Staple Singers

Come Go With Me: The Stax Collection presents all of The Staple Singers’ studio albums released on the iconic Stax label, spanning 1968-1974. The final, seventh disc offers rarities, non-album singles, and several live recordings from the legendary 1972 Wattstax music festival. Housed in a slipcase, the collection also includes a deluxe booklet with archival photos and new liner notes from American music specialist and curator Levon Williams (formerly of the Stax Museum and the National Museum of African American Music), and folklorist, ethnomusicologist and writer Dr. Langston Wilkins.

Throughout the distinct phases of their recording career, from straight rhythmic gospel to Civil Rights protest anthems, to what might be called soul folk to the funky grit of their Stax years, the Staple Singers always delivered songs that said something, and even when the grooves of songs like 1971's "Respect Yourself" or 1972's reggae-tinged "I'll Take You There" were sending people to the dancefloors, the lyrics were hopeful, message-driven missives of support for a better self, a better community, and a better world. Stax Profiles is a fine anthology which collects tracks recorded between 1968 and 1975 during the Staple Singers productive stay at Stax Records, and includes both "Respect Yourself" and "I'll Take You There," as well as the powerful "City in the Sky," "Touch a Hand, Make a Friend," "Are You Sure," with its brilliantly staggered vocals, and the Steve Cropper produced "Long Walk to D.C." There isn't a single lame track here, and while there are lengthier collections of the Staple Singers' Stax years on the market, this one has a wonderful flow.

The Staple Singers are perhaps best remembered for their period recording for Stax Records in Memphis between 1968 and 1975, where they enjoyed a string of pop, soul and international hits. Here though Jasmine focus on the groups early recordings when they were strictly a religious group steeped in American Gospel traditions. Although the line-up was unusual for the time, male and female groups were not common in Gospel music then, they undoubtedly appealed to the huge number of migrants who had moved to Chicago from the rural south. 'Pops', as he was known, had a guitar style highly reminiscent of the Mississippi blues singers of the 1920s and 30s and the vocal arrangements that he gave the girls were also similar to those of the earliest jubilee style gospel groups of the pre-war years like the Golden Gate Quartet and The Charioteers. Here then are their famous early recordings as released by Vee Jay Records who continued to reissue their repertoire on LP for many years.