I grouped these two together because Curtis Mayfield wrote and produced these soundtracks in the space of a year! And who doesn’t love Pops Staples and Gladys Knight? I haven’t seen CLAUDINE but LET’S DO IT AGAIN is a great movie. -Ian!
The Claudine movie soundtrack sported the jammin’ million-selling single “On and On” by Gladys Knight & the Pips. Written and produced by Curtis Mayfield and featured in the classic 1974 family drama starring Diahann Carroll, James Earl Jones, and Lawrence Hilton Jacobs (Welcome Back Kotter, Alien Nation, Cooley High), it parked at number two R&B for four weeks, going to number five Pop on Billboard’s charts in 1974. Claudine is the least celebrated of songwriter/producer Mayfield’s soundtrack albums (Superfly, Sparkle), though it’s the most poignant of them. “Mr. Welfare Man” lays out the dehumanizing effect of being on welfare, while still being enticing and majestic in its dynamic arrangement. As much airplay as the track garnered, oddly it was never released as a single. “To Be Invisible” spoke to a child character’s need to escape her depressing surroundings. Originally recorded by Mayfield on his Curtis LP, “The Makings of You” is a heart-tugging, strings-cushioned ballad that Knight sings wonderfully. Other LP tracks that received airplay are the upbeat, beautiful title track and the sweet “Make Yours a Happy Home,” which curiously wasn’t issued as a single until 1976. Claudine went gold, hitting number one on the R&B charts in summer 1974.
This is a must-have cd for fans of Curtis or the Staples Singers. It is a slight detour from most SS albums, in that this one is all about love, lust, and funky good timing. Curtis really teases out beautiful performances here, highlights include the smooth title track and the sexy workout “Funky Love.” I really love “New Orleans,” and was hoping it would get remade or re-noticed in the wake of Katrina. The song where it all works, though, is “I Want to Thank You,” where Curtis’s groove, funk, backbeat, and production meet the overtly spiritual nature of the lyrics (more traditional SS territory). A great album.
Ed Hogan, allmusic.com and some guy on amazon.com
Gladys Knight & The Pips – CLAUDINE (1974 OST)
The Staple Sisters – LET’S DO IT AGAIN (1975 OST)
They say that Curtis Mayfield fell off after he released his 4th studio album “back to the world” in 1973. *They*, as Uma Thurman quipped in Pulp Fiction, talk a lot, don’t they? They certainly do and in this case it seems that the “they” in question talk through their backsides as this here album is a genuine lost gem for both Mayfield and Blaxploitation soundtrack devotees.
“Short eyes”, his 1977 soundtrack to the flick of the same name, was released at a time when fellow heavyweights such as James Brown and Isaac Hayes had fallen victim to over-polished disco kitschness and, thus, surely must stand as one of the last great 70s soul/funk albums as it’s drenched in everything that makes those first 4 Mayfield albums so damn good : that sweet falsetto almost as a ringmaster to the rest of the proceedings; commanding the dirty funked up wah-wah guitar, lush arrangements, heartstopping strings, wailing double-tracked backing vocals and trippy backwards fx to do backflips and weave their way in and out of macked-out horns and throbbing bass grooves (no homo!) while crisp snares and reverberating bongos underline the whole experience.
The bizarrely monikered “Do do wap is strong in here” is probably the most well known song here as it tends to appear on yer standard Mayfield best ofs.., funk compilations and has been heavily sampled by hip hop producers and, while it is possibly the finest composition here, the rest of the album is equally as stellar. The title track is as instantly thrilling and unforgettable a theme as any other notable Blaxpolitation title track you can name and the rest of the album is a miscegenation of fuzzed-up Chicago blues-funk and rich soulful arrangements, usually in the same song. Business as usual, then.
A must for all Mayfield fans and i’d say it’s slightly better overall than “back to the world” and up there with “curtis”, “superfly” and “roots”. Of course there has to be a catch involved with something this good that’s somehow managed to thwart reappraisal by funk-fans, the breakbeat generation and the NYC/Chicago hipsterati set until now : not domestically available here in America you can only find this on import vinyl or as part of a now deleted double-disc 90s reissue of “superfly”, both of which will set you back at least $40. It’s an album that’s quality justifies such a hefty price tag if you’ve searched hell and highwater and still can’t find it cheaper but, really, let’s have a remastered cd reissue of this, please.
Curtis Mayfield-SHORT EYES (1977 OST)
I’m really excited about Gil Scott-Heron returning with this CRAZY SCOTT WALKER’S “THE DRIFT” SOUNDING ALBUM. Holy moly, talk about out of left field. -Ian!
Gil Scott-Heron, Brian Jackson, and the Midnight Band take a slightly different approach with their 1977 effort, Bridges. With less of the gaping and world-infused sound prevalent on previous albums, the songs are more concise and Scott-Heron comes into his own as a singer depending less on his spoken word vocal style. This album may not be one of his better-known releases (the long out of print LP is slated to make it’s CD debut in the fall of 2001), but the excellent songwriting exposes Scott-Heron at the height of his powers as a literary artist.
Air sampled this on some album I haven’t heard yet.
The social, political, cultural, and historical themes are presented in a tight funk meets jazz meets blues meets rock sound that is buoyed by Jackson’s characteristic keyboard playing and the Midnight Band’s colorful arrangements. Scott-Heron’s ability to make the personal universal is evident from the opening track, “Hello Sunday! Hello Road!,” all the way through to the gorgeous “95 South (All of the Places We’ve Been).” The most popular cut on the album, “We Almost Lost Detroit,” which shares its title with the John G. Fuller book published in 1975, recounts the story of the nuclear meltdown at the Fermi Atomic Power Plant near Monroe, MI, in 1966. This song was also contributed to the No Nukes concert and album in 1980. Along with the two records that would follow in the late 70s, Bridges stands as one of Scott-Heron’s most enjoyable and durable albums.
-Jeff Schwachter, allmusic.com
Gil Scott-Heron & Brian Jackson-BRIDGES (1977)