Published on Jan 14, 1999
Earth, Wind & Fire defined soul and R&B in the late 70s.
The ultra-tight grooves, lush production, and falsetto vocals
combined to make “the elements” not only a commercial smash, but
also a group with real virtuosity and jaw-dropping songwriting
skills. In direct contrast to today’s soul music,
Spirit‘s tracks are distinct yet cohesive; classic in an
album oriented sense, yet still sounding fresh enough to be
contemporary. In short, these guys put current R&B/soul
wannabes to shame.
I’m always amazed at the brazen thievery performed by so-called
R&B artists these days. It’s almost cynical the way Sean Combs
steals classic hooks at will. More disturbing is the way music
consumers eat this crap up, validating Combs and his ilk as
superstars and verifying the death of originality in a genre that
needs it to stay viable. Listening to
Spirit will remind you that the real thing is still out
there, and it has nothing to do with VH1 fashion awards or MTV’s
stranglehold on cultural phenomenons.
Earth, Wind & Fire did not rely on tough posturing or simple
style to promote their sound, indeed the music speaks for itself
even 23 years later. Their uplifting message is fresh in this age
of scandal and degradation, as EW&F’s sweet harmonies and
commercial (yet complex) arrangements sound vital in comparison to
the cookie cutter hip hop beat that invariably backs virtually
every R&B song to come out in the late 1990s.
Spirit has no filler. It’s immediately apparent EW&F
concerned themselves with creating a quality album rather than a
collection of one or two singles surrounded by garbage. Each track
sounds painstakingly constructed while retaining the fluidity that
is the hallmark of accomplished writers. Unfortunately the shift
from real albums to singles oriented music has by now affected
every popular genre; a symptom of the record industry’s mandate to
make money immediately and satisfy the share holders now that major
and independent labels are always somehow tied into
mega-conglomerates that have their talons in every media outlet.
Anyway…
“Getaway” opens the album, and is a landmark funk tune anchored
by Verdine White’s impeccable bass figure. Horns blast and there’s
a feeling of ecstatic release in the pristine vocals that float
high above the mix. The track is dense with percussion, yet there
is a feeling of open space. Ah, the miracle of good production. “On
Your Face” suggests we cannot live a lie…unhappiness inside is
bound to show on your face. Within the song the message sounds
neither corny nor self conscious (another striking difference
between today’s music, which is so utterly self conscious as to put
the kibosh on guitar solos or any other avenue that might showcase
a talent).
The lush ballad “Imagination” flows with the beautiful harmonies
of EW&F. Strings add a critical sentimentality and are a large
factor in this song’s success. I’m not usually inclined to ballads,
but it’s hard to ignore the perfect production. It’s one of those
songs that listeners can find something new within each time they
hear it. The title track is another ballad, expressing positivity
and unity within the framework of love. “Spirit” features Philip
Bailey’s incredible falsetto.
“Saturday Nite” joyously celebrates hanging with friends, and
the drama associated with human interaction. Laughter peppers the
track as if to solidify the feeling that these guys had a lot of
fun making the album. It’s actually pretty common funk fare, but
the vocals and tight sound puts “Saturday Nite” in the upper
echelon of party tunes. I’m sure there were plenty of 12″ dance
singles featuring this song.
“Earth, Wind and Fire” has a cool symphonic sound that propels
another message. The flanged vocals ask, “Are you satisfied / in
your life and time / does it fill your mind / all the hurt you
find”. It’s a friendly groove, another strong song about unity. The
horns on the second verse typify EW&F’s plentiful creativity;
they perfectly complement the vocals and add another layer to the
song that only makes it more interesting. “Earth, Wind and Fire” is
certainly epic enough to honor its namesake.
Synthesized bleeps open the next track, but this slight
departure is no problem, since the song is called “Departure” and
the track breaks into a stylish funk groove that features heavy
interplay between sax, guitar, keys, and synth. Essentially they’re
giving the talented players an opportunity to show off their chops
in a funktified setting. It’s amazing how the group manages to
sound so real, especially considering how produced this album is.
What I mean is, “Departure” could theoretically be one step away
from smooth jazz, but the musicians manage to put that extra ounce
of muscle in the track that gives it a distinct rawness. At the end
there is a hearty “Whew!” by the band. Very cool.
“Biyo” and “Burning Bush” run together as intro and song
respectively. One can infer from the title that “Burning Bush” is
spiritually based. It is a beautiful song, again showcasing the
inspired singing and insightful arrangement of EW&F. It closes
out an album that is unified in sound and lyric, and leaves the
listener on a note of positive affirmation (last cliché, I
swear).
I hope I didn’t gush too much, but
Spirit is that impressive upon the first and subsequent
listens. The lushness of the album is almost too sweet at times,
and I’ve found myself listening to this album in short spurts
rather than one long chunk of time. I hesitate to brand it as a
mood piece, because it is not that specifically challenging,
however I do tend to put it on only in certain situations. I also
neglected to put the album in perspective with the other EW&F
releases of this era, as it’s always interesting to take an album
out of context at listen to it solely on its own merit. Highly
recommended.