11 Songs, 31 Minutes


Ratings and Reviews

4.6 out of 5

34 Ratings

34 Ratings

"We're a Winner" is copy of John Mayer's word

Jay H Lee

"We're a Winner" is copy of "Waiting On the World to Change" by John Mayer. Apologies are in order, as John Mayer went to great lengths to be original, creative and "ahead of his time."

Jay is also dead wrong!

zoob 86

The song We're A Winner was recorded in 1967, by Curtis Mayfield and the Impressions....so Jay H....you are clearly lacking in common sense...was Mayer even alive in 1967!? Get your facts straight before you say something so critical of such a master. LONG LIVE CURTIS!!!

more to this song. . . . .


Yes, I do agree with a couple of the reviewers. This tune, "We're A Winner", is a Mayfield original out of the late 60's. I listened to it a lot as a kid living in New Orleans, a lot of music there as well as a lot of spirituality. I reminisce about all of my relatives, many of whom have passed away, when I hear this tune. It carried a healthy dose of innocence with those sweet keyboard and guitar phrases backing Curtis' smooth but spirited tenor vocals. It was a very soulful, funk-laden party tune. But there was more to this song. I mentioned about spirituality being an influence on a large number of people in New Orleans, certainly the poorer people who would otherwise have no hope. Well, it was a great influence on Curtis Mayfield as well. Quite a few of his tunes overtly reflected that, no question about it. But the references in "We're A Winner" whether direct or indirect were taken right out of the bible's book of 1Thessalonians 4th chapter 15th thru the 18th verses. This song's theme is one of eternal hope. And he was delivering a type of "sermon", if you will. Listen to it again and then read those verses to see the parallel. His message was spiritual while John Mayer's message is political. Vast difference for Jay H to consider. I don't say it out of harshness, just saying so matter of factly.

About Curtis Mayfield

Perhaps because he didn't cross over to the pop audience as heavily as Motown's stars, it may be that the scope of Curtis Mayfield's talents and contributions have yet to be fully recognized. Judged merely by his records alone, the man's legacy is enormous. As the leader of the Impressions, he recorded some of the finest soul vocal group music of the 1960s. As a solo artist in the 1970s, he helped pioneer funk and helped introduce hard-hitting urban commentary into soul music. "Gypsy Woman," "It's All Right," "People Get Ready," "Freddie's Dead," and "Super Fly" are merely the most famous of his many hit records.

But Curtis Mayfield wasn't just a singer. He wrote most of his material at a time when that was not the norm for soul performers. He was among the first -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a songwriter and a producer, he was a key architect of Chicago soul, penning material and working on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, who also managed to find time to write and produce many classics for other soul stars. Mayfield was also an excellent guitarist, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the next decade, he would toughen up his guitar work and production, incorporating some of the best features of psychedelic rock and funk.

Mayfield began his career as an associate of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a big hit in 1958 with "For Your Precious Love," Butler, who had sung lead on the record, split to start a solo career. Mayfield, while keeping the Impressions together, continued to write for and tour with Butler before the Impressions got their first Top 20 hit in 1961, "Gypsy Woman."

Mayfield was heavily steeped in gospel music before he entered the pop arena, and gospel, as well as doo wop, influences would figure prominently in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have often worked the call-and-response gospel style, but his songs (romantic and otherwise) were often veiled or unveiled messages of black pride, reflecting the increased confidence and self-determination of the African-American community. Musically he was an innovator as well, using arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be trademark flourishes of Chicago soul. As the staff producer for the OKeh label, Mayfield was also instrumental in lending his talents to the work of other Chi-town soul singers who went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the 1960s (five made the Top 20 in 1964 alone), and released some above-average albums during that period as well.

Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970. His first few singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record. He really didn't hit his artistic or commercial stride as a solo artist, though, until Super Fly, his soundtrack to a 1972 blaxploitation film. Drug deals, ghetto shootings, the death of young black men before their time: all were described in penetrating detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and fabulous funk pop arrangements gave the oft-moralizing material a graceful strength that few others could have achieved. For all the glory of his past work, Superfly stands as his crowning achievement, not to mention a much-needed counterpoint to the sensationalistic portrayals of the film itself.

At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. His failure to maintain the standards of Super Fly qualifies as one of the great disappointments in the history of black popular music. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Super Fly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."

Mayfield had a couple of hits in the early '80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums. On August 14, 1990, he became paralyzed from the neck down when a lighting rig fell on top of him at a concert in Brooklyn, NY. In the mid-'90s, a couple of tribute albums consisting of Mayfield covers appeared, with contributions by such superstars as Eric Clapton, Bruce Springsteen, and Gladys Knight. Though no substitute for the man himself, these tributes served as an indication of the enormous regard in which Mayfield was still held by his peers. He died December 26, 1999 at the age of 57. ~ Richie Unterberger

    Chicago, IL
  • BORN
    June 3, 1942




Listeners Also Bought