Earth, Wind and Fire
Released: June 1979
Chart Peak: #3
Weeks Charted: 38
Certified 2x Platinum: 10/26/84
Maurice White, Earth, Wind and Fire's presiding genius, ranges across popular music like a robber baron, selecting only the tastiest artifacts for his collection. He adapts be-bop horn charts and soul-group harmonies in ways that make the clichés revelatory. He takes simple dance formulas like "Boogie Wonderland" and finds fresh possibilities within them. White even uses big-band allusions that ought to sound fey, but by the time he strips them down, they're absolute muscle and bone.
White sometimes does all this in a single song, and he does it consistently throughout the Earth, Wind and Fire LPs he produces. He also plays drums, sings and writes a fair share of the group's material. As a result, Maurice White makes music whose quality is as high as its market appeal, as accessible as it is innovative. Yet he still hasn't managed the stylistic breakthrough that would rank him with his sources. White remains a lesser artist than Sly Stone, Stevie Wonder or even George Clinton because he seems content to merely flash his skills, never pushing them to the limit. In his hands, formula music gains new vitality. But it remains formula music.
This characteristic also undermines some of White's finest qualities. He's a perfect sensualist, but the erotic is strangely beyond him: Donna Summer and Giorgio Moroder haven't yet approached the imagination of I Am, but Maurice White can't come up with anything as sexy as "Bad Girls." Ironically, the hedonism of Earth, Wind and Fire has more in common with the bloated pleasures of white Southern California rock than with the more rabid and anarchic blend expressed by East Coast disco groups like the Trammps. That's because White seems to hold back mostly for fear of being uncool -- something that never troubles, say, George Clinton.
All this is damnably frustrating, since White clearly has bigger ideas. It might be that he's simply too inarticulate to express them intelligibly. I Am is obviously meant to portend something, but who knows what? Is this Maurice White's vision of paradise?
The placement of those lines, from "You and I," at the end of the record would suggest that the song is meant to sum up everything White is trying to communicate. Yet the tune's chorus is so trite that it's almost painful to quote it: "You and I living together/Just you and I groovin' forever --."
Which is to say that Maurice White may be the next genius of popular music. Or he may be one in a long line of frauds, prepared to hint that he has knowledge of the meaning of life, but forever refusing even to hint at what that meaning might be.
- Dave Marsh, Rolling Stone, 8/23/79.
Earth Wind & Fire reinforces the fact that they are the classiest exponents of pop-oriented R&B and funk. Its newest LP is paced by the brilliant disco flavored "Boogie Wonderland" in which the Emotions also receive top billing. The package is a mix of smooth ballads and funky discotized numbers, all very rhythmic with full-bodied horn and string arrangements. Superb playing by the band with supplemental musicians adding percussion, keyboards, guitars and horns. Also included is a three-minute-plus instrumental. Best cuts: "Boogie Wonderland," "In The Stone," "After The Love Is Gone," "Star."
- Billboard, 1979.
Sexy, dancey pop music of undeniable craft, and it doesn't let up. But as we all know, they could be doing a lot better. B
- Robert Christgau, Christgau's Record Guide, 1981.
The gorgeous ballad "After the Love Has Gone" and the bouncy "Boogie Wonderland" (featuring The Emotions) lead this consistent collection. * * *
- William Ruhlmann, The All-Music Guide to Rock, 1995.
I Am moved smoothly into the disco era with "Boogie Wonderland," "In the Stone" and the slow groove "After the Love Is Gone." * * * *
- Gary Graff, Musichound Rock: The Essential Album Guide, 1996.
Main Page | Readers' Favorites | The Classic 500 | Other Seventies Discs | Search The RockSite/The Web