The Staple Singers (The Staples)
Band members Related acts
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line up 1 (1959-70) - Cleotha 'Cleo' Staple (RIP 2013) -- vocals (alto) - Mavis Staple -- vocals (contralto) - Pervis Staple (RIP 2021) -- vocals (tenor) - Roebuck Staple (RIP 2000) -- vocals, guitar - Yvonne Staples (RIP 2000) -- vocals
line up 2 (1970- ) - Cleotha 'Cleo' Staple (RIP 2013) -- vocals (alto) - Mavis Staple -- vocals (contralto) - Roebuck Staple (RIP 2000) -- vocals, guitar NEW - Yvonne Staples (RIP 2000) -- vocals (replaced Pervis Staple)
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- Steve Cropper, Albert King and Pops Staples - Mavis Staple (solo efforts) - Roebuck 'Pops' Staple (solo efforts)
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Genre: Gospel Rating: **** (4 stars) Title: Swing Low Sweet Chariot Company: Vee Jay Catalog: VJLP 5030 Country/State: Chicago, Illinois Year: 1956 Grade (cover/record): G/G+ Comments: skip on first song side one, lots of hiss and pop; cover is actually in surprisingly good shape with minor edge wear and small scratch across Mavis' face Available: SOLD Catalog ID: SOLD Price: SOLD Cost: $1.00
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First let me point out that the condition of this LP is G / G+ ... The album plays through with a single skip on the first side, but it's full of noise and hiss. We normally don't sell stuff unless it's graded very good, but this is an exception based on relative rarity. If you're looking for an immaculate copy, don't buy this one. Ah, The Staple Singers ... personal favorites! Produced by Richard Simpson, 1956's "Swing Low Sweet Chariot" was The Staples' second album for Vee Jay Records. While it's a true Gospel effort (one look at the cover tells you that), the set's worth investigating for a couple if reasons. 1.) It serves to showcase The Staples' unique, Southern blues influenced musical roots - remember that as a child Pops Staple picked cotton on a Mississippi plantation. He also knew and played with Charlie Patton. As a result, this doesn't sound anything like your typical 1950s Gospel album. 2.) You get to hear Pops Staple amazing, reverb propelled guitar. 3.) You get to hear Mavis Staple amazing voice. All of those factors should make this album a joy for anyone into Southern blues. With all twelve tracks credited to Pops Staple (geez, we didn't know he'd written the title track), the lyrics may be dedicated to the Lord, but propelled by Pops guitar and the group's amazing harmonies, tracks such as "Swing Down Chariot", "The Old Landmark" and "Good News" simply ooze soul and blues influences. Elsewhere, "Uncloudy Day" and the title track stand as two widely recognized Gospel classics. Easy to see how they became major stars ...
"Swing Low Sweet Chariot" track listing: (side
1) 2.) Swing Down Chariot (Let Me Ride) (Roebuck Staples) - 3:23 3.) The Old Landmark (Roebuck Staples) - 2:46 4.) Good News (Roebuck Staples) - 2:40 5.) Each Day (Roebuck Staples) - 2:40 6.) Uncloudy Day (Roebuck Staples) - 2:53
(side
2) 2.) Pray On (Roebuck Staples) - 2:36 3.) Help Me Jesus (Roebuck Staples) - 2:32 4.) Going Away (Roebuck Staples) - 1:52 5.) Didn't Knock (Roebuck Staples) - 2:230 6.) Swing Low
Sweet Chariot (Roebuck Staples) - 2:30
Over the next two years Vee Jay pulled at least three singles from the album:
- 1956's "Uncloudy Day" b/w "I Know I Got Religion" (Vee Jay catalog number
224) catalog number 846) - 1958's "Help Me Jesus" b/w "I Had a Dream (Vee Jay catalog number 856)
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Genre: soul Rating: **** (4 stars) Title: We'll Get Over It Company: Stax Catalog: STS-2016 Country/State: Chicago, Illinois Year: 1969 Grade (cover/record): VG+/VG+ Comments: white label demo Available: 1 Catalog ID: 1893 Price: $15.00
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Produced by Steve Cropper (with support from most of the MGs), 1969's "We'll Get Over" continued The Staples shift towards a more secular and commercial sound. While heavy on outside cover tunes (the bluesy 'Tend To Your Own Business' was the one Pops Staple's original), the covers offered up plenty of Gospel influences. That said, the overall sound exhibited a much more open soul sound, complete with some surprisingly elaborate arrangements. An even bigger surprise came in the form of the album's string of unexpectedly activist performances. Tunes like 'Give a Damn', 'The Challenge', 'God Bless the Children', and 'When Will We Be Paid' managed to express an activist vision with a sense of dignity and class than rivaled the best of Curtis Mayfield's catalog. And what could you possibly add with respect to Mavis Staples ? Simply one of the best voices in the business. Literally everything she touched was awesome. The last album to feature brother Pervis, who shifted his attention to the business side of the house. It's an overlooked release in the catalog, but well worth checking out.
We'll Get Over It" track listing: (side
1) Neither the sound or video quality are great, but YouTube has a clip of the group performing the tune on Johnny Cash's television program https://www.youtube.com/watch?v=JNZ1xt7n9GA rating: *** stars 2.) Give a Damn (Scharf - Dorough) - 3:14 Imagine The Fifth Dimension recording a tune with a real soul edge and some true social commentary ... Strange as it may seem, that's what 'Give a Damn' has always reminded me. Anyhow, with Mavis and Pops turning in some brutally raw lyrics, you have to admire the group for their willingness to take on such a tune. The tune was released as a single in 1970:
- 1970's 'Give a Damn' b/w 'God Bless the Children' (Stax catalog number STA 0066) rating: **** stars 3.) Everyday People (Sylvester Stewart) - 3:24 The arrangement didn't stray far from Sly's original, but their cover of 'Everyday People' was wonderful ... if you ever doubted The Staples could get funky they you need to check this one out. Great Steve Cropper guitar solo ... rating: **** stars 4.) The End of Our Road (Norman Whitfield - Barrett Strong) - 2:32 If you ever wondered what The Staples might have sounded like had they been signed by Motown, check this one out. With a touch of Aretha in her delivery, it was one of Mavis' best performances - rating: **** stars 5.) Tend To Your Own Business (Robuck Staples) - 2:16 Folks tned to forget Pops had blues in his blood. Powered by his slinky guitar and instantly recognizable voice, this was one of my favorite album performances. rating: **** stars 6.) Solon Bushi (Japanese folks song) - 1:30 The album's one throwaway tune, you had to wonder why this one was included ? Yeah there was something fascinating hearing The Staples singing in Japanese, but it sort of destroyed the album's overall feel and flow. rating: ** stars
(side
2) Think you can find another tune that managed to incorporate lyrics that took on ballistic missiles, international basing rights, heart transplant technology and some wonderful soul harmonies? It wasn't a big US hit (the lyrics were simply too controversial for American radio), but kudos to Stax for tapping it as a European single:
- 1969's 'The Challenge' b/w 'The Gardner' (Stax catalog number 1C 006-90 407) rating: ***** stars 2.) God Bless the Children (Jimmy Holiday) - 3:53 For anyone who thought they were getting too commercial and radio friendly, 'God Bless the Children' was a nice nod to their earlier church roots. Pretty ballad, though it was a bit too heavy for my tastes. rating: *** stars 3.) Games People Play (Joe South) - 3:09 Their arrangement didn't stray too far from the Joe South original, but I've always loved Pops ragged voice and he sounded wonderful on this upbeat version. rating: *** stars 4.) A Wednesday In Your Garden (Randy Bachman) - 3:03 I'm guessing they were attracted to Ronnie Dyson's cover of this Guess Who tune. Pretty, radio-friendly ballad with some nice horn charts. Surprising it wasn't tapped as a single. rating: *** stars 5.) The Gardner (We Three aka aka Homer Banks - Bettye Crutcher - Raymond Jackson) - 2:20 Worth hearing just for the sterling bass line ... One of the prettiest ballads they ever recorded. rating: ***** stars 6.) When Will We Be Paid (Randall Stewart) - 2:28 At least enough to make you think about the subject of reparations ... I'm not sure when or where it was recorded but YouTube has a live clip of the song: https://www.youtube.com/watch?v=QWhcTu5El0c The tune was also tapped as a US single: - 1970's 'When Will We Be Paid / Tend To Your Own Business' (Stax catalog number STA 0052) rating: ***** stars
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Genre: soul Rating: **** (4 stars) Title: The Staple Swingers Company: Stax Catalog: STS-2034 Country/State: Chicago, Illinois Year: 1971 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 6022 Price: $15.00
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Fourteen albums
into their recording career (their third studio set for Stax), and The
Staple Singers finally hit a commercial goldmine with the release of 1971's "The
Staple Swingers". While the group underwent a
personnel shakeup shortly before the album was recorded with Pervi
"The Staple Swingers" track listing: (side
1) Okay, the opening machine gun sound effects were extremely cheesy, but the rest of 'This Is a Perfect World' was a near perfect blend of activism, gospel, and soul. A great introduction to Mavis' classic voice and the combination of Pops and his daughters unique harmony vocals. Sad to see that some five decades later we've made so little progress on all of these fronts. s2.) What's Your Thing (Mack Rice) - 4:21 rating: **** star Showcasing some fantastic dobro guitar (Pops ?), 'What's Your Thing' framed the group with a surprisingly slinky blues feel. This one was a perfect example of the group's strengths including a thought provoking lyric that managed to avoid the usual stridence that marred most stabs at singing about racial tolerance. Classic soul track. 3.) You've Got To Earn It (Smokey Robinson - Cornelius Grant) - 3:28 rating: **** star Maybe it's just me, but to my ears Mavis Staples has always had one of soul's sexiest voices. It really didn't matter if she was singing a page out of a telephone book, or a tale of self empowerment like the insidiously catchy 'You've Got To Earn It' ... Added a great, bouncy melody; some first-rate Stax horns and this was near perfection.. 4.) You're Gonna Make Me Cry (Don Malone) - 5:04 rating: **** star Their cover of O.V. Wright's ''You're Gonna Make Me Cry' was an unexpected change of pace, showing they were quite at home on a bluesy ballad. You won't forget the Wright original, but this one sure came close. 5.) Little Boy (Carson Whitsett) - 3:25 rating: **** star With Mavis handling the majority of the group's lead vocals, folks overlooked the fact Pops Staples was an accomplished singer. True, he couldn't compete with his daughters, but his performance had their own charm and that was never as obvious as on the pretty mid-tempo 'Little Boy'. Okay, this was one where the lyric may have been a bit on the cloying side and Mavis made the song hers when she picked up lead on the second half of the song. Still, one of my favorite performances on the collection. 6.) How Do You Move a Mountain (Myrna March - Adam Levy) - 2:34 rating: ** stars The first disappointment, 'How Do You Move a Mountain' was an okay song that served to showcase the sisters' magical vocal harmonies.
(side 2) 1.) Almost (Harold Thomas - Leroy Manuel) - 4:14 rating: *** stars - 'Almost' was another interesting change of pace. Musically this one sounded like producer Bell had borrowed a page of Norman Whitefield's late-1960s production book. Imagine those psychedelic-soul records The Temptations recorded with Whitfield and you'll have an idea of what this one sounded like. 2.) I'm a Lover (James Mabone - Charles Bevel) - 3:43 rating: **** star Another Pops lead vocal, 'I'm a Lover' was a charming country-soul number. Easy going melody and a lyric that put things in the right perspective ... How could you not like this song ? 3.) Love Is Plentiful (Bettye Crutcher - Bobby Manuel) - 2:30 rating: **** star I don't think The Staples ever cut a rock song, but 'Love Is Plentiful' came awfully close ... Easily one of their toughest performances and the edge on Mavis voice sounded great. The song also appeared as the "B" side of their 'Heavy Makes You Happy (Sha-Na-Boom Boom)' single. 4.) Heavy Makes You Happy (Sha-Na-Boom Boom) (Jeff Barry - Bobby Bloom) - 2:58 rating: **** star Geez, I'm old enough to remember hearing 'Heavy Makes You Happy (Sha-Na-Boom Boom)' on the radio and being mesmerized by the goofy chorus ... one of their classic performances and I didn't realize it had been penned by Jeff Barry and the late Barry Bloom.
- 1970's 'Heavy Makes You Happy (Sha-Na-Boom Boom)' b/w 'Love Is Plentiful' (Stax catalog number STA-0083)
5.) I Like the Things About You (Martha Stubb - Roebuck Staples) - 3:21 rating: **** star A cool, slinky, country-soul number, 'I Like the Things About You' had a self-empowerment lyric that should be required listening for every teenager. 6.) Give a Hand - Take a Hand (Barry Gibbs - Maurice Gibbs) - 3:55 rating: ** stars Hum, covering a Bee Gees song ... Well I liked it better than the original, but 'Give a Hand - Take a Hand' still didn't do a great deal for me. er !
© Scott R. Blackerby 06/2024
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Genre: soul Rating: **** (4 stars) Title: City In the Sky Company: Stax Catalog: STS-5515 Country/State: Chicago, Illinois Year: 1974 Grade (cover/record): VG+/ VG+ Comments: still in shrink wrap (opened) Available: 1 Catalog ID: -- Price: $20.00
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Continuing their partnership with producer Al Bell and a host of Stax writers (Bettye Crutcher, Bobby Manuel, Mack Rice, etc.), Stax apparently originally envisioned 1974's "City In the Sky" as a double album set. Marketing sanity finally kicked in and the project was paired back to a single album. Musically the album offered up a classic set of Staples tunes, mixing their Gospel roots with those instantly recognizable voices, that patented Stax. The big difference came in the form of the group's sense of activism. Social and political commentary had long been part of their repertoire, but this time around The Staples sounded pissed-off and outraged by what they saw transpiring around them. Whatever subtlety they'd exhibited on past albums was dropped in performances like 'Washington We're Watching You', 'Something Ain't Right', the slinky 'Blood Pressure' and 'Getting Too Big for Your Britches'. Yes, social and political commentary ran through the album, but their religious roots were here as well. That wasn't to imply The Staples had abandoned their secular roots. It may have been cloaked in a giddy Caribbean flavor, but be sure to check out 'My Main Man', the bouncy title track and 'Who Made the Man'. Lyrically 'There Is a God' may have been a more traditional Gospel theme but the arrangement and "ear candy" refrain were pure bliss. Admittedly it wasn't their best Stax release, but their growing sense of anger and frustration meant it was still worth owning.
With Stax struggling with finances, the album proved their final release for the label.
"City In the Sky" track listing: (side 1) 1.) Back Road into Town (McClinton Osbie Burnett) - 4:19 rating: **** stars Funny how The Staples managed to encapsulate hundreds of years of social injustice into just over four minutes. This was American history for thousands and thousands of impoverished families. Clarence Carter would have been proud to hear this tale of empowerment. The other message - don't put it off, 'cause you're going to run out of time.
- 1974's 'Back Road Into Town' b/w 'My Main Man' (Stax catalog STN--248)
2.) City in the Sky (Charles Chalmers - Donna Rhodes - Sandra Chalmers) - 3:51 rating: **** stars And you didn't think a Gospel song could be funky ... Always loved the bouncy mini-Moog fills. Good gawd Mavis had a sexy voice. Great choice as a single:
- 1974's 'City In the Sky' b/w 'That's What Friends are For' (Stax catalog number STA-0215) # 79 Billboard pop charts
3.) Washington We're Watching You (Homer Banks - Carl Hampton - George Jackson) -3:54 rating: **** stars The opening sounded like something off an Issac Hayes Blaxploitation soundtrack. Lyrically The Staples seldom sounded as pissed off. Damn if their concerns are still major issues for us. 4.) Something Ain't Right - 3:48 rating: **** stars With Pops and Mavis s\haring lead vocals 'Something Ain't Right' served as a classic slice of Staples social activism. Sad that the lyrics sound as contemporary today as they did back in 1974. 5.)
Today Was Tomorrow Yesterday (Betty Cropper - Mack Rice) - 4:16 rating:
*** stars
(side
2) Okay it wasn't a creative break-thru, but adding a touch of Caribbean flavor to their patented Stax sound gave 'My Main Man' a refreshing sound. One of the best singles they ever released:
- 1974's 'My Main Man' b/w 'Who Made the Man' (Stax catalog number STN-0227) # 76 Billboard pop charts
2.) There Is a God (Bettye Crutcher) - 3:01 rating: **** stars A Gospel theme for atheists ... A melody for people who simply don't like Gospel music. Try sitting still through this one. 3.) Blood Pressure (Homer Banks - R. Jackson - Carl Hampton) - 3:31 rating: **** stars Slowing the pace down, the slinky groove that surrounded 'Blood Pressure' gave you a chance to shake out your revolutionary social and political stances on the dance floor. "It makes my blood pressure rise to think about it ..." The Staples for President. 4.) If It Ain't One Thing It's Another (Mack Rice - Eddie Floyd - 4:22 rating: *** stars It wasn't one of the album's strongest performances, but hearing Pops and Mavis sharing vocals was always pleasant and if nothing else the Rice-Floyd lyrics will make you smile when you realize life could be worse for you ... "the rooster won't even crow for days ..." 5.) Who Made the Man (Mack Rice) - 4:13 rating: *** stars The dark melody instantly grabbed your attention, as did Pop's pulpit sermon. The song also appeared as the "B" side on their 'My Main Man' single. 6.) Getting Too Big for Your Britches (Mack Rice) - 4:42 rating: *** stars The closer 'Getting Too Big for Your Britches' reminded me how much I liked Pops' voice. There's just something heart-warming in his plain, down-to-earth delivery. Another nice slice of country philosophy from Mack Rice.
© Scott R. Blackerby June, 2024
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Genre: soul Rating: **** (4 stars) Title: Be What You Are Company: Stax Catalog: STS-3015 Country/State: Chicago, Illinois Year: 1973 Grade (cover/record): VG+/VG+ Comments: embossed cover Available: 2 Catalog ID: 4837 Price: $10.00
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Maybe due to the fact "Be Altitude: Respect Yourself" was such a killer album, critics were somewhat lukewarm to 1973's "Be What You Are". That's unfortunate since this set was every bit as good and in some respects even better than its predecessor. Musically the album wasn't a major departure from their patented blend of secular and non-secular moves. The Staples themselves seldom sounded as comfortable with the material - in tracks such as 'Love Comes In All Colors' and 'I'm On Your Side' Mavis' instantly recognizable and highly sexy voice was in particularly good form. Offering up another patented mix of the family's sincere religious sentiments ('Heaven'), social activism ('Love Comes In All Colors' and 'Bridges Instead of Walls') and slinky soul (the title track and 'Touch a Hand, Make a Friend'), early 1970s soul simply didn't get much better than this one. In fact the only real misstep was the lone cover - Bill Withers' 'Grandma's Hands'. Not that The Staples did a bad job on their cover, rather Withers original was simply too good to improve on. Elsewhere Stax tapped the album for a couple of singles:
- 1973's 'Be What You Are' b/w 'I Like the Things About Me'' (Stax catalog number STA-0164) - 1973's 'Love Comes In All Colors' b/w 'If You're Ready (Come Go with Me)' (Stax catalog number STA-0179) - 1973's 'Tellin' Lies' b/w 'Touch a Hand, Make a Friend' (Stax catalog number STA-196)
"Be What You Are" track listing: (side
1) 2.) If You're Ready (Come Go with Me) (Homer Banks - R. Jackson - C. Hampton) - 4:27 3.) Love Comes In All Colors (Bettye Crutcher) - 4.) Tellin' Lies (Carl Smith) - 8:49 5.) Touch a Hand, Make a Friend (Homer Banks - R. Jackson - C. Hampton) - 4:02 6.) Drown Yourself (Bettye Crutcher) - 4:39
(side
2) 2.) Grandma's Hands (Bill Withers) - 2:41 3.) Bridges Instead of Walls (Homer Banks - R. Jackson - C. Hampton) - 4:03 4.) I'm On Your Side (Homer Banks - R. Jackson - C. Hampton) - 3:57 5.) That's What Friends Are For (Mack Rice) - 4:12 6.) Heaven (Terry Manning) - 3:35
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Genre: soul Rating: ** (2 stars) Title: Let's Do It Again Company: Curtom Catalog: CU 5005 Country/State: Chicago, Illinois Year: 1975 Grade (cover/record): NM/NM Comments: sealed copy Available: 1 Catalog ID: 5021 Price: $15.00
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From a business
standpoint this album was interesting. With Stax Records facing
bankruptcy, The Staple Singers were anxious to find a new recording
deal. Curtis Mayfield was interested in signing the group to his
Curtom label, but ultimately lost out to Warner Brothers. Curtom
subsequently signed a distribution deal with Warner brothers. The
soundtrack to 1975's "Let's Do It Again"
subsequently brought Mayfield and The Staples together. So before going
any further, in the interests of honesty, be aware this is a soundt
"Let's Do It Again" track listing: (side
1) The title track served to show what the Mayfield-Staples partnership could produce. Silky smooth and instantly catchy, this one had everything going for it - wonderful vocals from Mavis and Pops, killer melody an ear candy groove that wouldn't leave your head and secular lyrics that were surprisingly risque for The Staples.
- 1975's 'Let's Do It Again' b/w 'After Sex' (instrumental) (Curtom catalog number CMS-0109)
The video and sound quality are poor, but YouTube has a clip of the group performing the song for a 1976 appearance on Don Kirshner's Rock Concert: has Staple Singers - Let’s Do It Again, live 1976 (youtube.com) 2.) Funky Love (Curtis Mayfield) - 4:48 rating: *** stars Powered by Mavis' special voice, musically 'Funky Love' showcased an interesting mash-up of Mayfield's silky smooth sound and The Staples commercial branch of Southern soul. The first time I heard the track I thought Mavis was singing something a little more colorful. LOL. Here's a link to another Don Kirshner's Rock Concert clip: Staple Singers - Funky Love, live 1976 (youtube.com) 3.) A Whole Lot of Love (Curtis Mayfield) - 3:52 rating: *** stars A pretty ballad, 'A Whole Lot of Love' showcased Mavis Gospel-tinged vocals and the group's wonderful backing vocals. It would have been even better without the backing orchestration. Always loved Lucky Scott's rambling bass line. Curtom originally released 'New Orleans' as the album's second single, but then flipped sides in favor or 'A Whole Lot of Love'.
- 1975's 'A Whole Lot of Lobe' b/w 'New Orleans' (Curtom catalog number CMS-113)
4.) New Orleans (Curtis Mayfield) - 4:23 rating: *** stars As much as I liked the funky 'New Orleans; the more I listened to it the more the melody sounded like Mayfield had borrowed a big chunk of 'Heard It Through the Grapevine.' That didn't stop Curtom from issuing the track as a promotion 45 in the States.
- 1975's 'New Orleans' (mono) b/w 'New Orleans' (stereo) (Curtom catalog number CMS 0113)
(side
2) Perhaps because it reminded me of their classic sides for Stax, the Gospel-tinged 'I Want To Thank You' has always struck me as one of the album's best performances. I guess it was a little too secular for radio, but would have sounded nice on AM radio. 2.) Big Mac (instrumental) (Curtis Mayfield) - 6:05 rating: *** stars Technically I guess 'Big Mac' wasn't instrumental since it included Mavis repeatedly whispering the title. As mentioned, the song had a distinctive "blaxploitation" flavor with Mayfield turning in some nice lead guitar and bassist Lucky Scott stealing the spotlight. 3.) After Sex (instrumental) (Curtis Mayfield) - 6:43 rating: ** stars On the heels of 'Big Mac' about all I can say is the pastoral 'After Sex' made for a jarring transition. The instrumental was pretty enough in an MOR background fashion, but you'll never remember this one. An edited version of the song appeared as the "B: side to the title track single. 4.) Chase (Quinton Joseph - Philip Upchurch - Gary Thompson - Floyd Morris - Joseph Scott - Curtis Mayfield) - 4:14 rating: *** stars I've never seen the film so I don't what role 'Chase' plays in the narrative - I'm guessing a chase scene? Again, it's certain a decent instrumental, but nothing you'll remember twenty minutes later.
© Scott R. Blackerby June, 2024
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Genre: soul Rating: ** (2 stars) Title: Pass It On Company: Warner Brothers Catalog: BS-2945 Country/State: Chicago, Illinois Year: 1976 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 5021 Price: $10.00
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Moving to Warner
Brothers, 1976's "Pass It On"
found The Staples continuing their partnership with producer/writer Curtis
Mayfield. Perhaps a sign of the times, you couldn't help but
notice they finally got around to abbreviating the old
fashioned 'The Staple Singers' down to 'The Stap
"Pass It On" track listing: (side
1) Few writers could pen a silky ballad as well as Mayfield. Few singers could delivery a silky ballad as well as Mavis Staples. Unfortunately 'The Real Inside of Me' wasn't one of those successes. The tune was anonymous and didn't have much of a hook. Staples sounded like she didn't like the tune very much; coming off as if she was trying to compensation for it by pushing herself too hard. Around the 2:10 mark the track shifted gears into the 'Party' section where it at least discovered a melody. The heavy orchestration all but drown The Staples and to be honest this one didn't really sound like a Staples tune. 2.) Take Your Own Time (Curtis Mayfield) - 5:55 rating: ** stars 'Take Your Own Time' found Mayfield falling victim to his worst commercial instincts. Faceless, pseudo-party music, the lyrics were enough to make you snicker. Ever think you'd hear Mavis sing a lyric that included the phrase "sex machine"? Nah, me neither. 3.) Sweeter Than Sweet (Curtis Mayfield) - 5:44 rating: *** stars Subtlety was one of attributes I've always admired about The Staples' best work. That's not a characteristic that comes to mind on 'Sweeter Than Sweet.' Mavis and her sisters sounded like they been dosed with a amphetamines ... Yeah, initially this one really didn't strike a chord with me. Admittedly, it's grown on me. I still feel it would have been better in a slower, stripped down arrangement, but I'm not Curtis Mayfield. This was the album's second single:
- 1976's 'Sweeter Than Sweet' b/w 'Making Love' (Warner Brothers catalog number WBS 8317) R&B catalog # 52
The sound and video quality are horrible, but YouTube has a clip of the group lip-synching the song at the 1976 Rhythm and Blues Awards: Staple Singers 1977 Sweeter Than The Sweet Live (youtube.com)
4.)
Love Me, Love Me, Love Me (Curtis Mayfield) - 4:46
rating: ** stars
- 1976's 'Love Me, Love Me, Love Me' b/w 'Pass It On' (Warner Brothers catalog number WBS 8279) R&B # 11
(side
2) The title track gave Pops a shot at the spotlight. He didn't fair any better than Mavis. 'Pass It On' was tuneless and directionless. Don't gossip. Not really one of their most inspirational messages. 2.) Making Love (Curtis Mayfield) - 4:06 rating: ** stars It took the song forever to find its melody and when it did, it wasn't worth the wait. 3.) Take this Love of Mine (Curtis Mayfield) - 4:59 rating: *** stars The opening scatting wasn't necessary, but 'Take this Love or Mine' finally presented a decent melody and a classic Staples vocal. On one of the Stax albums this would have been an also-ran performance, but here it was a standout effort. 4.) Precious, Precious (Curtis Mayfield) - 5:10 rating: *** stars Shedding Mayfield's dance focused efforts, 'Precious, Precious' found the group coming close to their patented Gospel-soul sound. Unfortunately it lacked a killer hook
© Scott R. Blackerby June, 2024
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Genre: soul Rating: ** (2 stars) Title: Family Tree Company: Warner Brothers Catalog: BS-3064 Country/State: Chicago, Illinois Year: 1977 Grade (cover/record): VG / VG Comments: -- Available: 1 Catalog ID: 5390 Price: $9.00
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With his impressive soul credentials, Eugene Record would have seemed liked a wonderful producer to replaced Curtis Mayfield. Unfortunately while the collaboration had its moments, the overall results were surprisingly bland and forgettable - I still find it hard to imagine saying something like that ... Judging by the diverse nature of 1977's "Family Tree" part of the problem seemed to have been Record simply didn't know what to do with the Staples. Clearly given a mandate to return them to the top-40 charts Record responded by trying a little bit of everything including throwaway disco ('Let's Go To the Disco'), Sly Stone-styled funk ('Color Me Higher') and bland top-40 ballads (a needless cover of 'I Honestly Love You'). Surrounded by elaborate production work (check out the extensive liner note credits) the end results were professional, but seldom really caught fire - the Staples themselves seemed detached and uninterested with most of the material. One of the few performances to capture their unique blend of Gospel, soul, and social activism the title track was probably the standout performance - great tune and wonderful performances by Mavis and Pops Staples. That's probably why Warner Brothers tapped it as a single: 'Family Tree' b/w 'I Honestly Love You' (Warner Brothers catalog number WBS 8510). A second 45 was pulled from the album in the form of 'See a Little Further (Than My Bed)' b/w 'Let's Go To the Disco' (Warner Brothers catalog number WBS 8460). A modest seller the LP hit # 58 on the R&B charts.
"Family Tree" track listing: (side
1) 2.) Let's Go To the Disco (Carolyn Franklin) - 7:00 3.) Color Me Higher (Eugene Record) - 3:50 4.) Boogie for the Blues (Carolyn Franklin) - 4:03
side
2) 2.) What You Doing Tonight (Carolyn Franklin) - 3:35 3.) See a Little Further (Than My Bed) (Eugene Record) - 3:21 4.) I Honestly Love You (Peter Allen - Jeff Barry) - 7:24
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Genre: soul Rating: *** (3 stars) Title: Unlock Your Mind Company: Warner Brothers Catalog: BSK-3192 Country/State: Chicago, Illinois Year: 1978 Grade (cover/record): VG / VG Comments: promo stamp Available: 1 Catalog ID: 5391 Price: $9.00
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Having spent a couple of years flaying around trying to adapt to popular tastes under the stewardship of producers Curtis Mayfield followed by Eugene Records, The Staples finally found the right production team in the form of Barry Beckett, Jerry Wexler and the cream of Muscle Shoals sessions players. Released in 1978, "Unlock Your Mind" proved to be their most consistent and enjoyable release since the collapse of Stax. Exemplified by material like the breezy title track (which should have been a massive hit) and 'Chica Boom' the album marked a welcome return to the Stax sound they popularized - an instantly recognizable mix of Gospel, soul and pop moves. The one difference was that this time out the focus was almost entirely on Mavis Staples. She handled lead vocals on eight of the ten tracks, sharing leads with Pops on 'Handwriting On the Wall'. That wasn't a bad thing since her voice has always been one of the sexiest instruments in music. On the other hand, with the exception of a bland cover of Sam Phillips' 'Mystery Train' and a second Paul Kelly cover 'God Can' Pops Staples likeable rasp and funky guitar stylings were basically relegated to background vocals. Side one featured five up tempo numbers with the highlights including a sizzling cover of Paul Kelly's 'Don't Burn Me', the funky '(Shu-doo-pa-poo-poop) Love Being Your Fool', and a strange but cool cover of ELO's 'Showdown'. The flip side wasn't quite as good, but had a couple of winners in the form of the breezy 'I Want You To Dance' and 'God Can'. A nice comeback set, the album hit # 34 on the R&B charts. Warner Brothers also tapped the album for a pair of singles in the form of:
- 'Mystery Train' b/w 'Unlock Your Mind' (Warner Brothers catalog number WBS 8669) - 'Chica Boom' b/w 'Handwriting On the Wall' (Warner Brothers catalog number WBS 8784)
"Unlock Your Mind" track listing: (side
1) 2.) Don't Burn Me (Paul Kelly) - 3:21 3.) (Shu-doo-pa-poo-poop) Love Being Your Fool (Jerry Williams Jr. - Charlie Whitehead) - 2:57 4.) Showdown (Jeff Lynne) - 3:55 5.) Unlock Your Mind (Roe and Coe) - 3:20
side
2) 2.) Mystery Train (Sam Phillips - H. Parker Jr.) - 3:53 3.) Leave It All Up To Love (Anthony Bell) - 4:00 4.) I Want You To Dance (Roe - Coe) - 3:54 5.) God Can (Paul Kelly) - 4:58
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Genre: soul Rating: *** (3 stars) Title: Turning Point Company: Private I Catalog: BZ-39460 Country/State: Chicago, Illinois Year: 1984 Grade (cover/record): VG+/VG+ Comments: still in shrink wrap (opened) Available: 1 Catalog ID: 4314 Price: $15.00
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The fact 1984's
"Turning Point" was
released by the Private I label (best known for its dance catalog), coupled
with the anonymous packaging left me dreading this album. I ac
"Turning Point" track listing: (side
1) Hum, you could be forgiven for wondering if you'd slapped a Nile Rogers and Chic album on. I'll be the first to admit wondering "what the hell ..." The Staples go disco? This must be a sign of end-of-times. And then it dawned on me I couldn't shake the damn chorus ... It stuck in my head for weeks; especially when Pops Staples vocal kicked in. The track was released as a single, but how in the world did radio miss out on this one? Thanks to YouTube, here's a link to a Soul Train clip of the group lip-synching 'This Is Our Night': http://www.youtube.com/watch?v=U9D3mT0Yzt8
- 1984's 'This Is Our Night' b/w 'The Turning Point' (Private I catalog number ZS4 04711)
2.) Slippery People (David Byrne - Tina Waymouth - Chris Frantz - Jerry Harrison) - 4:19 rating: **** stars I've always loved The Talking Heads original, but I think I can make an argument The Staples 'Slippery People' cover is even better. Mavis and Pops bring a soulful delivery that David Byrne and company could only dream about. The electronic splices on Mavis vocals always make me smile. Easy to see why the track was tapped as a 12" dance single:
- 1984's 'Slippery People' b/w 'On My Own Again' (Private I catalog number ZS4-04583)
3.) Bridges Instead of Walls (Homer Banks - C. Hampton - R. Jackson) - 3:48 rating: *** stars I've always wondered why they felt a need to remake 'Bridges Instead of Walls.' The song was originally recorded for their 1973' album "Be What You Are" and that version is wonderful - breezy, melodic and thought provoking. Surrounded by jumpy '80s instrumentation the remake doesn't add anything to the original. I'll give it an additional star for the lyrics, but the original is the version to go with. 4.) The Turning Point (L.J. McNally - J. Black) - 3:22 rating: *** stars Yes, awash in synthesizers and syndrums the title track was short in terms of originality. On the other hand the refrain was pure ear candy and Pops' voice remained a delight.
(side
2) I think most folks would agree '80s production wasn't a great match for Pops Staples talents. That said, kudos to him for giving it his all on 'Right Decision.' The song wasn't any great shakes but Pops and Mavis gave it their best shots and when they blended, their voices still sounded wonderful. 3.) H-A-T-E (Don't Live Here Anymore) (George Jackson - E. Thomas - M. Franklin) - 4:19 rating: *** stars Okay, the lyrics may not be the most subtle thing you've ever encountered, but I find it amazing how little has changed in American society over the ensuing forty years. The track was released as the album's third single:
- 1984's 'H-A-T-E (Don't Live Here Anymore)' b/w 'Can You Hang' (Private I catalog number ZS4-04384) 3.) On My Own Again (R. Bowles - Brenda Lee Eager) - 4:30 rating: * star The ballad 'On My Own Again' sounded like something that was written with the intent of placing it on a movie soundtrack. It just sounded so calculated and premeditated. 4.) That's What Friends Are For (Mack Rice) - 3:30 rating: *** stars The funky, synthesizer powered opening could have been mistaken for something off a Rick James, or Prince album. I suspect most singers would have been buried under the anonymous arrangement, but Mavis survivedl even if the song was ultimately forgettable.
© Scott R. Blackerby June, 2024
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Genre: soul Rating: *** (3 stars) Title: The Staple Singers Company: Private I Catalog: BFZ-40190 Country/State: Chicago, Illinois Year: 1985 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $15.00
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No matter what I think about the rest of 1985's "The Staple SIngers", Richard Corman's cover photo was wonderful. It's a great photo of the family though it makes me sad to think that as of 2024 only Mavis remains with us. Luckily she's still touring and recording monumental solo sides. A quick look and the album seemed promising. The songwriting and production team of Mike Piccirillio and Gary Goetzman produced the album and were credited with penning four of the album's eight compositions. That was a good thing given they were responsible for 'This Is Our Night' which had been the standout track on The Staples' prior album "Turning Point". Even more promising was the return of David Byrne. It's always struck me as odd, but their cover of The Talking Heads' 'Slippery People' was one of the most interesting things they'd ever recorded. Byrne was back lending support to their energetic cover of 'Life During Wartime.' In spite of all those positive signs, overall the album was a disappointment. Listening to the set you got the impression The Staples were at a creative loss in terms on how to adapt to changing audience tastes. With the exception of the old-school sounding 'Start Walking' they seemed to have turned their fate over to producers Piccirillio and Goetzman. You could argue that the updated, dance-oriented songs weren't a good fit for The Staples, but my biggest gripe came from the album's patented '80s production. I'm sure tracks like 'Nobody Can Make It on Their Own', 'We Stand (Together Forever)' and 'Back to the War' sounded cutting edge in 1985, but the bright, synthesizers heavy sound simply hasn't aged well. Added in a perfunctory reggae number ('Reason To Love') and it made for a disappointing collection.
"The Staple Singers" track listing: (side
1) There's no way around it - Mavis Staples has one of rock's greatest voices. Yeah, the '80s production sound may not have been the best accompaniment for her, but listen to her tear this one up. By the way, I'd suggest avoiding the extended dance mix which buried the group in needless studio glitz. And was a dub version really necessary?
- 1985's 'Are You Ready?' b/w 'Love Works In Strange Ways' (Private I catalog ZS4 5565) - 1985's 'Are You Ready? (extended dance mix) b/w 'Are You Ready?' (dub mix) (Private I catalog number 4Z9 05266) 2.) Life During Wartime (David Byrne) - 4:06 rating: **** stars Of course nobody was going to be able to match the quirkiness of The Talking Heads original. Still with Byrne's participation, The Staples gave it their best shot. You had to wonder what The Staples thought of the song ... I can't help but smile every time I hear this one. 3.) Nobody Can Make It on Their Own (Mike Piccirillio - Gary Goetzman) - 4:03 rating: *** stars 'Nobody Can Make It on Their Own' was a clear effort to recreate the magic of 'This Is Our Night.' The melody was uplifting and bouncy coming close, but no cigar ... That didn't stop Private I from releasing it as a single:
- 1985's 'Nobody Can Make It on Their Own' b/w 'Reason To Love' (Private I catalog number ZS4 05727)
4.) Back to the War (Mike Piccirillio - Gary Goetzman) - 3:48 rating: **** stars The topical lyrics were add odds with the dance floor ready 'Back to the War.' Just a real strange song, but that made it intriguing. If you doubted my comments about the album's dated sound, this is a good track to check out.
side
2) I've never understood why so many many mid-'80s producers felt the need to inject a touch of reggae into their work. I guess it's no different than today's trend that finds folks adding rap to their repertoire. The results were pleasant, but completely forgettable. 2.) We Stand (Together Forever) (Aaron Zigman - David Williams) - 3:44 rating: ** stars The dance-ready 'We Stand (Together Forever)' sounded like it was recorded at the wrong speed. All of those irritating '80s effects were on display - synthesizer washes, syndrums, hyper-speed poppin' bass line. Pass. 3.) Start Walking (Marvin Morrow - Bob Bailey) - 4:13 rating: **** stars With Pops handling vocals 'Start Walking' came close to capturing their classic Stax sound. Nice melody and the backing vocals were sweet. Not sure if Pops provided the lead guitar solo, but it was also sweet and understated. 4.) Love Works in Strange Ways (Mike Piccirillio - Gary Goetzman) - 3:40 rating: *** stars 'Love Works in Strange Ways' was the album's prettiest performance and benefited from a stripped down arrangement that put the spotlight on Mavis.
© Scott R. Blackerby May, 2024
ry Goetzman) - 3:37 |
Genre: soul Rating: *** (3 stars) Title: Swingline Company: Nashboro Catalog: NA 8607 Country/State: Chicago, Illinois Year: 1983 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $15.00
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All but unknown
even to hardcore Staples fans, 1983's "Swingline"
seems to have been a quickie reissue of "Staple Singers - Live"
album (Phoenix 10 catalog number PHX-354). The liner notes
provided zilch information on the collection's history - when and where it
was
"Swingline" track listing: (side
1) Well the European audience seemed appreciative though it took a while for Mavis and company to warm up and actually start delivering. And when they did you discovered the sound wasn't all that great. I have to tell you it certainly wasn't the track I would have opened a concert with. 2.) He's Alright (Roebuck Staples - traditional) - 3:06 rating: **** stars Pop's "you can clap, we like that" comments always make me smile. If you want to hear how funky Gospel can be, then 'He's Alright' is a good place to start your journey. It's also a good place to hear some of Pop's overlooked guitar chops. 3.) Respect Yourself (Mack Rice - Luther Ingram) - 4:00 rating: **** stars Thankfully 'Respect Yourself' showed you what these folks were capable of doing. I could have done without the thundering pop bass, but even that couldn't detract from the song's overt funkiness. 4.) Why Am I Treated So Bad (Roebuck Staple) - 6:02 rating: **** stars Originally released back in 1965, 'Why Am I Treated So Bad' is on my Staples top-10 list. The bluesy track stands as one of the best things Pops ever wrote and one of his best performances. The lyrics are still relevant decades after he penned the track. 5.) A House Is Not A Home (Burt Bacharach - Hal David) - 4:06 rating: ** stars I like a lot of Bacharach-David material, but this sappy ballad isn't one of those songs. Mavis recorded a cover forr her 1969 self-titled album. I didn't like that cover and The Staples' version didn't change my mind.
side
2) Another Staples favorite, stripped of the studio polish 'Touch A Hand, Make A Friend' underscored who strong Mavis' voice was. The down side was it underscored her penchant for scatting. Clocking in at nine minutes, the Sunday-morning-Baptist-church version simply went on far too long. It was powerful, but boy did it go on. 2.) Will The Circle Be Unbroken (traditional) - 2:29 rating: *** stars There are so many awesome covers out there, admittedly my expectations for their cover of 'Will the Circle Be Unbroken' were pretty low. Maybe not the standout version, but certainly competent and a nice example of how well father and daughters meshed. Shame it was such a short rendition. 3.) Let's Do It Again (Curtis Mayfield) - 4:39 rating: **** stars The best thing they ever recorded with Curtis Mayfield, the 'Let's Do It Again' live version is a bit slower and funkier, but in spite of the abrupt ending, was still a charmer. The bass line on the studio original is way better. 4.) Come Go with Me (Homer Banks - Raymond Jackson - Carlton Hampton) - 2:50 rating: *** stars The slap bass opening momentarily threw me, but when Mavis started singing all was fine. Shame they sounded like they were rushing through 'Come Go with Me.'
© Scott R. Blackerby June, 2024
4.) Come Go With Me (HOmer Banks - Jackson - Hampton) - 3:53 |
BACK TO BADCAT PAYMENT INFORMATION
s Staples
dropping out and younger sister Yvonne joining sisters Cleo and Mavis in the
line up, you had to scratch your head and wonder why it took so long for The
Staples to break through commercially. Musically the album wasn't a
major departure from the group's earlier blend of gospel and soul, thought this time around new producer Al Bell made a couple of subtle changes.
In addition to taking the group to Muscle Shoals, Bell reoriented the sound
from gospel to soul. Gospel remained a core part of their sound, but
it was packaged in a very contemporary soul sound that was well suited for
integrated airwaves. It might not have sounded like monumental
changes, but it made a major difference. The album also engagingly
showcased The Stapes activist agenda. Tracks like 'This Is a Perfect World', 'What's
Your Thing' and 'I Like the Things About You' all brought the Staples' views
to the fore, but didn't it with a sense of optimism and hopefulness most of
their contemporaries couldn't get close to. Mind you they were far
from the only recording group espousing economic, political, and social
change, but they were one of the few who managed to be subtle, deft, and
thought provoking about it ...
rack
album. Anyone thinking this was a traditional Staples Singers studio
collection needs to recognize that's not
the case. Written and produced by Mayfield, the album featured five
vocals with most of side two devoted to instrumentals. The title track
was the song that rightfully attracted all of the attention. It's one
of the best things Mayfield every wrote and produced for outside
artists. Nothing else on the album came close in terms of
quality. In fact, you got the feeling several of these songs were
material Mayfield had lying around the studio and decided toe re-purpose
rather than forget. Exemplified by ''After Sex' and 'Chase' most of
side two was devoted to film instrumentals. While the movie wasn't a
Blaxpolitation film, the third instrumental 'Big Mac' wouldn't have sounded
out of place on one of those soundtracks. You've certainly heard worse
releases in terms of film scores, but other than the fabulous title track,'
Funky Love' and 'New Orleans' don't get your hopes up too high.
. 
les'. Their
partnership with Mayfield was always somewhat of a hit-or-miss function and
that remained the case this time out. As you probably guessed from the cover
photos showing them all 'pimped up', material like the title track and 'Take Your Own Time'
found Mayfield continued his efforts to wrap the group in a mix of
contemporary soul/funk and gospel moves. Propelled by Mavis' instantly
recognizable voice, highlights included the brief' 'Party' (with a tasty
lead guitar from Mayfield himself), 'Sweeter Than Sweet' (easily the most
old-school number on the album) and the breezy '
tually put
the album aside for a couple of weeks not wanting to hear it out of fear
that it would be a complete disco disaster. Well my fears were
partially misplaced. With Pervis Staples and Henry Bush co-producing
most of the effort, this LP occasionally nudged close to their
late-1960s/early-1970s creative zenith. Far from perfect, but if
nothing else, it was the best
thing they recorded during the 1980s. Yes, in an effort to bring their
sound into the mid-1980s, the Staples were guilty of
tarting up their
sound with anonymous synthesizers and syndrums. It didn't always work, but on tracks such as the blazing
'This Is Our Night' (written and produced by Mike Piccirillio and Gary
Goetzman) and the title track The Staples managed to give Nile Rogers and
Chic a run for their money ... Their slinky cover of The Talking Heads
'Slippery
People' was unique, totally unexpected and simply wonderful. At the same time material
such as their remake of 1973's 'Bridges Instead of Walls' and 'H-A-T-E (Don't Live Here Anymore)'
demonstrated they were smart enough to hold on to their patented Gospel
roots. As for lead singer Mavis Staples; well she remained one of
music's forgotten giants - the woman could sing pages out of a phone book
and make it sound good. One or two more distinguished tracks, as
opposed to '80s preprocessed pulp like 'Right Decision' and the formulaic
ballad 'On My Own Again' and this would have been a first-rate comeback.
recorded;
who provided the backing; or even which line-up of The Staple Singers you
were hearing. The album cover showed Pervis Staple in the line-up, but
he'd left the group well before the time they started
working with Curtis Mayfield recording 1975's 'Let's Do It Again'.
Anyhow, the track listing across the two albums appeared to be largely the
same. Why the small Nashboro label decided to repackage it for an
American release is a mystery. Judging by the introductory comments,
this captured the group playing for an appreciative French audience.
Offering up a mixture of their hits, lesser known album cuts and covers,
it's a decent introduction to their power. With the possible exception
of 'Why Am I Treated So
Bad', none of the originals improved on
the original studio versions, but it was nice to see they could capture some
of their magic on hits like 'Respect Yourself', 'Touch
A Hand, Make A Friend' and 'Let's Do It Again.' Outside of the hits I
didn't hear anything that was a must hear. Executive summary - outside
of hardcore Staples fans, I'd suggest you can pass on this one.