Music fans usually argue about "peak" eras, but when you talk about 1979, there isn't much to debate. It was the year of the groove. If you walked into a record store that summer, you weren't just looking for music; you were looking for a vibe that could bridge the gap between the dying embers of disco and the sophisticated soul of the eighties. That is exactly where the Earth, Wind & Fire album I Am enters the chat.
It’s an interesting beast. It isn’t as "spiritual" as All 'N All and it’s certainly more commercial than their early jazz-fusion experiments. But man, does it hit. Maurice White, the mastermind behind the group, knew exactly what he was doing. He saw the landscape shifting. He saw that people wanted to dance, but they also wanted to feel something deeper than a four-on-the-floor kick drum.
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The David Foster Connection and the Slicker Sound
Most people don't realize how much of a turning point this record was for the band’s internal chemistry. Maurice White decided to bring in a young Canadian songwriter and producer named David Foster. Yeah, that David Foster—the guy who eventually became the king of adult contemporary power ballads. At the time, Foster was a hungry session player and writer.
Honestly, some purists hated it. They thought the Earth, Wind & Fire album I Am was "too pop." They missed the raw, gritty African percussion and the sprawling ten-minute jams. But look at the results. Foster co-wrote several tracks, including "After the Love Has Gone," which is arguably one of the most harmonically complex songs to ever hit the Top 10 on the Billboard Hot 100.
The chord changes in that song are insane. It’s a masterclass in modulation. One minute you’re in one key, the next you’ve slid into another so smoothly you didn't even notice the floor move. It won a Grammy for Best R&B Vocal Performance by a Duo or Group, and for good reason. Bill Champlin, who later joined Chicago, actually co-wrote it with Foster and Jay Graydon. It wasn’t even originally intended for EWF, but Maurice heard the potential and snatched it up. Smart move.
Why "After the Love Has Gone" is a Technical Marvel
If you’re a musician, you probably spent hours trying to figure out the bridge of this song. It doesn’t follow the standard "verse-chorus-verse" logic of 1979 pop. It’s got these soaring horn arrangements by Jerry Hey that punctuate the heartbreak. Philip Bailey’s falsetto? Unreal. He hits notes that shouldn't be humanly possible while maintaining a tone that feels like velvet.
But the real magic of the Earth, Wind & Fire album I Am is the contrast. You have these gut-wrenching ballads sitting right next to "In the Stone."
"In the Stone" is the ultimate album opener. That horn fanfare is basically the universal signal that the party has started. It’s triumphant. It’s regal. It’s everything Earth, Wind & Fire stood for—this idea that music was a divine, ancient force. "Found my heart some peace of mind / In the stone." It’s cryptic, sure, but when the bassline kicks in, you don't really care what the lyrics mean. You just move.
The Boogie Wonderland Phenomenon
We have to talk about "Boogie Wonderland." You can't mention the Earth, Wind & Fire album I Am without it. This was the band’s big "disco" moment, even though they’d been making people dance for a decade. They brought in The Emotions—the vocal group famous for "Best of My Love"—to add that female vocal texture.
The track was written by Allee Willis and Jon Lind. Allee Willis is a legend; she’s the same person who wrote the Friends theme song and "September." She once mentioned in an interview that the song was inspired by the movie Looking for Mr. Goodbar, which is a pretty dark inspiration for such a high-energy dance track. It’s about people looking for an escape in the nightlife because their "real" lives are a bit of a mess.
- It reached number 6 on the Billboard Hot 100.
- It became an anthem for the late-seventies club scene.
- It features a drum breakdown that still gets sampled by DJs today.
The music video—if you can call it that, it was more of a filmed performance—featured the band in these incredible, shimmering outfits that looked like they were stolen from a futuristic Pharaoh’s closet. That was the EWF brand: Cosmic Egyptian Glamour.
The Production Quality Was Ahead of Its Time
The recording sessions at Hollywood Sound Recorders were intense. Maurice White was a perfectionist. He wasn't just a drummer; he was a visionary who understood the "Kalimba Entertainment" philosophy. He wanted every instrument to have its own space in the mix.
If you listen to the Earth, Wind & Fire album I Am on a high-end sound system today, it still sounds better than 90% of what comes out of modern studios. There’s a warmth to the analog tape. The percussion isn't just a loop; it’s a living, breathing layer of congas, shakers, and bells. George Massenburg, the engineer, was a pioneer in parametric EQ, and his work on this album set a standard for "clean" R&B production.
It’s loud, but it isn't "clipped." There’s dynamic range. When the horns hit, they bite. When the bass drops, it’s round and full, not buzzy.
Wait, Is It Their Best Album?
This is where the fan base splits. If you like the raw energy of That's the Way of the World, you might find I Am a little too polished. It’s definitely "glossy."
But "glossy" isn't a bad thing when the songwriting is this tight. "Star" is another standout that people often overlook. It has this driving, optimistic energy that defines the EWF ethos. Then you have "Can't Let Go," which keeps that uptempo momentum moving. The album doesn't really have "filler." Every track serves a purpose.
Even the album cover art is iconic. Shusei Nagaoka, the artist, created this sprawling, gatefold masterpiece that looked like a sci-fi epic. You’ve got the band members looking like celestial beings. It reinforced the idea that Earth, Wind & Fire wasn't just a band—they were a movement. A lifestyle. A philosophy of "Elements of the Universe."
The Legacy of the Earth, Wind & Fire Album I Am
By the time the tour for I Am rolled around, the band was a massive stadium act. They were using magic tricks on stage, designed by Doug Henning. Bassist Verdine White would literally levitate while playing. It was a spectacle.
But the music on the Earth, Wind & Fire album I Am survived long after the pyrotechnics stopped.
You hear these tracks in grocery stores, at weddings, in hip-hop samples, and in movie soundtracks. "After the Love Has Gone" remains a staple for anyone going through a breakup, while "Boogie Wonderland" is the literal definition of a "floor filler."
The album went Double Platinum in the US. It proved that R&B could be sophisticated, commercially dominant, and technically brilliant all at once. It wasn't just "disco." It was a sophisticated blend of soul, pop, and funk that effectively closed out the 1970s on a high note.
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How to Truly Appreciate I Am Today
If you really want to "get" this album, don't just stream it on your phone speakers. You’re missing half the record.
- Find a Vinyl Copy: The gatefold art is half the experience. Seeing the scale of Nagaoka’s painting while "In the Stone" blasts is a vibe you can't replicate.
- Listen for the Horn Arrangements: Pay attention to the Phoenix Horns. They aren't just playing chords; they are playing counter-melodies that fight with the vocals in the best way possible.
- Focus on the Bass: Verdine White’s playing on "Wait" and "Let Your Feelings Show" is a masterclass in syncopation. He doesn't just play the root note; he dances around the beat.
- Check the Credits: Look at the names. Steve Lukather from Toto played guitar on some of these tracks. The session world in LA in 1979 was a small, elite circle, and this album featured the best of the best.
The Earth, Wind & Fire album I Am isn't just a relic of the disco era. It’s a testament to what happens when a group of world-class musicians decides to embrace the pop charts without sacrificing their technical soul. It’s bright, it’s loud, it’s emotional, and it’s undeniably funky. Whether you’re a lifelong fan or a new listener, there’s always something new to find in those layers of sound. Take a seat, turn up the volume, and let the elements take over.