As long as you have those brilliant songs, it didn't matter how bad you played, or how bad he sang on 'em sometimes. It was one of those magical things that really worked, and I don't think could ever happen again.

I was writing with different people in Nashville - whoever I could. Eddie Hinton came on the scene about 1963, and about four years later we wrote a ton of songs together. I drifted around, but Eddie and I had some cuts through the '60s and '70s. I went on the road with Kris Kristofferson in 1970.

I've known just thousands of people a hell of a lot more talented than me who never could get anywhere.

I was wanting to do an album but I didn't know if I was really ready. Jerry Wexler was one of my closest friends and allies, like my godfather. He said, Let's do an album. I couldn't sing worth a damn, but there were some good songs.

You got to understand, Arthur Alexander was there with us, and some of his crew. It was in the '50s in Alabama. It was before even the civil rights stuff even started. You can imagine the hatred, although we didn't have it as bad as other parts of the country, I must say.

I went to visit a friend of mine, a writer name Troy Seal, a songwriting fool. He's had a ton of hits. He said, I've got a thing I'm stuck on. I can hear the wind a blowin' - he already had that. You and me lord, we had it all. He only had that first verse. For some reason he was stuck. But that's how that came about.

The guys that I played with, Hollis Dixon and the Keynotes - just about all the great musicians from Muscle Shoals.We played fraternity parties and kids' dances. They were called lead outs for kids in high school. We played wherever we could - in the down time when you weren't recording, people had to make money.