DR. JOHN
''LOCKED DOWN''
APRIL 2 2012
42:26
1. Locked Down/4:59
2. Revolution/3:25
3. Big Shot/3:48
4. Ice Age/4:23
5. Getaway/4:35
6. Kingdom Of Izzness/3:37
7. You Lie/4:45
8. Eleggua/2:53
9. My Children, My Angels/5:06
10. God's Sure Good/4:56
All Tracks By Dan Auerbach, Dr. John, Leon Michels, Nick Movshon, Brian Olive, Max Weissenfeldt
Dan Auerbach /Guitar, Percussion, Producer, Backing Vocals
Dr. John /Keyboards, Vocals
Alfred McCrary /Backing Vocals
Ann McCrary /Backing Vocals
Regina McCrary /Backing Vocals
Leon Michels /Keyboards, Percussion, Backing Vocals, Woodwind
Nick Movshon /Bass (Electric), Bass (Upright), Percussion, Backing Vocals
Brian Olive /Guitar, Percussion, Backing Vocals, Woodwind
Max Weissenfeldt /Drums, Percussion, Backing Vocals
REVIEW
by Thom Jurek
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 Tripper's musical terrain on record. The pair worked in Auerbach's Nashville studio with a group of younger players to explore the rawer, spookier elements in Dr. John's 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 isn't 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 Rebennack's 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. Rebennack's 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 ain't iced/you got the breath of life within."The electric piano on "Getaway" sets up a funktastic, bluesed-out swing. The guitars and Nick Movshon's 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; it's 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 Rebennack's Rhodes, guitars, and a skittering snare. It's 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 "God's Sure Good" and a joyous chorus from the McCrary's behind-the-lyric's 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 Rebennack's best.
BIOGRAPHY
by Richie Unterberger Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements have fused New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate on keyboards exclusively. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he's capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed with the Black Keys' Dan Auerbach, to producer and record Locked Down. It was issued in the spring of 2012.
''LOCKED DOWN''
APRIL 2 2012
42:26
1. Locked Down/4:59
2. Revolution/3:25
3. Big Shot/3:48
4. Ice Age/4:23
5. Getaway/4:35
6. Kingdom Of Izzness/3:37
7. You Lie/4:45
8. Eleggua/2:53
9. My Children, My Angels/5:06
10. God's Sure Good/4:56
All Tracks By Dan Auerbach, Dr. John, Leon Michels, Nick Movshon, Brian Olive, Max Weissenfeldt
Dan Auerbach /Guitar, Percussion, Producer, Backing Vocals
Dr. John /Keyboards, Vocals
Alfred McCrary /Backing Vocals
Ann McCrary /Backing Vocals
Regina McCrary /Backing Vocals
Leon Michels /Keyboards, Percussion, Backing Vocals, Woodwind
Nick Movshon /Bass (Electric), Bass (Upright), Percussion, Backing Vocals
Brian Olive /Guitar, Percussion, Backing Vocals, Woodwind
Max Weissenfeldt /Drums, Percussion, Backing Vocals
REVIEW
by Thom Jurek
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 Tripper's musical terrain on record. The pair worked in Auerbach's Nashville studio with a group of younger players to explore the rawer, spookier elements in Dr. John's 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 isn't 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 Rebennack's 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. Rebennack's 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 ain't iced/you got the breath of life within."The electric piano on "Getaway" sets up a funktastic, bluesed-out swing. The guitars and Nick Movshon's 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; it's 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 Rebennack's Rhodes, guitars, and a skittering snare. It's 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 "God's Sure Good" and a joyous chorus from the McCrary's behind-the-lyric's 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 Rebennack's best.
BIOGRAPHY
by Richie Unterberger Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements have fused New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate on keyboards exclusively. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he's capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed with the Black Keys' Dan Auerbach, to producer and record Locked Down. It was issued in the spring of 2012.
No comments :
Post a Comment