The best album of the group was who wrote the soundtrack for the film of the same title starring a young Harvey Keitel. Film I have not had a chance to see. To not know them, the music of Earth Wind & Fire (whom I will refer by the acronym from now on) is a Philly sound mix, funk and jazz. Maurice White, founder and mastermind of the group (virtually all the songs are his) was a seasoned session musician who had participated as drummer on albums by Etta James, Fontanella Bass (the battery from your " Rescue Me" is White) Billy Stewart and many others. Had also served as musical director of Minnie Ripperton's debut, a masterpiece and the best album of the ill-fated frontman stratospheric record. His most long-lived participation prior to forming the EWF was with Ramsey Lewis where I contact with jazz and foremost, the fusion of this with other music (which would give good results in their own group) and was initiated into the use of African instruments such as the kalimba. This contact with the mother continent inspire you to aesthetically as you can see on the covers of the full group of Egyptian and African symbolism.
This record is not particularly different from others I have of them, only the factors that were, things flow with particular grace and make the best collection of songs. I must say that I have not heard the debut of the whole, more difficult angle into the black rock appear to have similarities with the works of the time of George Clinton in the binomial Funkadelic / Parliament. The collector's opinion that this album is the only worth of them gave me creepy and I always avoided this album expecting to find a pain upper or something very green. Jumping
A riff introduces us to the pepper tree in funky "Shining Star" . Here near Sly Stone sound. The contrast between the voice of Maurice White, baritone and limpid with Philip Balley, in a spectacular falsetto (it's amazing what you can upload this man) works perfectly. And the rest of the group is not to be crippled to the chorus. With a dreamy intro-based piano, mellotron, percussion, bells and harp begins the song which title disk. A half-time of those who were given well before returning to the group total sugar. And if I had to define groove to a Martian who just landed on our planet can not think of right now, best example "Happy feelin '" with its infectious guitar riff and vibraphone, bordered by metals. Balley played by solo passages with some really difficult (eg when it is part of " Be in love, happy feelin '").
"All About Love" is a ballad performed by Maurice. More conventional structure full of complexities and changes in rates of "That's the way of the world" but very nice. Maurice shows that could replace Johnny Mathis in Las Vegas and does not neglect any instrumental development of five stars as the arrangement of saxophone, which appears after the first chorus. It really has very clear sound and that can take back to those who believe that all black music should be a snack idems, but who is not a lost idiot, you can easily see the quality as musicians, arrangers and composers of this group (another thing you like). Includes how to end a kind of duo "Piano Man" from a fender rhodes and some typical synth eg Herbie Hancock. To make way for "Yearnin'learnin '" another piece funk "Happy feelin'" or that opened the disc, rather than engaging the stupid drug. Based on some metals in and out, a wha wha guitar and a piano phrase with some Latin-flavored soul.
Now comes the ballad for Balley is brilliant, "Reasons" , as Maurice had his. The leader was the most sentimental, this is more lubricating. It's that kind of silky soul sold to us as music to fuck. Marketing aside, it's a superb song. Maybe cloying by letter or message, but if you enjoy a treat as the undersigned of the falsetto impossible. When Dual tone to the voices of his companions who accompany him on the chorus is spectacular. This piece of knowledge in direct "Gratitude" (the same year as this album) and included a duet between tenor and Balley's voice that got to play the higher registers of the instrument and the acute limit (that does not include studio version) that fit into the more dramatic tension of the composition. " African" is an instrumental accompanied by chants gospel that reflects the ambitions of Maurice to marry jazz with some African flavor. It begins with flutes and percussion instruments to make way for development with games between a ubiquitous percussion (with Africa in terms of new) metal, wha wha. And finally another great creation, the mini suite "See the light" . With that sound so typical of the jazz fusion of the seventies (that fender rhodes), which was add some orchestral arrangements in the background creates a floating sensation. Ideal for voice Balley between trying to climb into the clouds, accompanied by runaway sax with the lyrics changed to a more calm. A prodigy of composition. In its way, but sweet and affordable, could be as psychedelic, avant-garde as anyone.
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This record is not particularly different from others I have of them, only the factors that were, things flow with particular grace and make the best collection of songs. I must say that I have not heard the debut of the whole, more difficult angle into the black rock appear to have similarities with the works of the time of George Clinton in the binomial Funkadelic / Parliament. The collector's opinion that this album is the only worth of them gave me creepy and I always avoided this album expecting to find a pain upper or something very green. Jumping
A riff introduces us to the pepper tree in funky "Shining Star" . Here near Sly Stone sound. The contrast between the voice of Maurice White, baritone and limpid with Philip Balley, in a spectacular falsetto (it's amazing what you can upload this man) works perfectly. And the rest of the group is not to be crippled to the chorus. With a dreamy intro-based piano, mellotron, percussion, bells and harp begins the song which title disk. A half-time of those who were given well before returning to the group total sugar. And if I had to define groove to a Martian who just landed on our planet can not think of right now, best example "Happy feelin '" with its infectious guitar riff and vibraphone, bordered by metals. Balley played by solo passages with some really difficult (eg when it is part of " Be in love, happy feelin '").
"All About Love" is a ballad performed by Maurice. More conventional structure full of complexities and changes in rates of "That's the way of the world" but very nice. Maurice shows that could replace Johnny Mathis in Las Vegas and does not neglect any instrumental development of five stars as the arrangement of saxophone, which appears after the first chorus. It really has very clear sound and that can take back to those who believe that all black music should be a snack idems, but who is not a lost idiot, you can easily see the quality as musicians, arrangers and composers of this group (another thing you like). Includes how to end a kind of duo "Piano Man" from a fender rhodes and some typical synth eg Herbie Hancock. To make way for "Yearnin'learnin '" another piece funk "Happy feelin'" or that opened the disc, rather than engaging the stupid drug. Based on some metals in and out, a wha wha guitar and a piano phrase with some Latin-flavored soul.
Now comes the ballad for Balley is brilliant, "Reasons" , as Maurice had his. The leader was the most sentimental, this is more lubricating. It's that kind of silky soul sold to us as music to fuck. Marketing aside, it's a superb song. Maybe cloying by letter or message, but if you enjoy a treat as the undersigned of the falsetto impossible. When Dual tone to the voices of his companions who accompany him on the chorus is spectacular. This piece of knowledge in direct "Gratitude" (the same year as this album) and included a duet between tenor and Balley's voice that got to play the higher registers of the instrument and the acute limit (that does not include studio version) that fit into the more dramatic tension of the composition. " African" is an instrumental accompanied by chants gospel that reflects the ambitions of Maurice to marry jazz with some African flavor. It begins with flutes and percussion instruments to make way for development with games between a ubiquitous percussion (with Africa in terms of new) metal, wha wha. And finally another great creation, the mini suite "See the light" . With that sound so typical of the jazz fusion of the seventies (that fender rhodes), which was add some orchestral arrangements in the background creates a floating sensation. Ideal for voice Balley between trying to climb into the clouds, accompanied by runaway sax with the lyrics changed to a more calm. A prodigy of composition. In its way, but sweet and affordable, could be as psychedelic, avant-garde as anyone.
DOWNLOAD LINK:
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