Curtis Mayfield Albums (21)
'Live at Ronnie Scott's'
Release Date 3/27/2001
Tracks 11
Label Castle
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What The Critics Say
Recorded in 1988 at Ronnie Scott's jazz club in Soho, London, this wonderful Curtis Mayfield live set has a tremendous intimate feel, with Mayfield running through a handful of 1960s Impressions material as well as songs from his 1970s solo years. The warmth and wisdom of this innovative soulster is everywhere apparent, and his connection to the audience is obvious and direct. Particularly moving are a trio of Impressions' songs, "People Get Ready," "I'm So Proud," and "Move on Up." The disc concludes with a fairly lengthy backstage interview with Mayfield done by ex-Jam frontman Paul Weller. ~ Steve Leggett, All Music Guide
What The Critics Say
A CD reissue of an old Mayfield platter that didn't garner as much interest as some of his other solo releases, and for good reason: Mayfield was experimenting with his sound. After the first three songs nothing else really works until the last cut: "Come Free Your People," one of Mayfield's best albeit little-known message songs. The most engaging of the eight tunes are the reggae-influenced "She Don't Love Nobody Else," "Toot an' Toot an' Toot," and the lilting "Baby Doll." ~ Andrew Hamilton, All Music Guide
'New World Order'
Release Date 10/1/1996
Tracks 13
Label Warner Bros.
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What The Critics Say
New World Order is a touching, moving comeback from Curtis Mayfield. As the first new music Mayfield recorded since he was paralyzed in 1990, the album engenders a lot of goodwill -- it's undeniably affecting to hear him sing again, especially with the knowledge that his performances had to be recorded line by line, due to his paralysis. The joy of hearing him sing makes the inconsistency of the album forgivable, especially since he is in good voice. Narada Michael Walden, Daryl Simmons, and Organized Noize all contributed productions that are sensitive but strong, which gives the album added weight. The songs are hit-and-miss, but the main strength of the record is that it illustrates that Mayfield can make music that is still vital. ~ Leo Stanley, All Music Guide
What The Critics Say
Although Curtis Mayfield's album sales had decreased significantly by the late '70s, the smooth Chicago soul veteran remained a popular live attraction well into the '80s. Audiences still longed to hear both gems from his years with the influential Impressions and his early solo hits, and he gives them exactly what they want on this album (released as both a single CD and a two-CD set). Mayfield reminds us just how great the Impressions were on heartfelt versions of such '60s classics as "Gypsy Woman" (which greatly influenced the Isley Brothers), "It's Alright" and the inspirational "People Get Ready," and is equally captivating on incisive, early-'70s sociopolitical hits like "Pusherman," "Freddie's Dead," and "If There's a Hell Below." Live in Europe's main flaw isn't Mayfield's performances, but a band that, although decent, just doesn't go that extra mile or do this superb material justice. Horns, a main ingredient of many of his hits, are sorely missed -- especially on "Move on Up" -- and Buzz Amato's keyboards simply can't take their place. ~ Alex Henderson, All Music Guide
'Take It to the Streets'
Release Date 2/15/1990
Tracks 8
Label Ichiban
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What The Critics Say
In the 1980s and '90s, some soul veterans turned to high-tech urban-contemporary sounds in an effort to appeal to black radio. Curtis Mayfield, however, continued to deliver rewarding albums by remaining true to himself and sticking with the type of classic soul approach that put him on the map. Take It to the Streets falls short of the unmitigated excellence of Superfly or Sweet Exorcist, but is a respectable effort demonstrating that he could still pack a punch as a vocalist, composer, and producer. There's much to savor and admire here, including "Homeless" (which makes it clear that Mayfield hadn't lost his touch when it came to biting sociopolitical commentary), "He's a Fly Guy," the charismatic "Who Was That Lady," and an engaging remake of "On and On" (a gem he wrote for Gladys Knight & the Pips in 1973). With the re-emergence of hard-hitting "blaxploitation" (black exploitation) films in the late '80s, the gritty imagery of "I'm Gonna Get You Sucka" and the haunting "He's A Fly Guy" proved quite timely. While this material could have used some horns, Mayfield generally employs technology in a soulful way -- employing "real instruments" along with keyboards and drum machines, and never letting his production sound stiff, unnatural, or forced. ~ Alex Henderson, All Music Guide
What The Critics Say
Unlike Mayfield's more well-known work in the 1970s, his 1980s material is more soulful than funky. Songs like "Hey Baby (Give It All to Me)" and "Still Within Your Heart" are missing the hard-hitting urban commentary and focus instead on a romantic vibe similar to love songs by Al Green, Barry White, and Marvin Gaye. No clunkers here, but "Dirty Laundry'" is an outstanding track, and one of Mayfield's best during the decade. Honesty is a soft, sensual album that transports the listener back to the days of the Impressions more than those of Superfly. [In 2000, Boardwalk re-released this underrated album.] ~ JT Griffith, All Music Guide
'Something to Believe In'
Release Date 1/1/1980
Tracks 7
Label Curtom
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What The Critics Say
Something to Believe In was the result of previous album Heartbeat's success, a great-selling comeback for Curtis Mayfield in his own style, fully in his control. The album's sales success was limited, but its musical triumphs were myriad -- the beautiful "Something to Believe In," an extended track that is one of the most personal and ambitious records in Mayfield's whole output; the exquisite solo remakes of the Impressions hits "It's Alright" and "Never Let Me Go"; and the gorgeous ballad "Never Stop Loving Me," a sensual soul outing that provides a superb finish to the album. Strangely enough, the commercial single side "Love Me, Love Me Now" is one of the less impressive sides, on a production or composition level, among the seven tracks here. [A 1999 reissue by the British Sequel label combined Something to Believe In with 1979's Heartbeat.] ~ Bruce Eder, All Music Guide
What The Critics Say
A thinking man's soul singer, whose abilities combined the lyrical passions of Marvin Gaye with the musical range of Sam Cooke, Curtis Mayfield proved singularly unsuited to the disco era, at least on his own terms. Thus, for Heartbeat, he put himself in the hands of other producers -- Bunny Sigler and the Philadelphia team of Norman Harris and Ronnie Tyson -- for the first time in his career on seven of the ten songs, and the result was a first-rate disco album that got to number 42 on the pop charts and number 17 R&B, Mayfield's best-selling album in three years. It doesn't sound too much like Mayfield's best work, but it did get him some needed airplay just at the point where he and Curtom needed all the help they could get. The beat throughout is infectious, and Mayfield's vocalizing is impeccable, a match for his best work on any of his classic albums. The pounding disco arrangements (especially "What Is My Woman For?") are showy and so different from Mayfield's own true sound, that they are bound to offend some of his listeners -- this is sort of his equivalent to the Muddy Waters Electric Mud album, except it plays much better and Mayfield was able to perform some of this album's repertory in concert. Indeed, the beautifully lyrical ballad "Between You Baby and Me" -- one of only three Mayfield-produced tracks on the album, and the first studio duet between Mayfield and Linda Clifford -- led to a joint tour and a duet album for the two. [A 1999 two-fer compilation from Sequel paired Heartbeat with the following year's Something to Believe In.] ~ Bruce Eder, All Music Guide
