Maze

Maze was an American soul-funk band from San Francisco that released six studio albums and two live discs between 1977 and 1986 on Capitol, several with singer Frankie Beverly suffixed to the nameplate.

Members: Frankie Beverly (vocals), McKinley “Bug” Williams (percussion), Carl Wheeler (keyboards), John Smith (guitar), Larry Kimpel (bass), Robin Duhe (bass), Mike White (drums), Roame (congas, background vocals), Vance “Maestro” Taylor (keyboards), Philip Woo (synthesizer)

Maze 

Maze released their self-titled debut album in February 1977 on Capitol.

The album presents their downtempo soul-funk style with extended instrumental passages and vocals by rhythm guitarist Frankie Beverly. The material emphasizes layered rhythm arrangements and reflective lyrics.

Beverly wrote and produced all seven songs, performed with bassist Robin Duhe, guitarist Wayne Thomas, keyboardist Sam Porter, drummer Joe Provost, and percussionists Ronald “Roame” Lowry and McKinley “Bug” Williams.

“Time Is On My Side” opens the set with entwined bass, guitar, and keyboard lines under Beverly’s assertive lead. “Happy Feelin’s” stretches across seven minutes with shifting rhythm layers and call-and-response vocals. “Color Blind,” first cut with Beverly’s earlier band Raw Soul, voices frustration over racial division with sharp-toned bass and clipped vocal phrasing. “Lady of Magic” shifts to a ballad form with subdued guitar and softer vocal contours. Side two highlights include “While I’m Alone,” which builds from a stark drum intro into a commanding vocal line, and the nine-minute “You,” a showcase for the band’s rhythmic interplay that closes with a percussive breakdown. “Look at California” ends the album in extended form, alternating between airy keyboard figures and dense rhythm passages.

A1. “Time Is On My Side” (5:19)
A2. “Happy Feelin’s” (7:10)
A3. “Color Blind” (3:22)
A4. “Lady of Magic” (4:45)

B1. “While I’m Alone” (4:35)
B2. “You” (8:24)
B3. “Look at California” (9:27)

Sessions occurred at Pacific Recording Studios in Tacoma, Washington, with Beverly producing and John Nowland engineering.

Shusei Nagaoka illustrated the cover, a hand motif with maze-like creases symbolizing the six players and Beverly as the guiding thumb. Olivier Ferrand handled the photography. Nagoako also did 1976/77 cover illustrations for Jefferson Starship, Flight (Incredible Journey), Electric Light Orchestra (Out of the Blue), Shalamar, Sun, Sunbear, Rose Royce, First Cosins Jazz Ensemble (For the Cos of Jazz), Caldera (Sky Islands), and Earth, Wind & Fire (All ‘n All).

Capitol lifted “While I’m Alone” as a single, which reached No. 21 on the US R&B chart. The album itself peaked at No. 52 on the Billboard 200 and No. 6 on the R&B Albums chart, later earning gold certification.

Golden Time of Day

Maze released their second album, Golden Time of Day, in January 1978 on Capitol.

The album extends the group’s soul-funk approach with reflective ballads and extended rhythm-based pieces. It continues their avoidance of disco rhythms in favor of slower-paced arrangements led by the vocals of Frankie Beverly, who wrote all seven tracks.

“Travelin’ Man” opens the record with a mid-paced funk rhythm. “Song for My Mother” serves as a dedication with solemn vocal phrasing. The single “Workin’ Together” delivers a call for unity, while the title track carries a reflective mood with subdued instrumentation. “I Wish You Well” takes shape as a slow ballad, and the closing “I Need You” runs ten minutes with extended instrumental passages.

A1. “Travelin’ Man” (5:06)
A2. “Song for My Mother” (5:02)
A3. “You’re Not the Same” (5:13)
A4. “Workin’ Together” (5:30)

B1. “Golden Time of Day” (5:30)
B2. “I Wish You Well” (4:37)
B3. “I Need You” (10:00)

Sessions occurred at Applewood Studio in Golden, Colorado, with Beverly producing and John Nowland engineering.

Golden Time of Day features cover illustration by Shusei Nagaoka, who reworked the group’s six-fingered hand logo in gold. Nagaoka also illustrated 1978 covers for Mandré (Two), Parlet (Pleasure Principle), Space (Just Blue), and self-titled albums by Ollie Baba, Rubicon, The Skyliners, and Wright Brothers Flying Machine

“Workin’ Together” reached No. 9 on the Billboard R&B chart. The album peaked at No. 9 on the Billboard R&B Albums chart and No. 27 on the Billboard 200.

Inspiration

Maze released their third album, Inspiration, in February 1979 on Capitol.

The album sustains the band’s measured soul-funk style, balancing reflective ballads with more rhythm-driven material. It marked the first Maze record with drummer Ahaguna Sun, who replaced Joe Provost. Frankie Beverly wrote all eight tracks and produced the album.

The title song opens with devotional imagery set to subdued instrumentation, reprised at the end in wordless form. “Feel That You’re Feelin’” fuses soul with reggae inflections. “Call On Me” delivers a restrained vocal plea against island-styled rhythm patterns. “Timin’” carries a brisker pace with guitar-driven momentum. Side B greets with “Welcome Home,” a piece about reconciliation, while “Woman Is a Wonder” extends into a seven-minute tribute colored by layered keyboards. “Ain’t It Strange” closes the vocal material with chimes and group harmonies before the instrumental reprise.

A1. “Lovely Inspiration” (5:08)
A2. “Feel That You’re Feelin'” (5:33)
A3. “Call On Me” (5:42)
A4. “Timin'” (5:02)

B1. “Welcome Home” (5:08)
B2. “Woman Is a Wonder” (7:20)
B3. “Ain’t It Strange” (5:23)
B4. “Lovely Inspiration (Instrumental)” (1:56)

Sessions occurred at Studio In The Country in Bogalusa, Louisiana, with Beverly producing and John Nowland, Bill Evans, David “Sparky” Farrell, and Gene Thompson engineering. Mastering took place at Capitol Studios in Hollywood with Wally Traugott.

Inspiration features cover art by Shusei Nagaoka, whose blue-scale illustration places the Maze hand logo against an arctic lunar backdrop.

“Feel That You’re Feelin’” reached No. 7 on the Billboard R&B chart.

Joy and Pain

Maze released their fourth album, Joy and Pain, in June 1980 on Capitol.

The record preserved Maze’s restrained soul-funk style while introducing guitarist Ron Smith and drummer Billy “Shoes” Johnson to the lineup. The set balances devotional ballads, instrumental interplay, and rhythm-heavy dance numbers. Frankie Beverly wrote all seven tracks and produced the album.

“Changing Times” builds slowly before locking into an emphatic pace that underscores Beverly’s lyrics. “The Look in Your Eyes” layers Sam Porter’s keyboards against a tender vocal. “Family” moves with understated rhythm while “Roots” stands as an instrumental that highlights the ensemble’s cohesion. The title track stretches over seven minutes with synthesizer and programmed percussion textures framing Beverly’s lead. “Southern Girl” drives forward with a heavier rhythm and guitar, while “Happiness” closes the set with a slower ballad marked by Porter’s keyboard voicings.

A1. “Changing Times” (6:34)
A2. “The Look In Your Eyes” (5:22)
A3. “Family” (5:08)
A4. “Roots” (5:06)

B1. “Joy and Pain” (7:30)
B2. “Southern Girl” (6:49)
B3. “Happiness” (6:46)

Sessions occurred at the Record Plant in Sausalito, California, with Beverly producing, John Nowland engineering, Ginny Pallante mixing, and Rick Sanchez assisting.

Joy and Pain features cover art by Shusei Nagaoka, whose illustration contrasts mirrored earth and underworld scenes around the Maze hand logo. Nagaoka also illustrated elaborate spacecraft covers for 1980 titles by Meco (Music From Star Trek and the Black Hole), Shotgun (Shotgun IV), and Midnight Star (The Beginning).

“Southern Girl” reached No. 9 on the Billboard R&B chart.

Live in New Orleans 

In June 1981 Maze released Live in New Orleans, a two-record set with three sides sourced from a show at Saenger Theatre and a fourth comprised of studio tracks.

The album presents Maze’s signature smooth, measured soul-funk in a live setting, with Beverly leading the band through extended performances that highlight interplay between keyboards, guitar, and percussion. Core members Roame Lowry, Robin Duhe, Sam Porter, McKinley Williams, and Billy Johnson are joined by Philip Woo on electric piano and synthesizer, and Ron Smith on lead guitar.

Frankie Beverly wrote, arranged, and produced all tracks, handling lead vocals and piano.

A1. “Introduction” (0:30)
A2. “You” (5:54) – from Maze
A3. “Changing Times” (5:11) – from Joy and Pain
A4. “Joy and Pain” (9:45) – from Joy and Pain

B1. “Happy Feelin’s” (5:28) – from Maze
B2. “Southern Girl” (6:22) – from Joy and Pain
B3. “Look at California” (11:00) – from Maze

C1. “Feel That You’re Feelin'” (9:48) – from Inspiration
C2. “The Look In Your Eyes” (7:22) – from Joy and Pain

D1. “Running Away” (5:56) – studio track
D2. “Before I Let Go” (5:07) – studio track
D3. “We Need Love to Live” (4:50) – studio track
D4. “Reason” (5:04) – studio track

Sessions occurred at the Saenger Theatre in New Orleans for sides one through three, and at the Automatt Recording Studio in San Francisco for side four. David Cole recorded the album with assistance from John Palladino (live) and Maureen Droney (studio). Wally Traugott mastered the set.

“Running Away” reached No. 7 on the R&B chart, while “Before I Let Go” climbed to No. 13.

We Are One

Maze released their fifth studio album, We Are One, in April 1983 on Capitol.

The record maintains Maze’s soul-funk aesthetic while emphasizing love and unity as central themes. Keyboardist Philip Woo joins Sam Porter on keys, while Ron Smith continues on lead guitar and Billy Johnson handles drums. We Are One blends up-tempo dance numbers, ballads, and brief instrumental passages. Frankie Beverly wrote and arranged all tracks and produced the album.

The opening single, “Love Is the Key,” layers keyboards and harmonica over a driving rhythm. “Right On Time” emphasizes synthesizer textures beneath Beverly’s lead and layered backing vocals. “Your Own Kind of Way” slows the pace, foregrounding a measured vocal delivery over restrained instrumentation. “I Wanna Thank You” merges island-influenced patterns with steady percussion and organ motifs. Side two begins with the titular “We Are One,” pairing organ lines with guitar to underscore its lyrical focus. “Never Let You Down” presents minimal backing, highlighting Beverly’s lead. “I Love You Too Much” closes with a soft, extended pace, and “Metropolis” serves as a brief interlude.

A1. “Love Is The Key” (4:26)
A2. “Right On Time” (5:59)
A3. “Your Own Kind Of Way” (5:13)
A4. “I Wanna Thank You” (5:26)

B1. “We Are One” (6:30)
B2. “Never Let You Down” (5:21)
B3. “I Love You Too Much” (6:13)
B4. “Metropolis” (0:43)

Sessions occurred at The Automatt in San Francisco, California, with Beverly producing, Leslie Ann Jones engineering, David Cole mixing, Mike Herbick assisting on mix, and Ray Pyle assisting on tracking.

We Are One features cover art by Tito Salomoni and art direction by Roy Kohara.

“Love Is the Key” reached No. 5 on the Billboard R&B chart, and “Never Let You Down” peaked at No. 27. Additional singles included the title track and “I Wanna Thank You.”

Can’t Stop the Love

Maze released their sixth studio album, Can’t Stop the Love, in March 1985 on Capitol.

The album updates Maze’s signature soul-funk sound with heavier synthesizer textures while maintaining the band’s smooth, measured dynamics.

Guitarist Wuane Thomas returns, Sam Porter handles organ, and keyboardist Wayne “Ziggy” Lindsay contributes alongside core members Roame Lowry, Robin Duhe, and McKinley “Bug” Williams. Drummers Ricky Lawson and Tony St. James supplement Billy Johnson on select tracks. Frankie Beverly wrote and arranged all tracks and produced the album.

Can’t Stop the Love opens with “Back In Stride,” a keyboard-driven track with layered vocals and a steady, animated rhythm. The title track pairs synth accents with Beverly’s signature lyrical emphasis on love. “Reachin’ Down Inside” highlights intricate keyboard lines under measured vocals. Side two begins with “Too Many Games,” a smooth yet energetic response to relational tension, followed by the moderately paced “I Want To Feel I’m Wanted,” written years earlier but integrated seamlessly. “Magic” introduces a rare saxophone element, and “A Place In My Heart” closes with a slow, contemplative rhythm anchored by bass and percussion.

A1. “Back In Stride” (7:03)
A2. “Can’t Stop The Love” (7:06)
A3. “Reachin’ Down Inside” (5:23)

B1. “Too Many Games” (4:55)
B2. “I Want To Feel I’m Wanted” (5:44)
B3. “Magic” (4:47)
B4. “A Place In My Heart” (4:49)

Sessions occurred at Fantasy Studios with Beverly producing, David Cole and Leslie Ann Jones recording, and David Luke, Stephen Hart, Steve Evans, and Tom Race assisting. Wally Traugott mastered the album.

Can’t Stop the Love features cover illustration by Montxo Algora and art direction by Roy Kohara.

“Back In Stride” topped the R&B charts for two weeks. “Too Many Games” reached No. 5, and “I Want To Feel I’m Wanted” peaked at No. 28, completing three charting singles from the album.

Discography:

• Maze (1977)
• Golden Time of Day (1978)
• Inspiration (1979)
• Joy and Pain (1980)
• Live in New Orleans (1981)
• We Are One (1983)
• Can’t Stop the Love (1985)
• Live in Los Angeles (1986)
• Silky Soul (1989)

Sources:

• Discogs: Maze
• 45worlds: Maze
• 45cat: Maze
• MusicBrainz: Maze