Mavis Staples – We’ll Never Turn Back - Pinnacle

The message of this collection of civil rights songs from the fifties and sixties is that not only will veteran singer Mavis never turn back, she and her fellow campaigners will keep pushing on. “Things are better but we’re not where we need to be,” she remarked. The album is produced by Ry Cooder, who has given it a contemporary sound, and he plays guitar (needless to say, son Joachim, is on percussion) and, although the music sounds fresh, I do wonder whether We Shall Not Be Moved warranted inclusion. It’s the only song on the album that sounds tired.

The two strongest songs are Down in Mississippi and In The Mississippi River, for the horror of what they relate and the strength of the arrangements. Atmospheric though the arrangements are, it’s Mavis’ voice, full of strength and depth and drawing on personal experience of fear and prejudice, that carries the album.

Civil rights and spirituality were inseparable for Mavis and the other Staples Singers once Pop Staples saw Martin Luther King speak in 1963. They still are for Mavis: “A lot of people would rather hear a message in a song than listen to a preacher.” But really, she’s a singer and a preacher.

Various Artists - Ghana Soundz - Soundway SNDWCD001

This is a compilation of Afro-beat, funk and fusion recordings made (mostly) in the 1970s in Ghana.

I haven’t paid a great deal of attention to Ghana in the past; after I got this, I am beginning to regret that oversight. Of 14 tracks (in 72 minutes), only one is kinda duff. All the rest are highly pyracoustic – and inventive with it. They really are what the sleeve says – a fusion of Afro-beat, heavily influenced by Fela Kuti, jazz and funk, clearly aimed at the dance floor, but equally, as ever in Africa, with something political to say.

One of these tracks Bukom Mashie, by Oscar Sulley & the Uhuru Dance Band, has been included in the soundtrack of the film The King of Scotland – an adventure film about Idi Amin – yet another glorious example of the movie business’ geographical “who gives a fuck?” – well, they both have a G and two As and an N. But if you see the film you can get a good sample. The rest of the album is well up to this standard.

There’s a volume 2, as well, but I haven’t got round to getting it yet - AM

Joan Armatrading - Into The Blues

For those of my generation it's always a cause for celebration when a 70s star, presumed long squeezed dry of creative juice, re-emerges with fresh inspiration and something actually GOOD. So put aside recollections of "Love and Affection" - Joan has taken to the blues with relish. All her own compositions, but with some real edge coming through - she's picked up her electric guitar and the voice is still fantastic. "Play the Blues" seems to be a tribute to John Lee Hooker from what I can make out. She sings "Baby when you play the blues I could take all my clothes off for you". (Steady on Joan - at our age some things are best left covered, but I'm sure he would appreciate the sentiment.) The pace and the acid picks up on tracks like "There aint a girl alive (who likes to look in a mirror like you do"). And if you download it you get a bonus track - a roustabout shuffle "Can't push me down" which is for me the best track of all. Sounds like they had a lot of fun recording it and so far it has become a regular destination when selecting something to get me through a long tedious car journey...

Björk - Volta - tplp460cd

This was baffling. The Amazon review cleary states that 'Volta' is a 'return to the more commercial, upbeat sound of her early work.' Well, maybe for the opening tribal drumming pop of 'Earth Intruders', but afterwards we're surely confronted by Björk's most difficult and challenging record yet.

That's not to say it isnt good, far from it. There are some great songs here, like the deliciously gentle 'I See Who You Are', the relaxed beats of 'Hope' and closing 'My Juvenile', one of two good duets with Anthony Hegarty from Anthony and the Johnsons. But on the flipside of that we have an album popping up with ships sounding together (yes, you read right), and the simple, repetitive horn instrumentations that dominate the dramatic 'Vertebrae by Vertebrae' and the quieter 'Pnuemonia'. At times, these two songs in particular get a bit.....well, annoying. Couple that with 'Declare Independence', a loud techno number, which is the Icelandic songstress' harshest and surely most unlistenable song to date, then you really do have an album with two faces.

There is a good album within 'Volta' (well, half a good album at the least), but as with 2004's 'Medulla', I'm left thinking that at times she's becoming too self-indulgent in her conquest for originality. As with Björk last few albums, it's a challenging listen and it's her longest album to date, but please dont expect a return to her more commercial days with 'Volta', because you really will not get it.

Willy Mason – If The Ocean Gets Rough – 094638390329

Willy Mason is a 22-year-old singer/songwriter from Martha’s Vineyard. Careless spelling will lead to confusion with the Australian Rugby League player and hardman, Willie Mason, aka Stone Mason, but your confusion is not likely to last for long.

Mr and Mrs Mason were folk musicians and Willy’s pretty much in that tradition, with a fine line in melody and mostly acoustic backing, but don’t hold that against him. He’s also been described as the new Bob Dylan but his songs are much less sparse than early Dylan, his lyrics far less opaque, and his voice fuller, though it does crack and break at just the right moment.

The album is rich and varied, starting with the up-beat and catchy Gotta Keep Walking, then moving into The World That I Wanted, with its lilting refrain and story of lives wasted, and turns sinister on Simple Town. He always sounds as though he’s relishing his lyrics, which he should, with lines like: “when the disillusioned are cleaned off the streets/will you clean my shirt and hide me from police” from When The Leaves Have Fallen.

His brother, Sam, plays the drums which are nearly always forward in the mix and which drive the whole thing along; it’s over too quickly.