THE ROLLING STOMES BLUE AND LONESOME (Universal Records)
For fans of Muddy Waters, B.B. King,
Of all the blues influenced rock bands to come out of England during the 1960’s, few perform American Blues music with the same authenticity as The Rolling Stones. Ever since the band’s early days when singer Mick Jagger and guitarist Keith Richards bonded over their love for Blues artists like Muddy Waters and Bo Diddley, the Blues have been a big part of the band’s sound. On their first visit to the states in 1964 they included a trip to Chess Records in Chicago to record where their Blues heroes had recorded. They’ve introduced Blues artists to a whole new audience by taking them on tour and donated to Blues museums. They’ve even picked up the tab for the funeral expenses of Blues musicians when the musician’s family couldn’t afford it. Now for their most recent release the band has decided to release a whole album paying tribute to their Blues heroes. Entitled Blue and Lonesome, this record shows that even after decades of sold out tours and millions of records sold they really are just a bunch of guys that want to play the Blues.
The recent formula of an artist recording a “Blues Tribute album” when they’re unable to come up with new original material is a tired one, but here The Stones actually deliver! The band performs the songs on BLUE AND LONESOME (universal records) with a swagger that has long separated them from other Blues-based rock bands. The record kicks off with a cover of Little Walter’s “Just A Fool”. For those that are unaware Little Walter Jacobs was THE harmonica player on the Chicago Blues scene during the 1950’s and has even been called “The Jimi Hendrix of Harmonica”. While trying to match the exact sound and power of Little Walter’s playing is impossible, Mick Jagger gets a lot closer then you’d think. His own harp playing isn’t as flashy as Walter’s but it more than gets the point across.
Another stand-out track is the slow Blues “Little Rain”. Again The Stones come up big with their rendition of this lesser known Jimmy Reed tune. Playing slower tunes like this without losing the plot is usually tough on drummers. Fortunately for the Stones they have Charlie Watts behind the drums to keep them in-check. His laid-back drumming style perfectly fits this style of music by allowing the songs room to breath but without letting the bottom fallout. Such is the same with the rest of the Stones on this record. “Less is more” is the name of the game with this band and even when Eric Clapton joins the party on “I Can’t Quit You Baby” and “Everybody Knows About My Good Thing” the focus is always on playing what’s best for the song.
Bottom line is BLUE AND LONESOME is an excellent record that shows us the Stones are still just a bunch of music fans trying to turn people on to the Blues.
FANTASTIC NEGRITO: THE LAST DAYS OF OAKLAND
LABEL: Blackball Universe
For fans of Fishbone, Tom Waits, Funkadelic, Junior Kimbrough
For those of you who believe there is no more good new music being released these days, I invite you to listen to the new album, THE LAST DAYS OF OAKLAND, from multi-instrumentalist Fantastic Negrito. Born Xavier Dphrepaulezz, and raised in a strict and religious household, the man now known as Fantastic Negrito is one of the most exciting artists to emerge from the Bay Area music scene in a long time. He moved to Oakland when he was 12 years old and immediately immersed himself in the wide variety of music styles that make up the Bay Area music scene. This explains to us why Dphrepaulezz’s own musical style really can’t be described as one genre. Elements of Funk, Soul, Gospel, Folk, and Blues make up the songs on THE LAST DAYS OF OAKLAND, and much like the city the album is named after, the music on the album is wonderful blend of styles and culture.
While this might be the first release for “Fantastic Negrito” it’s not the first release for Xavier Dphrepaulezz. In the early 90’s Dphrepaulezz was living in Los Angeles and briefly signed to Interscope Records and released one album. The album failed to satisfy the powers that be at Interscope and he was released from the label. Frustrated he actually gave up music. He then was involved in a terrible car accident which left him bedridden for several months. He returned to Oakland and several years later after the birth of his son the creative juices started to flow again and “Fantastic Negrito” was born. Then last year after many gigs around the Bay Area, Fantastic Negrito finally drew some well-deserved national attention last year when he won NPR’s Tiny Desk contest. Now hopefully the publicity he got from NPR will translate into record and ticket sales for Fantastic Negrito, as he is a musician that deserves to be heard by the masses.
The music on THE LAST DAYS OF OAKLAND takes the listener on a journey through the history of American roots music. The haunting Blues-Gospel tune “In The Pines” is a song that dates back to the late 1800’s and has been covered by everyone from Leadbelly to Nirvana. Here the song is given new life by Fantastic Negrito who recently released an accompanying video to the song that talks about the impact of gun violence in America today. Another one of my favorite tunes on the record is “Lost In The Crowd”. Originally released on his Deluxe LP in 2015 Fantastic Negrito commands your attention while he screams and shouts through this bluesy-rocker. A word also must be mentioned about the album’s cover art. The cover art features a character sitting a top a street sign that marks the location of Saint Andrews Plaza in West Oakland. Behind them is a beautiful drawing of the City of Oakland and a sunset. It might not be as important as the music on the record but the cover art truly makes this album a complete work of art. For fans who like something a little different or are fans of artists like Tom Waits, Fishbone, and Funkadelic, THE LAST DAYS OF OAKLAND is a must have.
WILLIAM BELL: THIS IS WHERE I LIVE Stax Records/Concord Music Group
Singer William Bell is a national treasure. Besides being one of the few artists still performing today that was with STAX Records in the early 60’s, he also is one of the few artists still performing classic Southern Soul. His new album THIS IS WHERE I LIVE (Stax/Conord) finds the singer in fine form performing simple but well-crafted songs that draw from a variety of influences. The up-beat “Poison In The Well” could easily be a gospel song if the lyrics were slightly different and the slow-funky groove of “The Three Of Me” calls to mind the sound of urban-funksters The Impressions. The Blues are here too. While the decision to do a updated rendition of his Blues classic “Born Under A Bad Sign” could’ve been a mistake Bell and the band actually deliver! The song is given a complete make-over and is a bit darker sounding then the original. This is a real treat considering that most of the time when artists decide to cover their own music or “update” one of their classics it usually ends up being a step backwards for the song and the artist. Without a doubt, THIS IS WHERE I LIVE is a very welcome addition to William Bell’s already impressive catalog.
A LITTLE HISTORY ON WILLIAM BELL
William Bell started out performing in the late 50’s as part of the vocal group The Del-Rios. After a releasing a few singles with the group that failed to catch any major attention, Bell decided to go solo and signed STAX Records in the fall of 1961. His first single for STAX was the gospel-flavored balled “You Don’t Miss Your Water (Until Your Well Runs Dry)”. Released in 1961 the song turned out to be a hit and his career at STAX was off and running. He released various singles for STAX through out the 60’s finding major success again in 1967 when he co-wrote the Blues classic “Born Under A Bad Sigh” for label-mate Albert King. The song was not only a hit for King but it also became a crossover hit when it was recorded by the rock band Cream in 1968. Also in 1967 Bell released his first full-legenth album for STAX, THE SOUL OF A BELL. The album was very successful and yielded the hits “Everybody Loves A Winer” and “Never Like This Before”. Bell’s success continued in 1968 when he released the very popular single “I Forgot To Be Your Lover”.
Bell stayed with STAX until 1975 when the label officially closed it’s doors. STAX Records still exists today but as a brand only. After STAX, Bell went to Mercury Records and scored another hit “Trying To Love You Two”. He continued to release music and perform throughout the 80’s and 90’s but never regained the success he had with STAX durning the 1960’s and 70’s. Still all that being said, his voice has never left him and along with Booker T., Steve Cropper, and Mavis Staples he continues to introduce new audiences to the sound of sweet southern soul music.
There was a time when all an artist would need to make a good recording was their instrument, a microphone, and a tape recorder. In fact, some of the greatest and most influential recordings of our time were made in rural areas in the back of small country stores or small cabins on equipment that was powered a car battery. Known as “field recordings”, these recordings were usually done by folklorists determined on documenting maters of American Roots music in a natural setting.
Personally, some of my favorite field recordings where done by music historian George Mitchell. Born in Coral Gables, Florida and raised in Athens, Georgia, Mr. Mitchell has recorded hundreds of hours of music, mostly by musicians who would’ve never been heard outside of their living room if it weren’t for him. He was the first to record Hill-Country Blues guitarist R.L. Burnside in 1967 in Mississippi, a recording session that yielded some the most heart-felt acoustic Blues ever recorded. He also was responsible for some excellent late-in-career recordings of Blues legends Fred McDowell and Furry Lewis.
In 2008 Fat Possum records complied a large number of George Mitchell’s recordings for a massive 7-disc box-set simply titled “The George Mitchell Recordings Vol. 1-45”. While the amount of music in this collection may have been perfect for the Blues connoisseur wanting to get completely stuffed on Mitchell’s field recordings, the collection lacked a certain intimacy you get when you focus on just one single artist’s session. Thankfully, the good people at Fat Possum/Big Legal Mess Records realize this and over the years have released entire sessions from individual artists recorded by George Mitchell. Below are some of my very favorites… No studio tricks, no auto-tune, just a musician and their music.
R.L. Burnside First Recordings Recorded in 1968
A popular style of Blues played by musicians from Northern Mississippi, “Hill Country Blues” focuses more on creating a hypnotic rhythm and less on following a specific chord progression. While musicians such as Otha Turner, Jesse Mae Hemphill and Mississippi Fred McDowell (actually from Tennessee) are masters of this style, the two best known Hill Country Blues musicians are Junior Kimbrough and R.L. Burnside. Both Kimbrough and Burnside made their first recordings in the 1960’s with the latter recording for George Mitchell in 1968.
George Mitchell first caught wind of R.L. Burnside while recording another Hill Country Blues master, Otha Turner. It was Turner who suggested to Mitchell that if he wanted to hear someone who could REALLY PLAY, he should check out his neighbor R.L. Burnside. Although both Turner and Burnside where unknown to the outside world at the time they were very popular in their respective communities and masters of the their instrument.
During his session for Mitchell, Burnside performed excellent versions of Hill Country standards, “Poor Black Mattie”, “Goin’ Down South” and “Rollin’ and Tumblin”. He also played a slow eerie-blues entitled “Just Like A Bird Without A Feather”, which is the best track on this wonderful album.
JOE CALLICOT Ain’t Gonna Lie To You Recorded in 1967
Recorded in 1967 and reminiscent of recordings by fellow guitarist Mississippi John Hurt, AIN’T GONNA LIE TO YOU is a mix of Blues standards and Gospel numbers. Also like Hurt, Joe’s voice isn’t the strongest in the world but yet it wonderfully complements his soft finger-picking guitar style. A perfect example of this is Joe’s beautiful rendition of the Folk standard “Frankie and Albert”. While Joe’s career actually began in the 1920’s and included recording sessions and performances outside of Mississippi he was never a household name and even gave up music in the 1940’s. Fortunately for us he returned to recording after meeting George Mitchell in 1967.
J.W. WARREN Life Ain’t Worth Livin’ Recorded in 1981 & 1982
J.W. Warren was born in 1921 in Enterprise, Alabama. Like many of the musicians recorded by George Mitchell, Warren was a farmer who mostly performed just for friends at parties and in local juke joints. The recordings on LIFE AIN’T WORTH LIVIN’ were done in Warren’s own home in Alabama by Mitchell on September 15th, 1981 and in March 27th, 1982. Musically, Warren stuck mostly to traditional-sounding Country Blues. His powerful voice is best displayed on the tune “Hoboing Into Hollywood” and at times bares resemblance to the voice of Country Blues legend Bukka White. Also like White, J.W. Warren was a slide guitar player who’s raw playing style helped him obtain local notoriety. He would scrap his jack-knife against the strings of his guitar to create the sound of a slide (documented here on the recording “My Mind Gets To Wandering”). Mostly a homebody, Warren never toured and rarely travelled out of his hometown. He lived out his final years at home in Ariton, AL, passing away on August 15th, 2003. Fortunately for us we can remember him through these excellent recordings.
Blues and Soul music has always contained some of the most moving socially-minded songs. Here are a few of my favorites…
This moody number might be one of the saddest songs about racial inequality ever written. Released in 1970 on the album IS IT BECAUSE I’M BLACK it’s sung from the point of view of a African American man living in an inner-city ghetto. Guitarist Syl Johnson wrote many songs about “real life” but this might be his finest moment.
A very somber but moving song about the assignation of Dr. Martin Luther King. Written in 1968 shortly after King’s death and recorded at a tribute concert for Dr. King. Muddy Waters plays guitar on the tack. Available on the album LIVE THE LIFE (Testament Records).
An under-rated member of the Chicago Blues scene during the 50’s, Lenior was “rediscovered” by Willie Dixon in the mid 1960’s. He returned to recording in 1965 during the height of the civil rights movement to record two of the most powerful folk blues albums of all time, ALABAMA BLUES and DOWN IN MISSISSIPPI. Produced by Dixion, both albums feature Lenior in strip-down acoustic setting tackling subjects such as Vietnam, James Meredith, and the march to Selma, Alabama. While these records are hard to find today on vinyl they are available together on a CD called VIETNAM BLUES.
Ms. Simone has recorded many songs about the struggle for civil rights but few of them are as soulful as “Backlash Blues”. Recorded for her 1967 album NINA SIMONE SINGS THE BLUES (RCA Records) this song talks about how some public officials used different forms of intimidation to keep African Americans from exercising their civil rights. Lyrics for the tune were penned by Jazz poet Langston Hughes.
Both of these tunes were written by Broonzy and recorded by Alan Lomax for the Library of Congress. They can both be found on the CD TROUBLE IN MIND (Smithsonian Folkways Recordings).
Broonzy said he wrote “Black, Brown, and White” in 1939 while he was working as a molder. After he put in many long hours on the job he was told to train an new co-worker (who happened to be white). Broonzy did as he was told and took the new hire under his wing, teaching him all he knew about molding. Shortly after his training was complete the man he trained was promoted and became Broonzy’s boss! Weather or not this actually happened to Broonzy is inconsequential. Situations like these did (and unfortunately still sometimes do) happen in our society.
Written by Roebuck “Pops” Staples in 1965, “Why Am I Treated So Bad” is one of the most popular Civil Rights songs ever written. It’s said that Pops wrote the tune after watching what is sometimes referred to as “Little Rock Nine” on TV. The Little Rock Nine was a group of nine children who were refused entry to a public school in Little Rock Arkansas because they were African American. Tensions were so high in Little Rock that eventually President Eisenhower had to intervene and sent the National Guard to Little Rock to escort the children into the school. Outraged by this event Pops wrote this powerful song which he regularly performed at rallies with his group The Staple Singers. According to Pops’ daughter Mavis, the song was a favorite of Dr. Martin Luther King. You can find this song on the Staple Singers “best of” collection FREEDOM HIGHWAY: The Epic Years (Epic Recordings).
While this might not be John Lee Hooker’s best know song it’s definitely one of his most powerful. From the underrated 1969 album SIMPLY THE TRUTH, this song finds Hooker calling out to his missing friends fighting overseas. Frustrated with the government he sings about the problems going on domestically and asks why they got involved with Vietnam when there were so many troubles at home? This is a beautiful song about a difficult time in U.S. history.
Other civil rights songs I recommend…
JAMES BROWN “Say it LOUD, I’m Black and I’m Proud”
THE TEMPTATIONS “Ball of Confusion (That’s What The World Is Today)”
WILLIE HIGHTOWER “Walk A Mile In My Shoes”
THE STAPLE SINGERS “Long Walk To D.C.”
BIG JOE WILLIAMS “The Death of Martin Luther King”
STEVIE WONDER “Living For The City”
MANCE LIPSCOMEB “Mean Boss Man”
SLY & THE FAMILY STONE “Everyday People”
Few people were better at discovering musical talent in Louisiana during the 1950’s and 60’s then J.D. Miller and Eddie Shuler. Instrumental in bringing styles such as Zydeco, Cajun, and Swamp Pop to the ears of the world, they each made their mark by recording and producing local unknown talent. Miller recorded the artists he discovered then usually sold the tapes to other record labels while Shuler recorded and released music on his own Goldband label. Now, thanks to the fine people at ACE Records, there are TWO new excellent compilations that focus on the Blues recordings produced by Miller and Shuler.
Part of ACE’s “By The Bayou” series, these discs, entitled Bluesin’ By The Bayou and Bluesin’ By The Bayou: Rough & Tough, are both supreme examples of the Louisiana Blues scene during the 50’s and 60’s. Sometimes known as “Swamp Blues” the music on these recordings is a mix of down-home Country Blues with a few touches of R&B, Zydeco, and Cajun Music thrown in for good measure. These recordings are essential for any Blues or Roots Music fan’s record collection. This is as greasy as it gets!
Some of the artists featured on Bluesin’ On The Bayou
Born in Baton Rouge, Louisiana, Slim Harpo was one of the most successful and best known of all Swamp Blues artists. His songs “I’m A King Bee” (1957) and “Shake Your Hips” (1961) were both covered by The Rolling Stones and he had a number one hit in 1966 with “Baby Scratch My Back”. Included on Bluesin’ By The Bayou: Rough and Tough are his single “My Little Queen Bee”, an answer to his first hit “King Bee”, and a cover of Lonesome Sundown’s “Bought Me A Ticket”
Lonesome Sundown was born Cornelius Green in 1931 on a plantation in Donaldsville, Louisiana. Well versed in a variety of musical styles, Lonesome Sundown’s music ranged from down-home Blues to Country to Roll-licking R&B. He was never a household name but nevertheless was responsible for some of the most exciting music to come out of Louisiana in the 50’s and 60’s. Included on Bluesin’ By The Bayou: Rough and Tough are romping versions of his songs “I’m Gonna Stick To You Baby” and “If Anybody Asks You”. Both songs are essential listening for ANY Blues fan.
One of the most important and influential bluesmen to ever come out of Louisiana, Lightnin’ Slim was actually born in St. Louis, Missouri. He moved to Louisiana when he was a teenager and soon picked up the guitar and began playing in clubs. In 1954 he recorded “Bad Luck Blues” with J.D. Miller and regularly performed with fellow Louisiana bluesmen Lonesome Sundown, Lazy Lester, and Slim Harpo. Included here in this collection is his song “Trip To Chicago” which talks about the groups “adventure” to play a gig in the Windy City! Fellow Louisiana bluesman Buddy Guy credits Lightnin’ Slim as one of his biggest influences.
A talented multi-instrumentalist, Lazy Lester performed on many recordings produced by J.D. Miller as both a front-man and backup musician. His first major his was the his 1958 release “I’m A Lover Not A Fighter”. Originally written by J.D. Miller, this song put Lester on the map and was coupled with the b-side “Sugar Coated Love”. Still an excellent performer to this day, he still tours nationally and is a favorite at Blues festivals. He was inducted into the Blues Hall Of Fame in 2012.
Full of Jump Blues, early R&B, and down-home Country Blues, the double-disc collection No More Doggin’ The RPM Records Story Vol. 1 might be one of the best introductions to early 50’s blues ever. Compiled by the good folks at ACE Records, this collection covers the early years of RPM Records and features well know artists like B.B. King, Howlin’ Wolf, and Lightnin’ Hopkins.
Started in 1950 by the Bihari Brothers, RPM was meant to be a subsidiary of the Bihari’s very popular label Modern Records. After initially having lots of success with Modern, the Bihari’s began having trouble getting their records played on the radio due to stations not wanting to play too many sides from any one label. So in order to get their product on the airwaves the Bihari’s started a number of subsidiary labels. Probably the most popular of Modern’s subsidiary labels, RPM introduced the world to a Memphis radio DJ by the name of Riley B. King. Eventually known as “B.B. King”, Riley came to the attention of the Bihari Brothers thanks to their working relationship with Memphis talent scout/producer Sam Phillips. Phillips at the time was recording local artists with his Memphis Recording Service then sending the masters to labels like Modern and Chess. Trough their relationship with Phillips, the Bihari’s got hooked up with some of the best talent in Memphis. Unfortunately their relationship ended when Phillips and the Bihari’s had a disagreement over a B.B. King session and went their separate ways. Fed up with feeding product he recorded to other labels, Phillips then decided to start his own label, Sun Records. As for Modern/RPM, even without the help of Phillips the label still went on to produce many more hits, including B.B. King’s breakthrough hit record Three O’Clock Blues.
No More Doggin’ The RPM Records Story Vol. 1 starts off with the Dixieland-style track “Alabama Bound”. Sung by Adele Francis, this tune was RPM’s first release in 1950. Other stand out tracks are Sonny Blair’s down-and-out blues ballad “Glad To Be Back Home”, B.B. King’s “Other Night Blues, and Howlin’ Wolf’s “Riding In The Moonlight”. My personal favorite recordings on this collection are the Lightnin’ Hopkins tracks. Excellent versions of “Bad Luck and Trouble” and “Another Fool In Town” showcase Hopkins at his bluesy best, while “Jake Head Boogie” shows that he also could ROCK when he wanted to. Another nice surprise on this collection is the tune “It’s Time For Lovin’ To Be Done”. Performed by Detroit Bluesman Little Eddie Kirkland, the song features uncredited backing vocals by the great John Lee Hooker!
As usual the folks at ACE left no stone unturned when putting this collection together. Included in this collection is a nice history of RMP records as well as a few words on all the performers. All of the albums 52 tracks sound crisp and clear thanks to the extra care shown by the folks who did the remastering. If you want to hear where Rock N’ Roll really began this collection is for you.
James Govan might be the best singer you’ve never heard of. Born in McComb, Mississippi in 1949, James was raised in Memphis, Tennessee where he was an in-demand performer on Beale Street. His first “big break” came in 1967 when his talent caught the attention of songwriter/producer George Jackson. Jackson who at the time was working for the Muscle Shoals-based record label FAME decided to record a demo with James in Memphis. He sent the demo to FAME label owner Rick Hall who loved what he heard and set James up with producer Mickey Buckins. James recorded a number of songs for FAME between 1969 and 1972 but the label only released a few of them as singles. In fact, most of the music went unreleased until 2013 when the good people at ACE Records complied it and released it as James Govan Wanted: The FAME Recordings. Even though none of these recordings were big hits that made him a household name it’s still an amazing body of work that’s essential to any music fan’s record collection.
After his time with FAME, James went back to Beale Street where he became a regular performer in blues clubs. He released one album in 1982 which went nowhere and after that didn’t release any new music until the 1990’s. He saw some success in 1993 when his performance at the Porretta Soul Festival in Italy made him a popular performer in Europe. He then released another album in 1996 but like his previous albums, it failed to draw any attention. James may have never had that “big hit record” but he always delivered the good live. He was a regular performer at the famous Run-Boogie Cafe in Memphis for over 20 years.
Sadly James passed on July 18, 2014. Fortunately his amazing talent will live on through his recordings and hopefully in time make James Govan into a household name.
Mavis Staples is a living legend. Over the past 60 years she’s not only brought Gospel music to the masses but she’s also been a voice of hope and strength for those fighting for Civil Rights. Her career started in Chicago during the late 1940’s. Mavis and her siblings would perform in churches alongside their Father, the legendary Roebuck “Pops” Staples. With a sound was rooted in Southern Gospel and Delta Blues “The Staple Singers” soon became local favorites and in the early 50′s began recording sides for labels like VeeJay, Riverside, and Checker. In addition to Gospel music fans the band was also embraced by the folk music scene during the folk revival of late 50′s and early 60′s. At this time band also became very active in the civil rights movement and regularly performed at rallies and events hosted by Dr. Martin Luther King. In the late 60′s and early 70′s the music scene was changing and the band changed right along with it. They signed with the legendary STAX Records and under the guidance of STAX’s A&R man Al Bell they started adopting more of a Soul-Gospel style. Their music might have become a little funkier but it still contained the same message of hope and tolerance. Songs like “Respect Yourself“, and “I’ll Take You There” made the band a household name and catapulted them into stardom. Unfortunately, due to some questionable business decisions by Al Bell STAX Records filed for bankruptcy in 1975 and was forced to shutdown.
Over the next several years the Staples put out several releases, none of which had much success. Then in the 1990’s the Staples Family found themselves back in the spotlight. Pops won a Grammy for his solo record Father, Father and the whole band was inducted into the Rock N’ Roll Hall of Fame in 1999. Sadly this was Pops’ last hurrah as he would pass away in December of 2000 from complications caused by a concussion he suffered while at his home. During the 2000’s Mavis continued to perform and release solo albums. Paired with producers such as Ry Cooder and Wilco’s Jeff Tweedy, these records introduced Mavis to a whole new audience. In 2013 her Jeff Tweedy-produced album You Are Not Alone won a Grammy for “Best Americana Album”.
This year Mavis will turn 75 years young and she’s just as popular as ever. People all over the world still cram into venues to see her perform and she’s a regular musical guest on late-nite TV. Her music still carries with it a message of hope and tolerance. A message that reminds us that even though there have been victories in the struggle for civil rights, the fight is far from over.
STAPLE SINGERS/MAVIS STAPLES SUGGESTED LISTENING
The Staple Singers: Uncloudy Day (VeeJay)
The Staple Singers: Freedom Highway (Epic/Legacy)
The Staple Singers: Be Attitude: Respect Yourself (Stax)
The Staple Singers: The Staple Swingers (Stax)
The Staple Singers: The Best of The Staple Singers (Stax)
Mavis Staples: We’ll Never Turn Back (Anti) produced by Ry Cooder
Mavis Staples: You Are Not Alone (Anti) produced by Jeff Tweedy
Mavis Staples: One True Vine (Anti) produced by Jeff Tweedy