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You might not know it, but you've grooved to the dirty genius of The Meters before, probably many, many times, you just might not have realised it - they played backing on on of the dirtiest, funky disco tracks ever! ... Labelle's 'Lady Marmalade' - do you need any more convincing about their essential status?
Funk: the fusion of jazz, blues, soul, gospel, be-bop, and swing, sometimes with added sunshine. The Meters are the granddaddies of the rootsy New Orleans funk style: gritty, earthy and down-right dirty. Think of New Orleans and you think hot and sweaty That's New Orlean's funk. It was influenced by such diverse local cultures as the French, the West Indies and even the native Americans. Parades, Jazz Funeral Bands and Saturday Night Fish Fries all add to the sheer gusty soul of New Orleans funk. Just like the heady atmosphere of Mardi Gras - funk oozes sex. So who were The Meters? Arthur 'Art' Neville on keyboards; Leo Nocentelli (who played on some of Mowtown's greatest including 'Where Did Our Love Go') on guitar; bassist George Porter Jr and drummer Joseph 'Zig' Modeliste, they were eventually joined by Art's brother Cyril. They started out as the backing band for many of the artists on the Sonsus Enterprises label, ran by the hugely influential producer Allan Toussaint and his partner Marshall Sehorn. They jobbed for some of the greats of the New Orleans sound: Lee Dorsey, Dr John, Betty Harris and Toussaint himself and during this time they had quite a few hits. Working with The Meters added the funk to the mix. Their first couple of albums (for Josie Records) were 100% instrumentals. It wasn't until they moved to Reprise Records in 1972 that they re-discovered the power of Art Neville's vocals. They were at their funky best through out the '70's producing their three best albums: Cabbage Alley, Rejuvenation and Fire On the Bayou. The Lord was smiling down on the world the day the decision to re-issue these albums after being too long out of print was taken and with bonus tracks as well!!! The ambassador is really spoiling us with this one! They're on sale in your local Fopp Records for only a fiver! ... go now! ... It's impossible not to recommend all three albums, but there is a truly essential album here. If you'll excuse me this one indulgence I'd like to say a little about all three of them, if I may? Because if your serious about funk, you NEED all these albums. But, then of course, if you're that serious, you should have them already! 1972 saw the release of 'Cabbage Alley'. Their style had changed a little from the Josie recordings, still funky, but the tunes had slowed down a little and became more laid-back (if that's possible) and even more soulful. I love the brazen 'Do The Dirt'. Guaranteed to get any booty shakin’. The sleazed-out quality of 'Lonesome and Unwanted People' reflects the desperateness of 1970's Black America. I particularly love the way the line 'and they don't believe in Santa Claus' is delivered with such pathos that you really can't believe that there's anyone out there that doesn't believe in the big, jolly fella! And still the funk just keeps coming 'Gettin' Funkier All The Time' is an absolute mission statement! On this re-issue you get to enjoy 'Chug Chug Chug-a-Lug (Push and Shove) Parts I and II. Can you guess what those songs are about? Two years on and 'Rejuvenation' sees The Meter's at the height of their rejuvenated (geddit?) funk powers. You looking for the best basslines? Pick a track? any track on this album and you've got the winner. They are the meatiest, phatest bassline you could ever commit to the listening device of your choice: from the opening track - 'People Say' to to the thumpin'ly sexy 'Just Kissed My Baby' to the stripped-down soul of 'Africa': the bass is bulging. This is the album to experience a great rhthym section. Every track on 'Rejuvenation' screams quality ... and screams: 'GET UP AND DANCE!!!' 'It Ain't No Use' is nearly twelve minutes long and allows all the members of the band their chance to show the rest of us a view from on high! 'Rejuvenation' fulfills the promise of The Meters - it is their truly great moment. Finally the band were so comfortable with each other and with their sound that they were in that grooovveee ... They refined the sound for the 1975 album 'Fire On The Bayou'. It opens with a welcome to Meter's country - New Orleans. Tracks such as 'Fire On The Bayou'; Talkin' About New Orleans' and 'Mardi Gras Mambo' give us a real experience of the oppressive heat down in Louiseanna. There's plenty of funk on this album 'Love Slip Upon Ya' practically slides off the album. The band were all keen jazz fans and its influence can be heard on 'They All Ask'd For You' (a nod and a wink to Louis Armstrong) On 'Can You Do Without' George Porter, the bassist and dummer Zig Modeliste show just how well they understand rhythm; playing together perfectly. 'Middle Of The Road' shows us that The Meters hadn't totally abandoned their instrumental roots. It is a funked out jazz classic; Nocentelli's guitar at its most sublime. In the bonus tracks you find a little gem 'A Mother's Love' as bluesy as it comes. Son of a gun, what can you say about 'having big fun at the bayou' in 'Jambalaya'? So there you have it, two wonderful albums and one exceptional, essential album. I think Mick Jagger sumed The Meters up best when he called them "the best m/f band in the world!"
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