Search - Meters :: Rejuvenation

Spicy N'Awleens Seasoned Funk, Bayou Rock...

yygsgsdrassil | Crossroads America | 08/19/2001

(5 out of 5 stars)

"...say! Ain't that Nightbird Nona Hendrix on the cover?Are you gonna love this. One of the Phonkayist recordings ever made....done in the 70s. If you ain't blown away by "Ain't No Use" and its extended funk workout, well, mebbe there's a history of rigor mortis in your family. Plus, to all Ol Skoolers looking for something other than the Usual Suspects of Funk Bands, try it out."

The Meters' "Rejuvenation"

J P Ryan | Waltham, Massachusetts United States | 07/31/2006

(5 out of 5 stars)

"The Meters' Josie material is unequivocally seminal and classic, and along with others I have discussed that music on this site. The transition to the second stage of their decade-plus career roughly coincides with the integration of vocals and their 1972 contract with Reprise Records. Actually they had been adding vocals to their recordings since 1970's "Struttin'" on Josie and the last few (1970-71) Josie singles collected on "Zony Mash", which also feature the introduction of Cyril Neville's congas.

"Cabbage Alley" was an impressive deut for Reprise, with layered percussion, influences ranging from "Riot"-era Sly Stone, various strains of contemporary rock, and early Funkadelic, even studio experimentation that leads to "Stay Away" sounding not unlike early psychedelic dub. The differences on the followup "Rejuvenation" issued a full two years later include the evidence that it was recorded in Allen Toussaint's new state-of-the-art studio, Sea Saint. This is a warm, richly textured recording, with deep clear bass and each instrument reproduced just as the band likely intended. There is also evidence the band (especially Leo Nocentelli) spent a lot of time on the mix. And the Meters here move somwhat away from the hard rock of "Cabbage Alley" towards a still contemporary ('74) and integrated funk/soul approach, with some pop and rock touches, as well as, occasionally, jazz by way of Kenny Burrell and Wes Montgomery (Leo's longtime jazz guitar heroes) on the long tracks. This is indeed the first Meters set with no instrumentals at all, but the band gives itself plenty of room to flex its muscles.

"People Say" and "Just Kissed My Baby" are slow, simmering deep grooved funk classics, plain and simple; the single mixes of the former and "Hey Pocky A-Way" included as bonus tracks are indeed slightly different - not just shorter - for a nice contrast. "What'cha Say" and especially "Loving You Is Always On My Mind" (the latter the closest thing to a pure instrumental)are gorgeous, upbeat, and infectious - soulful grooves not unlike the best of the Isley Brothers, and with sparkling melodies as well. But The Meters' virtuosity and New Orleans roots are never lost, with dense rhythm tracks courtesy of Ziggy Modeliste, George Porter, and Cyril Neville. "Jungle Man" and "Africa" are both hard funk, but for me the highlight is the nearly 12-minute "Ain't No Use" which after starting life as a funky and danceable Isleys type groove, including spectacular guitar interjections from Leo, evolves into a truly amazing jam (and I am no jam band fan) with everyone at the top of their game, especially Leo and Modeliste during the last three or four minutes. Dynamic and compelling, this is one of the album's defining moments, as is the hit "Hey Pocky A-Way," heard here in its best-ever version.

Credit also goes out to New Orleans legend Wardell Querzeque's subtle and fresh horn arrangements (which never clutter the mix), and on a couple tracks, some tasty slide guitar from Lowell George. The Meters (who get a co-production credit for the first time) sound confident, telepathic, at their Reprise-era peak, and this is one of the best albums of '74 - and one of the great funk albums of that era as well."