Entering the music business at just 17 with such a unique, eccentric style of music and theater, it's hard to imagine who Kate Bush's inspirations were growing up. A London native from the town of Bexleyheath, Kate was discovered in part by Pink Floyd's own David Gilmour. From her solid debut album, 1978's The Kick Inside, to her latest, 1993's The Red Shoes, Kate's style seemed to constantly evolve with every individual song. Though, of all her albums, Never for Ever stands out as one of the most varied and consistantly enjoyable.

The first track, "Babooshka" is like a stage performance all in audio. In fact, Kate produced a well-fitting music video to accompany it in which she displays her love for dancing and theater. Many of her song's follow this formula of imaginative storytelling or make for a sort of catchy chant of peotry and instrumentals such as the next track "Delius (Song of Summer)." Among my favorite songs of the album and all of this woman's work (pun intended), is "Blow Away (For Bill)." Perhaps what I like most about it is the way she uses her amazing vocals to just cruise along with the jazzy instrumental. Her voice is amazingly versatile with the ability blow and eardrum with her highest pitch then suddenly adjust to singing in a deeper tone. Pair this with some great lyrics and I call "Blow Away" the highlight of the album. It's a tough decision to place "Army Dreamers" as a close second with it's Irish flavored instrumentals. It's definatley a catchy song and a great example of Kate Bush's lyrical talent. "Egypt" and "Breathing," have in common that they are a couple of visionary, theater-like songs. Each make for a pleasent listening experience.

It has been a long 12 years since the release of Kate's last album (1993's The Red Shoes). Her last live performance was in 2001 with David Gilmour in a surprise duet of the Pink Floyd hit "Comfortably Numb" at the Q Magazine awards. Excitingly, she has announced her return with new music planned for sometime in 2005. I don't know who might have inspired Kate's style as an upcoming artist of multiple talents but it's clear why so many of today's biggest acts such as Maddonna, Outkast and Bjork credit her with a role in their artistic progression. With every album she brings a new sound to music, a new concept. It's impossible to categorize her into a single genre. I, for one, can't wait to hear what new ideas she has apllied to her already unique style after all these years.

1972 was one of the greatest, most important years in Curtis Mayfield's career and arguably, all of musical history. Mr. Mayfield had already been well established in the world of R&B and Soul music with his history as the falsetto-voiced lead singer of R&B group of the 60's The Impressions and founder of a successful record label, Curtom records. Yet, until the year 1972, his powerful message never really rang very far from Chicago. Mayfield was the go-to guy when it came to the soundtrack of the critically acclaimed film Superfly for his smooth voice, smooth musical productions and ability to provoke meaningful thoughts. Mayfield's approach was one that both incorperated all these gifts into one album and put forth his message without compromising on commercial success. At the time of Superfly's recording, Mayfield hadn't even had the oppourtunity to see the film. This was probably for the better. To set the score for a movie that revolves around drug dealing, drug using and pimps Mayfield took the soundtrack in a more positive direction. In this way, the soundtrack touched on very important, very controversial "modern day" topics and tought lessons of hope while the movie merely served as the example.

The musical journey and hopeful attempt to shine light on the underbelly of America begins with "Little Child Running Wild," which starts as a duet of a funky guitar solo by Curtis Mayfield himself paired with a rythmic conga pattern then eventually rides into a jolt of emotion-filled electric guitar chords, almost in the style of Jimi Hendrix. This is the canvas on which Mayfield paints his first work of art that makes up the masterpeice. It's very deep with poetry and true to reality. You can clearly see, even feel, the atmosphere he brings you into with the song. This is the strength that holds true throughout the album and what makes it both thought provoking and entertaining. "Eddie You Should Know better" delves into the mind of a drug addict who is taken under by his society and cast away by his loved ones. It illustrates the broken homes of "ghetto" America and the weakened minds, that really do know better but are crippled by drugs. "No Thing On Me" is an anthem of power against the addictive substance cocaine and it's dealers. It is a nice, simple, self-empowering song that really reminds you of your strengths. On "Think", another favorite of mine, Mayfield shows his versatility as a performer and producer. Sounds of the saxiphone, flute and intimate acoustic-electric guitar melodies all come together to create a beautiful peice of music that inspires without the use of any lyrics whatsoever. Mayfield perfectly executes each song.

I always saw this record as much more than great music. This, sort of, "inside view" of an endangered society that Mayfield offered the nation was one that many working class Americans found to be very familiar in 1972 and if nothing else, proved to be entertaining among the mass with a total of 500,000 sales and peaking at #1 on the charts. Curtis was the voice of the struggle. He used his gifts to attract much needed attention to the drug crisis, racism and other issues of the times. He was inspired by everyday people as he knew them. He had so much to offer and so he did. "I don't take credit for everything I write," Mayfield once said, "I only look upon my writings as interpretations of how the majority of people around me feel." For that we, as a better society, thank you Curtis Mayfield. The Superfly soundtrack is a perfect example of timeless music that will forever live on to preserve it's message.