Curtis Mayfield

b. 3rd June 1942, Chicago, Illinois, U.S.A.

d. 26th December 1999, North Fulton Regional Hospital, Roswell, Georgia, U.S.A.

Curtis Mayfield has played a major pivotal role in soul music over the last 40 years and has influenced countless musicians (and politicians).

Between 1961 and 1971, he wrote a succession of influential singles for his group, including 'Gypsy Woman' (1961), 'It's All Right, (1963), 'People Get Ready' (1965), 'We're A Winner' (1968) and 'Choice Of Colours' (1969).

Curtis wrote tender love songs and those protesting social and political equality.

Decades later Bob Marley lifted lines from 'People Get Ready' to populate his own recording, 'One Love'.

Two independent record companies, Windy C and Curtom, emphasized Mayfield's important role within black music, while his continued support for other artists as composer, producer or session guitarist, enhanced a reputation beyond that of just a singer.

Jerry Butler, Major Lance, Gene Chandler and Walter Jackson are among the many Chicago-based singers benefiting from Mayfield's songwriting skills.

Having parted company with The Impressions in 1970, Curtis began his solo career with '(Don't Worry) If There's A Hell Below We're All Going To Go', a suitably astringent protest song.

The following year Mayfield penned his biggest UK success when 'Move On Up', reached number 12, an energetic dancer that charted in the USA and U.K. alike.

There, the awards continued as success was maintained with 'Freddie's Dead' (US R & B number 2 / number 4 pop hit) and the theme from 'Superfly' (1972), a 'blaxploitation' film that he also, wrote.

Both singles and the album achieved gold status, inspiring further excursions into the movies.

The soundtracks including 'Claudine', 'A Piece Of The Action', 'Sparkle' and 'Short Eyes', the last of which featured Mayfield in an acting role.

The singer continued to prove popular and subsequent work, including his production of Aretha Franklin's 1978 album, 'Almighty Fire' is held in high regard.

In 1981, he joined the Boardwalk label, for which he recorded 'Honesty', his strongest album since the days of the early 70's.

The death of the label's managing director left an enormous gap, and Mayfield's career was then blighted by music industry lethargy.

The singer remained a highly popular live attraction, particularly in Britain where '(Celebrate) The Day After You', a collaboration with the Blow Monkeys, became a minor hit.

In 1990, a freak accident, in which part of a public address rig collapsed on top of him during a concert, left Mayfield permanently paralyzed from the neck down.

The effects, both personal and professional, proved costly, but not completely devastating in terms of his musical career.

The material from 'BBC Radio 1 Live In Concert' was gathered from the gig at London's Town And Country Club during Mayfield's 1990 European tour.

In 1993, Warner Brothers released 'A Tribute To Curtis Mayfield' featuring various artists including Lenny Kravitz, Whitney Houston, Aretha Franklin, Bruce Springsteen, Rod Stewart, Elton John and Steve Winwood, which was an excellent tribute to the Mayfield songbook.

Aretha's version of 'The Makings Of You' was excellent.

A year later Charly Records reissued the majority of Mayfields 70's albums on CD as well as several compilations.

In 1996,Rhino Records gathered the best package in a three-CD box set.

At the end of 1996, a new album, 'New World Order' , was released to excellent reviews.

During the recording of 'New World Order', Mayfield had to lie on his front, supended by a harness, in order to give some gravitational power to his voice.

His contribution to soul music has been immense, whatever the limitations of his disability, his voice, however, remained perfect, sensitive and unique.

On Boxing Day 1999, Curtis passed away in his sleep at the North Fulton Regional Hospital in Roswell, Georgia, U.S.A. His contribution to society and music is unmeasurable. Curtis Mayfield Obituary

'Pusherman' is utilised as part of the American curriculum in the fight against drugs.

Curtis Mayfield
Curtom 8014
Released: July 1972
Chart Peak: #1
Weeks Charted: 46
Certified Gold: 9/7/72

This soundtrack to the flash and clever Superfly is as pleasing and pretty in your living room as it is mingled with the images that it aurally represents. In fact the anti-drug message on the record is far stronger and more definite than in the film, which was diluted by schizoid cross purposes. Superfly, the film, glamorizes machismo-cocaine consciousness while making a political moralization about the process that keeps drugs illegal yet sees that they are supplied in quantity to the ghetto. The only way that black political consciousness is treated is to make it seem impotent and trivial.

Yet the implied "plot" in Curtis Mayfield's music and lyrics closely follows the line of the film; each song is readily identifiable with various scenes; the many attitudes and poses that Curtis adopts in his music, whether it be the tough-yet-sensitive persona or a sort of narrative third person, all point to rejection of dope control and self-liberation, the most positive themes of what will be a heavily influential film.

But the greatest quality of any soundtrack is that it can stand alone. Superfly is not only a superior, imaginative soundtrack, but fine funky music as well and the best of Curtis Mayfield's four albums made since he left the Impressions since the "Gypsy Woman" days. The Mayfield-Pate team dipped into three distinct musical satchels to pull out this lovely and energetic song cycle -- the established Shaft system of dramatic, heaving chords and souped-up, insectine guitar and synthesizer chops by Isaac Hayes; the lyrical power of the song style and orchestration of Marvin Gaye and David Van dePitte; and, certainly not least, the amazing emotive skill of Curtis Mayfield, whose technique is honed and carried to strange extremes. "Pusherman," the major vocal theme of the film, identifying the protagonist ("a man of odd circumstance, a victim of ghetto demands"), is almost scary and perverse, given Curtis' manner: He kisses the word "pusherman" rather than sings it. The implications are so heavy that this truly amazing song, with its metallic percussion and hypnotic, drugged tone, couldn't possibly be released as a single. The more conservative "Freddie's Dead," which deals with the demise of a sad fat stooge, was doled out instead to a faunching public and is now at the top of everyone's Hot Hundred.

"Little Child Runnin' Wild" sets the tone of the whole record -- episodic, tragic, hungry and telling tales of psychic misery. The story is that the coke dealer wants to split the scene, leave it clean and is all pent up with conflicts of values. Mayfield's soothing falsetto purr transforms into an anxious cry during climactic moments in the song/stories -- he is a tremendous vocal actor: "Pusherman," "Freddie's Dead" and "Eddie You Should Know Better" are crawling with tension; "Nothing On Me" and "Superfly" are triumphant and wailing, and "Give Me Your Love" is fine accompaniment for the slippery bathtub-fuck scene that makes the whole picture worthwhile for many of its patrons. The moral is that ol' Superfly is still badass stuff even if the cops are behind it, and also that this record is currently selling as well as good coke and deserves to do so.

- Bob Donat, Rolling Stone, 11/9/72.

Bonus Reviews!

This LP is not only great but will put the Curtis Mayfield name where it belongs -- at the top. In this Sig Shore production of Super Fly, all of the songs are written and performed by Mayfield. An album that should have immediate high sales in pop and soul markets. Other than the single cut "Freddie's Dead," entry also includes cuts like "Pusherman," "Think" and the motion picture title cut. Mayfield's best to date.

- Billboard, 1972.

I'm no respecter of soundtracks, but I can count -- this offers seven new songs (as many as his previous LP) plus two self-sustaining instrumentals. It's not epochal, but it comes close -- maybe Mayfield writes tougher when the subject is imposed from outside than when he's free to work out of his own spacious head. Like the standard-setting "Freddie's Dead," these songs speak for (and to) the ghetto's victims rather than its achievers (cf. "The Other Side of Town," on Curtis), transmitting bleak lyrics through uncompromisingly vacious music. Message: both candor and rhythm are essential to our survival. A-

- Robert Christgau, Christgau's Record Guidee, 1981.

What could have been a slick soundtrack for another black exploitation film is elevated to another level by the Impressions' former lead singer. "Freddie's Dead" and the title track charted, but there's an insinuating quality through all nine, and lyrics that speak truth. With disco beginning to drain the black music scene of its vitality, Superfly stands out for both its craft and creativity, benefitting from one of the sweetest soul voices of the era, coupled with some well-produced, light funk sounds. The sonics of this recording are impressive on CD, a minor problem being an occasional tendency to let the vocals slide a bit far into the mix. B+

- Bill Shapiro, Rock & Roll Review: A Guuide to Good Rock on CD, 1991.

Curtis Mayfield's talents as an all-around artist became evident in the 1970s. This was one of many inspirational soundtracks Mayfield composed for films that seldom matched his musical tapestry. Superfly was a misunderstood film, but there were no questions about the music: such songs as "Freddie's Dead," "Pusherman" and the title track brought home the impact and scourge of drugs with clarity and power. Mayfield's singing was consistently magnificent, and the production and arrangements were equally superb. * * * * *

- Ron Wynn, The All-Music Guide to Rock, 19995.

Curtis Mayfield was never better than on Superfly, where his falsetto cut through visions of ghetto life like a stiletto blade in a street fight. The wah-wah guitar that drives through this album is exemplary proto-funk. * * * * *

- Lawrence Gabriel, Musichound Rock: The Esssential Album Guide, 1996.

The score of Gordon Parks Junior's morally dubious blaxploitation movie -- did it glorify drug dealers? -- was considerably better than the film, thanks to a superb set of songs and incidental numbers from ex-Impressoin Curtis Mayfield. The soundtrack release became, basically, his fourth solo album. Already the sweet-voiced soul songsmith had garnered great praise for his Curtis, Roots and Curtis/Live LPs from the turn of the decade. With Super Fly he took things a stage further, scoring an international hit in the title track that infused the then common wah-wah soundtrack markers with a moody, often magical feel. The staccato, brass-pumping title track gave Mayfield's vocals the perfect platform; "Freddie's Dead," the contemporary hit single, grew into a sad, stirring epic (in the early 90s Fishbone would accelerate the song, making it harder and more threatening), while the cascading pianos of "No Thing On Me - The Cocaine Song" resonated with the dangerous allure of the drug world. While Mayfield's first specialty, romance, was covered on the tender "Give Me Your Love," his brief on Super Fly was to create widescreen excitement and lush atmosphere -- and this No. 1 album succeeded beyond the producer's wildest dreams. Mayfield is in a wheelchair now, but his music continues to fly.

- Collins Gem Classic Albums, 1999.

In the blaxploitation-soundtrack derby, Isaac Hayes' Shaft came first -- but that record had one great single and a lot of instrumental filler. Mayfield's soundtrack to Superfly is an astonishing album, marrying lush string parts to funky bass grooves and lots of wah-wah guitar. On top is Mayfield's knowing falsetto. Tracks such as "Pusherman" and "Freddie's Dead" are almost unremittingly bleak, commenting on the movie's glamorization of the drug-trade action and forecasting its inevitable results. "I don't take credit for everything I write," Mayfield said. "I only look upon my writings as interpretations of how the majority of people around me feel.

Superfly was chosen as the 69th greatest album of all time by the editors of Rolling Stone magazine in Dec. 2003.

- Rolling Stone, 12/11/03. <

Curtis Mayfield and/or the Impressions
Records reviewed in this section:

Keep On Pushing - People Get Ready - One By One - Ridin' High - Fabulous - We're A Winner - This Is My Country - The Young Mod's Forgotten Story - Check Out Your Mind - Curtis Live! - Superfly - Times Have Changed - Back To The World - Preacher Man - Finally Got Myself Together - Sweet Exorcist - There's No Place Like America Today - Give, Get, Take And Have - Never Say You Can't Survive - The Right Combination - Love Is The Place - We Come In Peace With A Message Of Love - Live In Europe - New World Order

Curtis Mayfield first came to prominence as a member of the Impressions, a smooth soul vocal group formed in Chicago in 1956. After one early hit in 1958 ("For Your Precious Love"), original lead singer Jerry Butler went solo, and Mayfield soon became the group's primary vocalist, composer, guitarist and all-around mastermind. Starting with "Gypsy Woman" in 1961, the group - signed to ABC-Paramount - rang up a string of hits including classics of the era like "People Get Ready." In 1970 Mayfield left for a solo career and changed his sound radically, dropping vocal harmonies and sweet melodies in favor of stripped-down funk jams, which contrasted with his pure, clear tenor. He soon rose to his commercial peak with the "blaxploitation" soundtrack Superfly, and from then on he alternated between hard-edged political funk and string-drenched movie soundtracks, also producing other high-profile artists including Aretha Franklin and Gladys Knight & The Pips. He also continued to produce some Impressions records, and reunited with them on occasion.

Along with many other 60's soulsters, Mayfield fell on hard times during the disco boom, and nearly disappeared during the 80's. In 1990, Mayfield was paralyzed in an on-stage accident - he lost his ability to play instruments, and could sing only with great difficulty. But he did manage a critical comeback with 1996's New World Order before his death on December 26, 1999. A word of warning: Mayfield's best work is totally gripping, but the rest (including most of his work for other artists) can be remarkably low-energy and just plain dull. Plus, he reused that "People Get Ready" melody so often in the 60's, he's like the Ray Davies of soul.

There's a very good fan site. (DBW)

Personnel:
The Impressions - Jerry Butler (tenor vocals), Curtis Mayfield (vocals, guitar), Samuel Gooden (bass vocals), Arthur Brooks, Richard Brooks (vocals). Arthur and Richard Brooks left by 1958, replaced by Fred Cash (tenor vocals). Butler left, 1958. Mayfield left, 1970, replaced by Leroy Hutson. Hutson left 1972, replaced by Ralph Johnson. Reggie Torian joined, 1973.

The Impressions (Impressions: 1963)

The Never Ending Impressions (Impressions: 1964)

Keep On Pushing (Impressions: 1964)
At this point, the Impressions were still doing simple Platters-style doo-wop with lovely harmonies, a tame rhythm section, and predictable progressions - about a decade behind what Motown was churning out. The only time they deviate from the four-chord formula, it's a mistake: the absurd marching song "Amen" (by Hairston, the only tune here Mayfield didn't write). The title track was a single, and it's more energetic than the rest - unless you're stuck even farther in the past than I am, you'll probably find this collection of precisely rendered compositions to be dated and a bit sterile. Produced by Mayfield. Now available on a twofer CD with People Get Ready. (DBW)

People Get Ready (Impressions: 1964)
Produced and arranged by Johnny Pate, and it's a lot more varied and interesting: strings and horns are used sparingly but creatively, and Mayfield's falsetto vocals are absolutely gorgeous on tracks like "I've Found Out That I've Lost." The lovely, guardedly political title track is the best known Impressions song, and was covered a zillion times during the oh so turbulent Sixties. Some other tunes have soulful grit ("Woman's Got Soul," "You Must Believe Me"), and Mayfield's beginning to play some interesting guitar ("Can't Work No Longer"), but there's still a lot of ordinary-sounding pop soul ("We're In Love," "Emotions"). This time out everything was written by Mayfield. (DBW)

One By One (Impressions: 1965)
Holy Mantovani, Batman! Abruptly, the group shifted gears, releasing a bunch of sappy covers of standards ("Without A Song," "Mona Lisa"). Labelmate Ray Charles succeeded with like material during this period, but he had worlds more presence and jazzy arrangements; Motown made some similar mistakes, but never went this far overboard into the land of 101 strings, swirling harps, and corny woodwind trills that make tracks like "Nature Boy" damn near unlistenable. There are three Mayfield compositions, but they're no better (except for "Falling In Love With You," an elegant ballad that would fit on any other album from this era). About the only point of interest is a rare Gooden lead on the Tony Bennett tune "I Wanna Be Around." Arranged and conducted by Pate, who threw all his previous restraint to the wind. I would say avoid this one at all costs, except that it's available on a twofer with Ridin' High. (DBW)

Ridin' High (Impressions: 1966)
A sudden jump to the mainstream of mid-60's soul, with far more prominent drumming ("Right On Time"), more piano, swinging horn fills, vibes, and upbeat, enthusiastic tunes. The rousing "Gotta Get Away," for example, recalls Stax artists like Sam & Dave. But there's still plenty of the super-smooth vocalizing their fans expected - "I Need You" is perhaps the best example - and Mayfield gets in a guitar solo on "Too Slow." A lot of the song material is routine, though: "I Need To Belong To Someone" is nearly a note-for-note copy of "People Get Ready." There's only one non-Mayfield tune: the horrific standard "Let It Be Me." Again, produced by Pate. (DBW)

The Fabulous Impressions (Impressions: 1967)
Mayfield reacted to the group's declining sales by continuing to imitate Motown, as on the driving but thin single "You Always Hurt Me." If you're a fan of the group you'll enjoy ballads like "I'm Still Waitin'" and "Aware Of Love" (with Gooden singing lead), and there's also listenable uptempo fare like "Love's A Comin'," but this isn't a good place to start. Available on a twofer with We're A Winner. (DBW)

We're A Winner (Impressions: 1968)
The title track, the group's first undeniable hit single in several years, is a brilliant inspirational number with propulsive, creative drumming. However, the rest of the album sounds like it could've been recorded in 1963, with a passel of unremarkable, old-timey love songs ("Moonlight Shadows," "I Loved And I Lost"). All originals except for an over-the-top cover of Jimmy Webb's "Up, Up and Away." With only ten tracks to start with (most previous albums had twelve), there isn't much reason to pick this up, if you can find the single somewhere else. (DBW)

This Is My Country (Impressions: 1968)
The first release on Mayfield's own Curtom label, and Black Power emerges as a clear theme (title track), though the lyrics don't date too well ("Every brother is a leader, every sister is a breeder" from "They Don't Know"). Musically there's no real change, just more four-chord ballads and pop tunes with basic rhythm section, horns and strings instrumentation - the biggest change is corny harpsichord on the Motown-like, oh-so-groovy "Love's Happening." And aside from the moving title track, the compositions don't sound so fresh either: "Fool For You" is almost identical to the Ray Charles song of the same title, and "Stay Close To Me" is a ripoff of "This Old Heart Of Mine." Apparently Donny Hathaway is featured on here somewhere, but the liner notes don't say where - as usual, all the songs are Mayfield's. Released on a twofer CD together with the following album. (DBW)

The Young Mod's Forgotten Story (Impressions: 1969)
The album includes "Mighty Mighty (Spade And Whitey)," Mayfield's first venture into wah-wah'd funk that points the way to his successes of the next few years. But the rest of the tunes are in the same old-timey style of the previous Impressions releases, including a long string of similar-sounding ballads: "My Deceiving Heart," "Love's Miracle." Mid-60's Motown is referenced once again in the uptempo "Seven Years" and "Wherever You Leadeth Me." Arranged by Hathaway and Pate - the orchestral backing of "The Girl I Find" is quite sophisticated. (DBW)

The Versatile Impressions (Impressions: 1969)
A collection of covers ("Yesterday," Bacharach/David's "The Look of Love") put together by ABC-Paramount after the group jumped ship. It does contain one new Mayfield original, "Don't Cry, My Love." (DBW)

Check Out Your Mind (Impressions: 1970)
The last Impressions album before Mayfield went solo, and it's a good one. The production style suddenly jumped about five years forward, catching up with late 60's soul and R&B conventions without sounding like knockoffs: strong melodies (title track, "Only You"), funky (but not overly repetitive) bass lines ("Do You Want To Win?"), and burbling Latin percussion ("You're Really Something, Sadie"). "Baby Turn On To Me," however, is too close to Temptations hits like "Ball Of Confusion," and that trend continued on the next Impressions release. The ballads are hit and miss: "You'll Always Be Mine" and "Say You Love Me" are rather dull, though "Can't You See" is dramatic, with soaring strings reminiscent of Isaac Hayes work like "I Stand Accused." The psychedelic "Madame Mary" and bouncy "We Must Be In Love" had previously been recorded by labelemates the Stairsteps. The title track and "Baby Turn On To Me" were singles, and went Top Ten on the R&B chart, but overall this album has been unjustly neglected. Available on a twofer with Times Have Changed. (DBW)

Curtis (1970)
Mayfield's first solo album, and his masterpiece. His interest in black consciousness and spirituality comes across loud and clear on funk anthems ("Don't Worry (If There's A Hell Below, We're All Gonna Go)"), tender love songs ("Miss Black America"), simmering meditations ("We People Who Are Darker Than Blue") and pure lovely pop ("Move On Up," with a sweeping arrangement that makes you think nine minutes is the ideal song length). And those are just the hits: the minor tracks are also well constructed and tuneful ("The Other Side Of Town"). Everything was written and produced by Mayfield, as usual, and he blends in everything from full orchestrations to wah-wah to sound effects without ever being self-consciously experimental - some of the credit is surely due to arrangers Riely Hampton and Gary Slabo. As an early 70's social-political self-written soul concept album, the obvious comparison is to Marvin Gaye's What's Going On. Well, Mayfield's lyrical focus is a lot sharper, his tunes are fully as memorable, his arrangements are flawless though not as idiosyncratic. Gaye's got him beat hands-down as a vocalist, though: for all Mayfield's heartfelt precision as a writer, his soft tenor just doesn't project Gaye's emotion and urgency. So I guess I'll call them even. (DBW)

Curtis Live! (1971)
A double album recorded at NYC's Bitter End, and a powerful demonstration of Mayfield's pre-Superfly accomplishments, with the best of the Impressions material ("Gypsy Woman," "People Get Ready") alongside his new solo work ("We The People Who Are Darker Than Blue"). The small group setting focuses the attention on Mayfield's lyrics - earnest but full of humor - and intense (though understated), frequently mournful vocals ("Stare And Stare"). This works particularly well on the Impressions songs, which surprisingly don't suffer from the lack of vocal harmonies, and sound completely up-to-date. The arrangements mostly stick to bass vamps and wah-wah licks, with the only variation coming from Henry Gibson's constantly shifting percussion, but since the song material is so strong and the band so focused, the interest level never flags. Flawlessly performed and capably recorded; besides Mayfield and Gibson, the band is Craig McCullen (rhythm guitar), Tyrone McCullen (drums) and Joseph "Lucky" Scott (bass). (DBW)

Roots (1971)
Perhaps Mayfield's most varied and musically complex work, though it's not as hit-filled or consistent as Curtis. The opening "Get Down" is powerful polyrhythmic funk, and Mayfield even plays Santana-like lead guitar to complete the effect. Mayfield also displays his usually concealed guitar skills on the bluesy ballad "Now You're Gone," where he turns in a convincing B.B. King impression. Throughout the string arrangements (by Pate) are fascinating ("Beautiful Brother Of Mine"), and the rhythm section (the same crew from Live!) gets creative while holding down a solid beat. As usual, Mayfield's lyrics are directly social-political, and he creates an eerie mood to go with it on the harrowing "Underground," replete with screams and ominous guitar. Good as it is, though, the album's not wall-to-wall brilliant: the side-closers "We Got To Have Peace" and "Love To Keep You In My Mind" are pleasant pop but nothing special, and the mellow "Keep On Keeping On" wears out its welcome with a long running time and no clear melody. Also in 1971, Curtom artist Ruby Jones released a self-titled LP with "production supervision" by Mayfield; the disc includes a cover of his "Stone Junkie." (DBW)

Superfly (1972)
Mayfield hit the top of the pop charts with his fourth solo release, this soundtrack to the landmark blaxploitation film; musically it follows in the wake of Shaft, with wah-wah guitar, Latin percussion and hip horns providing a streetwise vibe, softened by occasional strings. Lyrically it's complex, not just sketching out the plot but propounding a message of unity and transcendence. Several tracks are memorable and have been much sampled by hip hop acts: "Pusherman," "Little Child Runnin' Wild," the hit singles "Freddie's Dead" and "Superfly." This is justly considered a classic, but I'm not sure it really needed the deluxe two-disc treatment that Rhino gave it. Including alternate versions of nearly every single track makes it painfully clear that the compositions here have no musical depth beyond catchy pentatonic riffs: the instrumentals ("Junkie Chase," "Think") don't repay close listening, and the alternate takes are flat and uninteresting. You're better off with a single-disc version if you can find one, but either way, you shouldn't pass this up. (DBW)

Times Have Changed (Impressions: 1972)
Mayfield produced and wrote everything, except for a cover of Marvin Gaye's "Inner City Blues," and Leroy Hutson's "This Love's For Real," but didn't sing. As the Motown cover indicates, Mayfield's mostly following trails blazed in Detroit, and very often the group sounds exactly like the Whitfield-era Temptations, most notably on the six and a half minute "Stop The War," which borrows rhythm and string arrangements and even the title from an earlier Tempts effort. (The liner notes hilariously allege that the phrase "Hell no, we won't go" was invented by Mayfield for this recording.) Meanwhile, the melodies are servicable and unremarkable, and Mayfield reworks "People Get Ready" on the ballad "Need To Belong To Someone." I wouldn't exactly climb over barbed wire to get my hands on this one. (DBW)

Back To The World (1973)
A thoroughly enjoyable blend of percussive urban funk with full horn and string arrangements ("Right On For The Darkness," "Future Shock"). "If I Were Only A Child Again" is knowing, swaying, wah-wah enhanced soul, and the moving album closer "Keep On Trippin'," with its memorable "Heavenly Father" refrain, is just gorgeous. Worth hearing if you liked Superfly: though some tunes like the title track lack energy, and no song is as memorable as the previous record's hits, the lyrics are more abstract and thoughtful. Arranged by Richard Tufo. (DBW)

Preacher Man (Impressions: 1973)
Hutson left for a solo career with incredible speed, and Cash took over lead vocal duties, and doesn't really sound that different from Mayfield. Produced and largely written by Tufo, with backing provided by Curtom regulars like Henry Gibson, and they continue in the Tempts-inspired direction Mayfield had mapped out: the ten-minute stringstravaganza "Thin Line" is only the most blatant of the many ripoffs herein. There are some pleasant tunes, though: "Simple Message" is soothing and inspirational, and "Colour Us All Gray (I'm Lost)" is fine, frantic funk. Available on a twofer with Finally Got Myself Together. (DBW)

Curtis In Chicago (1973)
This live disc features the Impressions, and other guests. Also in 1973, Mayfield composed the score for Superfly T.N.T., and even had a bit part in the film. (DBW)

Finally Got Myself Together (Impressions: 1974)
The Impressions recruited two replacement vocalists: Ralph Johnson (not the Earth Wind & Fire drummer) and Reggie Torian. Mayfield didn't get involved with this project, but Tufo did, as well as old Motown hands Ed Townsend (who wrote half the songs here) and David Van De Pitte. There's almost none of the previous Motown/Sly-inspired funk ("Don't Forget What I Told You" is an exciting exception). Instead, there's plenty of supersmooth string-backed Philly soul ("If It's In You To Do Wrong," "We Go Back A Ways"). Johnson's voice sounds astonishingly like Gladys Knight's only a bit smoother, and it works well in this context. Townsend's "I'm A Changed Man ` (Finally Got Myself Together)" became the group's biggest hit in years, sailing to #1 on the R&B chart, and "If It's In You To Do Wrong" was also moderately successful. (DBW)

Sweet Exorcist (1974)
This time, Mayfield overdoses on atmospheric ballads with no discernable melodies ("Ain't Got Time," "Suffer") - he recites half-spoken lyrics over repetitive, slow-moving string arrangements, and it's hard to keep paying attention. The single "Kung Fu" and the closing "Make Me Believe In You" are the only funky cuts here, and both simply rework "Papa Was A Rolling Stone." The record does contain some of his spookiest lyrics ever on the yearning "To Be Invisible," but the political catchphrasing often seems tired ("Power To The People" - there's an original title). Produced by Mayfield; arrangements are split between Tufo and former Motowner Gil Askey. (DBW)

Got To Find A Way (1974)
Again, everything written and produced by Mayfield. Also in 1974, Mayfield produced Gladys Knight and the Pips' Claudine, which features a reworked version of "On & On" from Times Have Changed. (DBW)

There's No Place Like America Today (1975)
Continuing the vibe from Exorcist, with seven long songs that have no real melodies and just a couple of slow-shifting chords, while Mayfield half-sings his message of hope and faith, not necessarily in that order ("Jesus" and "When Seasons Change" are dull commercials for Christianity). This is a shame in cases like "Blue Monday People" where the lyrics are unusual and poignant. The most exciting tune is one Mayfield had originally written in 1969, "Hard Times," and "So In Love" is a pleasant love song, but truly this disc is all in the same mold - you'll either go with the mellow groove or, more likely, hate it. Musicians include Mayfield, Tufo, Scott and Gibson, plus Phil Upchurch and Gary Thompson (guitar) and Quinton Joseph (drums). Also in 1975, Mayfield wrote and produced the soundtrack for the Bill Cosby-Sidney Poitier vehicle Let's Do It Again; the title track, performed by the Staple Singers, was a #1 hit single. (DBW)

First Impressions (Impressions: 1975)
Though this is titled like a from-the-vaults release, it's actually an album of new material, mostly written and produced by Townsend and arranged by Tufo. (DBW)

Give, Get, Take And Have (1976)
From the opening "In Your Arms Again (Shake It)," this is punchier and more energetic than America. It's still basically the same format, though - slow chord changes; rhythm section, wah-wah and strings arrangements - without the precision or variety of his peak early 70's work. Everything sounds familiar, from the 50s love song "Only You Babe" to the funky "Mr. Welfare Man" (which had already appeared on Claudine), but the record's charm and good cheer is infectious. Lyrically it's hit or miss, with a couple of unambitious party numbers ("Party Night," "Soul Music"), though the plain-spoken love song "This Love Is Sweet" is charming. Produced by Mayfield and arranged by Tufo. Also in 1976, Mayfield produced Aretha Franklin's Sparkle. (DBW)

Never Say You Can't Survive (1977)
In the same vein as the previous album: simple songs with full but not over-lush orchestration that never fail to be touching (title track), driving ("I'm Gonna Win Your Love") or both ("Just Want To Be With You"). The acoustic guitar-meets-strings ballad "When We're Alone" comes dangerously close to bathos, but never quite topples over. The stylistic experimentation and unforgettable hooks of his early 70s discs is totally absent, but it's a soothing, heartwarming listen ("Sparkle," which suits his calmer voice better than Aretha's). Backing vocals by Kitty and the Haywoods, and a few tracks were arranged by James Mack instead of Tufo; otherwise it's the usual personnel. (DBW)

Short Eyes (1977)
Movie soundtrack. Also in 1977, Mayfield scored another Cosby-Poitier flick, A Piece Of The Action, which featured Mavis Staples. (DBW)

Do It All Night (1978)
Apparently an ill-fated venture into disco, arranged by Askey. The title track and "You Are You Are" were singles in the US; "No Goodbyes" was a single in the UK. Also in 1978 Mayfield produced Franklin's Almighty Fire. (DBW)

Heartbeat (1979)
More disco; Mayfield used the first outside producers and songwriters of his solo career, including Bunny Sigler and Norman Harris. (DBW)

The Right Combination (Linda Clifford/Curtis Mayfield: 1980)
This duet album alternates between disco-tinged funk ("Rock You To Your Socks") and retro 50's ballads ("Love's Sweet Sensation"), and both are done well. The title track is a lovely gentle melody recalling Mayfield's mid-60's work, as is "I'm So Proud." The lyrics don't address any social issues, for once, they're uncluttered and unclichéd love songs, which isn't a plus or a minus as far as I'm concerned. Clifford's voice doesn't impress me much, easy on the ears but not distinctive or gripping - still, it's a nice change from Mayfield's unvarying tenor. Norman Harris gets one shot as producer ("It's Lovin' Time (Your Baby's Home)") with Mayfield; the rest of the disc is produced by Mayfield alone or with Askey (who arranged). "Between You Baby And Me" was the single; it went to #14 on the R&B chart after its 1979 release. The large crew of musicians includes holdovers Scott and Gibson, and a whole lot of names I don't recognize. (DBW)

Something To Believe In (1980)
More soul/R&B, with two charting singles: "Love Me Love Me Now" and "Tripping Out." (DBW)

Love Is The Place (1981)
Produced by hack Dino Fekaris, and everything that made The Right Combination charming is carried to offensive extremes: the refreshingly light romantic lyrics have turned to mawkish clichés ("You Mean Everything To Me"); the retro influences have become an excuse to avoid anything approaching an original melody ("Babydoll," title track); the pop-friendly arrangements have become toothless 70's elevator music ("She Don't Let Nobody Else (But Me)"). On track after track, the rhythm section is dampened in favor of massed strings and sickly-sweet backing vocals ("Toot 'N' Toot 'N' Toot"); the record would be a total loss if it weren't for the gospel closer "Come Free The People." Session musicians include the Waters sisters, Michael Sembello, and who could forget Paulinho Da Costa? (DBW)

Honesty (1982)

We Come In Peace With A Message Of Love (1985)
A grab-bag, with a leftover Norman Harris disco production ("Body Guard"), a couple of retro love songs ("Baby It's You," "This Love Is True"), and a depressingly modern remake of 1971's "We Gotta Have Peace," with synths and routinely programmed Linn drums. The high point is a funky reggae tune, "Breakin' In The Streets," and the low point is an endless, unvarying would-be dance track ("We Come In Peace"), also disgraced by unimaginative drum programming and synth. Despite all the stylistic variety, the proceedings have an uninspired, almost desperate air. Musicians include Lucky Scott and Tracy Mayfield (bass); Edward Gregory (guitar); Theodis Rodgers, William Green and Buzzy Amato, (keys); Hank Ford (tenor sax) Morris Jennings, Glen Davis and Henry Gibson (percussion); The Harris Machine performs the Norman Harris cut. Not as bad as the worst of the disco miscalculations, but worse than almost any of Mayfield's other work. (DBW)

Live In Europe (1988)
A double album recorded in 1987, with Lebron Scott (bass), Amato (keys) and Gibson (percussion). Mayfield is crisp and professional as always, but lacks the focus and passion that made his 1971 live album such a revelation - the band stays far in the background and doesn't vary much on the longer numbers ("Move On Up"). Meanwhile Mayfield hardly plays guitar, so all you get is "up with humanity" monologues that get dull, however well intentioned. So, strangely, the most exciting performance is the backup band's opening instrumental, which is furious Tyneresque post-bop jazz ("Ice-9"). And since the set list is heavy on tunes that he'd already recorded live ("Gypsy Woman") plus a few more familiar hits ("Freddie's Dead," "Back To The World"), this is nothing but an enjoyable curiosity: Curtis Live is the live disc you want. (DBW)

Take It To The Streets (1990)
In 1990, Mayfield scored Return Of Superfly, and also suffered an accident that's left him paralyzed below the neck. (DBW)

New World Order (1996)
With Mayfield unable to play instruments, he hooked up with a bunch of outside producers, most of them young enough to be his children. But the sound isn't aggressively modern: mostly they create calm soothing synth grooves with a healthy amount of wah-wah, not far from Mayfield's usual approach ("Back To Living Again" produced by Narada Michael Walden with brief backing vocals by Aretha Franklin, "Here But I'm Gone" produced by Organized Noize). Indeed, the record's main flaw is that it's too mellow: outside of some classic Mavis Staples belting on "Ms. Martha," and a few solid tunes like "No One Knows About A Good Thing" (cowritten and produced by Daryl Simmons), most of the material relies so heavily on atmosphere it's barely there ("Let's Not Forget"). Though Mayfield plays it cool as always, his vocals are focused and more urgent, as on the mournful title track and a remake of "We People Who Are Darker Than Blue" (produced by Zapp's Roger Troutman, who contributes his trademark "voice box" backing vocals). Mayfield did co-produce several tracks, including the stomping retro-soul "I Believe In You" (featuring dramatic duet vocals by Sandra St. Victor) - one of the few tracks using live drums. (DBW)

Albums:

Curtis (Buddah 1970)

Curtis/Live! (Buddah 1971)

Roots (Buddah 1971)

Superfly film soundtrack (Buddah 1972)

Back To The World (Buddah 1973)

Curtis In Chicago (Buddah 1973)

Sweet Exorcist (Buddah 1974)

Got To And A Way (Buddah 1974)

Claudine (Buddah 1975)

Let's Do It Again (Curtom 1975)

There's No Place Like America Today (Curtom 1975)

Sparkle (Curtom 1976)

Give, Get, Take And Have (Curtom 1976)

Short Eyes (Curtom 1977)

Never Say You Can't Survive (Curtom 1977)

A Piece Of The Action (Curtom 1978)

Do It All Night (Curtom 1978)

Heartbeat (RSO 1979) with Linda Clifford

The Right Combination (RSO 1980)

Something To Believe In (RSO 1980)

Love Is The Place (Boardwalk 1981)

Honesty (Boardwalk 1983)

We Come In Peace With A Message Of Love (CRC 1985)

Live In Europe (Ichiban 1988)

People Get Ready (Essential 1990)

Take It To The Streets (Curtom 1990)

BBC Radio 1 Live In Concert (Windsong 1994)

New World Order (Warners 1996) 

LINKS:

http://www.soulwalking.co.uk/Curtis%20Mayfield.html

http://www.warr.org/mayfield.htmlhttp://www.warr.org/mayfield.html