The 500 - #143 - The Night Tripper Gris-gris - Dr. John

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #143
Album Title: The Night Tripper - Gris gris

Artist: Dr. John

Genre: New Orleans R&B, Swamp Blues, Swamp Rock, Psychedelic Funk

Recorded: Gold Star Studios, Los Angeles

Released: January, 1968

My age at release: 2
How familiar was I with it before this week: Not at all

Is it on the 2020 list? Yes, at 356, dropping 212 places
Song I am putting on my Spotify Playlist: I Walk On Guilded Splinters

The music scene in 1968 was one of the most explosive, diverse and transformative in modern history. Amidst global cultural upheaval, music became a mirror and a megaphone as it blended rebellion, experimentation, and a deepening sense of political urgency and spiritual searching. In fact, 22 albums from 1968 appear on Rolling Stone Magazine’s 500 Greatest Albums of All Time (2012 edition), including eight in the Top 100.

• Rock music got heavier, more psychedelic, and more politically charged. The Beatles released The White Album, Jimi Hendrix unleashed Electric Ladyland and The Rolling Stones returned to raw blues with Beggars Banquet.

• Folk rock, Americana, and protest music evolved in bold directions. The Band’s Music From Big Pink redefined roots rock, The Byrds’ Notorious Byrd Brothers fused country and psychedelia, Simon & Garfunkel’s Bookends offered poetic introspection, and Johnny Cash’s At Folsom Prison brought outlaw country into the mainstream.

• Soul, funk and R&B deepened their emotional and political resonance. Aretha Franklin released Lady Soul, Sly and the Family Stone began work on Stand!, and James Brown declared Black pride with his landmark single Say It Loud -- I’m Black and I’m Proud.

• Even jazz and avant-garde music were breaking boundaries. Miles Davis edged toward fusion with Filles de Kilimanjaro, while John Coltrane’s posthumous Cosmic Music pushed jazz into spiritual terrain.

• Meanwhile, art rock flourished: The Doors (Waiting for the Sun), Pink Floyd (A Saucerful of Secrets), and Frank Zappa (We’re Only in It for the Money) released albums that blended dark poetry, whimsical psychedelia and biting satire.

And in the midst of this vibrant musical kaleidoscope, a New Orleans-born songwriter and performer named Malcolm John Rebennack, better known by his stage persona Dr. John, was conjuring something entirely different in a Los Angeles studio -- a voodoo-soaked debut called Gris-Gris.

Gris-gris (pronounced gree-gree) is a type of talisman or charm traditionally used for protection, healing or good luck. Rooted in West African spiritual practices, it was carried to the Americas through the transatlantic slave trade and became a central element in Haitian and Louisiana Voodoo.

A gris-gris from the West African Tuareg People.

Typically, a gris-gris is a small cloth bag filled with a symbolic mix of items -- herbs, stones, bones, hair, written prayers, or other spiritually charged objects. It can be worn on the body, placed in a home, or buried in a meaningful location. While often used with positive intentions (to attract love, ward off illness, or invite success) it can also serve more protective or retaliatory purposes, such as hexing or shielding against enemies.

Years ago, I played pick-up hockey with a chum who swore by his leather gris-gris. He wore it, a small satchel tied to a suede cord, around his neck, resting near his sternum. Inside were a handful of inexpensive but, to him, spiritually potent gemstones. Ironically, during one particularly aggressive scrimmage, he was checked hard into the boards…face first. The impact drove the satchel into his chest, leaving him with a bruised chest plate. So much for good luck that day.

When Dr. John titled his debut album Gris-Gris, he wasn’t just naming a record, he was casting a spell. Drawing from the mystical traditions of New Orleans voodoo, he blended psychedelic soundscapes, ritualistic rhythms, and swampy incantations to create something that felt less like an album and more like a sonic talisman. Gris-Gris is hypnotic, mysterious, and steeped in spiritual symbolism.

Released in the chaotic creative storm of 1968, the album absorbed the influences swirling around it, but never conformed to them. It’s psychedelic, but not in the flower-power San Francisco sense. It’s bluesy, but not Chicago slick. It’s funky, but not James Brown tight. Instead, it’s a strange and simmering gumbo of voodoo chants, jazz improvisation, R&B grooves, and psychedelic haze. It is an album that sits at the crossroads of genres and defies easy categorization even today.

Its inclusion on The 500 Greatest Albums of All Time, especially at a lofty #144 ranking, might seem surprising at first glance. Gris-Gris had no hit singles, modest sales, and is rarely cited as a direct influence by mainstream artists. And yet, its eerie, genre-defying atmosphere has quietly echoed through decades of music. The album’s final track, I Walk on Gilded Splinters, has proven especially enduring. It has been covered, sampled and reimagined by a wide range of musicians. Most notably, Beck built the rhythm track for his 1993 breakout hit Loser around a drum loop from Johnny Jenkins’ version of Gilded Splinters.

In many ways, Gris-Gris, like the voodoo traditions that inspired it, endures as a fascinating artifact from a world I don’t fully understand, but can’t help being captivated by. I’ve always been a sucker for a little superstitious lore woven into my media diet, and this album fits right in. Back in the late ’80s, my wife-to-be and I bonded over films such as Angel Heart and The Serpent and the Rainbow…moody, mystical, mysterious and steeped in shadowy voodoo vibes. Listening to this record stirred up those same feelings, my own gumbo of curiosity, unease and sonic appreciation.

So maybe I don’t need to understand Gris-Gris or its placement on this list. Like any good spell, it works best when you just let it take hold. Regardless, when I attempt to return to hockey again following a two-year, hip-replacement hiatus I’ll certainly leave my gris-gris in the locker room.

The 500 - #220 - Look-Ka Py Py - The Meters

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #220
Album Title: Look-Ka Py Py 
Artist: The Meters
Genre: Funk
Recorded: Le Fevre Studios, Atlanta, Georgia

Released:  December, 1969 
My age at release: 4
How familiar was I with it before this week: Not at all

Is it on the 2020 list? Yes, moving down 195 places to position 415
Song I am putting on my Spotify Playlist: Look-Ka Py Py

Initially, I thought  The Meters’ second studio record, Look-Ka Py Py, would be a new discovery. In many ways, it was. It turns out, I have heard songs by The Meters before – their distinct instrumental brand of New Orleans Funk making it an immediate reminder. Some rudimentary research showed their music has been featured in several commercials and on television programs and movies which I was aware of.

An example was The Meters’ biggest hit, Cissy Strut, which was featured humorously in the 2020 Danish black comedy Druk (labelled Another Round for English releases) that my wife and I watched during the height of the pandemic. The film stars Mads Mikkelsen, who had already secured success in Hollywood as the Bond villain Le Chiffre in Casino Royale (2006) and as Dr. Hannibal Lecter in the television series Hannibal (2013-15).

Danish movie poster for Druk (2020)

Druk/Another Round tells the story of four high-school teachers who commiserate about their careers and mid-life malaise. They struggle to motivate their students and feel their lives have become routine and boring. At a dinner celebrating a 40th birthday, the foursome discuss a ‘theory’ from Norwegian psychiatrist Finn Skårderud.  Skårderud (sort of) postulated that humans are born with a deficiency in their blood alcohol content (BAC) of 0.05%. It didn’t take long for the characters to conjecture that elevating one's BAC to a positive 0.05% would improve relaxation and creativity. By way of comparison, 0.05% is achieved by most adults knocking back two standard drinks.

Mikkelsen on the poster for the 
English release of Another Round.

The group decides to embark on an experiment, punctuating each day with enough alcohol to maintain this slightly positive BAC. At first, things go swimmingly and this emboldens the quartet to up the ante, often drinking to excess in the evening and on weekends. During one scene featuring a robust session of imbibing, the song Cissy Strut from The Meters is played on a turntable. The montage that follows captures the delightful bacchanalian excess that an evening of intoxicated celebration with friends can bring. Predictably, the darkly funny film also addresses the short and long term effects of boozy celebration. I won't spoil it as the Academy Award winning flick is worth your time watching.

Slightly intoxicated is a good way to describe how listening to The Meters makes me feel. The music features light, infectiously melodic grooves, punctuated by punchy, fun bass riffs and a danceable drum beat. Much like the characters in Druk/Another Round, it triggers an impulse to dance on the furniture. Formed in 1965 in New Orleans, The Meters comprise Zigaboo Modeliste (drums), George Porter Jones Jr. (bass), Leo Nocentelli (guitar) and Art Neville (keyboards). Look-Ka Py Py is the group's second release and the title track, along with Cissy Strut from their debut albums, are considered funk classics.

The Meters - clockwise from left: Zigaboo Modeliste,
Art Neville, George Porter Jr. and Leo Nocentelli

The group did not experience much mainstream success but are highly-regarded by critics. Along with James Brown, they are recognized as the originators of the funk genre. They also served as back-up band for multiple artists, including Leo Dorsey, Robert Palmer, Allen Toussaint and Dr. John. Coming across this bit of trivia reminded me I had also seen the band perform on Saturday Night Live when I was twelve-years-old. It was in 1977, when SNL was  routine viewing for me. That performance can be seen here.

Dr. John's sixth album, In The Right Place, which features
The Meters as his backing band.

We will revisit The Meters in 81 weeks when we reach album #139,  Rejuvenation, on The 500 list. However, I suspect I will listen to it well before the November, 2025 date. The Meters is a band  I was thrilled to re-discover after unknowingly being locked up in my head for more than 40 years.

The 500 - #222 - New Orleans Piano - Professor Longhair

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #222
Album Title: New Orleans Piano
Artist: Professor Longhair
Genre: Blues, New Orleans R&B
Recorded: New Orleans, November, 1949, and  November, 1953

Released: 1972
My age at release: 6
How familiar was I with it before this week: Not at all

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Tipitina

A signature dish in Louisiana is a stew called gumbo. It is a meat or shellfish broth mixed with celery, bell peppers and onions -- often dubbed the "holy trinity of Cajun cuisine". Gumbo is complemented by a thickener. Most recipes call for okra, aka "lady's fingers", an edible green seed pod plant originally from East Africa but now cultivated in warm temperate or tropical regions. Other Gumbo dishes feature filé powder, a spicy herb seasoning from the North American Sassafras tree. The dish can be made more hearty with the addition of rice, shellfish, Andouille sausage, ham or chicken. Some versions contain duck, rabbit or even alligator and squirrel.

Gumbo is, in many ways, the perfect metaphor for Louisiana -- a beautiful, saucy, spicy mix of cultures and flavours. There are influences from West Africa, France (by way of the Nova Scotia Acadians), Portugal, Spain, Sicily and the Indigenous populations of the surrounding area (the Chitimacha. Coushatta, Choctaw and Tunica-Biloxi peoples). Louisiana, and New Orleans, in particular, is a melting pot of zesty influences from all these cultures. It can be found in their food, language, architecture and, of course, their music. New Orleans is often considered to be the birthplace of many uniquely American musical genres, including ragtime (Jelly Roll Morton), jazz (Louis Armstrong), Dixieland (King Oliver) and rhythm and blues (Fats Domino).

New Orleans native, the legendary Louis "Satchmo" Armstrong.

Professor Longhair, aka: "Fess" (birthname Henry Roeland "Roy" Byrd) was born in Bogalusa, Louisiana, in 1918, a small town near the Alabama border. His distinctive style of piano playing came from his childhood when he learned to play on an instrument with missing keys. His style, a type of New Orleans Blues, was influenced by the jazz music he was hearing alongside a variety of Caribbean sounds, such as rumba, mambo and calypso.

Professor Longhair (c: 1950s).

In his book, The Blues: From Robert Johnson to Robert Cray, music journalist Tony Russell wrote "the vivacious, rumba-rhythmed piano blues and choked singing typical of Fess were too weird to sell millions of records." However, he served as an inspiration and father figure to the legendary Louisiana artists who followed him, including Fats Domino, Huey "Piano" Smith, Allen Toussaint and Dr. John -- who has two records on The 500 list (#404 and #143).

Malcom John Rebennack Jr. -- aka: Dr. John.

In March, 2010, my wife surprised me with a trip to New Orleans. We enjoyed a five-day adventure walking the lively streets of The Big Easy, enjoying the music, culture, history and cuisine of the legendary Crescent City. We ate po-boy sandwiches and jambalaya. One morning it was freshly baked beignets at the famous Cafe du Monde and in the afternoon, a traditional New Orleans Muffaletta Sandwich from the Central Grocery and Deli.

My wife, Angela, about to tuck into a Muffaletta Sandwich.

Without a doubt, the best night of music happened when we left the touristy French Quarter and Bourbon Street region (overrun by NCAA basketball fans who were there for the March Madness tournament). We took a long cab ride to the Vaughan Lounge in the Bywater neighbourhood on the east side of town. Every Thursday, since the 1990s, well-known jazz trumpeter Kermit Ruffins hosts his BBQ there. The New Orleans native spends the day at an outdoor grill, preparing the food. Then, as the sun goes down, he and his band, The Barbecue Swingers, take the stage. The show is an open jam with many talented locals joining the small stage for an improvisational session of riotously fun jazz and blues.

Exterior of The Vaughan Lounge.

During the intermission, everything comes to a stop and the BBQ is served. A long table is set-up at the back of the restaurant and everyone -- musicians, serving staff, cooks, bartenders and patrons -- fill their plates with white bread and scoops from giant metal pots containing rice, red beans and that day's barbecued meat. It is a wonderful, communal and culinary experience. After about a half hour, a piano is heard and, within minutes, Kermit and the band are jamming again.

Kermit Ruffins outside the Vaughan.

New Orleans is a city worth revisiting. It is a touchstone of many satisfying attractions –  music, food, history, art and culture. Next time, I will add the music venue Tipitina to our itinerary. It is at the corner of Napoleon Avenue and Tchoupitoulas Street in the Uptown district. The name was inspired by a song of the same name from Professor Longhair, his biggest hit and the second track on this week's album, New Orleans Piano. Constructed in 1912, it has been a gambling house, gymnasium, brothel, juice bar and restaurant. It is also a location where numerous live records have been recorded by many musicians of whom I am a fan, including The Neville Brothers, Dr. John, Jane's Addiction, The Blind Boys of Alabama, The Radiators, Phish and, of course, Professor Longhair. He recorded Ball The Wall: Live at Tipitina's, fewer than two years before his death in 1980. It was a seemingly fond farewell to a mecca rich in southern heritage. Hopefully, we will return to New Orleans in the coming years. It will give us another chance to enjoy their traditional gumbo -- real and metaphoric.

The 500 - #404 - Dr. John's Gumbo - Dr. John

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone's 2012 edition of The 500 Greatest Albums of All Time. 

Album # 404

Album Title: Dr. John's Gumbo 
Artist: Dr. John
Genre: Rhythm & Blues, New Orleans Blues
Recorded: Sound City Studios, Los Angeles
Released: April, 1972
My age at release: 6
How familiar was I with it before this week: Somewhat
Song I am putting on my Spotify Mix: Junko Partner

Album Cover for Dr. John's Gumbo

This week, I started the 2020 school year, teaching Grade seven at a new school. It is my first time in a classroom since mid-March when the Coronavirus pandemic shuttered all Ontario classrooms. On September first, my newly placed portable was empty. Over the past two weeks, items have been arriving and everything is new -- desks, shelves, cupboard and chairs delivered, wrapped in plastic.

It was a lot of work to get ready for my students but it is nice to start with a blank slate. Consequently, my headphones have had a work-out and the soundtrack for my grunt-work was Dr. John's Gumbo, a collection of New Orleans rhythm and blues standards from the Rock and Roll Hall of Fame and multi-Grammy-award winning pianist and singer Dr. John. There is a lot to learn about the fascinating life of this iconic performer and his career made me think about the students I would soon be meeting. 

Malcom (Mac) Rebennack - aka Dr. John (2014)

Malcom (Mac) John Rebennack, better known by his stage name "Dr. John", was born and raised in a working class neighbourhood of New Orleans, Louisiana. He was, as one might expect from someone growing up in The Big Easy, influenced by the music that surrounded him. His extended family were hobby musicians who played minstrel tunes on the family piano. This story-telling tradition would inform his development as a musician and, perhaps more importantly, an entertainer.

Mac didn't begin music lessons until he was a teen when he began learning guitar. At age 13, he met eccentric piano virtuoso Professor Longhair (Roy Bird) whose distinctively infused rumbo, calypso and mambo into New Orleans style jazz. Not only was Mac inspired by his quirky playing style, he was also fascinated by his flamboyant stage persona.

Professor Longhair

At 16, although struggling at a Jesuit high school, his passion for music took over and he started his first band The Dominoes. The Jesuit fathers disapproved, eventually telling him to quit music or leave school. He chose the latter and became a full-time session player in 1957, backing up popular recording artists.

At 19, before a gig in Jacksonville, Florida, Mac interceded when a motel manager was pistol-whipping his friend, lead vocalist, Ronnie Barron. During the altercation, the gun discharged and nearly took Mac's ring finger off. It healed at an odd angle and his guitar-playing career was ended. After six years invested into becoming a solid guitar player, Mac remarkably switched to piano -- the instrument that would make him famous. This is the part that amazes me about natural musicians. He quickly mastered the piano with nine fingers.

Mac had a fascination with voodoo and was enamoured by a Senegalese prince, conjurer, herbalist and spiritual healer named Jean Montaine. "Dr. Jean" had travelled, by way of Haiti, to The Big Easy where he set-up his mysterious, religious practice in a rural bayou just outside the city. Jean made much of his income by selling gris-gris, a West African voodoo amulet, believed to protect the wearer from evil and bring good luck.

Thus, was born the persona of "Dr. John: The Night Tripper". Suddenly all of Mac's passions were fused together to create a larger-than-life entertainer who was part-musician and part-voodoo shaman. His performances included elaborate costumes and props, including a headdress and live snakes, against the backdrop of a wild, psychedelic stage show. His debut album was called Gris-Gris and we'll get to it at #143 on The 500 list.

Dr. John - The Night Tripper performing in a headdress

So, as I greet my students this week, the fascinating life of Dr. John is still in my head and I will approach my role as mentor and educator with the following things in mind:

• Everything is an influence for good or bad. I'll remind my young charges to be mindful of the world around them and tap into its inspiration.
• The teen-years are a fertile time for passionate pursuits...pursue your passions.
• I will continue to foster the academic and artistic pursuits of my students. Unlike Mac's Jesuit teachers, I'll never give them an ultimatum.
• Persevere and Adapt. Challenges are opportunities for greatness in disguise.
• Quirky, flamboyant, wild and weird are positive descriptions. Be what you are meant to be ... Let your freak flags fly!