First album in EWFs 80s musical decline.

This album starts to abandon the original idea, sound and concept of EWF. The fussion of jazz, soul, and world music was being replaced by that trendy 80s ultra produced synthy sheen that plagued pop for so many years. Still the album can be saved, EWF's spirit was burried under a popish-last day disco sound but it was still there. "Let's Groove" is a timeless classic and there are a coulpe of good gems. But from this moment on EWF would never be the same. Things would deteriorate further more....

IF BY ANY OTHER GROUP, CLASSIC, BUT... (3.5 stars for EWF)

If this is the first album you ever buy and hear of Earth, Wind & Fire, lucky you! You will probably bounce off the walls with excitement at the tight production, blaring horns, funky guitars and silky vocals. As well you should, with the digitally advanced dance mega-hit "Let's Groove" leading this valuable collection. It may have taken other artists light-years to come close to the gems that decorate this album, but let's be honest. We are talking about the undisputed champion of musical production, Maurice White. And for a group as powerful as EW&F, this was actually a step backwards for them in terms of creativity. Before I get into that, let's praise Raise!



"Let's Groove", aside from causing body parts of anyone within earshot to move uncontrollably, is a tight arrangement that comfortably blends futuristic sounds with authentic instrumentation and doesn't sell out the group one bit. "Lady Sun" is swift, funky pop music. While the lyrics visit the corny side of town, the quality of the vocals and orchestration (especially the horns) are impossible to ignore. "My Love" is a smooth, simple, high-quality R&B ballad featuring the Emotions. "I've Had Enough" is Philip Bailey lacing a hot dance floor-populating arrangement, which ironically denounces the politics of stepping out. "Wanna Be With You" is more laid-back R&B with the Emotions, which adds more luster to the album, though I personally feel "My Love" is better. "The Changing Times", though clearly a flying leap toward crossover appeal, gets me to move every time. Here, EW&F blesses the electric guitar-driven track (courtesy of Chuck Findley) with lively, melodic vocals. Don't let this scare you away. I promise you'll love it.



Now for the down side: 1/2 star goes out of the window for the outside writers, who, in the process of creating commercially palatable lyrics, unknowingly deplete EW&F's spiritual overtones, forcing the bulk of this album's message into two songs: "Evolution Orange" and "You Are A Winner", which are coincidentally the two worst songs on the album. Another 1/2 star must be taken for the absolute lack of bass apparent on this album. Not sure that I can blame this on the group, but I couldn't get past that. Sorry, but a re-mastered version with enhanced bass would be much appreciated.



The final 1/2 star was taken simply because this is EW&F. Throughout the 70's, EW&F were known for pushing their creative envelope, expanding their depth, improving their vocals, mastering their instrumental crafts, and most importantly, remaining dynamic. On Raise!, EW&F replaced their ever-changing and ear-catching instrumental mastery with assembly-line music. Though they hadn't yet become totally dependent on drum programming and synthesized sounds, it's almost like Verdine, Larry, Andrew, Johnny, Ralph and Roland are not there behind Maurice and Phillip. Outstanding guitarist and part-time songwriter, Al McKay left EW&F prior to this album. Many of the characteristics that defined EW&F as a funk group have been altered to accommodate pop music and much of the heart, soul and attitude of the group has been gutted, from both a vocal and instrumental aspect. Even Maurice has begun to standardize his vocal stylings on Raise! The only constant is Phillip Bailey.



It's hard for me to speak negatively about the greatest group of all time, especially when even on their worst day, they run circles around other artists. Don't get me wrong, Raise! is a tremendous album, but when compared to I Am and their opus, All 'N All, there is something noticeably absent from this work. Regardless, it is a solid effort and if you happen to be one of those cynics who thumb their nose at pop music, like me, this album just might change you tune, like me.

The End of an Era

"Raise" (the title suggests a continuation of the album cover themes presented on "All 'n All", and "I AM") was the last great EWF album featuring the "original" members. It was EWF's attempt at modernizing their sound to fit the post-disco, new wave and punk enclave of the early eighties. The lead-off track- "Let's Groove"- was unlike any other song in EWF's impressive catalog. Co-authored by Maurice White and the husband/wife team of Wayne and Wanda Vaughn (Mrs. Vaughn was one of the members of the group "The Emotions"), EWF parlayed their unique arrangement sensibilities on the now classic song. If "Let's Groove" were recorded by anyone else, it would have sound very different. The popular Vocoder synthesizer starts the song off. The main chorus and bouncy horn charts quickly join in the proceedings. What distinctly makes the song stand out is Maurice White's masterful inclusion of brass. Especially the playful horn riffs after the bridge.



"Lady Sun" follows with blaring horns and eerie synthesizer grooves. The creative horn arrangement on "Lady Sun" is my all-time favorite EWF horn arrangement (Great work Jerry!). If Maurice ever gets to re-master this disc, hopefully he'll extend the song a bit and bring the guitars further up to the front stage. I would also like to hear greater emphasis on Larry Dunn's synth fills. They belong in the front stage as well. BTW, this song and the tail end of Talking Head's "Making Flippy Floppy" are very similar- except the Heads don't use horns. Right before the horns scream out, the song starts out with a drum kick. I mention it because the next four songs also begin with the same drum kick.





"Be My Love" was a nice song for the era it was made in. But now it's a bit dated and doesn't hold up as well as their older material. "Evolution Orange" also suffers the same fate. It is certainly a holdover from the disco era. And what the song refers to is anyone's guess. Although, I can remember when Mazda offered some of their Miatas in the color evolution orange.



"Kalimba Tree" is a typical EWF interlude that's usually in between tracks rather than leading a side (of course now with CD's it really is between tracks). "You Are a Winner" is its self a winner. The uplifting lyrics and hard driving backbeat make it an instantly likeable jam. The horn charts are tight and circular (Again, great work Jerry!).



Interestingly, "I've Had Enough" appears to be a response to Michael Jackson's "Don't Stop till you get Enough". Rhythmically, Bailey's song does seem to mirror Jackson's. But where MJ urges the listener to obey the flesh, Bailey cautions us to follow the Spirit.



"Wanna be with You" is a likeable song. It was the follow up single to "Let's Groove". The song is also representative of the deviation EWF's arrangements would take after "Raise". EWF had always based their song structures on bass, percussion and guitars rhythms. "Wanna be with You" is based on keyboards. This is a tactic that EWF has followed even up to their last album "The Promise".



Finally, we reach the highlight of "Raise"- the hard charging "Changing Times". Roland Bautista's wailing guitar sounds like a cross between Hendricks and Eddie Van Halen. Fred White (on drums) and Larry Dunn's keyboard chops add nicely to the proceedings. This song, instead of "Wanna be with You", should have been released as the second single. It harps back to EWF's early days (listen to the "Last Days and Time" LP) when their sound was raw and exciting. "Changing Times" offered new thrilling opportunities for EWF. However, the group took a step back toward the less appealing sound of "Faces" and never recovered.