When Entertainment Weekly chose Curtis Mayfield's stunning soundtrack to the 1972 blaxploitation classic Superfly as one of the top ten soundtracks of all time, they referred to it as "a textbook case of a soundtrack that artistically dwarfs the film that spawned it". We're not sure we'd go as far as to say 'dwarfs' -- Gordon Parks' film is not without its merits (including some good performances, a real sense of moral tension and ambiguity, and some swell photography), especially when compared with other films of its sort. But there's no denying that the combination of music and lyrics to be found on this release, on his own Curtom Records label, represent a high point in Curtis Mayfield's already-stellar career and will probably stand as an all-time great of 1970s funk and soul music long after the movie's artistic merits have been forgotten. It's an album that belongs on any list of all-time great soundtracks, to be sure, but also on a list of the very best records of all time.
Intended as a combination soundtrack and score to the Gordon Parks film, Superfly also functions as a sort of concept album on its own. The lyrics retell the story that takes place in the movie, in Mayfield's own words; in the hands of someone less talented, this would have been a disaster, coming across as either cheesy or pretentious. But Mayfield's wise, sensitive storytelling gets it all just right, presenting a much more morally complex story than even the movie dares to tell and spelling out the essential tragedies of its characters in his smooth, insinuating soul tenor. The music is likewise unbeatable: a perfect transition from the smooth, hopeful soul of his earlier work (both alone and as a member of the Impressions) and the raw funk that would come to characterize black music later in the decade. It's marked by lovely piano riffs, catchy horns, solid bass and drum work, and of course, Mayfield's unmistakable waka-waka guitar. The movie (financed at least in part by Gordon Parks' dentist) wasn't expected to make much money, and neither was the soundtrack, but both proved to be runaway successes: the soundtrack album produced two million-selling singles which not only gave Mayfield a huge post-Impressions payday, but assured his financial stability for the remainder of the decade as he was given more and more soundtrack work. It's a rare soundtrack that can be appreciated solely on its own merits, distinct from the action of the film that inspired it; but much more than this, Curtis Mayfield's Superfly almost seems to be the score to an another, better movie altogether: it stands alone and succeeds not only for what it is, but as something better than it was ever intended to be.
Due to the runaway popularity and vast influence of the Superfly soundtrack (it's probably the most heavily sampled album on 1980s and 1990s rap singles outside of the collected works of James Brown), it's been issued in a number of formats. If you can, seek out the 1997 Rhino Records 25th anniversary collection, which features demo versions of the songs, additional selections from the underrated score, radio spots for the movie, and an excellent interview with Curtis Mayfield.
BEST TRACKS: Of course, the most recognizable track from the Superfly soundtrack is the devastatingly catchy title track, with its powerful, streetwise beat combined with Mayfield's knowing vocals and a nagging, insistent, unforgettable horn hook. It would be hard to argue that it's not also the best track on the album, but if anything can compete for that title, it has to be the phenomenal "Pusherman", with its nasty, ghetto-lean lyrics, sinisterly subtle percussion, and unstoppable bassline. "Freddie's Dead", a moving lament for one of the movie's most memorable characters, was also a monster hit, and has aged well -- its sneering, catchy guitar line, simple but effective vocal hook, and powerful drum riff has made it fodder for many samples and cover versions. These are the best, and the best-known, tracks on the album, but don't forget lesser-known jewels like the elegant orchestral soul -- tinged with Latin and gospel elements -- of "No Thing on Me (Cocaine Song)"; the stark, street-savvy urban drama of "Little Child Runnin' Wild", and, from the score, the propulsive, jazz-funk masterpiece "Junkie Chase". A must-own album by any standard.
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