Tag Archives: Verdine White

Anatomy of THE Groove: “Love’s Holiday” by Earth Wind & Fire

Earth Wind & Fire’s 1977 album All ‘N All is about to celebrate its 40th anniversary this coming autumn. Today however, wanted to pick one particular song from this iconic album to talk about. And for a very special reason. Raised in Kentucky, Johnny Graham started out playing the trumpet as a child. And moved to guitar as a teenager. While touring with the new birth, Graham got contacted by Maurice White. Apparently some of the New Birth members had told White how great a guitarist Graham was. And White wanted Graham as one of his guitarists in his rebooted edition of Earth Wind & Fire.

That reboot edition of EWF debuting on Head To The Sky became basically the bands classic 70’s line up. Graham, who turns 66 today, provided a strong amplified blues flavor to EWF during its salad days. And his guitar solos on songs such as “That’s The Way Of The World” essentially added that musical element of earthiness present in their name. Another such solo turned up on the song that closes the first side of the original LP of the All ‘N All album. And a song that’s become album cut by many admirers of the band. The name of the song is “Love’s Holiday”.

A thick,cymbal heavy drum count comes in with the Phenix Horns playing a beautifully jazzy unison horn chart. Than Al McKay and Verdine White’s bass/guitar interaction comes in with the Ralph Johnson’s drum clipping along at approximately 72 beats per minutes The horns, including a muted trumpet play an accessorizing part along with very faint strings in the back round. And especially on the climbing B-section to the chorus, Philip and Maurice’s sing right along with them. Graham’s guitar solo comes in on the closing refrain-playing call and response with Maurice White’s vocalese.

“Love’s Holiday” is an example of that literal “slow jam” that EWF had been perfecting during their years with Charles Stepney and beyond. It would extend from songs like “Devotion” up through “Be My Love” from the early 80’s. By the time of this song in 1977, the band and its many musical collaborators had this densely arranged jazzy funk/soul sound down to a science. Comedian Steve Harvey even singled out this particular song as an example of what “real music” sounded like. Its one of the most melodically and harmonically beautiful ballads to emerge out of the funk era in the 1970’s.

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Anatomy of THE Groove: “Time” by Deniece Williams

Deniece Williams was born in Gary,Indiana-also the home town of the Jacksons. And is very close in age to the musical family’s eldest member Rebbie. Very much like EWF’s late founder Maurice White,she initially had her eyes on the medical profession-in her case in becoming a nurse and anesthetist. She dropped out after one year at Morgan State University in Baltimore. She then recorded as a singer for a number of small labels until she joined Stevie Wonder’s band Wonderlove during the early 70’s.

After leaving Wonderlove in 1975,she released her solo debut This Is Niecy on the Columbia label,in the company of Maurice White and much of the Earth Wind & Fire musical crew. Her epic song “Free” really broke her into hit status,even getting her an appearance on Soul Train. She continued her association with EWF on through her followup album in 1977’s Song Bird. Discovered the album last year in the vinyl bins and became really entranced with every song on it. One particular song from the album that got my attention was the opening song entitled “Time”.

The Phenix Horns are fanfarring call and response style with the marching call like drum breaks on the intro of the song. After that,the entire musical flavor of the song thickens up with this big rhythm with a three note snare drum hit around the middle. Al McKay’s heavily reverbed guitar and Verdine White’s extended bass runs play musical hide and seek with Niecy’s vocals along with Larry Dunn’s electric piano and the Phenix horns. While the chorus merely changes the chord of the refrain a bit higher,the final part of the song finds the drums playing a more stop/start beat until it all fades out.

“Time” is the kind of intricately structured song EWF delivered in such a consistent,well oiled way during their mid/late 70’s salad days. Williams’ high and often quite loud voice literally does seem to sour and fly in her fine gospel drenched style throughout the entirety of this song. EWF were a band who had mastered their ability to be highly daring musically,often very jazzy and still leave room to accomodate singers with big voices. Like The Emotions,Deniece Williams was another such singer. And this song was a total funk triumph for her in her years recording with the members of EWF.

 

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Anatomy of THE Groove: “Turn It Into Something Good” by Earth Wind & Fire

Earth Wind & Fire generally didn’t depend too much on outside songwriters and producers-unless of course their names were Skip Scarborough or Charles Stepney. They were more musical insiders who assisted the band just out from under foot. By the time of 1979’s I Am, Maurice White was producing most of album with David Foster. With the following years Faces, they were out to make a double album set of all new studio material. So outside songwriters on this album included Brenda Russell and Valerie Carter.

Carter passed away at the age of 64 yesterday,having apparently spent some years struggling with drug addiction. A prominent songwriter/backup singer who recorded a handful of solo albums in the 70’s,she worked primarily with other singer/songwriters. In particular James Taylor.  She also made two major contributions to the funk/soul genre. She composed a  now rare B-side for the Brothers Johnson in 1984 called “Deceiver”. Five years earlier,her contribution to the songwriting for EWF on their Faces album came in its second track entitled “Turn It Into Something Good”.

A medium tempo,conga clav laden Carbbean funk drum line lays the foundation for the rhythm of the entire song. Right from the start. In full interplay within this mix are the brittle,melodic guitar of Al McKay with Verdine White’s exploratory,rhythmic jazzy bass line. Playing call and response to this are Larry Dunn on the Rhodes piano and the Phenix Horns. This represents the intro,refrain and outro of the song. On the chorus of song,the chord goes up and so does the pitch of the Rhodes as Maurice and Phillip trade off their vocals in fine style. A bass/guitar/Kalimba rhythm segues out of this song onto the next.

As the late Maurice White was quoted as saying a decade ago now,he feels the Faces album was one where EWF were really in tune with their sound. His brother Verdine called it the type of album they really wanted to cut. Valerie Carter,Maurice White and James Howard Newton all came together to create one of the greatest triad’s of songs on an EWF album-with this one sandwiched between the heavy funkiness of the opener “Let Me Talk” and “Pride”. This song mixes the Caribbean/Calypso flavor with a poppy funkiness that goes with one of EWF’s classic empowering message songs for a decade of many challenges.

 

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Anatomy of THE Groove: “Sing A Song” by Earth Wind & Fire

Earth Wind & Fire really came into its own when adding New Orleans born guitarist Al McKay in 1973 for their fourth album Head To The Sky. As Verdine White himself put it, McKay was already well known among musicians for his work with Sammy Davis Jr. and the Watt’s 103rd Street Rhythm Band by the time he joined EWF. This all came together to allow McKay to bring the strong pop element Maurice White was looking for. Al McKay was also another rhythm kind in the band. And that made brought him into close musical interplay with Verdine White and drummer Ralph Johnson.

McKay left EWF in 1980 following the release of their album Faces. By that point,McKay had already co-written at least two of the bands classic hit songs. One of them came from a guitar riff that Maurice White overheard McKay working on,so the story goes. And he felt the entire band should build a song around it. The song ended up being included as one of a handful of new studio tracks on EWF’s mostly live album Gratitude  from late 1975. Its one of those EWF songs that most people know by heart,and that includes myself. The name of it is “Sing A Song”.

An eight note bass/guitar interplay countdown opens the song. Than McKay’s main riff comes in-a thick a busy bubbling melody with Verdine scaling upwards on bass right next to him. The upbeat,sunny drums and the Phenix horns accent these instrumental parts. The Phenix horns do exactly the same thing for the vocal exchanges between Maurice White and Philip Bailey on the refrains. On the chorus,Larry Dunn’s Moog plays a variation of Verdine’s bass line. On the final chorus,Maurice and Phillip sing the breakdown together before an electric piano,the Moog bass and Phenix horns fade it all out.

Everything about this song literally seems to be singing. The Phenix horns with their brassy vibrato and Al McKay’s liquid rhythm guitar throughout this song give it an enormous vocal quality along with Maurice White and Phillip Bailey. The rhythms and bright melodies have some of the “united funk” era’s heaviest sense of gospel style joyousness to it. Having known a lot of people who’ve complained the lack of “genuine emotion” in music,this song takes the cake in terms of true happiness,and the power of music during the 70’s funk era to get to you sing a song to make your day.

 

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Anatomy of THE Groove: “Biyo” by Earth Wind & Fire

Earth Wind & Fire’s eighth studio album Spirit is an album that did a lot to help me to personally conceive of #1 hit funk in terms of an album medium. It celebrated its 40th anniversary this year. And I’ve already covered the album itself here. First purchased it on a cassette tape about 22 years ago. At that time,I remember fast forwarding through it to get to funkier songs. Upon upgrading to a CD copy a year or so later,it became clear that this was one of those very special funk era albums. Each time I listen to these songs,they improve like fine wine with each listening. Almost to the point of transcendence.
One member of EWF,who joined up on the bands fourth album Head To The Sky in 1973 was Andrew Woolfolk. This multi reed player primarily played soprano sax within EWF. As he describes it in the documentary on the band Shining Stars, the elements that he added into the band came from the jazz and funk side. He enjoyed a strong,melodic groove. He also loved to improvise in such cases too. Throughout the years,he’s done just this on many of EWF’s most popular and enduring songs. One song from the Spirit  album that amazes me to this day is the Maurice White/Al McKay composed instrumental “Biyo”.
Larry Dunn’s glassy space funk synthesizers open the song before the opening fanfare kicks in. Its full on drums,Afro Latin percussion,Verdine White’s pumping bass line,McKay’s percussive rhythm guitar and the Phenix Horns running on their usual adrenaline. Verdine’s echoed five note bass slap,Maurice’s four note Kalimba melody and Johnny Graham’s bluesy guitar accents make up the refrains. Four members of the band get a chance to solo. Woolfolk does twice-starting and at the end. Graham and Dunn do a solo that dovetail right into each other before Maurice’s Kalimba solo before its fade out.
Earth Wind & Fire added many instrumental interludes/bridges to the albums from their late 70’s crossover period. But for me this is the finest full instrumental based on their sound of that time. The production and recording is a fine example of the band making some of the best recorded funk of that era. Its a melodically and instrumentally busy number with a lot going on sonically. But the powerful Afro-Caribbean funk arrangement still leaves enough room for several amazing solos to interlock with each other. And as a showcase for Andrew Woolfolk,its one of his shining moments of the mid/late 70’s.

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Filed under 1976, Afro-Cuban rhythm, Al McKay, Andrew Woolfolk, drums, Funk Bass, instrumental, Johnny Graham, Kalimba, Larry Dunn, Maurice White, percussion, Phenix Horns, rhythm guitar, Saxophone, space funk, synthesizer, Verdine White

Anatomy of THE Groove: “Gratitude” by Earth,Wind & Fire

Verdine White was just 19 when he took up his brother Maurice’s offer to join his then new band Earth,Wind & Fire in LA. It may have very well been the best choice Verdine ever made in retrospect. He once discussed feeling he’d make it big for sure having met Richard Roundtree and Jimi Hendrix upon arrival. The next six year’s found the band paying their dues for the massive crossover success their funk got in 1975 with “Shining Star and the That’s The Way Of The World album. Verdine is 65 today,and sadly his brother Maurice isn’t here for the event. Still whoever lives or dies,the funk is its own reward.

During this period of working closely with Charles Stepney,EWF were on the road constantly on their first massive tour-one that included visual illusions from Doug Henning and David Copperfield. They didn’t have time to record a full studio album so they released a double album-consisting mostly of the best live renditions of their songs up to that point from their touring. There were also five new studio tracks-the two most successful being “Singasong” and “Can’t Hide Love”. The album was another major smash hit too. One track Verdine participated in as a writer was the title song ‘Gratitude”.

Larry Dunn and Verdine start off the song with a close walk down on Fender Rhodes and bass,until a muted horn breaks into the full horn charts that begin the main song. The drums have a slinky,rather slow tempo with the Rhodes,slap bass and the horn charts accenting Maurice White and Philip Bailey’s vocal turns. Al McKay plays some occasional rhythm guitar licks and,as the song progresses Johnny Graham takes turns with his amplified blues licks.Before the song fades out, the melodic pitch goes up for it’s last couple of choruses.

Musically speaking,this song is a heavy stripped down funk relative to the more filled out “Shining Star” and 1976’s “Saturday Night”. This makes sense as it was made exactly between the two. It epitomizes EWF’s funk sound while Charles Stepney was involved in their production. It had the slickest studio based variant of that ultra bluesy Chicago style funk. With the studio hits off this generally live album were huge successes,this title song seems to be a bit neglected. And that’s interesting because it’s the heaviest funk among the albums five studio tracks. Any way around it,Verdine’s bass is a major star of the show.

 

 

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Filed under 1970's, Charles Stepney, drums, Earth Wind & Fire, Fender Rhodes, Funk, Funk Bass, guitar, horns, Johnny Graham, Larry Dunn, Maurice White, Phenix Horns, Philip Bailey, Verdine White

Anatomy Of THE Groove: “Let Me Talk” by Earth Wind & Fire

Earth Wind & Fire are one of those funk bands who included two guitarists and two drummers. In terms of the latter,there was Maurice White’s brother Fred and their main drummer Ralph Johnson. Johnson for his part is still an active part of EWF to this very day. Upon seeing him interviewed,he discussed his close instrumental relationship with the bands bassist (also still actively involved) Verdine White. He stated that if he didn’t play drums,he’d have been a bass player due to his close musical relationship with rhythm. And rhythm remains one of the key elements of the Earth Wind & Fire sound.

After an enormous run of successful hits from 1975-1979,Earth Wind & Fire were likely the most popular band of that time period. At the strong encouragement of Maurice White,the band traveled to Egypt among other locations the world over. When they returned to record their next album,music and not sales figures was foremost on their mind. So they cut a musically elaborate double album in 1980 entitled Faces. While it had their signature melodic sound,the rhythms were major game changers for them. The opening song really emphasized this,and it was one that Ralph Johnson co-wrote: “Let Me Talk?

Larry Dunn’s deep bass synth tone begins this song. What accompanies it are the Phenix horns riffing at hyper-speed through the musical magic of a sped up tape loop. The rhythm behind this is the same as  the refrains: a danceable Afro-Brazilian samba deep in the Latin clave. As the rhythm guitar and glistening synth accents play along with the horns and vocals,the bass hugs the rhythm tightly. On the choruses,the beat becomes more conventionally funky/pop-with synth bass taking a strong roll. That musical pattern continues throughout  this song until a quirky bit of recorded conversation concludes it.

“Let Me Talk” begins an album that Verdine White describes as them thinking “let’s cut something we wanna cut”. It was actually one of Maurice White’s personal favorite albums by EWF. And this song begins the album with a bang. With it’s Afro-Brazilian/Cuban rhythms and percussion,it’s structurally somewhat closer to the type of song EWF would’ve done in 1973-74. It still has their melodic pop craft that developed later further later in the decade though. Ralph Johnson and Al McKay wrote a song together here. And the rhythms of the song really showcase their instrumental interactions.

Thematically, Maurice and Philip Bailey make this song a lyrical dialog  about America’s escape from the beauty of and attention to blackness as the 1980’s began. Maurice is saying that a message burns within him everyday,while Philip’s part has him countering with a request to “play your role just as you’ve been told. As I write this,America is still embroiled more than ever in this attempt to deny the potency of black culture within and without it. And for both Independence Day and Ralph Johnson’s 65th birthday,its just the right funky “people music” to project for this time and place.

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Filed under 1980's, Afro Funk, Afro-Cuban rhythm, Afro-Latin jazz, Afrocentrism, Al McKay, clave, drums, Earth Wind & Fire, Funk Bass, horns, Larry Dunn, Maurice White, message songs, percussion, Philip Bailey, Ralph Johnson, rhythm guitar, synth bass, synthesizer, tape loops, Verdine White

Anatomy of THE Groove: “Skippin” by Ramsey Lewis

Ramsey Lewis always kept close connection with Earth Wind & Fire during the mid/late 70’s. The band were technically his musical child-being formed by his former drummer Maurice White.  Ramsey’s 1975 album Don’t It Feel Good and it’s 1976 follow up Salongo had both been produced by Charles Stepney,who shared production credits with Ramsey and EWF over the years. Of course Stepney died later that same year. Ramsey compensated by giving EWF keyboard player Larry Dunn a try at the production side of a few cuts on his second album of 1977 entitled Tequila Mockingbird.

Personally I was first made aware of the song “Tequila Mockingbird” itself due to it’s appearance on the CD compilation set called The Electric Connection about a decade ago,after picking it up at a record store in Burlington Vermont. A couple years later,my personal fixation on mid/late 70’s Ramsey Lewis and it’s funky sounds led me to seek out the album itself. One of the songs on it instantly got my attention and featured  most of the EWF musicians as it’s rhythm section-similar to the Sun Goddess from a few years earlier. The name of the song was called “Skippin”.

A drum kick from Fred White and a revved up guitar from Al McKay open up the song. The the drums are joined by Philip Bailey’s conga drums for an uptempo Brazilian rhythm Ramsey plays a horn chart like melody on his mini Moog-accompanied by Eddie Del Barrio’s arranged flute call and responses. McKay’s guitar and Verdine White’s bass provide potent accompanied. On the refrains,the settles settles down into an EWF style groove with Ramsey’s orchestral synthesizers. Del Barrio’s orchestration leads out into the next chorus of the song.

The bridge of the song comes after this second chorus. It starts with a Ramsey up-scaling on the Fender Rhodes-with Verdine playing the changes on slap bass. A high pitched tone on the Yamaha electric piano ushers in a third chorus. This time Ramsey’s plays one of his Chicago hard bop/soul jazz piano solos. He tickles the ivories into another who refrain. This one is defined by Ramsey orchestrating synthesizers around Del Barrio’s call and response woodwinds and Bailey’s percussion. The song goes back to the original chorus that started out the song as it fades out.

“Skippin” is a wonderful example of melodically simple,yet instrumentally complex Brazilian jazz/funk. The charts normally played by EWF’s Phenix Horns come by way of breezier woodwind instruments. Most important though is Ramsey’s use of chorally arranged synthesizers-which seemed to be the way to orchestrate in the late 70’s with Euro-disco and emerging new artists such as Prince. Larry Dunn exhibits a clear understanding of the qualities that Charles Stepney. He bought in Stepney’s sense of melodic ease with a funky rhythm section for “funk sweet as funk can be” for sure!

The reason this song got my attention was realizing I’d heard it before-in a very peculiar place. On Bangor Maine’s local NBC affiliate WLBZ,local TV personality Eddie Driscoll had utilized “Skippin” as the theme for his program The Grover Swale Show. Portrayed by Driscoll himself,Swale was a buck toothed flannel shirt wearing Maine salt type character. It really goes to show how a song with such a string singable melody can easily become a TV theme for somebody,somewhere. Upon hearing the song in it’s native context however,”Skippin'” really epitomizes Ramsey Lewis’s late 70’s jazz/funk approach.

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Filed under 1970's, Al McKay, Brazilian Jazz, drums, Earth Wind & Fire, Eddie Del Barrio, Fender Rhodes, flute, Fred White, jazz funk, Larry Dunn, Maine, Moog, percussion, Philip Bailey, Ramsey Lewis, rhythm guitar, slap bass, synthesizers, Verdine White

Anatomy of THE Groove: “Sun Goddess” by Ramsey Lewis with Earth Wind & Fire

Don Myrick,the tenor saxophonist for Earth Wind & Fire’s Phenix Horns from 1975 to 1982,passed away over twelve years ago. Today would’ve been his birthday. He played solos on key songs such as Phillip Bailey’s vocal showcase on the live rendition of “Reasons” on the bands Gratitude  album,as well their 1979 hit “After The Love Has Gone”. The mans way with jazzy harmonics was by no means limited to ballads. Myrick first met Maurice White as members of the Chicago band The Pharaohs-which also included future Phenix Horns trombonist Louis Satterfield. And it all came together for White and Myrick through the man that got Maurice’s career going to start with: Ramsey Lewis.

It was actually on EWF’s Gratitude album that I first heard the song “Sun Goddess”. It was a live version where Maurice announced that they were going to perform a song  they’d done with Ramsey Lewis. I knew of this windy city soul jazz piano master from my father playing his Don’t It Feel Good album on vinyl for me around the same time. Just before I wrote this,Henrique Hopkins informed me that the studio version of “Sun Goddess” was basically an afterthought jam. And he and EWF felt the song off the album of that same title would be “Hot Dawgit”. But in the end this song ended up redefining Ramsey Lewis as a major player on the 70’s jazz funk scene.

Johnny Graham just strums away on a thick,rhythmic guitar on two chords-going up and down note wise. Verdine White supplies the thick yet metronome like bass.. Maurice himself kicks in the song on bass drum before Phillip Bailey’s conga’s kick in. Charles Stepney himself adds both the ARP string countering the rhythm guitar while adding a Fender Rhodes solo right along with it. On the choruses,Maurice and Phillip sing a beautifully melodic Brazilian style vocalese. On the second refrain of the song Don Myrick comes in with a sometimes squonking free-bop jazz style tenor sax solo. On the third,Ramsey comes in for his own Rhodes solo which closes out the song.

For all intents and purposes, this is an Earth Wind & Fire song instrumentally. Ramsey himself acted as an arranger and producer for it. As well as a soloist. It’s a musical showcase for the sonically beautiful tonality that funk rhythms and jazz harmonies can create when combined together by great musical talents. The sound of this jam creates such a visual impression in the mind. The guitar and keyboard orchestrations Stepney provided bring to mind the rising sun on a clear and hot summer morning,at least to me anyway. And with this combination of two talent’s (Ramsey’s and EWF’s) whom I’ve always respected,this is a reminder why funk is my main and favorite basis for music.

 

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Filed under 1970's, ARP synthesizer, Charles Stepney, Chicago, Don Myrick, drums, Earth Wind & Fire, Fender Rhodes, Funk Bass, jazz funk, Johnny Graham, Maurice White, percussion, Philip Bailey, Ramsey Lewis, rhythm guitar, Saxophone, Uncategorized, Verdine White

Anatomy of THE Groove: “Liberation” by Earth Wind & Fire

One of the things that struck me most about the 2005 (in my neck of the woods anyway) release of Earth Wind & Fire’s Illumination album is how much the social circumstances surrounding it were similar to how they’d been while EWF were in their peak period during the mid 70’s. There was an economic crisis,a resulting oil shortage and a good deal of cynicism about an unpopular war. To my thought and emotions? It was the perfect time for some serious funk to come in,move and than remove some of this negativity and hopelessness. And the release of this album,EWF’s final one with the participation of Maurice White was just what the doctor ordered.

Illumination was a very uptempo and funk oriented album. As with most records of it’s time,it featured a number of guest appearances. In this case from the Black Eyed Peas Will I.Am,Outkast’s Big Boi,Destiny’s Child’s Kelly Rowland,the British hip hop duo Floetry as well as Kenny G. It was very much a return to form in many ways for the band. My friend and fellow blogging inspiration Henrique already covered this albums wonderful opening number “Happy People” on Andresmusictalk. So this is dedicated as much to him as the late Maurice White-both huge inspirations in terms of this blog. One song on this album truly made the hair on my back stand up-an instrumental entitled “Liberation”.

The seaside sounds of the ocean and birds begin the song-followed by flowing wind chimes and it’s main melody on a high pitched synthesizer. This all bleeds into thick percussion punctuated by Verdine’s equally high pitched bass line. The thick rhythm guitar and piano come in as rhythmic elements. That piano and Fender Rhodes come in along with the bass line and now phase filtered percussion-providing a musical magic carpet for Philip Bailey’s transcendent vocalese. The third chorus of the song expands out into a massive chorus with everything all the elements coming together in a massive harmonic revelry.  The percussion and rhythm guitar dovetails into Bailey’s Afrocentric chanting on the outro.

It’s difficult to count how many times people in the last decade and a half cynically claim music has no power whatever to change the world. For me,this song is a constant reminder that music not only does change but is crucial to the world. The Afrocentric percussion of this song reminds me of everything from sound of a walk to the motion of a road trip down the highway. It is right in line with EWF instrumental jams such as “Africano” from 30 years before it. Not only that but it succeeds as a totally melodically hummable instrumental where even veteran soul/funk artists were no longer making them. In many ways,it’s one of EWF’s finest songs ever.

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Filed under 2005, Afro Funk, Afro-Cuban rhythm, Afrocentrism, Earth Wind & Fire, Fender Rhodes, Funk Bass, instrumental, Maurice White, Philip Bailey, piano, Uncategorized, Verdine White