Thursday, January 9, 2020
In Memoriam: Three New Orleans Icons
Fats Domino: The Fat Man
[purchase]
Despite Nashville’s self-proclaimed title as Music City, I think that New Orleans might have a stronger claim to the title (although Nashville certainly has a fair argument, and New Orleans already has some pretty good nicknames). I’ve written before about my interest and limited expertise in the area of New Orleans music, but it is fair to say that there are few places where so many types of music have developed and cross-pollinated over the years, and where music is so interwoven into the fabric of the city.
One of the reasons for this was Dave Bartholomew, who died on June 23, 2019 at the age of 100. Bartholomew rarely recorded under his own name, but instead was a trumpeter, composer, bandleader, arranger, and producer who, it could be argued, helped create both rhythm and blues and rock music. After an early career as a trumpeter and bandleader, Bartholomew connected with Fats Domino, and their co-written song, “The Fat Man,” kickstarted Domino’s career. Together, they had 65 singles on the Billboard pop chart from 1955 to 1964, including “Ain’t That A Shame,” “I’m Walkin’” and “Walkin’ to New Orleans.” Bartholomew also wrote or co-wrote "My Ding-a-Ling,” which was a hit for Chuck Berry, “I Hear You Knocking,” for Smiley Lewis, and produced Lloyd Price's recording of “Lawdy Miss Clawdy.” Among many, many others. And many of his songs were covered by artists including Elton John, Paul McCartney, the Rolling Stones, Hank Williams Jr., Elvis Presley, Dave Edmunds, and Cheap Trick. He was also name-checked by Elvis Costello in his song “Monkey to Man.”
Bartholomew remained active into his 80s, and in 2011, appeared in his first rap video –“Born in the Country,” a collaboration with his son, New Orleans hip-hop producer Don B, and grandson, rapper Supa Dezzy.
Dr. John: Right Place, Wrong Time
[purchase]
The young Mac Rebennack’s first studio session was supervised by Bartholomew, before he was Dr. John, and when he was still a guitar player. Rebennack started playing with Professor Longhair at the age of 13, and continued his career as a sideman and leader based in New Orleans, until 1960, when the ring finger on his left hand was injured by a gunshot at a gig in Jacksonville. This led him to switch to piano. At about this time, Mac also got involved with drugs and other illegal activities, and after a stint in jail, he ended up in Los Angeles as a studio musician, including being part of the fabled Wrecking Crew, and backing artists as diverse as Sonny & Cher and Frank Zappa (who fired him due to drug use).
In 1968, he adopted the persona of Dr. John, the Night Tripper, and released his first album, Gris-Gris, containing his particular brew of music, psychedelia, and voodoo. For the next few decades, he had a mostly successful career, with hit songs, exciting live performances, awards, guest appearances and star-studded collaborations, all focused on the varied music of his home city. One highlight was his 1973 album, In The Right Place, a collection of funky songs, including both “Right Place, Wrong Time,” and “Such A Night.” The album was produced by another New Orleans legend, Allen Toussaint, and featured the quintessentially New Orleans band, The Meters.
In later years, Dr. John explored many musical styles, including standards and classic jazz, but also collaborated on one of his last albums with Dan Auerbach. And, he played himself in the great TV show, Treme. Although a long-time heroin abuser, Dr. John had been clean since 1989 and died of a heart attack on June 6, 2019 at age 77.
The Neville Brothers: Fire on the Bayou
[purchase]
One of The Meters, who appeared on In The Right Place, was Art “Poppa Funk” Neville, who contributed keyboards. He was the oldest of four brothers, and began his musical career in his teens. By 1965, he had formed The Meters, which was later joined by brother Cyril. The Meters’ 1975 album, Fire In The Bayou, was a critical and popular success, and after all four brothers appeared on 1976’s The Wild Tchoupitoulas, an album of "call-and-response" style chants typical of Mardi Gras Indians, led by George “Big Chief Jolly” Landry, the Nevilles’ uncle, they formed The Neville Brothers. The group became a New Orleans institution, and for years, the New Orleans Jazz & Heritage Festival closed out with a Neville Brothers set.
In 1991, Art and Charles Neville inducted Dave Bartholomew into the Rock & Roll Hall of Fame. Neville later reunited with his Meters collaborators, and performed with both acts over the ensuing years. Neville retired from music in 2018, and died at the age of 81 on July 22, 2019, after years of declining health.
Posted by Jordan Becker at 9:00 AM View Comments
Labels: Art Neville, Dave Bartholomew, Dr. John, fats domino, In Memoriam, The Meters, The Neville Brothers
Wednesday, September 20, 2017
Down: Way Down In The Hole
Tom Waits: Way Down In The Hole
[purchase]
[purchase The Wire soundtrack, with 4 of the 5 versions used in the credits]
This year, it seems like I’m writing more about television related music. I watch an enormous amount of television, and I do think that there is so much great stuff to watch these days. In fact, there’s a ton of shows out there now that I would like to check out, but there are just so many hours in the day. In addition, there are a bunch of older shows, often considered to be among the medium’s best, that I have never seen. Some, I’m not interested in, like Game of Thrones, but mostly it is because I didn’t start watching them during their initial run, such as The Sopranos (80 episodes), or Mad Men (92 episodes), or Breaking Bad (62 episodes, plus I’d have to watch Better Call Saul), and their multi-season runs make binge watching difficult.
A few years ago, when I started my own practice, there wasn’t much work right away. I decided to binge watch one of the shows that I had missed, and hit upon The Wire. It was only five seasons (and 60 episodes), it was supposed to be great. Also, I was a big fan of Homicide: Life On The Streets, which shares significant creative DNA with The Wire. And my wife wasn’t interested in it. Perfect. (I also watched the 24 episode British show The Thick of It, which was amazing, and easily the most profane program I have ever watched).
The Wire was, in fact, great, and harrowing, and depressing and brilliant. The way that it dissected the Baltimore of its era by focusing on the decay of its major institutions—the police, the unions, the government, the schools, the press, and even the street gangs—was remarkable. The narrative style was groundbreaking, and the performances, by actors who rarely, if ever, have reached the same level of quality since, were stunning. And there was Omar.
But, as I so often have to remind myself, this is a music blog. The credits for the first season ran over a cover of Tom Waits’ “Way Down In The Hole,” recorded by the Blind Boys of Alabama. At the time, I didn’t know that it was a cover, because I’m not that big a Waits fan. The second season, they used the original. For season three, it was a Neville Brothers cover, and in season 4, they commissioned a version, credited to DoMaJe, sung by Baltimore middle schoolers, which related to the season’s focus on the public schools. The final year, they used a cover by Steve Earle, who also acted in the show. Here are all of the credit sequences, conveniently edited into one video:
If you’d like to read more about the credits, go here.
David Simon, the creator of The Wire, followed up that show with a number of well-received television projects. Generation Kill, which I haven't seen, was about the 2003 invasion of Iraq. Tremé, which I loved, taught me an enormous amount about post-Katrina New Orleans, and that amazing city's culture, particularly its music. After that, he adapted my friend Lisa Belkin's book Show Me A Hero into a gripping miniseries about zoning (cheap joke--it was about race, and politics and ambition and much more). A couple of weeks ago, his new show, The Deuce, focusing on the sex and pornography industry in New York in the 1970s, debuted to critical acclaim. So far, I think it is good, but, and I bet Simon gets tired of hearing this phrase, it isn't The Wire (but is it more like that show than the other Simon projects?).
Posted by Jordan Becker at 8:36 AM View Comments
Labels: Blind Boys of Alabama, DoMaJe, Down, steve earle, The Neville Brothers, The Wire, Tom Waits
Monday, December 7, 2009
We Are Family: The Neville Brothers

The Neville Brothers: Yellow Moon
[purchase]
I got a chance to see the Neville Brothers live in their hometown way back in my teenage years, in the midst of the Jazz and Heritage Festival, and let me tell you, if you've seen 'em too, you know I'll never forget the swampy energy that oozed from that stage that night like dark voodoo sweat.
Unusually for a sibling act, the Neville Brothers started off separately, making names for themselves as solo and session players; they did not perform together until their uncle Big Chief Jolly brought them together for a 1976 recording session for his Louisiana carnival "tribe" The Wild Tchoupitoulas. On their own, each of the brothers had evolved his own style - Art as the long-time post-doo-wop solo artist and founding keyboardist for The Meters, Cyril as the hand percussionist who followed in his older brother's footsteps, Aaron as the angelic and saccharine soul pop singer, Charles as the rock & roll and jazz session saxophonist. Put 'em together, and the sound is a fusion of all these styles and more: big, bold, smooth and sultry all at once, and every second of it pure New Orleans funk through and through.
Posted by boyhowdy at 8:34 PM View Comments
Labels: The Neville Brothers, We Are Family


