WAR

WAR is an American soul-funk ensemble from Los Angeles that collaborated with ex-Animals vocalist Eric Burdon on two albums for MCA in 1970, scoring a hit with the whimsically inebriated “Spill the Wine.” After the two camps parted ways, WAR released six proper albums and a soundtrack on United Artists between 1971 and 1978. Further albums appeared on RCA and MCA over the subsequent 10-year period.

Formed in 1969, WAR blended jazz, funk, Latin rhythms, and streetwise soul with socio-political themes and instrumental interplay. Their run on United Artists includes the multi-platinum The World Is a Ghetto and the extended jams of Deliver the Word and Why Can’t We Be Friends? In 1979, they cut a three-part Music Band series on MCA. They modernized their sound with synthesizers on the 1982/83 RCA albums Outlaw and Life (Is So Strange).

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Background

WAR had its roots in a Long Beach R&B band called The Creators, formed in 1962 by guitarist Howard Scott and drummer Harold Brown. With keyboardist Lonnie Jordan, they cut two 1966 singles behind singer Little Johnny Hamilton on the Hollywood-based Dore label: “Keep On Movin'” (b/w “Mudpie”) and “Oh How I Love You” (b/w “Go”).

The Creators morphed into Señor Soul with the addition of reedist Charles Miller, bassist Morris “B. B.” Dickerson, and percussionist Papa Dee Allen. In this iteration, they released the covers-heavy 1968/69 albums Plays Funky Favorites and It’s Your Thing on Double Shot Records. Concurrently, they moonlighted as Nightshift behind NFL sportsman and singer Deacon Jones.

In 1969, the band was spotted backing Jones by record producer Jerry Goldstein. He was taken by their message of brotherhood and harmony; antidotes to the strife of their ghettoized upbringings. Meanwhile, Danish harmonica player Lee Oskar and English vocalist Eric Burdon (recently free of The Animals) caught the band live while scouring the LA clubs for collaborators. Oskar joined the lineup, forming an odd “brass section” with saxist Miller.

Joining forces with Burden, the band renamed itself WAR and entered San Francisco’s Wally Heider Studios in January 1970.

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Eric Burdon Declares “War”

Eric Burdon and War released their first album, Eric Burdon Declares “War”, in April 1970 on MGM.

The album features all seven members of War—Dee Allen (congas, percussion), Harold Brown (drums), B.B. Dickerson (bass, vocals), Lonnie Jordan (organ, piano), Charles Miller (flute, tenor saxophone), Lee Oskar (harmonica), and Howard Scott (guitar, vocals)—with lead vocals and concept by Eric Burdon.

All tracks are group-composed, except “Tobacco Road” (written by John D. Loudermilk) and “Mother Earth” (credited to Peter Chatman, aka Memphis Slim).

Eric Burdon Declares “War” opens with “The Vision of Rassan,” a tribute combining jazz, funk, and psychedelic soul. The track layers swirling piano chords and horns as Burdon delivers repetitive vocal lines. “Tobacco Road” unfolds over nearly 15 minutes with a steady, pulsing rhythm and extended instrumental breaks supporting Burdon’s half-spoken, half-sung delivery. “Spill the Wine” floats on a loose funk arrangement, prominent flute lines, and narrative vocal style. “Blues for Memphis Slim” presents a slow blues progression with expansive instrumental sections. The album closes with “You’re No Stranger,” a brief, experimental piece with abstract sounds and minimal structure.

A1. “The Vision of Rassan” (7:40)
 A1a. “Dedication” (2:33)
 A1b. “Roll On Kirk” (5:07)
A2. “Tobacco Road” (14:24)
 A2a. “Tobacco Road” (3:47)
 A2b. “I Have a Dream” (6:39)
 A2c. “Tobacco Road” (3:58)

B1. “Spill the Wine” (4:38)
B2. “Blues for Memphis Slim” (13:08)
 B2a. “Birth” (1:31)
 B2b. “Mother Earth” (2:46)
 B2c. “Mr. Charlie” (3:05)
 B2d. “Danish Pastry” (3:18)
 B2e. “Mother Earth” (2:28)
B3. “You’re No Stranger” (1:55)

Sessions occurred at Wally Heider Studios in Hollywood with producer Jerry Goldstein and engineer Chris Huston.

The cover, designed by The Visual Thing from a concept by Burdon, shows a pair of disembodied arms—one light-skinned, one dark—linked together in a three-finger gesture, possibly symbolizing the “W” in War. This hand sign reappeared on a later self-titled release. A sun motif in the background also appears on their subsequent album.

The album produced the single “Spill the Wine,” which reached No. 3 on the Billboard Hot 100 and No. 2 in Australia. It also placed in the Canadian Top 3 and ranked as Billboard’s No. 20 song of 1970. 

Eric Burdon Declares “War” peaked at No. 18 on the US charts, No. 50 in the UK, and No. 7 in Australia. It earned a gold record award and was reissued in 1981 on LA Records as Spill the Wine, and later restored to its original title on CD by Avenue/Rhino.

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The Black-Man’s Burdon

Eric Burdon and War released their second merged album, The Black-Man’s Burdon, in December 1970 on MGM.

The album consists largely of group-written material by the seven members of War with Burdon, except for two multi-part suites: based respectively on “Paint It Black” by The Rolling Stones and “Nights in White Satin” by The Moody Blues.

Producer Jerry Goldstein shares co-writing credit on “Beautiful New Born Child” and “They Can’t Take Away Our Music.” The latter two tracks feature gospel backing vocals by Sharon Scott and the Beautiful New Born Children of Southern California.

The title The Black-Man’s Burdon plays on The Black Man’s Burden, a phrase popularized by E.D. Morel’s 1920 anti-imperialist book critiquing colonial exploitation. Morel’s title itself was a pointed response to Rudyard Kipling’s 1899 poem The White Man’s Burden, which promoted Western imperialism under the guise of civilizing non-Western peoples. Burdon’s name pun—folding himself into the phrase—adds a layered commentary on race, oppression, and personal identification within the album’s broader themes.

The first side centers on the “Paint It Black” medley, which blends instrumentals, Latin-funk rhythms, and spoken-word passages. “Spirit” follows with a relaxed tempo, featuring a prominent saxophone solo and layered vocal harmonies. Side two includes a jazzy medley anchored by Burdon’s vocal recitation on “Nights in White Satin,” with extended flute and percussion interplay framing the cover. Several instrumental tracks provide bass and percussion solos but maintain a sparse, jazzy feel.

The second half shifts toward tighter song structures. “Sun/Moon” opens with a slow minor blues mood built on organ and guitar. “Pretty Colors” and “Gun” offer funk-driven arrangements with call-and-response vocals, saxophone highlights, and harmonica textures. “Jimbo” mixes keyboard funk with fluctuating tempo and dynamics. The final side includes “Bare Back Ride,” a boogie with sax and harmonica solos, and “Home Cookin’,” driven by baritone accents and vocal harmonies. The album closes with “They Can’t Take Away Our Music,” a gospel-inflected piece with shared vocals and restrained lead delivery.

A1. “Paint It Black [Medley]” (13:34)
— a. “Black on Black in Black” (2:05)
— b. “Paint It Black I” (2:05)
— c. “Laurel and Hardy” (1:30)
— d. “Pintelo Negro II” (1:05)
— e. “P.C. 3” (1:30)
— f. “Black Bird” (2:17)
— g. “Paint It Black III” (3:02)
A2. “Spirit” (8:38)

B1. “Beautiful New Born Child” (5:07)
B2. “Nights in White Satin I” (4:28)
B3. “The Bird & The Squirrel” (2:43)
B4. “Nuts, Seeds & Life” (4:01)
B5. “Out of Nowhere” (3:22)
B6. “Nights in White Satin II” (2:51)

C1. “Sun / Moon” (10:04)
C2. “Pretty Colors” (6:52)
C3. “Gun” (5:44)
C4. “Jimbo” (4:50)

D1. “Bare Back Ride” (7:07)
D2. “Home Cookin’” (4:10)
D3. “They Can’t Take Away Our Music” (6:45)

Sessions occurred at Wally Heider Studios in San Francisco with Goldstein and engineer Chris Huston.

The Black-Man’s Burdon features photography by Don Peterson and art direction by Howard Miller. The front cover presents a silhouetted Black figure; the back shows Burdon reclining against a woman seated with her legs apart. The vertical inner-gates display the band shirtless in a field with two nude women. Burdon is credited with the album concept.

The album produced one single: “They Can’t Take Away Our Music” backed with “Home Cookin’.”

Early pressings included a numbered “War Bond,” redeemable for $1 off admission to any War concert.

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War

War released their self-titled third album in March 1971 on United Artists.

This marked War’s first release following the departure of Eric Burdon and their transition to operating solely under the band name. All six tracks are group-composed by the seven members of War. Hilton Valentine (of The Animals) received a lyric credit on “Back Home.”

War divides into vocal-based gospel-blues tunes and atmospheric instrumentals with open-ended structures. “Sun Oh Son” and “Back Home” extend the gospel undertone of War’s earlier collaborations, but stretch it across slower builds, traded vocals, and warm brass textures. “Lonely Feelin’” stays within a tighter blues-gospel frame but updates it with punchier horns and a more restless rhythm section.

The second half tilts toward instrumental workouts. “War Drums” rides a circular chant with fast organ changes and tenor sax bursts. “Vibeka,” a downcast instrumental, folds harmonica and blues guitar into a mid-paced rhythm with a sense of restraint and inner pull. “Fidel’s Fantasy,” the centerpiece, runs through percussion interludes, political speech, flute solos, and horn overlays in shifting passages that stretch past structure toward improvisation.

A1. “Sun Oh Son” (5:57) – slow-building vocal number with layered horns and blues undertones; the strongest indicator of the band’s post-Burdon direction
A2. “Lonely Feelin’” (4:31)
A3. “Back Home” (6:42) – gospel-driven vocal blend with lyrics written by former Animals guitarist Hilton Valentine

B1. “War Drums” (3:52) – tight rhythmic showcase for saxophone, organ, and layered percussion
B2. “Vibeka” (8:03) – subdued instrumental focused on harmonica and guitar interplay, written around themes of loss and reflection
B3. “Fidel’s Fantasy” (11:03) – extended suite with spoken word, dense percussion, flute passages, and political undertones

Sessions occurred at Wally Heider Studios in both San Francisco and Los Angeles with producer Jerry Goldstein and engineer Chris Huston.

War features cover art by Norman Seeff, based on a concept originally credited to Eric Burdon. The image shows eight raised arms forming a three-finger salute—a motif first introduced on Eric Burdon Declares “War”. The band had seven members at the time, suggesting the image was finalized before Burdon’s departure. The back cover presents a mirrored version of the front, and the original release came housed in a linen-textured sleeve with a gatefold photo of the band.

The album produced one single: “Lonely Feelin’” backed with “Sun Oh Son,” which did not chart.

Though initially overlooked, the album gained retrospective attention following War’s later success on United Artists.

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All Day Music

War released their fourth album, All Day Music, in November 1971 on United Artists.

The majority of the album was written collectively by War’s seven members. Producer Jerry Goldstein is co-credited on “All Day Music” and “Get Down,” while Milton James Myrick contributed to “That’s What Love Will Do.”

All Day Music splits between downshifted harmony soul and stretched-out rhythm pieces. The title track opens with acoustic guitar and layered vocals in a slow Latin sway. “Get Down” shifts sharply—quick, clipped vocals ride fast percussion, group shouts, and punchy bass in a charged, communal rhythm exercise. “That’s What Love Will Do” slows back down into a long vocal soul piece built from soft brass lines, spare percussion, and a mid-song tenor sax feature. “There Must Be a Reason” turns looser: a vamp-driven vamp with psychedelic organ and a relaxed vocal delivery.

The back half turns rhythmic. “Nappy Head (Theme from Ghetto Man)” plays like an extended percussion session disguised as a tune, layered with low-end guitar and stuttered sax riffs. “Slippin’ into Darkness” anchors the album, using a descending vocal line and low-slung bassline that cycles under hand percussion, sax-harmonica unison phrases, and spare guitar fills. The live closer “Baby Brother,” recorded at the Hollywood Bowl months earlier, stretches to seven and a half minutes as the band churns through electric blues breaks and raw interjections. The overall sequencing moves between restrained ensemble playing and high-tempo percussion drives without slipping out of focus.

A1. “All Day Music” (4:04)
A2. “Get Down” (4:29) – vocal callouts ride clipped rhythms and bright percussion in one of the album’s fastest-moving ensemble tracks
A3. “That’s What Love Will Do” (7:17) – loose soul piece built on extended vocal harmony passages and a warm-toned tenor sax solo
A4. “There Must Be a Reason” (3:50)

B1. “Nappy Head (Theme from Ghetto Man)” (6:05) – layered percussion jam with winding sax lines and guitar phrases that circle but never break open
B2. “Slippin’ into Darkness” (7:00) – spare, low-set rhythm piece built around a cycling bassline, group chant, and syncopated drum layers
B3. “Baby Brother” (7:38) – live recording; rough-cut electric blues jam with shouted vocals and extended solos, later reworked into “Me and Baby Brother”

Sessions occurred at Wally Heider Studios in San Francisco and Crystal Studios in Los Angeles, with Jerry Goldstein, Chris Huston, and War credited as producers. Engineering was handled by Huston and Richard Moore.

All Day Music features a group photograph by Bob Gordon printed over a metallic silver background.

Two singles were issued: “All Day Music” b/w “Get Down” in July 1971, and “Slippin’ into Darkness” b/w “Nappy Head” in November. “Slippin’ into Darkness” spent 22 weeks on the Billboard Hot 100 and peaked as the No. 23 single of 1972. It became War’s first gold-certified release under their new name.

“Baby Brother” was recorded live at the Hollywood Bowl on June 30, 1971, during United Artists’ 99¢ Spectacular. A studio version appeared two years later under the title “Me and Baby Brother” on Deliver the Word (1973).

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The World Is a Ghetto

War released their fifth album, The World Is a Ghetto, in November 1972 on United Artists.

All tracks were written collaboratively by the band’s seven members: Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, and Howard Scott.

Ghetto expands War’s its core sound across two formats—short, syncopated funk songs and extended instrumentals. “The Cisco Kid” and “Where Was You At” keep to tight forms driven by Latin percussion and sharp brass figures. “Beetles in the Bog” pushes the tempo harder, layering chants and percussion into a clustered ending.

The longer pieces move with deliberate pacing. “City, Country, City” builds around cycling motifs, where each instrument takes a turn expanding the form—harmonica, clavinet, wah guitar, and hand percussion rotate across a seamless 13-minute stretch. “Four Cornered Room” strips down to a slow funk pulse, marked by phased textures, low-register bass, and spoken vocals. The title track stretches out with calm momentum—low horns, restrained rhythm, and softened vocal phrasing set into a steady, winding pace.

A1. “The Cisco Kid” (4:35) – Latin-flavored funk with layered percussion and clipped horn stabs; the rhythm pivots on clave-like syncopation.
A2. “Where Was You At” (3:25) – Compact funk blues framed by stop-start horn breaks and slow, syncopated electric piano.
A3. “City, Country, City” (13:18) – Suite-form instrumental that shifts from mellow harmonica leads to layered ensemble phrasing; moves through open vamp sections and clipped Latin rhythm breaks.

B1. “Four Cornered Room” (8:30) – Low-tempo funk atmosphere with spoken vocals, spacious basslines, and filtered harmonic textures.
B2. “The World Is a Ghetto” (10:10) – Downshifted funk ballad with sparse horn lines and extended chord passages; voice and arrangement move in long arcs.
B3. “Beetles in the Bog” (3:51) – Uptempo call-and-response ensemble piece that escalates into percussive layering and loose vocal group patterns.

Sessions occurred at Crystal Industries Studio in Los Angeles with Jerry Goldstein producing alongside Lonnie Jordan and Howard Scott.

The World Is a Ghetto features cover art by Howard Miller, illustrating a Rolls-Royce with a flat tire stranded in an urban neighborhood. The concept was developed by Lee Oskar, and the blue-black palette reflects the album’s somber tone.

Two tracks appeared as singles. “The Cisco Kid” charted in early 1973 and became a major hit, peaking at No. 2 on the Billboard Hot 100. The title track also charted, reaching No. 7.

The album reached No. 1 on the Billboard 200, Cash Box, and Record World charts, and was Billboard’s top-selling album of 1973. It earned a gold certification from the RIAA with over 500,000 units sold.

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Deliver the Word

War released their sixth album, Deliver the Word, in August 1973 on United Artists.

All tracks are joint-credited to War’s seven members—Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, and Howard Scott—except “Southern Part of Texas,” which was co-written with producer Jerry Goldstein.

Deliver the Word splits between two poles—muted, slow-building instrumental passages and charged funk vamps. “H2Overture” opens in compact, modal form: clipped bass pulses, phased rhythm guitar, and woodwinds pass through quiet shifts in pace before locking into a calm coda. “Gypsy Man” grows into a 12-minute prog-funk stretch built on an unwavering rhythm. The band holds a fixed tempo while layering phased harmonica, terse organ figures, and electric piano flashes that spin around the central riff. “Deliver the Word” moves slower, pairing soft-group vocals with light organ shading, and finds its phrasing through stuttered keyboard motifs.

“Me and Baby Brother” tightens the band’s earlier “Baby Brother” into a four-on-the-floor riff set to urgent brass shouts and clipped vocal refrains. “Southern Part of Texas” rides a mid-paced rhythm under group vocals, storytelling lines, and stabbing instrumental breaks, with bass and percussion pacing the shifts. “In Your Eyes” lands between ballad and rhythm track, marked by group vocal refrains and vocal-as-texture moments between sung and spoken lines. “Blisters” closes with harmonica-forward vamping and slow blues phrasing, though it fades quickly.

A1. “H2Overture” (4:38) – Instrumental built around layered percussion, subtle jazz phrasing, and phased keyboard lines; resolves into a calm, melodic cadence
A2. “In Your Eyes” (4:22) – Moves between full-group vocals and spoken interjections, laid over sparse rhythm and stuttered keyboard riff
A3. “Gypsy Man” (11:35) – Long-form vamp on a fixed tempo; organ swells, harmonica solos, and phased effects build over a steady rhythm base

B1. “Me and Baby Brother” (3:30) – Rework of an earlier live track with tightened structure; punctuated horns, chant vocals, and locked rhythm
B2. “Deliver the Word” (7:48) – Low-tempo pulse with soft keyboard texture and group vocals; phrasing drifts between soul and fusion
B3. “Southern Part of Texas” (6:22) – Narrative funk with sectional pace shifts and pointed bass phrasing beneath ensemble vocals
B4. “Blisters” (2:21) – Brief blues-form closer driven by harmonica and loose instrumental interplay

Sessions occurred at Crystal Studio in Los Angeles with production by Jerry Goldstein, Lonnie Jordan, and Howard Scott.

Deliver the Word features packaging by designer Gary Sato and a concept by Lee Oskar. The cover resembles black leather with a die-cut window revealing a reflective beach image on the inner sleeve. Reversing the sleeve changes the scene’s mood, shifting from warm daylight to a cool moonlit version.

Two singles emerged from the album. “Gypsy Man,” shortened from its 11-minute LP form, reached No. 8 on the Billboard Hot 100. “Me and Baby Brother,” re-recorded from its earlier live version on All Day Music, climbed to No. 15.

The album peaked at No. 6 on the Billboard 200 and topped the R&B albums chart. A quadraphonic 8-track version included an alternate sequence and an exclusive “H2Overture (Reprise).”

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War Live

In February 1974, UA released War Live,  a two-record document (76:26 duration) of their November 25, 1972, show at Chicago’s High Chapparral club.

The set draws from their first three UA studio albums with renditions of two songs each from War (“Lonely Feelin’,” “Sun Oh Son”), All Day Music (“All Day Music,” “Get Down”), and The World Is a Ghetto (“The Cisco Kid,” “Slippin’ into Darkness”). The second record features “Ballero,” an exclusive to this set.

They extend “Sun Oh Son” and “Slippin’ into Darkness” (divided in parts) to twice the length of their studio counterparts. “Get Down” (originally a four-minute track) occupies all of Side D.

A1. “Introductions by E. Rodney Jones of Radio Station WVON, Chicago, Ill.” (0:31)
A2. “Sun Oh Son” (10:39)
A3. “The Cisco Kid” (6:05)
A4. “(intro) Slippin’ into Darkness” (0:20)

B1. “Slippin’ into Darkness” (9:45)
B2. “Slippin’ Part 2” (8:51)

C1. “All Day Music” (10:09)
C2. “Ballero” (8:29)
C3. “Lonely Feelin’” (3:00)
C4. “(intro) Get Down” (0:07)

D1. “Get Down” (20:30)

Recording took place live at the High Chaparral club in Chicago, with production by Jerry Goldstein in association with Lonnie Jordan and Howard Scott.

War Live features a photo grid cover design: 24 concert shots on the front, 24 more on the back, and 48 inside the gatefold. Early pressings lacked a printed title, displaying a yellow sticker instead. Later versions printed the sticker design directly onto the jacket.

A heavily edited version of “Ballero” backed with “Slippin’ into Darkness” was released as the album’s sole single. It reached No. 33 on the Billboard Hot 100 and No. 17 on the R&B chart.

The album sold over 1.5 million copies in the U.S.

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Why Can’t We Be Friends?

War released their seventh studio album, Why Can’t We Be Friends?, on June 16, 1975, on United Artists.

All tracks were written by War—Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, and Howard Scott—except “Don’t Let No One Get You Down,” “Low Rider,” and the title track, which include co-writing credits to producer Jerry Goldstein; “Lotus Blossom,” co-written with Francie Nelson; and “The Way We Feel,” with lyrics by Keri Oskar.

Why Can’t We Be Friends? blends funk, Latin soul, and reggae elements. On the ballads “Don’t Let No One Get You Down” and “Lotus Blossom,” vocal harmonies and organ create subdued atmospheres. “Heartbeat” builds through shifting rhythms and layered vocals amid dense percussion. The four-part “Leroy’s Latin Lament” moves from brief vocal segments to percussion-driven Latin passages with tight brass.

“Smile Happy” balances brass blasts with layered percussion and interwoven guitars. “So” offers muted guitar and vocals, while “In Mazatlan” presents a concise Latin soul instrumental. The album closes with “Low Rider” and the title track, the latter built on a steady reggae rhythm and rotating vocals accented by brass. 

A1. “Don’t Let No One Get You Down” (3:59)
A2. “Lotus Blossom” (3:59) – a restrained ballad with a soft vocal lead and spacious instrumental backing that emphasizes warbly organ and brushed percussion
A3. “Heartbeat” (7:25) – structured as an extended intro and member-by-member feature, it moves through loping rhythm shifts and improvised vocal segments over dense percussion
A4. “Leroy’s Latin Lament (Medley)” (6:36)
— a. “Lonnie Dreams” (0:49)
— b. “The Way We Feel” (1:10)
— c. “La Fiesta” (2:10) – high-tempo, percussion-forward Latin jam with tight brass syncopation
— d. “Lament” (2:27)

B1. “Smile Happy” (7:22) – opens with brass fanfare before shifting into stacked percussion lines and alternating guitar leads, held together by deliberate midtempo pacing
B2. “So” (4:58)
B3. “Low Rider” (3:11) – rides on a timbale-accented pattern (in G) where Miller’s sax and Oskar’s harmonica interlock on a distinct twelve-note theme.
B4. “In Mazatlan” (2:45) – understated Latin soul instrumental with a bright tempo and minimalistic phrasing
B5. “Why Can’t We Be Friends?” (3:49) – tongue-in-cheek singalong built on a steady reggae beat and rotating vocal handoffs punctuated by brass interjections

Sessions occurred at Sound City Studios in Van Nuys, California, with production by Jerry Goldstein, Lonnie Jordan, and Howard Scott. Chris Huston engineered Side A and tracks B1–B2; Ed Barton engineered B3–B5.

The title features artwork by Craig Nelson, with a layout concept by Ikke-Bad Graphics and Lee Oskar. The sleeve combines illustration and typographic elements by Dick Sakahara, with photography by Garry Sato.

Two singles were released: the title track backed with “In Mazatlan” in April 1975, followed by “Low Rider” backed with “So” in August. Both A-sides were Grammy-nominated and reached the Billboard Hot 100’s Top 40, with “Low Rider” peaking at No. 7 and “Why Can’t We Be Friends?” at No. 6. On the R&B chart, both singles reached the Top 10.

The album topped the U.S. R&B albums chart and peaked at No. 8 on the Billboard 200. It reached No. 81 in Australia. The track “Smile Happy” was later interpolated in Shaggy’s 2000 hit “It Wasn’t Me.”

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“Summer”

In the summer of 1976, War issued Greatest Hits, a compilation of nine past singles and one new track, “Summer.” The group recorded it on April 4, 1976, and released it as a standalone single on June 21.

“Summer” peaked at No. 7 on the Billboard Hot 100, No. 4 on the R&B chart, and No. 1 on the Easy Listening chart. The chorus melody (“’Cause it’s summer…”) took inspiration from “Have it your way,” a then-rotated Burger King jingle. The single earned War another gold disc and became a seasonal radio staple.

Greatest Hits compiles two tracks apiece from All Day Music (“All Day Music,” “Slippin’ Into Darkness”), The World Is a Ghetto (“The World Is a Ghetto,” “The Cisco Kid”), Deliver the Word (“Gypsy Man,” “Me and Baby Brother”), and three from Why Can’t We Be Friends? (“Why Can’t We Be Friends?”, “Low Rider,” “Southern Part of Texas”). “Summer” is exclusive to this release.

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Love Is All Around

In November 1976, ABC Records issued Love Is All Around, a collection of unearthed 1969–70 live and studio tracks from War’s time with Eric Burdon.

Everything is group-credited to Burdon and War apart from an alternate “Tobacco Road,” their live rendition of “Paint It Black,” the unreleased Beatles cover “A Day In the Life,” and Eric’s own “Home Dream.” Producer Jerry Goldstein co-wrote “Magic Mountain.”

A1. “Love Is All Around” (4:12) – raw vocal delivery over a straightforward funk rhythm with minimal arrangement
A2. “Tobacco Road” (6:30) – tighter and punchier than earlier versions, propelled by driving percussion and steady pacing
A3. “Home Dream” (7:15) – conventional blues structure with prominent keyboard lines and a steady tempo
A4. “Magic Mountain” (4:18) – psychedelic funk with layered instrumentation and a strong bass presence

B1. “A Day in the Life” (11:05) – extended blues and jazz reinterpretation of the Beatles’ track featuring vocal improvisation and lengthened instrumental passages
B2. “Paint It Black Medley” (10:09) – live-flavored Latin arrangement with flute, congas, and dynamic drum solos

Sessions occurred in Los Angeles from 1969 to 1970 with producers Jerry Goldstein, Lonnie Jordan, and Howard Scott. The live recording of “Paint It Black” was captured at the Whisky a Go Go on September 8, 1969.

In 1977, “Magic Mountain” and an edited version of “Home Dream” were released together as a single, marking the first wide release for most of this material.

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Platinum Jazz

In July 1977, Blue Note Records issued Platinum Jazz, a double album with new War studio tracks (disc one) and highlights from prior UA albums (disc two).

Platinum Jazz originated from early plans to pair Greatest Hits with a bonus disc of instrumentals. They recorded six new instrumentals, intending to pair them with unedited earlier cuts. Late in production, they trimmed the older tracks for length, dropping over 15 minutes of material. To preserve continuity, War sequenced the new recordings across sides one and two, plus the first track on side three.

The final runtime clocks in at 79:36, down from an originally projected 94:36, allowing the set to fit on two LPs while maintaining its intended arc: a fusion-driven statement that tied War’s jazz leanings to their broader soul-funk foundation.

The six originals are group-credited to the seven-man War apart from “L.A. Sunshine” and “River Niger,” which co-credit producer Jerry Goldstein.

Of the new material, “War is Coming! War is Coming!” and the title piece “Platinum Jazz” develop intricate instrumental dialogues with shifting dynamics, while “Slowly We Walk Together” explores a more measured, contemplative pace. “I Got You” maintains a tight, rhythm-driven foundation that supports soloing passages. The eleven-minute “L.A. Sunshine” asserts with its spacious structure and uplifting phrasing.

A1. “War is Coming! War is Coming!” (7:12) – layered brass and percussion open the track, developing into extended instrumental interplay with shifting tempo
A2. “Slowly We Walk Together” (5:53) – measured pace with sparse instrumentation allowing room for restrained solos and dynamic contrast
A3. “Platinum Jazz” (7:14) – intricate arrangement featuring brass and keys weaving through evolving rhythms and textural shifts

B1. “I Got You” (6:04) – rhythmically driven with focused instrumental solos over a steady foundation
B2. “L.A. Sunshine” (11:52) – spacious and uplifting, featuring extended phrasing and dynamic shifts across its length

C1. “River Niger” (8:40)
C2. “H2Overture” (3:59)
C3. “City, Country, City” (7:23)

D1. “Smile Happy” (3:59)
D2. “Deliver the Word” (5:53)
D3. “Nappy Head (Theme from Ghetto Man)” (4:12)
D4. “Four Cornered Room” (7:15)

Sessions occurred at studios in Los Angeles from 1971 to 1977, with new material recorded under the direction of producer Jerry Goldstein alongside Lonnie Jordan and Howard Scott. Ed Barton engineered sides one, two, and the opening track on side three. Chris Huston engineered the remaining tracks.

Platinum Jazz features album design by Lee Oskar, using a metallic silver-ink image of a framed platinum LP to mirror the earlier Greatest Hits gold disc artwork. The sleeve reproduces mock-up record labels listing track names by side.

A single was released on Blue Note: “L.A. Sunshine” backed with “Slowly We Walk Together,” both in edited form.

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Galaxy

War released their tenth studio album, Galaxy, in November 1977 on MCA.

All tracks were written by War’s seven members—Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, and Howard Scott—alongside producer Jerry Goldstein, except “The Seven Tin Soldiers,” credited solely to the band.

Galaxy blends funk rhythms with dance and sci-fi elements. The uptempo title track layers space-age sound effects across extended instrumental passages. The middle tracks — “Baby Face (She Said Do Do Do Do),” “Sweet Fighting Lady,” and “Hey Señorita” — present slower tempos with funk-inflected arrangements and steady pacing. The album closes with “The Seven Tin Soldiers,” a lengthy instrumental built around sustained rhythms and improvisation.

A1. “Galaxy” (8:11) – Sci-fi sound effects and layered instrumental sections across a rhythmic pattern reminiscent of “Jungle Fever,” the 1971 hit by Los Chakachas.
A2. “Baby Face (She Said Do Do Do Do)” (5:04) – Slow tempo with contoured vocals and relaxed rhythm
A3. “Sweet Fighting Lady” (7:10) – Down-tempo with smooth instrumental support and steady pulse

B1. “Hey Señorita” (5:47)
B2. “The Seven Tin Soldiers” (14:15) – Extended instrumental emphasizing texture and improvisation over steady rhythms

Sessions occurred at Sound City Studios in Van Nuys, California, with production by Jerry Goldstein and engineering by Chris Huston.

“Galaxy” was released as a single and reached No. 14 on the Billboard R&B chart and No. 39 on the Hot 100.

The album peaked at No. 15 on the Billboard 200 and No. 6 on the R&B albums chart. It was certified Gold by the RIAA.

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Youngblood

In May 1978, War released Youngblood, the soundtrack to the titlesake Blaxploitation drama starring Lawrence Hilton-Jacobs (Welcome Back Kotter) and ex-Sunday’s Child singer Ren Woods (Roots, Hair).

All songs were written by War’s seven members—Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, and Howard Scott—alongside producer Jerry Goldstein.

The film Youngblood follows Michael, a teenager in South Central Los Angeles who drifts from school into gang life with a crew called the Kingsmen. He’s mentored by Rommel, a hardened Vietnam veteran, and swept into a turf war with drug traffickers—only to discover the cartel’s leader is his own brother.

The album leans heavily on percussion and extended jazz-funk jams. The title track unfolds over ten minutes, shifting from rhythmic to atmospheric passages with spacey textures. Shorter interludes intersperse narrative dialogue over minimal arrangements. “This Funky Music Makes You Feel Good” and “Superdude” inject jazz elements, while “Flying Machine (The Chase)” carries a cinematic chase vibe supported by layered percussion and synths.

A1. “Youngblood (Livin’ in the Streets)” (10:42)
A2. “Sing a Happy Song” (4:04)
A3. “Keep On Doin'” (3:50)
A4. “The Kingsmen Sign” (2:35)
A5. “Walking to War” (2:43)

B1. “This Funky Music Makes You Feel Good” (6:26)
B2. “Junk Yard” (2:32)
B3. “Superdude” (2:35)
B4. “Youngblood & Sybil” (1:44)
B5. “Flying Machine (The Chase)” (7:39)
B6. “Searching for Youngblood & Rommel” (1:45)
B7. “Youngblood (Livin’ in the Streets) Reprise” (1:27)

Sessions occurred at Cherokee Studios, ABC Studios, Sound City, and Beachwood Studios in Los Angeles with production by Jerry Goldstein, Lonnie Jordan, and Howard Scott.

“Youngblood (Livin’ in the Streets)” was issued as a single and reached No. 21 on the Billboard R&B chart.

The album peaked at No. 69 on the Billboard 200. It marked War’s final release with founding bassist B.B. Dickerson and was the last to feature the band’s original seven-member lineup.

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The Music Band

War released their twelfth studio album, The Music Band, in April 1979 on MCA.

War planned to rebrand as The Music Band amid concerns that their name seemed outdated or too militaristic in a post-Vietnam era. Ultimately, they retained the War moniker and used The Music Band as the title for a planned album series, beginning with this release.

All six tracks were co-written by War’s core lineup—Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, and Howard Scott—along with producer Jerry Goldstein. New bassist Luther Rabb and arranger Milton Myrick also received co-writing credit on “Corns and Callouses (Hey Dr. Shoals).” This was the first War album to feature vocalist Alice Tweed Smith, who was not included in the songwriting credits.

The title track opens with an extended tribute to the band’s audience, paced in even, staged pulses that recall soft-edged musical theater more than deep funk. “Corns and Callouses” folds in light Latin percussion under gospel‑tinted harmonies, while “I’m the One Who Understands” stays in midrange soul, rounded off with restrained phrasing. Side B opens wider: “Good, Good Feelin’” stretches into longform disco‑fusion built on tight instrumental lockstep, and “Millionaire” moves with clearer phrasing and looser ensemble energy. “All Around the World” closes the record with softened reggae pacing and melodic drift.

A1. “The Music Band” (8:28)
A2. “Corns and Callouses (Hey Dr. Shoals)” (7:25)
A3. “I’m the One Who Understands” (6:08)

B1. “Good, Good Feelin’ (Original Un-Cut Disco Mix)” (7:43)
B2. “Millionaire” (6:14)
B3. “All Around the World” (7:47)

Sessions occurred at Sound City, ABC Studios, and The Burbank Studios in Los Angeles with production by Jerry Goldstein in association with Lonnie Jordan and Howard Scott. Chris Huston served as lead engineer and mixer.

The Music Band features cover design by George Osaki and Lee Oskar. The jacket used solid red cardstock with metallic silver print and embossed graphics. The inner gatefold contains a full-color photo of the lineup, excluding Dickerson and Rabb but including Smith.

An edited version of “Good, Good Feelin’” was issued as a single, backed with “Baby Face (She Said Do Do Do Do)” from Galaxy.

The album peaked at No. 41 on the Billboard 200.

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The Music Band 2

War released their thirteenth studio album, The Music Band 2, in November 1979 on MCA.

The album’s songwriting is primarily credited to War’s then-current nine-member lineup, with producer Jerry Goldstein contributing to two tracks: “Don’t Take It Away” and “Night People.”

Charles Miller, a founding member, appears only on “I’ll Take Care of You,” recorded before his departure. Alice Tweed Smyth (formerly credited as Tweed Smith) is listed as a composer on “Don’t Take It Away,” marking her first writing credit on a War release.

Musically, “Don’t Take It Away” glides on a dance pulse framed by layered vocals. “I’ll Be Around” moves into smooth ballad territory, delivering sax phrases over restrained phrasing. “I’ll Take Care of You” extends into a reflective instrumental space, while “Night People” skims a mid‑tempo jazz‑funk texture. The centerpiece, a 13‑plus minute instrumental reworking of The World Is a Ghetto, unfolds in repetitive riff cycles. The album closes on a compact, propulsive statement of identity with “The Music Band 2 (We Are the Music Band).” 

A1. “Don’t Take It Away” (6:45)
A2. “I’ll Be Around” (6:34)
A3. “I’ll Take Care of You” (8:48)

B1. “Night People” (6:30)
B2. “The World Is a Ghetto (Special All New Instrumental Version)” (13:47)
B3. “The Music Band 2 (We Are the Music Band)” (3:10)

Sessions occurred at studios in Los Angeles with producer Jerry Goldstein, working in association with Lonnie Jordan and Howard Scott. Chris Huston handled recording and remix engineering.

The Music Band 2 features artwork directed by George Osaki and Lee Oskar. The cover uses embossed solid-green board with metallic gold printing, matching the elaborate production method of its predecessor.

Two singles were released: “Don’t Take It Away” (1979) and “I’ll Be Around” (1980), both backed with “The Music Band 2 (We Are the Music Band).”

The album peaked at No. 111 on the Billboard 200.

On June 4, 1980, two days after Charles Miller’s 41st birthday, the ex-War reedist was killed by an unidentified assailant in a botched street robbery.

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Outlaw

War released their fourteenth studio album, Outlaw, in 1982 on RCA Victor.

Songwriting across the album is attributed to War’s eight-member lineup, with producer Jerry Goldstein co-writing six of the ten tracks. Pat Rizzo, who does not appear on the cover photo, receives writing credit only on “Cinco de Mayo” and “Baby It’s Cold Outside.”

Musically, “You Got the Power” leads with tight rhythm and vocal compression, replete with clipped phrasing and denser instrumental layering. The title track leans into low-end funk pacing with staccato horns and sharply timed accents. “Just Because” shifts the record into slower reggae phrasing with vocal interplay at the center. “Baby It’s Cold Outside” expands with spacious textures and brushed instrumental restraint. “Cinco de Mayo” asserts with conga-driven syncopation and clipped guitar/horn counterpoint.

A1. “You Got the Power” (5:41)
A2. “Outlaw” (5:02)
A3. “The Jungle (Medley)” (8:06)
— a. “Beware It’s a Jungle Out There” (2:30)
— b. “The Street of Walls” (1:37)
— c. “The Street of Lights” (1:59)
— d. “The Street of Now” (2:40)

B1. “Just Because” (4:09)
B2. “Baby It’s Cold Outside” (5:51)
B3. “I’m About Somebody” (5:34)
B4. “Cinco de Mayo” (3:59)

Sessions occurred at studios in Los Angeles with producers Jerry Goldstein and Lonnie Jordan. Chris Huston and John Fischbach served as recording engineers.

Outlaw features a cover concept by Tony King, with design and art direction by Mike Doud and photography by Richard Arrindell.

Four singles were released: “You Got the Power” reached No. 66 on the Billboard Hot 100, No. 18 on the R&B chart, and No. 6 on the Dance chart. “Outlaw” peaked at No. 94 Hot 100 and No. 13 R&B. “Cinco de Mayo” hit No. 90 on the Hot 100, and “Just Because” was issued with “The Jungle (Medley)” as its B-side. A seasonal promo of “Baby It’s Cold Outside” was also distributed to radio.

“Cinco de Mayo” became a recurring seasonal favorite and remains a later-period War evergreen.

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The Music Band – Jazz

In 1982, MCA released The Music Band – Jazz, a collection of outtakes from War’s 1979 sessions that produced The Music Band and The Music Band 2.

The songwriting across the album is credited to various configurations of War’s 1979 lineup. Most tracks feature the group’s core members—Papa Dee Allen, Harold Brown, Lonnie Jordan, Lee Oskar, Howard Scott, and others—while the opening cut includes former bassist B.B. Dickerson and saxophonist Charles Miller, indicating it was likely recorded before Miller’s death in 1980. Producer Jerry Goldstein receives co-writing credit on two of the side two tracks.

A1. “Five Spot” (10:09)
A2. “Half Note” (10:00)

B1. “E.R.A.” (5:24)
B2. “Koronos”
B3. “Sometimes I Wonder (Is It for Real)”
B4. “A Pattern of Time” (14:55 total for B2–B4)

Sessions occurred in Los Angeles during 1979, produced by Jerry Goldstein alongside members of the band. The engineering team from The Music Band sessions was likely involved, though specific credits are unlisted.

The cover continues the minimalist theme from earlier Music Band releases, though unlike previous entries, it was printed using standard four-color processing without the custom finishes, embossing, or gatefold design.

No singles were issued from this release, and it arrived after War had parted ways with MCA.

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Life (Is So Strange)

War released their sixteenth studio album, Life (Is So Strange), in 1983 on RCA Victor.

The album’s compositions are primarily credited to Jerry Goldstein, Papa Dee Allen, Lonnie Jordan, Howard Scott, Lee Oskar, and Harold Brown. “Shake It Down” adds co-writer R.J. Ranois, while “Summer Dreams” is solely credited to Oskar.

Life (Is So Strange) updates War’s funk-soul foundation with sequenced beats and synth overlays. The two extended medleys—“W.W. III (Medley)” and “U-2 (Medley)”—unfold as multipart suites, shifting between clipped rhythms and atmospheric passages that echo the band’s earlier experimental reach within a more linear framework.

A1. “Life (Is So Strange)” (5:58)
A2. “Happiness” (7:39)
A3. “W.W. III (Medley)” (7:53)
— a. “The Dawning of Night”
— b. “Waiting at the Church”
— c. “When the Nighttime Comes”

B1. “Shake It Down” (4:58)
B2. “Summer Dreams” (5:00)
B3. “U-2 (Medley)” (9:47)
— a. “U-2 Part 1”
— b. “Automatic Eyes”
— c. “U-2 Part 2”
— d. “U-2 Part 3”

Sessions occurred in Los Angeles, produced by Jerry Goldstein and Lonnie Jordan, with engineering by John Fischbach and Chris Huston. Bernie Grundman handled mastering.

Life (Is So Strange) features artwork by Lou Beach. The cover depicts a woman wearing sunglasses that reflect twin mushroom clouds over Los Angeles, with the Hollywood sign visible in the distance. The back shows Manhattan skyscrapers collapsing under nuclear blast. The imagery mirrors the album’s themes of modern anxiety and Cold War tension.

One single was issued: “Life (Is So Strange)” backed with “W.W. III.”

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Discography:

• Eric Burdon Declares “War” (1970 • as Eric Burdon and War)
• The Black-Man’s Burdon (1970 • as Eric Burdon and War)
• War (1971)
• All Day Music (1971)
• The World Is a Ghetto (1972)
• Deliver the Word (1973)
• Why Can’t We Be Friends? (1975)
• Platinum Jazz (1977)
  
• Galaxy (1977)
• Youngblood (1978)
• The Music Band (1979)
• The Music Band 2 (1980)
• Outlaw (1982)
• Life (Is So Strange) (1983)
• Where There’s Smoke (1985)

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Sources:

• Discogs: WAR
• RYM: WAR
• 45worlds: WAR
• 45cat: WAR