THAT SURE WAS ONE "GREAT BALLS OF FIRE" WEEKEND!
When I arrived friday afternoon downtown Memphis was on fire. No one was hurt, but the oldest church in the city was lost ): along with several cool old buildings. One of the rooms in my hotel caught fire, but not much damage just one window.



I spent most of my time writing music on (Bobby Whitlock's) piano which was in my room. He co-wrote Layla and Bell Bottom Blues with Eric Clapton. I think I got a couple tunes out of her. The party was crazy! Roller skating girls, Harley riders, Art and some great GREAT music. I also got to meet the folks who bought my "No Name Charlie & The Memphis Street Sweeper" painting. All in all a great time! I had a professional photographer along with me but these shots are from my personal film camera. Below was one of my personal Fav's that night.


ANN PEEBLES:
"I Can't Stand The Rain"
Called the "greatest record ever" by John Lennon, "I Can't Stand The Rain" deliciously blends blues, gospel and pop into an incomparable Memphis soul stew. Understandably her biggest hit, the song peaked at ..6 on the R&B charts in 1974.



Song for song, I Can't Stand The Rain represents the cream of Memphis based Hi Records' creative output, standing right alongside anything Al Green ever recorded for the label. Under the nimble direction of Hi Records head Willie Mitchell, the brilliant Hi house band laid down simmering grooves for Peeble's vocal explorations. Backed by the scorching horns of Stax veterans Andrew Love and Wayne Jackson, the fluid rhythms of the Hodges Brothers (guitarist Mabon "Teenie," bassist Leroy "Flick" and keyboardist Charlie), the unstoppable beats of drummer Howard Grimes, and the supporting vocals of singing team Rhodes, Chalmers and Rhodes, there was really no way Peebles could lose. Here was the same winning sound that drove Al Green's records to the top of the charts. Yet despite all its strengths, I Can't Stand The Rain was not the massive success it should have been. Over the years the album faded into relative obscurity, though it remained quite popular in Europe. If not for British label Dennon Records, one of the finest female soul records of all time might have tragically remained out of print. Fortunately this powerhouse of early '70s Southern Soul is back again for all to enjoy.



A special thanks to Tom and Sandy @ The Talbot Heirs in Memphis for giving me a great place to create and a wonderful insturment with which to do so.
Talbot Heirs In Memphis