Maze Albums (10)
'Live in Los Angeles'
Release Date 7/23/1996
Tracks 13
Label Alliance
See Album Tracklist and Review
What The Critics Say
Maze's live albums are true reflections of their live show. You know what to expect from Maze: they sing the songs that made them famous, and others culled from many albums recorded over a successful career. You don't have to worry about them trying to show their versatility or musical awareness by performing songs made famous by others. The show opens with a bang with Frankie Beverly and the boys doing a rousing "Running Away" for an elated crowd, and it's followed by "Too Many Games," where he scats a bit. Beverly writes all of Maze's material and has been prolific without the quality suffering. On "I Wanna Thank You," he gives thanks to Maze fans and supporters, highly unusual in song form but a nice gesture. "Happy Feelin's" will remain a concert staple as long as Maze performs, regardless of how many other hits they have; they enjoy doing it, and its positive, perky beat never bores. Famous for their beat ballads, "I Want to Feel I'm Wanted" doesn't disappoint. The groove continues on an uplifting "We Are One," where they cleverly interject snatches of "Look at California." "Back in Stride Again," with its maniacal beat, is crisp and clear. An added studio cut, "When You Love Someone," is satisfying. Aesthetically pleasing, and all Maze; the '60s-sounding MC is a bit much, though. ~ Andrew Hamilton, All Music Guide
What The Critics Say
The 1985 gold-selling album from the band fronted by Frankie Beverly encompassed a strong group of songs. The first release was an energized song of reclamation, "Back in Stride." Laid down in a funky groove accented by frigid strokes of the keyboard, the single strutted its way straight to the top of the charts for two consecutive weeks. Maze kept the rhythm going with the release of "Too Many Games." Addressing the issues of ups and downs in a relationship, the gritty composition was game enough to grab the number five position on the charts. The third and final release from this album was "I Want to Feel I'm Wanted." The moderately paced song was written two decades prior to its release. However, the song has a natural beauty as if it were conceived especially for this album. It managed to peak at number 28 on the charts after a 13-week run. The remainder of the album is just as creditable as the aforementioned singles. ~ Craig Lytle, All Music Guide
What The Critics Say
When other 1970s R&B veterans were heavily incorporating elements of hip-hop and new jack swing in the hope of remaining competitive, Maze featuring Frankie Beverly flat out refused to change. Their roots were Philly soul and Marvin Gaye, and they weren't about to pretend otherwise. The stick-to-your-guns approach had made Silky Soul both a commercial and artistic triumph, and it's also a major asset on Back to Basics. Though not quite as strong as Silky Soul, Basics is a respectable, engaging CD that longtime Maze fans should savor. Beverly's producing had grown more high-tech over the years, but his approach to singing and writing hadn't changed much since the '70s. Smooth yet gritty, offerings like "The Morning After," "What Goes Up," and "Nobody Knows What You Feel Inside" are state-of-the-art Maze. And to his credit, Beverly knows how to use technology in a warm, soulful fashion. ~ Alex Henderson, All Music Guide
What The Critics Say
In 1989, many of the soul and funk bands that emerged in the '70s had either broken up or disappeared from the charts. But Maze featuring Frankie Beverly was not only hanging in there -- it was still selling a lot of albums. Released in 1989, Silky Soul was yet another big seller for Maze; it was also the band's first Warner Bros. release (after more than a decade at Capitol). On Silky Soul, Beverly favors a more high-tech production style than he had in the past. Maze's founder and lead singer knew that urban radio was very technology-minded, and he makes some urban contemporary moves by using more synthesizers and drum machines. Nonetheless, Silky Soul is state-of-the-art Maze. In fact, Silky Soul is an appropriate title for this CD because tracks like the funky "Love's on the Run" and the melancholy "Can't Get Over You" are essentially soul music -- the production style is more urban contemporary, but Beverly's singing and writing is still that of a soul man whose musical personality was shaped by the classic R&B of the '60s and '70s. Marvin Gaye is still a prominent influence, and Beverly pays tribute to the late soul singer on the hit title song. Silky Soul's title track is simply brilliant -- parts of the tune allude to Gaye's "What's Going On," but without obscuring Maze's own distinctive personality. Another great track is "Mandela," which calls for the release of South African freedom fighter Nelson Mandela. In 1989, Mandela was still confined to a South African prison, but after the racist apartheid system was ended, he became South Africa's president. An excellent album, Silky Soul demonstrated that Maze could be relevant to 1989's urban contemporary scene without being unfaithful to its soul roots. ~ Alex Henderson, All Music Guide
What The Critics Say
The northern California-based octet presents an album with the supreme focus being love and understanding. The first release, "Love Is the Key," emphasizes this by the title alone. An uplifting composition that features a tantalizing keyboard solo, it peaked at number five on the Billboard R&B charts. "Never Let You Down," the title track, and "I Wanna Thank You" were also releases; the highest charted single of three was the compassionate "Never Let You Down," which managed to peak at number 27. The majority of the album is written and arranged in the same vein. As simplistic as these recordings are, each song still manages to offers its own unique appeal. With the exception of "Love Is the Key," none of these songs was a chart-buster. Nonetheless, the album exceeded sales of 500,000, signifying how popular these songs were among Maze followers and remain to this day. ~ Craig Lytle, All Music Guide
What The Critics Say
A superb live album, one of the finest soul/funk concert dates ever released. Frankie Beverly and Maze managed to capture on this two-album set the energy, spontaneity, and nonstop excitement of their concerts, which have always been among the finest on the R&B/soul/funk circuit. The set functioned as both a greatest hits work and a wonderful introduction to people who'd never seen their live show. The album version of "Joy and Pain" became an international hit, and led to other singles being pulled and re-released in extended versions. ~ Ron Wynn, All Music Guide
What The Critics Say
With their fourth album, Joy and Pain, Maze and Frankie Beverly once again went gold with little or no support from pop radio. One of the band's most celebrated releases, this classic soared to the top of the R&B charts thanks to such hits as "Southern Girl" and the haunting title song (which, in 1988, rapper Rob Base would use without Beverly's permission). In interviews, Beverly expressed some disappointment over the fact that Capitol promoted Maze as strictly an R&B act and made no effort to promote Joy and Pain to pop audiences. And yet, Beverly wasn't about to become less R&B-oriented in order to cross over -- his contention was that, like Al Green and Marvin Gaye, he could reach pop radio without having to compromise. An essential album, Joy and Pain is the work of a band that made consistently rewarding soul and funk by sticking to its guns. ~ Alex Henderson, All Music Guide
What The Critics Say
Arguably Maze's best album, hands down, Inspiration lives up to its grandiose title. Frankie Beverly's compositions are executed to perfection by the seven-piece Maze ensemble: Atigunta Sun (drums), Wuane Thomas (lead guitar), Sam Porter (keyboards), McKinley Williams (vocals and percussion), Roame Lowry (vocals and congas), Robin Duhe (bass), and Frankie Beverly (rhythm guitar and lead vocals) -- the originals. If you're still down after listening to "Lovely Inspiration"'s positive, glowing, shimmering praise to the Supreme One, you have some serious issues. The fusion of R&B and reggae on "Feel That You're Feelin'" fueled its way up the R&B chart rungs; it remains a staple of Maze's live show. It's hard to get any better than "Call Me," on which Beverly outdoes himself during a sensitive, tear-jerking confession of a man whose woman left him for another; the parting is handled with maturity, and the lamenting lover extends an invitation for his ex to call him if it doesn't work out, or if she has a change of heart. Just as inspiring is the spirited "Timin'," a rollicking number about keeping your spirits up because, if it doesn't work out, it's not solely your fault, it's just a matter of timin'; why Capitol held back on this track is mystifying, since it has all the elements of a monster. That kick-happy beat is extended to "Welcome Home," a tune about a lover returning after discovering the grass wasn't greener on the other side of the fence. "Women Is a Wonder" is a slow tribute to women featuring some tantalizing guitar notes from Thomas; very nice, but a better bet if the supplementary vocals hadn't been buried so deep in the mix. Captivating, tinkling chimes introduce the laid-back "Ain't It Strange"; the vocal interaction between Beverly, Duhe, Williams, and Lowry are reminiscent of the Frankie Beverly & the Butlers years. An instrumental version of "Lovely Inspiration" ends the masterpiece. ~ Andrew Hamilton, All Music Guide
What The Critics Say
Maze and Frankie Beverly had a lot to live up to when the time came to record a second album, and while Golden Time of Day isn't quite as strong as their magnificent debut, it's nonetheless an excellent soul/funk offering. Disco was still incredibly popular in 1978, but it had little impact on Maze, which continued to avoid disco's hyper tendencies and favored a comfortable, more relaxed soul groove instead. The idealistic "Workin' Together" (a call for unity) and the reflective title song were well received by black radio, and the poignant album track "Song for My Mother" never became the hit single it should have been. On pop stations, Maze still couldn't get arrested. But a lack of pop support certainly didn't prevent Golden Time of Day from going gold. ~ Alex Henderson, All Music Guide
What The Critics Say
Formerly known as Raw Soul, Frankie Beverly and his band took a new name when they relocated from Philadelphia to San Francisco, as well as broadening their style from mainly standard soul to a funk/soul hybrid. They signed with Capitol in the mid-'70s, and their first album under the new pact was their finest set, with Beverly's energetic lead vocals and an excellent band that included keyboardists Phillip Woo and Sam Porter, bassist Robin Duhe, and guitarist Ron Smith. They made an immediate impact with their hard-driving sound, not as strictly on the beat as the Dayton bands like The Ohio Players or Slave, but just as soulful. ~ Ron Wynn, All Music Guide
