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POP MUSIC

There's still so much to overcome

Mavis Staples' new CD revisits the civil-rights anthems of the 1960s.

April 22, 2007|Richard Cromelin | Times Staff Writer

THE front page of the paper on a recent morning was dominated by stories and photos about the commemoration of a watershed civil-rights march in Selma, Ala.

Mavis Staples, visiting Los Angeles from her Chicago home to play a concert, receive an NAACP Image Award and prepare for the rollout of her new album, took careful note of the ceremony. For one thing, Rep. John Lewis (D-Ga.), who spoke at the memorial, has written an essay for the booklet of her CD. More important, Staples had participated in the 1965 demonstration.

"When they knelt down to pray, that's when the police started beating them, and the dogs, and the water hoses," the singer said, recalling the assault whose images stirred outrage around the world and ultimately led to the passage of the Voting Rights Act. "It was somethin'."

For Staples, 66, that day isn't a distant marker from her youth. The last active member of the pioneering gospel group the Staple Singers has plunged back into the era's fiery lake of confrontation and conviction to record an album of the songs that swept demonstrators into the streets and brought solace during tense nights in jail.

For The Record
Los Angeles Times Wednesday April 25, 2007 Home Edition Main News Part A Page 2 National Desk 0 inches; 31 words Type of Material: Correction
Staple Singers: A caption with a photograph in Sunday's Calendar section of the Staple Singers performing a 1972 concert said Mavis Staples was on the left. She was on the right.
For The Record
Los Angeles Times Sunday April 29, 2007 Home Edition Sunday Calendar Part E Page 2 Calendar Desk 0 inches; 28 words Type of Material: Correction
Staple Singers: A caption with a photograph last Sunday of the Staple Singers performing in 1972 said Mavis Staples was on the left. She was on the right.
For The Record
Los Angeles Times Sunday April 29, 2007 Home Edition Main News Part A Page 2 National Desk 0 inches; 33 words Type of Material: Correction
Staple Singers: A caption with a photograph in Calendar on April 22 showing the Staple Singers performing in a 1972 concert said Mavis Staples was on the left. She was on the right.

The roots of these songs extend deep into the history of the black experience in America, and in "We'll Never Turn Back," which will be released Tuesday, Staples meets the challenge of that stature with a performance at once intimate and larger than life.

The gospel grounding and unruly individuality won't surprise aficionados who regard Staples as one of the great voices in black music. The power behind her ragged contralto is undiminished, and age has darkened her timbre, bringing a gravitas to her proclamations of righteousness and resolve.

Her singing is framed in earthy, visceral grooves crafted by the album's producer, Ry Cooder, and a group of top-tier musicians, including drummer Jim Keltner and bassist Mike Elizondo, cut live in a Van Nuys studio. Cooder says some of the album's final selections weren't even first takes but warm-ups, and Staples sometimes breaks out of the verse-chorus structure to become a vivacious raconteur.

Familiar standbys such as "We Shall Not Be Moved" and "This Little Light of Mine" are joined by traditional tunes with new lyrics ("99 and 1/2 ," "Jesus Is on the Main Line"), a rare Staples original called "My Own Eyes" and Marshall Jones' remarkable "Down in the Mississippi River," which describes the grisly surprises that surfaced as authorities dragged the river for three slain civil-rights workers.

That song was brought to the album by the three members of the Freedom Singers who joined the project. A vocal group formed within the activist Student Nonviolent Coordinating Committee (SNCC), original members Charles Neblett and Rutha Harris and later arrival Bettie-Mae Fikes inspired the troops with their rough-hewn harmonies, and now they add a vocal kick and an element of community to their old friend's album.

"These people, to them it's still going on," says Cooder. "They're soldiers to this day.... When they stand there in the room and sing, they mean every word, and it's never changed for them.

"That fella Charles Neblett in the group there, when he tells his eyewitness account of seeing bodies dragged up out of the river with their hands tied and their feet tied, he's seen it. And he's been chained up and had dogs set on him and the whole nine yards, and when you see this guy and talk to him, there's a look in his eyes, he's still seein' it. Suddenly, it was very dramatic."

Passing the torch

FOR Staples, that immediacy was precisely the point.

"We just feel the movement is still here, it's still going on, and we need folk like us who were there and are still here. We can tell stories, we can witness," she said, sitting in a lounge at the Silver Lake offices of Anti- Records, which is releasing "We'll Never Turn Back." "Everything is not fixed yet. Katrina has just happened, you hear about these policemen in New York shooting 50 rounds into this young black man. And we get it in our travels, we still feel it.

"My hopes are that this generation today would hear the songs and move with them. We need to educate this generation. They need to know what it was like and what we went through for them to be able to vote today. Hopefully, the songs will be heard and we'll get some response."

Being heard and getting a response would be a welcome change for Mavis Staples, whose stature as a pioneer in black music has been offset by the dead ends and bad luck that have dogged her career outside the Staple Singers.

"It has been frustrating, it really, really has. Nothing happens right," said Staples, who nonetheless seems robust and youthful as she sips a Pepsi in the lounge, dressed casually in a black sweater, jeans and silver Nikes.

It seemed as if every opportunity had a built-in booby trap.

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