Boz scaggs silk degrees cd4/7/2024 The longest song on the album is three minutes and 18 seconds, and the rest of them barely push past 2:45, each unfurling into what feels like effortless jam sessions, where the band tries to keep up with each other on a quest to find some shared sonic revelation, and then when it is found, the song ends. It is sort of a reverse effect, their debut album free of pressure, imagined or real. And it is here that the miracle of the Meters flourishes: the band that was on stage tearing the Ivanhoe apart night after night found a way to become that same band on record. Their second shot, Look-Ka Py Py, was released just seven months later, before the year kicked its last bit of sand down the hourglass. It’s always fascinating when a band releases two albums in close proximity, particularly in the same year, and particularly if the two albums are a debut and a so-called sophomore effort. When Aaron and Cyril left, the foursome became the house band for Allen Toussaint at Sansu Studios by day and tore through the New Orleans club circuit by night. (bass), Leo Nocentelli (guitar), and Ziggy Modeliste (drums). In their earliest forms, they played as the Neville Sounds: Art Neville (keyboards), his brothers Aaron and Cyril, George Porter Jr. By 1969, the Meters were New Orleans Notorious, a band that you’d heard even if you didn’t know you’d heard them.
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