Sad And Beautiful World Mavis Staples

• 1 Chicago 02:37
• 2 Beautiful Strangers 05:58
• 3 Sad and Beautiful World 04:06
• 4 Human Mind (44.1kHz) 03:12
• 5 Hard Times (44.1kHz) 04:45
• 6 Godspeed 02:49
• 7 We Got to Have Peace 03:32
• 8 Anthem 03:04
• 9 Satisfied Mind 03:47
• 10 Everybody Needs Love 04:24
• Total Runtime 38:14

Info zu Sad And Beautiful World

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.”

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.

Mavis Staples, lead vocals
Phil Cook, acoustic guitar, piano, electric guitar, Wurlitzer, organ
Rick Holmstrom, electric guitar
Buddy Guy, electric guitar
Derek Trucks, slide guitar
Brad Cook, synth bass, drum programming, vibraphone, acoustic guitar, bass, synths, tambourine
Matt McCaughan, drums, percussion, OP-1 bass, drum programming, synth
Matt Douglas, saxophone
Nathan Stocker, acoustic guitar, synth
MJ Lenderman, electric guitar, background vocals, drums, acoustic guitar
Colin Croom, pedal steel
Jeff Tweedy, bass
Andy Kaulkin, piano
Nathan Stocker, acoustic guitar, electric guitar
Will Miller, EVI bass synth, trumpet
Trever Hagen, trumpet
Andrew Marlin, mandolin
Spencer Tweedy, drums
Sam Beam, background vocals
Bonnie Raitt, background vocals, slide guitar
Eric Burton, harmony vocals
Tre Burt, harmony vocals
Nathaniel Rateliff, background vocals
Anjimile, background vocals
Kara Jackson, background vocals
Katie Crutchfield, background vocals
Justin Vernon, background vocals
Amy Ray, background vocals
Patterson Hood, background vocals

Engineered by Brad Cook and Paul Voran
Mixed by Brad Cook and Paul Voran except "Everybody Needs Love" mixed by Chris Shaw
Vocals recorded at Lost Boy Sound & Chicago Recording Company
Mastered By Tim Smiley
Produced by Brad Cook

Please Note: This album consists of different sampling rates. See track list - behind each track you'll find the sampling rate.

Mavis Staples
“All of these songs are me, but in a different way, with a different sound,” says Mavis Staples. “The phrasing, the tempos, the arrangements are different, but the messages are the same things I’ve been saying down through the years. They’re about the world today—poverty, jobs, welfare, all of that—and making it feel better through these songs.”

With her bold new album, You Are Not Alone, the legendary vocalist adds a remarkable new chapter to an historic career. Staples is a Rock and Roll Hall of Famer, a Grammy Lifetime Achievement Award winner, and a National Heritage Fellowship Award recipient. VH1 named her one of the 100 Greatest Women of Rock and Roll, and Rolling Stone listed her as one of the 100 Greatest Singers of All Time.

This project—which is being released more than sixty years after she began singing with her ground-breaking family group, the Staple Singers—is the follow-up to We’ll Never Turn Back, her acclaimed 2007 collection of songs associated with the civil rights movement, and to 2009’s Grammy-nominated live album Hope at the Hideout. It stakes out surprising new territory for Staples by matching her with producer Jeff Tweedy, a fellow Chicagoan who also happens to lead Wilco, perhaps the most respected band working in America today.

Tweedy first saw Staples and her band in 2008 at Chicago’s the Hideout when they recorded the live album Hope At The Hideout. After seeing that performance Tweedy knew he had to work with Staples. A little over a year later Tweedy, Staples and her band: Rick Holmstrom, guitar, vocals; Jeff Turmes, bass, vocals; Stephen Hodges, drums; Donny Gerrard, background vocals entered the studio to record You Are Not Alone.

“Mavis is the walking embodiment of undaunted spirit and courage,” says Tweedy. “She’s an ever-forward looking, positive example for all human beings. And she sounds like she’s in the prime of her life.”

Staples says that from her first meeting with Tweedy, in her South Side neighborhood (“I could tell he felt like he was in a foreign land,” she notes with a laugh), she knew that the pairing would click. “We had quite a bit in common,” she says. “He is totally family—he let me into his life, and I let him into mine. It was a perfect blend.”

When she ventured to Tweedy’s home base at the Wilco Loft studio, the two of them sat down and listened to some of the selections he had made as potential material for an album. “The songs he had chosen were great,” she says. “They let me know that he knew me, my background, what was good for me.”

“I have almost everything she’s ever recorded, and I dug back through very thoroughly when I was given this job to do,” says Tweedy. “I thought that if I refreshed myself about where she’s been, it would help her figure out where she wanted to go. I wanted to be sure that we were making a record that she really wanted to make.”

Some of Tweedy’s choices, which would form the emotional core of You Are Not Alone, took Staples all the way back to her earliest memories. She recalls her father, the pioneering guitarist Roebuck “Pops” Staples, playing such traditional gospel songs as “Creep Along Moses” and “Wonderful Savior” on “those big ol’ 78 records” for the family. “I couldn’t believe it,” she says. “Those are songs I grew up with—I never thought I would be recording them.”

In addition, the singer and the producer settled on a few songs that were composed by her late father. Singing “Don’t Knock” and “Downward Road,” she says, transported her to the formative days of the Staple Singers, decades before such classics as “I’ll Take You There” and “Respect Yourself” topped the pop charts.

“Those songs took me back to the best times, and the best songs, of my life,” she says. “It was a feeling of pure joy to be singing the songs I sang when I was young, visualizing what I was when I first sang them. I’m still here, and this is what Tweedy has really done for me—he gave me a chance to be a kid again.”

Staples describes the sessions for You Are Not Alone (which features her own band, augmented by some of the Wilco members and friends like singers Kelly Hogan and Nora O’Connor) as comfortable and welcoming. “From the first day, it was like we had been working together for years,” she says. “I couldn’t wait to get to the studio. The Loft was very warm and homey, the Wilco guys were always coming by and bringing their babies with them, it was very much a family affair.”

The album was recorded during a cold and snowy Chicago winter, and she laughs as she describes the session in which they cut the a cappella gospel number “Wonderful Savior.” Tweedy set up the microphones in a stairwell, assuring her that it would result in a better vocal sound. “I said, ‘it’s freezing, I’m not going out there!,’” she says. “So he said, ‘somebody get Mavis a coat and some gloves.’ But when I heard it back, I said, ‘we better go out there again!’”

Along the way, songs by blues and soul icons (Allan Toussaint, Little Milton, and the Reverend Gary Davis) and by pop master craftsmen (Randy Newman and John Fogerty) were added to the mix. Staples expresses special fondness, however, for the original songs that Tweedy wrote for her during the recording of You Are Not Alone. “He would listen to my conversations, my words, and then feed off that,” she says. “The songs he wrote take me places I wouldn’t normally go. I wasn’t used to singing this way, but it felt really good.” She shed some tears singing the title track, and pours her soul into “Only the Lord Knows,” a Tweedy composition that was the last song they recorded. “That was our political song,” she says “You talk to this one, listen to that one, pick up the paper, but you can’t get any answers. The White House, the church—I can’t get any straight answers to the things I want to know. So for now, we’re on our own, and we have to go to the Lord. He’s the only one who knows.”

You Are Not Alone caps an incredible decade for Mavis Staples, a resurgence that saw her receive Grammy nominations in blues, gospel, folk, and pop categories. She claims, in fact, that she has done so much diverse work recently that, until Jeff Tweedy helped guide the way, she wasn’t sure of her direction.

“After the We’ll Never Turn Back CD, I didn’t know which way to turn,” she says. “Did I want to do a country record, a gospel record, or what? So I needed a sound like this—something that fit my message, but flowed in a different direction from where I would normally take a song so it wasn’t just the same old same old.

“I wanted to make an album where every song had meaning,” she says, “where every song told a story and would lift you up and give you a reason to get up in the morning. And I know it’s going to feel really good singing these songs on stage.”

Dieses Album enthält kein Booklet