"Human Mind" (co-written by Allison Russell & Hozier) is off Mavis Staples' new album Sad and Beautiful World which is out now.
Here's the scoop from Mavis...
“Human Mind,” the final single off my new album Sad and Beautiful World, is out today. Thank you to Hozier and Allison Russell for writing this with me in their hearts. It’s a song about keeping faith in humanity.
I’ll be performing “Human Mind” tonight live on The Late Show with Stephen Colbert. Tune in at 11:35 Eastern / 10:35 Central to catch the show.
Mavis Staples' forthcoming album "Sad and Beautiful World" is out November 7th via Anti Records. Hear the first 2 tracks below.
Writes Mavis....
"I am thrilled to announce my new solo album, Sad And Beautiful World.
"Produced by Brad Cook, this record spans seven decades of the American songbook and includes reinventions of timeless songs by Tom Waits, Gillian Welch, Curtis Mayfield, Leonard Cohen, Frank Ocean, and more, as well as original music.
"Take a listen to the first track of the record - my version of “Beautiful Strangers” by Kevin Morby. Visit the links below to listen and to pre-order your copy of Sad and Beautiful World out November 7 on Anti Records."
Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. On her new record, Mavis stands side by side with us in the face of dangers she knows all too well, at a time when more and more people have reason to wonder who and what could be lost.
Sad And Beautiful World was produced by Brad Cook, known for his work with Bon Iver, Waxahatchee, and Nathaniel Rateliff, among other artists. The record spans seven decades of the American songbook — a range nearly as vast as Mavis’ career — and includes reinventions of timeless songs as well as original music.
Now 86, Mavis has been performing since the age of eight. After starting out with her father Roebuck “Pops” Staples, sisters Cleotha and Yvonne, and brother Pervis in the Staple Singers more than seventy years ago, she’s the lone surviving member of the group, still carrying her family’s gifts and knowledge with her as a living heritage.
Inducted into several halls of fame (blues, rock, and gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is our musical history. She’s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson — not to mention countless stars from subsequent generations.
Sad And Beautiful World includes cameos by artists who have become part of Mavis’ world, many of whom are legends in their own right: Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, Justin Vernon, and others shine a light on her, while Mavis does what only she can do. Embracing vulnerability, she sings close and deep here, drawing the listener into a circle filled with her unforgettable presence.
The first track recorded for the album, “Human Mind,” was written for and about Mavis by Hozier and Allison Russell. Paying tribute to the complexity of life, Mavis expresses faith in humanity: “Even in these days, I find / this far down the line, / I find good in it sometimes.” That magical last word — “sometimes” — shows her choosing hope, even with the disappointments that experience has brought.
Her take on Tom Waits’ “Chicago” flaunts her vocal prowess, opening the album with a high-octane journey North that her family actually made—a dream of a future, but one offering no guarantees. Guitar riffs from Buddy Guy and Derek Trucks layer the song with a musical legacy that rose out of that same migration, a migration that Guy himself also lived.
These are love songs for tough times. The title track, written by Mark Linkous (a.k.a. Sparklehorse), with its funeral-march rhythm and spare lyrics, finds beauty even in the midst of grief over everything that’s been lost. Mavis turns to Gillian Welch’s “Hard Times” to testify that “we’re gonna make it yet.”
On Kevin Morby’s “Beautiful Strangers,” she reminds those in danger, “If you ever hear the gunshot… think of mother / I am a rock.” Her version of Frank Ocean’s “Godspeed,” delivers a staggering benediction to those who stumble: “There will be mountains you won’t move. / I’ll always be there for you.”
“We Got To Have Peace”, written by Curtis Mayfield, her friend and longtime collaborator, is framed by Mavis as a plea and a psalm. Yet her take on Leonard Cohen’s “Anthem” carries a quiet fury that suggests choosing peace shouldn’t be mistaken for submission.
The album closes on two reflective notes. Mavis sings “Satisfied Mind,” a song made famous by Porter Wagoner, and delivers it from the perspective of a long life well lived, reminding listeners that fleeting glory makes for shallow victory. And with “Everybody Needs Love,” Mavis finishes with the joy she insists on spreading, reminding us that she’s here, that we cannot go it alone, and that we don’t have to.
It’s impossible to talk to Mavis’ collaborators without them bringing up the strength of her spirit and her generosity, growing animated over how much her songs mean to them. Allison Russell described hearing the Staple Singers as a preteen and finding out that Mavis had played a key part in the civil rights movement as a young woman.
Upon being told that a verse from “Human Mind” she’d written (“I am the last, daddy, the last of us”) had made Mavis cry, Russell said she’d been deeply affected. “Mavis is the transcendent force of love embodied,” she said. “There is no higher honor than one of my biggest heroes being moved by words I wrote.”
Producer Brad Cook tells stories about growing up listening to the Staple Singers. About seeing Mavis perform live, he said, “I remember being utterly floored by the conviction and power she had in her voice.”
To capture Mavis’ resonant phrasing and textured vocals, Cook tried to build every song around that voice. He began with spare skeleton recordings, just drum and piano, and focused on recording her vocals. Then he expanded the song from there, trying never to overshadow or undermine the framework she’d established. He imagined a record in the tradition of Nitty Gritty Dirt Band’s Will the Circle Be Unbroken, a group of artists coming together to celebrate community—in this case, one centered on Mavis.
Sad And Beautiful World shows that love is a choice and a force all its own. The album is a litany of prayer, of Mavis breathing life into these songs. “I just have to deliver the compassion I feel,” she says. “I want to share the song the way I feel it.”
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More than seventy years after a high-school a cappella teacher tried and failed to change her singing style, Mavis Staples has one of the most recognizable voices in the world, with resonant phrasing and vocals so warm and textured, they feel like a physical presence.
Not only is Mavis still making studio albums, she’s still on the road, returning to venues like the Newport Folk Festival, where she’s been a fixture since 1964. This July at Newport, Public Enemy founders Chuck D and Flavor Flav dropped to their knees to bow down before her. She made clear it was all unnecessary, but there’s something regal about her that people respond to — a grace that rises out of lived experience.
Few people wield the combination of moral authority and the musical artistry that Mavis possesses. The moral authority comes from experiencing the Jim Crow era as a Black woman playing music in the South. With Freedom Highway, the Staple Singers created the literal soundtrack for the 1965 march from Selma to Montgomery. They opened for Martin Luther King Jr. at his rallies. Mavis has spent a lifetime standing up for those people the most powerful among us would like to beat down.
She considered retiring in 2023 but found she has too much left to express through music. And now, despite our dark days, as she said in the wake of her 85th birthday party last year, “You have to stay hopeful and have faith that things are going to get better.” She can’t keep us from the danger facing the country or magically restore the progress that’s being undone. But she knows from her own experience that it’s possible to find a path through, a way to keep going.
She may be one of the last true ones standing, but she’s not waiting around to be revered for the wisdom she brings. She’s too busy still leading the charge, still showing us how it’s done. Steadfast in triumph and adversity, Mavis Staples is still making music—and history—just when we need her most.
Iggy Pop recently covered Leonard Cohen's "You Want It Darker" off the tribute comp Here It Is due Oct 14th from Blue Note.
Here's the scoop from Blue Note...
Blue Note Records has announced an October 14 release date for Here It Is: A Tribute to Leonard Cohen, a remarkable new album produced by Larry Klein that presents stunning renditions of the legendary singer-songwriter Leonard Cohen’s profound songs performed by an extraordinary line-up of vocalists: Norah Jones, Peter Gabriel, Gregory Porter, Sarah McLachlan, Luciana Souza, James Taylor, Iggy Pop, Mavis Staples, David Gray, and Nathaniel Rateliff. Hear Taylor’s sublime version of “Coming Back to You” which is available to stream or download today. Here It Is can be pre-ordered now on D2C exclusive color vinyl, black vinyl, CD, or digital download. For more info, visit the Blue Note site right here. Check out the album preview clip below.
“Leonard Cohen had been a friend since 1982 or so, and in the last 15 years of his life, he became a close friend,” says Klein. “He was possibly the wisest and funniest friend that I had, and someone that I enjoyed, immensely, in every way. After he passed away, I found myself frequently covering his songs with other artists that I was working with. One reason, of course, is that the songs are so good—in a certain way, Leonard is the best pop songwriter ever—but the other reason was that it helped keep him in the air around me.”
So Klein decided to assemble an album’s worth of Cohen songs, matching vocalists from different genres with an exceptional core band of jazz-based musicians—or, as he puts it, “a group of the most prescient and forward-looking musicians in the jazz world”—guitarist Bill Frisell, saxophonist Immanuel Wilkins, pianist Kevin Hays, bassist Scott Colley, and drummer Nate Smith with additional contributions from Greg Leisz on pedal steel guitar and Larry Goldings on organ.
The album’s 12 tracks offer a range of Cohen’s compositions, with songs drawn from his beloved 1967 debut Songs of Leonard Cohen all the way up to selections from his final album, You Want It Darker, released just days before his death in 2016 (listen to Leonard Cohen's original recording followed by Iggy Pop's new version below). The set covers some of his best-known classics and less familiar deep cuts, all given new life through thoughtful and unexpected arrangements and performances. The resulting collection is ultimately reminiscent of the concept that guided Klein’s production of Herbie Hancock’s 2007 album River: The Joni Letters, which won the GRAMMY Award for Album of the Year (and on which one of the featured singers was, in fact, Leonard Cohen).
“It was an immensely gratifying experience to recontextualize these poems, and shine a different light on them,” Klein continues. “I hope that this musical language that we developed together, the context that we put these things in, makes the songs connect with people in a new way.”
You can get a copy of the Leonard Cohen tribute Here It Is via your platform of choice right here.
The 20-track collection Everybody Makes A Mistake – Stax Southern Soul Vol. 2 is due out March 26th.
Here's the scoop from Ace/Kent...
Stax Records in Memphis was one of the centres of southern soul, yet due to its many hits and big city location, this often gets forgotten. We redressed that balance with the release of “Nobody Wins: Stax Southern Soul” but there was so much more to play that we’re back with 20 more tracks that capture the deep emotion and soulful feel of the Memphis behemoth.
First up we have found a bunch of previously unreleased tracks. There are two by Eddie Floyd, including his own version of ‘Everybody Makes A Mistake’, first released by Otis Redding on “The Soul Album”; a stormer called ‘Standing In The Safety Zone’ by the Soul Children; and another cut by Chuck Brooks. We also have alternate takes of originally unreleased track by Ollie & the Nightingales and William Bell, and have gathered up rare tracks that appeared as bonus tracks on CDs by Jimmy Hughes, Mavis Staples, Shirley Brown, the Newcomers, David Porter and Veda Brown.
Of those that saw release at the time, we have obscure B-sides by Eddie Giles, Israel Tolbert and Lee Sain. Singles from Randy Brown, Frederick Knight and the Nightingales are as good as anything the label released, and Isaac Hayes is present with his take on the Banks & Hampton single ‘I’m Gonna Have To Tell Her’, one of the great southern soul songs.
Packaged with in-depth sleeve notes and extensive illustrations. Pre-order a copy from Ace Records right here. Check out a couple of tracks followed by the tracklisting.
Everybody Makes A Mistake – Stax Southern Soul, Vol. 2
01 I'll Do Anything For Your Love (Single edit) - William Bell
02 How Can I Win Your Love - Eddie Floyd
03 I'm Gonna Have To Tell Her - Isaac Hayes
04 A Smile Can't Hide A Broken Heart (Alt mix) - Ollie & The Nightingales
05 Let's Make A Deal - Frederick Knight
06 Standing In The Safety Zone - The Soul Children
07 Spare Me The Hurt Of Losing You (Demo) - The Newcomers
08 Guilty Of Loving You - Veda Brown
09 We've Got Love On Our Side - Bettye Crutcher
10 I'm Tired - Mavis Staples
11 Got To Get Away From You - Israel Tolbert
12 I'm Too Old To Play - Jimmy Hughes
13 Everybody Makes A Mistake - Eddie Floyd
14 Ain't Nobody Like My Baby - Lee Sain
15 Just A Little Overcome - The Nightingales
16 It Takes Me All Night - Eddie Giles
17 You Need Love - Chuck Brooks
18 Ain't No Way - Shirley Brown
19 Did You Hear Yourself Part 1 - Randy Brown & Company
Producer M Ward enlisted Nick Cave and other contemporary artists to write songs for Mavis Staples' new album.
Mavis Staples is an alchemist of American music, and has continuously crossed genre lines like no musician since Ray Charles. Weaving herself into the very fabric of gospel, soul, folk, pop, R&B, blues, rock, and even hip hop over the better part of the last 60 years, the iconic singer has seen and sung through so many changes, always rising up to meet every road unwaveringly.
Along the way, she has learned from, worked with, and schooled countless legends from all arenas, and has brought her own timeless talent to each and every performance. Who else can claim to have answered the call time and time again, to become a leading voice of not just a generation, but of multiple eras and in myriad manifestations? Who else was there to sell a million gospel records, walk beside Dr. Martin Luther King, to help lead the ‘70s soul-power movement, to sing under the spotlight during The Last Waltz, to serve as muse to both Bob Dylan and Prince, and to win over 21st-century fans with a trio of deeply spiritual albums: 2007’s We’ll Never Turn Back 2010’s You Are Not Alone and 2013’s One True Vine.
With the release of her new album Livin’ On A High Note, she continues to gain momentum. Referencing and drawing from her past while taking the music to fresh places, Mavis and her team recruited a unique dozen of today’s heralded and up-and-coming artists to write songs for the record including Nick Cave, Ben Harper, Tune-Yards, Benjamin Booker, Neko Case, Justin Vernon, Son Little, M. Ward—with Ward also tapped to produce the album in full. Conspicuously absent from the list of contributing writers is Jeff Tweedy who produced her last two albums.
“I’ve been singing my freedom songs and I wanted to stretch out and sing some songs that were new,” says Mavis. “I told the writers I was looking for some joyful songs. I want to leave something to lift people up; I’m so busy making people cry, not from sadness, but I’m always telling a part of history that brought us down and I’m trying to bring us back up. These songwriters gave me a challenge. They gave me that feeling of, ‘Hey, I can hang! I can still do this!’ There’s a variety, and it makes me feel refreshed and brand new. Just like Benjamin Booker wrote on the opening track (Take Us Back), ‘I got friends and I got love around me, I got people, the people who love me.’ I’m living on a high note, I’m above the clouds. I’m just so grateful. I must be the happiest old girl in the world. Yes, indeed.”
Listen to the title track High Note composed by talented Memphis singer/songwriter Valerie June followed by the trailer for Jessica Edwards' feature-length documentary Mavis!
Livin’ On A High Note (Anti-)
Take Us Back (Benjamin Booker)
Love And Trust (Ben Harper)
If It’s A Light (The Head & The Heart)
Action (Tune-Yards)
High Note (Valerie June)
Don’t Cry (M. Ward)
Tomorrow (Aloe Blacc/John Batiste)
Dedicated (Justin Vernon/M. Ward)
History Now (Neko Case)
One Love (Son Little)
Jesus Lay Down Beside Me (Nick Cave)
MLK Song (M Ward/ Martin Luther King)
For the last couple of years, the Anti- label has been jump-starting the flagging careers of old-school soul greats like Solomon Burke, Bettye LaVette and Mavis Staples with remarkable success. Their strategy is really quite simple and basically involves a bit of studio matchmaking in which a veteran performer with impeccable vocal chops is set up with a fanboy musician for whom the chance to compose songs and produce an album for an idol is a dream come true.
If everything goes according to plan, it can be a cost effective method for a respected older artist to make an album which appeals to a much larger audience than the people who remember their 45s. To date, the series of novel cultural-collision experiments undertaken by Anti- have delighted music critics and award show juries alike. Yet in spite of all the hoopla surrounding the unusual pairings, the resulting recordings from Burke, LaVette and Staples haven't been terribly memorable. They certainly don't stand up well against the artists' best loved work of their peak years, or even the lesser known songs from the same period. That has much less to do with the singer's vocal strength or control than with the selection of repertoire, arrangements, limitations of the session musicians and the production choices.
Furthermore, now that the same scheme has been pulled numerous times, the novelty is wearing thin but that hasn't stopped Anti- from going back to the well once again for Mavis Staples' You Are Not Alone, an album of hymns and spirituals produced by Jeff Tweedy. Even by Anti- standards, it's an odd coupling since the Wilco frontman has never actually produced any recordings of note on his own and his knowledge of gospel music is questionable. Really, the only thing he has in common with Staples is a Chicago mailing address.
As for Staples, she had no idea who Wilco was when Tweedy first met her backstage after a show at the Hideout in the Windy City, but she was willing to give the recording project a shot. No doubt having her touring unit with her in the studio, joined by Wilco keyboardist Patrick Sansone and backing vocalist of the stars Kelly Hogan, raised her comfort level considerably during sessions at Wilco's homey studio, The Loft.
Upon hearing Rick Holmstrom's spot-on recreation of Pops Staples' trademark guitar vibrato on the album's opening reprise of the Staple Singers' fave You Don't Knock, it momentarily seemed like this unusual collaboration might work out after all. Checking the track listing, the third song was another Staple Singers' gem Downward Road which suggested that maybe Tweedy took the time to familiarize himself with Staples' definitive early recordings and would use their entrancingly eerie sound as a jump off point to create an appropriate new sonic framework for her spellbinding voice. But sadly, all hopes of Tweedy building on power and glory of the Staple Singers' Vee-Jay period for You Are Not Alone were dashed with the second track, Tweedy's own strummy title tune which signals the unfortunate descent into a hand-clapping folk mass-style singalong of frightful campfire kumbaya dimensions.
As a producer, Tweedy has the good sense to keep the arrangements spare and give the genuinely gifted singer room to move. However, many of the song choices – including album highlight tunes from Allen Toussaint and John Fogerty (either of whom would've made a better producer of this album incidentally) – don't seem to have any real connection to Staples or the furtive Chicago gospel scene from which she arose. That's a problem for a stand-up belter like Staples who relies so heavily on the power of her conviction to connect with an audience.
You have to wonder how Tweedy and Staples arrived at the seemingly random repertoire selections. The old Episcopal hymn In Christ There Is No East Or West for the album might appear to come totally out of left field but the choice is a telling clue which may help solve at least part of the mystery of how this whole strange project came together.
The song's lyrics were written by William A. Dunkerley (aka John Oxenham) back in 1908 for the Pageant of Darkness and Light at the London Missionary Society's exhibition "The Orient In London" and has appeared as such in various hymn books ever since. My guess is that Tweedy didn't learn In Christ There Is No East Or West in church while growing up in Belleville, but rather, the John Fahey fan probably first heard it hauntingly interpreted by Fahey on the Blind Joe Death (Takoma) album. Of course, the Fahey connection could be just a coincidence. But then, Blind Joe Death also includes Fahey's finger-picked version of another hymn called Uncloudy Day.
Originally titled Unclouded Day by it's composer Josiah Kelley Allwood, an Ohio-based minister in the Church of the United Brethren in Christ when it was written in 1879, the song later became more commonly known as Uncloudy Day and became a gospel hit when it was revamped in 1956 by – you guessed it – the Staple Singers who turned it into their signature song.
Tweedy is sharp enough to know that turning You Are Not Alone into a Fahey tribute album wasn't a surefire recipe for commercial success – however delighted his pal Jim O'Rourke would've been with the concept – but coming up with other suitably churchy numbers could be a challenge for a rock-schooled heathen out of his depth.
That is, unless you happen to have access to a copy of Lance Ledbetter's Goodbye, Babylon (Dust-To-Digital) six-disc compendium of vintage spirituals and sermons. Among the mammoth anthology's 135 songs are I Belong To The Band – Hallelujah! by Rev. Gary Davis, Creep Along Moses by the Taskiana Four and Found A Wonderful Savior by the Golden Gate Jubilee Quartet each of which appear in revised form on You Are Not Alone. To her credit, Staples knocks them out with such confidence and control, you'd think that she'd been singing them since childhood.
Thanks to Staples' supremely soulful voice and exceptional interpretive skill, what easily could've been a confusing hodgepodge of random Jesus-free spirituals has turned out to be an engaging showcase for an artist who, at 71, remains one of the truly great singers of our time. And while You Are Not Alone doesn't come close to Staples' finest work – for that you need to go back to the Staple Singers' Uncloudy Day and Swing Low Sweet Chariot albums for Vee-Jay along with the Stax recordings Soul Folk In Action, Staple Swingers and Be Altitude: Respect Yourself – it still makes for a more enjoyable listen than either of those two forgettable albums she did with Prince.
Wrote A Song For Everyone by Mavis Staples with Jeff Tweedy
