The Handwriting Is On The Wall

構成数 : 1枚
合計収録時間 : 00:33:54
Contains five bonus tracks. Personnel includes: Ann Peebles, Don Bryant. Personnel: Michael Toles (guitar); The Memphis Strings (strings); William Easley, Bill Easley (flute, alto saxophone, tenor saxophone); Darnell Smith (flute, tenor saxophone); Bill Flores (flute, baritone saxophone, trombone); Floyd Newman (flute, baritone saxophone); Paul Hill , Ben Cauley (trumpet); Jackie Thomas (trombone); Aaron Nesbit, Aaron Nesbit (keyboards, percussion); Gene Chrisman (drums); Deby Kincaid, Judy Rodman, Karen Taylor (background vocals). Audio Remixer: Maxx Fortune. Recording information: Royal Studios, Memphis, TN. If This Is Heaven, Ann Peebles' 1977 attempt to merge her Southern soul influences with the disco grooves that were dominating the airwaves and the charts, proved to be a commercial disappointment, and for her next album, Peebles and longtime producer Willie Mitchell took a grand step backwards. Released in 1979, The Handwriting Is on the Wall boasted some high-powered funk backdrops, but for the most part the album finds Peebles taking on a set of straight-ahead soul numbers in which she was usually either taking a man away from some woman who didn't know how to hold on to him, or was warning the ladies why they should stay away from her significant other. Peebles is a tower of defiant sass on "I Didn't Take Your Man" and "You've Got the Papers (I've Got the Man)," she leaves no doubt about why she's dating outside her age group on "Old Man with Young Ideas," and "Bip Bam Thank You Mam" alerts listeners to the consequences of not pleasing Ms. Peebles. Willie Mitchell pairs Peebles up with some full-bodied soul and funk arrangements for these songs, and while unfortunately most of the great Hi Rhythm Section were unavailable for this record, the players on board do fine work, even if the groove lacks the ineffable touch of Peebles' finest work. The Handwriting Is on the Wall was Ann Peebles' last album for Hi, and the last new set she would release until 1988, but it captures one of the great R&B singers of the 1970s doing what she does best, and here she bows out on a high point. ~ Mark Deming
エディション : Reissue
録音 : ステレオ (Studio/Live)