Honesty is a 1982 released album by Curtis Mayfield, originally issued on the Boardwalk Label.
Never Say You Can't Survive was the last Curtis Mayfield album done in a pure soul vein for the next three years – its style and sound place it in a direct continuity with the rest of his output right back to 1958. The singing on love songs such as "Show Me Love," "Just Want to Be With You," and "When We're Alone" is among the most achingly lyrical and passionate of his career. The title track boasts ravishing backup singing by Kitty & the Haywoods (who also perform outstandingly on "I'm Gonna Win Your Love") and a beautiful arrangement by James Mack.
Recorded in California in 1981, Love Is The Place found Mayfield experimenting with his sound and yielded two Top Twenty R&B hit singles, the reggae-inspired 'She Don’t Let Nobody (But Me)' and 'Toot An’Toot An’Toot'. The first of these also gave Mayfield his biggest pop hit for six years whilst a cover by reggae duo Chaka Demus & Pliers made the UK Top 5 in 1993. The album’s superb title track is another highlight.
Heartbeat is an album by Curtis Mayfield. This 1979 offering mixed disco rhythms with soul balladeering. Future Temptation Ron Tyson contributed to some of the songwriting and production. "Tell Me, Tell Me (How Ya Like to be Loved)" was remixed for a 12" by Fred Breitberg and Michael Hearn and the duet with Linda Clifford "Between You Baby and Me", edited as a single, was also issued on The right combination, an album of duets between both singers released in 1980. It's the first Mayfield album he didn't produce entirely.
Give, Get, Take and Have is a 1976 album by Curtis Mayfield. The track "P.S. I Love You" was later featured in the film Superbad and on its accompanied soundtrack.
Do It All Night is Curtis Mayfield's flimsiest solo album yet, an indifferent collection of flaccid disco music. God knows, Mayfield has usually been uneven, but until now he's always managed to crank himself up at least once per LP and push his pretty, quavery voice over the line into conviction. Even on an outright bad record like Sweet Exorcist, there was that amazing title song, with its fluky, amiable beat and the outrageously funny conceit of its main character.
It's hard to pick a favorite Curtis Mayfield album, and my judgment is surely clouded by the fact that this album was under-celebrated at the time and still often overlooked. But as speaking objectively as I can, this is surely Mayfield at the top of his game. And possibly my favorite album. Clive Anderson's liner notes on this Charly reissue may be a bit pretentious, opening up with a citation from Wordsworth, but they do pretty much nail the album and do it justice. The album is like an extended meditation on the American underclass, and particularly the despair in the Black communities in the mid-70s.