Chicapah I’m often surprised at how many “Best Of” CDs and LPs I’ve accumulated over the years in amassing my humble collection of music. I’m one of those old-school dudes who believes that if an artist’s or a band’s material piques your interest then the only proper way to explore their art is to invest in one or two discs in their catalogue of albums and find out what they were doing on the “deep cuts” that didn’t get any airplay. That’s where you’re likely to find either the core of their un-commercial creativity or a lot of mediocre, time-wasting filler but you won’t know until you investigate. Unfortunately, my walk doesn’t always match my talk and I find myself being rather hypocritical as evidenced in the case of my buying Earth, Wind and Fire’s “Greatest Hits” at one point. The harsh truth is that economics more often than not trump my idealistic intentions and I’ll willingly spring for such a deal as this because I know I’ll like most of the songs it contains from hearing them previously and I won’t rue the investment of my limited funds. Someday if I become independently wealthy I may acquire every note of music they’ve ever recorded but until that glorious day arrives I’ll be content with this compromise.

Let me just say that this group has always hovered on the edge of my musical consciousness since the dawning of the 70s. What I mean is that I found them intriguingly original when I had the opportunity to hear their tunes but, with my principal focus being firmly ensconced in the exclusive realm of rock & roll, jazz and classical for most of my life, I didn’t take the time to investigate their brave excursions into progressive R&B at all. Ergo, I had none of their records. It wasn’t until I caught them in concert with Chicago a few years back that I realized how many of their songs were very familiar to me and how much I liked them in general. This album seemed to have most of the tunes I really desired to possess so the next time I got one of those I-didn’t-know-what-else-to-give-you-so-I-took-the-easy-route-and-got-you-this-gratuitous-gift-certificate presents I used it to purchase this CD. With all 17 cuts remastered utilizing state-of-the-art digital technology, it more than meets all its obligations and requirements and it sure comes in handy when I need an emotional lift in my mood.

The disc starts off with “Shining Star,” a great mix of rock and funk spread across an imaginative arrangement that provided them with their first crossover chart-topper in 1975. It superbly showcases their rhythmic approach to vocalizing that became so revolutionary at the time. “That’s the Way of the World” follows and this excellent R&B ballad sports a smooth, sensual groove that demonstrates they could apply tasteful restraint when the number called for it. The joyful “September” is next and it’s a fine example of how dance music doesn’t have to be trapped inside a monotonous, throbbing disco beat to get the job done. It’s a foot-tapping tune for folks that don’t readily tap their feet. “Can’t Hide Love” owns a slower funk vibe that allows their talented horn section to erect a fluid backdrop and also reveals leader Maurice White’s respect for the cool style of one of his early mentors, Ramsey Lewis. Their exciting rendition of “Got to Get You into My Life” is one of the finest covers of a Beatles’ song EVER. They pay homage to the original melody line by keeping it intact but they also make it their own by creatively expanding it exponentially in fantastic ways. “Sing a Song” is a positive statement of optimism that never stoops to patronize the listener. Their subtle use of deep synthesizer lines in this mid-70s recording proves that they were willing to let their music evolve as keyboard innovations sprang up in the industry right and left.

“Gratitude” has a detectible Sly Stone atmosphere surrounding it but, while it’s not a bad tune at all, in the midst of so many jewels it comes off a bit dull in comparison. “Serpentine Fire” follows and it’s a funky-as-all-get-out track that digs far down into your gut and never lets go. Verdine White’s bass work is exceptional. “Fantasy” is next and its slightly schmaltzy opening belies the energetic pace the tune soon adopts. The whole romantic shebang comes off more as a vehicle to highlight Philip Bailey’s amazing falsetto-dominated voice than anything else. “Kalimba Story” has a strong rock attitude but it’s a step down in the intensity department at this juncture. Save for the inclusion of the African Kalimba itself it’s rather pedestrian in nature. A never-flagging-for-a-moment driving momentum and a host of red-hot singers propel “Mighty Mighty” from beginning to end, making it a funky treat. “Reasons” is a big, fat & lush ballad that lets Bailey cut completely loose with uncanny soprano chops that shouldn’t be emanating from the gullet of an adult male. The man’s a freak. “Saturday Nite” is a return to what the ensemble does best. It establishes an accessible rhythm and installs it to stroll beneath an involved yet classy chord progression on the bridges.

1981’s “Let’s Groove” is another highly-contagious dance number that sails like a hawk and the sound quality is extraordinary but, for my money, it’s only a warm up for “Boogie Wonderland.” I’ll concede that it’s blatantly disco fare but I don’t give a poot. This track is one of the few in that genre that I have an unabashed affection for so I guess I’ll just chalk it up as a guilty pleasure. I’m no dancer but I feel like John Travolta when this song plays. It’s the nazz. I’m also a sucker for elaborate, over-the-top pop extravaganzas and the splendid “After the Love Has Gone” is one of my all-time favorites. Written by Bill Champlin, David Foster and Jay Graydon, the compositional structure is exhilarating and the combined vocal performances are the absolute bomb. Don Myrick’s sultry saxophone ride is worth a shout-out, too. The caboose on this train is “Getaway.” The song’s tricky onset is very dynamic and it’s also one of their tightest tracks. The punchy horns kick tail and my overall impression is that if Frank Zappa had been allowed to produce one of their sessions this might have been the result. It’s just odd enough to be fun and unpredictable.

Earth, Wind and Fire’s glory days are behind them but I can testify that they still put on one hell of an entertaining show when they take the stage. In the 70s they blew a fresh breeze into what was becoming a too self-indulgent and overly sarcastic R&B scene. They then went on to demonstrate that dance material didn’t have to be boring when the disco craze was making millions settle for an inane repeating kick drum and a catchy hook. Also worth mentioning is that group founder Maurice White contributed to the writing of 12 of these songs and 7 of those went to #1 on the R&B charts, a feat that only a handful of artists have ever equaled. These guys were (and still are) the real deal.