Book Review: On Track … Earth, Wind and Fire

Bud Wilkins,  On Track … Earth, Wind and Fire. Sonicbond Publishing, 2023. Paperback, 160 pp.

I can count a song by Earth, Wind and Fire among my childhood memories. “Getaway,” a single from their 1976 album Spirit, became one of those songs which were deeply ingrained in me. The staccato horns and high-pitched vocals were sufficient to have the song as a rhythmic memory. 

Growing up, R&B flowed at home as much as salsa , bolero and aguinaldo.  That’s how “Getaway” got into my mix. Years later, I finally heard Spirit, the 1976 album from which it was derived and memories flowed especially with it being the opening track. It was an enlightening sonic experience from beginning to end. And to date, it has been one of the most comprehensive in its listing of credits on an exquisite sleeve alongside the lyrics. I had never heard of a concertmaster before this. It was also my introduction to their producer Charles Stepney, who had passed on before the album’s completion and for whom the band recorded a lovely short interlude called “Departure.”  He would figure highly much later in my further explorations of sound, especially fellow Chicagoans Rotary Connection. 

 Earth, Wind & Fire are the subject of a discography in an expanding series called On Track.  Here, they receive a song zzz-by-song treatment of most of their releases in a history spanning over five decades. 

The introduction to  On Track … Earth, Wind and Fireis a brief but densely written genealogical sketch of the ensemble’s origins written by the book’s author Bud Wilkins,  a musician who is clearly an avid fan.  A thorough assessment of the band’s works follows, from Earth, Wind and Fire 1971) to Holiday (2014). 

Wilkins offers vivid descriptions of favorite and even what he considers  less favorable tracks. 

Revelatory in the beginning is the band describing themselves as “fusion players making pop music” (p. 6) especially as the band rose alongside the rise of  jazz fusion in the’70s. Maurice White’s credentials with Ramsey Lewis  is evidence of that.  At the very least, a casual fan  would learn about the musicians and music labels that have been ultimately critical in the band’s development. The more devoted listeners may find surprises. 

What Wilkins was sure to do, and this is an aspect that without which any look at EW&F would be woefully incomplete, is to note Charles Stepney’s immense contributions as a producer, arranger, composer and principal collaborator of the band in the 1970s to their  legacy.. 

The same goes for the indispensability of the kalimba, Maurice White’s signature instrument that always a pleasurable listen and key to the band’s signature sound. It’s role in the band’s polyphony cannot ever be overstated.

If any of the tracks or, indeed, even the albums, are new listening, it’s most tempting to go listen to them before, during, or after a read of the vivid text descriptions. It was hard for me to read this review and not run over to check up for a specific track he discusses.  Especially for the  earliest recordings, to hear the origins is intriguing, especially with an accompanying guide. 

A reader would appreciate the difference between the four lead vocalists and the innovative bass playing of Maurice’s brother Verdine. The rock-centric narrative is filled with examples of tight vocal harmonies, but usually limited to a few key white artists like Crosby, Stills, Nash &  Young. The book is a reminder that EW&F has been, and remains, a stellar example of this. Further, the reader can see how this was so even before Philip Bailey joined. The vocal harmonies, indeed, or part of their signature sound combining from early on jazz, Latin, Caribbean, and funk. 

Also of interest here is, the aforementioned “Departure,” EW&F’s penchant for interludes. They performed short sketches running under two minutes, and many under one, that are certainly worthy of the attention. On Heritage, for example, the album begins and ends with “Interlude: Soweto” and “Soweto (Reprise),” two small acknowledgments that coincided with the moment Nelson Mandela was released from prison. Evident as well is that these micro-symphonies are part of the ensemble’s - and this is how the fusion part of their genre equation is exemplary- generous selection of instrumentals throughout their existence.

One thing I see to be a peeve for Charles Stepney fans like me,, and again, there is ample evidence here of his invaluable contributions to EW&F contained in the info for the relevant releases:  in a few spots, he is misidentified as Chris Stepney.

At the center of the volume is an inviting collection of  album cover reproductions (in full color)  and photographs of the band from several of their many tours.

The guest songwriters and session musicians could possibly give EW&F a family tree that would rival those in the progressive rock universe. And that’s not even counting Bailey’s hit duet with Phil Collins in the 80s: “Easy Lover.” That’s let alone Collins hiring the band’s Phenix Horns for both his solo work and Genesis, to speak of prog.  That’s not even mentioning even Toto’s tenure as  session musicians, especially guitarist Steve Lukather..

Music lingo abounds in the descriptions - “pre-chorus” in particular.. Be prepared for a little music theory throughout which is a bonus. Also, it’s not strictly adulatory. Wilkins is forthright in describing the problematic points of both their music and their career. It is clearly written from the perspective of one who understands when the band is performing at the top as well as the lesser moments, especially  the decline during the early 1980s exacerbated by its loss of members who, when you read the story chronologically, were critical to the signature sound. Even then, the author points out gems that are worth the listen. As the decade progresses, the author does not shy away from disappointment. 

Further,  EW&F’s work on the soundtrack for Sweet Sweetback’s Baadasssss Song is excluded. The reason for keeping it out of this canon is that they wrote none of the music for it.  This is, however, a bit of ironic foreshadowing of their employing outside songwriters about a decade later, making for interesting bookends for their 70s era. Notably, even the lesser cuts get the thick description treatment. 

There are some observations worth realizing. First, has anyone acknowledged EWF’s contributions to the widespread use of the vocoder? To read the pages on the 80’s releases,  they surely picked up on the instrument where Kraftwerk left off, “Let’s Groove,”  being the most recognizable for the use of it. Second, their Afrofuturism demonstrates their dedicated contributions to space-related music genres, by which forebears such as Sun Ra  made the works of EW&F and Parliament-Funkadelic possible, side by side with the space rock of Hawkwind and Jefferson Starship, followed by the likes of Afrika Banbaataa and the Soulsonic Force.

Overall,  On Track … Earth, Wind and Fire would not replace writings that look more deeply into Maurice White’s most esteemed contribution to funk and rhythm and blues, nor do I think that is the intent. In fact, one way the book succeeds strongly is in the references to more comprehensive, including autobiographical, sources. For fans who are  more acquainted with the band’s chart-reaching songs, the discography is potentially a gateway to a fuller appreciation of their works. It is a respectful, accessible, and appreciative reference for anyone who is curious about why this ensemble matters profoundly, past, present, and Afro-future.