Ann Peebles: Tellin' It - 1975

By 1975, Ann Peebles was already something of a veteran, with three studio albums of raw, brassy, down 'n' dirty my man gone done me wrong Southern soul under her belt. It would seem, therefore, that 1975's Tellin' It album would be more of the same, which, to a great extent it is. However, there is a change of image in that Ann now looks slick and sophsticated with a new hairdo on the cover, as it off to a swanky night club as opposed to drinking in a downhome bar or hurrying off to pick the kids up from school before thinking about any opportunity for fun with her cheatin' no good man. No sir. Ann, looking sexy as hell, has gone up a notch or two and, much to the dsipleasure of those who dug the archetypal original Hi Records earthy, horn-drenched grinding backing, what we get here is just a tiny little bit more sophisticated. Produced once more by Willie Mitchell, the sound is more polished, sweeter and more subtle. Well, just a bit, because what it doesn't lack of course, is soul. Ann had that in bucketloads. Add brass to that too - those hot, sweaty Southern horns are still there and there is plenty to please people like me. This is a really good mid-seventies soul album. Make no mistake about that, y'all.

First off is a genuine ballsy Southern soul grinder in the chunky groove of Come To Mama. An insistent, pounding drum and horns backing underpins Ann's gritty, no-nonsense soul mama vocal. Come to Mama indeed. I'm on my way. Ann is becoming more proactive in her in-song proclaimings. Next up she tells us that I Don't Lend My Man. She will lend her friends a helping hand, but share her man? Hell no. You tell 'em Ann. You could be Millie Jackson here, in your forthrightness. Once more the beat is industrially strong, the Hi Records sound is still here, ain't no doubt about it. If you are wondering, this album was still on the Hi label and it totally sounds like it from the beginning to the end, well, it does to me anyway.

A lovely, saxophone-enhanced gospelly slow ballad is on the menu now in If I Needed Somebody, Ann's churchy voice taking complete command. As a child she sang in the Peebles family choir who actually performed as support acts on the soul circuit. Some sweet, rhythmic slow melodies are presented on Stand By Woman, an attractive track made more so by some pleasant flute interjections. Ann lets us know that she ain't gonna be no stand by woman in true mid-seventies soul lyrical style. It Was Jealousy returns to slow balladry with the bass, strings and Hammond organ to the fore, beautifully so. Mid-seventies soul at its most emotive, rich and warm.

Doctor Love Power is almost disco in its upbeat sound. Indeed, it would have gone down well in the discos of 1975. It is full of danceable rhythm and gorgeous horn breaks. Ann's voice rides above it all with an almost grandiose feel. Powerful, quality stuff. Gospel, soulful disco. You Can't Hold A Man is classic organ-driven slow gospel soul in the classic Aretha Franklin style. Ann is right up there with her, believe me. Can you get a witness? I'm here. 

Beware is kick-ass Southern soul at its apex. It cooks on a solid medium/high power like a steadily bubbling jambalaya. If you want to know what "the Memphis sound" was all about, then try this for starters. "Beware of the dog that brings a bone, he's only trying to break up your home". That says it all, doesn't it?

Similarly drenched in those wonderful, uplifting Southern vibes is the sumptuous grind of Put Yourself In My Place. The album closes with another mid-tempo pot boiler in Love Played A Game. All really impressive stuff, and recently mastered to a high level - lovely warm, bassy sound.

Recently I have been reviewing albums by Richard Hell And The Voidoids and later-era Pink Floyd. While they were ok, when listening to this I feel I have come home to somwhere more comfortable. You can't beat classic soul like this in my book.