Earth, Wind & Fire is going back to their classic 70s sound with their next album

[soulster]

http://jam.canoe.ca/Music/2013/09/05...rtainmentmusic

I sure hope so! And, if they really want to go back to their classic sound, they could record on analog tape instead of recording digitally.

Over the years, fans have raved about their new CD sounding classic, or whatever, only to find out that it sounded like their same old modern sound with too many ballads.

I think the key to sounding classic is to tighten up the songs, create tight, funky jams, and, most of all, use all those studio editing trick and technology. Studio post-production was a key factor in why those 70s albums were so great.

[soulster]

BTW, Target will carry the exclusive version of the album with two bonus tracks.

The album hits the streets on Tuesday.

[milven]

I pre-ordered mine and should have it by Tuesday. I think I ordered it off their site. I had to listen to the song a few times, but I like it now.

[soulster]

Aw! Too mellow. It's a frikkin' love song. Sounds too much like the crap they've been doing for the last 20 years. It's only during the ad-lib part that we even get a hint of what sounds like Maurice's vocal.

[marv2]

I loved EWF back in the 70's but do you think people can still relate to their music and sound in 2013?

[soulster]

I do! The retro sound is "in". Witness the recent wild success of hits by Bruno Mars, Daft Punk, Black Sabbath, Robin Thicke, and Justin Timberlake. Only someone out of touch with today's mucic scene would not know this. If this new album [[and we have only heard the first single) really takes us back to the 70s, they could pull out a hit album that they haven't had in literally decades!

[marv2]

I do! The retro sound is "in". Witness the recent wild success of hits by Bruno Mars, Daft Punk, Black Sabbath, Robin Thicke, and Justin Timberlake. Only someone out of touch with today's mucic scene would not know this. If this new album [[and we have only heard the first single) really takes us back to the 70s, they could pull out a hit album that they haven't had in literally decades!

I am almost totally out of touch with today's music scene. I am not ashamed to admit that.

[soulster]

I am almost totally out of touch with today's music scene. I am not ashamed to admit that.

Why? Why are people proud of musical ignorance?

Well, anyway, i've been back into contemporary pop for the last three years, and I like most of what I hear. I always try to keep one ear to the street to keep on top of what is going on. There is good [[subjective) music everywhere. Why limit oneself?

[Jerry Oz]

I love EW&F but I think the best that they can hope for with a great album is for their fans to purchase it and perhaps a few enlightened youngsters. They're kind of like Maze in that people that are hip to them love them and others seek the sound of the day without the patience to listen to music with substance. I like the single, by the way [[I miss horns in vocal music) and plan to download the album soon.

[soulster]

here's the full album. me no like. Too much of the same crap they have been putting out over the couple of decades. Nothing 70s about it. I'll pass. None of the little goodies and dynamics that made them great. No crossfades. No crazy horn progressions. No funk. Lots of other things are missing from this album like their classic sound signatures: keyboards, and the KALIMBA!

http://music.yahoo.com/blogs/stop-th...130632630.html

[Jerry Oz]

To be honest, "All In All" was such a great album [[as was "That's The Way Of The World") that it was nearly impossible for me to love anything that they did later. I think their best stuff was on those records and unless it was better, I wasn't going to have the same appreciation for it. This especially held true for their '80s stuff. That's probably unfair, though.

[soulster]

After 1977 it got spotty, didn't it?

[Jerry Oz]

Yeah, but they set the bar high. After a perfect 10, even scoring an 8 doesn't seem quite as impressive. And as much as I like them, they'd rate about 7 since those two records. I didn't like "I Am" as much as many others did because "Boogie Wonderland" is one of my least favorite songs [[ever).

[marv2]

Why? Why are people proud of musical ignorance?

Well, anyway, i've been back into contemporary pop for the last three years, and I like most of what I hear. I always try to keep one ear to the street to keep on top of what is going on. There is good [[subjective) music everywhere. Why limit oneself?

I am not proud of it. I just don't care about a lot of today's music.
I still love music however. I like John Legend's stuff, Alicia Keys, Miguel etc.

[Jerry Oz]

Curiously, I find it easier to listen to modern country music than pop or any type of "urban" music. I wish modern R&B was not as slickly produced and I wish the pop music didn't try so hard to bite off of what used to be conventions of black music [[inflections, slang, delivery, pseudo-urban rhythms). Don't try to sound soulful; BE soulful. If you're white and you want to know how it's done, listen to Darryl Hall. Oh, and I miss guitars [[any kind of guitars) and horn sections.

[chidrummer]

EWF was on Home Shopping Network [[?!!!) last week promoting this release. They played a handful of the tracks live. The band was in full effect. The new tunes are going to have to grow on me.

[soulster]

EWF was on Home Shopping Network [[?!!!) last week promoting this release. They played a handful of the tracks live. The band was in full effect.]

How embarrassing.

[Jerry Oz]

Wow. I wonder if I can book them for a Christmas party over my sister's house...

[timmyfunk]

So there is a site where you can listen to the whole album. That is a relief. I want to support new efforts by all of my musical heroes. But their albums since Powerlight has just been one continuous let down after another. Even their 1988 album Touch The World was pretty uneven and thin.

[soulster]

So there is a site where you can listen to the whole album. That is a relief. I want to support new efforts by all of my musical heroes. But their albums since Powerlight has just been one continuous let down after another. Even their 1988 album Touch The World was pretty uneven and thin.

Then you probably won't like this one much, either:
http://music.yahoo.com/blogs/stop-th...130632630.html

[skooldem1]

Honestly, In my opinion, EW&F is just a former shell of itself. They haven't been EW&F for many years.

[soulster]

Honestly, In my opinion, EW&F is just a former shell of itself. They haven't been EW&F for many years.

Not since the 90s, IMO. The last real album they made was "Millennium".

Anyone besides me notice that they returned to their former label, Sony, with this new album?

[timmyfunk]

Well, I gave the entire album a listen. Pretty solid. More solid than anything I've heard from them in 20 years.

I guess that's the problem with having a truck load of hit albums and singles. You'll always be judged against your most successful work. Stevie, P-Funk, EWF, they all have to fight against their own best work. Sade seemed to be one of the few artists that escaped that dilemma. Soldier Of Love was a good as anything from the 1980's.

[Jerry Oz]

I think great acts have to consider whether they will tweak their sound or reinvent it over time. To remake the same music is to become stale, but to change your sound wholesale is to risk alienating your fans. Remember when Larry Blackmon took Cameo from a 13-member band to a four member band? The horns were gone, the sound was much leaner, but the band still had great music [["Word Up", "Style", "Flirt", "Candy", and [[my favorite) the underappreciated "Skin I'm In"). Great move on his part, but risky.

I'm not sure how EW&F was supposed have the '80s equivalent of their '70s albums but I unfairly thought that they would and was let down when they failed in that regard. It would simply not be EW&F if they pared the group to just a few core members. I should probably listen to the '80s albums again to see if they actually were ahead of the time and my tastes. If I forget my displeasure from the first time that I listened to them, I probably will find songs that I should have played more often.

[soulster]

I think great acts have to consider whether they will tweak their sound or reinvent it over time. To remake the same music is to become stale, but to change your sound wholesale is to risk alienating your fans. Remember when Larry Blackmon took Cameo from a 13-member band to a four member band? The horns were gone, the sound was much leaner, but the band still had great music [["Word Up", "Style", "Flirt", "Candy", and [[my favorite) the underappreciated "Skin I'm In"). Great move on his part, but risky.

Actually, the transformation started with the "Alligator Woman" album in 1982. By 1983's "Style" album, the transformation was complete, but many people don't seem to remember that album, as they don't remember "Single Life", with the excellent "Attack Me With Your Love" and "A Goodbye", both singles.

The reason many R&B bands whittled down was because the budgets the labels gave them got severely cut back, So, in order to survive, the bands have to cut the payroll. It just so happened at a time when the trend was a stripped-down sound anyway. Prince was leading the R&B pack with this. Ray Parker, Jr. was a one-man-band. The days of the 11+ band was over, unless you were a pop/rock artist who commanded bigger budgets, like Phil Collins. Chicago, their former label mates, made it work with fewer members in the 80s.

I'm not sure how EW&F was supposed have the '80s equivalent of their '70s albums but I unfairly thought that they would and was let down when they failed in that regard.

Unless it's a typo, i'm not sure what you meant with what I highlighted in your quote. Pjilip Bailey said that they wanted to make an album that represented what they did in their heyday. Now, maybe he didn't go back any further than "Let's Groove" or "After Love Has Gone", and that's why we don't have an album that represents the best of what people loved about them, like "Sing A Song", "Shining Star", "That's The Way Of The World', or even "Fantasy". The sound of EWF in their glory days was very dynamic. Nothing on any one albums sounded the same. The songs were in a higher key, there were lots of chord progressions, unusual arrangements...now they just sound like a bunch of old men trying to sound funky.

It would simply not be EW&F if they pared the group to just a few core members. I should probably listen to the '80s albums again to see if they actually were ahead of the time and my tastes. If I forget my displeasure from the first time that I listened to them, I probably will find songs that I should have played more often.

No one is saying they should have expanded their members, but I do go back to their albums from time to time, and I just cannot get the feel after "Faces". Maurice White had been quoted many times about how he just got burned out around that time, and only kept going to fulfill the contract. Bailey wanted out because he and White had differences of philosophy and direction. The horn section wanted to do other projects.

I listened to this new album again and decided that it's not a bad album if you forget it's supposed to be EWF. Unfortunately, they did set the bar very high in the 70s.

[daddyacey]

"The reason many R&B bands whittled down was because the budgets the labels gave them got severely cut back, So, in order to survive, the bands have to cut the payroll. It just so happened at a time when the trend was a stripped-down sound anyway. Prince was leading the R&B pack with this. Ray Parker, Jr. was a one-man-band. The days of the 11+ band was over, unless you were a pop/rock artist who commanded bigger budgets, like Phil Collins. Chicago, their former label mates, made it work with fewer members in the 80's."

That is ONE of the reasons, however..... The main reason is that technology in the form of MIDI ,Synthesizers ,the cost reduction in using those tools and sample sounds made it cheaper to support those groups in the live and touring support of those groups and those recordings. The record company made money off the recordings as far as sales. Artists and groups make money from performing those recordings live. 3 keyboards could replace a horn section and percussion other than live drums. Prince and Stevie for example had mastered the art of simulating the full band sound through electronics in composing and recording but when playing live used ,to a lesser extent ,some real horns and other real "analog" musicians and instruments. The new-jacks of today claim that they are trying to bring back the quality of "Old School" Funk and R&B/Soul , but they are in fact trying "Emulating" a sound that included the attack and "punch" of a real trumpet ,trombone played by a human, the sound of the pluck and sliding of a finger sliding up and down the fret of a bass or guitar, the actual "kick" of the foot of a master musician on a pedal of the bass drum. It's just FUNKSOULR&B in a can , sex with a condom.
Just because one knows and respects the feeling between the two don't make them ignorant in regards to music. There is just a higher standard that some have to compare to. You can't put Bootsy ,Jamerson or Sylvers etc in a can. You can't put Stubberfield, Benny B ,Buddy Miles etc, in a can. You can't put the Memphis Horns ,Fred Wesley, Wolfork etc,in a can and expect the same effect [[for those who know of them). Also , why should a VERDINE WHITE lower himself to the level of having to appeal to an audience that does not understand the instrument that he is master of ,as a result from learning from the masters that came before him? For that ,why should any artist's in that class have to?

It's not a matter of "Musical Ingnorance" , it's more so who is ignorant of the history of the music and who is willing to accept that ignorance that is prevelant in the "new music" that is produced in this market and artistic environment of today. My 26 year old daughter and her boyfriend bring me new recordings all the time ,yet I relish pulling out vintage vinyl to play and then watch their jaws hit the floor as they have me burn CD's of what I played for them.

[timmyfunk]

In other words, like that FB post that pops up occasionally:

No, it's not a generational thing. Your music really does suck.

Crude, but supremely accurate.

[splanky]

Earth Wind & Fire was the result of Maurice White's vision. Though a number of other people helped bring it to success it was Maurice who started the whole thing. When the
first edition even after some fine work from original female vocalist Sherry Scott, failed
Maurice re-grouped adding Phillip Bailey and my beloved Jessica Cleaves. They started to hit but though the critics hailed Phil they panned Jess and some say Maurice listened. By
the time of their album Head To The Sky she was reduced to supplying a back up vocal on
the title track and no leads anywhere. She left after that. Still, they continued on rising
high enough to surpass acts they used to open for, like Mandrill, largely with the aid of mentor Charles Stephney. When he passed they began to become undone and 'Rice and
Phil's differences came to the fore. Their break-up in the press was quite nasty as I remember it and personally I was quite disappointed in the things Phil was saying especially
because I know Maurice GAVE him his superstardom. After Maurice's illness became known
and they'd reformed though mostly in the studio at first all the smack talk was put aside. Still, they never fully recovered. For once I agree with skooldem, they are a shell of themselves. The shows may be a feel good experience for the nostalgic but EW&F as a
trio with pick up musicians doesn't work for me. Glad I have all of the releases I still enjoy...

[timmyfunk]

I advise everyone on this thread to seek out a piece done on EWF featured in Goldmine magazine about four or five years ago. Very....Illuminating....piece. Puts all of these posts in their proper perspective. Sorry that I don't have a link.

[Jerry Oz]

Even if they were to capture some of the magic of their '70s incarnation, they'll never recapture the '70s, which was as much a part of their popularity as their sound. Music, like everything else, has to evolve. It all comes down to survival of the fittest and unfortunately, that means giving the people what they want now [[which sometimes moves on from what we wanted then). If "we" all wanted the classic sound of EW&F, they would have given it to us years ago. Therefore, it must be determined that the market for their music is a relative niche by now, the public having moved on to something else.

[GrtGzu]

Even if they were to capture some of the magic of their '70s incarnation, they'll never recapture the '70s, which was as much a part of their popularity as their sound. Music, like everything else, has to evolve. It all comes down to survival of the fittest and unfortunately, that means giving the people what they want now [[which sometimes moves on from what we wanted then). If "we" all wanted the classic sound of EW&F, they would have given it to us years ago. Therefore, it must be determined that the market for their music is a relative niche by now, the public having moved on to something else.

^This^...What Oz just said...It was about the "social culture" that was emerging as well... But I don't know if I'm all that invested anymore...

[soulster]

That is ONE of the reasons, however..... The main reason is that technology in the form of MIDI ,Synthesizers ,the cost reduction in using those tools and sample sounds made it cheaper to support those groups in the live and touring support of those groups and those recordings. The record company made money off the recordings as far as sales. Artists and groups make money from performing those recordings live. 3 keyboards could replace a horn section and percussion other than live drums. Prince and Stevie for example had mastered the art of simulating the full band sound through electronics in composing and recording but when playing live used ,to a lesser extent ,some real horns and other real "analog" musicians and instruments. The new-jacks of today claim that they are trying to bring back the quality of "Old School" Funk and R&B/Soul , but they are in fact trying "Emulating" a sound that included the attack and "punch" of a real trumpet ,trombone played by a human, the sound of the pluck and sliding of a finger sliding up and down the fret of a bass or guitar, the actual "kick" of the foot of a master musician on a pedal of the bass drum. It's just FUNKSOULR&B in a can , sex with a condom.

That is correct! But, even in the 70s, you could double an instrument, say, a trumpet and trombone and double it with delay, just as you can do with vocals. Not only can you get the same effect, but you save money.

Just because one knows and respects the feeling between the two don't make them ignorant in regards to music. There is just a higher standard that some have to compare to. You can't put Bootsy ,Jamerson or Sylvers etc in a can. You can't put Stubberfield, Benny B ,Buddy Miles etc, in a can. You can't put the Memphis Horns ,Fred Wesley, Wolfork etc,in a can and expect the same effect [[for those who know of them). Also , why should a VERDINE WHITE lower himself to the level of having to appeal to an audience that does not understand the instrument that he is master of ,as a result from learning from the masters that came before him? For that ,why should any artist's in that class have to?

Precisely! But, they use the technology anyway, and in this case, it affects the sound of these latter-day efforts by these veteran bands.

It's not a matter of "Musical Ingnorance" , it's more so who is ignorant of the history of the music and who is willing to accept that ignorance that is prevelant in the "new music" that is produced in this market and artistic environment of today. My 26 year old daughter and her boyfriend bring me new recordings all the time ,yet I relish pulling out vintage vinyl to play and then watch their jaws hit the floor as they have me burn CD's of what I played for them.

On the other hand, I accept the new sounds produced by the younger artists today. It's not what we knew, and I would not say it's inferior, just different. My preference is your preference, which is why I can just listen to the old stuff. But, in the case of this band and this album, they stated they were going to do one thing, yet they wind up in the same groove they have been in for the last two or so decades. Remember the story of Jr. Walker playing that solo for the band Foreigner? Same thing. The great sax player had gotten so deep into the disco sound during the 70s that he literally could not play how producer Mick Jones wanted, so they wound up comping the many takes of his playing and artificially turning into what they wanted. Walker had to learn how to play soulful again from that recording!

In other words, like that FB post that pops up occasionally:

No, it's not a generational thing. Your music really does suck.

Crude, but supremely accurate.

No, it's neither of those. It's about objectivity,

[soulster]

Earth Wind & Fire was the result of Maurice White's vision. Though a number of other people helped bring it to success it was Maurice who started the whole thing. When the
first edition even after some fine work from original female vocalist Sherry Scott, failed
Maurice re-grouped adding Phillip Bailey and my beloved Jessica Cleaves. They started to hit but though the critics hailed Phil they panned Jess and some say Maurice listened. By
the time of their album Head To The Sky she was reduced to supplying a back up vocal on
the title track and no leads anywhere. She left after that. Still, they continued on rising
high enough to surpass acts they used to open for, like Mandrill, largely with the aid of mentor Charles Stephney. When he passed they began to become undone and 'Rice and
Phil's differences came to the fore. Their break-up in the press was quite nasty as I remember it and personally I was quite disappointed in the things Phil was saying especially
because I know Maurice GAVE him his superstardom. After Maurice's illness became known
and they'd reformed though mostly in the studio at first all the smack talk was put aside. Still, they never fully recovered. For once I agree with skooldem, they are a shell of themselves. The shows may be a feel good experience for the nostalgic but EW&F as a
trio with pick up musicians doesn't work for me. Glad I have all of the releases I still enjoy...

I agree with most everything you said. But, the thing Stepney taught them was to tighten up their sound and arrangements. That was a big part of creating a commercial sound. Every compare the original "Shining Star" jam and the final mix? Amazing! That stripped down, funkified mix made the difference. This new album could have used a better mix and some artful editing.

Also, the band did not fall apart when Stepney passed, it was Maurice White's burnout, and the internal struggles, much of which you outlined in your post. Some of it had to do with Philip Bailey's being a christian, and Maurice White's forcing philosophies on them they they were uncomfortable with, and forcing them on trips to Egypt that they weren't interested in. The two men were on different journeys and they couldn't reconcile their differences. White was also a workaholic and spread himself too thin with tons of projects.

[soulster]

Even if they were to capture some of the magic of their '70s incarnation, they'll never recapture the '70s, which was as much a part of their popularity as their sound. Music, like everything else, has to evolve. It all comes down to survival of the fittest and unfortunately, that means giving the people what they want now [[which sometimes moves on from what we wanted then). If "we" all wanted the classic sound of EW&F, they would have given it to us years ago. Therefore, it must be determined that the market for their music is a relative niche by now, the public having moved on to something else.

I disagree. the wind is blowing back towards a more organic sound. People are sick of all this autotune and Pro-Tooled perfection. The evidence is there. It may not be R&B, but look at Black Sabbath. With their recent album "13", it's as if they picked up right where they left off in 1977. Bruno Mars is giving us the real band sound on his latest album. Hell, he;s even doing the Stupid Bowl halftime show in February.

If EWF had really gone back and given us the whole 70s experience, they could have had a hit album on their hands.

[timmyfunk]

That is correct! But, even in the 70s, you could double an instrument, say, a trumpet and trombone and double it with delay, just as you can do with vocals. Not only can you get the same effect, but you save money.Precisely! But, they use the technology anyway, and in this case, it affects the sound of these latter-day efforts by these veteran bands.

On the other hand, I accept the new sounds produced by the younger artists today. It's not what we knew, and I would not say it's inferior, just different. My preference is your preference, which is why I can just listen to the old stuff. But, in the case of this band and this album, they stated they were going to do one thing, yet they wind up in the same groove they have been in for the last two or so decades. Remember the story of Jr. Walker playing that solo for the band Foreigner? Same thing. The great sax player had gotten so deep into the disco sound during the 70s that he literally could not play how producer Mick Jones wanted, so they wound up comping the many takes of his playing and artificially turning into what they wanted. Walker had to learn how to play soulful again from that recording!

No, it's neither of those. It's about objectivity,

No, it's about the fact that many 20 and sometimes 30 somethings simply cannot understand the music of the analog age [[which didn't end that long ago). We take it for granted that these conversations are being powered by music/vinyl fanatics, not people who look at music has mere entertainment. It is no surprise that the hottest song out right now borrows heavily from 70's soul [[Blurred Lines). That new EWF album ain't going nowhere commercially, airplay or no airplay. I could expound further, but I think that it should be saved for another kind of thread.

[splanky]

@ soulster, my bad. Instead of "when" I should have said "after" Stephey passed in my
comments, besides I bought their next releases without him. My point was the toll his
departure took on the band with members including Maurice's brother Verdine stating
publicly that Charles became the glue of the group and tensions increased when he was gone...
Anyway, I've been listening to nothing but EW&F since this morning and realise I'm going
to have to tax my budget again. Not for the new release, though. I just found out today
that 2 albums I already have were reissued each with bonus tracks I didn't even know
existed. Spirit and Open Our Eyes with 3-5 tracks each I have to hear and have since each were stellar releases. Of course I might have wet myself if I found any bonus tracks on any
album with Jessica Cleaves but Heaven doesn't grant every wish...

[Jerry Oz]

EW&F was on "CBS Sunday Morning" today. Their event on QVC sold 10,000 albums in 90 minutes and was seen by as many as a million people. It kind of played out as a "where are they now" feature as opposed to an update on the new album. They talked about how they're still touring heavily and how Maurice's health affected the band in the '90s. I'm pretty sure you can catch the feature on CBS News' web site.

[soulster]

No, it's about the fact that many 20 and sometimes 30 somethings simply cannot understand the music of the analog age [[which didn't end that long ago).

I can't agree with that, and it's not a fact. It's amazing how some people try to justify "our" music at the cost of denigrating "their" music.

That new EWF album ain't going nowhere commercially, airplay or no airplay. I could expound further, but I think that it should be saved for another kind of thread.

I agree it won't go anywhere, but it is because of the reasons I outlined in my above poste, not because the younger generation supposedly has no taste.

This is thread for discussing the EWF album, so expound!

[timmyfunk]

I can't agree with that, and it's not a fact. It's amazing how some people try to justify "our" music at the cost of denigrating "their" music.

I agree it won't go anywhere, but it is because of the reasons I outlined in my above poste, not because the younger generation supposedly has no taste.

This is thread for discussing the EWF album, so expound!

You are giving casual music listeners way too much credit. 1970's/80's era R&B/Soul/Funk is as foreign to today's music fans as chemistry is to first graders. EWF's new album will be totally overlooked by most Classic Soul radio stations simply because they can't bring themselves to play something that alien in the age of Pharrell and Nicki Minaj.

[soulster]

You are giving casual music listeners way too much credit. 1970's/80's era R&B/Soul/Funk is as foreign to today's music fans as chemistry is to first graders. EWF's new album will be totally overlooked by most Classic Soul radio stations simply because they can't bring themselves to play something that alien in the age of Pharrell and Nicki Minaj.

And, you don't give them enough credit. I think you are speaking for them through your own biases.

[zebop]

I hate to put the kibosh on their commercial plans but I don't think this is going to fly off the shelves, etc, I just don't.

At its best EWF was about taking risks, melodically, song structure wise--and there's not much risk here. I think they are too afraid to make a hard-core EWF album so they bowed to the pressure of sounding "contemporary" and recording on the new equipment vibe was lost.

As for this three -man act such, it's a bit depressing. I wonder what happened w/ Sheldon Reynolds. In my opinion if Maurice can't sing, I wouldn't mind a baritone/tenor to sing with them. I will say I'm very glad to see Larry Dunn was involved...

[timmyfunk]

And, you don't give them enough credit. I think you are speaking for them through your own biases.

I'm not speaking for anyone other than myself. Based on the day to day dealings with co-workers and other younger associates, I can tell you that their knowledge of anything that came before them is almost embarrassing.

Let me be clear here: the pop music of the new millennium isn't geared towards people 45 and up. It is clearly directed at the 20 somethings who want their music conveniently packaged and presented to them. I am well aware that this music is not for people of my age group. So I have no reason down grade this music. I know it's not for me and I have no problem with that fact. I moved on from that reality a long time ago.

[theboyfromxtown]

http://www.ents24.com/uk/tour-dates/earth-wind-and-fire

Brits have a chance to see them too. Rumour has it that Honey Cone member Shelly Clark will be joining her husband.

[soulwally]

Lightening up a bit, I think Earth, Wind & Fire is an unfortunate name for what is now a three-member band. Which one is Wind?

[theboyfromxtown]

Lightening up a bit, I think Earth, Wind & Fire is an unfortunate name for what is now a three-member band. Which one is Wind?

Soulwally
That made me laugh!

[soulwally]

Soulwally
That made me laugh!

I remember back in the 80s Graham Gouldman teamed up with Andrew Gold. The picture sleeve of one of their singles pictured the two of them together, with the words 'Ball and Chain' boldly displayed. That was the title of the single, not the name of the act [[who were called Wax).

[tsull1]

I just bought the CD and am greatly enjoying it. The first five songs are excellent. I really like "My Promise" and my favorite "Guiding Lights" -- I can always count on EWF for inspirational tunes.

The album tails off a bit the last few songs, some so-so instrumentals and so forth. Overall, however, I'm greatly pleased with the album. The 2005 album with guest stars had about 3 or 4 good tunes, the rest were throwaways, in my opinion.

Is the latest "That's the Way of the World" or "Spirit" [[my favorite) or "All N' All"? No, and 25/30 years later I wouldn't expect it to be. But it's a fine effort and for this EWF, it created some excitement for me when I picked it up.

I think it's definitely worth getting ... the production is very good, too.