Earth, Wind & Fire didn’t just join the music scene in the ’70s; they stormed in, blending RnB, funk, jazz, and pop into a whirlwind of groundbreaking sound and dazzling performances. At the center of their groove was Verdine White, a Chicago-born bassist whose style became the backbone of some of the band’s most iconic hits.
Verdine’s musical journey started with classical training on the upright bass, combined with jazz influences from his older brother Maurice White. He honed his craft with lessons from Louis Satterfield, a Chess Records session musician. “Back then, I just wanted to hear bass, bass, bass!” Verdine once told in an interview. “But when I realized the song was king, I started focusing on melody and finding the groove.”
Verdine’s top five Earth, Wind & Fire basslines:
1. Can’t Hide Love
“This one was the brainchild of the late, great Charles Stepney,” Verdine explained. “He gave me the opening chromatic lick, and I built the rest of the bassline around the changes. Fun fact: years later, I realized I was playing the intro wrong during live performances, so I had to relearn it from the record!”
2. Fantasy
“Fantasy has one of my favorite basslines, but honestly, I have no idea how I came up with it,” Verdine admitted. “Recording the session felt like floating in space. It was just Maurice on drums, Larry Dunn on keyboards, and me holding it all down. That album was the toughest we’d ever done; it was our first without Charles Stepney, so we all had to level up.”
3. Shining Star
“Shining Star came straight from the minds of Maurice, Philip Bailey, and Larry Dunn,” Verdine shared. “I suggested a second bass part that answered the vocals—inspired by Stanley Clarke’s School Days. I also experimented with octaves and 10ths, using my thumb and index finger. That technique ended up in the hook, and it all just clicked.”
4. Got to Get You Into My Life
“When George Martin called us to cover this Beatles classic for the Sgt. Pepper movie, we stopped by Sam Goody’s to grab the sheet music before heading to the airport. Maurice came up with the Chicago-style shuffle concept during the flight. We recorded it in a small Denver studio in just one day, and you can hear me loosening up and adding fills as the track progresses.”
5. Boogie Wonderland
“We cut Boogie Wonderland in the middle of the I Am album sessions,” Verdine recalled. “We’d worked all night Friday and returned to the studio Saturday afternoon, only to realize we had just one hour to finish the track! I got a little lost in the middle of one verse, but we nailed it. It’s a testament to the magic of adrenaline and creativity.”
Verdine White’s innovative basslines are a masterclass in groove, proving that the right player can make a song soar. Each note he played helped shape the legendary sound of Earth, Wind & Fire, leaving an indelible mark on music history.
