“That’s the Way of the World” by Earth, Wind & Fire

Celebrating a soul and funk classic for its 50th anniversary.

This album review throws it back to an Earth, Wind & Fire classic to celebrate its 50th anniversary.

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Genre: R&B, Soul, Funk

Label: Columbia

Release Date: March 3, 1975

Vibe: 🌎🌬️🔥

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👉 Click the GIF to stream the album on your favorite platform

Earth, Wind & Fire (referred to henceforth as EWF) are, hands down, the best band I’ve ever seen live. I’ve been fortunate to see over a dozen artists I’d consider legendary in the flesh, including Van Halen, Stevie Wonder, Hall & Oates, AC/DC, and, most recently, Beyoncé. All in packed arenas, all playing for two-plus hours with thousands of adoring fans eating out of the palm of their hand. But, as exceptional as each experience was in its own right, there was something different about EWF. Their musicianship, their stage presence, their flair for the dramatic—it all transcended the songs that made up their setlist and became a celebration of the art form itself. It was, without a doubt, the most joy I’ve felt emanating from folks in any public gathering, no matter how spiritual. Part of me has been chasing the high of that night ever since with every new concert ticket purchase.

I saw them more than a decade ago as part of a double bill with Chicago, who were no slouches in their own right. After the 10-or-so-minute opening portion, where both groups played on stage together, Chicago ran through their extensive catalog of hits for about 45 minutes, after which EWF did the same. I remember standing there, spellbound, by how transportive their music sounded live. Ballads like “After the Love Has Gone” absolutely soared, with the extraordinary Philip Bailey crushing it on lead vocals, and disco stompers like “Boogie Wonderland” and “Let’s Groove” got every single person out of their seats. As if that weren’t enough, the groups combined for an impeccable encore that featured classics like “25 or 6 to 4” and “September.” When they took their final bow, I felt like the Grinch does at the end of his story, when his heart grows three sizes in one shot. I was a fan before seeing them live, but that show cemented me as an EWF die-hard. The more I listen to their records, the more that sentiment rings true.

What’s odd to me is how they’re not often mentioned in “best band ever” conversations or online lists despite their many accolades. Formed in 1969 in the Windy City, they’ve won six Grammys, sold over 90 million records worldwide, and received nearly every lifetime achievement award you can name, including a Rock and Roll Hall of Fame induction in 2000. Their broad appeal, captivating everyone from The Voice viewers to TikTokers on subways, belies how dense their music can be, bringing together elements that reach far beyond the confines of funk and disco. As Harry Weinger noted in his Rock Hall essay, “[EWF] proved the power of Black music [by] bringing together the sounds that came before it - jazz, blues, R&B, pop, gospel, African roots, funk, and deep soul—making an impact that transcends race, cultures, and time.” That should save you a seat at the table for the GOAT conversation.

If you’re unfamiliar with their discography beyond the half-dozen bops still in wedding DJ and 70s nostalgia playlist rotation, That’s the Way of the World is an excellent place to start. It gives you a taste of every facet of their sound, from the effortless, bottom-heavy grooves to the sultry slow jams punctuated by Bailey’s incomparable falsetto. It also represents the moment the band took it to another level commercially. World eventually topped the Billboard album chart, and its lead single, “Shining Star,” went to No. 1 on the Hot 100, making them the first Black act to top both lists. That success was due in part to good timing. The LP was recorded as the soundtrack for the film of the same name, a box office turkey that was so bad it convinced EWF and Columbia to move quickly. “When we saw the film, we said, ‘This is going to be a major flop, we need to get our record out before the film comes,’” said bassist Verdine White. “The music was so different, and we didn't want the film to hurt the music.” What was almost a career killer turned into an unprecedented star-making machine.

Even if Columbia hadn’t rushed this record to market, its sheer exuberance would’ve shone through regardless of any dubious cinematic association. Two other cuts give “Shining Star” a run for its money in the funk department—“Yearning Learning,” which starts with an infectious piano vamp from Larry Dunn before giving way to a brass-heavy instrumental more than a little reminiscent of Curtis Mayfield, and “Happy Feelin’,” a straight-up heater that’s one of the most slept-on tracks in their entire discography. Other gems like “Africano” and “See the Light” fold in sonic elements that weren’t always afforded the kind of crossover opportunity EWF had at their fingertips. The kalimba, congas, and other percussion elements take center stage within the band’s warm, rich soundscape, creating an aesthetic that’s so in love with significant Black musical touchstones and yet so uniquely theirs. You wouldn’t mistake it for anything other than an EWF joint.

More than the floorfillers, That’s the Way of the World’s best moments are also its steamiest. If you canvas the 70s soul greats, from Aretha Franklin to Al Green, you’d be hard-pressed to find a more impressive slow burner than this album’s title track. Those glittering keys and lilting horns provide a diffused, hopelessly romantic backdrop to Maurice White’s perfectly modulated, deeply sensual lead vocal performance. When Philip Bailey’s falsetto enters the mix for the bridge and chorus harmonies, it’s nothing short of divine. That said, the vibe gets even sexier on “Reasons,” pulling you in from that opening trumpet line and Bailey’s gentle cooing that wafts out of your speakers like mist on a moonlit night. It’s a gorgeous composition, balancing a carnal thirst with the vulnerability of acknowledging a one-night stand's fleeting nature. The latter may be the reason (hehe) why the band is on record as puzzled that this one has made more than a few wedding playlists over the years. But, when you hear the instrumental, you get it.

That’s the Way of the World kicked off one of the most impressive five-year runs in R&B history, regardless of the era. The list of EWF singles from that period is an embarrassment of riches—“Can’t Hide Love,” “Getaway,” “Fantasy,” “Sing a Song,” “Serpentine Fire,” the list goes on and on. But, by the early 80s, their style had been deemed out of fashion, the symptom of a public backlash buoyed by the repellant “Disco Sucks” movement. Regrettably, like the Bee Gees and Abba, EWF needed a little pop culture assist by way of hip-hop sampling and movie scene needle drops to be seen as cool again. That’s how I discovered them, long after their heyday. I suppose it doesn’t matter how a group this transformative comes into your life—the important thing is they stay in your music rotation permanently. This LP was one of the first of theirs that I fell in love with, and if you’ve never heard it front to back, I genuinely envy getting that opportunity. It’s like tasting ice cream for the first time all over again.