The new 2026 documentary directed by The Roots’ drummer, Ahmir “Questlove “ Thompson, features the complex story of band leader Maurice White, highlighting key contrasts between his ideals and lived realities.

Music group Earth, Wind, and Fire performs at the Rosemont Horizon, Rosemont, Illinois, November 26, 1981. (Photo by Paul Natkin/Getty Images)

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The recently broadcast HBO Max documentary, Earth, Wind & Fire (To Be Celestial vs. That’s The Weight of the World) was a highly anticipated reappraisal of the legendary band’s history and popular music impact, reigniting interest in a bygone era.

Scoring eleven gold and platinum albums between 1973 and 1983, the group set new standards in America’s Black popular music for chart consistency, live performance presentation, and pop crossover appeal. That decade of success dominates proceedings, enhancing understanding of the group’s history despite various anomalies in the storytelling process.

Co-executive produced by the band’s remaining core members Philip Bailey, Verdine White, and Ralph Johnson in collaboration with the ubiquitous Questlove, the 2026 film is not the first attempt to summarize the group’s history. The Shining Stars documentary was released in 2001 using a similar narrative approach that combined band member recollections with commentary from contemporary hit artists. That was twenty five years ago, so a re-examination of the Earth, Wind & Fire (EW&F) legacy was long overdue.

Celebrity interviewees such as former U.S. President Barack Obama, his wife Michelle, Stevie Wonder, Lionel Richie (currently touring with EW&F) and producer Jimmy Jam underline the scope of the group’s enduring influence.

The new documentary reveals some of the interpersonal and business conflicts that led to the disintegration of the classic EW&F line-up, boldly highlighting the various triumphs and failings of leader Maurice White who died in 2016 at age 74 from Parkinson’s disease. The narrative attempts to balance the tensions between lofty creative goals and challenging commercial realities while underscoring the artistic and cultural positives. While the key group career transitions are referenced, White’s biography takes center stage, frequently overshadowing other aspects of the band’s story.

Absent Voices and Sounds

Spotlighting career highlights, the documentary sometimes understates the importance of people and moments underpinning the decades-long adventure. The voices that are unheard or that operate on the narrative’s margins could have substantially enriched its value.

• EW&F vocalist and percussionist Ralph Johnson is the author of a 2026 memoir about his life with the group, with Questlove providing its foreword. In the documentary, he comments that the contribution of former Columbia Records’ executive Clive Davis was crucial, signing the band from Warner Bros. after two commercially unsuccessful albums released in 1971 and 1972. Davis’s recent death at age 94 makes the absence of his first-hand observations more acute, and it would have been useful to revisit what he saw in EW&F that soon came to spectacular fruition during the band’s first decade with Columbia.

• The Wall Street Journal reports that former EW&F guitarist Al McKay and keyboardist Larry Dunn both declined to participate in the documentary. Their viewpoints are only represented through archive footage, and their distancing from the project suggests lingering dissatisfaction with the inequities surrounding money and creative credit. Dunn pointedly recalls that “For the first eight years, Maurice took everybody’s [music] publishing.”

• Questlove’s documentary, spends considerable time discussing the impact of the band’s recorded music, but there’s little insight into the studio construction of the tracks forming the foundation on which the EW&F reputation was built. Although longtime group engineer and audio legend George Massenburg is interviewed, more mileage might have been extracted from his involvement. Audience understanding of the uniqueness of the EW&F multi-genre musical mosaic would have been enhanced by a few clinical breakdowns of studio multitrack tapes revealing the sonic and musicological complexities involved.

• Singer-songwriter Philip Bailey asserts that the gold 1980 Faces album was the last great EW&F record during the band’s classic era, with the other early Eighties releases, Raise! (1981), Powerlight (1983), and the technologically-transformed Electric Universe (1983) deemed by Bailey as “suspect” due to the limited input of other group members. Despite Bailey’s observation about the importance of Faces - the band’s only studio double album - we learn little more about it as a symbol of EW&F’s success when 2LP sets were the sole province of superstars. In his 2016 memoir, White describes Faces as “one of our best,” featuring a gatefold sleeve design depicting people from international cultures and embodying the band’s philosophies of universal inclusion.

• The documentary might also have benefitted from closer discussion of the multi-platinum All ‘N All (1977) and I Am (1979) albums that consolidated the band’s elite status. Apart from a useful segment on songwriter-producer David Foster’s contribution to the latter LP, the many other session players, arrangers, and additional songwriters that augmented White’s creative vision on the band’s recordings receive relatively sparse attention.

• Significantly, any EW&F material recorded after Maurice White’s retreat from live performance following his 1991 Parkinson’s disease diagnosis is marginalized, even though White continued to be intermittently involved with the group’s album projects. This leaves decades of EW&F recorded music history underexamined. Albums such as the strong 1993 set, Millennium (peaking at #39 on the Billboard 200), that included White’s vocals are ignored, as well as the fact that the album marked a return to Warner Bros., the label they left after 1971 following an initial experimental phase.

Ultimately, these various factors indicate that there’s much more of the history to be revealed, but Earth, Wind & Fire (To Be Celestial vs. That’s The Weight of the World) gathers much of the material most likely to appeal to general audiences.