Dr. John | ||
| Allmusic Biography : Dr. John first became a star by taking the sounds and traditions of New Orleans blues, jazz, and R&B; and twisting them into new forms. As time went by, he would later become one of the strongest proponents of the Crescent Citys musical heritage, celebrating the songs that made that city great, as well as the men and women who made them. And throughout his career, he was widely recognized for his skillful and soulful approach to keyboards and the guitar, on his own recordings and backing other artists. Dr. John was born Malcolm John Rebennack in New Orleans, Louisiana on November 21, 1940. Rebennacks father ran an appliance store that also sold records, and he shared his love of early jazz greats Louis Armstrong and King Oliver with his son. He also grew up in a family of amateur musicians, surrounded by uncles, aunts, cousins, and siblings who played the piano. Rebennacks mother, meanwhile, had worked as a model, and for a time, young Malcolm was the baby on Ivory Soap boxes thanks to his Moms connections. While Rebennacks initial foray into music wasnt successful -- he joined the choir at church only to be kicked out -- in his teens he began studying music, and thanks to his father, he was looking in on sessions at Cosimo Matassas J & M Studios and watching Crescent City legends play at New Orleans nightspots. After meeting the legendary R&B; pianist Professor Longhair when he was 14, Rebennack decided to make music his career, and he became proficient on guitar and piano. By the time he was 16, he was playing gigs at neighborhood bars using the name Mac Rebennack, and when the fathers at Jesuit High School confronted him and told him to choose between music and his education, Rebennack chose music. In addition to live work, Rebennack became a presence in the New Orleans record game, producing sessions for Ace Records and playing on sessions for the likes of Art Neville, Allen Toussaint, Frankie Ford, and Joe Tex. In 1959, Rebennack scored a regional hit single with an R&B; number recorded for Rex Records, "Storm Warning," and by this time he was regularly recording and producing sides for a handful of Southern labels. In 1960, Rebennacks career hit a snag when, while playing a gig in Jackson, Mississippi, he became involved in a fight that led to him being shot in the ring finger. While Rebennack would eventually regain use of his finger, for a while it made it difficult for him to play guitar, and he redoubled his efforts on the piano. He remained active in music, and in 1961 he helped found AFO Records (All for One), an artists collective and label led by the producer, songwriter, and arranger Harold Battiste. By this time, Rebennack had also become addicted to hard drugs, and for a while, dealt dope to support his habit. A bust saw Rebennack receive a two-year sentence in a prison in Fort Worth, Texas, and after his release he headed to Los Angeles, California, hoping to make his way into the lucrative West Coast recording community. Battiste was enjoying success there, and he helped Rebennack get work, playing on sessions for Sonny & Cher, Aretha Franklin, and the Mothers of Invention. By the late 60s, Rebennack had developed a fascination with the legend and lore of New Orleans voodoo, and he created a character named Dr. John Creaux the Night Tripper, a voodoo medicine man who played a role in a set of songs Rebennack had penned. With some help from Battiste, Rebennack landed a deal with Atco Records and recorded an album under the name Dr. John the Night Tripper, 1968s Gris-Gris. Blending churning New Orleans funk with powerful voodoo atmospherics, Gris-Gris wasnt exactly psychedelic, but it certainly sounded trippy, and the album developed a cult following, while Rebennack took Dr. Johns show on the road, playing psychedelic ballrooms where he decked himself out in colorful headdresses, feathers, and cloaks, conjuring a bayou magic ritual on-stage. Two more Dr. John albums followed in quick succession, 1969s Babylon and 1970s Remedies, while 1971s Sun, Moon & Herbs featured guest appearances by two of his better-known fans, Mick Jagger and Eric Clapton. For 1972s Dr. Johns Gumbo, Dr. John pared back the theatrics in favor of a tribute to the great New Orleans R&B; piano tradition, including several numbers associated with his hero Professor Longhair. In 1973, Rebennack finally enjoyed a commercial breakthrough with the album In the Right Place. Featuring backing by New Orleans funk masters the Meters and production by Allen Toussaint, the album produced a smash hit single, "Right Place, Wrong Time," which peaked at number nine on the Hot 100 chart and took the sound of Dr. John to mainstream radio. The same year, Dr. John took part in a collaborative project with Mike Bloomfield and John Hammond, Jr., released by Columbia as Triumvirate. With the success of In the Right Place, Dr. John was finally a star, but his days as a hitmaker proved to be short-lived. His next album, 1974s Desitively Bonnaroo, sold reasonably well, but it didnt spawn another Top 10 single, and reviews were not as strong. It also ended his relationship with Atco Records; his next release, 1975s Hollywood Be Thy Name, was released by United Artists, and failed to make a strong impression with fans or critics. On Thanksgiving Day 1976, Dr. John was one of a number of celebrated artists invited to take part in a special farewell performance by the Band at San Franciscos Winterland Ballroom; two years later, his performance of "Such a Night" from the concert was included in Martin Scorseses acclaimed documentary about the Band, The Last Waltz, as well as in its soundtrack album. Dr. John was also part of the all-star ensemble Band drummer Levon Helm assembled for his debut solo album, Levon Helm & the RCO All-Stars, and he also took part in the subsequent concert tour. In 1978, Dr. John returned with the album City Lights, his first for the jazz-oriented Horizon Records, which included two numbers he co-wrote with the legendary R&B; tunesmith Doc Pomus. Another album for Horizon, Tango Palace, arrived in 1979, and included five more tunes written with Pomus. The same year, Dr. John sat in on guitar on sessions for an album by his friend and mentor Professor Longhair; sadly, the album Crawfish Fiesta would not be released until several months after Longhairs death in January 1980. After his two albums for Horizon, Dr. John was without a record label, and in 1981, he cut a solo piano album for the independent Clean Cuts label, Dr. John Plays Mac Rebennack, which earned rave reviews and helped reaffirm his status as a major artist. A second album for Clean Cuts, The Brightest Smile in Town, followed in 1982. Through most of the 80s, Dr. John focused on live work, recording sessions, and a lucrative sideline of cutting commercial jingles, while he popped up as a guest artist on albums by U.K. jazzman Chris Barber and blues artist Duke Robillard. In July 1989, Dr. John hit the road with Ringo Starr & His All-Starr Band, an ensemble that also included Levon Helm, Nils Lofgren, Joe Walsh, Billy Preston, and Clarence Clemons, among others. The same year, Dr. John landed a new record deal with Warner Bros., his first contract with a major label in a decade, and he released the album In a Sentimental Mood, which found him putting his stamp on a set of old standards. His duet with Rickie Lee Jones on "Makin Whoopee" earned them a Grammy Award for Best Jazz Vocal Performance, Duo or Group. The burst of activity coincided with Dr. John making a commitment to his health; that year, he went into treatment and beat a long-standing addiction to heroin. In 1990, Dr. John made a guest appearance on 20, the first vocal album from New Orleans wunderkind Harry Connick, Jr., and was tapped to record the theme song for the popular situation comedy Blossom. In 1992, he released his second album for Warner Bros., Goin Back to New Orleans, featuring new interpretations of Crescent City classics with a handful of guest performers including the Neville Brothers, Al Hirt, and Pete Fountain. The LP earned Dr. John his second Grammy award for Best Traditional Blues Album. With 1994s Television, Dr. John moved to the jazz-oriented GRP label with a set that combined his 70s funk sound with jazz accents; Anthony Kiedis of the Red Hot Chili Peppers contributed guest vocals, while the band included jazz greats David "Fathead" Newman and Alvin "Red" Tyler. The album coincided with the publication of Under a Hoodoo Moon: The Life of the Night Tripper, a harrowingly honest autobiography Rebennack penned with Jack Rummel. Another jazzy set, Afterglow, appeared on Blue Thumb in 1996. In 1997, Spiritualized leader Jason Pierce persuaded Dr. John to contribute piano to the groups acclaimed third album Ladies and Gentlemen, We Are Floating in Space; Pierce returned the favor with a guest spot on Dr. Johns 1998 effort Anutha Zone, which also featured Paul Weller, Ocean Colour Scene, and Supergrass. 1997 also found Dr. John taking home his third Grammy for the track "SRV Shuffle," which appeared on the 1996 collection A Tribute to Stevie Ray Vaughan. He earned another Grammy for his duet with B.B. King on "Is You Is or Is You Aint My Baby" from Kings 1999 disc Let the Good Times Roll: The Music of Louis Jordan. For 2000s Duke Elegant, Dr. John paid tribute to the music of Duke Ellington in honor of the jazz legends 100th birthday. It was Dr. Johns first album for Blue Note, followed in 2001 by Creole Moon and in 2004 by NAwlinz: Dis Dat or dUdda; the latter included guest vocals from Mavis Staples, Randy Newman, Cyril Neville, and B.B. King. After New Orleans was devastated in the wake of Hurricane Katrina in 2005, Dr. John released Sippiana Hericane, an EP written and recorded as a fundraiser for the New Orleans Musicians Clinic, the Jazz Foundation of America, and the Voice of the Wetlands. 2006s Mercernary saw Dr. John and a stellar crew of New Orleans musicians offering a fresh interpretation of the songs of Johnny Mercer. Dr. John jumped to 429 Records for 2008s City That Care Forgot, which featured guest shots from Eric Clapton, Ani DiFranco, and Willie Nelson; the album earned him yet another Grammy award, for Best Contemporary Blues Album. For 2010s Tribal, Dr. John revisited the sound and style of his early albums as "the Night Tripper," while Dan Auerbach of the Black Keys produced 2012s Locked Down, which also embraced the hoodoo sound of his 70s work while also drawing from Rebennacks experiences in prison. Locked Down added yet another Grammy to Dr. Johns trophy case, winning the award for Best Blues Album. Dr. John paid homage to another hero of American music, Louis Armstrong, with 2014s She-Dat-De-Dat: Spirit of Satch. The Louis Armstrong House Museum awarded Dr. John their Louie Award in 2015, and a year later, he received the Hank Jones Award from the Jazz Foundation of America. And after years of Rebennack paying tribute to other musicians, in 2014 producer and musician Don Was organized an all-star concert for Dr. John, with guest performers including Bruce Springsteen, Aaron Neville, John Fogerty, Mavis Staples, Allen Toussaint, Warren Haynes, and the Dirty Dozen Brass Band. A recording of the concert was released in 2016, The Musical Mojo of Dr. John: Celebrating Mac & His Music. | ||
 | Album: 1 of 28 Title: Gris-Gris Released: 1968-01-22 Tracks: 7 Duration: 33:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Gris‐Gris Gumbo Ya Ya (05:36) 2 Danse Kalinda Ba Doom (03:39) 3 Mama Roux (02:58) 4 Danse Fambeaux (04:55) 5 Croker Courtbullion (06:00) 6 Jump Sturdy (02:20) 7 I Walk on Guilded Splinters (07:37) |
| Gris-Gris : Allmusic album Review : Dr. Johns Gris-Gris is among the most enduring recordings of the psychedelic era; it sounds as mysterious and spooky in the 21st century as it did in 1968. It is the album where Mac Rebennack established a stage identity that has served him well. A respected studio ace in his native New Orleans, Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that wove various threads of New Orleans music together behind the character of "Dr. John," a real voodoo root doctor from the 19th century. Harold Batiste, another ex-pat New Orleanian and respected arranger in Hollywood, scored him some free studio time left over from a Sonny & Cher session. They assembled a crack band of NOLA exiles and session players including saxophonist Plas Johnson, singers Jessie Hill and Shirley Goodman, and guitarist/mandolinist Richard "Didimus" Washington. Almost everyone played percussion. Gris-Gris sounds like a post-midnight ceremony recorded in the bayou swamp instead of L.A.s Gold Star Studio where Phil Spector cut hits. The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits his character fully, delivering Creole French and slang English effortlessly in the grain of his half-spoken, half-sung voice. He is high priest and trickster, capable of blessing, cursing, and conning. On the opening incantation "Gris-Gris Gumbo Ya Ya," Dr. John introduces himself as the "night tripper" and boasts of his medicinal abilities accompanied by wafting reverbed mandolins, hand drums, a bubbling bassline, blues harmonica, skeletal electric guitar, and a swaying backing chorus that blurs the line between gospel and soul. On "Danse Kalinda Boom," a calliope-sounding organ, Middle Eastern flute, Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless chorus in four-part chant harmony as a drum orgy evokes ceremonial rites. The sound of NOLA R&B comes to the fore in the killer soul groove of the breezy "Mama Roux." "Croker Courtboullion" is an exercise in vanguard jazz. Spectral voices, electric guitars, animal cries, flute, and moody saxophone solos and percussion drift in and out of the spacy mix. The sets masterpiece is saved for last, the nearly nearly eight-minute trance vamp in "I Walk on Gilded Splinters" (covered by everyone from Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr. John is brazen about the power of his spells in a slippery, evil-sounding boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju, while a backing chorus affirms his power like mambo priestesses in unison. A ghostly baritone saxophone wafts through the turnarounds. Droning blues, steamy funk, and loopy R&B are inseparably entwined in its groove. Remarkably, though rightfully considered a psychedelic masterpiece, there is little rock music on Gris-Gris. Its real achievement -- besides being a classic collection of startlingly deep tunes -- is that it brought New Orleans cultural iconographies and musical traits to the attention of an emergent rock audience. | ||
 | Album: 2 of 28 Title: Babylon Released: 1969-01-17 Tracks: 7 Duration: 37:58 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic Wikipedia AlbumCover | 1 Babylon (05:25) 2 Glowin’ (05:39) 3 Black Widow Spider (05:01) 4 Barefoot Lady (03:10) 5 Twilight Zone (08:15) 6 The Patriotic Flag‐Waver (04:52) 7 The Lonesome Guitar Strangler (05:34) |
| Babylon : Allmusic album Review : Dr. Johns ambition remained undiminished on his second solo album, Babylon, released shortly after the groundbreaking voodoo-psychedelia-New Orleans R&B; fusion of his debut, Gris-Gris. The results, however, were not nearly as consistent or impressive. Coolly received by critics, the album nonetheless is deserving of attention, though it pales a bit in comparison with Gris-Gris. The production is sparser and more reliant on female backup vocals than his debut. Dr. John remains intent on fusing voodoo and R&B;, but the mood is oddly bleak and despairing, in comparison with the wild Mardi Gras-gone-amok tone of his first LP. The hushed, damned atmosphere and after-hours R&B; sound a bit like Van Morrison on a bummer trip at times, as peculiar as that might seem. "The Patriotic Flag-Waiver" (sic), in keeping with the mood of the late 60s, damns social ills and hypocrisy of all sorts. An FM underground radio favorite at the time, its ambitious structure remains admirable, though its musical imperfections havent worn well. To a degree, you could say the same about the album as a whole. But it has enough of an eerie fascination to merit investigation. | ||
 | Album: 3 of 28 Title: The Sun, Moon & Herbs Released: 1971-08-31 Tracks: 7 Duration: 39:16 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic Wikipedia AlbumCover | 1 Black John the Conqueror (06:23) 2 Where Ya at Mule (04:58) 3 Craney Crow (06:43) 4 Familiar Reality (opening) (05:29) 5 Pots on Fiyo (Filé Gumbo) / Who I Got to Fall On (If the Pot Get Heavy) (05:52) 6 Zu Zu Mamou (08:00) 7 Familiar Reality (reprise) (01:49) |
| The Sun, Moon & Herbs : Allmusic album Review : Originally intended as a triple album, The Sun, Moon & Herbs was chopped up, whittled down and re-assembled into this single-disc release, and while Dr. John never liked this version much, perhaps the single disc is testament to the "less is more" theory. The seven cuts are all quite lengthy and the spells Dr. John and his consorts weave are dark and swampy. "Black John the Conqueror" comes from old Cajun folklore which the good Dr. has modernized and given a beat. The swampy "Craney Crow" is the younger sibling of his earlier "Walk On Guilded Splinters" and has a similar effect on the listener. "Pots on Fiyo (Fils Gumbo)" combines Latin American rhythms with lots of Cajun chants and spells. The vocals are nearly incomprehensible and actually serve as another instrument in the mix. "Zu Zu Mamou" is so thick that you can almost cut the music with a knife. Here, the atmosphere takes on a whole other meaning altogether. The Sun, Moon & Herbs is best listened to on a hot, muggy night with the sound of thunder rumbling off in the distance like jungle drums. Dr. John was definitely onto something here, but just what is left up to the listener. | ||
 | Album: 4 of 28 Title: Dr. John’s Gumbo Released: 1972-04-20 Tracks: 12 Duration: 39:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Iko Iko (04:15) 2 Blow Wind Blow (03:14) 3 Big Chief (03:26) 4 Somebody Changed the Lock (02:43) 5 Mess Around (03:13) 6 Let the Good Times Roll (03:57) 7 Junko Partner (04:30) 8 Stack‐A‐Lee (03:29) 9 Tipitina (02:09) 10 Those Lonely Lonely Nights (02:32) 11 Huey Smith Medley: High Blood Pressure / Don’t You Just Know It / Well I’ll Be John Brown (03:18) 12 Little Liza Jane (02:59) |
| Dr. John’s Gumbo : Allmusic album Review : Dr. Johns Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B;, offering a selection of classic New Orleans R&B;, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There arent as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. Johns Gumbo one of Dr. Johns finest albums. | ||
 | Album: 5 of 28 Title: In the Right Place Released: 1973-02-25 Tracks: 11 Duration: 33:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Right Place Wrong Time (02:55) 2 Same Old Same Old (02:43) 3 Just the Same (02:53) 4 Qualified (04:48) 5 Traveling Mood (02:51) 6 Peace Brother Peace (02:50) 7 Life (02:31) 8 Such a Night (02:57) 9 Shoo Fly Marches On (03:17) 10 I Been Hoodood (03:14) 11 Cold Cold Cold (02:37) |
| In the Right Place : Allmusic album Review : Dr. John finally struck paydirt here and was certainly In the Right Place. With the hit single "Right Place Wrong Time" bounding up the charts, this fine collection saw many unaware listeners being initiated into New Orleans-style rock. Also including Allen Toussaints "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctors fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own. | ||
 | Album: 6 of 28 Title: Desitively Bonnaroo Released: 1974 Tracks: 12 Duration: 36:50 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Quitters Never Win (03:17) 2 Stealin (03:29) 3 What Comes Around (Goes Around) (03:12) 4 Me − You = Loneliness (03:03) 5 Mos Scocious (02:45) 6 (Everybody Wanna Get Rich) Rite Away (02:40) 7 Lets Make a Better World (02:56) 8 R U 4 Real (04:16) 9 Sing Along Song (02:40) 10 Cant Git Enuff (02:58) 11 Go Tell the People (03:03) 12 Desitively Bonnaroo (02:30) |
| Desitively Bonnaroo : Allmusic album Review : When you latch onto a hit formula, dont mess with it, and that is just what the doctor ordered with Desitively Bonnaroo. With installment number three of Dr. Johns funky New Orleans-styled rock & roll, trying to strike gold again proved elusive. There wasnt the big hit single this time around to help boost sales, and the tunes were starting to sound a little too familiar. While not a carbon copy of his previous releases, Desitively Bonnaroo was a disappointment to his fans. Good as it was, it was the end of an era for Dr. John and his type of music. | ||
 | Album: 7 of 28 Title: Dr. John Plays Mac Rebennack Released: 1981 Tracks: 10 Duration: 39:16 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Dorothy (03:20) 2 Mac’s Boogie (03:50) 3 Memories of Professor Longhair (03:50) 4 The Nearness of You (03:49) 5 Delicado (04:10) 6 Honey Dripper (02:40) 7 Big Mac (05:02) 8 New Island Midnight (04:44) 9 Saints (04:42) 10 Pinetop (03:09) |
| Dr. John Plays Mac Rebennack : Allmusic album Review : Dr. John was always respected as a consummate pianist, but he didnt make a solo, unaccompanied piano record until 1981s Dr. John Plays Mac Rebennack. The wait was well worth it. His music had always been impressive, but this is the first time that his playing had been put on full display, and it reveals that theres even more depth and intricacies to his style than previously expected. More importantly, the music simply sounds good and gritty, as he turns out a set of New Orleans R&B (comprised of both originals and classics) that is funky, swampy and real. | ||
 | Album: 8 of 28 Title: The Brightest Smile in Town Released: 1983 Tracks: 10 Duration: 38:51 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Saddled the Cow (02:50) 2 Boxcar Boogie (05:17) 3 The Brightest Smile in Town (03:14) 4 Waiting for a Train (03:24) 5 Monkey Puzzle (04:42) 6 Average Kind of Guy (03:34) 7 Pretty Libby (03:15) 8 Marie la Veau (03:58) 9 Come Rain or Come Shine (04:45) 10 Suite Home New Orleans (03:50) |
| The Brightest Smile in Town : Allmusic album Review : Doctor Johns second solo piano album finds him combining country, blues, and New Orleans standards with originals, half of them instrumentals, and half of them containing vocals that sound like they were recorded off the piano microphone. This is not a high-tech recording, by any means, but in its unadorned way it does capture the flavor of Doctor John as directly as any record hes made. | ||
 | Album: 9 of 28 Title: The Ultimate Dr. John Released: 1987 Tracks: 14 Duration: 54:49 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic Wikipedia AlbumCover | 1 Right Place Wrong Time (02:52) 2 Such a Night (02:57) 3 Traveling Mood (02:47) 4 What Comes Around (Goes Around) (03:12) 5 Me - You = Loneliness (03:05) 6 Let’s Make a Better World (02:52) 7 Iko Iko (04:02) 8 Let the Good Times Roll (03:57) 9 Junko Partner (04:28) 10 Those Lonely Lonely Nights (02:32) 11 Hugh Smith Medley: High Blood Pressure / Dont You Just Know It / Well Ill Be John Brown (03:16) 12 Mardi Gras Day (08:08) 13 Mama Roux (02:57) 14 I Walk on Guilded Splinters (07:37) |
| The Ultimate Dr. John : Allmusic album Review : This collection is drawn from Dr. Johns years on the Atlantic label. Drawing from the albums Gris-Gris, Gumbo, Remedies, Desitively Bonnaroo, and In the Right Place it puts his early years as the band leader in perspective. It takes us from the Hoodo-Voodoo sounds of "I Walk on Guilded Splinters" and "Iko Iko," to the more polished tunes like "Such a Night." It is a good sampling of New Orleans rhythm & blues of this phase of his recorded years. His long years as a studio musician earned him the respect of the many great "sidemen" (a virtual whos who of New Orleans musicians) that he has playing with him on this album. If you dont have early Dr. John this is a necessity. He is at his best here. | ||
 | Album: 10 of 28 Title: In a Sentimental Mood Released: 1989 Tracks: 9 Duration: 40:35 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Makin’ Whoopee (04:08) 2 Candy (05:33) 3 Accentuate the Positive (03:55) 4 My Buddy (03:50) 5 In a Sentimental Mood (04:05) 6 Black Night (04:12) 7 Don’t Let the Sun Catch You Cryin’ (04:53) 8 Love for Sale (05:18) 9 More Than You Know (04:37) |
| In a Sentimental Mood : Allmusic album Review : On Dr. Johns first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porters "Love for Sale" and Johnny Mercers "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one. | ||
 | Album: 11 of 28 Title: Indian Blues Released: 1992 Tracks: 12 Duration: 55:40 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Hu-Ta-Nay (06:18) 2 Indian Blues (04:43) 3 Shallow Water (03:03) 4 Ja-Ki-Mo-Fi-Na-Hay (05:13) 5 Indian Red (07:08) 6 Two-Way-Pocky-Way (01:54) 7 Cherokee (05:58) 8 Hiko Hiko (04:39) 9 Uptown Ruler (08:17) 10 Big Chief (03:10) 11 Walkin Home (02:23) 12 Shave em Dry (02:49) |
 | Album: 12 of 28 Title: Goin Back to New Orleans Released: 1992-06-16 Tracks: 19 Duration: 1:09:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Litanie Des Saints (04:45) 2 Careless Love (04:10) 3 My Indian Red (04:47) 4 Milneburg Joys (02:39) 5 I Thought I Heard Buddy Bolden Say (02:29) 6 Basin Street Blues (04:27) 7 Didnt He Ramble (02:43) 8 Do You Call That a Buddy? (03:28) 9 How Come My Dog Dont Bark (When You Come Around)? (03:54) 10 Goodnight Irene (04:09) 11 Fess Up (04:10) 12 Since I Fell for You (03:12) 13 Ill Be Glad When Youre Dead, You Rascal You (03:31) 14 Cabbage Head (03:25) 15 Going Home Tomorrow (03:59) 16 Blue Monday (03:01) 17 Scald Dog Medley (03:01) 18 I Cant Go On (02:58) 19 Goin Back to New Orleans (04:09) |
| Goin' Back to New Orleans : Allmusic album Review : Having cut an album of standards on his first Warner Brothers album, In a Sentimental Mood (1989), Dr. John turned for its follow-up to a collection of New Orleans standards. On an album he described in the liner notes as "a little history of New Orleans music," Dr. John returned to his hometown and set up shop at local Ultrasonic Studios, inviting in such local musicians as Pete Fountain, Al Hirt, and the Neville Brothers and addressing the music and styles of such local legends as Jelly Roll Morton, Huey "Piano" Smith, Fats Domino, James Booker, and Professor Longhair. The geography may have been circumscribed, but the stylistic range was extensive, from jazz and blues to folk and rock. And it was all played with festive conviction -- Dr. John is the perfect archivist for the music, being one of its primary proponents, yet he had never addressed it quite as directly as he did here. | ||
 | Album: 13 of 28 Title: Les Génies du Rock - DR.JOHN Released: 1993 Tracks: 12 Duration: 36:04 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Shoo-Ra (04:14) 2 One Night Late (02:17) 3 Woman Is The Root Of All Evil (02:07) 4 Shes Just A Square (03:03) 5 Trader John (02:19) 6 In The Night (02:44) 7 Tipatina (03:16) 8 Helpin Hand (02:54) 9 Mean Cheatin Woman (04:37) 10 Zu Zu Man (03:17) 11 Bald Headed (02:30) 12 Cat And Mouse Game (02:46) |
 | Album: 14 of 28 Title: Mos Scocious: The Dr. John Anthology Released: 1993 Tracks: 39 Duration: 2:26:48 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Bad Neighborhood (02:05) 2 Morgus the Magnificent (02:27) 3 Storm Warning (02:57) 4 Sahara (02:23) 5 Down the Road (02:30) 6 Gris Gris Gumbo Ya Ya (05:40) 7 Mama Roux (03:00) 8 Jump Sturdy (02:26) 9 I Walk on Guided Splinters (07:43) 10 Black Widow Spider (05:05) 11 Loop Garoo (04:47) 12 Wash Mama Wash (03:43) 13 Mardi Gras Day (08:16) 14 Familiar Reality (opening) (05:33) 15 Zu Zu Man (08:06) 16 Mess Around (03:17) 17 Somebody Changed the Lock (02:44) 1 Iko Iko (04:10) 2 Junko Partner (04:30) 3 Tipitina (02:09) 4 Huey Smith Medley (03:20) 5 Right Place Wrong Time (02:55) 6 Traveling Mood (02:51) 7 Life (02:32) 8 Such a Night (02:57) 9 I Been Hoodood (03:16) 10 Cold Cold Cold (02:39) 11 Quitters Never Win (03:17) 12 What Comes Around (Goes Around) (03:13) 13 Mos Scocious (02:48) 14 Lets Make a Better World (02:56) 15 Back by the River (04:03) 16 I Wanna Rock (02:40) 17 Memories of Prof. Longhair (03:54) 18 Honey Dripper (03:38) 19 Pretty Libby (03:14) 20 Makin’ Whoopee (04:08) 21 Accentuate the Positive (03:57) 22 More Than You Know (04:37) |
| Mos' Scocious: The Dr. John Anthology : Allmusic album Review : Over his 35 years of recording, Mac "Dr. John" Rebennack has worn many hats, from 50s greasy rock & roller to psychedelic 70s weirdo to keeper of the New Orleans music flame. All of these modes, plus more, are excellently served up on this two-disc anthology. From the early New Orleans sides featuring Rebennacks blistering guitar work ("Storm Warning" and "Morgus the Magnificent") to the fabled 70s sides as the Night Tripper to his present-day status as repository of the Crescent Citys noble musical tradition, this is the one you want to have for the collection. | ||
 | Album: 15 of 28 Title: Tango Palace Released: 1993-02-01 Tracks: 9 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Keep That Music Simple (?) 2 Disco-Therapy (?) 3 Renegade (?) 4 Funky Side (?) 5 Bon Temps Rouler (?) 6 Something You Got (?) 7 I Thought I Heard New Orleans Say (?) 8 Tango Palace (?) 9 Louisiana Lullabye (?) |
| Tango Palace : Allmusic album Review : Dr. Johns second and final album for the Horizon jazz subsidiary of A&M; Records finds him working with producers Tommy LiPuma and Hugh McCracken on a rollicking set that emphasizes his New Orleans roots while attempting to update his sound with 70s effects such as deep, plucked bass notes and occasional disco rhythms. The album leads off with "Keep That Music Simple," a somewhat caustic admonishment to musicians and the music business whose message is disregarded elsewhere on the record, as LiPuma and McCracken seek to cover all stylistic bases from funk to fusion to second line. Dr. John emerges from the production intact, but he is not quite as swampy as when heard at his best. | ||
 | Album: 16 of 28 Title: Television Released: 1994 Tracks: 11 Duration: 48:40 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Television (04:36) 2 Lissen (04:30) 3 Limbo (04:34) 4 Witchy Red (04:18) 5 Shadows (04:08) 6 Shut D Fonk Up (05:15) 7 Thank You (Falletin Me Be Mice Elf Again) (04:08) 8 Spaceship Relationship (04:08) 9 Money (Thats What I Want) (03:28) 10 U Lie 2 Much (04:34) 11 Same Day Service (05:01) |
 | Album: 17 of 28 Title: Dr. Johns Gumbo / In the Right Place Released: 1994-12-13 Tracks: 23 Duration: 1:13:29 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Iko Iko (04:15) 2 Blow Wind Blow (03:14) 3 Big Chief (03:26) 4 Somebody Changed the Lock (02:43) 5 Mess Around (03:13) 6 Let the Good Times Roll (03:57) 7 Junko Partner (04:30) 8 Stack‐A‐Lee (03:29) 9 Tipitina (02:09) 10 Those Lonely Lonely Nights (02:32) 11 Huey Smith Medley: High Blood Pressure / Don’t You Just Know It / Well I’ll Be John Brown (03:18) 12 Little Liza Jane (02:59) 13 Right Place Wrong Time (02:55) 14 Same Old Same Old (02:43) 15 Just the Same (02:53) 16 Qualified (04:48) 17 Traveling Mood (02:51) 18 Peace Brother Peace (02:50) 19 Life (02:31) 20 Such a Night (02:57) 21 Shoo Fly Marches On (03:17) 22 I Been Hoodood (03:14) 23 Cold Cold Cold (02:37) |
| Dr. John's Gumbo / In the Right Place : Allmusic album Review : Mobile Fidelity reissued two of Dr. Johns best albums, 1972s Gumbo and 1973s In the Right Place, on one gold disc in 1994. These records arguably represent his artistic peak, and this is a good way to acquire them, but fans should know that this disc costs more than buying the two records separately. For audiophiles, this wont be a problem, since the remastered tapes will be worth the extra money, but less dedicated fans should be aware of the steep retail price of this disc. | ||
 | Album: 18 of 28 Title: The Very Best of Dr. John Released: 1995 Tracks: 16 Duration: 1:00:50 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Right Place Wrong Time (02:55) 2 Such a Night (02:57) 3 Mama Roux (03:00) 4 Junko Partner (04:30) 5 Wash Mama Wash (03:43) 6 Loop Garoo (04:43) 7 Iko Iko (04:10) 8 Tipitina (02:09) 9 Jump Sturdy (02:20) 10 Qualified (04:48) 11 What Comes Around (Goes Around) (03:12) 12 Mos Scocious (02:48) 13 I Walk on Guilded Splinters (07:46) 14 Honey Dripper (03:38) 15 Accentuate the Positive (03:55) 16 Goin Back to New Orleans (04:09) |
| The Very Best of Dr. John : Allmusic album Review : Dr. John has recorded many great albums, but its difficult to argue with such a perfect distillation of his catchy, grooving, slapdash pop work as this Rhino set. Coming out of the R&B; studio subculture of New Orleans, the former Mac Rebennack possessed songwriting smarts and reams of recording expertise, each of which had reached their peak by the early 70s. Focused squarely on that prime era, 1970 through 1974, the collection begins with his only Top Ten hit, 1973s irrepressibly fatalistic "Right Place, Wrong Time." Two others come from his best album (1973s In the Right Place), the jaunty "Such a Night" and "Qualified." 1972s Dr. Johns Gumbo also rates three tracks: the New Orleans classics "Iko Iko" and "Tipitina," plus "Junko Partner." The compilers were also wise to choose three songs from Gris-Gris, his unjustly neglected psychedelic debut, including "Mama Roux" and "I Walk on Guilded Splinters" (but unfortunately, not the glorious "Gris-Gris Gumbo Ya Ya"). A version of Jimmy Liggins jump-blues classic "Honeydripper," from 1981s Dr. John Plays Mac Rebennack, spotlights his sparkling boogie-woogie piano, and the set closes with a pair of standards from his latter-day Warner Bros. years (one of which is the unofficial Mardi Gras theme "Goin Back to New Orleans"). Whether its for a first listen or the perfect road-trip disc, The Very Best of Dr. John has all of the New Orleans masters best recordings in one spot. | ||
 | Album: 19 of 28 Title: Right Place Wrong Time And Other Hits Released: 1997 Tracks: 10 Duration: 38:35 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Right Place Wrong Time (02:55) 2 Tipitina (02:11) 3 Gris-Gris Gumbo Ya Ya (05:37) 4 Wash, Mama, Wash (03:43) 5 Such A Night (03:01) 6 Iko Iko (04:10) 7 Mardi Gras Day (08:12) 8 Mama Roux (03:00) 9 Lets Make A Better World (02:57) 10 Mos Scocious (02:46) |
 | Album: 20 of 28 Title: Duke Elegant Released: 1999 Tracks: 12 Duration: 1:06:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 On the Wrong Side of the Railroad Tracks (05:42) 2 Im Gonna Go Fishin (05:05) 3 It Dont Mean a Thing (If It Aint Got That Swing) (05:31) 4 Perdido (05:49) 5 Dont Get Around Much Anymore (03:37) 6 Solitude (05:05) 7 Satin Doll (04:46) 8 Mood Indigo (06:54) 9 Do Nothin Till You Hear From Me (05:30) 10 Things Aint What They Used to Be (06:25) 11 Caravan (06:24) 12 Flaming Sword (05:47) |
| Duke Elegant : Allmusic album Review : Duke Elegant certainly wasnt the only tribute to Duke Ellington put out in honor of the 100th anniversary of the legendary bandleader, nor was it even the first time Dr. John had tackled his material. But it would be hard to find a better homage than this one. Dr. John proves a surprisingly good match for Ellingtons material, placing a tremendously funky foundation under the composers tunes. The sound is dominated by the good doctors incomparable New Orleans piano and organ, naturally, and the best tracks are those whose melodies are carried solely by his keyboard work, such as instrumentals "Caravan" and "Things Aint What They Used to Be." The vocal cuts are fine -- his takes on the Ellington ballad "Solitude" and especially the dreamy, elegant "Mood Indigo" show off Dr. Johns uniquely expressive voice as well as any of his early-era recordings -- though he occasionally tends to approach self-caricature, as on "It Dont Mean a Thing (If It Aint Got That Swing)." Any weakness, however, is more than made up for by the closing rearrangement of "Flaming Sword," one of three Ellington rarities here. Dr. John transforms the instrumental into a luminous, gorgeously melodic display of Professor Longhair-style piano over an astonishingly sexy New Orleans funk rhythm. Ultimately, Duke Elegant holds up both as an innovative twist on the Ellington songbook and as a solid Dr. John album in its own right. | ||
 | Album: 21 of 28 Title: Voodoo Blues Released: 1999 Tracks: 12 Duration: 36:32 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Zu Zu Man (03:20) 2 One Night Late (02:19) 3 Mean Cheatin Woman (04:38) 4 Woman Is the Root of All Evil (02:09) 5 Shes Just a Square (03:07) 6 In the Night (02:46) 7 Tipitina (03:18) 8 Shoo-Ra (04:16) 9 Bald Head (02:33) 10 Trader John (02:21) 11 Helpin Hand (02:56) 12 Cat and Mouse Game (02:46) |
 | Album: 22 of 28 Title: Funky New Orleans Released: 2000-04-25 Tracks: 9 Duration: 57:05 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Hu-Tay-Nay (06:17) 2 Big Chief (05:17) 3 Shave em Dry (05:17) 4 Ja-Ki-Mo-Fi-Na-Hay (06:53) 5 Mamzelle Zizi (05:43) 6 Livin On Borrowed Time (09:18) 7 You Aint So Such a Much (06:36) 8 Hu-Ta-Nay (09:16) 9 Walkin Home (02:23) |
 | Album: 23 of 28 Title: Creole Moon Released: 2001-10-09 Tracks: 14 Duration: 1:08:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 You Swore (04:24) 2 In the Name of You (04:52) 3 Food for Thot (04:56) 4 Holdin Pattern (04:44) 5 Bruha Bembe (05:25) 6 Imitation of Love (04:41) 7 Now That You Got Me (03:31) 8 Creole Moon (08:34) 9 Georgianna (03:47) 10 Monkey & Baboon (07:46) 11 Take What I Can Get (03:49) 12 Queen of Cold (03:43) 13 Litenin (03:28) 14 One 2 A.M. Too Many (04:24) |
| Creole Moon : Allmusic album Review : Between his various standards albums of the 90s and the heavily collaborational Anutha Zone from 1998, by the end of the millennium itd been nearly a decade since Dr. Johns last record of straight-ahead New Orleans R&B.; Creole Moon rectifies that situation nicely -- its "a personal interpretation of New Orleans" (as he says in the liner notes), and these 14 vignettes of New Orleans life are soaked in Crescent City soul. Creole Moon is also a return to the sound of his classic mid-70s records (Dr. Johns Gumbo, In the Right Place), right from the spidery electric piano and testifying back-up vocals on the opener "You Swore." Most of his band, the Lower 9-11 Musician Vocaleers, have been playing with him for close to 20 years, and provide solid accompaniment. Dr. John also invites some friends along, including David "Fathead" Newman, slide guitarist Sonny Landreth, fiddler Michael Doucet, and a tight horn section led by Fred Wesley. And theres few better than Wesley to knock out a tough James Brown groove, as he and the band do on "Food for Thot" while Dr. John vamps over the top. Most of the other songs are little more than those loose grooves, and the booklets constant references to African-derived rhythms (or an included Creole dictionary, aka "Gumbo-izms") may be too much for most listeners, but Creole Moon shows Dr. John doing what hes done best for nearly 30 years. | ||
 | Album: 24 of 28 Title: NAwlinz: Dis, Dat or Dudda Released: 2004-06-17 Tracks: 18 Duration: 1:08:07 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Quatre Parishe (02:14) 2 When the Saints Go Marching In (04:52) 3 Lay My Burden Down (04:32) 4 Marie Laveau (06:49) 5 Dear Old Southland (02:41) 6 Dis, Dat, or DUdda (04:20) 7 Chickee La Pas (04:02) 8 The Monkey (03:49) 9 Shango Tango (01:27) 10 I Ate Up the Apple Tree (03:34) 11 You Aint Such A Much (03:11) 12 Lifes a One Way Ticket (04:25) 13 Hen Layin Rooster (03:35) 14 Stakalee (04:34) 15 Eh Las Bas (02:35) 16 St. James Infirmary (04:40) 17 Time Marches On (04:19) 18 Im Goin Home (02:21) |
| N'Awlinz: Dis, Dat or D'udda : Allmusic album Review : NAwlinz: Dis Dat or dUdda is a very good record, but it could have been a great one. One has to wonder if the idea of having all these high-profile guest vocalists was Dr. Johns, Blue Notes, or producer Stewart Levines, in order to follow the 21st century trendiness of having "celebrity" guests on a session. This is Mac Rebennacks homeboy album, a tribute to his city and its players. Hes recorded some in New Orleans, to be sure, but never has he been able to make use of the Crescent Citys greatest arranger, Wardell Quezergue, to such an extent. In addition, the great Doctor was able to enlist Earl Palmer, Smokey Johnson, Nicholas Payton, Dave Bartholemew, Eddie Bo, Walter Wolfman Washington, Snooks Eaglin, the Dirty Dozen Brass Band, Alfred "Uganda" Roberts, Willie Tee, and a huge slew of players to help him out on canonical N.O. repertoire. The sheer number of percussionists on this set is staggering and welcome. On nuggets like "When the Saints Go Marching In," sung funeral style, the Davell Crawford Singers and the Quezergue horns kick it with the rhythm section and front line. "St. James Infirmary" has Bo second-lining the band as he duets with Mac. The Cousin Joe (Pleasant Joseph) tunes like "Lifes a One Way Ticket," Bartholomews "The Monkey," and Macs own brilliant "Shango Tango" smolder with that strutting, finger-poppin R&B.; So whats the problem? The lame, completely lifeless vocals of Randy Newman, a track with B.B. King and Willie Nelson, and Nelson on his own on three tracks that will remain nameless mar something so beautifully done that it otherwise might have been one of the finest New Orleans records since the early 60s. There are other guest vocalists who bring home the bacon on duets with Dr. John -- Mavis Staples on "Lay My Burden Down," Cyril Neville on the amazing read of Robert Gurleys "Marie Laveau," and Rebbenacks closer, "Im Goin" Home," are stellar. And King even rises to the occasion on his duet with Mac on "Hen Layin Rooster." Dr. John is in amazing voice here, his piano playing is knife-edge tough and funky, and his performances are so inspired that they are perhaps career-defining. Three out of 18 cuts is minuscule after all, and the rest of this set is so badass that it should be purchased regardless. After all, what is the remote control for? Its a contender to be sure, but it could have been a champion. | ||
 | Album: 25 of 28 Title: The Best of the Parlophone Years Released: 2005 Tracks: 17 Duration: 1:13:14 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Zonata (00:46) 2 I Like Ki Yoka (03:44) 3 It Dont Mean a Thing (If it Aint Got That Swing) (05:33) 4 Voices in My Head (04:33) 5 Marie Laveau (06:49) 6 Party Hellfire (04:41) 7 Now That You Got Me (03:31) 8 Hen Layin Rooster (03:35) 9 I Ate Up the Apple Tree (03:34) 10 Im Gonna Go Fishin (05:05) 11 Hello God (04:37) 12 Food for Thot (04:56) 13 I Dont Wanna Know (03:23) 14 Lay My Burden Down (04:32) 15 Sweet Home New Orleans (05:50) 16 Careless Love (04:19) 17 Look Out (03:40) |
 | Album: 26 of 28 Title: Anytime, Anyplace Released: 2009 Tracks: 16 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Woman Is The Root Of All Evil (?) 2 Shoo Ra (?) 3 Tipitina (?) 4 One Night Tale (?) 5 A Little Closer To My Home (Bonus Track) (?) 6 Go Ahead On (Bonus Track) (?) 7 Make Your Own (Bonus Track) (?) 8 Mama Roux (Bonus Track) (?) 9 Shes Just A Square (?) 10 Bald Headed (?) 11 In The Night (?) 12 Helping Hand (?) 13 Mean Cheatin Woman (?) 14 The Ear Is On Strike (Bonus Track) (?) 15 I Pulled The Cover Off You Two Lovers (Bonus Track) (?) 16 Did She Mention My Name (?) |
 | Album: 27 of 28 Title: Locked Down Released: 2012-04-02 Tracks: 10 Duration: 42:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Locked Down (04:59) 2 Revolution (03:25) 3 Big Shot (03:48) 4 Ice Age (04:23) 5 Getaway (04:35) 6 Kingdom of Izzness (03:36) 7 You Lie (04:45) 8 Eleggua (02:53) 9 My Children, My Angels (05:06) 10 God’s Sure Good (04:56) |
| Locked Down : Allmusic album Review : Between 1968 and 1972, New Orleans-cum-L.A. session musician Mac Rebennack transformed himself into Dr. John, The Nite Tripper. He recorded a series of albums for Atlantic, most importantly Gris-Gris, but also Babylon, Remedies, and The Sun, Moon, & Herbs; they seamlessly wove a heady, swampy brew of voodoo ritual, funk, and R&B, psychedelic rock, and Creole roots music. The Black Keys guitarist Dan Auerbach admitted upon meeting Rebennack that he wanted to produce a Dr. John album and to revisit the Nite Trippers musical terrain on record. The pair worked in Auerbachs Nashville studio with a group of younger players to explore the rawer, spookier elements in Dr. Johns music. Locked Down is not an attempt to re-create Gris-Gris, which remains his classic; it -- and the other three records -- resembled nothing that existed before. Auerbach and Dr. John wanted to make a modern recording that drew on the spontaneous, more organic feel of those records; they succeeded in spades. Locked Down isnt quite swampy, but it is humid, even steamy. Its grooves are tight but raw and immediate. Its lyrics and music are charged with spiritual energy, carnal desire, and righteous indignation. It melds primal rock, careening R&B, and electric blues in an irresistible, downright nasty brew. The fingerpopping horn chart that announces "Revolution," is underscored by a fat baritone sax, an urgent, shake-your-ass bassline, and pulsing guitars. Drum breaks are constant in accompanying Rebennacks screed against corruption, "religious" hatred, and violence, which degrade humanity. His Wurlitzer solo is brief yet searing. "Ice Age"s guitar, drum, and percussion vamp are deadly infectious. Rebennacks voice growls about collusion between the CIA and KKK and the end of an era, as the McCrary Sisters complement the vocals with an R&B chorus line in affirmation. His organ drones and wheezes to complete the picture, yet turns the last line into possibility: "If you aint iced/you got the breath of life within."The electric piano on "Getaway" sets up a funktastic, bluesed-out swing. The guitars and Nick Movshons hyper bassline drive it urgently with clusters of surf-like chords, reverb, and effects, completed by a roiling, over-the rails Auerbach solo. "Eleggua" is pure spaced-out Nite Tripper, a cosmic funky butt strut; its chanted mystical prayers come from the world of flesh and spirit; its populated by slippery, watery guitars, wailing B-3, broken snare beats, and even a flute. That feel is underscored in the nocturnal shift and shimmer of "My Children, My Angels," driven by Rebennacks Rhodes, guitars, and a skittering snare. Its greasy yet somehow in synch with this love letter from a repentant father to his kids. Rebennack and Auerbach send it off, appropriately enough, with rock & roll gospel in "Gods Sure Good" and a joyous chorus from the McCrarys behind-the-lyrics gratitude, highlighted by a swelling B-3 and backbone-slipping grit. No matter which era or what record you prefer, as an album, Locked Down stands with Rebennacks best. | ||
 | Album: 28 of 28 Title: Ske-Dat-De-Dat: The Spirit of Satch Released: 2014-08-19 Tracks: 13 Duration: 58:31 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 What a Wonderful World (04:10) 2 Mack the Knife (06:13) 3 Tight Like This (04:51) 4 I’ve Got the World on a String (04:04) 5 Gut Bucket Blues (02:47) 6 Sometimes I Feel Like a Motherless Child (04:45) 7 That’s My Home (03:55) 8 Nobody Knows the Trouble I’ve Seen (04:36) 9 Wrap Your Troubles in Dreams (06:36) 10 Dippermouth Blues (04:27) 11 Sweet Hunk O’Trash (04:18) 12 Memories of You (05:02) 13 When You’re Smiling (the Whole World Smiles With You) (02:40) |
| Ske-Dat-De-Dat: The Spirit of Satch : Allmusic album Review : Dr. Johns Ske-Dat-De-Dat: The Spirit of Satch is a collection of songs by and associated with fellow New Orleanian Louis Armstrong, one of the handful cats who put jazz on the map in the early years of the 20th century. Finely arranged by trombonist and co-producer Sarah Morrow, all of these 13 tracks feature guest stars and a great band. Dr. John goes right to the heart of Armstrongs music, opening with "What a Wonderful World," with a vocal intro by the Blind Boys of Alabama and trumpeter Nicholas Payton as a soloist. Its an illustration of just how much he "enjoys screwing with a good song." Though the song is oft-covered, this is likely the very first time its been done as pure NOLA funk, with drummer Herlin Riley popping all over backbeat. "Mack the Knife," with Mike Ladd and Terence Blanchard, may start with a monster syncopated jazz-funk vamp, but the seeming distance in the exchange between the two vocalists feels unbridgeable. "Tight Like This" done with a slow, Afro-Cuban groove, features with Telmary and Arturo Sandoval. Unfortunately, Dr. John is all but absen and the tune suffers for it. "Ive Got the World on a String" is a swinging, bluesy duet with Bonnie Raitt, with Pancho Sanchez dropping a sweet undercurrent of conga. "Gut Bucket Blues," a punchy, swaggering funk number, features a killer horn break from Payton. "Dippermouth Blues" is a driving, fat, front-line horn number, starring James "12" Andrews, while "Sweet Hunk O Trash" is a wonderful duet with Shemekia Copeland that recalls thegood-natured back and forth that Armstrong and Billie Holiday displayed on their 1949 version. His distorted RMI keyboard solo takes it to -- and over -- the margin. Anthony Hamiltons vocal on "Sometimes I Feel Like a Motherless Child" is smooth as silk atop a soulful, contemporary jazz chart. Its followed by two selections with the McCrary Sisters. The first "Thats My Home," is an easy R&B; stroll with Wendell Brunious on flügelhorn. "Nobody Knows the Trouble Ive Seen" is a stirring trad gospel arrrangement with Ledisi as Dr. Johns duet partner. "Wrap Your Troubles in Dreams" is gorgeous NOLA souled-out R&B; with Blanchard and the Blind Boys of Alabama. The closer, "When Youre Smiling" is a greasy second-line read with the Dirty Dozen Brass Band that sends this set out romping. Though a couple of cuts fall short of the mark, and the set may have a few too many guests, Ske-Dat-De-Dat is a solid tribute to Armstrong. It does take chances and almost always pulls them off thanks to Dr. Johns signature blend of musical imagination, wit, and savvy cool. | ||