In 1990 Mayfield was tuning his guitar on a Brooklyn stage when a lighting tower blew down on him, leaving him paralyzed from the neck down. He did not figure to make music ever again. But last week he released ““New World Order,’’ an incisive collection of new songs that–good news–sounds like Curtis Mayfield. The title track plays in Spike Lee’s upcoming movie, ““Get on the Bus.’’ He recorded the music prone, singing a few lines at a time until his breath gave out. From the stereo, the song sneaks up, a hint of funky guitar and Mayfield’s coolly passionate voice: ““Darkness no longer,’’ he sings, ““a child is born.’’ If it is not actually a number-one hit, it is, just by its existence, a triumph. He listens, tired but rapt, and says, ““It’s nice to say, I’m back to living again.''
At 54, Mayfield has touches of gray in his beard. The home he shares with his wife and six of his children flashes moments from a rich career: photos of him as a teen with the gospel-inspired Impressions, a recent platinum album from En Vogue, who recorded his ““Giving Him Something He Can Feel.’’ The history remains close to him; unlike many peers, he owned his own publishing and record company, which still bring him an income. When asked for the stories behind classics like ““People Get Ready’’ or ““Superfly,’’ Mayfield answers by reciting lyrics. This is surprisingly edifying: even softly spoken, his words are powerful with narrative and rhythm. ““My mother always read me lots of poems,’’ he explains. ““Paul Laurence Dunbar, I loved Dr. Seuss, limericks. These [became] the foundations for my hook lines and rhythmic patterns.’’ He recites a lyric from ““Keep on Pushing,’’ from 1964: ““God gave me strength/And it don’t make sense/Not to keep on pushing.’’ Back then, this became an anthem for the civil-rights movement. In his quiet study, it still declares an unshakable pride and determination. Curtis Mayfield keeps on pushing.
