Earth, Wind & Fire weren’t just a band; they were a musical force of nature. As Maurice White, the visionary behind this funk juggernaut, once stated, he was “writing about my life,” but his music in the 1970s touched millions. Emerging as arguably the biggest black rock band globally, they amassed a stunning collection of gold and platinum albums, and consistently landed in the Top 10 with hits like “Shining Star,” “Sing a Song,” and “After the Love Is Gone.” While some critics later debated their evolving sound, a potent blend of disco, fusion jazz, African rhythms, soft pop, and soulful melodies, their core message of peace, spirituality, and love, combined with their dazzling stage presence and electrifying live shows, cemented their status as a defining band of their era.
At their peak, Earth, Wind & Fire boasted a ten-member ensemble, enhanced by the legendary Phenix Horns. Maurice White remained the central figure, whether leading vocals alongside the gospel-trained Philip Bailey or innovating in the studio with producer Charles Stepney. He meticulously crafted album art featuring pyramids and biblical imagery, weaving his personal beliefs into the lyrics. Regardless of whether every listener grasped the depth of his lyrical themes, the sheer power of EWF’s music was undeniable. Here’s a curated selection of some of their finest songs, essential listening for any fan of funk, soul, and timeless music.
“Sweetback’s Theme” (1971)
Earth Wind and Fire early 1970s performance
Image alt text: Earth Wind and Fire performing live in the early 1970s, showcasing their original lineup and energetic stage presence.
In the early 1970s, Melvin Van Peebles, a groundbreaking playwright and filmmaker, was finalizing his independent film Sweet Sweetback’s Baadasssss Song. Seeking a soundtrack, a connection was made through his assistant to Maurice White, a young Chicago musician in Los Angeles with his band Earth, Wind & Fire, then still seeking their big break. As Peebles recounted to Wax Poetics, the band was “starving to death on Hollywood Boulevard” but he enlisted their talents to create a series of raw funk and jazz instrumentals, over which Peebles added his spoken word and vocalizations. Both the film and soundtrack became unexpected sensations, launching EWF as the first major musical act of the blaxploitation movement, pre-dating the success of Isaac Hayes’s Shaft and Curtis Mayfield’s Superfly. This track marks an early, grittier chapter in the Earth, Wind & Fire story, showcasing their foundational funk sound.
“Devotion” (1974)
“Maurice’s whole vision was to kinda sneak a little jazz on people,” Philip Bailey revealed in a 2013 interview. This jazz-infused approach is beautifully evident in “Devotion,” a track that, while a modest hit, became a cherished fan favorite from their 1974 album Open Our Eyes. Bathed in shimmering chords, rich fusion keyboards, and a seductive bassline, the song’s hooks are both subtle and deeply captivating. Released during a turbulent period in America, it offers a tender message of hope and faith. White’s ambition to integrate jazz into the mainstream R&B and pop landscape feels particularly profound here. The song’s message is clear: “So our mission, to bring melody/Ringing voices sing sweet harmony.” For a truly powerful rendition, listen to the live version on their 1975 album Gratitude, recorded at the Omni Theater in Atlanta, which transforms the song into a gospel-funk revival experience. “Devotion” is a testament to Earth Wind & Fire’s ability to blend sophisticated musicality with heartfelt emotion.
“Shining Star” (1975)
Earth Wind & Fire album That's the Way of the World, featuring the hit song Shining Star
Image alt text: Earth Wind & Fire album cover “That’s the Way of the World”, prominently featuring the band logo and title, associated with their hit song “Shining Star”.
1975 was the year Earth, Wind & Fire etched their name into pop music history, largely thanks to the chart-topping, celebratory anthem “Shining Star.” While it sounds like pure party energy – and undoubtedly soundtracked countless celebrations – at its core, “Shining Star” is an uplifting motivational song, echoing the spirit of Sly and the Family Stone’s “Everybody Is a Star.” Propelled by a clean, bright, and brassy groove, it stands as a highlight of Maurice White’s production genius. When Earth, Wind & Fire were inducted into the Rock and Roll Hall of Fame in 2000, White recalled the single as a pivotal moment. “That’s the Way of the World really took off very slow,” he noted about their sixth studio album. “We thought it wasn’t gonna happen. Then we released ‘Shining Star,’ and it went to the top of the charts and saved the album.” “Shining Star” remains one of Earth Wind & Fire’s most recognized and beloved songs, a true embodiment of their positive and uplifting musical philosophy.
Ramsey Lewis, “Sun Goddess” (1975)
Ramsey Lewis album Sun Goddess, showcasing Earth Wind & Fire collaboration
Image alt text: Ramsey Lewis album cover “Sun Goddess”, highlighting the collaboration with Earth Wind & Fire and the album’s fusion jazz funk style.
Even as Earth, Wind & Fire began their ascent, Maurice White maintained involvement with other musical projects in the late Sixties and early Seventies. One significant connection was with jazz pianist Ramsey Lewis, whose band White had previously played with. This history led to a scintillating collaboration on “Sun Goddess.” Released as a single in 1974, it’s a sprawling, groovy funk dreamscape, rich with airy harmonies, vibrant brass arrangements, and a deeply spiritual undercurrent. “Sun Goddess” beautifully illustrates White’s evolution from a sideman and session musician to a masterful bandleader and visionary, bridging jazz and funk genres seamlessly.
“That’s the Way of the World” (1975)
Earth Wind & Fire album That's the Way of the World, title track of the film soundtrack
Image alt text: Earth Wind & Fire album “That’s the Way of the World” cover, featuring the band in white outfits and album title, associated with the film soundtrack.
Similar to their early break with the Sweet Sweetback soundtrack, Earth, Wind & Fire’s first Number One album originated from a film project: Sig Shore’s 1975 movie That’s the Way of the World. The band was cast as “The Group,” a rising R&B act managed by a cynical record producer played by Harvey Keitel. Philip Bailey described recording the album in his autobiography, Shining Star, as “a spiritual experience,” particularly the title track. He recounted, “when Maurice played us the finished mix … I thought we sounded like angels. … It was as if God had been guiding us.” While the film itself was unsuccessful and remained unavailable on DVD until 2006, the album became a massive hit in 1975, achieving triple platinum status. The title track, “That’s the Way of the World,” stands as one of Earth Wind & Fire’s signature songs, a powerful blend of soulful vocals and uplifting instrumentation.
“Sing a Song” (1975)
Earth Wind & Fire album Gratitude, featuring the song Sing a Song
Image alt text: Earth Wind & Fire album “Gratitude” cover, a live album featuring studio gems like “Sing a Song” and highlighting the band’s energetic live performances.
Gratitude, Earth, Wind & Fire’s 1975 double album, captured the energy of their extensive touring that year across three sides of live recordings. However, the fourth side featured new studio tracks, including the radiant “Sing a Song.” Guitarist Al McKay developed the song’s distinctive riff backstage before a concert and presented it to Maurice White for lyrics. White crafted simple, optimistic lyrics, resulting in an infectious, disco-tinged anthem celebrating music’s healing power. Produced with Charles Stepney, White revisited and modernized the classic sound he had previously created for artists like Etta James and Fontella Bass at Chess Records. “Sing a Song” became a Number One hit on the Billboard R&B charts and propelled Gratitude to over 3 million sales, solidifying its place among Earth Wind & Fire’s greatest hits.
“Reasons” (1975)
Many remember the scene in Erick Sermon’s “Stay Real” video where he attempts to sing “Reasons” in the shower, highlighting the vocal prowess required for this Earth Wind & Fire ballad from That’s the Way of the World. “Reasons” is not just a karaoke favorite, but also a demonstration of the band’s evolution from funk-rock origins to a sophisticated ensemble incorporating pop, jazz, and disco elements. As Maurice White, who co-wrote the song with Philip Bailey and Charles Stepney, explained to Billboard in 1975, “It was simply our goal to reach everybody.” Philip Bailey’s soaring vocals on “Reasons” are a defining feature of the song, showcasing the band’s ability to deliver both high-energy funk and smooth, soulful ballads.
“Brazilian Rhyme (Beijo)” (1977)
Earth Wind & Fire album All 'n All, featuring Brazilian Rhyme (Beijo)
Image alt text: Earth Wind & Fire album “All ‘n All” cover, showcasing the band’s global musical influences and featuring the track “Brazilian Rhyme (Beijo)”.
“Brazilian Rhyme (Beijo)” is a brief, 80-second instrumental interlude nestled within an album known for its hit singles. Despite its short length, its falsetto disco vocal – “Beijo! Beijo! Ba da ba ba ba!” – had a monumental impact on hip-hop. Early hip-hop DJs in New York frequently played the track for MCs to rap over. Southern rap pioneer MC Shy D sampled it for his 1987 track “I’ve Gotta Be Tough,” A Tribe Called Quest used it on their debut album, People’s Instinctive Travels and the Paths of Rhythm, and Big Punisher sampled it for his Top 40 hit “Still Not a Player.” From the Black Eyed Peas to MF Doom, countless artists have sampled its infectious hook. “Beijo,” Portuguese for “kiss,” became a globally recognized musical phrase, thanks to Earth Wind & Fire’s innovative and cross-genre influence.
“Got to Get You Into My Life” (1978)
Earth Wind & Fire album The Best of Earth Wind & Fire, Vol. 1, featuring Got to Get You Into My Life
Image alt text: Earth Wind & Fire compilation album “The Best of Earth Wind & Fire, Vol. 1” cover, featuring their Beatles cover “Got to Get You Into My Life”.
With its dynamic horn section, The Beatles’ “Got to Get You Into My Life” was already inherently funky. This made it a perfect fit for Earth, Wind & Fire, who covered it for the 1978 Sgt. Pepper’s Lonely Hearts Club Band film starring the Bee Gees and Peter Frampton. While the movie itself was critically panned – Barry Gibb later expressed regret about Earth, Wind & Fire’s involvement – their cover took on a life of its own. Its inclusion on Earth, Wind & Fire’s first greatest hits album in the same year ensured that generations of fans embraced EWF’s energetic rendition, perhaps even more than the original Beatles version. Earth Wind & Fire’s “Got to Get You Into My Life” became a hit in its own right, demonstrating their ability to reinterpret and energize classic songs.
“September” (1978)
Earth Wind & Fire single September, a timeless classic
Image alt text: Earth Wind & Fire single cover for “September”, a visually vibrant and iconic representation of this classic song.
In 1978, Earth, Wind & Fire’s new contract with Columbia Records led to the creation of their own label, ARC. The first release was The Best of Earth Wind & Fire, Vol. 1, and with it, “September,” a new single that topped the R&B charts. “September” perfectly embodies White’s talent for crafting joyful and optimistic soul anthems. The song’s core elements include the soaring Phenix Horns and Philip Bailey’s iconic falsetto vocalese outro, “Bow dee ow dee ow dee,” a deliberate throwback to doo-wop, as White explained to Billboard in 1979. “My principle for producing is to pay attention to the roots of America, which is doo-wop music.” “September” has become one of Earth Wind & Fire’s most enduring and beloved classics, a timeless song that continues to uplift and energize listeners worldwide.
“Boogie Wonderland” (1979)
Earth Wind & Fire album I Am, featuring Boogie Wonderland
Image alt text: Earth Wind & Fire album “I Am” cover, featuring the disco-era hit “Boogie Wonderland” and reflecting the band’s evolving sound.
“[Maurice White] takes simple dance formulas like ‘Boogie Wonderland’ and finds fresh possibilities within them,” Dave Marsh wrote in his Rolling Stone review of Earth, Wind & Fire’s 1979 album, I Am. At the height of the disco era, White and his band of jazz-funk innovators put a commercial polish on this intricate and deeply soulful track. “Boogie Wonderland,” with its brassy and exuberant sound, carries a darker undercurrent. Despite its danceable rhythm, the lyrics by Allee Willis and Jon Lind, inspired by the film Looking for Mr. Goodbar, delve into themes of anguish and desperation masked by dance. The song’s depiction of dancing to escape pain (“You dance and shake the hurt”) seemed to foreshadow disco’s impending decline. “Boogie Wonderland” remains a complex and compelling track, blending disco energy with deeper emotional resonance, marking a significant point in Earth Wind & Fire’s discography.
“Let’s Groove” (1981)
Earth Wind & Fire album Raise!, featuring Let's Groove
Image alt text: Earth Wind & Fire album “Raise!” cover, showcasing the synth-funk hit “Let’s Groove” and the band’s adaptation to the 1980s sound.
As the backlash against disco intensified in the early 1980s, Earth, Wind & Fire adeptly navigated the changing musical landscape with “Let’s Groove,” a sleek piece of synth-funk. The robotic vocoder intro signaled a new era for EWF, blending electronica with their signature brass sound. White explained this transition to NME: “It’s really just knowing the feelings and fundamentals involved in producing a hit. Just like writing a story. It’s not less honest than a piece of jazz. Take the new record, ‘Let’s Groove.’ It’s real honest. We just went in and done it — a natural giving thing. Just saying, Hey man, enjoy this with me. Share this with us.” Listeners responded enthusiastically; “Let’s Groove” sold over a million copies and earned a Grammy nomination for Best R&B Vocal Performance. “Let’s Groove” demonstrated Earth Wind & Fire’s ability to evolve and remain relevant, incorporating new sounds while retaining their core musical identity and appeal.
