following track ‘Captain’s Blues” comes barreling in and jolts the listener out of their slumber, a reminder that the force of the real world is always just around the corner. Over an urgent rhythm, Cantarelli sets the scene of a soldier who is starting to question what he is fighting for: “Oh my Dear Captain/In the red, white and green/Oh my Dear Captain/Would you stop the machine/I know it’s for duty/Not fortune or fame/I know it’s our duty/To be the ones they will blame.”

“Deconstruction” starts off sounding like a long lost outtake from The Stooges’ Fun House, before arriving at the anguished cry of “I Don’t Know Where I’ve Lost You”. Cantarelli screams this line over and over, like a man clinging to a life raft, exorcising all the demons of his soul. It is a very powerful performance.

The heart of the album, for me, is “Cornerstone Blues”. Over an insistent, hypnotic riff, Cantarelli offers a retelling of the classic story of a man selling his soul to the Devil at the crossroads. The song burrows itself into the listener’s brain: “The Devil was blowing on a black trombone, I know I was headed to the Cornerstone/To the Cornerstone, I walked with the Devil to the Cornerstone”.

“Under The Red Star” slows down the pace a bit, telling the tragic story of a friend who has lost his way. This song and “Hundred Thousand Stones”, a hauntingly beautiful song about the plight of a restless factory worker, highlight the more melodic, folk-based side of Cantarelli’s songwriting.

The playing on this record is amazing. The rhythm section of Antonio Perugini on drums and Fabrizio Gramellini on bass swings and undulates in, under and around these songs.There is a real live feel to all of the songs. The lead guitar playing by Petrushka Morsink throughout the record is incredible, with a tortured, howling feel punctuating the desperation of the lyrics.

While not a blues record per se, the spirit of blues music is the undercurrent of this record. Themes commonly found in blues music populate these songs, and we can hear Cantarelli using the confessional nature of blues music to unload some demons from his soul.

This is Stiv Cantarelli’s best record to date. It’s good to see an artist who continually pushes himself and his craft. Black Music/White Music deserves to be heard by music lovers everywhere.


‘Black Music/White Music’ by Stiv Cantarelli & The Silent Strangers is available now from:



Interview with Stiv Cantarelli.

Dave Harding: The new record, Black Music/White Music, has a great live feel to it. How was it recorded? 

Stiv Cantarelli: Well, actually the best part of it was recorded live. I always liked the feeling of live-in-studio albums, but this time I just wanted the songs to grow up in a different environment.

We spent a long weekend in this old church house on the hill near Forli, Italy, my hometown. We locked ourselves in for 4 days. I had the songs in my head, but I let them develop in a live situation. It was a great experience; no pressure, no distractions (except for some Jagermeister!). Just us (Stiv, bassist Fabizio Gramellini and drummer Antonio Perugini)and our music.

After that long weekend, I added the other instruments where I could do it, with the help of my good friend Robert Villa. With him I was able to record overdubs at a few different places.

Then I sent everything up to Petrushka Morsink, who has a studio in Enschede, Holland. She has played with Willard Grant Conspiracy and Transmissionary Six. She’s a real genius. She played all the beautiful guitar parts throughout the record. She can hear notes that no one else can.

She did everything else: adding her guitar parts, mixing, mastering, searching for the dark soul of the record. There’s no doubt that the record would be a lot less inspired without her contribution in terms of playing and arrangements.


DH: You mentioned to me that you had been listening to a lot of blues music while writing this record. Who are some of the musicians who influenced or inspired you for this record? 

SC: It’s been part of a trail that I started a couple of years ago. I wanted to change my approach to composition and to do that I had to change the way I played guitar. I started learning fingerpicking. This lead me to a lot of new music, especially pre-war folk and other popular genres like spirituals, or popular songs. It was at that point that I became interested in delta blues and country blues, listening to the music and learning about the musicians who created it.

I don’t know if that really inspired me when I started to write the new record, but I guess I learned a lot from the feeling of isolation and oppression that you could easily breathe just listening to some of Mississippi John Hurt’s or Sonny Boy Williamson’s records. I listened to Robert Johnson and John Lee Hooker, but I became really addicted to Son House’s guitar style. He and Mance Lipscombe are probably my favorite artists. It’s probably their stories that impressed me more than the fact that I could include some of their style in my music.


DH: The songs on the new record have a very personal feel to them. Some of the songs (for example “Deconstruction”) sound as if you are exorcising some evil thoughts. Care to talk about some of the lyrical concerns on the record? 

SC: I guess I never wrote a song that’s not really personal to me. Most of the time I write about fictional subjects, but they’re all based on something personal.

On Black Music/White Music I tried to write about some things that really hurt me as a human being. Like “The Boy’s Drawing on the Steamed Mirror”. That kid really exists, it’s a school boy who I see on the bus sometimes, early in the morning when I go to work. Usually he’s alone and I really saw him drawing figures on the bus’ steamed windows. In the song, I imagined him left alone by his mother, waiting for her return, as a result of a divorce or abandonment.

“Captain Blues” is more of an anti-military song about soldiers who don’t believe anymore in what their officers were trying to sell them when they got in the Army.

Some of the lyrics, unfortunately, are based on strict actuality: “Mahogany Jones” is about losing your lifetime job, and being sacked just because somebody wants to make some money over your life, and the story ends in blood.

The only song I wrote for this record which is something different from all the others and that I have never tried before is “Cornerstone Blues”. It’s a classic blues theme about hanging out with the Devil in a fiction scenery populated by strange persons and serial sinners.


DH: Would you mind enlightening me on what the ‘Red Star’ in the song “Under The Red Star” refers to? 

SC: This is a tough one. I’m not sure people really want to know about this, as it’s really easy to misunderstand. The Red Star has been the symbol of an Italian terrorist group called Brigate Rosse (Red Brigade), a Communist-inspired bunch that in the 1970’s ruled Italy under terror, with many people killed in terrorist acts against the Establishment.

I didn’t intend to make an elegy to a terrorist group that killed innocent people, but just to recreate the same feeling of believing in something so hard to be ready to do everything it takes, including horrible acts. And also to write about the feeling of isolation that comes from living in hiding. It’s a pretty tough and claustrophobic song.

When we play the song live, I introduce it by saying: “Something that talks about fighting for things you believe in, even if you know they’re wrong”.


DH: You’ve been known in the past to move from style to style from album to album. From punk to ‘classic rock’ to folk to more experimental stuff. All of these styles suit you, and your personal vision always shines through. Your new record is more blues-inspired. Is this a direction you see yourself pursuing for a while, or do you think your next record will see you turn to another style? 

SC: Well, I don’t know. For sure, I believe that the inspiration I got from listening to old blues won’t go away for awhile. I found this state of mind really interesting, being able to write my own page of what’s called “blues”, with my rules and my feelings about it.

I’ve always been concerned about finding my own voice in music, you know, of course without denying the obvious inspirations I took from the people around me. In that sense, I believe that this “research” I did on blues music is kind of an added power in order to help my ability to write more music. Blues music allows me to go deeper on my sensations, or try to find an even darker, or harder, or cynical side of my music.


DH: Who are the musicians you are taking out with you on your upcoming tour? 

SC: Even though I put my name on this project, Black Music/White Music is a band thing, we are The Silent Strangers. Even more, it’s a family thing. After all of these years, we are just like brothers, with both the good and the bad. We take it all, we don’t really care.

Fabrizio Gramellini has been playing with me since day one of my career with Satellite Inn, and he’s a hell of a bass player. Antonio Perugini stepped in on drums for Satellite Inn when we played SXSW a few years back, and he’s been with me ever since. He’s a great friend and a great drummer.

As a three-piece we have played together for over a decade now, so we know each other well as musicians and even better as persons.

For our Holland gigs, I believe we’ll add Petrushka Morsink as a second guitarist. We’ve done that before and it’s been magic.

I’ve played with many great musicians during my career, most of them better than me, and I thank my lucky star for that. I’ve always wanted to create a gang feeling more than just establishing a musical connection. Being in a band and being on the road together is more than just that hour and a half you’re on stage.


‘Black Music/White Music’ by Stiv Cantarelli & The Silent Strangers is available now from:


Dave Harding is bass player in Portland Oregon’s Richmond Fontaine; who have released ten studio albums to worldwide critical acclaim, their latest LP is ‘The High Country.’ Dave is also a singer-songwriter in his own right, and has released two albums to date; his debut ‘Across The Road’ (2007) and ‘You Came Through’ (2012). (To read Dave’s other contributions for us, please see: here, here and here.)

Dave Harding’s bandcamp site:


Younger Than Yesterday: Fulfillingness’ First Finale

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Words: Dave Harding, Illustration: Craig Carry

Growing up in a small Michigan town in the 1970’s and early 80’s, one could feel a million miles away from the Real World. You know, the world of Johnny Carson, CHiPS, and Donny and Marie. This was before MTV and then the internet made the world a whole lot smaller.

The only real local star we had back then was Terrible Ted Nugent. It seemed like everybody I met while growing up had a Nuge story: an uncle who had played in the Amboy Dukes, a friend’s dad who had hunted endangered caribou with Ted, or a young female cousin who had been inappropriately ‘squggled’ by ol’ Uncle Ted.

But Nugent’s music never appealed much to me. I could try to sound hip and say that we were cranking out Motown, Stooges and MC5 tunes at high school keggers. But in reality it was Van Halen, Rush, Judas Priest and AC/DC, with the occasional appearance of another local boy done good, Bob Seger, aka The Seeg.

Of course, during my high school years a local girl was making it real big. Very local, as one Louise Ciccone was born some 30 miles away from me in Bay City. But sadly, Louise and I never crossed paths. By the time Louise, or as you know her, Madge, was singing “Like a Virgin” I was desperately seeking to become unlike a virgin, without much success.

Madonna made a great impression on Ciccone Youth, who in 1988 released the Madonna-inspired record The Whitey Album. You may know Ciccone Youth by their other name, Sonic Youth. Their drummer Steve Shelley is from the same town as me. To my knowledge, Shelley is the most famous musician ever to emerge from Midland.

Several years ago I ran into Shelley at the small airport outside of Midland. It was a Sunday afternoon and the airport was nearly empty as I stood in the car rental line. I turned around and immediately recognized Shelley. He was easy to pick out: he looked way too cool to be in the Midland airport. We had a pleasant talk. He was a real nice guy, as you might expect.

But the biggest musical force, by far, to emerge from my neck of the woods is one Steveland Hardaway Judkins, born in 1950 in Saginaw, some 35 miles from my hometown.

By the time I came into this world, Steveland was making hit records for Motown and touring the country on Motown Package Tours, thrilling audiences as Little Stevie Wonder.

Saturday mornings at my house in the 1970’s revolved around the Four C’s: Cap’n Crunch Cereal and Cartoons. Bugs Bunny, Hong Kong Phooey, Land of the Lost and a hundred other cartoons filled our sugar-drenched television screen.

But my favorite Saturday morning show by far was Fat Albert and the Cosby Kids. Bill Cosby brought Fat Albert, Mushmouth, Weird Harold and his version of inner city life into my suburban home. I loved the characters, the visuals, the music and the stories. There was always a great moral message as well, a lesson about how we could live our lives better and treat others better as well. And the gang always played a song at the end of the show.

I will always associate The Fat Albert Show with my first exposure to Stevie Wonder.

Maybe it was a sunny summer Saturday morning in June. After my sister and I turned off the t.v. when Fat Albert  was over, a radio was playing somewhere. Maybe in our house, or maybe at a neighbor’s house. All I know is, I heard a song that caught my ear and captured a moment of time in my life that I will never forget.

I heard a song that started with a catchy horn introduction and took off from there, with a funky, jazzy beat and the singer proclaiming “You can feel it all over!”. I knew what he meant: I felt the music of this song all over my body, from my toes all the way up to the top of my head. It was like drinking a large cherry and coke Slurpee and eating two Snickers bars. I didn’t know what exactly “Sir Duke” meant, but I knew it made me feel good all over.

Shortly afterward I bought the 45 single at Woolworth’s for 79 cents. I went home and listened to “Sir Duke” and the masterful B-Side “He’s Misstra Know It All” over and over.

But there were a lot of other things to keep a 10 year old’s interest: baseball, football, playing army, Star Wars. Music was just background stuff at this point. But over the next couple of years music would slowly gain more and more importance in my life.

I passed through Bee Gees disco 45s, then lps by Foreigner, Aerosmith, ELO, etc. before I became obsessed with Paul McCartney and then The Beatles in 7th grade. Back then I thought that McCartney was the main guy in The Beatles, as I knew only of Wings and his solo work. But that would change soon enough. John Lennon would release Double Fantasy later that year, and that record and the events that followed it would lead me to a love of Lennon as well.

But that summer my favorite record was McCartney’s new one, McCartney II. Then I heard that the local radio station was going to be playing Abbey Road in it’s entirety that night. I did not have that record, but had heard it was a good one. So I stayed up until 11 pm and set up my little hand held Realistic tape recorder in front of the speakers on our Realistic stereo.

I taped all of Abbey Road and was blown away by the music. Then the dj said that he was going to play Stevie Wonders Fullfillingness’ First Finale next. I was excited. The only Stevie Wonder record I owned was still that “Sir Duke” 45, which had become kind of forgotten about in my love for everything Beatles. So I figured I would stay up (past Midnight!) and record the Stevie Wonder record as well.

The record started and I was immediately captivated by it. It seemed to be a continuation of Abbey Road, and to share a common world with McCartney II as well. Probably because of the time of night, but it seemed like it was made for late night listening, with hushed vocals and mellow vibes.

The only problem was that I only had a 60 minute tape, and I had used most of it to tape Abbey Road. So while I listened to the whole record that night on the radio, I was only able to tape Side 1 of the record.

The next morning I played golf with my friend Tim Rice. I gushed to him about the great music I had heard and taped the night before. None of my other friends would likely have cared about hearing about The Beatles and Stevie Wonder, but Tim had a love for good music.

I listened to that tape quite a lot. I loved Abbey Road, and I always let the tape play out side 1 of Fullfillingness’ First Finale. It seemed that Wonder’s record was linked to the playful songs of the ‘pop opera’ suite of side 2 of Abbey Road.

The record opens with the sly, teasing, somewhat downbeat “Smile Please”, promising that ‘there’s brighter days ahead’. A mix of congas, jazzy guitar and a multitude of voices undulate under the song, capped by Wonder’s catchy, child-like ‘bum de ti bum bum’ which always puts me in a good mood.

Next up is one of my favorites, “Heaven is 10 Zillion Light Years Away”. A yearning, almost classical sounding keyboard sets up  Wonder’s impassioned plea for salvation. This song has always seemed to me to be a mix of space age music and gospel. A keyboard that sounds like a processed harpsichord, clavinet, handclaps,  gospel-styled backup singing, and a burbling Moog bassline drive the song.

“Too Shy To Say” is a quiet, thoughtful ballad featuring Wonder’s piano, James Jamerson’s upright bass and “Sneaky” Pete Kleinow’s shimmering pedal steel guitar. A somewhat understated song, it is reminiscent of some of McCartney’s ballads.

It is hard to believe that Wonder plays all the instruments (save for Rocky Dzidzornu on congas) on the ultra-funky “Boogie On Reggae Woman”. Wonder was well known for his instrumental prowess, and often played many of the instruments on his recordings. Wonder caps off the song with a sizzling harmonica solo.

Side one of the record ends with the jazzy and smoky “Creepin’”. The song delivers on it’s title, as it quietly creeps into the listener’s consciousness. Minnie Riperton adds a sultry harmony vocal to the song.

And sadly, that’s where my original tape of the album ended. But it is a tantalizing mix of songs, each one very different from the other. The late night vibe seemed to perfectly compliment the goodnight lullabies of Side 2 of Abbey Road.

It would be another year or two before I heard Side 2 of Fullfillingness’ First Finale, when I bought the album on vinyl. In the meantime I made a tape recording of Stevie Wonder’s Journey Through The Secret Life of Plants, which I found at my local library. Though some of this record sailed right over my head, I found some of the songs on it very beautiful, and I am always puzzled that this record hasn’t received more attention. I also picked up a copy of Stevie’s two record ‘best-of’ Original Musiquarium.

By the time I purchased Fullfillingness’ First Finale, my musical tastes were elsewhere, and I didn’t really absorb Side 2 of the record like I had Side 1. Unfortunately, this has made me think of the second half of the album as not as high caliber as the first half. Whether this is true or not is up to each listener to decide.

That said, Side 2 gets off to a killer start with the stomping, vitriolic “You Haven’t Done Nothin’”, featuring the Jackson 5 on backup vocals. The song always seemed to me a slighter version of “Higher Ground”, but even a second-level “Higher Ground” is still pretty damn good!

“It Ain’t No Use” is a nice mid-tempo song about breaking up with your lover. The “Bye Bye Bye Bye Bye” chorus makes it’s intentions fairly obvious.

“They Won’t Go When I Go” is a gorgeous ballad, featuring primarily just Wonder’s vocal and piano. The song seems to call out Wonder’s fellow man, who are not following as clear a path as he is. Wonder performed this song 36 years later at Michael Jackson’s Memorial Service.

The bossa nova groove of “Bird of Beauty” sets up a really catchy mid-tempo number, again calling on others to lead a more pure, drug-free life: “There is so much in life for you to feel, Unfound in white, red, or yellow pills.” Wonder sings one of the verses in Portuguese, perhaps a tip of the hat to Brazil, the birthplace of the bossa nova.

The record ends with the groovin’ “Please Don’t Go”. This song sounds like it could have been written earlier in his career. Though it is a catchy number, it never really goes anywhere or hits a peak. I’ve always thought that Fullfillingness’ First Finale needed one more strong song to really push it to the next level. All of his other ‘classic’ albums from the 70’s all ended with very strong numbers. “Please Don’t Go”, to my ears, sends the listener off with a feeling of ‘ho hum’ instead of ‘Holy Shit’!

That said, there is enough good stuff on this record to keep a listener coming back time and time again. Listening on headphones really brings out all the magical touches that Wonder brings to his music. The instrumental interplay and the arrangements are truly breathtaking. I am always hearing new things, especially in the background vocals. Wonder has a way of talking in the background of his songs. Humorous little asides and comments on the music. It really adds to the overall good feeling in the music.

The record has a mellower vibe than his other records created around this time. Save for “Boogie On Reggae Woman” and “You Haven’t Done Nothin’”, the record could almost be considered easy listening. Like I have mentioned, it has a great late night, relaxed feeling to it.

Fullfillingness’ First Finale was originally released on July 22, 1974. The album peaked at number 1 in the U.S., and both “You Haven’t Done Nothin’” and “Boogie On Reggae Woman” were top 5 singles. Wonder won 3 Grammy awards for the album, including Album of the Year.

Fullfillingness’ First Finale oftentimes gets overlooked when people talk about Stevie Wonder’s classic albums. I would admit that it is a notch below the genius of Talking Book, Innervisions and Songs in the Key of Life. But any other musician would give their hind teeth to make a record as good, and any music listener should have the record in his collection.

The next six or seven years of my life were primarily devoted to listening to rock music, from Elvis Presley to the Velvet Underground to Husker Du. Except for time spent grooving to Bob Marley or Thelonious Monk, I pretty much kept soul music out of my life.

But in my early 20’s the groove crept back in, through George Clinton and P-Funk, Sly Stone, The Neville Brothers and others. And then there was Stevie, with all of his great music waiting to be listened to for the first time or rediscovered. His music has been close by ever since, and has continued to inspire and enrich me. I never tire of it. And whenever I hear “Sir Duke” I still get shivers down my spine like I did that Saturday afternoon in Michigan when I first heard it back in 1977.







Dave Harding is bass player in Portland, Oregon’s Richmond Fontaine. Their current album, ‘The High Country’ is the band’s tenth studio album and is yet another masterpiece from one of the most essential music acts today. Previous albums include ‘Post to Wire’ (2004), ‘The Fitzgerald’ (2005), and ‘Thirteen Cities’ (2007). Dave Harding has recorded two solo albums, ‘Across The Road’ (2007) and ‘You Came Through’ (2012).

Written by admin

August 6, 2012 at 7:13 pm