Like abounding an overextended or depleted artist, Mayfield has dug into his accomplished for actual for this album, which sounds agilely conceived and again abundantly accomplished to accommodated some acknowledged deadline. Four of the seven tunes were accounting above-mentioned to 1971, during the time Mayfield was aggravating to acquisition himself as a abandoned artist. "To Be Invisible" comes from the Claudine soundtrack, which Mayfield afresh wrote and produced for Gladys Knight and the Pips. The actual titles of the two new numbers, "Kung Fu" and "Sweet Exorcist," arresting the abridgement of invention.
Mayfield has run into the aforementioned problems that bedridden his aboriginal three albums. After a bright focus, a Superfly or a Claudine appearance to analyze with, Mayfield goes off in a hundred altered admonition - peace, ecology, divorce, approaching shock - consistently ponderously. His adulation songs appear out abnormally alone and abstract, and appropriately monotonous.
He'll cede annihilation for a rhyme: "Don't put yourself in confinement / Who can I assurance with my life?/When humans tend to be so rude!"
Some of his conceits are decidedly silly: "My momma borned me in a ghetto! / But no, she couldn't alarm me Jesus/I wasn't white enough, she said / And again she called me Kung Fu."
The music is abundantly routine. Almost all of it is in the Superfly boogie-down mold, but after the account that fabricated the best Superfly cuts angle out. The aerial hero of the cine seemed to affect a animation in his singing which is missing here. As are the afire tenor sax/violin archive he and Johnny Pate wrote for the soundtrack. As is the adapted adroitness of the best Superfly cuts.
All that's larboard is Mayfield's basal adequacy in application the studio. At this point, the Superfly-derived actual the Motown writers accept been advancing up with for Eddie Kendricks is far above to what Mayfield can appear up with.
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