Rewind Review: The Curtom Story: Curtis Mayfield’s School of 20th Century Soul (2003)

Good heavens, this compilation is outstanding.

The Curtom Story is a two-disc set of solid 1960s and 1970s soul and funk curated and created by the too-often overlooked Curtom label founded by none other than Curtis Mayfield. He’d been inspired by Sam Cooke, a producer of his own stuff, and knew that he could tell the stories he wanted to tell in the midst of the Vietnam War era Chicago. His label went through a couple iterations, “Windy C” and “Mayfield” before teaming up with Eddie Thomas to create “Curtom.” Mayfield was also about to leave his band, The Impressions, and launch a mega-solo career singing about stuff happening in his neighborhoods and black neighborhoods around the nation.

That started with his stunning soundtrack to 1972’s Superfly, so it’s appropriate that the compilation opens with the title track. Following it is the bad ass “Superpeople” by The Notations, from Curtom’s sublabel Gemigo. Following it are three more Mayfield cuts from the Superfly soundtrack, the sublimely groovy and starkly real “Pusherman,” the lush string section-led “Eddie Should Know Better,” and the bass-bombing “Freddie’s Dead.”

Jesse Anderson‘s “Readings in Astrology” speaks right to the hippie and New Age movements emerging in the 1960s, and his instrumental “Mighty Mighty” gets your attention right away. The Five Stairsteps were a band Mayfield discovered back in the Windy C days. They were wildly popular in the Chicago music scene, and it’s easy to hear why with tracks like “Don’t Change Your Love” (that bass line!), “Danger! She’s a Stranger,” and “Stay Close to Me.” The Fascinations warn, in soul-pop fashion, that “Girls Are out to Get You.” Where is happening? Inquiring minds want to know. Brooks Brothers‘ instrumental “Come See” is followed by Jamo Thomas & His Party Orchestra taking a fun jab at J. Edgar Hoover with “I Spy (for the FBI).”

The Fascinations, The Five Stairsteps, and Mayfield then return. First comes the gorgeous “Can’t Stay Away from You,” then the science fiction-flavored “Love’s Happening, and then the smooth “Give Me Your Love.” The 12″ single version of Linda Clifford‘s “Runaway Love” will be on your house music mixes from now on (and clearly inspired Jamiroquai). Leroy Hutson‘s “Never Know What You Can Do (Give It a Try)” sounds like a great blend of Earth, Wind & Fire, Parliament, and Chicago. Arnold Blair‘s “Trying to Get Next to You” is a foot-tapping soul jam. Hutson returns for the somewhat lounge “Lucky Fellow,” and Clifford comes back to finish the first disc with “I Can’t Let This Good Thing Get Away.”

Disc two starts off (and ends) with more Curtis Mayfield tracks. First up we have the gooey, groovy “Billy Jack” and then the bad-ass “Do Do Wap Is Strong in Here.” Leroy Hutson’s “Blackberry Jam” is a tasty jam indeed that you’ll want to spread on everything. Two great cuts from the legendary Mavis Staples are next – “Chocolate City” and “Koochie, Koochie, Koochie.” The 12″ version of Fred Wesley‘s “House Party” is a fun cut, and Linda Clifford comes back to encourage her sisters to set men straight (“‘Cause as long as you let them get away with it, they’re gonna do it.”) and “Don’t Give It Up.” Hutson’s “So Nice” is a cool jam for walking on rain-wet Chicago streets on an autumn night. Natural Four‘s “Free” asks “Why can’t we live in harmony?” through great harmonies by the band.

The Five Stairsteps return with the lovely “World of Fantasy,” and, speaking of lovely, June Conquest‘s “All I Need” is just that with lyrics like “There’s nothing that I couldn’t do with a love inspired by you.” Marvin Smith‘s “Who Will Do Your Running Now?”, meanwhile, is a takedown of a lover who’s done him wrong. The horn section on Major Lance‘s “Little Young Lover” is top-notch. The Five Stairsteps’ “Your Love Has Changed Me” is a story of how our idea of love changes as we age.

Jesse Anderson comes back for the hopeful “Let Me Back In,” The Impressions return for the snappy beat-filled “First Impressions,” and Mayfield ends with compilation with “Tripping Out” – a song that oozes funk and groove.

There isn’t a bad track on this. Don’t hesitate to get it if you can find it.

Keep your mind open.

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Rewind Review: Mavis Staples – Only for the Lonely (1970)

Mavis Staples‘ second solo album, Only for the Lonely, is a heartfelt, heartbreaking, and heart-lifting record, with the songs expressing a lot of emotions and moments Staples was living through at the time.

“I Have Learned to Do Without You,” with its slow-dance guitar and drums and soulful string arrangements, automatically lets you know this album is going to be full of songs to which anyone who’s been through heartbreak can relate. Staples sings, “I got over you!”, but you’re not sure if that’s 100% accurate. “How much water can you pour in a boat before that boat begins to sink?” Staples asks on “How Many Times” – in which her exasperation with a lover comes through in every note.

She finds better times on “Endlessly,” as she sings, “You were made for my arms to surround.” to a lover to whom she’ll be “as faithful as the sunrise.” The horn section on “You’re the Fool” is a great backup to Staples’ powerful and soulful voice. On “Since I Fell for You,” her gospel vocal training shines and makes you pay attention.

“What Happened to the Real Me” is a powerful anthem for jilted lovers everywhere, with Staples’ backing band putting down a solid groove while horns and strings charge behind her voice. “Since You Became a Part of My Life” and “It Makes Me Wanna Cry” are back-to-back, going from praise of a lover and how they changed Staples’ outlook on life to Staples being crushed after his departure. It shows how well she can sing either type and make you feel all those emotions. The closer, “Don’t Change Me Now” has Staples thanking her lover for taking the time to build the love they have, and pleading that he doesn’t screw it up. You’ll think, “Yep. That guy’s an idiot if he thinks he’ll find better.”

Only for the Lonely is a perfect title for the record, as Staples sings to those of us (all of us?) who have felt that emptiness and hope cycle of love again and again.

Keep your mind open.

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Review: Mavis Staples – Live in London

Soul / gospel superstar Mavis Staples once said that she thought London’s Union Chapel was the best place in the world to sing. I’m willing to believe her from the sound of this great, powerful album she recorded there over the course of two nights not long ago. Live in London is a strong statement about the political state of the U.S., a funky soul record, and a high contender for best live album of 2019.

Starting with the soulful “Love and Trust,” Staples rightly declares, “The simplest things can be the hardest to do.” as her killer band breaks in with a killer groove (The album is full of them, really.). The song is about how everyone, sinners and saints alike, are looking for the same thing – love. “Who Told You That” is a smoky, subtle, sexy jam. Her cover of Talking Heads‘ “Slippery People” is a standout that she’s been singing since at least the 1980’s. It’s such a downright jam that you can’t help but shake and shimmy when hearing it.

“What You Gonna Do” is a classic blues track about preparing for death. “Take Us Back” has Staples proclaiming, “I’ve got friends, and I’ve got family. I’ve got help from all the people who love me.” She’s been in the business for decades and admits that she wouldn’t be where she is without those who supported her all those years.

Staples starts getting political on “You Are Not Alone” as she sings to those isolated and afraid in places of hostility, war, and poverty. “Every tear on every face tastes the same,” she sings. That’s truth. “No Time for Cryin'” has Staples calling us to action (“I’m going to march right up to that big [White] house. We got work to do.”) and railing against gun violence and “taking babies away from their mothers” while her guitarist plays a sizzling solo.

“Can You Get to That” has a solid groove that will keep Jack White awake at night wishing he’d come up with it. Her cover of Curtis Mayfield‘s “Let’s Do It Again” is one of the best make-out songs you’ve heard in a while. “Dedicated” starts with a lovely guitar solo and drifts into a lovely song about perseverance and those who sacrificed in the civil rights struggle. “We’re Gonna Make It” is an uplifting song about overcoming financial struggles, but Staples adds an urgency to it that reflects keeping your hopes up for better times in America.

“There just ain’t no stopping me, is it?” Staples says before launching into the album’s closer, “Touch a Hand,” a song about reaching out to strangers and neighbors alike in these times of narcissism and anger.

Live in London makes you want to catch Staples live as soon as possible (like any good live album should). Do it if you can.

Keep your mind open.

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