Everything began to come together when White joined Wissert in the production duties for Open Our Eyes in '74, but a whole new universe opened up when White took over primary production duties (assisted by arranger Charles Stepney) for good on That's the Way of the World (No. 1) in '75.

A mature, confident classic of exceptional tunes, thrilling gospel harmonies and sophisticated horns, anchored by a cutthroat-funky rhythm section, World was originally envisioned as a movie soundtrack. "Happy Feelin'" features White's African thumb piano, the kalimba (also the name of his production company); "Reasons" is a silky soul ballad standard; "Shining Star" (No. 1) is a deeply grooved funk workout with White and Bailey trading lines, ending with a timeless a cappella singalong that leaps out of the speakers; the title track is another standard, a jazzy, midtempo jam keyed to a distant trombone line (by White's old Chicago friend Louis Satterfield), and White and Bailey's octaved dual lead.

The rest of the '70s brought nothing but multiplatinum for the band, whose wildly costumed, lighted and staged live shows (eventually featuring special effects by magician Doug Henning) became legendary. Gratitude (No. 1) is a rousing double-live album that includes two more great studio numbers: "Can't Hide Love," and the bouncy dancefloor-filler "Sing a Song."

'77 saw the release of EW&F's best overall album, All 'N All , showcasing White's newfound interest in Brazilian rhythms and an overt move into metaphysical lyrics. A magical blend of Latin jazz and soul, All is highlighted by the great "Fantasy" with Bailey's impossibly soaring falsetto, and White's funky versifying on "Serpentine Fire," but there are no bumps on this superhighway - even the instrumental interludes stick in the brain and heart.

A Best Of album in '78 sold over 4 million copies and included two new singles, an uptown soul version of the Beatles' "Got To Get You Into My Life," and the band's disco perennial, "September." The following year EW&F, in cahoots with the female trio the Emotions, grabbed disco by the balls with another great, "Boogie Wonderland," which derived from the I Am album. "After the Love Is Gone," another exemplary and moving ballad, ended the decade, and their peak period, in high style.