Dr. JOHN - Manley Field House at Syracuse University 1972

Dr. JOHN - Manley Field House at Syracuse University 1972
Syracuse, NY April 7, 1972
WAER-FM Broadcast
Bootleg

Blues

Dr. John- Piano, Guitar and Vocals
Kenny Klimak- Guitar
Jimmy Calhoun- Bass
Freddie Staehle- Drums
Jaimoe- Drums
Robbie Montgomery- Vocals
Jessie Smith- Vocals
**
01. Croker Courtbullion
02. Gris Gris Gumbo Yaya
03. Craney Crow
04. Familiar Reality - Opening
05. Glowin'
06. Try Rock and Roll
07. Let The Good Times Roll
08. I Walk On Guilded Splinters
09. Iko Iko (joined in progress)
10. Band Introductions
11. Little Liza Jane
12. Mardi Gras Day
13. Wang Dang Doodle
14. Mardi Gras Day Reprise
**

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Dr.JOHN - Woman Is The Root Of All Evil 2001

Dr.JOHN - Woman Is The Root Of All Evil 2001
MPG 74069

Blues

Nothing going to be said.
themonk
**
01. Crawfish Soiree (Bring Your Own)   5:56
02. Tipitina   3:15
03. In the Night   2:49
04. Woman Is the Root of All Evil   2:10
05. The Time Had Come   3:42
06. Shoo Raa   4:13
07. Zu Zu Man   3:18
08. Baldhead   2:32
09. Mean Cheatin' Woman   4:36
10. Make Your Own Bed Well   3:14
11. A Little Closer to My Home   3:13
12. Della (Part II)   1:56
**

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DR.JOHN - N'Awlinz Dis Dat Or D'Udda 2004

DR.JOHN - N'Awlinz Dis Dat Or D'Udda 2004

Blues

As befitting Dr. John's New Orleans roots, there's a rather magical, Dorian Gray-esque quality to the sumptuous buffet that is N'Awlinz: Dis, Dat or D'udda. Remarkably, the pied piper of Crescent City boosterism sounds younger and more fully alive on this 18-track collection than his did some three-and-a-half decades ago when the seminal Gris-Gris first introduced us to the crushed-glass magnificence of his howls and growls. It doesn't hurt, of course, that the good Doctor is assisted not only by several dozen of the best singers and sideman his (or any other) part of the world has to offer but also by such welcome guests as Mavis Staples, B.B. King, Randy Newman, Willie Nelson, Cyril Neville, Nicolas Payton and Clarence "Gatemouth" Brown.

Beginning and ending with newly-penned originals-the spirited "Quatre Parishe" for openers and the appropriately funereal "I'm Goin' Home" to close-Dr. John fills the middle with reworkings of 16 classics that have contributed to his, and the city's, vibrant legacy throughout the past half-century. In a musical (and sociological) first, he unites three rival Mardi Gras tribes-the Golden Eagles, Mighty Cloud Hunters and Mandingo Warriors-collectively dubbing them the Mardi Gras Indians, for a rendition of the recently minted "Chickee le Pas" that brings exalted meaning to the term funkadelic. Elsewhere, there are sizzling, back-to-back teamings with Staples on the staples "When the Saints Go Marching In" and "Lay My Burden Down," a double dose of King on "Hen Layin' Rooster" and "Time Marches On" (also featuring Nelson), a "Such a Much" that demonstrates how seamlessly complementary his and Nelson's voices are and an incendiary "St. James Infirmary" featuring Eddie Bo.

I must confess, though, a special fondness for "I Ate Up the Apple Tree," a biblically themed lullaby that Dr. John used to sing to his kids, here enlivened by the inimitable Newman. The accompanying press release praises N'Awlinz as "the most heartfelt musical love letter the city of New Orleans has ever received." For once, publicist hyperbole is anything but.
By Christopher Loudon.
**
This album is mesmerizing! This is definately one of the most enjoyable albums I have heard this year. Dr John brings the "flava" of New Orleans home in this album with the funeral dirge-like lamenting of "When The Saints Go Marching In" (with Mavis Staples)- also the Marie Laveau with Cyrille Neville is enchanting. Not to mention all the other remarkable vocal couplings with other legendary artists! Get in the bayou mood and get this one!
By A. Christensen.
**
01. Quatre Parishe 2:14
Congas - Alfred "Uganda" Roberts
Double Bass - Bill Huntington
Percussion - Joachim Cooder , John Boudreaux
Piano - Dr. John
Strings - The Wardell Quezergue Strings
Written-By - Mac Rebennack
02. When The Saints Go Marching In 4:52
Arranged By - Davell Crawford
Double Bass - Bill Huntington
Drums - Earl Palmer
Guitar - John Fohl , Steve Masakowski
Horns - The Wardell Quezergue Strings
Piano, Organ, Vocals - Dr. John
Tambourine - Smokey Johnson
Vocals - Davell Crawford Singers , Mavis Staples
Written-By - Mac Rebennack
03. Lay My Burden Down 4:32
Bass Drum, Tambourine - Smokey Johnson
Double Bass, Banjo - Bill Huntington
Drums [Snare] - Earl Palmer
Featuring - Dirty Dozen Brass Band, The
Piano, Vocals - Dr. John
Vocals - Davell Crawford Singers , Mavis Staples
Written-By - Mac Rebennack
04. Marie Laveau 6:49
Backing Vocals - The Creolettes
Bass [Electric] - David Barard
Congas - Alfred "Uganda" Roberts
Double Bass - Bill Huntington
Drums - Earl Palmer , Herman Ernest III
Guitar - Walter "Wolfman" Washington
Horns, Strings - The Wardell Quezergue Horns
Percussion - Kenyatta Simon
Piano - Cyril Neville
Tambourine - Smokey Johnson
Vocals - Mardi Gras Indians, The
Written-By - Robert Gurley
05. Dear Old Southland 2:41
Piano - Dr. John
Trumpet - Nicholas Payton
Written-By - Henry Creamer , J. Turner Layton
06. Dis, Dat Or D'Udda 4:20
Backing Vocals - The Creolettes
Bass [Electric] - David Barard
Congas - Alfred "Uganda" Roberts
Drums - Herman Ernest III
Guitar, Keyboards [Wurlitzer], Piano, Vocals - Dr. John
Horns - The Wardell Quezergue Horns
Keyboards, Organ - Willie Tee
Percussion - Smokey Johnson
Written-By - Mac Rebennack
07. Chickee Le Pas 4:02
Double Bass - Bill Huntington
Drums - Earl Palmer
Featuring - The Mardi Gras Indians
Guitar - John Fohl
Guitar, Keyboards [Wurlitzer], Piano, Vocals - Dr. John
Horns - The Wardell Quezergue Horns
Keyboards, Organ, Vocals - Willie Tee
Tambourine - Herman Ernest , Smokey Johnson
Vocals - Cyril Neville
Written-By - Mac Rebennack
08. The Monkey 3:49
Bass [Electric] - David Barard
Congas - Alfred "Uganda" Roberts
Drums - Herman Ernest III
Guitar, Piano, Vocals - Dr. John
Percussion - Kenyatta Simon
Tambourine - Smokey Johnson
Trumpet - Dave Bartholomew
Voice - Eddie Bo
Written-By - Dave Bartholomew , Pearl King
09. Shango Tango 1:27
Acoustic Guitar - Steve Masakowski
Bass [Electric] - David Barard
Congas - Alfred "Uganda" Roberts
Drums - Herman Ernest III
Keyboards - Willie Tee
Percussion - Kenyatta Simon , Smokey Johnson
Piano - Dr. John
Written-By - Mac Rebennack , Wilson Turbinton
10. I Ate Up The Apple Tree 3:34
Backing Vocals - Creolettes, The
Bass [Electric] - David Barard
Congas - Alfred "Uganda" Roberts
Drums - Herman Ernest III
Guitar - Walter "Wolfman" Washington
Horns - The Wardell Quezergue Horns
Tambourine - Smokey Johnson
Vocals - Randy Newman
Vocals, Piano - Dr. John
Written-By - Dave Williams
11. You Ain't Such A Much 3:11
Double Bass - Bill Huntington
Drums - Earl Palmer
Guitar - John Fohl
Guitar [Solo], Vocals - Snooks Eaglin
Guitar, Vocals - Willie Nelson
Horns - The Wardell Quezergue Horns
Piano, Vocals - Dr. John
Tambourine - Smokey Johnson
Written-By - Pleasant Joseph
12. Life Is A One Way Ticket 4:25
Clarinet - Ralph Johnson Sr.
Double Bass - Bill Huntington
Drums - Earl Palmer
Guitar - Tambourine
Horns - The Wardell Quezergue Horns
Piano, Keyboards [Fender Rhodes], Vocals - Dr. John
Tambourine - Smokey Johnson
Written-By - Pleasant Joseph
13. Hen Layin' Rooster 3:35
Double Bass - Bill Huntington
Drums - Earl Palmer
Guitar - Walter "Wolfman" Washington
Horns - The Wardell Quezergue Horns
Organ - Willie Tee*
Piano, Organ, Vocals - Dr. John
Tambourine - Smokey Johnson
Viola [Solo] - Clarence "Gatemouth" Brown
Vocals - B.B. King
Written-By - Mac Rebennack , Pleasant Joseph
14. Stakalee 4:34
Backing Vocals - The Creolettes
Double Bass - Bill Huntington
Drums - Earl Palmer
Guitar - Tambourine
Horns - The Wardell Quezergue Horns
Piano, Vocals - Dr. John
Tambourine - Smokey Johnson
Written-By - Mac Rebennack , Martin Kaelin
15. En Las Bas 2:35
Bass [Electric] - David Barard
Congas - Alfred "Uganda" Roberts
Drums - Herman Ernest III
Organ - Dr. John
Percussion - Kenyatta Simon
Tambourine - Smokey Johnson
Trumpet - Leroy Jones
Written-By - Edward Ory*
16. St. James Infrimary 4:40
Bass [Electric] - David Barard
Congas - Alfred "Uganda" Roberts
Drums - Herman Ernest III
Horns - The Wardell Quezergue Horns
Keyboards - Willie Tee
Percussion - Joachim Cooder
Piano, Vocals - Dr. John
Tambourine - Smokey Johnson
Vocals - Eddie Bo
Written-By - Joe Primrose
17. Time Marches On 4:19
Backing Vocals - The Creolettes
Double Bass - Bill Huntington
Drums - Earl Palmer
Guitar - John Fohl , Snooks Eaglin , Walter "Wolfman" Washington
Horns - The Dirty Dozen Brass Band,The Wardell Quezergue Horns
Piano, Vocals - Dr. John
Tambourine, Bass Drum - Smokey Johnson
Written-By - Joe Willoughby , Louis Jordan , Mac Rebennack
18. I'm Going Home 2:21
Backing Vocals - The Creolettes
Double Bass - Bill Huntington
Drums - Herman Ernest III
Piano, Vocals - Dr. John
Strings - The Wardell Quezergue Strings
Vocals, Percussion - Cyril Neville
Written-By - Mac Rebennack
**
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Dr.JOHN - In The Right Place 1973

Dr.JOHN - In The Right Place 1973
Live Recording. SD 7018

Blues

Funk, in its purest form, is hard to come by these days. That's because we don't have the kind of wreckless visionaries that the 70s had, like Dr. John and George Clinton. These guys were so far gone into their music that they bordered on being parodies of themselves, and somehow that translated into the kind of raw and unprecedented energy that makes their music so saturated in what one would ideally define as 'funky'. Take Dr. John: the dude is basically the white George Clinton, with his crazy head dresses and honky tonk muppet voice. Put him in front of a piano, get the Meters to lay down the tightest funk grooves you've ever heard, and add producer Alain Toussaint's canjun roots and you've got an exceptionally enjoyable album in "In The Right Place". The music is uplifting and listenable; The Meters take the house down with some thick bass riffs, brilliantly arranged horns and tight-as-hell percussions. Dr. John wails like a drunken canjun cartoon character, which is such an endearing and appropriate compliment to this musical experience that you will not know how to listen to this kind of funk without a voice as original and funky as this.
While the entire album provides a consistent line-up of quality jams, the two stand-outs that have become two of Dr. John's greatest hits are "Right Place, Wrong Time" and "Such A Night". "Right Place, Wrong Time" would fill any dance floor with its danceability factor, while "Such A Night" is a kind of honky tonk interpretation of a faster-paced soul ballad, with great backing vocals and a nostalgic, Bugsy Malone-sounding keys section.
This album is a must-have for any self-respecting fan of the funk. Dr. John is a true pioneer in the genre and, while most of his work is worth owning, this is nonetheless one of his best albums to prove it.
**
Start with the Meters, whose hard funk is so efficient there's not a wasted note or out-of-sync beat. Add producer Allen Toussaint's wonderful vocal and horn arrangements. Top them off with seven Rebennack originals plus four well-chosen covers, and you have an album that seemed to arrive out of nowhere at the time of its original 1973 release. It still sounds garden-fresh today, not just the monster hits, "Right Place, Wrong Time" and "Such a Night," but also the chain-gang funk of "Same Old Same Old," the verbal insults of "Qualified," even the second-line soul of "Shoo Fly Marches On." The closest thing to a weak link is "Peace Brother Peace," in which Rebennack anoints himself the Dr. Feelgood of love and happiness. But the Meters sound as if they believe every word he's singing, so who are we to argue?
By Keith Moerer.
**
After GUMBO, his album of classic New Orleans covers, Dr. John released IN THE RIGHT PLACE, his finest set of original funk to date. Perhaps inspired by his exploration of some of New Orleans' finest writers and musicians on the prior release, these tunes bristle with sassy confidence and mysteriously hypnotic grooves. The good Doctor is backed throughout by the Crescent City's own preeminent funk quartet, The Meters.
Setting aside the more obscure exotica of his previous outings, these numbers are supple, subtle, and sturdy. They're also soulful (check out "Just The Same") and eminently rhythmic. The song by which many people know him best, the opening track "Right Place Wrong Time," yielded his biggest hit (#9 on the charts), followed by the much loved "Such A Night." IN THE RIGHT PLACE was produced by Allen Toussaint, whose own tune, "Life," is just one of the continuous string of highlights that comprise this timeless and essential album.
**
Dr.John- (Vocals,Keyboards,Piano,Percussion,Background Vocals);
Arthur "Red" Neville- (Organ);
George Porter- (Bass);
Joseph Modeliste, Ziggy Modeliste- (Drums);
David Spinozza (A1), Leo Nocentelli- (Guitar);
Allen Toussaint- (Acoustic Guitar,Piano,Electric Piano,Keyboards,Congas,
Tambourine,Background Vocals);
Gary Brown- (Saxophone,Alto Saxophone,Electric Saxophone,Horns);
Art Neville- (Organ,Keyboards);
Ralph MacDonald- (Percussion);
Robbie Montgomery, Jessie Smith- (Background Vocals).
**
A1. Right Place Wrong Time 2:50
A2. Same Old Same Old 2:39
A3. Just The Same 2:49
A4. Qualified 4:46
A5. Traveling Mood 3:03
A6. Peace Brother Peace 2:47
B1. Life 2:29
B2. Such A Night 2:55
B3. Shoo Fly Marches On 3:15
B4. I Been Hoodood 3:12
B5. Cold Cold Cold 2:37
**
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Dr.JOHN - In A Sentimental Mood 1989

Dr.JOHN - In A Sentimental Mood 1989

1990 Issue.925889-1

Blues

On Dr. John's first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porter's "Love for Sale" and Johnny Mercer's "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin' Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one. By William Ruhlmann.

**

Mac "Dr. John" Rebennack- (Vocals, Keyboards);

Rickie Lee Jones- (Vocals);

Paul Jackson- (Acoustic Guitar);

Hugh McCracken- (Guitar);

David "Fathead" Newman- (Sax);

Larry Williams- (Synthesizer);

Marcus Miller, Abraham Laboriel- (Bass);

Harvey Mason, Jeff Porcaro- (Drums);

Lenny Castro, Trazi- (Percussion).

**

A1. Makin' Whoopee! 4:09

Vocals [Female] - Rickie Lee Jones

Written-By - Gus Kahn , Walter Donaldson

A2. Candy 5:33

Written-By - Alex Kramer , Joan Whitney , Mack David

A3. Accentuate The Positive 3:55

Written-By - Johnny Mercer

A4. My Buddy 3:50

Written-By - Gus Kahn , Walter Donaldson

A5. In A Sentimental Mood 4:05

Written-By - Duke Ellington , Irving Mills , Manny Kurtz

B1. Black Night 4:12

Written-By - Jessie Mae Robinson

B2. Don't Let The Sun Catch You Cryin' 4:52

Written-By - Joe Greene

B3. Love For Sale 5:18

Written-By - Cole Porter

B4. More Than You Know 4:40

Written-By - William Rose* , Edward Eliscu , Vincent Youmans **

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Dr.JOHN - Duke Elegant 2000

Dr.JOHN - Duke Elegant 2000

Blues

Duke Elegant certainly wasn't the only tribute to Duke Ellington put out in honor of the 100th anniversary of the legendary bandleader, nor was it even the first time Dr. John had tackled his material. But it would be hard to find a better homage than this one. Dr. John proves a surprisingly good match for Ellington's material, placing a tremendously funky foundation under the composer's tunes. The sound is dominated by the good doctor's incomparable New Orleans piano and organ, naturally, and the best tracks are those whose melodies are carried solely by his keyboard work, such as instrumentals "Caravan" and "Things Ain't What They Used to Be." The vocal cuts are fine -- his takes on the Ellington ballad "Solitude" and especially the dreamy, elegant "Mood Indigo" show off Dr. John's uniquely expressive voice as well as any of his early-era recordings -- though he occasionally tends to approach self-caricature, as on "It Don't Mean a Thing (If It Ain't Got That Swing)." Any weakness, however, is more than made up for by the closing rearrangement of "Flaming Sword," one of three Ellington rarities here. Dr. John transforms the instrumental into a luminous, gorgeously melodic display of Professor Longhair-style piano over an astonishingly sexy New Orleans funk rhythm. Ultimately, Duke Elegant holds up both as an innovative twist on the Ellington songbook and as a solid Dr. John album in its own right.
By Kenneth Bays, All Music Guide.
**
Mac "Dr. John" Rebennack playing songs from the canon of Duke Ellington is as natural as the break of day. But the gris-gris king interprets Ellington in a way unlike anyone else. "Mood Indigo," arranged for Dr. John's six-man New Orleans group, takes on a fresh, heartfelt immediacy with the good doctor's vocals and piano locked into a relaxed groove. He sings another slice of essential Ellingtonia, "Do Nothing 'til You Hear from Me," with a lighthearted nonchalance that epitomizes the worthiest New Orleans performers. Dr. John packages snippets of his keyboard playing as panaceas for the soul on a funked-up interpretation of "Caravan," even spinning off on a "Wade in the Water" tangent before wrapping up the song. But with so many, many Ellington nuggets to dust off for reinterpretation, one wonders why Dr. John elected to go with popular numbers that get covered again and again. To his credit, he does serve up the lesser-known "The Flaming Sword," where his piano is luminous in the Calypso fashion of Professor Longhair, and he offers delightful, fonkified updates of the Ellington obscurities "On the Wrong Side of the Railroad Tracks" and "I'm Gonna Go Fishin'."
By Frank John Hadley.
**
"Duke Elegant" is a compellation of Duke Ellington songs and a tribute to a great American musician, composer and showman. It is also one of the best CD's ever put out by Dr. John, a remarkable talent in his own right. This effort has much of what Dr. John has done so well in the past -- but it also represents a breakthrough of sorts.
I have greatly admired much of Dr. John's past work. While he has extraordinary musical range, he is often at his best performing his own renditions of classic American songs. These, for me, have been most successful when he stays reasonably close to standard treatments, straying just enough to add his own distinctively subtle nuances. His versions of "I'm confessin' That I Love You", "Careless Love", "More Than You Know", and "Candy" are of this type and are remarkably successful. Much the same can be said for some of his more notable duets: "Makin' Whoppee" (with Ricky Lee Jones), "Do You Know What It Means to Miss New Orleans?" (with Harry Connick Jr.), and "Is You Is Or Is You Ain't My Baby?" (with BB King). His inconceivably joyful "Take Me Out To The Ballgame" is the best I have ever heard anywhere. It should be played at every ballpark in America.
Until this CD, I have not been as impressed with Dr. John's more daring and experimental interpretations of older songs. My feeling was, that his less conventional interpretations simply get too far away from what is great in the original material. (It's possible, of course, that I just don't understand what he is doing.) I've liked some of his own work too, but not as much as his less unconventional treatments of older classics.
But this CD is a stunning success both in its more traditional renditions of Ellington's songs and in those which offer something The Duke might not himself have anticipated. For me, the best of Doc's more traditional treatments -- and it is very good indeed -- is "Solitude". But on many of the other songs -- including "It Don't Man a Thing If It Ain't Got that Swing", "Don't Get Around Much Any More", and "Mood Indigo" -- Dr. John offers interpretations that are very different but distinctive and very good. I want to say that they are nothing less than remarkable.
Almost half of the songs on this CD are purely instrumental. Dr. John's piano blends well with the sounds of a spectacularly talented group of side players -- including percussionist Cyril Baptiste, who has worked in the past with the Meters and the Neville Brothers. "Perdido", "Caravan", and "Flaming Sword" are especially good. The rhythms, especially, are strikingly precise and tight. I can't help thinking that The Duke would have loved them.
Dr. John's fans will like this one. Those who appreciate Duke Ellington will, I think, recognize something very special. Dr. John has done another service to American music and deserves to be contratulated.
By William J. Deangelis.
**
Cyro Baptista- Percussion
David Barard- Bass, Vocals
Bobby Broom- Guitar, Vocals
Herman V. Ernest III- Vocals, Drums (Snare)
Dr. JohnMain- Vocals,Piano
Ronnie Cuber- Saxophone
**
01. On The Wrong Side Of The Railroad Tracks 5:42 $0.99 
02. I'm Gonna Go Fishin 5:04 $0.99 
03. It Don't Mean A Thing (If It Ain't Got That Swing) 5:31 $0.99 
04. Perdido 5:49 $0.99 
05. Don't Get Around Much Anymore 3:37 $0.99 
06. Solitude 5:05 $0.99 
07. Satin Doll 4:46 $0.99 
08. Mood Indigo 6:55 $0.99 
09. Do Nothing 'Til You Hear From Me 5:30 $0.99 
10. Things Ain't What They Used To Be 6:25 $0.99 
11. Caravan 6:24 $0.99 
12. The Flaming Sword 5:46
**
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Dr.JOHN - Afterglow 1995

Dr.JOHN - Afterglow 1995

Blues

This is surely one of the best big band/vocalist albums there has ever been. It sits well in the tradition of Basie, Schuur, Joe Williams etc. but Dr. John's voice sparkles the way nobody else's possibly could. I strongly recommend this album as not run-of-the-mill Dr. John stuff, but something a little different which shows him off brilliantly - for your ultimate benefit. Please buy this - you will enjoy it.
**
Unlike his In a Sentimental Mood, which swung wildly from Tin Pan Alley standards to supper-club blues, Afterglow is mostly interested in recapturing the late '40s and early '50s, when jazz, blues, and pop intersected with sophisticated ease. The choice of material is impeccable--songs made popular by Nat "King" Cole, Louis Jordan, and Duke Ellington--and the playing is superb throughout. However, "Ain't I Been Good to You," "Just a Lucky So and So," and a stark read of "I'm Confessin'" are particularly effective. And on his original, "I Still Believe in You," Dr. John proves just how influenced he is by West Coast blues legend Charles Brown, who once recorded at Cosimo Matassa's studio where the future Night Tripper got his start. A lovely, effective album whose only misstep is a version of Irving Berlin's "Blue Skies" that sounds slightly out of step with everything else.
By Keith Moerer.
**
Producer and GRP Records president Tommy LiPuma, a longtime associate of Dr. John's, revived his old Blue Thumb label as an imprint of GRP/MCA with this album, which served as something of a sequel to the last Dr. John/Tommy LiPuma collaboration, In a Sentimental Mood. On that earlier album, the two had covered pop standards. Here, they again turned to evergreens by the likes of Irving Berlin and Duke Ellington. But if Sentimental Mood was stylistically linked to the '20s and '30s, Afterglow was more a recreation of the late '40s and early '50s, with its big-band arrangements and the inclusion of jump blues numbers like Louis Jordan's "I Know What I've Got." Such songs allowed Dr. John plenty of room to play his trademark New Orleans piano solos, and, in the second half of the record, some of the Doctor's own compositions were snuck in among the classics without disturbing the mood. Of course, the dominant sound remained Dr. John's gravel-and-honey voice, an even more appropriate instrument for these bluesier standards than it was for the Sentimental ones.
William Ruhlmann, All Music Guide.
**
Thurman Green- (Trombone),
Maurice Spears- (Trombone),
John Clayton- (Bass),
Endre Granat- (Violin),
Robert Brosseau- (Violin),
Ray Kelley- (Cello),
Clay Jenkins- (Trumpet),
Pete Christlieb- (Saxophone),
George Bohannon- (Trombone),
Armen Garabedian- (Violin),
Bill Watrous- (Trombone),
Ira Nepus- (Trombone),
John Clayton- (Conductor),
Donald Waldrop- (Tuba),
Charlie Davis- (Trumpet),
Dave Trigg- (Trumpet),
Kim Richmond- (Saxophone),
Charles Owens- (Saxophone),
Rick Baptist- (Trumpet),
Dr. John- (Vocals),(Piano)
Ronald Clark- (Violin),
Jimbo Ross- (Viola),
Ezra Kliger- (Violin),
Larry Corbett- (Cello),
Gina Kronstadt- (Violin),
Ray Brown- (Bass), (Trumpet),
Rollice Dale- (Viola),
Larry Bunker- (Vibraphone),
Gary Foster- (Saxophone),
Tom Scott- (Saxophone),
Steve Huffsteter- (Trumpet),
Mari Tsumura- (Violin),
James Getzoff- (Violin),
Earl Madison- (Cello),
Thomas "Snake" Johnson- (Tuba),
Lenny Castro- (Percussion),
Tibor Zelig- (Violin),
Gordon Marron Strings- (Violin),
Mark Sazer- (Violin),
Larry Bunker- (Percussion),
Samuel Boghossian- (Viola),
Oscar Brashear- (Trumpet),
Suzie Katayama- (Cello),
Paul Shure- (Violin),
Shari Zippert- (Violin),
Phil Upchurch- (Guitar),
Mark Cargill- (Violin),
Jeff Clayton- (Saxophone),
Bonnie Douglas- (Violin),
Joel Derouin- (Violin),
Marilyn Baker- (Viola),
Jeff Hamilton- (Drums),
Israel Baker- (Violin),
Brian Leonard- (Violin).
**
01. I Know What I've Got
02. Gee Baby Ain't I Good To You
03. I'm Just A Luck So-And-So
04. Blue Skies
05. So Long
06. New York City Blues
07. Tell Me You'll Wait For Me
08. There Must Be A Better World Somewhere
09. I Still Think About You
10. I'm Confessin' (That I Love You)
**
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Dr.JOHN - Anutha Zone 1998

Dr.JOHN - Anutha Zone 1998
LC0299

Blues

DR JOHN jets in to london to record an album along with contributions from weller , spiritualized , members of supergrass,portishead,beta band etc along with his own new american musicians.

Its clearly a publicity stunt to try and shift a few more albums and in reality the idea is more entertaining than much of the music , but ironically the best stuff here is the stuff he does with the brits in the 1st half of the album- in particular "hello god" the funky "party hellfire" and the cover of john martyns "i dont wanna know"

The doctors in good voice throughout and makes little nods to his past in "i like ki yoka" and "ki ya gris gris" which are nice , but a lot of the 2nd half is unmemorable until we get to the nicely arranged "sweet home new orleans "
**
Dr. John- (vocals, piano, keyboards);
Paul Weller- (vocals, guitar);
Carleen Anderson- (vocals);
Jason Pierce- (guitar, Farfisa);
Bobby Broom- (guitar, background vocals);
Gaz Coombes, Matt Deighton- (guitar);
Hugh McCracken- (acoustic guitar, slide guitar, mandolin);
Ravi- (berimbau, percussion);
Ray Moonshake- (flute, saxophone);
Ronnie Cuber- (bass clarinet, saxophone, tenor saxophone);
Shelley Woodworth- (English horn);
Lawrence Feldman- (tenor saxophone);
Alan Rubin- (trumpet, piccolo trumpet);
Tony Kadleck- (trumpet); Clark Gayton (trombone);
Little Big Horns- (brass);
Kick Horns- (horns);
Thighpaulsandra- (organ);
Steve White- (drums, percussion);
Herman V. Ernest III- (drums, sound effects, background vocals);
Clive Deamer, Damon Reece- (drums);
Sammy Figueroa- (congas, percussion);
Robin Jones , Malcolm Cross- (percussion);
Jenny Douglas, Katherine Russell, David Barard- (background vocals).
**
01. Zonata  0:46
02. Ki Ya Gris Gris  4:04
03. Voices in My Head  4:33
04. Hello God  4:37
05. John Gris  5:20
06. Party Hellfire  4:41
07. I Don't Wanna Know  3:23
08. Anutha Zone  3:58
09. I Like Ki Yoka  3:44
10. The Olive Tree  3:48
11. Soulful Warrior  4:09
12. The Stroke  4:15
13. Sweet Home New Orleans  5:50
**
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Dr. JOHN, The Night Tripper - Gris Gris 1968

Dr. JOHN, The Night Tripper -  Gris Gris  1968
1987 Issue AL 3904

Blues

Covered in a variegated spray of New Orleans Mardi Gras feathers and shiny voodoo baubles, Mac Rebennack's highly personal mythology was finally made real on this 1968 album. This was his first appearance made under the new guise of Dr. John Creaux, the Night Tripper. Before then, he'd been a pivotal figure on the Crescent City R&B circuit. Afterward, he became one of its most significant blues ambassadors. This album is a classic of the admittedly specialized psychedelic swamp-gumbo genre, boasting at least four tracks that have become cult favorites. "Gris-Gris Gumbo Ya-Ya," "Mama Roux," "Jump Sturdy," and "I Walk on Gilded Splinters" each delicately mix catchy choruses and weird spatial sound effects, with radical stereo separation, intensely croaking, close-quarter vocals from the doctor, pneumatic keyboard riffs, pinprick electric guitar, and booming Afro-Caribbean percussion. The album still stands at its original 33-minute length, with no bonus cuts unearthed, but its high density more than compensates for any brevity. By Martin Lonely.
**
The first time I heard this record, I thought: "This is awful: Poorly recorded, out-of-tune instruments and voices, uninspired and pretentious tracks..." I was looking for something like 'Gumbo' -one of my favourite records of all time- and found something completely different instead: No funk, little Blues and almost no piano.
However, after some time, I gave it another try -without any prejudice- and was gladly surprised. I had been mistaken... Next time I realized it, I was wanting to hear 'Walk On Guilded Splinters' and 'Gris-Gris Gumbo Ya-ya' again and again. I read a few things about the great Dr. John and found out that actually those songs (that are not traditional, but composed by himself) were used FOR REAL in vooodoo gatherings and even rites! They sure transmit a very 'haunting' mood, to say the least. Was I hoodooed? -Shivering-
To me, those tracks are worth the entire album, although 'Danse Fambeaux' and 'Mama Roux' are also interesting. The reason why, having such classic tracks, I do not give it the top mark is because I feel that the album is a little too short and uneven. Anyhow, it is still a landmark album for Dr. John that was a very risky bet at the time of its release (Ahmet Ertegun, boss of the record company, hated it).
I bet those sessions were conceived with some mixture of true spirituality and humour. These days, when I feel psychedelic, I play Jimi Hendrix's '1983' or 'Gris-Gris' if I want to shiver a little bit...
By Miguel Angel Martinez Rolland.
**
Bob Fraser, Bob West- Bass
Ronnie Barron, Shirley Goodman, Tami Lynn- Vocals
John Boudreaux- Drums
Richard "Didimus" Washington- Percussion
Harold Battiste- Bass, Clarinet, Percussion 
**
A1. Gris-Gris Gumbo Ya Ya  5:34
A2. Danse Kalinda Ba Doom  3:44
A3. Mama Roux  2:55
A4. Danse Fambeaux  4:53
B1. Croker Courtbullion  5:57
B2. Jump Sturdy  2:19
B3. I Walk on Guilded Splinters  7:57
**
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Dr JOHN, The Night Tripper - The Sun Moon and Herbs 1971

Dr JOHN, The Night Tripper - The Sun Moon and Herbs 1971
K40250

Blues

This classic recording sees Dr John's transformation into the persona of the Night Tripper fully complete. Richly textured and sumptuous, this is a Album that must be owned.
Opening with Black John The Conqueror, wait for the thrill as the gospel-like tones of the backing singers and stabs of the brass lay down the framework for this recording. Where Ya At Mule follows and is perhaps the only weak point. A little light. A touch too whimsical. Fear not, for Craney Crow takes us firmly back into Night Tripper territory with its fusion of jazz, psychedelia and pseudo-Southern black magic. We are then propelled into Familiar Reality, and for me, one of the best intros ever. Something to enjoy. Again and again.

File Gumbo seamlessly picks up where Familiar Reality left off, before we journey into the loose jazz of Who I Got To Fall On (If The Pot Get Heavy) only to be transported back into Night Tripper territory and the excellent Zu Zu Mamou ... Then, just as the party seems to be over and you're left wanting more, solace can be found in the form of Familiar Reality (Reprise).

A monumental recording, in the dark days of vinyl you had to hunt this one out. On album, nothing is lost, save perhaps the sleeve notes, where small print addicts could read the guest list that reads like a celebrity call-out that includes Eric Clapton and Mick Jagger. Second, one no longer has the thrill of a Side One and Side Two and the excitement of turning the record over and wondering if the opening to Familiar Reality really is as good as the last time that you heard it.
By all accounts it is ... Buy. Treasure. And enjoy.
**
Dr. John- Vocals, Piano, Organ, Guitar, Vibraphone, Percussion
Ray Draper- Tuba, Percussion, Backing Vocals
Roger Hopps, Wayne Jackson- Trumpet [The Memphis Horns]
Victor Brox- Trumpet [Pocket], Organ
Andrew Love , Ed Logan- Saxophone [Tenor, The Memphis Horns]
James Mitchell- Saxophone [Baritone, The Memphis Horns]
Tommy Feronne- Guitar [Rhythm]
Eric Clapton- Electric Guitar [Slide]
Freddie Staehle- Drums [Trap]
Joni Jonz , Mick Jagger , P.P. Arnold , Shirley Goodman , Tammi Lynn- Backing Vocals
**
A1. Black John The Conqueror 6:20
       Backing Vocals - Bobby Whitlock , Doris Troy
       Flute - Kenneth Terroade
       Horns - Memphis Horns, The
       Piano - Walter Davis Jr.
       Saxophone - Chris Mercer
       Saxophone [Alto] - Graham Bond
A2. Where Ya At Mule 4:55
       Backing Vocals - Bobby Whitlock , Doris Troy
       Bass [Fender] - Carl Radle
       Congas - Jim Gordon
       Horns - Memphis Horns, The
       Saxophone - Chris Mercer
       Saxophone [Tenor] - Bobby Keys
A3. Craney Crow 6:40
       Bass - Jesse Boyce
       Flute - Kenneth Terroade
       Other [Thanks] - Amy Lee Steiner
       Percussion - Freeman Brown
       Piano - Walter Davis Jr.
B1. Familiar Reality-Opening 5:25
       Bass Guitar - Ron Johnson
       Drums - John Boudreaux
       Organ - Ronnie Barron
       Saxophone - Jerry Jumonville
       Trumpet - Edward R. Hoerner
       Written-By - Jesse Hill , Mac Rebennack
B2. Pots On Fiyo (Filé Gumbo) / Who I Got To Fall On (If The Pot Get Heavy) 5:48
       Acoustic Bass - Steve York
       Congas - Calvin "Fuzzy" Samuels
       Flute - Kenneth Terroade
       Horns [2nd Half] - Memphis Horns, The
       Percussion - Freeman Brown
       Piano - Walter Davis Jr.
       Saxophone [Alto] - Graham Bond
       Trumpet - Jim Price
B3. Zu Zu Mamou 7:57
       Acoustic Bass - Steve York
       Backing Vocals - Doris Troy
       Flute - Kenneth Terroade
       Percussion - Freeman Brown , Jesse Boyce
B4. Familiar Reality-Reprise 1:53
       Backing Vocals - Bobby Whitlock , Doris Troy
       Bass - Carl Radle
       Congas - Jim Gordon
       Saxophone - Chris Mercer
       Saxophone [Alto] - Graham Bond
       Saxophone [Tenor] - Bobby Keys
       Trumpet - Jim Price
       Written-By - Jesse Hill , Mac Rebennack
**
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Dr. JOHN - Medical School, The Early Sessions Of Mac 1999

Dr. JOHN - Medical School, The Early Sessions Of Mac 1999

Blues

Dr. John's early work as a producer, sessionman, and songwriter for Ace Records is legendary, not only among fans of Mac Rebennack but among devotees of New Orleans R&B. Unfortunately, there was no easy way to hear this material until Music Club's 1999 release, Medical School: The Early Sessions of Mac "Dr. John" Rebennack. Clocking in at 18 tracks, the disc isn't complete, but it is definitive -- all the best-known cuts are here, along with a generous selection of little-known gems. To anyone but scholars and aficionados, most of the names on the compilation will not be familiar (The Ends, Al Reed, Ronnie & the Delinquents, Sugar Boy Crawford, Bobby Hebb, among others), and many of these cuts have never been well-circulated, or even released, but that's what makes the compilation so special. Not only are these lost classics from Dr. John, but these are lost gems from the prime period of New Orleans R&B. And this is not hyperbole -- listening to Medical School, it's hard not to escape the feeling that almost every song is a hit you've never heard or have forgotten about. The instrumentals are not weak, the novelties (such as "Morgus the Magnificent") are fun, and cuts like "It Ain't No Use," "Bad Neighborhood," "You Don't Leave Me No Choice," and "Keeps Dragging Me On" are simply fantastic, sounding for all the world like classics, not throwaways. And that's the reason why Medical School isn't simply a necessary addition to Dr. John's catalog -- it's an essential addition to any New Orleans R&B library.
By Stephen Thomas Erlewine, AMG.
**
The story goes like this. Before he was Dr. John the Night Tripper he was Malcolm John Rebennack, Jr. - a Third Ward kid growing up in the rich musical climate of New Orleans. His life revolved around music from the beginning: he had several aunts and uncles who played boogie woogie piano at home, and his father owned a record store, serviced juke boxes and repaired sound systems in local clubs. Young Mac loved to accompany his father on these calls -- he would sit outside and absorb the R&B music for hours. At the age of seven he started guitar lessons from Fats Domino's guitarist, and there was no turning back. When Mac was a teenager he picked up some session work at Cosimo Matassa's studio, dropped out of high school and in 1957 joined the Ace staff full time as a producer, songwriter and musician. These Ace years were ITALICS Medical School END ITALICS for the gris-gris doctor, where he honed his songwriting skills and learned how to make records. Rebennack had a hand in each of the 18 cuts presented here, whether as songwriter, musician or producer. His vocals are discernible on one track only, "Row Row My Boat" - but it is a very cool track, indeed. They are all cool - who can't dig the New Orleans funkified R&B? I have to agree with the man at Louie's Juke Joint on Decatur Steet who recommended this album to me: "It is essential." Highlights: Rebennack's Bo Diddley rhythm on "Storm Warning," Chuck Carbo's smooth vocals on "You Don't Leave Me No Choice," The End's "It Ain't No Use," "Bad Neighborhood" by Ronnie & The Delinquents, "Morgus the Magnificent" by Morgus & the Three Ghouls (only in New Orleans!), "Down the Road" by Roland Stone.
By Kathryn D. Hobgood.
**Jimmy Donley, Mac Rebennack, Bobby Hebb, Chuck Carbo, Ronnie & the Delinquents,Al Reed, Roland Stone, Big Boy Myles, Sugar Boy Crawford.**
**
01. Storm Warning 3:15
02. It Ain't No Use  1:53
03. Bad Neighborhood 1:44
04. Sahara 2:18
05. Two Time Loser 2:16
06. I Cried 2:07
07. Down the Road 2:28
08. Feedbag 2:24
09. You Don't Leave Me No Choice 2:44
10. Morgus the Magnificent 2:23
11. Lonely Boy  2:25
12. Keeps Dragging Me On 2:28
13. Feels So Good (Just Like I Should) 2:02
14. Row Row Row Your Boat  2:17
15. Remember Me 2:16
16. Good Times 2:35
17. She Wants to Be True 2:29
18. Bordertown 2:34 
**
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Dr. JOHN - City Lights 1978

Dr. JOHN - City Lights 1978
AMLJ 732

Blues

This CD holds a very unique place in music because first, its a complete aborration from Dr. John's usual style of work, and second, its a certain kind of music of which there is not enough of in the world. Its difficult to explain, especially since it's unavailable to sample here, and believe me, I went all over the internet until I located a couple of samples. But this album takes you to a special place in music that was long ago, perhapse in some golden era. Somewhere deep within a bustling downtown city, long ago and late at night you might have expected to find this music. It would be the sound you heard way up high on the 21st story of a tall skyscraper, fully dressed in the tux of the times with cufflinks and all. There is a big band that playes the tunes of the times, while everyone is arrayed and dancing in modern fashion of the era. You look out of the window of that 21st story building, and you feel like the city is yours for the night.

This is a portion of the picture that this album's spell casts on me. Its a distinguished album of the upmost quaity, sophisticated and shiny. If you're wondering 'how can this be the product of that voo-doo singer they refer to as the good doctor?' well, I offer no explanation. Simply that it is what it is, a total deviation from what our good doctor was known for, and what's more a delightful one. I am convinced that this little known elegency is Dr. John's best work of all time. Every time I tried to like his work, it just wasn't quite what I wanted, but almost. Well, this is the album that delivered. A complete 5 star. And it goes beyond music because it doesn't just offer one artist's sound, it brings with it a whole experience from one golden age, maybe one that's only found in your imagination.

The songs that leave the biggest impressions are as follows:
"Dance the Night Away" is happy, celebrating about long awaited and finally found love in the nighttime streets of downtown.
"Street Side" is found in the suburbs. Street life. Old brown brick buildings serve as the backdrop walls in this story.
"Rain". A cloudy day, depressed against the grey silhouettes of tall buildings.
"Fire Of Love". Love happily ever after. How can things go wrong? It feels like it will last a lifetime. Everything's going to be alright now.
"Sonata/He's a Hero" is a portrait of one slick character. He lives in the spotlight of the nightlife in top hat and tux. Lady's man, lavish and cool.
"City Lights". A sad finish for today, a lonely one. But a bright hope for tomorrow in this big city of adventure.

And as for the musical side of it, well, its all here. One masterpiece of an artist detailed to the last degree. Even the album art is amazing, synchronized to the music's every step. You may or may not love it, or get as much out of it, but it definitely deserves a place among music's finest, even though alot unknown. Try it.
By  Connery.
**
Long out of print, this is a welcome return for one of Mac Rebennack's most overlooked gems. It's not simply because of the quality of musicians here (people like guitarist Hugh McCracken, drummer Steve Gadd, and others) or Tommy LiPuma's excellent production. It was the good Doctor continuing to pull away from the alter ego that had served him so well earlier in the '70s and putting down some new roots (this album, really, is half of a pair with Tango Palace). To that end, he co-wrote with the venerable Doc Pomus, and through there are only eight songs here, every one is wonderful. There's a strong jazz feel to the record, starting the course he'd steer during the '80s. There's still, inevitably, a Crescent City feel to the performances -- it's so ingrained in everything Rebennack does -- but also a hipster sensibility that's redolent of berets and smoky basement clubs. If you're a Dr. John fan and don't have this, you need it as part of the missing link between two eras of a career. And if you haven't properly discovered him yet, this is a great way to ease through the door.
By Chris Nickson.
**
Alvin Robinson , George Jones* , Ronnie Barron , Tammy Lynn- Backing Vocals
Will Lee- Bass
Steve Gadd- Drums 
Hugh McCracken , John Tropea- Guitar
Richard Tee- Keybpards
Charlie Miller- Cornet
Hugh McCracken , John Tropea- Guitars
Arthur Jenkins- Percussion
David Sanborn- Alto Sax
Ronnie Cuber- Bariton Sax
George Young- Tenor Sax
Dr. John (Mac Rebennack)- Vocals, Keyboards
**
A1. Dance the Night Away With You  4:20
A2. Street Side  5:59
A3. Wild Honey  4:08
A4. Rain  4:47
B1. Snake Eyes  6:44
B2. Fire of Love  3:21
B3. Sonata / He's A Hero  5:18
B4. City Lights  3:56
**
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Dr.JOHN - Television 1994

Dr.JOHN - Television 1994

Blues

Dr. John's debut for GRP doesn't deviate from any release he's made for several other labels. It's still his chunky, humorous take on New Orleans funk; these are his songs, visions and performances, and there's none of the elevator material or laidback, detached fare that's a customary GRP byproduct. Such songs as "Witchy Red," "Spaceship Relationship" and the title selection are a delicate mix of seemingly outrageous but actually quite sharp commentary and excellent musical performances from Dr. John on keyboards, Hugh McCracken on guitar, and several other veterans, among them the great Red Tyler on tenor sax. While not quite as fiery as his classic sessions for Atlantic, if anyone can bring the funk to a company that's famous for avoiding it, it's Dr. John.
By Ron Wynn.
**
Dr.John- (Vocals, Guitar, Piano, Organ,Keyboards, Tambourine);
Vaneese Thomas- (Vocals, Background vocals);
Anthony Kiedis- (Vocals);
Hugh McCracken- (Guitar, Dobro, Mandolin, Harmonica, Drums, Tambourine);
George Wadenius- (Guitar);
David "Fathead" Newman- (Flute, Alto Sax, Tenor Sax);
Ronnie Cuber- (tenor saxophone, Baritone saxophone);
Alvin "Red" Tyler- (Tenor Sax);
Randy Brecker, Charles Miller, Charlie Miller- (Trumpet);
Birch Johnson- (Trombone);
Fred Staehle- (Drums, Percussion);
Sonny Emory- (Drums);
Crusher Bennett- (Congas, Percussion);
Errol Bennett- (Percussion);
James Genus- (Bass);
David Barard- (Bass,Backround Vocals);
Curtis King, Diva Gray, Rachele Cappelli, Katreese Barnes, Lani Groves- (Background Vocals).
**
01. Television 4:36
02. Lissen 4:29
03. Limbo 4:30
04. Witchy Red 4:16
05. Shadows 4:03
06. Shut D Fonk Up 5:10
07. Thank You (Falletin Me Be Mice Elf Again) 4:03
08. Spaceship Relation 4:05
09. Hold It 3:53
10. Money (That's What I Want) 3:23
11. U Lie 2 Much 4:30
12. Same Day Service 5:00
**
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Dr. JOHN - Bottom Line' New York, NY (7 November 1978)

Dr. JOHN - Bottom Line' New York, NY (7 November 1978)
Part Of The Credits Go To *dexondaz*

Blues

This recording, along with a series of other shows around the time, was cut at New York’s famed Bottom Line club. The Doctor, as he is often called, was promoting his City Lights album on the now-defunct Horizons/A&M jazz-pop label. City Lights, which features an eerie painting of the New York City skyline that shows the World Trade Center melting down as dripping, burning candles, is now out of print but has long been regarded as one of his best studio album’s ever.
**
From the very beginning of the show, when the emcee announces, "Ladies and Gentlemen, the Doctor will see you now…" it's clear that this audience is in for an amazing show. Opening with an instrumental boogie-woogie romp on his grand piano, Dr. John (nee Mac Rabennack) proves straight away why he is originator and all time king of swamp-rock music. The boogie run morphs into a Cajun version of "Swanee River Boogie," before the band joins the Doctor onstage for an all around stunning show.

This recording, along with a series of other shows around the time, was cut at New York's famed Bottom Line club. The Doctor, as he is often called, was promoting his City Lights album on the now-defunct Horizons/A&M jazz-pop label. City Lights, which features an eerie painting of the New York City skyline that shows the World Trade Center melting down as dripping, burning candles, is now out of print but has long been regarded as one of his best studio album's ever.

For the album and this tour, Dr. John assembled an all star musical cast that included David Sanborn, Steve Gadd, Hugh McCracken, and other top studio players. The material on the record (much of which is featured in this show) is among the best original stuff he has ever written, and was played in conjunction with veteran R&B songsmith, the late Doc Pomus. "Rain," an absolutely stunning smoky-jazz ballad, is featured on that record, and is a highlight of this memorable performance.

In addition to promoting City Lights, Dr. John also took a ride on the way back machine a few times, delivering a punchy, funky version of his 1972 pop hit "Right Place, Wrong Time," and later, at the end of the show, a nine-minute version of the New Orleans staple "Iko Iko." A phenomenal show all around.
**
Dr. John- Lead Vocals, Piano
David Sanborn- Alto Sax
Kim Hutchinson- Alto Sax, Woodwinds
Buzzy Feiten- Lead Guitar
Jim Calhoun- Bass
Neil Larsen- Organ
Hugh McCracken- Guitars
Steve Gadd- Drums
Joyce Kaye- Vocals
Tami Lynn- Vocals
**
01. Introduction
02. Swanee River Boogie
03. Dance The Night Away With You
04. Wild Honey
05. Sonata-He's A Hero
06. Street Side
07. Mama Roux
08. Happy Birthday (To Joni Mitchell)
09. Fire Of Love
10. Right Place Wrong Time
11. Rain
12. Lets Make A Better World
13. Such A Night (incomplete)
14. Crowd
15. Iko Iko
**
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Dr. JOHN - Dr. John's Gumbo 1972

Dr. JOHN - Dr. John's Gumbo 1972
SD 7006

Blues

This is New Orleans R&B with muscle and bite. It's a fun record, as you would expect for the genre, with wonderful, punchy arrangements and inspiring musicianship. The song selection is damn near perfect, as well, each gem tailor-made to showcase Dr. John's multi-faceted talent. This album will not disappoint.
**
Dr. John's Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B, offering a selection of classic New Orleans R&B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums.
By Stephen Thomas Erlewine, All Music Guide.
**
A1. Iko Iko   4:08
A2. Blow Wind Blow   3:17
A3. Big Chief   3:25
A4. Somebody Changed the Lock   2:42
A5. Mess Around   3:09
A6. Let the Good Times Roll   3:56
B1. Junko Partner   4:27
B2. Stack-A-Lee   3:28
B3. Tipitina   2:04
B4. Those Lonely Lonely Nights   2:30
B5. Huey Smith Medley   3:17
       a. High Blood Preasure  
       b. Don't You Just Know It  
       c. Well I'll Be John Brown  
B6. Little Liza Jane   2:59
**
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Dr.JOHN - Creole Moon 2001

Dr.JOHN - Creole Moon 2001
Recorded at Dockside Studios, Maurice, Louisiana.

Blues

**** Creole Moon" was nominated for the 2002 Grammy Award for Best Contemporary Blues Album.****
On this 2001 set, the good voodoo doctor returns to his funked up 1970s New Orleans R&B sound. Most of these upbeat romps have a party vibe but "Imitation of Love," a downer to end the night with, is the crescent city jewel of the collection. Rhythm reigns supreme on Creole Moon, which cuts a sinuous, syncopated groove through the various styles that have informed the good Doctor's career. The bayou funk of "Bruha Bembe" recalls the juju mysteries of Dr. John's "Night Tripper" phase, the opening "You Swore" adheres to the hip-shaking tradition of "Right Place, Wrong Time" and the jazzier sophistication of "Holdin' Pattern", "Queen of Cold" and the title track show how far he has extended his musical terrain. Among the highlights are four songs co-written with the late Doc Pomus, including the soulful balladry of "Imitation of Love". Guitarist Sonny Landreth and fiddler Michael Doucet contribute Cajun seasoning to this musical gumbo, while saxophonist David "Fathead" Newman and trombonist Fred Wesley provide stellar brass support.
**
Rhythm reigns supreme on Creole Moon, which cuts a sinuous, syncopated groove through the various styles that have informed the good Doctor's career. The bayou funk of "Bruha Bembe" recalls the juju mysteries of Dr. John's "Night Tripper" phase and the album-opening "You Swore" adheres to the hip-shaking tradition of "Right Place, Wrong Time," while the jazzier sophistication of "Holdin' Pattern," "Queen of Cold," and the title track show how far he has extended his musical terrain. Among the highlights are four songs cowritten with the late Doc Pomus, including the soulful balladry of "Imitation of Love." Guitarist Sonny Landreth and fiddler Michael Doucet contribute Cajun seasoning to this musical gumbo, while saxophonist David "Fathead" Newman and trombonist Fred Wesley provide stellar brass support.
By Don McLeese.
**
Dr. John- (Vocals, piano, Hammond B-3 organ, programming);
Renard Poche- (Guitar, background vocals);
Sonny Landreth- (Slide guitar);
Michael Doucet- (Fiddle);
Charley Miller- (Flute, trumpet);
Theodore Arthur, Jr.- (Soprano & alto saxophone);
Eric Traub- (Tenor saxophone);
Alonzo Bowens- (Baritone saxophone);
Kevin Louis- (Trumpet);
David Barad- (Bass, background vocals);
Herman "Roscoe" Ernest III- (Drums, percussion, background vocals).
**
01. You Swore
02. In the Name Of You
03. Food For Thot
04. Holdin' Pattern
05. Bruha Bembe
06. Imitation of Love
07. Now That You Got Me
08. Creole Moon
09. Georgianna
10. Monkey & Baboon
11. Take What I Can Get
12. Queen Of Cold
13. Litenin'
14. One 2 A.M. Too Many
**
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Dr.JOHN - Goin' Back to New Orleans 1992

Dr.JOHN - Goin' Back to New Orleans 1992
Recorded at Ultrasonic Studios, New Orleans, Louisiana.


Dr. John burst into the popular consciousness in the late `60s with the release of GRIS GRIS: THE NIGHT TRIPPER, an album that saw the gifted multi-instrumentalist filtering his years of experience as a New Orleans session player through the cracked lens of the psychedelic era. Though that album's dark blend of New Orleans rhythms and outré production techniques made it a `60s counter-culture favorite, it drew from a much more venerable set of musical traditions. On 1992's GOIN' BACK TO NEW ORLEANS, Dr. John takes his audience on a guided tour of New Orleans jazz and r&b, assaying memorable covers of beloved standards like W.C. Handy's "Careless Love" and more obscure numbers like Jelly Roll Morton's "I Thought I Heard Buddy Bolden Say." Dr. John and his accompanists, including a plethora of New Orleans music luminaries, give these numbers compelling and authoritative readings. GOIN' TO NEW ORLEANS is a fascinating slice of New Orleans history that also sheds light on the origins of Dr. John's inimitable aesthetic.
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Dr. John- (Vocals, Guitar, Piano, Organ);
Danny Barker- (Guitar, Banjo);
Tommy Moran- (Guitar);
Pete Fountain- (Clarinet);
Charles Neville, Herb Hardesty, Eric Traub, Amadee Castenell, Frederick Kemp- (Tenor Sax);
Alvin "Red" Tyler, Roger Lewis- (Baritone Sax);
Jamil Sharif, Charlie Miller, Umar Sharif, Clyde Kerr, Jr., Al Hirt- (Trumpet);
Bruce Hammond- (Trombone);
Kirk Joseph- (Tuba);
David Barard, Chris Severin- (Bass);
Freddy Staehle- (Drums);
Alfred "Uganda" Roberts, Chief "Smiley" Ricks, Cyril Neville, Charles Neville- (Percussion);
Shirley Goodman, Stephanie Whitfield, Connie Fitch, Tara Janelle, Chuck Carbo- (Background Vocals).
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01. Litenie des Saints Doctor John 4:44
02. Careless Love Handy, Koenig, Williams 4:10
03. My Indian Red Traditional 4:47
04. Milneburg Joys Mares, Melrose, Morton ... 2:39
05. I Thought I Heard Buddy Bolden Say Morton 2:29
06. Basin Street Blues Williams 4:27
07. Didn't He Ramble Bolton 3:28
08. Do You Call That a Buddy? Raye, Wilson 3:54
09. How Come My Dog Don't Bark (When You Come Around) Partridge 4:09
10. Goodnight Irene Leadbelly, Lomax 4:11
11. Fess Up Doctor John 3:12
12. Since I Fell for You Johnson 3:32
13. You Rascal You Thread 3:25
14. Cabbage Head Byrd, Rebennack 3:59
15. Going Home Tomorrow Domino, Young 3:01
16. Blue Monday Bartholomew, Domino 3:01
17. Scald Dog Medley/I Can't Go On Bartholomew, Domino, Smith 2:58
18. Goin' Back to New Orleans Liggins 4:08
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DR. JOHN - Funky New Orleans 1991

DR. JOHN - Funky New Orleans 1991

Blues

Playing in front of an invited studio audience, Dr. John is featured with a full-scale jazz ensemble on this 1991 session Funky New Orleans. Alto saxophonist Donald Harrison Jr. is the leader of the date, which allows Dr. John to concentrate not only on piano and vocals but also his guitar playing. A hand full of Mac Rebennack and Harrison originals are mixed with the dirty blues of "Shave em Dry" and a nod to Professor Longhair and Earl King on "Big Chief." Also, two instrumental straight-ahead jazz pieces are explored on "Hu-Ta-Nay" and "Walkin Home." This really isn't a Dr. John recording as much as an honest portrayal of these (mainly) New Orleans musicians in an extremely loose and funky setting. Recommended and available on the budget Metro label.
By Al Campbell.
**
Dr. John is in rare form on this live disc, recorded with the Donald Harrison Band at NYC's legendary Birdland. Some of these songs are straight-forward blues numbers, while others are Mardi Gras chants given a jazz workout. Taking a break from the piano bench, the good Doctor plays guitar and growls out voodoo mumbo-jumbo while the rhythm section keeps the pulse pounding. This is easily Dr. John's best album since "Goin' Back to New Orleans" (and that's saying something, since he's released 4 or 5 good records since then). Outstanding tracks include the gambler's tale, "Shave 'Em Dry," and "Jac-A-Mo-Fi-Na-Hay," which takes a phrase from his classic "Iko Iko" and reworks it into a whole new song. This album is a stellar combination of deep, swampy funk and tight jazz ensemble playing. And you can't go wrong with an album that contains the following lyric: "I'm only 38 / My woman's 93 / My friends all think I'm crazy / But the will's made out to me!" Highly recommended.
By Martin S.
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01. Hu-Ta-Nay (Donald Harrison) 6:18
02. Big Chief (Earl Gaines/Querzergue) 5:17
03. Shave'em Dry (Landry) 5:21
04. Ja-Ki-Mo-Fi-Na-Hay (Donald Harrison) 6:54
05. Mamzelle Zizi (Mac Rebennack) 5:44
06. Livin' On Borrowed Time (Mac Rebennack) 9:19
07. You Ain't So Such A Much (Mac Rebennack) 6:36
08. Hu-Ta-Nay (Donald Harrison) 9:16
09. Walkin' Home (Donald Harrison, Jr./Mac Rebennack) 2:23
**
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Dr.JOHN - Zu Zu Man 1993

Dr.JOHN - Zu Zu Man 1993
Label: Charly

Blues

Not to be confused with like-titled albums on Onyx and Charly. Presumably a compilation (though many of the songs seem rather rare for a greatest-hits type endeavor), this album contains a good number of Dr. John's better-known songs ("Tipitina," "Loser for You Baby," "Zu Zu Man"). Notable exclusions are certainly made, assuming that this is an attempt at a greatest-hits album. The album sticks more or less to the New Orleans sound that he upholds, though it delves a small bit into more straight-ahead R&B and his own musical voodoo gumbo mixing ("Zu Zu Man," for example). There are almost certainly better albums available that encompass a greater portion of his body of work but, nonetheless, this album isn't bad, especially at the discount level.
By Adam Greenberg, All Music Guide.
**
01. Woman Is The Root Of All Evil 2:11 
02. Trader John 2:22 
03. Shho-Ra 4:18  
04. Tipatina 3:19  
05. One Night Late 2:21 
06. Cat And Mouse Game 2:49 
07. She's Just A Square 3:07  
08. Bald Headed 2:33  
09. In The Night 2:50
10. Helpin' Hand 2:59  
11. Zu Zu Man 3:20  
12. Mean Cheatin' Woman 4:38
**
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