The 500 - #106 - Rocket To Russia - The Ramones

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #106

Album Title: Rocket To Russia

Artist: The Ramones

Genre: Punk, Surf Rock, Pop Rock

Recorded: Media Sound and Sundragon Studios, New York City, U.S.A.

Released: November, 1977

My age at release: 12, but my guest blogger was not born

How familiar was I with it before this week: I knew some songs, but my guest blogger was new to it

Is it on the 2020 list? Yes, at #385, dropping 279 spots

Song I am putting on my Spotify Playlist: Cretin Hop

For the sixth consecutive year, I asked the students in my class if they would be interested in being a guest poster on my #The500Blog series. To my delight, Hadley volunteered. This year our school was reorganized in September, and my Grade 7 class became a Grade 6/7 split. Although I lost five Grade 7 students, I was delighted to welcome 10 enthusiastic Grade 6 pupils into our learning space. Among them was Hadley, an infectiously positive and funny 11-year-old who immediately shared her love of music with me. I was thrilled when she offered to write this post and is now the youngest guest-blogger I have hosted. Enjoy her discovery of Rocket To Russia, by The Ramones.

A recent picture of Hadley, with our classroom's NHL Stanley
Cup Tournament behind her.

Helloooo, world. I’m Hadley and I'm a Grade 6 student at Sir Arthur Currie Public school in London, Ontario. I am your guest blogger for this week and I chose to write about Rocket to Russia by The Ramones. The album was released in 1977 and I wasn't born yet. In fact, I wouldn't be born until 37 years later...talk about an age gap, eh? Let me tell you a little about myself! I’m 11 years and 9 months old. I play rugby, draw in my free time and listen to music!

I picked Rocket To Russia because I already was familiar with some of the Ramones' music and their high energy sound. When I was around seven my eldest sister introduced me to them, and I liked them right away. I am a fan of punk rock music.

The Ramones in 1977, (l-r) Dee Dee, Tommy, Joey and Johnny Ramone.

Originally, I was supposed to write about Aftermath by The Rolling Stones, which was on the list a few weeks ago at #109, but unfortunately I got very sick so I was unable to do it. I had picked it because I am a fan of the song, Paint It Black. 

Album cover for Aftermath by The Rolling Stones.

My favourite artists currently are Noah Kahan, Hozier and Mitski, but I'm open to any type of music. I've listened to everything from Taylor Swift to Rush, currently my favorite song is Copacabana by Barry Manilow. It's a great song and I definitely recommend it.

When I first heard the title Rocket to Russia I thought of, well, what anybody would think of, a rocket traveling to Russia. As I stated earlier I was familiar with some of the Ramones’ music but this record was new to me. I was curious and picked it as the album to write about because of that unusual title. When I listened the first time, several songs intrigued me. The first three, Cretin Hop, Rockaway Beach, and Here Today, Gone Tomorrow are catchy and energetic. However, it was the track Teenage Lobotomy that first resonated with me because the title was so surprising. However, after listening through the record a few times I settled on Cretin Hop, the first track on the album. 

Album cover for the single to a live version of Cretin Hop.

A "cretin" is a word usually used as an insult for someone who is extremely stupid or foolish. Originally, the word used to be used in the medical world because a “cretin” referred to someone afflicted by cretinism, a congenital medical condition caused by untreated thyroid deficiency (often due to a lack of dietary iodine) that results in stunted physical growth and intellectual disability. The Ramones were aware of the word's history when they wrote this song which does not insult people who may be cretins. Instead, they are identifying with people who are different and the song is supposed to show support for all misfits and outcasts who don't easily fit into the world.

From Wikipedia, a person afflicted with Cretinism.

I personally liked this song the most on the album because of the catchy beat and the flow of the lyrics. I also like the way that the Ramones found a way to work in dark humor, which I also like to work into my conversations with friends. They are a band that doesn't take itself too seriously and I like that about them.

To finish off I decided to interviewing my teacher, Mr. Hodgkinson.

Me: Were you familiar with the band?

Mr. H: I was. I first heard about them when the movie Rock and Roll High School was in theatres. It was advertised in some of the magazines I loved, including National Lampoon.  That movie came out the summer before I went into Grade 9 and I really wanted to see it, but it wasn’t playing at the theatre in the small town where I lived. I was intrigued by it because it seemed to be a little dangerous and I was already a big fan of comedies like that. I was also starting to figure out what kind of music I liked. The poster looked like something out of Mad Magazine and was similar to the Animal House poster -- another movie I was desperate to see because of the reputation it already had among my friends.

Rock and Roll High School and Animal House movie posters.

Me: Were you familiar with this album in particular?

Mr. H.: I knew of the album, but did not own it. I am now familiar with many of the tracks, but I don’t think I ever listened to it in order until it came up on this list.

Me: Speaking of the songs, which is your favorite?

Mr. H: I’ve always liked Rockaway Beach, I love all things New York City. I’ve been there many times and even got married there. One of my favorite things to do there is to visit places made famous in songs and movies. So, I’ve been to Coney Island and Brighton Beach, but I have yet to make it to Rockaway Beach -- that is a future trip, for sure. I also love the cover songs on the record -- Do You Wanna Dance? And Surfin’ Bird.

Rockaway Beach lyrics.

Me: After listening to the album, what's your overall favorite thing about it?

Mr. H: I love the energy it brings. It is the kind of record that makes me want to move. I can see it being motivating during a gym workout. I also like that it is fearless. As you know, I often tell my students to “be willing to be a little ridiculous” when we are doing improv games or drama activities. The Ramones seem fearless and give themselves permission to have fun. I think I dismissed this music too easily as a kid because I was drawn toward more complex music - Rush, Pink Floyd, Yes, Genesis. Now I realize that there is something wonderful about unabashed energy, enthusiasm and just trying something, like punk rock music, because it is fun.

Me: Thanks.

In my eyes the Ramones will always be legendary band no matter if I’m 11 or 26 they are forever in my thoughts and forever a brilliant band!

Thank you for reading!

Hadley

The 500 - #130 - Marquee Moon - Television

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #130
Album Title: Marquee Moon
Artist: Television
Genre: Art Punk, Rock, New Wave, Garage Rock
Recorded: A & R Recording Studios, New York City, New York
Released: February, 1977
My age at release: 11
How familiar was I with it before this week: Not at all
Is it on the 2020 list? Yes, at #107, rising 23 spots
Song I am putting on my Spotify Playlist: Marquee Moon

Back in January, 2019, when I committed to this long, winding blogging journey through Rolling Stone magazine's The 500 Greatest Albums of All Time, I did what any curious music lover would do: I skimmed through the entire list to see whether some of my personal favourites had earned a place, and I was especially eager to find out what cracked the Top 20.

As I made my way through the rankings, I felt a spark of excitement each time I spotted a beloved record. There was Rage Against the Machine’s explosive debut and Peter Gabriel’s visionary record, So. Then. I spotted Elton John’s lavish, autobiographical masterpiece, Captain Fantastic and the Brown Dirt Cowboy, and the genre-bending, theatrical opulence of A Night At The Opera from Queen. So eager was I to work through the list that many of these future blog posts were mapped out in my head months in advance.

Album jackets for four of my favourite records on The 500 list.

However, just as thrilling were the albums I didn’t know -- the ones that were destined to become new obsessions. These included Look-Ka Py Py by The Meters, The Magnetic Fields’ 69 Love Songs, Manu Chao’s Próxima Estación: Esperanza, and Stankonia from OutKast. These four musical revelations, as well as many others, regularly earn a spot on my weekend playlists.

Album jackets for four, of many, new records I have discovered.

And then there was Marquee Moon, the debut album from Television, legends of the 1970s New York rock scene. Its reputation loomed large, and it had been sitting on my “I really should listen to this” list for years. Somehow, I let opportunities slip by. Last week, I seized the chance, and it delivered in spades. Marquee Moon not only lived up to its towering legacy; it reminded me exactly why I started this project in the first place.

Television are (l-r) Billy Ficca, Richard Lloyd, Tom Verlaine & Fred Smith

Back in 1973, two high school chums from Delaware, Tom Verlaine and Richard Hell, landed in New York City with big dreams and a couple of guitars. Before Television, they were a proto-punk/garage rock band called The Neon Boys, featuring Verlaine on vocals and guitar, Hell on bass, and Billy Ficca pounding the drums.

Album jacket for a single's release by The Neon Boys.

In March, 1973, guitarist Richard Lloyd was added and with him came the name Television, which I've recently learned was a nifty pun on the phrase "tell a vision". The group played their first gig as Television at The Townhouse Theatre, an 88-seat venue in midtown Manhattan. By 1975, Hell was out of the group and Fred Smith replaced him on bass. The group had secured a residency at the famed Bowery dive bar, CBGB's where they performed multiple sets, several nights a week, sharing the stage with other rising acts (also on The 500 list) including Patti Smith (#44), Blondie (#140), The New York Dolls (#215) The Modern Lovers (#381).

On stage at CBGB's Club in the Bowery area of Manhattan.

It is difficult to summarize Television's sound. They are often dubbed a garage band or post punk act. However, those descriptions are limited.  Unlike the blunt-force punk sound that was exploding  around them, Television played with more precision, favouring clean tones, intricate interplay, and a touch of jazz cool. It has been described as 'punk in attitude, but not in sound'. Verlaine and Lloyd didn’t just play riffs, they wove musical phrases like a conversation. Instead of power chords and distortion, they used clean tones, intricate voicings, and melodic tension, creating something radically different.

Verlaine, Lloyd and Smith on stage creating their signature guitar sound.

Marquee Moon landed like a lightning strike and was applauded by critics and revered by musicians. It was eight tracks of angular beauty that rewrote the rules for what a guitar band could be. The ten-minute title track absolutely wowed me and I couldn't wait to share it with my wife on our weekend drive to the cottage. At a time when many bands were chasing speed and aggression on their guitars, Verlaine and Lloyd were exploring clarity and, like jazz musicians before them, the spaces in between the notes.

Album jacket for Television's second release, Adventure.

Television lasted for only one more year, disbanding over creative differences in 1978 following the release of their second record, Adventure. They reunited in 1991 for a third, self-titled release. This reconnection was short lived, but their influence and impact were already monumental. Legendary acts scattered across The 500 list cite Television as an influence including REM, Sonic Youth, The Strokes, Echo and The Bunnymen, The Pixies, U2, Wilco, Joy Division and The Red Hot Chili Peppers. In the end, they truly "told a vision", and the world perked up and listened. I sure did.

The 500 - #132 - Saturday Night Fever Soundtrack - Various Artists

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #132
Album Title: Saturday Night Fever Soundtrack
Artist: Various (Several tracks by Bee Gees)
Genre: Disco
Recorded: Multiple Studios
Released: November, 1977
My age at release: 12
How familiar was I with it before this week: Very
Is it on the 2020 list? Yes, at #163, dropping 31 spots
Song I am putting on my Spotify Playlist: Disco Inferno

I didn’t exactly thrive in elementary school in the sleepy fishing and farming town of Kingsville, Ontario. Truth be told, I wasn’t a big fan of the experience. Still, I made the most of it and, looking back now, I realize there were some good moments tucked in there. Maybe I’m subconsciously ignoring the positive aspect of my four years attending Jack Miner Public School because I enjoyed my high school experience in London, Ontario, so much more.

Jack Miner Public School.

However, I had a few friends during those formative years -- ages 9-12. I also managed to land a spot on a few Grade 8 sports teams, and even played Chiz Upschlager in our school play, A Hillbilly Weddin’, the kind of script that would never get past today’s socially conscious administrators. However, in the 1970s, cultural stereotypes were fair game for pre-teen farce.

Script Jacket for A Hillbilly Weddin'.

In 1977, I was awkwardly navigating Grade 8 as the youngest kid in class, thanks to being bumped ahead after an educational stint in England earlier in the decade. Consequently, I didn’t really click with my classmates, some of whom were 18 months older than I. Indeed, most of my friends were in the Grade 7 class down the hall.

One day, our homeroom teacher, Mr. Desrocher, offered a handful of us the chance to care for the plants in the school greenhouse. I jumped at the opportunity. Any escape from the daily grind felt like a gift. On my first shift, I was paired with Lorelei, a striking brunette who was new to the school and, just like the hothouse flowers we nurtured, a crush began to bloom.

A small greenhouse, similar to the one at Jack Miner School.

Lorelei was easy to like. She was kind, friendly, relaxed, and genuinely passionate about the plants we tended. Me? Not so much. But the actor within that had secured the role of a dopey hillbilly faked the horticultural enthusiasm necessary to spend more time with her.

One afternoon, she asked if I’d be interested in volunteering with her at the John R. Park Homestead and Conservation Area in nearby Harrow. There, we’d learn about life in the 1800s at a restored Classical Revival house and its farm buildings, including one that housed a steam-powered sawmill. Once trained, we could lead weekend tours. Smitten by the idea, and Lorelei, who was now chatting with me nightly on the phone, I jumped at the chance. Much to the surprise of my neighbourhood chums, I traded my beloved street hockey games for history lessons and her company.

The John R, Park Homestead and Conservation Area still exists. See link to website above.

The other thing Lorelei adored was the soundtrack to the 1977 blockbuster hit film, Saturday Night Fever. This time, I didn't have to fake that fandom with her, I knew the tracks well. Even if my parents hadn't owned a copy of the double record, the songs were inescapable on radio in the autumn of 1977 and spring of 1978. Five songs from the disco record had hit the top 10 in Canada. In fact the third song, Night Fever, held the number one spot for five weeks.

I desperately wanted to see the movie, but there wasn’t a theatre in our small town, and persuading my parents to drive me to the nearest city, Windsor, to see an R-rated film loaded with profanity, nudity, and violence was a non-starter. So I improvised. I managed to track down a copy of the novelization, which I naïvely assumed was the original source material. It turned out to be far more salacious than I expected...a real eye-opener for my young, impressionable mind and a crash course in the complexities of adulthood.

The novelization of Saturday
Night Fever that I owned? or borrowed?

My love for Lorelei went unrequited. I never mustered up the courage to ask her out. I am not sure what I would have done if she had said "yes"...take her to the local arcade and sub-shoppe with babysitting money, I suppose. The next year, she outgrew all of her interests...plants, the John Park Homestead, Saturday Night Fever and hanging out with me. In high school she started dating a guy with a car. How was this 13-year-old pimply faced kid supposed to compete with that? Still, she remained kind, and would say "hi" to me in the hallways. My first dalliance with infatuation was over.

Listening to the Saturday Night Fever Soundtrack this week, especially the deep cuts, was a delightful blast from my past and helped me remember that romantically tinged chapter in my life. I still love this record and, now that I think about it, my time at Jack Miner Public School wasn't all that bad. Thanks, Lorelei, wherever you are.

The 500 - #169 - Exodus - Bob Marley

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #169
Album Title: Exodus

Artist: Bob Marley and The Wailers

Genre: Reggae

Recorded: Harry J. Studios, Kingston, Jamaica; Island Studios, London, England

Released: June, 1977

My age at release: 11
How familiar was I with it before this week: Quite

Is it on the 2020 list? Yes, at #71, moving up 98 spots
Song I am putting on my Spotify Playlist: Three Little Birds

Students in my Grade 7 class are always amazed when they learn that high schools in my era had school-sanctioned "smoking patios". These days, at schools throughout our Thames Valley District School Board (TVDSB), smoking, vaping and use of marijuana products are prohibited within 20 metres of any school property. In retrospect, it seems a little strange that prior to the turning of the millennium society tolerated smoking almost everywhere. As teens, my chums and I were well aware that some teachers smoked in their offices and the staff lounge. We even suspected a few of them dabbled in more than tobacco.

A joke from the 2002 episode of The Simpson's that hit close

to home for me and many friends.

On-campus smoking of any substance was not only allowed at my high school (Saunders Secondary in London, Ontario), the building's design seemed to encourage it. Built in the early ‘70s, it mixed modern and brutalist architecture to create a menacing structure that seemed more like a prison than a learning institution.

Saunders Secondary School, east profile.

The front of the school featured a row of large brick support walls built on a concrete set of stairs above a short and seldom used service road. These "stalls", as they were dubbed, provided the perfect place for students to hide from staff.. It was a teen stoner's paradise, and marijuana products were smoked and sold daily in the secluded alleys.

The stalls - circled in red, can be seen behind the fencing and

sign (additions long after I left the school).

Despite being a "non-smoker" in 1981, I still spent a lot of time hanging around the stalls. It was where many of the older, cooler and rebellious kids staked their claim, holding court with conversations about music, school gossip and teen philosophy. One day, a senior began waxing poetic, between puffs, about how he was adopting Bob Marley's Rastafarian lifestyle. He  boldly asserted: "I can't get arrested for smoking weed because it's my religion." I was fascinated, and had many questions. In a time before the Internet, taking advantage of a senior student's experience was critical to one's social currency. To his credit, a lot of what he shared about the Rastas was accurate.

Bob Marley enjoying a marijuana joint on the cover
of his 1975 album, Catch A Fire (#126 on The 500).

Now, with the benefit of research technology, I can summarize the practice more easily and accurately. Rastafari is a religious and political movement that developed in Marley's home country of Jamaica in the 1930s. It combines Protestant Christian beliefs with a pan-African political consciousness. It borrows heavily from the Old Testament stories of the Israelites' enslavement in the book of Exodus, their forced detention in Babylon (598-586 BCE) and their exile from Palestine. Rastafarians extend their philosophy to the people of African descent who were shipped around the world during the Atlantic Slave Trade (15th-19th Century). They believe they are "exiles of Babylon" who are being tested by Jah (God) through slavery, economic injustice and oppression. Rastafarians await their deliverance and return to Zion. However, this is not the historical Zion of the Old Testament -- the two easternmost hills in Jerusalem. Rather, the Zion of Rastafarians is the name for Ethiopia. Symbolically, it represents a place of unity, peace and freedom.

The Lion of Judah, originally a symbol from the 
Jewish faith and later adopted by the Rastafarian faith.

Much of the connection to Ethiopia as the ultimate home for all Africans comes from the reign of Emperor Haile Selassie I (1930 - 1974) who steered his country into the modern age following World War II, allowing the country to join the United Nations and the League of Nations.

Haile Selassie I.

Rastafarians strive to live a "balanced lifestyle" and typically ascribe to the following practises:

• They wear their hair in dreadlocks (long, rope-like strands of knotted hair that have been ‘locked-in”, or entwined, by leaving it uncombed).
• They dress in red, green, gold and black colours - symbolizing blood, herbs, royalty and Africanness.
• They are vegetarian.
• They practice "itation" (meditation), with the inclusion of "ganja" (marijuana) which they believe helps them get closer to Jah (God).
• They also participate in "bingis" - all-night drumming ceremonies -- hence the connection to Reggae Music

Bob Marley was not the first Rastafarian musician, but his ability to combine his music with blues, soul and elements of British rock propelled his albums to international acclaim. Exodus was a commercial and critical success for Marley, remaining on the U.K. charts for a staggering 56 weeks. He is, without a doubt, the most popular and best-selling reggae star of all time -- a universal icon of the genre and the Rastafarian movement.

Side One of Exodus focused on themes of social change, religion and politics -- informed largely by the intense, polarizing political violence wracking Jamaica at the time. However, Side Two addressed the universal themes of love and faith. It included the massively popular Three Little Birds, a gentle anthem encouraging positivity and resilience in the face of adversity. In times of stress, the simple lyrics are a soothing antidote and one I share with students facing moments of academic anxiety:."Don't worry about a thing/'cause every little thing, gonna be alright".

It's not surprising that the musical, spiritual, political and social revolution that Marley super-charged in 1977 made its way to the philosophical lexicon of a Grade 12 stoner in London, Ontario, by 1981. Unfortunately, despite his efforts to become a Rasta, he would have to wait until October, 2018, before marijuana was legalized in Canada. He just wouldn't be allowed to smoke it within 20 metres of his old high school -- unless he hid in the stalls.

The 500 - #178 - The Anthology (1961 - 1977) - Curtis Mayfield & The Impressions

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #178
Album Title: The Anthology (1961 - 1977)
Artist: Curtis Mayfield & The Impressions

Genre: Soul, Funk

Recorded: 1967 - 1977

Released: December, 1992

My age at release: 27
How familiar was I with it before this week: A few songs

Is it on the 2020 list? No, but two other Mayfield albums are on that list.
Song I am putting on my Spotify Playlist: People Get Ready

Ranked at #24 on Rolling Stone's list of The Greatest Songs of All Time, People Get Ready is, at first blush, a simple and beautiful gospel song rich with harmonies. However, the 1965 single from The Impressions, the vocal doo-wop and Chicago soul quintet, had a massive impact on the Civil Rights Movement that decade. In fact, political activist Gordon Sellers told Rolling Stone Magazine: "It was warrior music. It was the music you listened to before going into battle."

Album cover for People Get Ready by The Impressions (196).

My first recollection of the song was in the early ‘80s. At the time, I was going through an obsessive phase, listening to and collecting records from the band Genesis as well as from the members’ solo projects. The group's drummer and vocalist, Phil Collins, released a concert film on video cassette in June, 1983, that was recorded in Pasadena, California, entitled Live At Perkins Palace. The video cassette took up residency in our family Video Cassette Recorder (VCR) for much of the next year. In fact, it was one of the videos I chose to watch on the evening prior to my 20th birthday. Melancholy and pensive, I sat up well past midnight to bid farewell to my teens.

Video Cassette cover for  Live At Perkins Palace.

The final song on that Collins tour was his rendition of People Get Ready, performed along with his nine-piece band. Most performers like to end their concerts with a bang, typically playing one of their biggest hits or an up-tempo number that will keep people bopping as they leave. Collins opted to end the show with this slow, quiet, soulful gospel selection -- which, he has said, was one of his favourites as a teen.

Collns, left, on stage with his band in 1982.

It is a powerful piece, despite its simplicity and melodic beauty. Comprising four verses and no chorus, it is an allegory that leverages the metaphor of a train travelling the world to find people of faith and provide them passage to heaven.

"People get ready, there's a train a-comin'
You don't need no baggage, you just get on board
All you need is faith to hear the diesels hummin'
Don't need no ticket, you just thank the Lord."

More agnostic than religious, there is a lot to appreciate about the Christian faith my mother enjoys. Over the Christmas holidays, we attended a service at St. Paul's Anglican Cathedral in London, Ontario together. It was easy to respect the community she shares with her congregation and the choir is exceptional. The Gothic Revival architecture of the 150-year old building is stunning and I love to belt out a song, especially those familiar Christmas bangers. Plus, there is usually coffee, cookies and kind conversation at the end.

The chancel, at the front of St. Paul's Cathedral (London, Ontario).

People Get Ready was written by Curtis Mayfield, often dubbed the Gentle Genius, who was the lead tenor and guitarist for The Impressions from 1958 until departing for a solo career in 1970. Shortly after the song's release, it was included in hymn books in Chicago. Ironically, church renditions made the lyrics seem less Christian and more socially conscious, changing Mayfield's "You don't need no ticket/You just thank the Lord" to "Everybody wants freedom/This I know."

Single for People Get Ready, The Impressions

A few years after hearing Phil Collins’ rendition, another version hit the airwaves. In 1985, guitarist Jeff Beck released his rendition with Rod Stewart taking vocals on his fifth studio record Flash. Their version hit the Top 40 on the U.S. Billboard chart and got plenty of play on local radio. Beck's soulful guitar work and Stewart's raspy vocals cemented my love for the song, even though I still hadn't heard the original.

Album cover for Flash, Jeff Beck

After leaving The Impressions in 1970, Mayfield went on to a fascinating and successful solo career. His sound moved from soul toward funk, but his passion for social justice and positive change for the black community shone throughout. Prior to hearing this anthology in preparation for this post, I was only familiar with two tracks, Superfly and Pusherman, both from the 1972 blaxploitation film Superfly.

Album cover for the soundtrack to Superfly.

Both songs and, to some extent the film, addressed the prevalence and pitfalls of drugs, violence and poverty in African American urban communities. Mayfield brilliantly walked a fine social line with his lyrics. He captured the essence of life in these impoverished neighbourhoods, while criticizing the tendency for people (especially black youths) to glamourize the lifestyles of drug dealers and pimps. Truly a Gentle Genius.

On August 13, 1990, tragedy struck when Mayfield was hit by a falling metal truss that was holding up stage lighting equipment at a concert in Flatbush, New York. He was paralyzed from the neck down. Despite his paralysis, Mayfield continued to compose and sing for another nine years, before succumbing to complications from diabetes. He was 57. I like to think his faith helped him "board that train".