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┌────────┐ ██▀▀
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Dr. John, The Night Tripper
Title | Gris-Gris
Genre | Blues Format | Album
Source | CD Time | 33:06
Label | ATCO Records Store | 1995
Catalog | 7567-80437-2 Rip | 2020
Bitrate | 781 kbps Size | 193.41 MB
Freq | 44.1 kHz Encoder | FLAC 1.3.1
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Gris-Gris Gumbo Ya Ya 5:36
02. Danse Kalinda Ba Doom 3:39
03. Mama Roux 2:58
04. Danse Fambeaux 4:55
05. Croker Courtbullion 6:00
06. Jump Sturdy 2:20
07. I Walk On Guilded Splinters 7:38
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Dr. John first became a star by taking the sounds and traditions of New
Orleans blues, jazz, and R&B and twisting them into new forms. As time went
by, he would later become one of the strongest proponents of the Crescent
City's musical heritage, celebrating the songs that made that city great,
as well as the men and women who made them. Throughout his career, he was
widely recognized for his skillful and soulful approach to keyboards and
the guitar, both on his own recordings and when backing other artists.
"Gris-Gris" is among the most enduring recordings of the psychedelic era;
it sounds as mysterious and spooky in the 21st century as it did in 1968.
It is the album where Mac Rebennack established a stage identity that has
served him well. A respected studio ace in his native New Orleans,
Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that
wove various threads of New Orleans music together behind the character of
"Dr. John" a real voodoo root doctor from the 19th century.
Harold Batiste, another ex-pat New Orleanian and respected arranger in
Hollywood, scored him some free studio time left over from a Sonny & Cher
session. They assembled a crack band of NOLA exiles and session players
including saxophonist Plas Johnson, singers Jessie Hill and Shirley
Goodman, and guitarist/mandolinist Richard "Didimus" Washington. Almost
everyone played percussion. Gris-Gris sounds like a post-midnight ceremony
recorded in the bayou swamp instead of L.A.'s Gold Star Studio where Phil
Spector cut hits.
The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits
his character fully, delivering Creole French and slang English
effortlessly in the grain of his half-spoken, half-sung voice. He is high
priest and trickster, capable of blessing, cursing, and conning. On the
opening incantation "Gris-Gris Gumbo Ya Ya," Dr. John introduces himself as
the "night tripper" and boasts of his medicinal abilities accompanied by
wafting reverbed mandolins, hand drums, a bubbling bassline, blues
harmonica, skeletal electric guitar, and a swaying backing chorus that
blurs the line between gospel and soul.
On "Danse Kalinda Boom," a calliope-sounding organ, Middle Eastern flute,
Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless
chorus in four-part chant harmony as a drum orgy evokes ceremonial rites.
The sound of NOLA R&B comes to the fore in the killer soul groove of the
breezy "Mama Roux." "Croker Courtboullion" is an exercise in vanguard jazz.
Spectral voices, electric guitars, animal cries, flute, and moody saxophone
solos and percussion drift in and out of the spacy mix.
The set's masterpiece is saved for last, the nearly nearly eight-minute
trance vamp in "I Walk on Gilded Splinters" (covered by everyone from
Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr.
John is brazen about the power of his spells in a slippery, evil-sounding
boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju,
while a backing chorus affirms his power like mambo priestesses in unison.
A ghostly baritone saxophone wafts through the turnarounds.
Droning blues, steamy funk, and loopy R&B are inseparably entwined in its
groove. Remarkably, though rightfully considered a psychedelic masterpiece,
there is little rock music on Gris-Gris. Its real achievement - besides
being a classic collection of startlingly deep tunes - is that it brought
New Orleans' cultural iconographies and musical traits to the attention of
an emergent rock audience.
┌────────┐
────┤░░░░░░░░├─────────────────────────────────────────────────────────────────
└────────┘