THE FIRST TIME WITH... MAVIS STAPLES

In case you missed Mavis Staples on BBC Radio 6 Music yesterday, here's the link to catch up. Matt Everitt talks to Mavis about the first time she was aware of music, sung with her family, at home, in church, in the studio and much more. 

As you'd expect from anything involving Mavis, it's a joyous hour -with an undercurrent of righteous indignation. Not only is "Bubbles" possessed with an amazing singing voice, she also owns the most captivating talking voice. Oh, and if Matt Everitt doesn't have the above photo framed at home I'd be very disappointed. Shamone. 

www.bbc.co.uk/programmes/b09s3hy6

NOVEMBER PLAYLIST

1.  The Lon-Genes – ‘Dream Girl’ (1964)

Featured on Kent’s new Northern Soul’s Classiest Rarities Volume 6 which is an utterly essential purchase – best soul comp I’ve heard in a long time. This bunch of army lads cut this lovely ballad for Romark in Los Angeles.

2.  Alton Ellis – ‘Black Man’s Pride’ (1971)

Title track from a new Soul Jazz Records compilation “from the transitory phase in reggae at the start of the 1970s, after the exhilaration of Ska and following the cooling down of Rocksteady.”

3.  John Gary Williams – ‘The Whole Damn World Is Going Crazy’ (1973)

Williams recorded for Stax with the Mad Lads, served in Vietnam, then returned to Memphis. This is what he found. 

4.  Bottom and Company – ‘Gonna Find A True Love’ (1974)

Bottom and Company? Really? Bottom and Company Gonna Find A True Love? Was that the best name they could find? Fab stab of crossover Motown regardless.

5.  Bob Dylan – ‘Saved’ (1980)

Just don’t go near that Born Again Christian stuff was the refrain when I first found Bob Dylan. Was reasonable advice to a young novice but Trouble No More, the latest instalment of The Bootleg Series, shows what a rousing period that was. This live version of ‘Saved’ would’ve had them rejoicing in the aisles.

6. Daniel Romano – ‘There’s The Door’ (2013)

Just watch Romano sing this George Jones hit. Go on.

7.  The Pretty Things – ‘The Same Sun’ (2015)

Released a couple of years ago on their clunkily titled but impressive The Sweet Pretty Things (Are In Bed Now, Of Course…), this gets a 7 inch EP release in January on Fruit de Mer Records along with their version of ‘Renaissance Fair’ plus two late-60’s live cuts: ‘She Said Good Morning’ and ‘Alexander’.

8.  The Galileo 7 – ‘Live For Yesterday’ (2017)

“Today is just tomorrow’s nostalgia,” sings Allan Crockford. As someone who’s played to packed venues by dusting off memories in reformed Prisoners, Prime Movers, Solar Flares and cranks out oldies in Graham Day and the Forefathers you know where Allan’s coming from and wonder if in years to come his current band will achieve similar better-in-retrospect acclaim. Based on the Galileo 7’s new pop-psych offering Tear Your Minds Wide Open it’s a distinct possibility. Crockford has now cracked this song writing lark and with the Mighty Atom, Mole, moved to his rightful place behind the drumkit, the whole thing swings with justified confidence. Don’t wait until 2040, check them out now.

9.  The Lovely Eggs – ‘Dickhead’ (2017)

Donning their new magical cloaks, The Lovely Eggs were on tour this month. Two things became apparent: they have so many great singles they can afford to drop ‘Don’t Look At Me’ without it being unduly missed and new songs featured from forthcoming album This Is Eggland, including the supersonic, drive-by abusing, ‘Dickhead’ will only add to that impressive score.

10.  Mavis Staples – ‘If All I Was Was Black’ (2017)

Mavis tells us she’s got love to give. She sure has. Oh God, this is wonderful.

JULY PLAYLIST

1.  Harmonica Slim – ‘Hard Times’ (1960)

A wickedly funky workout from Travis Leonard Blaylock. Despite the raw harp style this, to me, sounds a bit later than 1960.

2.  Dion – ‘Two Ton Feather’ (1965)

Dion’s lost 1965 album Kickin’ Child has finally been released this month and it’s a cracker of Dylanesque folk-rock in the style of Bringing It All Back Home. Some of the tracks did see light of day at the time, including this playful romp.

3.  The Temptations – ‘You’re Not An Ordinary Girl’ (1965)

No mistaking the hand of Smokey Robinson here but the track is credited to all the Miracles. The flip of ‘Beauty Is Only Skin Deep’, with lead vocal by Eddie Kendricks, the backing track hints at the way forward for the Showstoppers’ ‘Ain’t Nothing But A Houseparty’.

4.  Fortson & Scott – ‘Sweet Lover’ (1968)

Sweetest soul on the Pzazz label (“Put some pzazz in your jazz!”) outta Hollywood. Fabulous. Nothing more to say.

5.  Guitar Ray – ‘You’re Gonna Wreck My Life’ (1970)

Talking of record labels, this one’s on Shagg, something Guitar Ray doesn’t seem to be getting much of listening to his beautifully sung soulful blues. No money, no place to go, old and grey, his woman can’t stand him no more. Still, he cut this 45 and so it wasn’t all in vain. Cheers Ray.

6.  Martha Reeves and the Vandellas – ‘I Should Be Proud’ (1970)

Martha’s Vietnam protest song doesn’t pull any punches as she tells how Johnny died not for her but “fighting for the evils of society”. Reeves believed the government put heat on radio stations not to play it and Berry Gordy to withdraw it. The other side of the record features the far less controversial, and more well known, ‘Love Guess Who’.

7.  Jr Walker & the All Stars – ‘Way Back Home’ (1971)

This down home countrified soul was blown in my direction care of Zyd Hockey’s recent Motown show on Fusion and has been a regular spin ever since. As I said at time, and think every play, this would have suited The Faces down to the ground.

8.  Spacemen 3 – ‘Rollercoaster’ (1986)

From their debut Sound of Confusion, Spacemen 3 set their aim higher than the sun with a thoroughly convincing bug-eyed interpretation of the 13^th Floor Elevators classic.

9.  Redskins – ‘A Plateful of Hateful’ (1986)

It’s a pity the Redskins never made a second album. ‘A Plateful of Hateful’ featured on their final single, ‘It Can Be Done’, and hit a Brit-funk groove falling between The Jam’s ‘Precious’ and Pigbag’s ‘Papa’s Got A Brand New Pigbag’.

10.  Benjamin Booker – ‘Witness’ (2017)

Booker’s sings about seeing a crime but Mavis Staples steals the show, no surprise there, witnessing something far more holy. Oh, by the way, Mavis’s show at the Union Chapel this month was, as always, sensational. Being in her presence is to experience very magical joy and happiness. And wow, can that lady still sing.

MAVIS STAPLES: KENNEDY CENTER LIFETIME ACHIEVEMENT HONOR

The exceptional Mavis Staples was the recipient this month of a lifetime achievement award at the Kennedy Center Honors gala at the White House.

"The Kennedy Center Honors celebrates the spectacular talents of artists whose brilliance has left a lasting impact on our society," according to Kennedy Center Chairman David M. Rubenstein.

"Reflecting on the powerful commitments these artists have made to their crafts as well as the cultural contributions they have made over the course of their illustrious careers is a humbling experience," added Kennedy Center President Deborah F. Rutter.

Look at this speech given by President Barack Obama; everything about it is wonderful. Brings a lump to the throat. Fully deserved Mavis. Congratulations.

FEBRUARY PLAYLIST

1.  Billie Holiday – “I’m A Fool To Want You” (1958)

Opening track from the classic Lady In Satin. Ray Ellis’s arrangement and Lady Day’s all-too-believable vocal are exquisitely paired on this Frank Sinatra song. 

2.  Jimmy Gordon – “Buzzzzzz” (1963)

Wicked surf-fuzz instrumental released on Challenge by Hollywood session man Jimmy Gordon.

3.  Hoyt Axton – “Thunder ‘n’ Lightnin’” (1963)

Hoyt’s mum wrote “Heartbreak Hotel”; something for you trivia fans. There’s nothing trivial about this earthy and manly folk tune.

4.  David Newman – “Miss Minnie” (1967)

Fathead Newman swops his tenor for his flute on this nimble little mover.

5.  Sons of Champlin – “Fat City” (1967)

Hammond and horns workout guaranteed to shed a few pounds on any dancefloor. This and the Jimmy Gordon track above are included on a new 3-CD set Looking Stateside: 80 US R&B, Mod, Soul & Garage Nuggets, an excellent compilation to create a club vibe at home.

6.  Brenda Lee Jones – “You’re The Love Of My Life” (1967)

After a few singles as half of Dean & Jean, Brenda threw everything but the kitchen sink into this magnificent soul-pop number.

7.  The Electric Toilet – “Mississippi Hippy” (1970)

I’m not making this shit up, there honestly was a band called the Electric Toilet. Here they sound like a swamp-funk Tony Joe White which isn’t something to be sniffed at.

8.  Roy Ayers Ubiquity – “He’s A Superstar” (1972)

Roy gets spiritual and funky. The sound of the son of a carpenter donned out in a purple flared suit and floppy felt hat.

9.  The Sorcerers – “The Horror” (2015)

ATA Records is an independent, musician owned and run record label based Leeds who create and release a mix of new takes on classic 60’s & 70’s soul, gospel, funk, R&B, jazz, library, Big Band and film music using vintage analog equipment, tape machines and plenty of valves. The Sorcerers self-titled LP is a suitably spooky cauldron of jazz beats and breaks.

10.  Mavis Staples – “If It’s A Light” (2016)

The wonderful Ms Staples has an album of new songs out this month, Livin’ On A High Note, and this one written by Charity Rose Thielen from Seattle’s “indie folk” The Head & The Heart and sung beautifully by Mavis is one of the highlights.

MAVIS! (2015)

There are many touching moments in Mavis! - Jessica Edwards’ film about Mavis Staples and the Staple Singers – but one standout scene is when Mavis visits old friend Levon Helm. In 1976 they’d appeared in Martin Scorsese’s The Last Waltz when their groups, The Staple Singers and The Band, performed a film stealing version of “The Weight”, and now Mavis, sister Yvonne and their band, turn up at Levon’s home. It’s immediately apparent Levon isn’t well (throat cancer would shortly, in 2012, take his life) but there’s a twinkle in his eye after Mavis gives him a big hug at the front door. Soon we see the musicians sat around, a few acoustic guitars, singing and clapping, following Mavis’s lead. Levon is visibly lifted, rocking in his chair, beaming, his fragile voice given extra strength, looking like the happiest man alive. It’s a beautiful moment and gets to the heart of the unique magic of Mavis Staples – the singer and the woman – who embodies joy, love and positivity. If scientists and medical professionals could clone Mavis or bottle some of her spirit, what a wonderful world this would be.

At 75 years of age Mavis shows no sign of slowly down as the film follows her touring, rehearsing, and reflecting on her career and life, from singing as young girl with her family in the churches, to the folk festivals, to civil rights’ marches, to soul superbowls, to the rock crowd, through lean times and a creative and commercial rebirth. There’s great archive footage (mostly seen before but some I didn’t recognise) are additional interviews with friends, band members, biographers and historians all giving an insight into her indomitable character and that deep voice which confused early listeners who couldn’t believe it came from a tiny girl, expecting it to be from, as Mavis says “a man or a big fat woman”.    

Jeff Tweedy of Wilco, who worked so well with Mavis on recent records, says he loves her more than any woman apart from his wife. He isn’t the first person I’ve heard say such a thing. Mavis’s magnetic personality easily draws such affection. She’s funny, has an infectious laugh, kind face, boundless enthusiasm, is serious about her music but balances that with a self-depreciating attitude and she’s “everyday people”. She’s also endearingly bashful when it comes to affairs of the heart; that Mavis gets all embarrassed and flappy when admitting to “a smooch” with Bob Dylan is typical.

The relationship with one man though, her father, is central to everything. Fifteen years after Pops passed away Mavis rescued the tapes they made which was planned to be released as a Pops Staples album and gave them to Tweedy to work on. When they listen to Pops’s voice on the finished version, Don't Lose This, it’s her father singing from heaven. As Mavis blubs her eyes out it takes a herculean effort of cinema goers not to follow suit.

Mavis! is an emotional film. Like its subject, it’s sensitive, uplifting and “feel-good”, and should be available on prescription. 

MAVIS STAPLES at the CLAPHAM GRAND, LONDON

“We’ve come all the way from Chicago, to bring you some joy, some happiness, inspiration and positive vibrations!” declared Mavis Staples three songs in to her performance at the Clapham Grand last Tuesday. In those few words Mavis perfectly encapsulates what her gigs are all about: joy, happiness, inspiration and positive vibrations turned up to eleven.

I don’t think I’ve ever beamed from ear to ear through a gig so much. Mavis is a remarkable woman, a little bundle of infectious energy, and the warmth radiating from her expressive face, cackling laugh and sensitive soul could melt the coldest heart. I make no bones about it; I want to give her a big hug. Luckily for her the closest I managed was a touch of her hand when she shook the outstretched paws of the first few rows.

This gig followed her Glastonbury début and watching that online it didn’t come across as well as it should. The mix – or the BBC’s continuing failure to broadcast live music satisfactorily - meant her band were close to inaudible. Here in Clapham they sounded full and funky and Mavis was cooking with them. They are a unit. One of the things which makes Mavis stand out from other touring singers is she always uses her own musicians rather than pick-up bands in different countries. It pays off.

Central to the performance and her music in general these days is Mavis’s working relationship with guitarist Rick Holmstrom. The bond between them is unmissable and beautiful to watch. Mavis is the reluctant solo star. She always wanted to remain singing with her family but the death of her father Pops in 2000 brought an end to the Staple Singers and put Mavis into a period of, at first, voluntary inactivity. But eventually she fought her way back and her later run of albums are every bit as essential as the early ones. It’s not blood anymore but it feels like family.

Yet it’s live, singing for people, delivering her message in person, which is at the heart of Mavis Staples, and she calls her group – the trio of Rick on guitar, Jeff Turmes on bass and Stephen Hodges on drums, plus the Deacon and Squeeky on backing vocals (there’s no sister Yvonne tonight) – “the greatest group in the world” (before gently mocking Kanye West’s grandiose claim of being the greatest rock and roll star on the planet) and there’s no doubt there are no more suitable musicians, who totally understand the feel and soul of the Staples, than these.

When Mavis hits an incredible final note on “Respect Yourself” she and Rick shoot each other a wide-eyed look as if to say “Hey, did you hear that?”; when Mavis embarks on a walkabout during “I Like The Things About Me” to touch the hands of those in the front rows she returns with the very faintest of stumbles unseen by most eyes except Rick’s who gives her an “I told you to be careful” twitch of the head. Mavis for her part can’t help but frequently go up to her band and give them cute little loving rabbit punches.

Sixty-five years in the business – Mavis started very young – she’s fit as a flea (my quick attempt to catch a half decent photo proved impossible as she wouldn’t keep still long enough) and can still belt out a song and make a lyric stand out in new ways. Her songs, and those of the Staples Singers, have always had meaning; they’re not lyrics to fill out a few bars of music. “Take that sheet off your face” on “Respect Yourself” conveys both horror and determination and in the set’s only real ballad “Holy Ghost” the glistening in Mavis’s eyes, as she so obviously remembers her father, demonstrate how deeply she inhabits these songs. It takes a comforting smile from Rick to help regain her composure.

I’ve been fortunate enough to have seen four Mavis gigs in recent years and they’ve all been unique. This set was different from the visit to London for her birthday last year and had even been altered from Glastonbury three days earlier when “Wade In The Water” and “You’re Not Alone” provided two highlights. That those two tracks make way here shows the depth of the well. Staples’ classics “If You’re Ready (Come Go With Me)” and a mirror-ball shining “I’ll Take You There” top and tailed the set; “Freedom Highway” was incendiary; “Can You Get To That”, “We’re Gonna Make It” and “Slippery People” hit the funk; and, forever marching on, never turning back, there were two tracks from her new Your Good Fortune EP, “Fight” which adds the snap of hip-hop to gospel, and “Wish I Had Answered” a number written by Pops for the church and refreshed here from  the Staples’ 1963 recording.

“You can buy that EP from over there for five dollars,” says Mavis proudly before correcting herself with that rasping laugh of hers, “I mean five pounds. How much is that? About twenty five dollars?” She’s giggling away. “One potato, two potato…” What price joy, happiness, inspiration and positive vibrations?

Your Good Fortune EP by Mavis Staples is out now on Anti-Records. 

APRIL PLAYLIST

On the decks this month...

1.  Jim Doval and The Gauchos – “Mama, Keep Yo! Big Mouth Shut” (1965)

Stalking garage version of the Bo Diddley classic. Love the lead guitar almost as much as I love the mangling of the rules of punctuation. That’s punk rock for ya man. What’s also punk rock is the record has the most sudden ending I’ve ever heard; like someone’s whipped the needle off in disgust. For that, I’ll turn a blind eye to their ponytails.

2.  Brother Jack McDuff – “Snap Back Jack” (1967)

Brother Jack on the Hammond, flanked by the horns of Leo Johnson and Danny Turner, Melvin Sparks on guitar and Ray Lucas on drums open Jack’s third of four albums for Atlantic, Do It Now! There’s nothing surprising about the LP - it's standard McDuff fayre - but no less tasty for it.

3.  Neil MacArthur – “World Of Glass” (1969)

This 45 on Deram, sung by Colin Blunstone and written and produced by Mike Hurst, is utterly exquisite. If you’ve never heard it, prepare for your mind to be blown with its beauty. If you have, listen again and marvel in fresh awe.

4.  C.C.S. – “Boom Boom” (1970)

Tucked away on the flip of “Whole Lotta Love” (the old Top of the Pops theme), Alexis Korner leads the Collective Consciousness Society through a big fat take on the John Lee Hooker chestnut.

5.  John Cale and Terry Riley – “Church of Anthrax” (1971)

Ten minutes of rumbling bass, squiggly harpsichord, soprano sax, pulsating rhythms, viola and goodness knows what else manages to be both hypnotic and invigorating.

6.  The Soft Boys – “Kingdom of Love” (1980)

Robin Hitchcock’s love of Syd Barrett clearly worn on his sleeve on this single from Underwater Moonlight. I say single but more accurately it was the first track on their Near The Soft Boys EP which also includes a great version of Pink Floyd’s under-the-counter “Vegetable Man”.  

7.  Yoshida Brothers – “Storm” (2003)

According to Wikipedia the Yoshida Brothers are “performers of the traditional Japanese music style of Tsugaru-jamisen which originated in northern Japan”. Now, I dunno much about Tsugaru-jamisen but the Brothers’ use of synths and drum machines behind their shamisen playing probably upsets a few purists but that’s no concern of ours, this is pretty damn cool.

8.  Mavis Staples – “See That My Grave Is Kept Clean” (2015)

Your Good Fortune is Mavis’s new 4-track EP and finds her in fabulously form, real deep soul that draws in the listener to every heartfelt word, and with a slightly more contemporary accompaniment than usual. It works beautifully, especially on this old Blind Lemon Jefferson number.

9.  Paul Orwell – “You’re Nothing Special” (2015)

Latest sold-out 7 inch from Paul Orwell – who, incidentally, plays, sings, records and produces everything himself – is a double-sider in the truest sense of the word and shows he’s less a one trick pony and more a talented ringmaster of his own rock and roll circus. “Like I Did Before” is a kicking bundle of beat-psych with punchy organ and a fighty guitar break, whilst “You’re Nothing Special” is built on Brill Building pop classicism with simple yet effective lyrics and a melody so strong one could hang a floppy hat on. As Orwell so succinctly said recently, “I’m an artist, not a genre”.

10.  Joe Sarakula – “Northern Soul” (2015)

Joel Sarakula takes a tired Wiganesque northern soul template and creates a slick and stylish modern soul mover with precisely the right amount of out-of-reach anguish. It’s truly superb. Only surprise is it’s released on the tiny independent Heavy Soul label (full credit to them, and for the Orwell release too) as to me it sounds like something with wider commercial appeal.  

THE STAPLE SINGERS – FREEDOM HIGHWAY COMPLETE (2015)

Fifty years ago today, on Friday 9^th April 1965, the Staple Singers were recorded during a service at Chicago’s New Nazareth Church. This was no pop concert or rock and roll circus, but as Pops Staples gently reminded the congregation from the start, they were there to worship and sing God’s praises. Despite the presence of recording equipment, “We’re not here to put on a show.”

The resulting 44 minutes album, Freedom Highway, was released on Epic and featured 11 tracks, mixed for radio with much of the ambient noise from the church edited out. It’s been a difficult record to get hold of, unavailable for years, but has now been afforded a new release with the complete 77 minute/18 track service intact and, importantly, with every ahem, hallelujah, handclap and cry from the assembled Chicagoans left in the mix loud and clear. It’s wonderful to hear Pops, Mavis, Yvonne and Pervis in their natural environment and the effect they have.

The Staples had been recording for over a decade and their biggest commercial success was still further down the road. Freedom Highway captures them at a transition point where they expanded their repertoire from old spirituals and traditional songs (“Samson and Delilah”, “When The Saints Go Marching In”) and Pops’ own worship songs (“Build On That Shore”, “Help Me Jesus”) to include folk music (“We Shall Overcome”) and more excitingly the beginning of their own topical freedom songs which now added commentary and a soundtrack to the civil rights movement.  

A series of attempts to march from Selma, Alabama in response to the killing of civil rights worker Jimmie Lee Jackson began on 7^th March 1965 and culminated two and half weeks later with 25,000 protestors at the capitol steps in Montgomery to hear an address by Dr Martin Luther King. The events stirred Pops to write “Freedom Highway” and it was performed days after completion here at the New Nazareth Church. The stirring performance and the reaction from those present already made it already sound like an anthem. “Made up my mind, and I won’t turn around” sang an impassioned Mavis. She's still singing it to this day.

Backed with Pops’ guitar, Al Duncan on drums and Phil Upchurch on bass, the Staples put on an incredible show, no matter what Pops said. Their voices come from deep within in their soul - whether singing in a mournful style or rejoicing and rattling and shaking the pews - and the interaction with the congregation warm and frequently funny.  Pops though, for reasons best known to him, announces that after two beautiful children he had Mavis. “She was so ugly. I looked at my baby and I could hardly eat, she almost took my appetite”.

Quite what Mavis made of that heaven only knows but one man who wasn’t happy that evening was Rev. Hopkins who counted contributions to the collection plate during the mid-session interval. “This is awful. We’ve got less than 75 dollars. You know this is not right”. Rev. Hopkins had to practically beg, plead, cajole and embarrass to raise a hundred dollars. “We don’t charge anything but we must have some more money. The Staple Singers are one of the best groups in this country. This is their home. If anyone should support the Staples Singers, Chicago should.” He finally got it but rued “Sure takes a lot of time trying to raise money in a Baptist church.”

This whole CD is a pure delight from start to finish and puts the listener right there, up close and intimate with the Staples. I don't have a religious bone in my body, it matters not, this is powerful, moving, heartfelt music and, lest we forget, fun. What more could one ask? As Pops Staples says, “I want to make Heaven my home, but I want to enjoy myself a little down here too”. Amen.

Freedom Highway Complete by the Staple Singers is available now, released by Epic Legacy Recordings. 

POPS STAPLES - DON'T LOSE THIS (2015)

In the late 90's, according to Mavis Staples in Greg Kots's I'll Take You There, Roebuck "Pops" Staples knew his days of performing with his family were coming to an end. Already into his 80s, "I just gotta get one more record out" he'd tell Mavis. Weak in body but determined in mind, the sessions concentrated on capturing Pops leaving daughters Mavis, Yvonne and Cleotha to add their vocals later.

A few days short of his 86th birthday in November 2000, Pops fell outside his home and died from concussion. It's taken until now for the album to be completed, finished by Mavis and Wilco's Jeff Tweedy. Released this week, Don't Lose This, is beautiful record and one lovingly made. Wherever the joins are, I can't hear them. Pops's vocals are as captivating as they ever were, as if coming direct from heaven.

Watch this emotional short film about the record (if you shed a sneaky tear, it's okay...) and then go and buy it. Also, keep your eyes peeled for a forthcoming documentary Mavis! by Jessica Edwards coming this spring.

Don't Lose This by Pops Staples is released by Anti- Records, out now. 

I’ll TAKE YOU THERE: MAVIS STAPLES, THE STAPLE SINGERS, AND THE MARCH UP FREEDOM’S HIGHWAY by GREG KOT (2014)

The title gives the impression Greg Kot’s new book focuses on the Staple Singers’ contribution to the civil rights movement of the 1960s but that’s only one element as I’ll Take You There provides an overview of the whole career of the Staples family: tracing how - under the leadership of patriarch Roebuck “Pops” Staples – they gradually and cautiously moved from family gospel singers in the 1950s; to embracing folk, protest and message songs in the 60s; to becoming the most successful group on Stax during the early 70s; and then, after years in the wilderness and the death of Pops in 2000, how Mavis Staples’ star rose again with a series of highly acclaimed albums and concerts since 2007.

Kot interviewed Mavis, Yvonne and Pervis Staples extensively as part of his research so with their assistance I’ll Take You There reads like an official biography and with 43 short chapters it has an episodic feel. The reader gets a strong sense of the family characteristics and bond – they all come across as completely lovely people, which I’m sure they are, you can hear it in their music – but issues of a personal nature are washed over. Mavis’s failed marriage is explained away in a couple of lines and although she reveals a little more about her relationship with Bob Dylan than previously known it invites more questions. Recurring themes throughout the book are integrity and trust – vitally important, especially where Mavis is concerned – so it is understandable how the author didn’t wish to intrude after winning the confidence of the family when dealing with more sensitive issues, including the tragic death of non-singing sister Cynthia. Mind you, the Staples are one of the straightest families in the rock history so those looking for a gossipy tome have already knocked on the wrong door.

The focus is therefore very much on the music, with one eye on the business. The early chapters recounting the Staples driving around the country in their car to sing at churches are especially evocative. It also showed how lucrative this could be. When “Uncloudy Day” took off in 1957 – with Pops’ spooky tremolo guitar sound and Mavis’s big old mama voice emanating from her young little bitty body - it allowed Pops to quit his $65 a week job at the steel mill; the family were coming home from appearances with hundreds of dollars stuffed in their pockets and would go on to play churches holding three thousand people.

But the choices the family made weren’t financially driven, they -following Pops’ lead – were about singing songs with a strong positive message, whether overtly gospel in nature or, later, moving into a more secular field. Even then this came with firm, if not fixed, boundaries and lyrics had to be believed before given the go ahead for Mavis to pour herself in. This philosophy, which stood them so well, was relaxed (after the younger members pleaded with Pops) sufficiently to record Curtis Mayfield’s soundtrack to Let’s Do It Again, the fruity title track giving them a number one single in 1975. That though was the beginning of the end of the Staple Singers as a true force although they continued to soldier on, but the times weren’t as accommodating for their style or for an act that had already been making records for twenty years.

Kot provides commentary on all the albums they made together and individually, and whilst at times (particularly towards the latter stages when the narrative becomes less interesting) it reads a little like one album review after another, it does give a full account of their music. It’s a shame there’s no full discography included as the book highlights just how unavailable much of the Staples catalogue is. Getting hold of their early Vee-Jay recordings and all the Stax stuff is easy enough but what about the records they made in between for Riverside and then Epic? I can’t remember the last time those were issued. Good music books prompt the reader to re-listen or seek out recordings for the first time; I’ll Take You There does that in abundance (I've already begun filling in gaps).  

As a reluctant solo artist, Mavis Staples’ recent albums – One True Vine, You Are Not Alone, Hope At The Hideout and We’ll Never Turn Back – mixing new songs and revisiting ones cut in those early gospel years sit among the best records of her career, ensuring that for the close-knit Staples family and the listener fortunate enough to be fall for such inspirational, heartfelt music, rich with honesty and positivity, the circle remains unbroken.

I’ll Take You There by Greg Kot is published by Simon & Schuster, priced $26 (not yet published in the UK).

AUGUST PLAYLIST

1.  Wayne Fontana & The Mindbenders – “Like I Did” (1965)

This was an unexpected pleasure when sent to me by a thoughtful reader the other day. The B-side of “She Needs Love”, the last single before Wayne and his ‘Benders went their separate ways, is a sumptuous track; neatly written and deftly performed with subtlety and grace. Impressive.

2.  Jimmy Smith – “Ain’t That Just Like A Woman” (1966)

The Incredible Jimmy Smith rips it up on the Hammond with such lightning dexterity a whole big band, conducted by Oliver Nelson, gets left puffing in his wake.  From Smith’s Hoochie Coochie Man LP. 

3.  Gary Walker & The Rain – “If You Don’t Come Back” (1968)

Post Walker Brothers, Gary formed Gary Walker and the Rain and they made one album, entitled Album No. 1 - curiously only released in Japan – before splitting. There’s a mixture of styles, from psych to pop to soul to folk, as if they couldn’t quite decide which direction to take but it’s no less enjoyable for it, as it mostly all works. Here they decide to give the Leiber-Stoller song made famous by the Drifters a heavy dose of acid-rock.

4.  Herbie Mann – “Hold On, I’m Coming” (1969)

Mann’s Memphis Underground, recorded for Atlantic, is a funky flute (Mann) and vibes (Roy Ayers) soul-jazz-rock sensation from start to finish. It’s brilliant. This nine minute monster goes nuts around the halfway mark with guitars sounding like they’re trying to communicate not with the underground, but outer space. 

5.  Lonnie Smith – “Move Your Hand” (1969)

Recorded live at Club Harlem, Atlantic City on August 9, 1969, the ever-dapper Lonnie Smith (check his threads on the sleeve of this LP) finds the biggest, fattest, soul-jazz groove and sits on it.  

6.  Smoke – “Dreams of Dreams” (1970)

It’s a mistake been made many times but this Smoke were not The Smoke who cut “My Friend Jack” and “Waterfall”. This young quartet of Bury St Edmunds long-hairs managed to eke out this one super rare 45 for Revolution records before disbanding. However, if York’s The Smoke had continued another couple of years they may well have sounded like “Dreams of Dreams” – sharp riffs and hazy vocals - so the confusion is understandable to my ears at least. Now reissued as a beautifully packaged two-single edition by Spoke Records, mastered from the original acetate and in crystal clear audio, it's available here. 

7.  The Soul Brothers Inc.  – “Girl In The Hot Pants” (1972)

Dead on the heavy, heavy superfunk. The Soul Brothers Inc. can hardly contain their, er, frenzied excitement at the sight of girls dancing in red, blue, pink and black hot pants.

8.  Sonic Youth – “Youth Against Fascism” (1992)

Was digging through an old half-forgotten pile of 45s the other day and gave this a spin. Been on repeat ever since. That bass!

9.  Chuck D featuring Mavis Staples – “Give We The Power” (2014)

If you want message songs - songs about empowerment and self-respect - who better than these two? It’s a pairing so blindingly obvious you wonder why it hasn’t happened before. The result is bang on everything one would wish for. Mavis gets the majority of the work and she rasps and crackles her way through the snaps and beats and Chuck’s raps. Watch the video here for footage outside Chess Studios in Chicago.     

10.  The Primitives – “Spin-O-Rama” (2014)

Here come the Prims, pirouetting out the music box like the opening scene of Camberwick Green to share the secrets of their delightful new hooks and handclapping single, “Spin-O-Rama”. Tracy Tracy takes the listener by the hand, twirls them around in her dainty finger and then, as soon as they’re settled, dumps them by the wayside leaving them wanting more. Short, sweet and very addictive. Paul Court takes the lead on the flip, a version of “Up So High”, a track originally released in France in ’66 by obscure Californian LSD munching garageheads The What’s New. That nagging buzz line could’ve been written for the Primitives. Out 1^st September on Elefant Records, limited to 500 copies on clear vinyl. Snap ‘em up.     

The Primitives: In a spin.

MAVIS STAPLES IN CONVERSATION (2009)

Following that incredible concert at the Union Chapel I've been on a big Mavis Staples binge and found this recording of a conversation with American poet Elizabeth Alexander from 2009. Mavis talks about her career, Pops Staples, President Obama, writing letters to Prince and how the Staples Singers once beat up a white man. She also sidesteps a cheeky audience question about Bob Dylan. Well worth finding time for.

MAVIS STAPLES at the UNION CHAPEL, ISLINGTON

What better way to see Mavis Staples than to be sat on a pew in a chapel, with the last of the evening sun shining through stained glass windows, on her 75^th birthday? It’s an honour to see her any place and time, but this always promised to be something special.

The moment Mavis steps on stage, waving with both hands, a huge smile on the kindest face, she has the audience enchanted. “If You’re Ready (Come Go With Me)” eases her voice in gently but “For What It’s Worth” takes on gravitas and a depth of meaning barely noticeable in Buffalo Springfield’s original. But that’s always been Mavis’s strength, her power to interpret a song, to make the listener hear the message clearly. Nowhere is this more evident than during “The Weight”. Her backing singers – including big sister Yvonne (the recipient of gentle ribbing “Who’s this lady? I think she’s a groupie”) – and members of her crack three piece band take turns on the early verses before Mavis grabs the reigns. Not one to take the easy option, to turn back, she puts everything into the song. “Put the load, put the load, put the load, put the load, put the load on me!” she cries repeatedly. Hairs on the back of the neck stuff. She leaves little room for doubt she could carry anything on those shoulders. It’s an incredible, soul-stirring delivery, which brings the entire congregation to its feet.

The setting and occasion make it an emotionally charged evening. After a rousing rendition of “Freedom Highway”, Mavis explains how her father Pops wrote the song for the civil rights marches from Selma to Montgomery. “I was there,” she tells us, “and I’m still here.” It brings a lump to the throat, but that’s nothing compared to when Mavis reflects how wonderful it is spend her birthday in a beautiful church with Pops talking to the Elders and looking down proudly on his baby girl. Mavis’s bottom lip isn’t the only one to quiver. As the audience breaks into an impromptu chorus of Happy Birthday, Mavis discreetly wipes away a tear before merrily singing the song herself.   

But the overriding emotion throughout is of joy. Mavis is huge fun with an infectious chuckle, sparring musically with fantastic rootsy guitarist Rick Holmstrom, and making wisecracks and chatting easily to all who shout out. This is the third time I’ve seen Mavis perform in recent years and her set is constantly changing. “Respect Yourself” of course remains, as does the Curtis Mayfield penned “Let’s Do It Again” but “I Like The Things About Me” and a super-sensitive and moving “You’re Not Alone” from recent albums are a sign of striding onward, whilst a version of the Talking Heads “Slippery People” is so new it requires the lyrics brought out on a music stand to act as a memory jogger; not that Mavis can see it straight away in the light. “I thought it was a couple of racoons!”

When the singers take a breather to let the band play a few instrumental numbers, Mavis and Yvonne take a seat at the back of the stage, and instead of using this time to rest, Mavis continues to excitedly pump her arms and wave her towel, caught up in the music.  

The big finale is “I’ll Take You There” which requires some audience participation. “We’ve been taking you there for 64 years,” Mavis reminds us, “you can take us there for one minute.” How could anyone refuse? Reluctantly Mavis Staples leaves the stage to a thunderous ovation. It’s been an extraordinary, uplifting and life-affirming evening.

JUNE PLAYLIST

Mary Love, Kent 25th Anniversary, London, October 2007

1.  The StanTracey Trio – “Free” (1959)

Tracey swops his piano for cool vibes, Kenny Napper plays an incessant bass but it’s the Afro-rhythms and snaps of Phil Seamen – at once ancient and modern - which really catch the ear. Sounds far out even now. 

2.  Derrick Harriott- “Monkey Ska” (1965)

A song about a ska dancing monkey released on the Gay Disc label, what’s not to love?

3.  Mary Love – “Let Me Know” (1966)

Both Bobby Bland and Mary Love checked into Blues and Soul Heaven this month and were introduced to thousands of us youngsters via their inclusion on numerous early Kent compilations. It was tempting to pick Mary’s “You Turned My Bitter Into Sweet” but instead I’ve gone for this equally gorgeously sung 45 for Modern Records.

4.  Rodriguez – “Cause” (1971)

Rodriguez’s Glastonbury set yesterday was like riding a very rickety roller coaster: moments of heart in mouth beauty (“Sugar Man”) and others (most of the bizarre covers) of terrifying horror. One listen today of Coming From Reality has restored the equilibrium.

5.  Kevin Ayers – “Shouting In A Bucket Blues” (1973)

Footage of Ayers doing this on The Old Grey Whistle Test cropped up on BBC4 the other Friday night and had me adding Bananamour to my to-get list. 

6.  Siouxsie and the Banshees – “Spellbound” (1981)

Was very lucky to see one of Siouxsie’s two gigs for the Meltdown Festival this month performing the entire Banshees’ 1980 Kaleidoscope LP, followed by a Hits and More set, followed by two encores of which “Spellbound” was the final song. Two hours long and the crowd stood from the first note to the last, which I’ve never seen in the Royal Festival Hall before. 

7.  The Pale Fountains – “Jean’s Not Happening” (1984)

It’s quite incredible how this wasn’t a massive mid-80s hit. Or even a minor one.

8.  BMX Bandits – “Serious Drugs” (1993)

Teenage Fanclub’s Thirteen reached number 14 on the UK charts in 1993 yet their Glaswegian label mates and cousins in BMX Bandits struggled to give away Life Goes On, an album every bit as good as anything the Fannies ever made. And I don’t say that lightly. One listen to “Serious Drugs” and you’ll be hooked.

9.  Hidden Masters – “She Broke The Clock Of The Long Now” (2013)

Some achievement by the Hidden Masters here as they’ve condensed the best parts of the 20-album Rubble series of late 60s UK psychedelic rock into one track. Of This & Other Worlds is an impressive album: a mix of close harmonies and tightly woven inventive playing and song writing.

10.  Mavis Staples – “Woke Up This Morning (With My Mind On Jesus)” (2013)

Mavis’s new album One True Vine is perfect Sunday morning music. Hallelujah. 

THE STAPLE SINGERS – LIVE IN GHANA (1971)

The awe-inspiring Mavis Staples leads her family through “When Will We Be Paid” and “Are You Sure”, live in Ghana on 6th March 1971. Taken from the film Soul To Soul.  

SPOTIFY PICK #4: MONKEY PICKS OF 2010

Every man, woman and blog is doing their end of year “best of” list so here are my favourite 20 songs from 2010. They aren’t in order of preference but sequenced for your listening pleasure. Spotify users click on the link at the bottom.

Oh, if I had to pick only one "Heartbreaker" by Girls just edges "You Are Not Alone" by Mavis Staples. Roky Erickson wins best album for True Love Cast Out All Evil.

The Jim Jones Revue – High Horse
The Vaccines – Wreckin’ Bar (Ra Ra Ra)
Frankie & The Heartstrings – Tender
Girls - Heartbreaker
Roky Erickson with Okkervil River – Ain’t Blues Too Sad
The Silver Factory – The Sunshines Over You
Race Horses – Cake
The Black Angels – Telephone
Demon’s Claws – At The Disco
Isobel Campbell and Mark Lanegan – No Place To Fall
The School – I Want You Back
Belle and Sebastian – Little Lou, Ugly Jack, Prophet John
Mavis Staples – You Are Not Alone
Pete Molinari – Streetcar Named Desire
Paul Weller – Fast Car/Slow Traffic
Gil Scott-Heron – Running
The Coral – Two Faces
The Clientele – Minotaur
Pains of Being Pure at Heart – Say No To Love
Manic Street Preachers – Golden Platitudes

Click Here for Spotify Playlist: Monkey Picks of 2010

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MAVIS STAPLES at the JAZZ CAFE, LONDON

Seeing artists of a certain vintage fall into three categories: the “to be honest they were pretty crap but at least I can say I’ve seen them” category; the “they’re okay and played all their old hits”; and occasionally there’s the “instead of living off former glories they’re still moving forward and producing the goods”. Bob Dylan can straddle all three in a one night and Mavis Staples right now is proudly rooted in the third.

With a set consisting almost exclusively of her new album, You Are Not Alone , she is in commanding form, pushing herself with grace, dignity, infectious humour and fierce determination. For 60 years she’s worked audiences from the churches of Chicago, to civil rights marches, to large rock venues, so an intimate club gig like this is a doddle, yet everything looks so natural and not in the least contrived. There’s plenty of patter with the crowd and a smile and an aura of inspiration that radiates around her - she’s impossible not to love.

Old spirituals like “Creep Along, Moses” and “Wonderful Savior” stand shoulder to shoulder with well chosen covers of Little Milton’s “We’re Gonna Make It” and Creedence Clearwater Revival’s “I Wrote A Song For Everyone” whilst the fabulous album title track is the song of the year in my book. The Staple Singers had a happy knack of making gospel songs accessible to pop audiences and giving pop songs a gospel grounding and that tradition still holds.

Her band is a simple guitar, bass and drums three piece who subscribe to the less is more style of playing, leaving plenty of space of Mavis and her three backing singers – including Staples Singer sister Yvonne – to do their thing; although it only takes Mavis, a solitary guitar barely brushed, and Randy Newman’s “Losing You” to engulf the place in a reverential hush - apart from one dick at the bar to loudly exclaim “Ten quid for a glass of wine?!”

The only classics are “The Weight” and “I’ll Take You There” but it matters not. It's testament to Mavis I wouldn’t have it any other way.

MAVIS STAPLES - "YOU ARE NOT ALONE" (2010)

The magnificent Mavis Staples has a new album out. It’s mighty fine, as is this acoustic version of the title track.