Artist: Ann Peebles
Profile:
A diminutive singer with a powerful voice and an even stronger attitude, Ann Peebles was one of the artists who defined Willie Mitchell’s legendary Memphis soul label Hi Records, along with Al Green and, later, O.V. Wright. Easily the best female singer in the Hi stable, Peebles ranked among the finest deep Southern soul singers of the decade, notching an instant classic with her 1973 hit “I Can’t Stand the Rain.” She co-wrote a generous share of her own material with husband Don Bryant, and while she cut plenty of love and heartbreak tunes, her persona was built on the grit and resilient strength she displayed on songs like “I’m Gonna Tear Your Playhouse Down.” Peebles wasn’t always as appreciated on the charts as her work often merited, especially among pop listeners, but her best recordings hold up among the best of their era.
Peebles was born April 27, 1947, in East St. Louis, Missouri. Her father was a minister and her mother a singer, and naturally Peebles began singing at a young age in her father’s church choir. She also sang with the family group, the Peebles Choir, which had been touring the gospel circuit since Peebles’ grandfather founded it a generation earlier. As a teenager, she sang secular music on the St. Louis club circuit, supported and accompanied by her father. There she met blues bandleader Oliver Sain, a local legend, and eventually joined his revue. Peebles caught her big break in 1968 on a trip to Memphis, where she asked to sit in on a club set by trumpeter Gene “Bowlegs” Miller. Miller was already signed to Hi Records at the time, and duly impressed with Peebles’ voice, he brought her to Hi house producer Willie Mitchell for a tryout. Mitchell, who was still in the process of shifting the label from country to R&B (and had not yet discovered Al Green), immediately offered Peebles a contract; she was still shy of her 21st birthday.
Mitchell teamed Peebles with singer and house songwriter Don Bryant, seeking a bit more seasoning in her R&B phrasing. Peebles and Bryant soon began writing together (and would also end up dating). In the meantime, Peebles recorded her debut single, “Walk Away,” a song written by Sain that just missed the Top 20 on the R&B chart in 1969. The follow-up, “Give Me Some Credit,” was also a minor hit. Both songs were featured on the singer’s debut album, This Is Ann Peebles. Her fourth single, 1970’s “Part Time Love,” was her first R&B Top Ten. 1972’s Straight from the Heart was her first artistically realized LP, however; it featured several minor R&B hits in “I Pity the Fool,” “Slipped, Tripped and Fell in Love,” “I Feel Like Breaking Up Somebody’s Home” (later covered by Bette Midler), and “Somebody’s on Your Case,” plus the signature album track “99 Lbs.” Her hot streak continued with 1973’s I Can’t Stand the Rain, which many critics still regard as her finest work. “I’m Gonna Tear Your Playhouse Down” was a decent-sized hit, and the brilliant title cut — written by Peebles, Bryant, and disc jockey Bernard Miller — became her biggest hit, peaking at number six R&B and famously becoming a favorite of John Lennon. She also charted with “(You Keep Me) Hangin’ On” and “Do I Need You,” but more importantly, married Bryant in 1974.
In the wake of “I Can’t Stand the Rain,” Peebles was a star on the soul circuit, even if she never duplicated its commercial success. “Beware,” “Come to Mama,” and “Dr. Love Power” were all charting singles from 1975’s Tellin’ It, but the rise of disco and the sale of Hi Records in 1977 would conspire against Peebles’ career momentum. 1977’s If This Is Heaven produced only one single in the title cut, which was more polished than Peebles’ usual fare; none of the singles from 1979’s The Handwriting Is on the Wall cracked the R&B Top 50. With Mitchell and most of the Hi house band gone, Peebles took a hiatus from the music business to concentrate on her family.
Peebles reunited with Mitchell in 1989 for Call Me, an album released on Mitchell’s short-lived new label, Waylo; however, longtime fans generally found it a disappointing comeback overpowered by sterile electronic instrumentation. Peebles returned to a more organic approach by signing with roots label Rounder’s Bullseye Blues subsidiary for 1992’s Full Time Love. Another effort, Fill This World with Love, followed in 1996, which featured guest spots from Mavis Staples and Shirley Brown. During the ’90s, Peebles guested on several albums by Maria Muldaur. Meanwhile, “I Can’t Stand the Rain” was covered by numerous artists, including Tina Turner, and revived by Missy “Misdemeanor” Elliott via sampling on her 1997 smash “The Rain (Supa Dupa Fly).” Steve Huey, All Music Guide
Ann Peebles was at the height of her fame in 1975 when she cut the album Tellin’ It — she had scored her biggest chart hit the year before with “I Can’t Stand the Rain,” and Tellin’ It reflected the kind of hard-edged but soulful groove that had taken Peebles to the upper reaches of the charts (and was producer Willie Mitchell’s stock in trade). The album’s opening cut, “Come to Mama,” even features the same sort of fractured rhythmic undercurrent that had hooked “I Can’t Stand the Rain,” but Peebles and Mitchell had the good sense not to deliver ten remakes of her hit; instead, Tellin’ It merges polished production with tough, sinewy grooves (the strings on “Stand By Woman” and “It Was Jealousy” add a touch of class, but don’t clutter up the funk of Howard Grimes’ superb drumming and the punch of the Memphis Horns), and Peebles here reaffirms her status as one of the best female voices in R&B, cutting to the heart and soul of each lyric whether she’s looking for a new man (“Doctor Love Power”) or breaking up someone’s previously happy home (“Stand By Woman”). And while the disco explosion would make soul sets like this obsolete in a few years, Tellin’ It features plenty of cuts that can fill the dancefloor without robbing Peebles of her soulful passion and sassy spirit. Fine stuff. Mark Deming, All Music Guide
A bit late in the classic Hi years, but Ann’s still going strong – in a smooth southern style that recalls the best 70s work by singers like Millie Jackson or Shirley Brown. In fact, Ann takes a hit at the “Shirley/Barbara” answer song cycle that kept going on after Shirley’s “Woman To Woman” – and throws her own version of “You’ve Got The Papers (I’ve Got The Man)” into the ring as proof! The rest of the record is in a similar man-leaving, man-stealing vein – and titles include “Bip Bam Thank You Mam”, “Old Man With Young Ideas”, “Livin In, Lovin Out”, “Handwriting Is On The Wall”, and “I Didn’t Take Your Man”.
Review By RDTEN1:
1975’s “Tellin’ It” found Ann Peebles continuing her musical partnership with producer Willie Mitchell. While the album wasn’t a major change in direction from her earlier breakthrough collection, to their credit, Peebles and Mitchell were smart enough to avoid an outright repeat of “I Can’t Stand the Rain”. As a result “Tellin’ It” was consistent and easily as enjoyable as anything else she’d recorded. Powered by Peebles instantly recognizable voice and Mitchell’s unique Memphis sound, the album featured an engaging mixture of up-tempo soul tunes, country-soul, with a couple of more pop oriented tunes. While there wasn’t a single bad tune on the album, Peebles remained at her peak on up-tempo numbers like ‘Come To Mama’, ‘Beware’, and ‘Love Played a Game’. She was also one of the best soul story-tellers out there. Easily as good as Clarence Carter, or Millie Jackson (without any of the raunch factor). Another great album with four singles embedded in it.
“Tellin’ It” track listing:
(side 1)
1.) Come To Mama (Willie Mitchell – Earl Randle) – 2:52
Like a lot of people, my introduction to this torrid tune came as a result of Bob Seger’s remake – re-titled ‘Come To Papa’ and included on his “Night Moves” album. As much as I love the Seger version, it had absolutely nothing on Peebles’ positively sizzling original. When she sang the title refrain you could literally feel you ears start to tingle. One of the best things she ever recorded (and that’s saying a lot) !!! Hi tapped it as the leadoff single:
– 1975’s ‘Come To Mama’ b/w ‘I’m Leaving You’ (Hi catalog number 5N-2294) rating: ***** stars
2.) I Don’t Lend My Man (Willie Mitchell – Earl Randle) – 2:48
If you want to hear a song that encapsulates the magic of the Hi sound, then I’d suggest the slinky, bluesy ‘I Don’t Lend My Man’ would be in the running. Peebles seldom sounded as good as on this funky tune. Hi tapped it as another single:
– 1976’s ‘I Don’t Lend My Man’ b/w ‘I Needed Somebody’ (Hi catalog number 5N 2309)
3.) I Needed Somebody (Ann Peebles – Don Bryant) – 4:56
Old school country-soul tune with what sounded like some autobiographical lyrics written by Peebles and then-husband Don Bryant. rating: *** stars
4.) Stand By Woman (Earl Randle – O. Roberts) – 3:02
Peebles always had a sexy voice (to say nothing about the album cover), but it seldom sounded as good as on ‘Stand By Woman’. Even liked the flute arrangement. rating: **** stars
5.) It was Jealousy (Don Bryant) – 2:56
The album’s most conventional, pop-oriented ballad … rating: *** stars
(side 2)
1.) Doctor Love Power (G. Anderson – D. Oliver) – 3:06
How could you not love a tune with a title like ‘Doctor Love Power’? Powered by some nice work from The Memphis Horns, this was a charming, breezy tune with the kind of lyrics that simply brought a smile to your face. Understandably Hi tapped this one as another single:
– 1975’s ‘Dr. Love Power’ b/w ‘I Still Love You’ (Hi catalog number 5N 2303)
2.) You Can’t Hold a Man (Willie Mitchell – Earl Randle) – 4:33
Aretha would have approved of this bluesy slice of advice. You somehow got the feeling Peebles knew what she was talking about. rating: *** stars
3.) Beware (Earle Randall) – 3:00
You simply can’t beat Peebles when she’s given a funky up-tempo number like ‘Beware’. Don’t think you’d want to tangle with her in the urban battlefield of martial affairs. Boasting a killer refrain, this one should have been tapped as a single. YouTube has a dazzling live performance of the tune: https://www.youtube.com/watch?v=FrWVkKJrUTM Hi tapped it as another single:
– 1975’s ‘Beware’ b/w ‘You’ve Got to Feed the Fire’ (Hi catalog number 5N-2284) rating: **** stars
4.) Put Yourself In My Place (Earle Randall – B. Jarrett) – 2:37
Breezy slice of homespun advice that was one of the album’s hidden treasures. Kudos to Howard Grimes for the wonderful drums. rating: **** stars
5.) Love Played a Game (Ann Peebles – Don Bryant – F. Hodges) – 2:24
‘Love Played a Game’ sounded like Peebles was stealing a page out of the Al Green songbook. The funny thing is the performance was simply phenominal Shame she never did a duet with Green. rating: **** stars
Review By Derek Anderson:
It’s been a while since I looked back at the Hi Records back catalogue, so thought that I’d rectify that by doing a review of one of Ann Peebles’ albums. With seven albums to choose from, I’ve plenty of great music to chose from. Previously, I’ve written about Ann’s most successful album, 1974s I Can’t Stand the Rain and her penultimate album for Hi If This Is Heaven. Today, I’ve chosen to review the album that followed I Can’t Stand the Rain, 1975s Tellin’ It, which I’ll now tell you about.
Tellin’ It was Ann’s fifth album for Hi Records, released in 1975 and recorded at the Royal Recording Studios in Memphis and produced by Willie Mitchell, the legendary producer. Memphis’ Royal Recording Studios were where so many great albums from Al Green, O.V. Wright, Otis Clay, Syl Johnson and Ann Peebles had been recorded. Featuring on Tellin’ It were the Hi’s famous rhythm section, the Memphis Strings and Memphis Horns, while Chalmers, Rhodes and Chalmers contributed backing vocals. With ten songs recorded, five of which were either written or co-written by Earl Randle, three of which Earl cowrote with Willie Mitchell. Ann cowrote two songs with Don Bryant, I Needed Somebody and Love Played A Game. Now that Tellin’ It was recorded, it was ready for release.
On the release of Tellin’ It, it reached number thirty-eight in the US R&B Charts. This was one of Ann more successful albums, with only 1971s Part Time Love and 1974s I Can’t Stand the Rain dong much better. Part Time Love had reached number forty in the US R&B Charts, while I Can’t Stand the Rain reached number twenty-five in the US R&B Charts. Tellin’ It featured two successful singles, Beware and Come To Mama, both released in 1975. Beware reached number sixty-nine in the US R&B Charts, while Come To Mama reached number sixty-two in the US R&B Charts. Overall, Tellin’ It had been a successful album for Ann, producing two US R&B hit singles, but what does Tellin’ It sound like? That’s what I’ll now tell you.
Tellin’ It opens with the second single released from the album Tell Mama, co-written by Willie Mitchell and Earl Randle, who wrote so many great songs for Hi Records artists. Come To Mama is a mid-tempo track with a real Southern Soul sound and feel. With piano, percussion and a Hammond organ adding an atmospheric sound, the Hi Rhythm Section enter, before Ann’s emotive vocal enters. Ann’s accompanied by blazing horns Rhodes, Chalmers, and Rhodes, the legendary trio of backing vocalists. The arrangement is punctuated by percussion throughout the track, repeating the same groove. However, this slightly spoils the arrangement, but Ann’s sultry sounding vocal, impassioned and laden with emotion that steals the show, resulting in a good track to open the album,.
The tempo drops on I Don’t Lend My Man, a track that’s much better than the opening track. Here, we hear Ann delivering her vocal with a warning, that says hands of her man because “I Don’t Lend My Man.” As she delivers her warning, the arrangement is slow, with a Hammond organ, rhythm section and rasping horns providing a moody backdrop for her vocal. Backing vocalists accompany Ann, their vocals drifting in and out of the track, while the Hammond organ, rhythm section and horns are almost ever-present throughout the track. Although the opening track was good, this is a much better track, one with a really slow Southern Soul sound thanks to Willie Mitchell’s production and of course Ann’s vocal.
I Needed Somebody is another slow track, one that very definitely has its roots in Memphis. Here, Ann’s vocal is tinged with regret, sadness and guilt, because she needed somebody, and had an affair. She’s accompanied by a slow, thoughtful rhythm section, Hammond organ and saxophone solo that drifts above the arrangement throughout the track. Later, Ann’s vocal grows in power, and Rhodes, Chalmers, and Rhodes contribute subtle and gentle backing vocals. While Ann’s vocal is full of sadness and guilt, the saxophone and Hammond organ both add an atmospheric sound to one of the best arrangements on Tellin’ It. When this arrangement is combined with the guilt and regret in Ann’s voice this is a compelling and beautiful combination, especially if you listen closely to the lyrics.
Earl Randle cowrote Stand By Woman with Orielle Roberts and it’s a track with a quite different sound to the two previous tracks. It has more in common with the opening track Tell Mama. The song features lush strings, a flute, Hammond organ and the rhythm section accompanying Ann’s tender byt confident vocal. Here, the rhythm section produce a slightly “swampy” sound. However, this combines well with the Hammond organ, while the slow, lush strings and flute are both welcome additions, that add to the track. Although the track that has a quite different sound to other tracks, it’s still a quality slice of Southern Soul from Ann Peebles.
Closing Side One of Tellin’ It is a really sad sounding song, one tinged with regret and heartache It Was Jealousy. The tempo is slow, with an arrangement that combines the emotive sound of a Hammond organ, sad strings and rasping horns with the legendary Hi Rhythm Section. Together they play slowly, resulting in the saddest of backdrops for Ann’s vocal, that’s full of regret and heartache. Her regret is caused by having left her lover because of her jealousy. As Ann delivers the lyrics horns punctuate the arrangement, while the Hammond and strings combine to reflect the sadness in Ann’s voice. This is hugely effective and works really well, resulting in the best track of Side One of Tellin’ it, one with a stunning Willie Mitchell arrangement.
Opening Side Two of Tellin’ It is a much quicker track Dr Love Power. WIth the Hi Rhythm Section driving the track along, augmented by braying horns, percussion and Hammond organ, they provide the perfect backdrop for Ann’s sassy vocal. Rhodes, Chalmers, Rhodes provide gospel tinged and influenced backing vocals that soar in and out of the track. This is a very different, much quicker track, one that’s hugely catchy and full of hooks, as it swings along brilliantly.
Very different, but just as good is You Can’t Hold A Man, a slow, sad song co-written by Willie Mitchell and Earl Randle. It opens with the rhythm section, wailing, atmospheric and sad sound of the Hammond organ combining with slow, lush strings. When Ann’s vocal enters, it’s tinged with regret, with an almost worldly and weary sound, perfect for the track. The cause of this is a failed relationship, caused by jealousy and possessiveness. Adding to the song’s sadness is the subtle, gentle backing vocals that accompany Ann, as the arrangement grows in drama. Blazing horns, slow strings, the Hammond organ and drums combine to create this dramatic backdrop, while, Ann’s vocal almost becomes a mini vamp. As I said earlier, it’s very different to the previous song, but is just as good, and is a track tinged with drama, regret and heartache.
Blazing horns, a driving rhythm section and Hammond organ combine with Ann’s emotive vocal as Beware bursts into life. Written by Earl Randle, this was one of the two singles released from Tellin’ It and is a track with an authentic Southern Soul sound. Ann’s vocal is strong, full of frustration at people talking behind her back about her man. Meanwhile the arrangement drives along, with horns punctuating the track, while Rhodes, Chalmers, Rhodes contribute punchy, yet soulful backing vocals. When you combine the quicker tempo, emotive vocal and horn laden, driving arrangement, you’ve all the ingredients for a great track, which this very definitely is.
Even when I hear the opening bars of Put Yourself In My Place, this track could only have been recorded at Hi Records. It has their trademark sound, plus a frustrated, angry vocal from a weary Ann. Horns blaze throughout the track, while the Hi Rhythm Section, Hammond organ and piano combine, playing slowly and with passion. Together, they provide a backdrop that matches the emotion, anger and frustration in Ann’s vocal. What makes this such a great track, is the slow tempo set by the rhythm section, the blazing horns and the frustration and despair in Ann’s voice.
The final track on Side Two of Tellin’ It, is Love Played A Game, a much slower track, again with the trademark Hi Records’ sound. A combination of rhythm section, Hammond organ and braying horns accompany Ann’s powerful and emotive vocal. Her voice soars high above the arrangement, while backing vocalists accompany her. Meanwhile, the rhythm section and horns drive the track along, creating a somewhat moody and atmospheric backdrop for Ann’s vocal, which seems tinged with sadness, regret and even frustration. This was one of two tracks co-written by Ann, demonstrating that she’s more than a hugely talented singer, but also a talented songwriter too. Here, she delivers her lyrics beautifully, against yet another, great arrangement from producer Willie Mitchell. This almost seems a fitting way to end Ann’s fifth album Tellin’ It.
Overall, Tellin’ It was a quality album from Ann Peebles, and was a worthy successor to her most successful album I Can’t Stand the Rain. Although it didn’t have a huge hit single like I Can’t Stand the Rain, the album featured a number of great songs, written by among others Earl Randle and Willie Mitchell and Don Bryant and Ann herself. Really there aren’t any poor tracks on the album, with
I Needed Somebody, It Was Jealousy, Dr Love Power and Beware among Tellin’ It’s highlight. The only track I wasn’t sure about was Come To Mama, one of the two singles released from the album, which wasn’t one of my favorite tracks. What the album does have is some great production from Willie Mitchell, while the Hi Rhythm Section, Memphis Strings, Memphis Horns and Chalmers, Rhodes and Chalmers all contribute towards making Tellin’ It a great album, which is very definitely, a worthy successor to Ann’s most successful album I Can’t Stand the Rain. Not only that, but here, Ann’s voice is a combination of emotion and passion, and heartache and pain. She brings each of the ten songs to life, delivering the lyrics as if she’s lived the lyrics herself. That’s what makes Ann Peebles such a talented and versatile vocalist. If you’ve never heard this album before, I can thoroughly recommend Tellin’ It to anyone who loves either Southern Soul music or Ann Peebles music. To me, this is one of the best of the seven albums Ann Peebles released on Hi Records. Standout Tracks: I Needed Somebody, It Was Jealousy, Dr Love Power and Beware.
Album: Tellin’ It
Release date: 1976
Tracklist:
01. Come To Mama
02. I Don’t Lend My Man
03. I Needed Somebody
04. Stand By Woman
05. It Was Jealousy
06. Doctor Love Power
07. You Can’t Hold A Man
08. Beware
09. Put Yourself In My Place
10. Love Played A Game
‘Come To Mama’ On YouTube
Vinyl Covers & Labels (Click On The Thumbnails)
