“People Get Ready”
Artist: The Impressions
Writer: Curtis Mayfield
“That was taken from my church or from the upbringing of messages from the church. Like there’s no hiding place and get on board, and images of that sort. I must have been in a very deep mood of that type of religious inspiration when I wrote that song.”
(Source: Liner notes from Curtis Mayfield & the Impressions: The Anthology 1961-1977, MCA, 1992)
“My mother always liked symphony music, and even as a youngster my foundation was out of the church, whereas my grandmother was the minister of the Traveling Soul Spiritualist Church….When I wrote ‘People Get Ready,’ I was of a spiritual mind I suppose. I can’t quite recall what I was doing but the honesty of my gospel upbringing probably had a lot to do with it. I’m so pleased that it can please all who might listen to it. It doesn’t matter what faith you may have, the lyrics are of value to everybody.”
(Source: Liner notes from The Curtis Mayfield Story, Rhino box set, 1996)
Back in 1985 I was working for an ad agency and the owner liked to keep MTV running in his office because that was where the cutting edge of the soap-selling business was in those days. One evening before heading out I dropped by the office to say my good night and he and one of the layout artists were sitting in there critiquing the hot MTV item of the moment which was Rod Stewart and Jeff Beck’s cover of “People Get Ready.”
“This is great!” my boss said. The layout artist, who was in a rock band in his spare time, agreed. “Great guitar,” he said.
“It’s based on an old Negro spiritual,” my boss said.
“Well,” I said. “It’s really not that old. Curtis Mayfield wrote it. It’s from 1965.”
Now I wasn’t the known entity I later became, the guy who knew stuff about music from the sixties. I mean, I could have even told them the Impressions’ original hit #14 in Billboard--in those days I was very good with chart numbers—but there seemed little point since they didn’t even believe me about the Curtis Mayfield part or the 1965 part.
“Wait…the guy who did ‘Superfly’?” one of them finally said, after we had gone round and round for a bit.
“Yeah,” I said. “Same guy.”
That clinched it. I was crazy. Prone to making stuff up. Any chance of them believing me went by the wayside.
No way the Superfly Guy wrote that old Negro Spiritual, “People Get Ready.”
I told them it was okay. If I hadn’t known better I wouldn’t have believed it myself.
* * * *
“People Get Ready” is one of those songs, like “Peace in the Valley,” (written by Thomas Dorsey in the 1930s), which doesn’t feel like it could have been written less than a few centuries ago. It feels honed out of some kind of folk tradition, passed from balladeer to minstrel and back again. Usually, these songs have some kind of gospel overtone, and that attendant “feel” of permanence, of having been inspired by something more than commerce, is, like religion itself, counted exotic among the crit-illuminati and all unduly influenced by them.
The nonbelievers are never quite so hard to impress as they make out.
I’m guessing Curtis Mayfield understood that. Like most of the early rock and soul pioneers, he was a believer. He grew up in church. His grandmother was a minister. His singing group, the Impressions, was modeled on a specific style of black gospel called “jubilee.” (His original group was The Northern Jubilees so the linkage was more than usually specific.)
All of that mattered to who Curtis Mayfield became in the context of both the Civil Rights movement and the soul music of the sixties and seventies. His catalog is shot through with Christian imagery and just about all the nonbelievers were impressed by his commitment even though exactly none of them–including the legion of black and white vocalists who have covered the song in the nonbelieving style of Rod Stewart and Jeff Beck–ever gave evidence of understanding the belief system that commitment rested on.
People get ready, there’s a train a comin’
You don’t need no baggage, you just get on board.
Despite Mayfield’s own later suggestion (quoted above) that this was a universalist message, it’s really only “universal” in the sense that New Testament Christianity is indeed open to all.
All you need is faith, open the doors and board ’em
Don’t need no ticket you just thank the Lord.
Four lines in, and we’re already deep in the weeds of New Testament arguments worthy of St. Thomas Aquinas. The old fights have been closed down…faith is for all, Calvinism, the underpinning of both American individualism (good) and America slavery (bad), has been rejected for something higher. It’s a transformation Harriet Beecher Stowe, raised Calvinist, converted to Congregationalism and, after a beloved son’s death, a dabbler in forms of Spiritualism Curtis Mayfield’s grandmother would doubtless have recognized.
In the heat of the sixties, as “Uncle Tom” was being re-jiggered yet again to signify collaboration and weakness, Mayfield was now squarely in the middle of debates that were no longer going to be left to his own traditions. Not to Spiritualism. Not to Congregationalism. Not even to Christianity itself. As Greil Marcus would later write:
“With the Impressions and later as a soloist, Mayfield had been exploring a somewhat bland, Martin Luther King-style progressivism, for years, complete with open heart, boundless optimism, tortured lyrics, and brotherhood speeches to nightclub audiences.”
Tomming, in other words. Rather like Martin Luther King himself before his common honorific was transformed from the spiritual “Reverend” to the secular “Doctor” (and before the “Reverend” was subsequently transferred to Jesse Jackson or Al Sharpton, the better to mock the belief the honorific was meant to represent).
Funny how, in the world of the nonbeliever, it’s always optimism that’s uncomplicated.
And easy to identify.
Marcus’s seventies-era cynicism (he was juxtaposing Mayfield’s Negro Spiritual mode with his Superfly mode) was later replaced with rank sentimentalism. Cynicism–the rejection of optimism’s naturally complicated state in juxtaposition to the inherent cruelty of faith’s alternatives in time, space, nature, “reality”–usually turns out that way.
That’s the trick to throwing down with the Sermon on the Mount.
Once you claim it, you’re either on the train or not.
So people get ready, for the train to Jordan
Picking up passengers, coast to coast.
Faith is the key, open the doors and board ’em
There’s hope for all, among the loved the most.
And that’s what keeps throwing the torch-bearers of Left (New or Old) and Right (Alt or Old).
Faith is the key.
And within that context–and that context only–there’s hope.
There’s no in between for the believer. The in between is for those Mayfield took on next, those whom all practitioners of the New Testament’s evangelizing faith, Spiritualist, Congregationalist and Calvinist alike, know Jesus promised to spew from his mouth:
There ain’t no room for the hopeless sinner.
Who would hurt all mankind just to save his own….Believe me now!
Now it’s getting specific. Now it’s down to cases, where belief is the hardest master and true tolerance, the New Testament kind, is the hardest master of all. All those nonbelievers who thought they didn’t need the ticket just because it couldn’t be bought now find themselves right where the Spiritualist minister’s gently remonstrating, jubilee singing grandson wants them: between the rock of “hopeless sin” (i.e., all sin not specifically forgiven by faith in the one God) and the hard place of the belief they might have been forgiven for thinking could be purchased without cost, what with not needing any baggage and all.
Easier still, to get confused, considering that Mayfield and his soulmates (Fred Cash and Sam Gooden, now swapping leads, now in close harmony) have remained cool in the face of Pentecostal transcendence. The sound is seductive, backing the spirit of the original promise.
The sound remains so.
The promise does not.
Have pity on those, whose chances grow thinner
For there’s no hiding place, against the kingdom’s throne
Yes, find the pity within yourself, just before you remind the sinner how pitiless his fate is–a fate that knows no hiding place.
No hiding place from what again?
The kingdom’s throne. That’s what.
The one that brooks no hiding place.
So now the first verse repeats, not as an assurance, but a warning. The nonbelievers who jumped on the train in the first verse are invited to jump off.
So said the prophet in 1965, even if, in later years, he sometimes forgot the force of his own warning….in interviews if not his music.
In 1965, there was a world coming where elections, let alone “debates,” would become affairs devoid of meaning, a jousting between sets of nonbelievers who think paradise, having been transferred by the Reformation (it’s unfair to call it “Protestant” since a Catholic Reformation accompanied it, each multiplying the force of the other into Christian Europes’ five-hundred-year winning streak, for which the slave trade that brought Curtis Mayfield’s ancestors to the New World–and the New Testament–would stand as the serpent in the garden) from the Golden Past to the Golden Future, can now be claimed in the Golden Present, if only we vote the right party to power…or, better yet, eliminate all its opposition!
Curtis Mayfield would have other songs that spoke to the dangers of all that. The Superfly soundtrack wasn’t nearly as far from “there’s no hiding place against the kingdom’s throne” as either Greil Marcus or my Reagan-lovin’ boss at the ad agency thought.
Sad part is, being nonbelievers, they probably still think there’s a hiding place, somewhere, waiting just for them.