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Al McKay

Al McKay (born Albert Phillip McKay on February 2, 1948, in New Orleans, ) is an American guitarist, songwriter, record producer, and former member of the renowned band , where he played a pivotal role in shaping their iconic blend of , , and rock during the 1970s. McKay's early career began in the 1960s, when he started playing guitar at age five under the influence of his uncle and secured his first professional gig at 18 with the Revue. He later worked as a in , collaborating with artists such as Sammy Davis Jr., , and , and joined Charles Wright & the Watts 103rd Street Rhythm Band before briefly backing Sammy Davis. In 1973, McKay joined in , contributing guitar to seven albums and co-writing major hits including "," "Sing a Song," and "Saturday Nite," as well as The Emotions' "Best of My Love." During his tenure until 1981, the band achieved massive success, becoming the first African-American act to sell out , for which they received the MSG Gold Ticket Award; the band has sold over 90 million albums worldwide. McKay's rhythmic precision and innovative guitar arrangements helped define Earth, Wind & Fire's global appeal, blending genres like pop, R&B, Latin, , , and African music. After leaving the band in 1981, McKay took a hiatus in the to raise his son but returned in the early 1990s by forming the Al McKay All Stars, with whom he toured internationally for over 15 years and continues to tour as of 2025, and released live albums such as Al McKay's Experience (2006), featuring reinterpreted band classics. He also pursued production work, helming albums for artists like (, 1984), Durell Coleman, Carl Anderson, and Finis Henderson, and contributed session guitar to projects by and . Throughout his career, McKay has earned significant recognition, including induction into the in 2010 for his songwriting contributions. As part of , he shared in six Grammy wins (from 20 nominations), the band's 2000 induction into the Rock & Roll Hall of Fame, a 1995 star on the , and lifetime achievement awards from ASCAP (2002), (1994), and (2002). Additionally, tracks co-associated with his era, such as "That's the Way of the World" (2004) and "Shining Star" (2007), were inducted into the .

Early Life and Career

Early Life

Al McKay was born on February 2, 1948, in New Orleans, . He grew up in the city's vibrant musical environment, a melting pot of , , and that profoundly shaped his early years. His family played a key role in this exposure, as both his mother and father were accomplished artists, and an uncle introduced him to music at a young age. McKay's initial musical inspiration came from blues guitarist , diverging from New Orleans' dominant traditions, along with other influences like and . At age five, he was introduced to the guitar by his uncle, marking the start of his lifelong engagement with the instrument. During his childhood and adolescence, McKay honed his guitar skills largely through self-directed practice, polishing techniques amid the rich sounds of his hometown. This period laid the foundation for his distinctive style, though family circumstances, including his mother's illness, led him to relocate to .

Initial Career

Al McKay, having relocated from New Orleans to , began his professional music career in the mid-1960s after high school, immersing himself in the city's vibrant and scenes. At age 18, McKay secured his first major gig as a backing for the Revue, joining after impressing during a rehearsal of The Temptations' "Losing You"; he toured with the group for approximately one and a half years, gaining invaluable experience in high-energy R&B performances. Following his time with the Revue, McKay became an early member of The Watts 103rd Street Rhythm Band, led by Charles Wright, contributing guitar to their late-1960s albums including Hot Heat and Sweet Groove (1968) and In the Jungle, Babe (1969), where his rhythmic playing helped define the group's funky soul sound. His tenure with the band lasted from around 1967 to 1969, after which he was replaced by Benorce Blackmon. In , McKay developed his signature rhythmic guitar style, drawing from funk pioneers like and while incorporating wah-wah effects and versatile phrasing honed in the local circuit. This period also saw him build a reputation through early session work and local gigs, including stints backing artists such as , , and , showcasing his adaptability across R&B, , and pop contexts. McKay's growing prowess as a multifaceted during these years eventually drew the attention of in the early 1970s.

Earth, Wind & Fire Tenure

Joining the Band

In 1973, while established as a in The Watts 103rd Street Rhythm Band, Al caught the attention of founder , who had previously encountered him during a recording session and recognized his prodigious talent as a left-handed player proficient with the . This prior experience with the Watts 103rd, a key stepping stone in his career, positioned for recruitment into a rising national act. The opportunity arose through a recommendation from , a vocalist in and 's former high school classmate, prompting to extend an invitation. McKay's audition followed swiftly, where he demonstrated his skills and felt confident in his performance, leading to his immediate selection as the band's lead guitarist and replacement for . He integrated seamlessly into the group's collaborative dynamic, which emphasized collective input and tight ensemble playing among its core members, including White, , and . Adapting to Earth, Wind & Fire's horn-heavy, funk-jazz sound required McKay to immerse himself in contemporary influences, guided by bandmates like Bailey, keyboardist , drummer Ralph Johnson, and saxophonist , who introduced him to artists such as . This adjustment honed his ability to contribute rhythmically within the band's layered, genre-blending style, fostering a cohesive unit that balanced improvisation with structured grooves. Following his integration, joined the band's first recording sessions later that year, marking his official entry into their creative process. He also participated in early live performances in 1973, including television appearances that showcased the evolving energy of the ensemble and helped refine their dynamic stage presence.

Key Contributions

During his tenure with Earth, Wind & Fire from 1973 to 1981, Al McKay served as the band's lead guitarist, contributing to seven pivotal albums that shaped their signature blend of funk, soul, and jazz. He performed on Head to the Sky (1973), providing rhythmic guitar lines that supported the album's exploratory sound, including tracks like "Zig Zag" where his playing added layered texture to the horn sections. On Open Our Eyes (1974), McKay's guitar work featured prominently in uptempo funk numbers such as "Mighty Mighty," delivering punchy, syncopated riffs that drove the band's evolving groove. His contributions extended to the landmark That's the Way of the World (1975), where he laid down the infectious rhythm guitar on hits like "Shining Star," enhancing the track's commercial appeal with tight, interlocking patterns alongside the bass and percussion. McKay also played on the live double album Gratitude (1975), capturing his dynamic style in concert settings on songs like "Sing a Song," which he co-wrote and performed to highlight the band's communal energy. For Spirit (1976), his guitar infused tracks like "Getaway" with urgent, driving momentum, while All 'n All (1977) showcased his melodic fills in cosmic-leaning compositions such as "Jupiter." Finally, on I Am (1979), McKay's playing elevated anthems like "September," blending wah-wah effects with the album's polished production. McKay developed a distinctive percussive, rhythm-driven guitar style that became integral to Earth, Wind & Fire's sound, characterized by 16th-note strums, scratches, mutes, and wah-wah accents that locked seamlessly with the rhythm section. This approach emphasized groove over solos, creating a sophisticated foundation that influenced the band's complex arrangements and live energy. As a left-handed player who initially adapted by flipping right-handed guitars upside down, McKay's technique added a unique swing and precision to his parts, allowing him to navigate the band's intricate polyrhythms effortlessly. In live performances, McKay's guitar work energized Earth, Wind & Fire's extensive tours supporting their major albums, including the 1974-1975 outings for Open Our Eyes and That's the Way of the World, where his on-stage presence amplified the band's theatrical spectacles with laser lights and illusions. A highlight was their appearance at the 1974 California Jam festival, drawing 200,000 attendees, during which McKay's rhythm guitar propelled extended funk jams that showcased the full band's synergy. These tours, along with the 1979 I Am promotion, solidified McKay's role in delivering the group's high-energy shows worldwide. McKay also contributed to instrumental arrangements, particularly integrating his guitar lines with ' brass sections to create unified, horn-driven textures in tracks across albums like Spirit and . His left-handed approach facilitated fluid interplay with the horns, as heard in the layered builds of "," where guitar punctuations complemented the ensemble's punchy stabs.

Departure from the Band

Al McKay's tenure with came to an end in 1981, following the release of the band's eleventh studio album, Raise!, to which he provided key guitar contributions on tracks like "Let’s Groove." This marked the culmination of his eight-year involvement with the group, during which he helped shape their signature sound through relentless creativity and performance. The primary reason for McKay's departure was burnout stemming from the band's grueling touring and recording schedules, which had propelled to global stardom but exacted a heavy toll after nearly a decade of non-stop activity. Having logged thousands of miles on the road and contributed to multiple platinum albums, McKay sought a necessary respite from the "hectic world of major musical stardom," as he later reflected on the exhaustion from constant global performances and studio demands. In the immediate aftermath, entered a brief hiatus to recharge and focus on personal matters, including raising his son as a , stepping away from the spotlight before exploring independent opportunities. This period allowed him to reflect on his experiences with the band, which had previously left him fatigued amid their explosive international success.

Solo and Post-EW&F Career

Solo Recordings and Collaborations

Following his departure from in 1981, Al McKay focused on session work and independent projects, drawing on his rhythmic expertise honed during his band tenure to contribute guitar and production to various and recordings through the 1980s and 1990s. His style emphasized layered polyrhythms and groove-oriented playing, often enhancing the funk elements in collaborative efforts. McKay's debut solo album, Al Dente, was released in 2001 under the moniker Al McKay Allstars via . The album blends original compositions with covers of classics, showcasing McKay's guitar work across 12 tracks, including originals like "Who Am I?" and "Make It Happen," alongside reinterpretations such as "" and "." Recorded primarily at Al Dente Studios in , it features contributions from vocalists like and musicians including drummer , highlighting McKay's production role and acoustic/electric guitar arrangements on multiple selections. In the early , McKay provided session guitar on notable albums, including Ramsey Lewis's Routes (1980, ), where he arranged the rhythm track for "High Point" and played alongside Lewis's Fender Rhodes and Larry Dunn's keyboards. He also contributed guitar to Herbie Hancock's (1981, ), appearing on tracks like "Help Yourself" with bassist Eddie Watkins Jr. and drummer , adding funk-infused riffs to the fusion sound. McKay co-produced the Temptations' album Truly for You (1984, Gordy Records) with Ralph Johnson, contributing guitar and arrangements to tracks that blended and . He also produced albums for artists including Carl Anderson's Protocol (1984) and Finis Henderson's self-titled debut (1983), shaping their rhythmic foundations with his , & Fire-influenced grooves. Additionally, he helmed Durell Coleman's self-titled album (1985, ), emphasizing upbeat -soul tracks like "." Throughout the 1980s and into the , McKay's session playing extended to high-profile projects, including guitar on Celine Dion's (1997, Columbia) and Dave Koz's The Dance (1999, Capitol). He collaborated with on the 1996 compilation Place of Hope: Celebrating the New South Africa, contributing guitar to tracks blending global influences with grooves. Additionally, McKay worked with in transitional projects bridging the and , though his post-1981 efforts increasingly emphasized production oversight in funk-oriented sessions.

The Al McKay All Stars

The Al McKay All Stars was formed in 1990 by guitarist Al McKay, seven years after 's extended hiatus and nine years following his own departure from the band in 1981. Initially operating as the L.A. Allstars, the ensemble reunited several original members, including guitarist Johnny Graham, to revive the group's signature horn-driven funk and soul arrangements in live settings. By the 2000s, the project had evolved into the "Earth, Wind & Fire Experience," a dedicated touring production that honors the band's catalog through meticulously recreated performances. In 2006, the group released the live album Al McKay's Earth, Wind & Fire Experience, capturing reinterpreted classics from their tours. Under McKay's leadership as bandleader and primary guitarist, the All Stars deliver high-energy tributes to 's hits, such as "" and "Shining Star," employing a 13-piece lineup that includes vocalists Tim Owens, DeVere Duckett, and Claude Woods, alongside a full and rhythm section to mirror the original recordings' layered grooves and dynamics. The group's approach prioritizes authenticity, drawing on McKay's firsthand experience from his tenure to guide arrangements that capture the band's uplifting fusion of , R&B, and African rhythms. In 2024, the band performed at France's Jazz à Vienne Festival on July 2, where their set electrified the Théâtre Antique with a universal groove blending classics and broader musical influences. That year also featured a tour, highlighted by an appearance at the in Jiangsu Province in October, showcasing their appeal to international audiences. Extending into 2025, they headlined Day 2 of the in , , on June 22, delivering a -soul set that energized crowds amid the event's focus. A tour that February and March included dates at London's on February 24, Liverpool's Philharmonic Hall, Symphony Hall, Manchester's , and Glasgow's Royal Concert Hall on March 4, further demonstrating their draw in . As of late 2025, the All Stars continued their global reach with appearances on themed cruises, including the Rock and Romance Cruise and the Fall Cruise in November, affirming the lasting popularity of Earth, Wind & Fire's through McKay's ongoing stewardship.

Songwriting

Credits with Earth, Wind & Fire

Al McKay's songwriting for during his tenure from 1973 to 1981 centered on collaborations with founder , where McKay's improvisational guitar riffs often served as the foundation for melodies and structures that White then expanded with lyrics and arrangements. This process exemplified McKay's role in infusing the band's sound with rhythmic, groove-oriented elements drawn from and R&B traditions. A key example is "Sing a Song," co-written by and White for the 1975 live album . The track, which encourages uplifting expression through music, became a major hit, topping the Hot R&B Singles chart for two weeks and reaching number five on the Hot 100. Its infectious, horn-driven arrangement highlighted McKay's ability to craft accessible yet energetic compositions that resonated with audiences seeking feel-good anthems. Another significant co-write was "Saturday Nite," co-written by McKay, White, and for the 1976 album . This lively track, celebrating weekend energy and , peaked at number 21 on the and number three on the Hot R&B Singles chart, showcasing McKay's knack for groove-based hits that drove the band's live performances. McKay's most enduring contribution came with "September," co-written with White and lyricist Allee Willis for the 1978 compilation The Best of Earth, Wind & Fire, Vol. 1. The song originated from a chord progression and riff McKay developed on guitar, which White built into a celebratory melody evoking joy and nostalgia; Willis added the iconic lyrics referencing the "21st night of September." It peaked at number eight on the Billboard Hot 100 and number one on the Hot R&B Singles chart, solidifying its status as a timeless party staple due to its buoyant rhythm and horn accents. Another significant co-write was "Back on the Road," penned with for the 1980 album Faces. This upbeat track, reflecting themes of perseverance and return to form, featured McKay's rhythmic drive and contributed to the album's blend of and pop. Released as a single in the UK, it peaked at number 63 on the in 1981.) These songwriting efforts underscored McKay's evolution from performer to , with White's guidance turning raw guitar ideas into polished hits that propelled , Wind & Fire's commercial success in the late . His live guitar performances further elevated these songs, adding dynamic layers to their studio foundations.

Other Songwriting Work

Outside of his tenure with , Al McKay contributed significantly to songwriting for other artists, particularly in the funk and soul genres during the 1970s. He co-wrote "Best of My Love" with for , released in 1977 as the lead single from their album Rejoice. The track topped the for five weeks and also reached number one on the R&B chart, showcasing McKay's ability to craft infectious, upbeat funk-soul melodies. McKay also collaborated with White on "Flowers" for , featured on their 1976 album Flowers, which earned the group a Grammy for Best R&B by a Duo or Group with Vocals. This composition highlighted McKay's rhythmic guitar-driven approach to arrangements, blending influences with contemporary production.) Earlier in his career, prior to joining , McKay co-wrote "Till You Get Enough" with Charles Wright, , John Rayford, and Melvin Dunlap for Charles Wright & the Watts 103rd Street Rhythm Band. Released in 1969 on the single "Till You Get Enough / ," the song exemplified the band's raw sound rooted in ' Watts neighborhood. In later decades, McKay's songwriting legacy extended through sampling and renewed recognition. His co-authorship of "Best of My Love" earned him a writing credit on Paul Russell's 2023 viral hit "Lil Boo Thang," which interpolates the 1977 track and peaked at number 20 on the Billboard Hot 100, introducing McKay's work to a new generation. This credit contributed to McKay receiving an ASCAP Pop Music Award in 2024 for the song's success.

Legacy

Awards and Inductions

Al McKay's contributions to music, particularly during his tenure with from 1973 to 1981, formed the foundation for many of his formal honors. In 2000, he was inducted into the Rock and Roll Hall of Fame as a performing member of the band, recognizing their innovative fusion of , , and that defined an era. As part of , McKay shared in six Grammy wins from 20 nominations, along with a 1995 star on the and lifetime achievement awards from ASCAP in 2002, in 1994, and in 2002. McKay received further acclaim for his songwriting alongside bandmates. On June 17, 2010, he was inducted into the Songwriters Hall of Fame with Earth, Wind & Fire members Maurice White, Philip Bailey, Verdine White, and Larry Dunn, honoring their collective body of work including hits like "September," which McKay co-wrote. This induction highlighted the enduring impact of their compositions, with two Earth, Wind & Fire tracks McKay performed on—"Shining Star" in 2008 and "That's the Way of the World" in 2004—also enshrined in the GRAMMY Hall of Fame for their cultural significance. His guitar prowess earned individual recognition in industry rankings. Guitar Player magazine placed McKay at No. 25 on its list of the 50 Greatest Rhythm Guitar Players of All Time in 2022, praising his Jimmy Nolen-inspired style that propelled Earth, Wind & Fire's rhythmic foundation through the 1970s. Similarly, included him in its 2024 compilation of the 30 Most Famous Left-Handed Guitarists, noting his distinctive left-handed technique and contributions to guitar innovation.

Cultural Impact

Al McKay played a pivotal role in shaping the sound of 1970s and as the lead guitarist for , contributing intricate parts that blended jazz, soul, pop, and African influences into a sophisticated, danceable groove. His work on albums like That's the Way of the World (1975) and (1975) helped propel the band's global success, with over 90 million records sold worldwide overall, establishing EWF as a cornerstone of the era's music movement. McKay's rhythmic precision and melodic phrasing directly influenced artists like , who covered EWF material in his early bands and incorporated similar elements into his multimedia performances. This legacy extends to modern R&B acts such as , , and , who have drawn on EWF's horn-driven arrangements and upbeat positivity in their productions. Through the Al McKay All Stars, McKay has revived the Earth, Wind & Fire catalog in the 2020s, performing full live recreations of hits like "September" and "Shining Star" at major festivals, ensuring the music's enduring vitality amid shifting genres. These tours have kept the classics relevant in contemporary media and events, highlighted by a 2025 People magazine feature on EWF members that praised McKay's dedication to preserving the original sound through his ensemble. By emphasizing the band's rhythmic foundations, McKay's performances bridge disco's heyday with today's festival circuits, inspiring new audiences to engage with 1970s funk. McKay has also mentored aspiring musicians in and guitar techniques, particularly for rhythm sections, through that break down his signature picking styles and groove-locking methods used in EWF tracks. His tutorials, such as those demonstrating patterns from "," emphasize the "pocket" of the song—tight synchronization with and —to create infectious energy, influencing educators and players in the genre. This guidance has perpetuated his approach in , seen in online lessons emulating his style for modern guitarists. The enduring appeal of McKay's contributions is evident in the Al McKay All Stars' diverse international bookings, attracting cross-generational fans from teens discovering EWF via streaming to longtime enthusiasts. Performances at the 2024 Montreux Jazz Festival China drew massive crowds blending local and global attendees, showcasing the music's universal draw in Asia. Similarly, 2025 festival appearances, including headlining the Margate Soul Festival and performing at the Rainforest World Music Festival, highlight a fandom that spans cultures and ages, affirming EWF's timeless impact.

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