::ALBUM REVIEW::

The hallelujah chorus is somewhat subdued on Mavis Staples’ CD, “We’ll Never Turn Back.” Even though many of the songs on this set are gospel staples (pardon the pun), the guitar that pierces Staples’ anguish and anger plays better in a juke joint than a sanctified storefront. Her voice and Ry Cooder’s slides wage battle, ostensibly against the indignity of oppression, but each a phantasmal sound.

For gospel fans, “I’m On My Way” is a delicious excursion into familiar terrain. While Staples doesn’t glide through the song with the sanctified exuberance of a country choir, she recalls the phrasing of the gospel greats. “Down In Mississippi” is bone-chilling blues. Even more ominous is “In The Mississippi River.” Introducing the song is a gruff male voice that a powerful but pristine sister answers, crying, “Lord, Lord, Lord.” Their pain and passion opens perhaps this deliriously depressing cut. Staples takes over the female lead, her voice following the male singer; ultimately overtaking the duet (almost duel). But neither singer actually wins; the only loser being justice in the pre-Civil Rights. “Mississippi, it ain’t no heaven,” asserts Staples. But her voice is.

“99 And ½” is predictably an homage to Staples’ idol, Dorothy Love Coates and on “We Shall Not Be Moved” she reigns in the tempo, stubbornly refusing to give ground to the beat that bounces through many artists’ take on the iconic protest song. Only the Fairfield Four’s ponderous version rivals Staples’ devastating lament. The sorrow is tangible, almost painful to hear. Like an unwitting interloper chancing upon someone’s heartbreak, I felt an urge to excuse myself for intruding. The regret clashing with resolve is pure tension.

There is a sense of weariness and disillusionment in Staples’ voice. Perhaps the giddy girlhood enjoyed by most teenyboppers of the I Like Ike-era was never hers. A child prodigy, Staples grew up traveling segregated byways, intimate with the separate but definitely unequal temperament of the day. Her resolve never wanders on the depressing highways of past years. And even if all songs carry more than their share of Staples’ burdens, there are moments were she falters. “This Little Light Of Mine” is competent but lacks the spark that feeds the flames of leftover grievances. Likewise, “Ain’t Gonna Turn Me Around,” while spunky, isn’t seismic.

The sparks fly on “In My Own Eyes,” a song Staples’ co-wrote. This is a woman scorned, not to mention ‘buked. From the ’63 March on Washington to today’s duplicitous politicians, the nation’s capital figures prominently in the lyrics. A half century of Staples’ anger also marches to the forefront. Katrina and New Orleans also rush to the forefront. Her growls literally demand an answer to Pops Staples immortal query, “Why are we treated so bad?”

“I’ll Be Rested,” even though it deals with regret, is more cheerful. Staples sings of a celestial reunion in the afterlife, foretelling her reunion with Civil Rights warriors like Dr. Martin Luther King Jr., Robert Kennedy and Brother Malcolm. Not to forsake her musical idols, she plans to join the “heavenly choir.” Singing and never get tired. She calls out names, giving us a glimpse of Sister Mahalia Jackson, Sister Clara Ward and, preceding a chuckle, Sister Marion Williams, among others. She exclaims, “There’s ol’ Dr. Watts, Good God Almighty!” Good God Almighty, indeed.

“Jesus Is On The Main Line” is among the Top 10 hit list all-time gospel songs. It also ranks among the premier novelty tunes, performed in all forms and fashions. Typically buoyant and optimistic, even giddy, the song is a perennial sing-a-long. Staples’ opening is slower; her husky, grainy phrasing adds a sense of immediacy that swipes aside the sometimes silliness of other singers rehashing the tune for the umpteenth time. The beat returns after a scintillating intro, but there Staples’ testament never loses its luster or gravitas. The closing cut of the set is pure passion — and pure heaven.

Staples occupies a parallel plane to most white pop singers who return to the church. Consider Brenda Lee’s recent gospel performances. Lee, a legendary and outstanding singer, is turns sassy and saucy, sounding like a sanctified Peppermint Patty. She breezes through spirituals like “Uncloudy Day.” Compared to Lee’s sunshine (barely bothered by a few scattered clouds at worst), Staples is a thunderstorm. The latter artist’s brilliance is that she effortlessly juxtaposes merry and mournful in a single phrase.

Staples’ idiosyncrasies aren’t a recent phenomenon. Decades ago, Staples halted the tune’s tempo to nearly a standstill. The Staples Singers version of “Uncloudy Day” is among the most haunting ever recorded. On, “We’ll Never Turn Back.” The singer’s trademark — letting loose sardonic but sexy chuckles, moans and shouts — remains a potent force.

Mavis’ voice is rough and raw enough to scratch your back ‘til it bleeds. She is no Barbra Streisand or Enya. But her raw and sometimes harsh message and voice is what makes her so unique, great, and on this recording, Godly.