Curtis Mayfield had a good 1960s. He & his boys from Chicago’s Cabrini-Green hood, the Impressions, had a run of 7 successive Top 20 hits with graceful gospel-soul songs of elevation & empathy. Over at Okeh Records Curtis learned about making records from 2 accomplished talents, producer Carl Davis & arranger Johnny Pate. This prolific trio cultivated a crop of Chicago artists which included Jerry Butler, Major Lance & Walter Jackson. They styled some snazzy, bespoke soul for these singers, at the outset catching whatever commercial way the wind blew before gaining the confidence to set their own course.
By 1968 Curtis had founded, with associate Eddie Thomas, his own record label, Curtom. His best songs for the Impressions, “People Get Ready”, “It’s Alright” & the sublime “I’m So Proud”, were modern hymns, endorsing & encouraging the positivity of Martin Luther King & the Civil Rights Movement. Now Dr King had been murdered by racists, the war in Vietnam had become, in his words “a white man’s war, a black man’s fight.” Expectations of civil & economic progress remained unfulfilled. At the beginning of a new decade Curtis Mayfield left his group & began a solo career. He was 28 years old, he had something to say about America & his eloquence was matched by his vision for the music that would accompany the message.
“(Don’t Worry) If There’s A Hell Below, We’re All Going To Go “…Hot Damn ! The opening track of “Curtis” is an apocalyptic symphony. An everything including the kitchen sink drama almost 8 minutes long, the Book of Revelations for Jah’s sake. This first solo LP, “Curtis”, came in like gangbusters & kept on keeping on. Curtis was so ready for his new artistic freedom. Whether he was using a full orchestra to elegant effect or allowing “Master” Henry Gibson to drive the songs along with his sensational congas, everything was in the right place at the right time. There are still romantic songs, there’s the poetic “We the People Who Are Darker Than Blue” & not a wasted note in 8 minutes 40 seconds of “Move On Up”. The “Sgt Pepper’s” of 70s Soul ? You decide. Both singles were severely edited for the radio, not an improvement.
In 1971 you had to be either legendary or the Jackson 5 to score a #1 R&B LP. “Curtis” swapped this spot with Isaac Hayes before Aretha had 5 weeks there. Marvin’s “What’s Going On” prevailed for 8 weeks before Hayes returned with “Shaft” for an amazing 3 months at the top. Stuff I still listen to. It had taken a while for the longer form record to stand predominate in R&B. In 1969 Isaac Hayes’ ” Hot Buttered Soul”, just 4 expansive tracks, was a landmark in terms of sales & creative artistic control. Curtis Mayfield, with his own Curtom studio, was right on for this & ready to get busy.
Well…here we are then. It’s the aforementioned Henry Gibson on congas, Joseph “Lucky” Scott rocking the bass & some other very cool cats. How about that band ! Curtom Records was rocked by the premature death of Baby Huey in 1970. Just 26 years old, already a Chicago legend, Baby H was ready for national success. There were other productions, Mayfield made a final record with the Impressions, but it was his own work that was getting heard. “Curtis/Live!” (1971) is a double LP recorded at the small Bitter End club in New York, a perfect blend of his past with the present. From “Gypsy Woman” to “If There’s A Hell…”, it’s all Curtis & it’s all good. In the same year “Roots” was a set of new material including “We Got To Have Peace”. I don’t know if these songs were from a stockpile or if they were all new. Whatever the case this was a major creative outpouring.
Curtis was never going to shake off his religion, his romance & uncomplicated emotional exposition. I have seen his viewpoint described as “middle brow”, of being that of the “Black middle class”. I think this is meant as a criticism.Curtis may never have been down with Amiri Baraka “up against the wall motherf***er” or as raucous as the Last Poets but I’m sure he was a supporter of the Panthers 10 Point Programme just as he would endorse anything which helped black people move on up. There could be an element of love being the answer, of children being the future but Curtis was about self-advancement, about a brother helping a brother, being an achiever not a victim. If you are too cynical for those things then you are too cynical.
Curtis’ next move was perfect as a musical choice & as a business option. In the early 1970s blaxploitation movies were reaching beyond Quentin Tarantino & the urban black target audience. Whether it was “Sweet Sweetback’s Baadasssss Song” or, more likely “Shaft”, both from 1971, which set the trend, these films needed a funked-up soundtrack. “Super Fly” (1972) is the story of a cocaine dealer’s one last score, a $1 million deal for his pension. It’s a gritty, grainy, low-budget movie which anticipates Scorsese’s kings of New York & the street-smart soliloquies of Rap. “Super Fly” made money, it was an influential film which was helped then outgrossed by Curtis Mayfield’s perfect soundtrack.
“Super Fly” the record brought Curtis to a whole new audience. It topped the national charts, included 2 million-selling Top 10 singles. Curtis was not about the glorification of drug culture & was reticent about taking on the project. Of course he would never abandon long-held & heartfelt principles but the discipline of composing to a fixed brief & a deadline worked a treat. So, the title track, “Freddie’s Dead”, “Pusherman”, “Little Child Running Wild” ah… it’s a list & I could include the whole LP. Here, have another…
In the last clip (Oh no, it’s gone) Curtis is playing bigger gigs now. He is in the Premier League of R&B, Grammy Awards & more money than he could spend according to Jet magazine. There is a little loss of subtlety in having to please a larger audience but there is still an individual voice with something to say, a great band & some of the sweetest soul music ever made.