The Civil Rights Movement was a turning point in American history because it represented a shift in how racial inequality was viewed in white America. Although the civil rights movement did not end ignorance and racial prejudice, it crystallized the struggle for equal rights in our history, thereby making it a central part of the American experience. When King stood at the rostrum and delivered his speeches, destined to change the blueprint and self-image of a great republic, elsewhere, musicians were doing the same thing.
No moment, except for Sam Cooke’s “A Change is Gonna Come,” captures King’s spirit of triumphant hope as well as the opening strains of The Impressions’ “People Get Ready”. In those first seconds, the glistening strings introduce a memorable theme, written by Curtis Mayfield, that serves as the melody. Like the Cooke song, Mayfield alternates between a major key and its relative minor to establish a mood of solemnity and longing—before “turning around” on a major fourth.
The sweetness and subtlety of the harmonies is helped by the raw and pure vocals by the (three) Impressions. Lyrically, the song centers around a spiritual metaphor. There is a powerful sentiment of brotherhood—inspired by historical destiny; it promises salvation and deliverance--at least for those who “get on board”--and punishment “for the hopeless sinners.” The strongest interpretation of this song is that it is calling out those who stand in the way of progress, telling them they will be on the wrong side of history.
In total, this song is a work of genius. It inspired Bob Marley by showing him how songwriters could craft protest songs with universal, spiritual messages. To pay tribute, he interpolated Mayfields’ verses on “One Love/People Get Ready.” Like Marley, Curtis Mayfield was interested in writing message songs for the masses. The Impression used some of the typical pop song topics—but the personal was always imbued in some way with the political. Songs like “Woman’s Got Soul”, “Get Up and Move” and “Can’t Work No Longer” (because Curtis ‘gotta see his baby right now’—) were somewhat political and catchy enough to be played on the radio. “We’re Rolling On” and “Keep on Pushing” were also explicitly political—but catchy enough that it didn’t matter. Only a songwriting connoisseur of Curtis Mayfield’s caliber would be able to conjure, so consistently, the timeless and unique sounds of these records.
The final Impressions song I would like to mention as a favorite is from later in the decade. “We’re a Winner” sounds inspired by the spirit of ‘67. It charts the turbulent waters of psychedelia and Vietnam with a funkier rhythm and a hopeful pro-black lyric. If “People Get Ready” was the sermon, “We’re a Winner” was the afterparty. It’s a transitional song—pointing the way towards the funk-soul masterpieces of Mayfield’s impending solo career (Superfly). Yet the song also retains elements of classic soul à la Ray Charles, such as the live, party-like atmosphere in the studio, complete with vocal interjections.
Mayfield’s early association with the civil rights movement contributed to its aims by reaffirming the central hopes, ideas, and aspirations that made it seem like destiny—and in the end, we all know that the side of justice is ultimately victorious. Other artists followed suit in crafting songs with a message, but none with a success quite as consistent as that of Mayfield.