Mayfield is probably best known for his anthemic music with The Impressions and for the soundtrack to the blaxploitation film Superfly.
Perhaps because he didn't cross over to the pop audience as heavily as Motown's stars, it may be that the scope of Curtis Mayfield's talents and contributions have yet to be fully recognized. Judged merely by his records alone, the man's legacy is enormous. As the leader of the Impressions, he recorded some of the finest soul vocal group music of the 1960s. As a solo artist in the 1970s, he helped pioneer funk and helped introduce hard-hitting urban commentary into soul music. "Gypsy Woman," "It's All Right," "People Get Ready," "Freddie's Dead," and "Superfly" are merely the most famous of his many hit records.
But Curtis Mayfield wasn't just a singer. Born in in Chicago, IL, he wrote most of his material at a time when that was not the norm for soul performers. He was among the first -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a songwriter and a producer, he was a key architect of Chicago Soul, penning material and working on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, who also managed to find time to write and produce many classics for other soul stars. Mayfield was also an excellent guitarist, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the next decade, he would toughen up his guitar work and production, incorporating some of the best features of psychedelic rock and funk.
Mayfield began his career as an associate of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a big hit in 1958 with "For Your Precious Love," Butler, who had sung lead on the record, split to start a solo career. Mayfield, while keeping the Impressions together, continued to write for and tour with Butler before the Impressions got their first Top 20 hit in 1961, "Gypsy Woman."
Mayfield was heavily steeped in gospel music before he entered the pop arena, and gospel, as well as doo wop, influences would figure prominently in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have often worked the call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or unveiled messages of black pride, reflecting the increased confidence and self-determination of the African-American community. Musically he was an innovator as well, using arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be trademark flourishes of Chicago soul. As the staff producer for the OKeh label, Mayfield was also instrumental in lending his talents to the work of other Chi-town soul singers who went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20 in 1964 alone), and released some above-average albums during that period as well.
Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970. His first few singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record. He really didn't hit his artistic or commercial stride as a solo artist, though, until Superfly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young black men before their time: all were described in penetrating detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and fabulous funk pop arrangements gave the oft-moralizing material a graceful strength that few others could have achieved. For all the glory of his past work, Superfly stands as his crowning achievement, not to mention a much-needed counterpoint to the sensationalistic portrayals of the film itself.
At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. His failure to maintain the standards of Superfly qualifies as one of the great disappointments in the history of black popular music. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Superfly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."
Mayfield had a couple of hits in the early '80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums.
On August 14, 1990, he became paralyzed from the neck down when a lighting rig fell on top of him at a concert in Brooklyn, NY. In 1993, three years after the accident which caused Mayfield's paralysis, Shanachie records released the album People Get Ready: A Tribute to Curtis Mayfield featuring a.o. Jerry Butler, Don Covay and Steve Cropper.
Mayfield received the Grammy Lifetime Achievement Award in 1995.
Curtis Mayfield died December 26, 1999 at the North Fulton Regional Hospital in Roswell, Georgia.
Freddie's Dead
Curtis Mayfield Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That's what I said
Let the man rap a plan
Said he'd see him home
But his hope was a rope
And he should've known
Everybody's misused him
Ripped him up and abused him
Another junkie plan
Pushing dope for the man
A terrible blow
But that's how it goes
A Freddie's on the corner now
If you want to be a junkie, wow
Remember Freddie's dead
We're all built up with progress
But sometimes I must confess
We can deal with rockets and dreams
But reality, what does it mean
Ain't nothing said
'Cause Freddie's dead
Hey, hey
Love, love
Ha, ha
Love, love
Yeah, yeah
Ha, ha
Love, love
Freddie's dead
All I want is some peace of mind
With a little love I'm trying to find
This could be such a beautiful world
With a wonderful girl
Why I need a woman child
Don't want to be like Freddie now
'Cause Freddie's dead
Everybody's misused him
Ripped him up and abused him
Another junkie plan
Pushing dope for the man
A Freddie's on the corner now
If you want to be a junkie, why
Remember Freddie's dead
Ha, ha, ha, ha, ha
Freddie's dead
The song "Freddie's Dead" by Curtis Mayfield is a commentary on the tragic death of Freddie, who was a young man and a former drug addict. The opening lyrics of the song, "Freddie's dead, that's what I said, let the man rap a plan, said he'd see him home, but his hope was a rope and he should've known," speak to the false promises made to Freddie by his acquaintances who promised to support him, but ended up dragging him down further with drug use.
The song delves deeper into themes of societal neglect and the misuse and abuse of marginalized individuals. The lyrics "everybody's misused him, ripped him up and abused him, another junkie plan, pushing dope for the man, a terrible blow, but that's how it goes" highlight how Freddie was used and ultimately discarded by those around him. Furthermore, the lines "we're all built up with progress, but sometimes I must confess, we can deal with rockets and dreams, but reality, what does it mean" draw attention to how society often neglects the pressing issues concerning drug addiction, homelessness, and poverty.
The chorus of the song serves as a stern warning, urging listeners not to follow the same path as Freddie, who ended up dead due to drug addiction. The lines "if you want to be a junkie, wow, remember Freddie's dead" carry a powerful message, urging individuals to reflect on the impact of their actions and the consequences that these can have.
Line by Line Meaning
Freddie's dead
Freddie is dead and gone
That's what I said
This is the truth, don't deny it
Let the man rap a plan
Give Freddie a chance to explain his ideas
Said he'd see him home
Freddie assured he'd return back home
But his hope was a rope
The only hope Freddie had was his noose
And he should've known
Freddie should have realized the consequences
Everybody's misused him
Everyone has taken advantage of Freddie
Ripped him up and abused him
Freddie has been exploited and hurt by others
Another junkie plan
Another plan of a drug addict
Pushing dope for the man
Selling drugs for the big boss
A terrible blow
A disastrous outcome
But that's how it goes
This is how the world operates
A Freddie's on the corner now
Another drug addict like Freddie is on the corner
If you want to be a junkie, wow
If you want to become a drug addict, then wow
Remember Freddie's dead
Remember the fate of Freddie
We're all built up with progress
We have progressed in many ways
But sometimes I must confess
Sometimes it is hard to admit
We can deal with rockets and dreams
We can handle space rockets and fantasies
But reality, what does it mean
But what is the meaning of reality
Ain't nothing said
There's nothing more to say
'Cause Freddie's dead
Because Freddie is no more
Hey, hey
Expression of surprise
Love, love
A call out for love
Ha, ha
A chuckle
Yeah, yeah
Agreement or confirmation
All I want is some peace of mind
All I desire is mental serenity
With a little love I'm trying to find
I am looking for a bit of affection
This could be such a beautiful world
The world has the potential to be a paradise
With a wonderful girl
With a remarkable female partner
Why I need a woman child
Why I desire a young woman
Don't want to be like Freddie now
I don't want to end up like Freddie
'Cause Freddie's dead
Because Freddie is no more
Ha, ha, ha, ha, ha
Repetition of a chuckle
Freddie's dead
Freddie is dead and gone
Lyrics © Warner Chappell Music, Inc.
Written by: CURTIS MAYFIELD
Lyrics Licensed & Provided by LyricFind
@mcbrion1951
@@brocktonma.1816 The Beatles disbanded after 1970. The Rolling Stones , Eric Clapton and Cream, Crosby stills, Nash, and Young were all around, but they had ALWAYS been there.
The 70s were the time of the fully-realized ascension of Black artists/music.
it started around 1961, but reached its zenith in the 1970s. Hence, the rise of Isaac Hayes, Curtis Mayfield, Blue Magic, the Chi-Lites, the Spinners, the O’Jays, the Stylistics, Blue Magic, Sylvia, Michael Jackson.
In other words, Black music exploded in the 70s. I don’t need any memories of the Beatles: I have all their records. Ditto with the Rolling Stones., Cream and Eric Clapton in his various bands. And also Todd Rundgren, James, Taylor, Carly Simon, Joni Mitchell, Air Supply, ELO. It was a great time for music.
The point is that black music took centerstage, and on top of that, it was a fully dance-oriented medium. Why is this something that still shows up in forms as “debatable.”
The other (White)groups were never “held back”, so there was no “explosion” in the same way. this was truly Black culture blossoming like tulips in the springtime. We were everywhere. Yet, I don’t see that that made other musicians any less significant. It was simply that radio was vastly more open to black music of the 1970s then it was the black music of the 1960s. So what’s the problem?
@iramruiz4677
1972 WAS A GOOD YEAR FOR BLACK MUSIC
@Winters1980
70s period... Funk is/ was/ is dynamite
@RayfieldA
The Bass and the Strings on this song are Timeless!! I was a child when this movie soundtrack came out and I STILL feel its importance!
@Ironmanx37
That intro is tuff!
@philgayii6788
@@Ironmanx37Epic!
@morsecode9787
ITS A PART OF OUR DNA & HISTORY IN USA 60'S 70S 😏
@morsecode9787
IT'S ABOUT THE HEROIN CRISIS..WHEN ITALIANS FLOODED BLK CITIES WITH IT.AKA FRENCH CONECTION WAS DEVASTATING 😢🎉🎉🎉 NEXT WAS RON REHGANS "CRACK' EPIDEMIC IN 80S. 🥵 YOUNG GENERATION FOUND GOOD OLD WEED LEGAL WHERE I LIVE..😏
NEXT
@jaycoleman8062
I bought the album when I was 12 and managed not to scratch it up. I still play it once a month.
@tomtremil
"Why can't we brothers protect one another? No one's serious and it makes me furious." Powerful words and very appropriate for what we are doing to each other.
@adriennerobinson1180
Truth Indeed AMEN