Earth Wind & Fire had one important thing in common with a lot of 50’s and 60’s era black groups. Their creative and commercial momentum developed in a slower way. In their case,it seemed to be the more artistic reasons that played into this earlier on. Maurice White retained only brother Verdine on bass when he left Warner Bros. for Columbia. Their 1972 debut for the label Last Days And Time featured Ronnie Laws, the Friends Of Distinction’s Jessica Cleaves and Roland Bautista. But also introduced Philip Bailey, Ralph Johnson and Larry Dunn-the first two of whom are still the core of the band to this very day.
After that label debut that was still somewhat in the mold of the bands two Warner Bros. albums,the band regrouped still further. Ronnie Laws and Roland Bautista left. This opened the door for successors Al McKay,who’d played with Charles Wright as well as Andrew Woolfolk on soprano sax and an additional guitarist in Johnny Graham. Still retaining Cleaves for the time being,the band released their second Columbia album Head To The Sky. It has a somewhat unique sound for them as it has their renowned slick production, but retains a lot of their more experimental musical elements. In terms of funk,it’s the song “Build Your Nest” that really stands out for me on this album.
The song actually fades in with it’s intro. Musically the intro is a round,expanding wah wah guitar with a light and lilting Clavinet in the back round. A grimy guitar solo gets the main groove of the song going. The rhythm is based around a slower swinging funk-heavy on cymbal and with a strong brushing sound. The bass has a very gruff and brittle wah wah going about it while the rhythm guitar has that percussive James Brown flavor. Organ and Rhodes piano occasionally accent this thick musical bed. On the melody,there’s a descending chord that takes the main melody into a much higher key. The song returns to it’s main choral theme as it fades out.
When I first read about the Head To The Sky album in the Allmusic guide in the early 90’s,it was described as having some of the best uptempo songs the group ever made. That’s a big statement to make for sure. But this one is still very distinctive for them. First and foremost because it’s one of the few (if any) 70’s EWF funk numbers that succeeded without the presence of a single horn,let alone a horn section. The rhythm section entirely carries the groove. Lyrically the song allows Maurice to illustrate how important it is,especially for black couples,to fight for and maintain a happy domestic life. On that level,it’s actually one of my favorites of EWF’s earlier funk numbers.