00:03:03:05 - 00:03:03:19
Speaker 4
Yo, Adam.

00:03:04:00 - 00:03:05:03
Speaker 1
Yes?

00:03:05:03 - 00:03:06:14
Speaker 4
Do you like meters?

00:03:06:16 - 00:03:10:10
Speaker 5
I prefer yards, feet, inches. I'm an imperial kind of guy. Okay.

00:03:10:10 - 00:03:12:18
Speaker 4
Sorry I said that wrong. Do you like the meters?

00:03:12:18 - 00:03:18:18
Speaker 5
Oh, like the meet ers? Like folks who are into a carnivore lifestyle. That's also not for me. You're weird.

00:03:18:18 - 00:03:24:20
Speaker 4
Well, I'm talking about this.

00:03:24:22 - 00:05:19:02
Speaker 5
Oh, like New Orleans supergroup the meters. Funk icons of all time. Yes, of course I love the meters. Yeah.

00:05:19:04 - 00:07:00:14
Unknown
Oh.

00:07:00:16 - 00:07:42:04
Unknown
Oh.

00:07:42:04 - 00:07:43:19
Speaker 5
I'm Adam.

00:07:43:21 - 00:07:44:12
Speaker 4
And I'm Peter.

00:07:44:12 - 00:07:55:13
Speaker 5
Martin, and you're listening to the you'll hear it podcast. Music explored. Explored, brought to you today by Open Studio. Go to Open Studio jazz.com for.

00:07:55:14 - 00:08:03:12
Speaker 5
All your jazz lesson needs. Peter. You okay with the drum roll? Natural. I like you were looking at me I was I was waiting.

00:08:03:12 - 00:08:05:22
Speaker 4
You might be self-conscious. You went single stroke roll.

00:08:06:00 - 00:08:08:19
Speaker 5
Okay. Yeah. Can you do a double stroke with your.

00:08:08:21 - 00:08:10:15
Speaker 4
Tune in next week for double stroke roll?

00:08:10:15 - 00:08:12:06
Speaker 5
Okay. Peter, you heard it here first.

00:08:12:10 - 00:08:15:16
Speaker 4
You have a small bird on you. It is a small Charlie Parker. On you.

00:08:15:16 - 00:08:21:04
Speaker 5
It is a cardinal. A cardinal representing the Saint Louis Cardinals, which is my favorite professional sports team of all time.

00:08:21:06 - 00:08:23:23
Speaker 4
I'm familiar with their work. Are they still professional baseball?

00:08:23:23 - 00:08:24:20
Speaker 5
Barely.

00:08:24:22 - 00:08:26:07
Speaker 4
There was a regular.

00:08:26:08 - 00:08:27:01
Speaker 5
If we did,

00:08:27:01 - 00:08:30:22
Speaker 5
what is it? Relegation, like they do in, like, the Premier League. Premier League. They would be.

00:08:31:03 - 00:08:40:11
Speaker 4
There in a rebuilding stage. But it's all good. Man I'm so excited today. We are you man. We are talking about is this a provocative title? The greatest funk band of all time. Did I overstate this?

00:08:40:11 - 00:08:53:02
Speaker 5
No, I think this is that's a perfectly fine title, especially because there's a question mark. Listen, there's no greatest anything. But if you're going to put a conversation of the great funk bands of all time. Yeah. How can you not include the meters? It's got to be in the conversation.

00:08:53:03 - 00:09:00:19
Speaker 4
I mean, James Brown is the first thing when I see a, you know, a title like that that we're like, hold on now, you know James Brown. Yeah, Sly the Family Stone, a lot of folks.

00:09:00:19 - 00:09:01:06
Speaker 5
Parliament.

00:09:01:06 - 00:09:21:01
Speaker 4
But I think that, you know, the unique thing about the Meters is like, they really infused the, the the New Orleans sound, the ethos, the culture, the feel into beyond just funk, but just into American popular music. Of course, New Orleans music has always kind of been the foundation of rock and roll R&B. You can see a lot of that.

00:09:21:01 - 00:09:35:19
Speaker 4
But I think, you know, we're going to kind of look at like 1966 through 1976, sort of, you know, a rough estimate of the time period of when the meters were really having their influence, their initial influence. And I think that you can there's sort of a through line all throughout,

00:09:35:19 - 00:09:49:06
Speaker 4
American pop music that, you know, knowingly or unknowingly, you know, got that New Orleans vibe, vibe, that street beat, that flavor through the funk and through the music that just the authenticity of this band, the meters.

00:09:49:06 - 00:09:50:00
Speaker 4
So I'm excited.

00:09:50:02 - 00:09:55:13
Speaker 5
Yeah, they're just the greatest. So what are we starting off with here? Are we going to start with it looks like you have,

00:09:55:13 - 00:10:02:01
Speaker 5
Allen Toussaint written down here as your first. I mean, place to start with talking about the meters music. Yeah.

00:10:02:01 - 00:10:03:03
Speaker 4
Allen Toussaint, it,

00:10:03:03 - 00:10:09:18
Speaker 4
was really just a giant of New Orleans music, New Orleans culture. He produced a lot of the meters.

00:10:09:18 - 00:10:23:00
Speaker 4
Music. It was a lot of. It was recorded at his studio, you know, kind of from 1972 or 73 on. I got the chance to know Allen, to work at the Great Sea Saints Studios and to kind of be part of that up until the early 90s, when things were still rolling.

00:10:23:00 - 00:10:25:10
Speaker 5
So where should we start?

00:10:25:11 - 00:10:41:21
Speaker 4
Well, let's go back to a little bit of Professor Longhair, who is. You know, a lot of folks know about him. A lot of folks don't. But he sort of the the foundation and the bridge between the oldest style New Orleans sort of piano stuff. But I think we're going to hear it going all the way up into the way that the meters play and stuff.

00:10:41:21 - 00:10:52:02
Speaker 4
This is Professor Long Hair on one of his great versions of Tipitina's, the.

00:10:59:19 - 00:11:09:11
Speaker 4
But what you hear in that, you know, is like, it's not funk yet, but you get that bong bong gong gong gong gong, that rumba, that fun.

00:11:09:11 - 00:11:10:03
Speaker 5
But it is funky.

00:11:10:03 - 00:11:17:23
Speaker 4
It's funky, it's funky and funky and it's got that New Orleans thing. It's got that Caribbean thing, all this stuff. So a lot of, you know,

00:11:17:23 - 00:11:25:21
Speaker 4
Allen Toussaint, who's going to be a huge name that we talk about, the producer of The Meters and really the one who put the meters together, even though he wasn't in the band.

00:11:26:01 - 00:11:28:01
Speaker 4
Great keyboardist. Legendary.

00:11:28:01 - 00:11:50:02
Speaker 4
You know, engineer and studio owner and producer and sort of architect of modern New Orleans music. But you got James Booker, all this stuff going all the way up to Harry Connick and stuff. But Art Neville, you know, one of the founders of The Meters definitely was listening to Professor Longhair. So the first track I want to play from them is Cissy Strut, which is like, you know, everybody knows this, but I think you're going to hear the connection a little bit.

00:11:50:05 - 00:11:51:16
Speaker 4
This is 1969.

00:11:51:16 - 00:12:14:01
Speaker 4
Yeah.

00:12:14:03 - 00:12:37:13
Speaker 4
She's.

00:12:37:15 - 00:12:56:16
Speaker 5
Been my first introduction to the meters. I just now realize that I was like, where did I first hear this? Because I don't think my dad had any meters records, but it was the DVD for the Quentin Tarantino movie Jackie Brown. Do you ever see Jackie Brown? Yeah, sure. So the load screen, I believe it was Jackie Brown was either Pulp Fiction, Jackie Brown, but I think it's Jackie Brown.

00:12:56:16 - 00:13:07:08
Speaker 5
The low screen was Cissy Strut. Oh, that's just on like a minute long loop. Yeah. And I would just have it playing just a load screen in my apartment, right as I smoked a bunch of marble reds.

00:13:07:10 - 00:13:09:20
Speaker 4
Oh, reds. You up with the rest? Nice. I should just.

00:13:09:20 - 00:13:12:13
Speaker 5
By the sissy strut. See the. I don't know what I was thinking.

00:13:12:14 - 00:13:31:05
Speaker 4
Yeah. I mean, it's that sound. And I think what we're going to see is like, there's like. So if we check out this is just so this is like a boo molest who's, you know, really the foul. He's the drummer. He's you know Joseph molest. And I mean he's such a iconic figure you know often copied never duplicated.

00:13:31:05 - 00:13:38:16
Speaker 4
But this is just the drums on Cissy Strut.

00:13:38:18 - 00:13:49:12
Speaker 4
I mean, it's funky, the back beat, but that high hat.

00:13:49:14 - 00:14:05:06
Speaker 4
But that's one of the most, you know, kind of famous funk drum grooves. They, the drummers try to play the people love. And this is kind of what he was talking about, how this groove came about, affirmation I wanted to display. I tried to use the hi hat with both hand.

00:14:05:08 - 00:14:08:09
Speaker 1
There's at least a thousand patterns where you.

00:14:08:09 - 00:14:18:14
Speaker 4
Could actually do patterns pattern doing in New Orleans, mixing it up.

00:14:18:16 - 00:14:23:02
Speaker 4
So this was a this to me was

00:14:23:04 - 00:14:28:20
Speaker 1
Was a direct assault on the hi hat director.

00:14:29:01 - 00:14:34:19
Speaker 4
And being able to react in a more aggressive way and to get more.

00:14:34:19 - 00:14:38:16
Speaker 1
Flavor out of simplicity.

00:14:38:18 - 00:14:46:22
Speaker 4
Okay. Mission accomplished. Ziggy. Kaboom. More flavor. A direct assault on the high hat, you know? But the last thing he said, he's talking about.

00:14:47:02 - 00:14:50:07
Speaker 5
Playing with two hands who as opposed to usually you would just play it.

00:14:50:07 - 00:14:50:21
Speaker 4
With.

00:14:50:23 - 00:14:51:20
Speaker 5
Your left hand. I see a.

00:14:51:20 - 00:15:05:03
Speaker 4
Lot of drummers playing with jazz, which can work, you know for sure. Yeah, but it's that originality, like just the way, like there's so much New Orleans. And what he was just saying direct, like the way, the the way folks talk, the way they play. It's so unique.

00:15:05:03 - 00:15:06:23
Speaker 5
Kansas associate the culture from the music.

00:15:07:03 - 00:15:24:06
Speaker 4
Absolutely. And it's so like out there in your face for New Orleans in such a beautiful way. It's so like he said, it's a direct assault. But he said the last thing he said was simplicity. And this is sort of a, you know, a lot of people look at their the way that they played. Funk is very complicated, but there's actually a lot of space.

00:15:24:08 - 00:15:25:18
Speaker 4
There's a lot of like,

00:15:25:18 - 00:15:33:03
Speaker 4
there's a lot of opportunity for things to, for the sunlight to go shine in different places. In the quartet. This is George Porter,

00:15:33:03 - 00:15:36:03
Speaker 4
junior, the bassist, talking about space.

00:15:36:05 - 00:15:57:15
Speaker 6
There's always, like we had learned by them from the learned that we have been recording those sessions with Allen since then. Yeah. Which was almost about probably close to a year before we started recording our own stuff. And we would have had to do that. So this drug, before we actually had done those sessions with Allen, who probably would have played.

00:15:57:17 - 00:16:13:00
Speaker 6
That would have been busier. Yeah, yeah, yeah. Playing the sessions with Allen and then doing the lead, that's the things it was that he used to always say, is that what you play is what you don't play. You know. And so you know so playing with space was essential.

00:16:13:02 - 00:16:30:08
Speaker 4
So that's you know really coming from Allen Toussaint in terms of like how he produced how he informed them in the because basically like for like 65, 66, 67, the meters weren't even called. I mean they started calling themselves the meters, but first they were the back, the kind of back, you know, studios used to have, like the rhythm sections and the sound.

00:16:30:12 - 00:16:47:02
Speaker 4
And a lot of people don't realize just because New Orleans, we get a little disorganized in New Orleans. Not going to lie, sometimes with our business stuff in our storytelling. But like, I mean, this was what the meters were doing in 1966 with Lee Dorsey at Allen Toussaint Studio.

00:16:47:04 - 00:16:51:22
Speaker 4
You might have heard of this little ditty before.

00:16:52:00 - 00:17:02:16
Speaker 3
Working in a coal mine. Going down, down, down, down. I go, up, I go down for that. And I go my going down, down, down.

00:17:02:18 - 00:17:04:09
Speaker 4
But they've already got that up.

00:17:04:09 - 00:17:08:16
Speaker 1
I love that professor. Up 5:00 in the morning.

00:17:08:17 - 00:17:24:00
Speaker 4
I'm old Leo Talley. Jeff Lord, I'm so tired. So, you know, they were backing up. Here's a bunch of stuff. And, but they've already got that sound. You hear that New Orleans flavor even coming out of that kind of mid 60s doo doo. What does that do?

00:17:24:00 - 00:17:27:01
Speaker 5
What was that? Bebop. Was the band on that one. Do you know.

00:17:27:02 - 00:17:28:12
Speaker 4
That band that was the Meters?

00:17:28:12 - 00:17:29:23
Speaker 5
No. But who's what? Who's the artist?

00:17:29:23 - 00:17:49:07
Speaker 4
Lee Dorsey, Lee Dorsey. Dorsey. Yeah. He had a couple big hits. He was New Orleans Cat, I think he was in the military and the West Coast and then came back to New Orleans. And Allen Toussaint basically was like, put the thing together and they'd have these like regional hits. But sometimes, I mean, this was like, that was like a Billboard R&B, you know, hit man, you know, feel Memphis, Nashville,

00:17:49:07 - 00:17:54:20
Speaker 4
of course, the different places, but New Orleans, Detroit, obviously Motown, but New Orleans had its own thing going on too, man.

00:17:54:20 - 00:17:55:22
Speaker 5
Truly.

00:17:56:00 - 00:17:57:07
Speaker 4
Yeah. Very cool. Yeah.

00:17:57:07 - 00:18:00:12
Speaker 4
So yeah, so that's kind of moving along. So their first record,

00:18:00:12 - 00:18:17:18
Speaker 4
the City Strap was on was called The Meter. So like, they came out the gate with some hits and and that was in 1969. So you hear the evolution already from like 66 to 69. And then they released two records, 2 or 3, maybe even in 69, the first being, you know, the self-titled The Meters.

00:18:17:18 - 00:18:32:00
Speaker 4
But then they had, look, a pie, pie. We're going to play some of this. We're going to come back to a later, because I think I'm going to actually alter my we have our wonderful apex moments that I'm looking forward to this because there's a lot for me. But this is also 1969 later on the year. Look, a pie pie part two.

00:18:32:01 - 00:18:54:07
Speaker 4
Bom bom bom bom bom. That's a I had a song.

00:18:54:09 - 00:18:58:00
Speaker 4
So you hear that simplicity, right?

00:18:58:02 - 00:19:02:14
Speaker 3
It.

00:19:02:16 - 00:19:04:21
Speaker 5
Yeah. The production is so good the way things are panned.

00:19:05:01 - 00:19:05:19
Speaker 4
Yeah.

00:19:05:21 - 00:19:14:04
Speaker 5
Sound of the guitar.

00:19:14:05 - 00:19:26:12
Speaker 4
And then this right here. This next drum break coming up right here. It's coming straight out of the street. Beats of New Orleans layered on top of funk foam.

00:19:26:14 - 00:19:27:09
Speaker 4
That's Art Neville.

00:19:27:12 - 00:19:35:23
Unknown
Organ album.

00:19:36:01 - 00:19:37:08
Unknown
Right.

00:19:37:09 - 00:19:44:10
Speaker 4
So Art Neville, you know, did a lot of lead vocals, although a lot of this was instrumental music, you know, which was a little bit unusual there.

00:19:44:11 - 00:19:45:20
Speaker 5
Yeah, yeah, yeah.

00:19:45:22 - 00:20:02:04
Speaker 4
But Art Neville, we got Leo nice and, no Santelli on the guitar. Who did we already mentioned Ziggy Boomer last. Joseph Ziggy Boo of course. And George Porter Junior on the bass. And that was the core quartet I mean they started adding like some of the other Neville brothers, Cyril Neville

00:20:02:04 - 00:20:10:05
Speaker 4
later on. But it was really that quartet in that partnership with, Allen Toussaint that over the next 4 to 5 years was just a beautiful thing, as they say.

00:20:10:06 - 00:20:35:23
Speaker 5
And they have such a distinct sound, too. And like all great funk music, like you talk about James Brown, you can talk about Sine the Family Stone, Parliament-Funkadelic, everybody's just got their own. Their their just have their own path that they're that they're just, you know, releasing themselves to like, you just give yourself up to the part. But I think what makes the meter sound so distinct, of course, signal is the complete, you know, the loose change pocket.

00:20:36:02 - 00:20:56:16
Speaker 5
Yeah. Right. Where it's just like you can feel the beats between the beats. So it's such a huge part of the music. And then the chicken scratch guitar, it's just the sound of the guitar that I got in the studio. That chicken that. Yeah, you know what I mean? Yeah, that is super distinct to me. That's what what makes it.

00:20:56:21 - 00:21:10:01
Speaker 4
And Leo actually started. It's a really there's a lot of unique stuff that goes all the way back to like, banjo and mandolin. Leo actually started. He was from Donaldsonville, Louisiana, which is kind of a country town, but it has its own very rich music.

00:21:10:03 - 00:21:11:17
Speaker 5
This is like it's like country funk.

00:21:11:17 - 00:21:13:00
Speaker 4
It is very country funk.

00:21:13:00 - 00:21:14:09
Speaker 5
It's like funk for the country.

00:21:14:09 - 00:21:16:08
Speaker 4
Yeah. You know, he started on mandolin. Yeah.

00:21:16:08 - 00:21:33:06
Speaker 4
And then when he said when he started playing guitar, he's like, wow, I got a couple more strings. And, you know, it's a really interesting thing. And we talk about like the, the drum groove. Let's check out the drum groove of what we just listened to. Drums only here.

00:21:33:08 - 00:21:52:09
Speaker 4
Like that. Boom. That secondary, backbeat. Right. Could, I mean, it's so deep. It's very swampy. Right? It's like you're walking along the edge of the swamp. Then, foot kind of goes down in a gator might get you, and then, you know, it's just so, we talk about different music.

00:21:52:09 - 00:21:57:10
Speaker 4
And I think that we really can hit on something here on this pod of joy that we all share.

00:21:57:10 - 00:22:18:08
Speaker 4
You and I, you know, Caleb, Bob, all the audience, everybody listening. Like, when music is so directly connected with culture, with the landscape, with the food, and whether you've been to New Orleans or you have it, if you hear this stuff and you like it, once you go to New Orleans and you go out like, go, go over to the West Bank, go over to Algiers, go over to the swamp area and stuff.

00:22:18:12 - 00:22:34:08
Speaker 4
It'll all start to make sense the same way, like if you grow up hearing. I remember I listened to, like, a lot of Bach chorales and classical music cause my parents both classic the first one, but I was like, oh, I know this stuff. You know, I went to Juilliard, whatever. The first time I went to Germany, actually on a jazz tour and like went into some of these churches.

00:22:34:09 - 00:22:35:06
Speaker 5
It made sense.

00:22:35:08 - 00:22:44:18
Speaker 4
I was like, damn. I mean, not that you have to go there to enjoy it, but then it starts to really come together and I can't tell you, like, how how like how humid this music is, how swampy.

00:22:44:18 - 00:22:47:17
Speaker 5
It it's connected to people in that city, for sure. It's amazing.

00:22:47:17 - 00:22:57:16
Speaker 4
Then and then we're going to move on to 1970. Now, which was a very important year. As you know. You don't know, man. That's why I didn't get a birthday card from you last year.

00:22:57:16 - 00:22:58:07
Speaker 5
So I was.

00:22:58:07 - 00:23:04:02
Speaker 4
Born in 70. Okay. But this year, you know, a glorious year in the world, of course. But,

00:23:04:02 - 00:23:22:20
Speaker 4
they had a record called strutting. I mean, just the the words and, like, the sounds and the way they would look. A pie. Pie epoch. You. I mean, it's like they have their own language for this stuff, but this track hand-clapping song, you know, when we talk about great funk bands, I think the influence on hip hop becomes very important because early hip, I mean, really up until today.

00:23:23:00 - 00:23:32:12
Speaker 4
But early hip hop culture was all about sampling funk stuff, you know, R&B and different things too, but especially funk grooves, drum brakes, that kind of thing. And the meters.

00:23:32:14 - 00:23:33:14
Speaker 5
For sure. Yes.

00:23:33:16 - 00:23:39:18
Speaker 4
Absolutely. Absolutely. And jazz stuff. But the jazz stuff is usually the funky jazz stuff. Right. You talking with like, Lou Donaldson.

00:23:39:18 - 00:23:41:03
Speaker 5
Did a boogaloo? Yeah, yeah, yeah.

00:23:41:06 - 00:23:42:07
Speaker 4
But this is hand clap.

00:23:42:07 - 00:23:42:23
Speaker 5
Ronnie Foster.

00:23:43:03 - 00:24:01:18
Speaker 4
Which you've probably heard some of the stuff and said, oh, this way of like clap Your Hands style has been around forever. This is actually where it came from. 1970. Leo Paul. And those are real claps. That's not a machine.

00:24:01:20 - 00:24:07:11
Unknown
I'm a hand up about doc. I'm a hand I we go back behind that.

00:24:07:11 - 00:24:09:22
Speaker 4
You got that blues. Of course.

00:24:10:00 - 00:24:21:17
Speaker 3
Did you get that. Did that people make like a hand up. Look I'm not backing up people basket. I'm. I have not been around out back.

00:24:21:19 - 00:24:42:17
Speaker 4
And I think this thing too of like repetition. Like that's eight times they just did that phrase right. Normally a lot of times it's like, oh, don't do it that much or change something else. Remember what they said with George Porter junior said they learned from art. I mean, from Allen Toussaint was simplicity. Like, how do you do something funky and repeat it and repeat it, keep it the same.

00:24:42:17 - 00:25:00:16
Speaker 4
Don't change anything. Boom. You know, like there's such a value of that in all different kinds of music. But I think with funk and the way that the meters laid this stuff out is very patient. It's very like there's a complexity there to the grooves when you break them down, but there's like a commitment to the groove and the simplicity of how the stuff is laid out.

00:25:00:16 - 00:25:01:09
Speaker 4
Well, the repetition.

00:25:01:09 - 00:25:16:14
Speaker 5
Becomes part of the groove. It's that becomes part of the relationship to what's happening is how many times it happens, right? It keeps happening again and again. It just becomes part of this conversation that's going on where it's like, is it coming back around?

00:25:16:16 - 00:25:35:00
Speaker 4
Right, right. And you're waiting for. Yeah, very James Brown, very James Brown Jr. So you got that deputy clap your hands now. Now. So the hip hop influence, we've got Tribe Called Quest I don't know mean right. We've also got the Wu-Tang Wu-Tang clan.

00:25:35:00 - 00:25:36:19
Speaker 3
Clap your hands now clap.

00:25:36:21 - 00:25:39:05
Speaker 1
Clap shall enter the house. You know what I'm saying?

00:25:39:07 - 00:25:40:21
Speaker 4
Yeah, I drink til I'm drunk.

00:25:40:23 - 00:25:45:20
Speaker 3
Smokes. Fuck with my stinking ass. Motherfuck you on the floor. Come stay in.

00:25:45:22 - 00:25:48:18
Speaker 4
Even Whitney Houston.

00:25:48:20 - 00:25:53:07
Speaker 5
All right. Late 90s. Whitney.

00:25:53:07 - 00:25:54:07
Speaker 4
Yeah, yeah, yeah.

00:25:54:07 - 00:25:56:19
Speaker 3
Tomorrow is Judgment day.

00:25:56:19 - 00:26:17:00
Speaker 4
Music, mom. So when we talk about. That's what I'm saying. Like the New Orleans like ethos, musical ethos, the culture being, you know, the meters imprinting that on all of popular music. That's where you start to hear because everybody thinks like, oh, that's going back. Everybody claps their hands. But that way of doing it, that kind of vibe that that was just something the Meters came up with.

00:26:17:04 - 00:26:19:08
Speaker 5
When we doing our Wu-Tang, you'll hear it. When does that happen?

00:26:19:08 - 00:26:27:10
Speaker 4
I mean, we could probably Wu-Tang. We could probably fit that. We could make that like a thing where we have to. Yeah, there has to be some connection. Yeah.

00:26:27:10 - 00:26:28:23
Speaker 4
So how are you feel so far?

00:26:29:01 - 00:26:46:23
Speaker 5
Man, I feel great. I really feel great. I mean, this is the whole thing is to is like, there's there's certain music that is just music that is meant for a party. Yes, it is a party. The music itself sounds like a party. And The Meters is one of those bands that is the best party music in the world.

00:26:47:02 - 00:26:52:00
Speaker 5
Yeah, but put it with anything else. Brazilian music, whatever it is you got, you know what is up to all of that.

00:26:52:04 - 00:26:58:12
Speaker 4
I'm glad you said Brazilian music. That's that's the that's to me is the direct connection. Not in terms of like, the groove,

00:26:58:12 - 00:27:00:06
Speaker 4
or like the harmonies or whatever.

00:27:00:06 - 00:27:02:01
Speaker 5
The philosophical kinship. Yes.

00:27:02:01 - 00:27:25:21
Speaker 4
For sure. Like Brazilian music, like where it's really music for the people. And you have a culture like that's a very direct connection between New Orleans and Brazil, is that you have a culture of people that know how to dance, know how to sing kind of across all different people that have their own thing and that the musicians, the audience and the musicians are very connected and they're held to a very natural high level, you know what I mean?

00:27:25:21 - 00:27:31:18
Speaker 4
It's kind of like if you're in a food city, a bad restaurant is not going to survive because people aren't going to be interested in that. Right.

00:27:31:18 - 00:27:35:20
Speaker 4
And that's very much the way Brazilian music is for Brazilian people. They have certain songs that everybody.

00:27:35:20 - 00:27:42:20
Speaker 5
Knows and the connection like it's it tastes, smells, looks, how it sounds. Yes. You know what I mean? Like everything is connected.

00:27:42:20 - 00:27:51:22
Speaker 4
Yeah, yeah. And so what we're doing on this episode, by the way, thank you guys for being here. We like to say give it a little like and subscribe I feel weird doing that. But do it if you like Shell.

00:27:51:23 - 00:27:52:09
Speaker 5
Man say.

00:27:52:09 - 00:28:14:11
Speaker 4
Whatever you want. So every week we're breaking down great albums and what we're doing like this week is a little less than a little different. We've done it before, but we have a playlist, so I have a link to that below. Apple podcast, I mean, Apple Music, Spotify, whatever, because I picked out these nine tracks because it's not to say that like Struttin or Rejuvenation, look, these are all fantastic meters records, but I love them so much I couldn't be restricted to one album.

00:28:14:17 - 00:28:24:03
Speaker 4
And so this is more just sort of like my favorites. But I think they're also, you know, pretty representative of sort of the lineage of the meters and what they did.

00:28:24:03 - 00:28:31:06
Speaker 4
I was going to play next just a little bit. This isn't even going to be on the playlist. But just like the brains, you might know what this is.

00:28:31:07 - 00:28:35:19
Speaker 4
Doctor John 1973 insecurity.

00:28:35:21 - 00:28:38:21
Speaker 5
We definitely need a doctor. John Mulaney.

00:28:38:23 - 00:28:39:02
Speaker 3
But.

00:28:39:02 - 00:28:42:19
Speaker 4
This is The Meters with Doctor John on his. And this is a big hit that.

00:28:43:01 - 00:28:44:21
Speaker 1
I might have been wrong. So.

00:28:44:23 - 00:28:56:03
Speaker 4
So like what was happened with the meters? They never really had huge they had some hits, but they never had huge commercial success on their own. Although they did like open for the Rolling Stones. Stevie Wonder used to come to New Orleans and jam with talking about.

00:28:56:03 - 00:28:57:16
Speaker 5
That Jackie Brown DVD.

00:28:57:18 - 00:29:05:00
Speaker 4
I didn't even know about. Like, there's all these like, it was always kind of an insider thing, and their music is so great that it's kind of like it's going to find its way.

00:29:05:00 - 00:29:20:07
Speaker 5
Yeah, but they're one of those bands where, you know, even if there was, they never had like a huge smash worldwide hit. Every musician I know talks about them to each other. Like we all talk about the Beatles. Everybody is listening to this music. Who is into playing music at all? You got to go through your meters phase for sure.

00:29:20:07 - 00:29:33:08
Speaker 4
Absolutely. And you know, I got a chance to do a gig once with George Porter. Hey, it's Snug Harbor in the early 90s. It was actually a jazz gig, and he was so. He was so nice and, like, just fun to work with. And he was so humble because he's like, you know, I'm not really a jazz basis.

00:29:33:08 - 00:29:39:15
Speaker 4
I was like, You're George Porter Jr, you know what I'm saying? It's like it's like. And he had his little fake book and we played standards.

00:29:39:15 - 00:29:40:19
Speaker 5
Oh, come on in a fake book.

00:29:40:19 - 00:29:53:21
Speaker 4
And I want to do some beta stuff. He's like, no, no, no, we're doing all jazz stuff, you know. Yeah. He was the first one I ever saw with the teeny little. I was like, dang, you know, the real book. It was like the mini one pocket real book. Pocket real book. Yeah. He busted that thing out, and that was a joy.

00:29:53:21 - 00:30:16:02
Speaker 4
I knew I would never actually live. When I first moved to New Orleans, I lived on Du Fastest Street, which was like a block over from Valens Street, where Art Neville. Well, the Never Brothers grew up there, uptown. And I got to meet Art, literally, like he had moved back to the to the block and, like, fixed up this beautiful double shotgun house and, and and I mean, he was he was a great guy, like New Orleans.

00:30:16:02 - 00:30:31:20
Speaker 4
Like the like the culture and the connection between the elders and the current and the wannabes is so together. I didn't even realize what I was getting into. It took me years later. I was like, wait, that's Art Neville from the, you know, it's like, yeah, yeah, he was just somebody in the neighborhood. So I love those guys, but we're moving along.

00:30:31:20 - 00:30:32:06
Speaker 4
That was,

00:30:32:06 - 00:30:33:20
Speaker 4
Doctor John, who,

00:30:33:20 - 00:30:42:03
Speaker 4
had a big hit with that in 1973 and then 1974. We've got the album rejuvenation. And this is probably, you know, kind of the apex,

00:30:42:03 - 00:30:48:15
Speaker 4
of their recorded output in a lot of ways. Although to me it kind of kept going from here. But this has got some like really important stuff.

00:30:48:15 - 00:30:58:03
Speaker 4
This is people say from rejuvenation, Leon Santelli.

00:30:58:05 - 00:31:07:16
Speaker 4
So I got this drum groove here.

00:31:07:18 - 00:31:18:19
Speaker 4
But the simplicity, the repetition and the bass let you do.

00:31:18:21 - 00:31:26:23
Speaker 4
It are never.

00:31:27:01 - 00:31:42:23
Speaker 4
All the same. So, Adam, there's something that Art Neville did there that I think we need to do as jazz players a little more. Can we get a little? I know we're not in the nerd nook now, but he played the same Phil twice and it was killing like, this is what I'm saying. Like, we don't do this enough in jazz.

00:31:42:23 - 00:31:48:10
Speaker 4
We feel like we play one thing. Check it out.

00:31:48:12 - 00:31:58:03
Speaker 4
Yeah, that line art never got the. Although he did alter it just a little bit. You know, long ago.

00:31:58:05 - 00:32:05:00
Speaker 4
And this is getting into something that does feel a little bit of political commentary with the vocals that they were to give.

00:32:05:00 - 00:32:14:11
Speaker 3
Him every Friday. You.

00:32:14:13 - 00:32:17:21
Unknown
Get the I get it.

00:32:17:23 - 00:32:23:06
Speaker 3
If you just give me a lot.

00:32:23:08 - 00:32:33:01
Speaker 4
All that whole elements started coming together. Yeah, yeah. And the goal is me. And you know where we're going. Adam, I want you to come on now.

00:32:33:03 - 00:32:37:04
Unknown
People sit back and people say.

00:32:37:06 - 00:32:38:13
Speaker 4
Come back to.

00:32:38:15 - 00:32:41:15
Speaker 5
What is that, Phil again? The piano.

00:32:41:19 - 00:33:00:04
Speaker 4
Oh, right. Right. Same repetition. Go on. One more time. To the floor. Here we go. And then this is going to be one of the greatest breaks of all time. Oh, no. It's the second time. Sorry.

00:33:00:06 - 00:33:02:08
Speaker 5
I really left us hanging there. Barry.

00:33:02:11 - 00:33:13:02
Speaker 4
Here we go. Wait, we're going to go. But again. But this is part of the thing. Like they build it up, right? The architecture of this, the repetition, everything in this place. Let's check out the second time we say.

00:33:13:04 - 00:33:19:07
Unknown
Hey, don't come back.

00:33:19:09 - 00:33:20:09
Unknown
Hey.

00:33:20:10 - 00:33:25:09
Speaker 4
Oh, and it's not even on one. It's on two.

00:33:25:11 - 00:33:27:15
Speaker 5
It's so good. Then it's so good.

00:33:27:17 - 00:33:39:03
Speaker 4
There's so many details that are like, repeated. It's not like the jazz stuff where it's like all that one thing. And then Trane went to something which is great to, but this is like like the fill I can. You caught it more. I didn't realize it was that many times. You know.

00:33:39:03 - 00:33:46:22
Speaker 5
It's like a mosaic. It's like this mosaic where things are sparkling and popping off in different places. And every time you listen to it, there's something else sticking out. It's great.

00:33:46:22 - 00:33:54:10
Speaker 4
Yeah, yeah. So other stuff from rejuvenation, we'll move this a little quicker, but.

00:33:54:12 - 00:33:58:14
Speaker 3
How am I.

00:33:58:16 - 00:34:02:13
Speaker 4
Like, you're not even quite sure where the groove is, but it's there. But then here. Just pecking.

00:34:02:15 - 00:34:05:04
Speaker 5
Just pecking like a chicken pecking.

00:34:05:06 - 00:34:07:15
Speaker 4
I.

00:34:07:17 - 00:34:10:18
Speaker 3
Had.

00:34:10:20 - 00:34:11:15
Speaker 3
I was.

00:34:11:17 - 00:34:17:06
Speaker 4
A chicken in the swamp. Right. Just like woo baseline.

00:34:17:08 - 00:34:19:23
Speaker 3
Oh, baby.

00:34:20:03 - 00:34:23:10
Speaker 4
How that's what he did.

00:34:23:12 - 00:34:25:14
Speaker 5
I did it again.

00:34:25:16 - 00:34:30:11
Speaker 3
How about I guess, I, I was I just.

00:34:30:11 - 00:34:43:12
Speaker 4
Kissed my baby. But this stuff too in here. But Dr. Pepper but make there's so much syncopation and like it's never because I just kiss my baby. Yeah. You know, it's because I just kiss baby. I mean, this stuff is.

00:34:43:12 - 00:34:47:13
Speaker 1
So check it out.

00:34:47:15 - 00:34:52:02
Speaker 4
I feel like a key, you know what I mean? Yeah, yeah.

00:34:52:03 - 00:34:53:18
Speaker 3
Cuz I just kissed a babe.

00:34:53:20 - 00:34:59:01
Speaker 4
It just dances above the meter. But that backbeat is always there. And you.

00:34:59:01 - 00:35:01:18
Speaker 3
Can't. You can't thank me.

00:35:01:20 - 00:35:06:06
Speaker 4
How about. I think he was reading this off from the staff paper?

00:35:06:08 - 00:35:08:02
Speaker 5
Definitely.

00:35:08:04 - 00:35:10:10
Speaker 4
I read table do beat here.

00:35:10:10 - 00:35:24:10
Speaker 3
How good? All the horns. I just kissed my baby. Oh, right. Right. I mean.

00:35:24:12 - 00:35:42:02
Speaker 4
I mean, the counterpoint. The rhythmic counterpoint. My baby. Yeah, I know you be. So that kind of thing again. So I had to hunt around because I was like, where was this check? A little bit of hip hop and flow. See if you remember a little band called Public Enemy.

00:35:42:04 - 00:35:45:16
Speaker 3
We got some nonbelievers out there.

00:35:45:18 - 00:35:47:13
Speaker 1
Yo, speed it up a little bit.

00:35:47:15 - 00:36:02:12
Speaker 3
Oh, damn. I'm. Yo, we got to get stupid, yo. Didn't know what time you gonna do me? I wanna jump in my car. People treat me like Abdul-Jabbar. All right, I'm off the ball. I bet you know hip hop.

00:36:02:13 - 00:36:20:15
Speaker 4
But they keep that line, that boom. Continue. It's up like a whole step or whatever because they sped it up. Fantastic stuff. But, I mean, there's so much rich. Yeah, man. It's just it's intense. Right. All right. Should we keep keep moving along here? We're getting to 90 or we're still 1974. But rejuvenation now, this to.

00:36:20:15 - 00:36:23:07
Speaker 5
Me can't skip over. Hey. Back away.

00:36:23:11 - 00:36:40:06
Speaker 4
Right. That's where we're going, okay? That's where we're going. Actually, should we just sort of jump into let's jump at the desert island tracks, because I think we're going to be because this is actually my desert island track on. And the reason is, like, I wouldn't say a Pocky way, and when you guys hear this, it's going to be like, oh, that's the meters.

00:36:40:06 - 00:36:41:12
Speaker 4
Oh, I didn't know that.

00:36:41:12 - 00:36:57:14
Speaker 4
That's New Orleans. Like the reason it's my desert island track is not because it's the funkiest thing the meters did the most, you know, I mean, there's a killer funk in it. It's like. But it's kind of a combination of, like, their joyful stuff. There's more lyrics on this. There's more of a direct connection.

00:36:57:14 - 00:37:16:22
Speaker 4
This is one of those songs in New Orleans. There's very much connected with the streets, very much connected with Mardi Gras, and just very much like, like everybody knows this there. They don't even know why. They know whether they're music people or not. So let's check out, my desert island track, a Pocky way from rejuvenation.

00:37:17:00 - 00:37:20:02
Speaker 1
Hey. Oh.

00:37:20:04 - 00:37:30:07
Speaker 4
And that's that Caribbean rumba to go. Oh, that bass drum art never.

00:37:30:09 - 00:37:32:14
Speaker 3
Know you're.

00:37:32:16 - 00:37:33:23
Speaker 1
So powerful.

00:37:34:01 - 00:37:40:05
Unknown
And. Better for where the Harlem spins.

00:37:40:05 - 00:37:50:01
Speaker 4
Right there on the snare stand. Ziggler I'm getting hungry, man. I know what it says, Joey. He's not even playing the big bad beats playing music I keep it.

00:37:50:03 - 00:37:52:13
Speaker 3
I've been told world beat it.

00:37:52:19 - 00:38:14:06
Unknown
To the body and it's good for your soul. Everybody gone. Hey hey hey hey hey hey hey hey hey hey hey oh oh right I'm worth it, honor.

00:38:14:11 - 00:38:19:17
Speaker 4
Then they add the horns.

00:38:19:19 - 00:38:38:15
Speaker 4
And who's all here on the snare drum? It's a very. You know, now you're starting to get the claps coming with the back beat, but, like, zig, stand right here. Stick to get good punk. Like, it's a very, like, direct connection with the street beat with the parades and stuff. I mean, it's funk, but I don't think any of them were in there.

00:38:38:15 - 00:38:42:20
Speaker 4
Like, let's do a New Orleans funky thing. Like it's very much from the street beat,

00:38:42:20 - 00:38:54:09
Speaker 4
in a super excited way. So, I mean, I love Pocky way. It's like to me, that's that's the joy of like, if you were to say, what's the most joyful musical track that you want to listen to for the rest of your life?

00:38:54:09 - 00:39:01:04
Speaker 4
I, I'm, I'm ashamed to say, yeah, there would be that maybe overflow this month, John Coltrane, J.S. Bach or anything.

00:39:01:04 - 00:39:02:08
Speaker 5
So really, really strong.

00:39:02:12 - 00:39:06:10
Speaker 4
What you got for your Desert Island track? I see you doing some some scoring and some readjusting.

00:39:06:14 - 00:39:15:16
Speaker 5
I'm going 60 Strat. I'm going classic 60 strokes. Okay. Because like I said, that was really the first my first exposure to the meters. It's my favorite meters track still. Yeah. It's.

00:39:15:16 - 00:39:16:17
Speaker 4
You know, a great one. It's a.

00:39:16:17 - 00:39:17:01
Speaker 5
Great one.

00:39:17:02 - 00:39:23:00
Speaker 4
Yeah, it's a great one. Would you be happy on that, on that, on that desert island if you had, 150 strapped for sure.

00:39:23:02 - 00:39:24:17
Speaker 5
Apex moments. Peter, what do you got?

00:39:24:18 - 00:39:41:16
Speaker 4
Okay, so my apex moment is everything the meters ever did. Sue me. But if I'm. If I need to be restricted to one moment, I found I like to me look a pi pi. The vocals on that of which there's no actual words in that I can discern from the English language. Even the title isn't,

00:39:41:16 - 00:39:43:09
Speaker 4
but there's some stuff that they do.

00:39:43:09 - 00:39:48:05
Speaker 4
I'm going to just play that my my apex moment. So they start out there with the low vocals.

00:39:48:07 - 00:39:50:07
Speaker 3
Bah bah.

00:39:50:09 - 00:40:01:20
Speaker 4
But you hear that low. You put your, whatever. There's a break later on. Like, let me sit right. Right here. Sorry. Let me get the right place.

00:40:01:22 - 00:40:13:03
Speaker 4
Hey, check out the vocals coming up. One more time. Sorry.

00:40:13:04 - 00:40:28:09
Speaker 3
Okay. Bah bah bah bah bah beep I want to. Oh, wow wow wow wow wow. I'm from there.

00:40:28:11 - 00:40:44:10
Speaker 4
Okay, so they're doing all that stuff. Those guys. All right? I think they were all right. They're doing all that while zig on the drums is just play that killer groove. But check this out. This is just the vocals for the second break. The first one is incredible too. But this is my apex apex mode. This is just isolated.

00:40:44:16 - 00:40:47:02
Speaker 4
The vocals only. Check this out.

00:40:47:04 - 00:40:50:18
Speaker 3
Okay? Okay. Look.

00:40:52:01 - 00:40:55:22
Speaker 3
Layered look book. Oh.

00:40:56:00 - 00:40:57:01
Speaker 4
Well. That's cool.

00:40:57:03 - 00:41:00:18
Speaker 3
Bah bah bah bah bah bah.

00:41:00:20 - 00:41:01:11
Speaker 4
That's cool.

00:41:01:15 - 00:41:17:23
Speaker 3
Yeah, yeah. I'm all the big, fat chick over the top of you. I'm about to take me.

00:41:18:01 - 00:41:20:22
Speaker 4
Oh, wow wow, wow.

00:41:21:00 - 00:41:22:13
Speaker 1
Look, man.

00:41:22:15 - 00:41:26:03
Speaker 4
I mean, this stuff is just like. Oh, it's so great.

00:41:26:03 - 00:41:26:17
Speaker 5
Amazing.

00:41:26:17 - 00:41:30:15
Speaker 4
So that's the second break. The first one is incredible, too, but I only get one apex moment, so that's mine.

00:41:30:15 - 00:41:37:18
Speaker 5
My apex. But I'm going with all of rejuvenation. Honestly, I think the album itself for their career, I think that's the peak. What about

00:41:37:18 - 00:41:39:20
Speaker 5
if there was a bespoke playlist.

00:41:39:22 - 00:41:45:09
Speaker 4
A bow bow, whack a check, I'm just gonna start talking like that to you. I'm not even speak English. Just bow wow, I don't work. Check. Wow.

00:41:45:11 - 00:41:47:04
Speaker 5
Bespoke playlist title.

00:41:47:06 - 00:41:52:06
Speaker 4
Oh. Bespoke playlist. Gotcha. All right, I've got funk below sea level.

00:41:52:08 - 00:41:56:08
Speaker 5
Because New Orleans is below sea level, I like that. Yeah, I have a few. I have,

00:41:56:08 - 00:42:06:05
Speaker 5
swamp stank. The playlist would be called Swamp Stank. It'd be a lot of meters. Be a little Doctor John. Maybe some Cajun music in there, too. Yeah. I mean, maybe the whole. The whole thing.

00:42:06:05 - 00:42:12:14
Speaker 5
If this was an Apple playlist on Apple Music, they would if it was in that, it would be in a playlist called Southern Knights.

00:42:12:16 - 00:42:15:04
Speaker 4
Totally. Well, that's the great Allen Toussaint.

00:42:15:04 - 00:42:17:18
Speaker 4
He had a big hit with Southern Knights, so that would be perfect on there. So I'm saying.

00:42:17:18 - 00:42:26:13
Speaker 5
Yeah. And then if this was a playlist, there was a Spotify playlist. The Spotify would call it Director's Cut and it would be like this some Rolling Stones, right.

00:42:26:13 - 00:42:36:04
Speaker 5
Just some stuff, maybe some like, some Ohio players, things you would hear in like a Scorsese, Tarantino maybe Guy Ritchie movie. Right. This kind of music.

00:42:36:08 - 00:42:39:08
Speaker 4
The bespoke of the bespoke. Yeah. You got to know. You got to know.

00:42:39:08 - 00:42:44:15
Speaker 5
The directors to appreciate funky and soul music right from the early 70s. Right.

00:42:44:15 - 00:42:44:23
Speaker 5
Okay.

00:42:44:23 - 00:42:48:06
Speaker 4
Well, wait, was that up next? No. That was oh that's bespoke okay.

00:42:48:08 - 00:42:54:14
Speaker 5
Sorry. So our up next though is what would come up next on Spotify. Oh right. To pair with this some good stuff.

00:42:54:14 - 00:42:55:08
Speaker 4
What you got on that.

00:42:55:12 - 00:42:59:20
Speaker 5
I've got Parliament's 1974 masterpiece up for the downstroke.

00:43:00:01 - 00:43:01:13
Speaker 4
For that downstroke.

00:43:01:13 - 00:43:02:08
Speaker 3
Wow.

00:43:02:10 - 00:43:04:08
Speaker 5
You know, I'm a part of that guy through and through. Yeah.

00:43:04:08 - 00:43:20:00
Speaker 5
That's my band. That's. That's who I'm most influenced by in this genre. Yes. Parliament and Funkadelic. Absolutely. I love power and stuff like that. I think they would go well together, actually, even though Parliament, you know, we talked about how meters. It's got a lot of country in there.

00:43:20:00 - 00:43:23:08
Speaker 5
Yeah. Parliament feels very like, you're driving in the city. In the.

00:43:23:08 - 00:43:38:00
Speaker 4
City. Right. But there's some interesting intersections. So I remember seeing well, it was like a late. It was like George Clinton and the funk, you know, they started changing the thing. But like in the early 90s at Tipitina's on Capitol Street in New Orleans, they. George Clinton used to come,

00:43:38:00 - 00:43:42:23
Speaker 4
or Bootsy Collins or some combination of those bands, like usually 2 or 3 times a year.

00:43:42:23 - 00:44:02:05
Speaker 4
And they would do shows that were legendary three and four hours long, like they started 8:00, but they'd hit the stage at ten and they'd be in there till one, two in the morning. And like there was a they had a deep love in New Orleans for Parliament, all things George Clinton and all things Bootsy. And because I mean like that, that's why it's what's up next, you know, like that's a natural connection.

00:44:02:05 - 00:44:07:02
Speaker 4
And I agree, it's more of a city funk. If anything country funk. But the overlap is is beautiful.

00:44:07:02 - 00:44:09:09
Speaker 5
Yeah. I got to open for George Clinton once.

00:44:09:09 - 00:44:15:23
Speaker 5
Just down the street here at the firehouse. Remember the firehouse? Wait. Hold on. No, it's now condemned. I believe you like it. And,

00:44:15:23 - 00:44:24:07
Speaker 5
the my girl at the time when we met him, he just took her hand, and he just. This is the 90s. But they can do this now.

00:44:24:11 - 00:44:28:06
Speaker 5
And he just licked from her hand all the way up to the shoulder what I was like.

00:44:28:08 - 00:44:28:19
Speaker 4
Let's talk.

00:44:28:23 - 00:44:35:03
Speaker 5
You did your thing. She was. She was bewitched.

00:44:35:04 - 00:44:41:22
Speaker 4
Okay. For up next, I've got for sure Allen Toussaint, Southern Nights, which was 1975. So that's a year after,

00:44:41:22 - 00:44:52:13
Speaker 4
rejuvenation. Professor Longhair, any of his stuff, but especially New Orleans piano. I mean, like, that's that's sort of the the the compilation of all things fast.

00:44:52:13 - 00:45:04:07
Speaker 4
And James Booker, Junko partner, which is like from mid 70s as well and is like kind of a manifestation of a lot of the things that I did in solo piano and really shows that that direct connection there.

00:45:04:09 - 00:45:08:18
Speaker 4
And you'd be saying swampy, funky, jazzy with all those.

00:45:08:20 - 00:45:15:09
Speaker 5
Those are all great. Those are all great. Yeah. What about any quibble bits? Anything to quibble about this one? This might be quibble, Bill.

00:45:15:11 - 00:45:22:00
Speaker 4
Well, we did full disclosure I we all we definitely need to talk about our attorneys at law in South Louisiana both.

00:45:22:00 - 00:45:22:13
Speaker 5
Saying the most.

00:45:22:14 - 00:45:29:01
Speaker 4
The the both of you have to both. They may have represented the meters in some some litigation. Yeah. At one point.

00:45:29:01 - 00:45:30:21
Speaker 5
Of course, they did.

00:45:30:23 - 00:45:32:14
Speaker 4
Esquire, Esquire.

00:45:32:14 - 00:45:40:05
Speaker 4
But we so we did talk about this a little before, possibly. And this is so weak. We can co we can co own it if you want.

00:45:40:05 - 00:45:44:22
Speaker 4
A quibble bits would be like they come out doing swampy funk and that's all they do. Yeah.

00:45:44:22 - 00:46:03:13
Speaker 5
There's not a lot of like different textures besides the swampy funk texture or like a huge, you know tonal color palette with like chord changes or anything like that. And I don't know if it needs it, man. Like that's the other thing too, is like the sort of like quibble bit is also their biggest strength. That's why it's so good, right?

00:46:03:13 - 00:46:06:10
Speaker 5
Is because it's just like this relentless groove that hits you. So yeah.

00:46:06:12 - 00:46:09:11
Speaker 4
It's like Mozart. All of your sonatas follow the sonata allegro and.

00:46:09:14 - 00:46:23:16
Speaker 5
They do beautifully. And yeah, and like, like you said, it's like the it's the times that come around again. It's the relationship to the repetition that means so much. So I don't know, I it's not really a quibble, but as much as just kind of like baked into the music. So that's. Yeah.

00:46:23:17 - 00:46:49:22
Speaker 4
Yeah I don't why you know I got a quibble bit. They, they didn't, they weren't allowed okay. So they actually were still right. And everybody except for art, art Neville passed about five years ago, but the rest of the band is still around and they have come together. I actually saw their first reunion, I believe it was like 91 or 92 sometimes around that time at New Orleans Jazz Fest, it was such a big deal because they hadn't all played together as a band under the meters since, I believe, like 76 or 77.

00:46:49:22 - 00:47:04:02
Speaker 4
Oh, wow. So it was like, I don't know, there was some different things that that occurred or whatever, and they have come back at different parts, but they basically stopped being a band after that. Yeah. You know, two of them kept living in New Orleans. Two of them were living on the West Coast, and they would come together.

00:47:04:02 - 00:47:18:10
Speaker 4
It was always a huge I mean, it was a huge deal when they would, but that would be all equivalent is that they didn't progress past this. Incredible. It's kind of like Stevie Wonder. We talk about that period. We talk about, you know, different, you know, John Coltrane and for certain years. And then they go on to the next period.

00:47:18:10 - 00:47:20:11
Speaker 4
They didn't really go on to the next period. Yeah.

00:47:20:11 - 00:47:21:16
Speaker 5
But you know.

00:47:21:18 - 00:47:23:08
Speaker 4
Maybe it was just for that time. Yeah.

00:47:23:08 - 00:47:35:04
Speaker 5
It's like neither did like I mean, they could have just kept making music like what the Stones and Bowie and people like that. But like what happened after 82 for those guys, you know what I mean? It's like some kind of billion.

00:47:35:04 - 00:47:36:00
Speaker 4
Dollars in revenue.

00:47:36:00 - 00:47:43:06
Speaker 5
Okay. That's true, that's true. They didn't make a ton of bank. But but you know what I'm saying artistically, maybe it's like they called it when it was felt right to call.

00:47:43:08 - 00:47:46:00
Speaker 4
Right. You know, that could be I don't know.

00:47:46:02 - 00:47:46:15
Speaker 5
Anemometer.

00:47:46:20 - 00:47:49:00
Speaker 4
I mean, I think this is ten.

00:47:49:02 - 00:47:50:03
Speaker 5
You think it's super snobby?

00:47:50:09 - 00:48:04:17
Speaker 4
I think it's super snobby. Yeah, I do okay, I don't know. Do we see that on here? Adam just looked at me with a very rare look of shock. Just shock and awe. I have the exact opposite. Okay, because our snob meter snap monitor is faulty.

00:48:04:19 - 00:48:09:09
Speaker 5
So you think that this is an album that snobs only would love?

00:48:09:11 - 00:48:14:19
Speaker 4
Well, no. Is that what this anemometer is? I think it's that snobs would love it.

00:48:14:21 - 00:48:24:07
Speaker 5
How snobby is the album? Is this like, is it more towards a general population or more towards like a niche, snobby music nerd? You know what I mean?

00:48:24:07 - 00:48:29:18
Speaker 4
So five. Do you think so? I gotta be five use I say ten, you say zero. We gotta average it, right?

00:48:29:18 - 00:48:31:05
Speaker 5
I guess you're right. I guess you're.

00:48:31:05 - 00:48:38:23
Speaker 4
Right. I mean, I think it's snobby because a lot of people don't know, like for some reason they're still a little bit under the radar. I mean, of course, if you're a hardcore.

00:48:39:05 - 00:48:40:04
Speaker 5
Party music, though.

00:48:40:04 - 00:48:49:13
Speaker 4
I know, but it's but it's also but it's got these layers. It's not party music in the way that like, you know, Milli Vanilli is one record is party music. If you're having a late 80s party, I.

00:48:49:17 - 00:48:50:11
Speaker 5
Don't blame it on the.

00:48:50:11 - 00:48:55:07
Speaker 4
Rain. I see, but but I'm saying, what's the snap commentary on Milli Vanilli?

00:48:55:09 - 00:48:56:09
Speaker 5
That's zero.

00:48:56:11 - 00:48:58:21
Speaker 4
Right? So you gotta put the meters at the same place.

00:48:58:21 - 00:49:00:06
Speaker 5
I have it at three. Oh, you.

00:49:00:06 - 00:49:01:04
Speaker 4
Have it at three. Oh, I.

00:49:01:08 - 00:49:07:17
Speaker 5
Like it's slightly snob higher than Milli Vanilli I love that that's that's our criteria. Oh, I will say Whitney Houston. That would be a good without Linda.

00:49:07:17 - 00:49:10:01
Speaker 4
Love this record.

00:49:10:03 - 00:49:10:18
Speaker 5
No.

00:49:10:18 - 00:49:17:11
Speaker 4
Okay. Would, Allen Iverson love this record? I hope so, would Ethan Iverson love this?

00:49:17:14 - 00:49:18:03
Speaker 5
I think he.

00:49:18:03 - 00:49:27:12
Speaker 4
Would. Yeah, that's why I said ten, because. Isn't that are the submitter, Aunt Linda, to, Ethan Iverson? Okay, we need some work on that.

00:49:27:15 - 00:49:32:00
Speaker 5
We need to put a stop. Let us know what your submitter rating is. If you understand the name.

00:49:32:01 - 00:49:46:17
Speaker 4
Someone did put a comment. And look, please, if we're getting stuff right, which we often do, please give us the compliments in the in the in the comments. If you if you have a quibble bit with us, please put that in the comments. We welcome those and receive those. We're very good at accepting those. Let us know what you think of this.

00:49:46:19 - 00:49:51:18
Speaker 4
But somebody did put it in the comments in the last episode about this anemometer. They said they think it's faulty. Did you.

00:49:51:18 - 00:49:58:04
Speaker 5
See that? Yeah, that technically it should be a ten. If both Linda and Damon Iverson like it.

00:49:58:08 - 00:49:59:19
Speaker 4
That they both get five points, which is.

00:49:59:19 - 00:50:03:05
Speaker 5
What I suggested months and months ago, but it's too confusing to explain.

00:50:03:05 - 00:50:04:20
Speaker 4
Then you just explained it.

00:50:04:22 - 00:50:07:18
Speaker 5
Yeah, I know, but then what happens if I guess so this.

00:50:07:18 - 00:50:11:10
Speaker 4
Might make that dislike a six then? Because on Linda I give it a one.

00:50:11:12 - 00:50:12:18
Speaker 5
I think on Linda would give it a three.

00:50:12:20 - 00:50:20:11
Speaker 4
If you give it a three and I would say, oh I, I'd say Ethan Iverson would give it a five probably or four. He probably give it a four.

00:50:20:12 - 00:50:21:00
Speaker 5
Probably a four.

00:50:21:00 - 00:50:22:00
Speaker 4
So it's going to be.

00:50:22:00 - 00:50:34:02
Speaker 5
A seven meaning that it's like a great album that appeals to both the masses and to snobs. Yeah, but see, I just don't like that because then you can't tell how snobby an album is, which is what I want out of this anemometer. It's measuring the snobbishness.

00:50:34:03 - 00:50:36:02
Speaker 4
That's that is inherent in the names.

00:50:36:04 - 00:50:42:11
Speaker 5
Because if it's if it's five, then you're like, well, is it five for Aunt Linda or five for Ethan? It's what I'm saying. Right?

00:50:42:13 - 00:50:44:15
Speaker 4
All right. I'm going nine.

00:50:44:17 - 00:50:48:06
Speaker 5
The whole point of this nanometers to rate the snobbishness of an album.

00:50:48:08 - 00:50:53:20
Speaker 4
Did you ever think you'd be sitting on a podcast saying, quote, the whole point of the submitters to rate the album?

00:50:53:20 - 00:51:02:03
Speaker 5
But I manifested this podcast this week, so my idea was to have a job where I sit and talk music with you, and we discuss how snobby a thing is.

00:51:02:07 - 00:51:06:06
Speaker 4
Okay, I'm living my dream. Is it is it better than Kobe?

00:51:06:07 - 00:51:07:15
Speaker 5
Kind of blew it is not.

00:51:07:17 - 00:51:29:00
Speaker 4
Okay. I'm going to say now this is a little bit unfair because this is not an album. Actually, we're talking about rejuvenation. This is a playlist officially. Yeah. This is a playlist. Good. Yeah. Peter's favorite meters tracks I'm going to say it is equal to kind of blue controversial. Yeah I'm going to say it's equal. And I almost if you were to force me and say like tell me that I'm not allowed to do we don't do equal.

00:51:29:00 - 00:51:29:10
Speaker 5
We don't do.

00:51:29:10 - 00:51:30:04
Speaker 4
Equal. It's better than.

00:51:30:10 - 00:51:32:05
Speaker 5
Oh no it's not.

00:51:32:08 - 00:51:48:22
Speaker 4
I if I was forced off I would say okay for me okay. Isn't that what is this we're not talking about. The chords are better. Let's see. Is John Coltrane in the meters? Is he that. Well, I'm just saying these tracks to me. Like, if if we're saying better that, do we mean better than to us? Just for your enjoyment, do we prefer.

00:51:49:03 - 00:51:55:20
Speaker 4
Yeah, I would say okay. Okay. I put it out there if you if you've let me know if you agree or not. Okay. Okay.

00:51:55:20 - 00:51:58:13
Speaker 5
Jamal's I said nine nine.

00:51:58:13 - 00:52:14:15
Speaker 4
Yeah. I just said all killer. Yeah. They're all so that's probably another great art. And they're great and they're very iconic. What what you will have seen. Caleb I'll have them in in the episode. They're really fun. They're indicative of the period. They're. You may have seen them. You may have not, but they're they're fantastic. Cool.

00:52:14:18 - 00:52:15:09
Speaker 5
Yeah.

00:52:15:09 - 00:52:26:19
Speaker 5
All right. Well, hey, listen, leave us a comment and also leave us a rating review on either Spotify or Apple Podcasts. We love ratings and reviews. We read the reviews. Sometimes we're going to get back to that. We're going to be doing a mailbag episode. Coming up.

00:52:26:19 - 00:52:28:02
Speaker 4
I'm Mark Bang mailbag, a.

00:52:28:02 - 00:52:37:14
Speaker 5
Mukbang mailbag. So if you want to leave a speak pop, go to you'll hear A.com and leave us a voicemail. We'll be taking some questions. We'll also be reading some of your comments, including some of your suggestions about things.

00:52:37:16 - 00:52:38:05
Speaker 4
That's coming up.

00:52:38:05 - 00:52:39:15
Speaker 5
In the comments. That'll be in a couple weeks.

00:52:39:15 - 00:52:42:14
Speaker 4
Should we talk about what's coming up next week, though? Can we even do that?

00:52:42:14 - 00:53:00:13
Speaker 5
Yeah, next week is going to be, some Bill Evans. We're going to be talking about one of the most influential jazz trios in the history of trios, Bill Evans, Paul Motian and Scott LaFaro. They were only together for 18 months, recorded four albums, recorded two of the most iconic jazz piano albums in the same day. We're gonna be talking about that next week.

00:53:00:14 - 00:53:03:19
Speaker 4
Was it a Sunday, by any chance? It was this Sunday,

00:53:03:21 - 00:53:05:01
Speaker 5
25th, 1961.

00:53:05:02 - 00:53:10:14
Speaker 4
Cool. And the nerd nook. I already know what we're going to do for the nerd. The nerd nook is something exclusive for open studio members. Go!

00:53:10:15 - 00:53:13:11
Speaker 5
We got to be a member. It's in the hang. You can find it in the SEC.

00:53:13:12 - 00:53:16:21
Speaker 4
And this is for, like, if you like some of the stuff we played at the beginning, we're going to play another tune,

00:53:16:21 - 00:53:26:00
Speaker 4
in a second here too. But, I did a little arrangement on that Cissy strut. I hope it's cool with the meters. You know, I'm always like, we can't do it just like them, because we can't do it just like now.

00:53:26:00 - 00:53:40:16
Speaker 4
No way. So I put a put some kind of chords and some rhythms. I'm gonna kind of just break down those chords. They're relatively simple. Although in the words of Caleb Kirby, what he told me earlier this morning, just learn it. So I think that's gonna be an opportunity for me to just learn it. But to show you guys kind of why I did that.

00:53:40:18 - 00:53:42:17
Speaker 5
The other one drummers, they just learn it.

00:53:42:17 - 00:53:52:19
Speaker 4
And that's right. So we're going to talk about that. That'll be available very soon actually when this episode drops over at Open Studio jazz in the hang and the nerd nook and so cool.

00:53:53:02 - 00:53:53:08
Speaker 5
What, you want.

00:53:53:08 - 00:55:35:15
Speaker 4
To go on? Well, let's do, oh. First of all, give it up for Bob debut. And now, come on, Kayla Kirby at shows you're taking this podcast to the next. Hello. Preciate you guys. Why don't we do a little bit of that, bounce bounce bounce bounce bounce walk. Till next time. Oh don't do you'll hear it.

00:55:35:17 - 00:55:54:21
Speaker 3
Do.