Where Hayes lavished praise on his filmвЂ™s вЂњsex machineвЂќ hero, Mayfield depicted Youngblood Priest filled with вЂњweaknessвЂќ: вЂњAsk him his dream вЂ¦ he wouldnвЂ™t know вЂ¦ timeвЂ™s running out and thereвЂ™s no happiness.вЂќ The dark mood even seeped into the beautiful Give Me Your Love, its shimmer of strings failing to mask an air of bleak resignation in the lyrics. The title track, meanwhile, was the negative image of Isaac HayesвЂ™ laudatory blaxploitation theme Shaft. Moreover, MayfieldвЂ™s songwriting powers went into overdrive, dredging his own childhood memories for the opening Little Child Running Wild, writing music that wasnвЂ™t just supremely funky, but troubled and haunting: the skeletal, insistent Pusherman Eddie You Should Know Better and No Thing on Me, where the starkness of the lyrics snags against the lush orchestration the simultaneously hooky and unflinching FreddieвЂ™s Dead. Then he insisted the soundtrack be released months before the film, so that before they saw it, the public would have heard his interpretation of the movie: that Superfly was not a film about, as the posters claimed, вЂњstick it to The ManвЂќ, but about desperation (вЂњtrying to get over,вЂќ as he sang again and again on the title track) that the key character wasnвЂ™t its hero Youngblood Priest, but his doomed fall-guy Freddie: вЂњNo oneвЂ™s serious, it makes me furious, donвЂ™t be misled вЂ“ just think of Fred.вЂќ So he wrote songs that commented on the plot and criticised its characters, that gave wider social context to the action, that actively sought to undercut the filmвЂ™s coke-y machismo. Indeed, Mayfield was horrified by the rushes of the film, which he dismissed as вЂњa cocaine infomercialвЂќ. His writing was characterised by open-heartedness, empathy and nuance for all its importance in bringing black experience to mainstream cinema, blaxploitation films were frequently violent, cartoonish and shocking. His reputation was built on the protest songs with which he documented the 60s civil rights movement вЂ“ Keep on Pushing, People Get Ready, Choice of Colours, WeвЂ™re a Winner. Released September 1996, the album was hailed triumphantly, and received three Grammy nominations.Curtis Mayfield: Superfly вЂ“ stream SpotifyД¬urtis Mayfield was an odd choice to write a blaxploitation soundtrack. In this album, the King of Conscious Soul commandeeredВ equal attentions to his skills as a lyricist and a high tenor in this album. HisВ releases in the '60's with the Impressions and solo work in the '70sВ all tackledВ issues of race, class and justice while simultaneously delivering landmark funk jams and moving, lush ballads. Throughout his career, Mayfield focused on the bigger picture - and fixed his gaze on inspiringВ progressive social change. 'How many 54-year-old quadriplegics are putting albums out? You just have to deal with what you got, try to sustain yourself as best as you can, and look to the things that you can do,' he described. The album's lyrical urgency and poetic prowess underscoredВ the album's true musical power - the undeniable persevering powerВ of Mayfield himself. With a team of contemporary R&B producers beside him to do the physical work he was no longer capable of, Mayfield miraculously delivered the album withВ stunning vocal delivery.

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