Five Notable Covers of Songs from Steve Wonder’s ‘Fulfillingness’ First Finale’

Child prodigy Stevie Wonder scored many hits as a Motown artist. But it was only when he broke free of the label’s machinery and began to work as a truly solo artist that he would make his most enduring work. Wonder’s early- to mid-1970s output is arguably his best, and it features the amazingly talented Wonder doing most everything – writing, singing, arranging, producing and playing most of the instruments. Released in 1974, Fulfillingness’ First Finale would be the fourth album from his classic period. In celebration of that Grammy-winning album’s 50th anniversary and as a testament to the enduring power and appeal of its music, here is an eclectic assortment of covers of songs from the record.

“Creepin’” from Herbie Mann’s Surprises (1976)
Jazz flautist and bandleader Herbie Mann was largely responsible for establishing the flute as a lead instrument in jazz. His approach to jazz itself was unique as well, both highly accessible and adventurous in its melding of genres. Mann’s albums such as Memphis Underground displayed significant crossover appeal. His bands often included some surprising names, including guitarists Duane Allman, Sonny Sharrock and Mick Taylor. A sort of proto-world-music artist, Herbie Mann’s work explored funk, blues, rock and countless other idioms including reggae. On his 1976 album Surprises (featuring vocalist Cissy Houston), he delivered his reading of Stevie Wonder’s “Creepin’.”

“Too Shy to Say” from Diana Ross’ Baby It’s Me (1977)
Superstar vocalist Diana Ross fronted the Supremes from their beginnings in 1959 (as the Primettes) through 1970. On leaving the group, she embarked upon a prolific solo career. Her solo work initially explored, pop, soul and r&b, and by the mid 1970s she jumped aboard the burgeoning disco trend as well. Produced by Richard Perry, Ms. Ross’ eighth solo album, Baby It’s Me featured three charting singles including the Top 40 hit “Gettin’ Ready for Love.” Though it lacks the original’s distinctive pedal steel guitar, her reading of “Too Shy to Say” is a rather faithful cover of Stevie Wonder’s song.

“They Won’t Go When I Go” from George Michael’s Listen Without Prejudice Vol. 1 (1990)
This deep album track from Wonder’s Fulfillingness’ First Finale features an intentionally simple arrangement. The song features only Wonder’s multiple overdubbed vocals, acoustic piano and the revolutionary T.O.N.T.O. synthesizer, a massive and revolutionary hybrid device that combined components from Moog and other synthesizer developers (it’s featured in Brian De Palma’s camp/cult classic 1974 film Phantom of the Paradise). On George Michael’s blockbuster 1990 album, he covers the song, layering on even more vocal parts than the original, but limiting the instrumental accompaniment to a single elegiac grand piano.

“Boogie On Reggae Woman” from Phish’s Hampton Comes Alive (1999)
Along with their substantial body of original work, jam band heroes Phish have made a career out of interpreting the work of other artists. The group has often staged entire concerts in which they perform an album – the Beatles’ “White Album,” for example – start to finish in front of an enthusiastic audience. For the band’s third live release, Phish released a six-disc set with the playful title Hampton Comes Alive (a nod both to the concert venue in Hampton, VA and to superstar Peter Frampton). Nearly half of the songs on the set are covers that hadn’t appeared on any other Phish album, making it an essential purchase for hardcore fans. One of those covers would be this track from Steve Wonder.

“You Haven’t Done Nothin’” from Roger Daltrey’s As Long As I Have You (2018)
Stepping outside The Who for his tenth solo album, Roger Daltrey served up a batch of songs that included originals and covers of songs that have inspired him. In the latter category is his cover of Stevie Wonder’s “You Haven’t Done Nothin’,” a politically-themed song written as a diatribe against American president Richard M. Nixon. Daltrey’s deep-groove reading of the tune features a soulful vocal chorus, beefy horns and some tasty lead guitar from his Who band mate Pete Townshend.