442:
663:, Bob Palmer praised Modeliste's drumming for imparting "more rhythmic variety to every bar than any American soul group has yet employed", and the rest of the group for "often on auxiliary percussion, resulting in a percussive complexity that is both a new and natural direction." He added that even the album's weaker songs contain some of "the rhythmic vitality and emerging roots-consciousness that looks like the most important new development in the
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382:. The deal necessitated that Neville return to the group. Porter Jr later reflected: "For the band, it was a good move . We’re getting ready to go to a better label, get a better budget for recording and stuff." The move from Josie to Reprise did not compromise the Meters' relationship with Sansu, as they retained Toussaint as producer and Sehon as manager.
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was less gritty than the band's previous works, finding them "sacrificing feel for texture", and complained that the group had no memorable songs to adapt to their new style. He qualified this by saying that that while the Meters had "gotten a little softer than necessary", it remained pleasurable to
489:
and funkier than the group's earlier recordings, and continues to move them away from their all-instrumental beginnings by increasing the use of
Neville's vocals, with a higher total of tracks with vocals than instrumentals. The band also experimented with several then-popular studio effects, such as
602:
was released in the US by
Reprise in May 1972, and was also the group's first album released in the United Kingdom, issued to coincide with their tour of the country. The title track and "Do the Dirt" were both released as singles. The record was named for a small back street in New Orleans that had
29:
306:
received wide acclaim from music critics, some of whom deemed it the group's best album yet. Despite the reviews and the album's smoother sound, it was a commercial disappointment, which was partly attributed to
Reprise's poor marketing. The album has been re-released several times, including by
717:
While the group blamed the poor sales on a lack of promotion, St. Pierre believed they were also because the album "was somewhat devoid of memorable melodic content – relying simply on basic riffs", believing this to be a stylistic change which "happened a bit too quickly for their fans." White
912:
wrote that the album showcased the group's early sound which was earthier and "closer to the street" than they had become, and highlighted "Lonesome and
Unwanted People" and four other tracks, concluding that the album is "fresh, spontaneous sounding, and naturally made for dancing." In
433:, Neville said that while Toussaint and Sehorn are credited for producing their albums, the production work was taken by the Meters themselves, adding: "Toussaint and Sehorn don't even come into the studio while we're recording but they do get involved in the final mix and so on."
718:
believed the poor sales suggested that "the rest of
America (and naturally Europe) had long lost its appetite for New Orleans music", noting that even musicians from the city had turned to exploring broader sounds, while James Lien of
683:
says, con-cen-trate." They wrote that the sound is thick and funky and the group can be forgiven for " it sometimes", while praising the combination of the band and
Toussaint's production for resulting in a unique record.
895:, a label specialising in reissues of 1960s and 70s "classic recordings", with liner notes by John Swenson. Further reissues of the record were by Reprise in 2001, Hi Horse Records in 2009, Music on Vinyl in 2013 and
586:
writer Craig
Chaligne wrote that the track showed the group's increasing confidence in vocal arrangements. Neville felt that listeners from outside New Orleans would not "understand" the song, noting that it "has the
537:, and was considered by Palmer to be the group's most reggae-like song to that point, citing the "chunk-a-chunk bass and guitar unisons and basic organ lead" for melodically and texturally evoking "the music of
359:'s production company Sansu Enterprises. As the group's single "Chicken Strut" (1970) was rising in popularity, Neville acrimoniously exited the band due to an inter-band dispute regarding whether to sign with
742:
just couldn't pick up on it." Chaligne wrote that the failure was partly attributed to "Reprise's inability to market a band that had few similarities with the rest of its roster." Despite the disappointment,
374:
went bankrupt, leaving the group with substantial unpaid royalties. According to Porter Jr, Sehorn–serving as the group's manager–negotiated a deal to sign the Meters with a bigger label,
1594:
2141:
389:
was produced by
Toussaint and Sehorn, and unlike their earlier albums, the band recorded it in their own sessions, "instead of on the tail end of somebody else's," as described by
931:
noted that while the group " their trademark sound in some of the modern studio's favorite toys," the title track ensured the group did not "move too far off base". Josh Terry of
574:'s "Hey Now Baby", which was recorded around 1950 but not released until earlier in 1972. The song is characterised by Neville's rolling piano and, according to Joe McEwen of
1819:
562:", "Do the Dirt" has a similar aesthetic and instrumentation to "Soul Island" but slides into a "North American soul groove" during the bridges. Written by Nocentelli, the
280:
and vocals, particularly from
Neville, marking a further departure from the group's instrumental beginnings. The group also incorporated then-popular studio effects like
2032:
965:
815:
673:
writer John
Laycock described the album as "nice enough and interesting in a record-scholar's way" and highlighted its similarity to reggae. Juan Rodriguez of
505:
The change in direction is immediately evident with the distorted guitar riff that begins the opening song "You’ve Got to Change (You’ve Got to Reform)", a
423:
in New Orleans and attract a white audience to the city's musicians, as well as "putting an identifiable N.O. sound back in the charts." However, in a 1974
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and its two follow-ups "clearly mark the band's high point as a unit", and further highlighted "Gettin' Funkier All the Time", while Steve MacQueen of
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that he believed the album should have had stronger exposure, "because everyone agrees that the material is the strongest we have ever done."
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heritage, the second line feeling, even more than anything else we've written. If you born here, you just gonna have it, that's all."
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987:
began a series of "critically acclaimed albums" for the Meters that "reinforced their distinctive, sinewy rhythms." Terry Perkins of
1835:
1622:
2838:
2293:
734:(1975) because "they were peppered with so many obscure references to local New Orleans culture that folks who didn't know about
927:
referred to it as a "great" debut for Reprise that "saw the band branch out with more chants and Neville's soulful vocalizing."
1853:
1717:
2693:
2074:
419:(1972), further noting that the musician hoped the release of both records through Warner labels would revive interest in
2547:
2466:
2261:
1776:
1007:" (1969) for defining the group's "stripped-down, choppy, syncopated funk style of the early 70s". In a 2015 interview,
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1399:
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2394:
2332:
2084:
2000:
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249:
a year earlier. The signing afforded the group a higher recording budget and re-introduced organist and keyboardist
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in the incongruous, claustrophobic propinquity of two equally convincing, yet texturally antithetical realities."
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1959:
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883:
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160:
973:
questioned whether the album's stylistic variation, or ambiguity, hinted at an identity crisis for the band. In
2364:
2181:
2108:
2045:
1926:
748:
2497:
623:—fast women. Near the battlefield." Designed by John Echevarrieta, the album cover is based on a variation of
1623:"George Porter Jr. Talks Art Neville, Allen Toussaint, & The Hindsight Of The Meters [Interview]"
827:
1916:
2241:
1681:
465:-style tracks, in addition to "generous helpings of the more fashionable second line and its bastard child
351:
hits in the United States with danceable instrumentals, but spent much of their time as the house band for
939:
flavor from a trip to Trinidad and Tobago". He also noted that while the Meters tentatively incorporated
619:: "Cabbage Alley was around Perdido Street. They had a lot of musicians down there—it was almost like a
2938:
1564:
2522:
697:
499:
281:
1500:
2686:
2626:
2414:
525:, while "The Flower Song" and "Smilin'" are instrumentals which have been compared to the music of
348:
2443:
989:
951:
441:
2824:
928:
864:
664:
526:
401:
2318:
2171:
2027:
980:
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324:
269:
935:
said that while vocals were more prominent, "the grooves were still there — anchored with a
2933:
1889:
999:
923:
899:
in 2014. Some re-releases include both parts of "Chug Chug Chug-a-Lug (Push and Shove)" as
415:
379:
8:
2905:
2679:
2037:
634:
696:
and its two singles were commercial disappointments. The album reached number 48 on the
2750:
2079:. Lafayette, Louisiana: University of Louisiana at Lafayette Press. pp. 197, 219.
1591:"AllMusic: Here Comes the Meter Man: The Complete Josie Recordings, 1968–1970 – review"
896:
739:
629:
620:
611:", the site was a centre for the city's uplifting second line funk music. According to
571:
534:
446:
320:
751:" (1973) and taking a European tour in mid-1973 with Dr. John and Professor Longhair.
2785:
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2177:
2080:
2041:
1996:
1922:
1827:
1647:
1325:
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552:
543:
457:
also sees the group explore a wider array of musical styles than on previous albums.
332:
328:
288:. The album is named for a then-recently demolished back alley in the group's native
2845:
2023:
1377:
970:
892:
692:
Despite the album's strong reviews, smoother sound, and the move to a major label,
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514:
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297:
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242:
238:
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119:
114:
106:
99:
643:(1969). According to authors Angie Errigo and Steve Leaning, "Both pictures are
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2723:
1350:
1319:
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644:
612:
608:
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474:
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344:
293:
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2927:
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1831:
1331:
908:
704:
659:
570:-aided hook. The album's title track "Cabbage Alley" was inspired in part by
559:
371:
246:
256:
The Meters used the album to explore a variety of musical styles, including
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1356:
1012:
657:, with many describing as the band's best album yet. Writing favourably in
654:
360:
142:
94:
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was re-released in the UK in 1975 by Warner. The album and its follow-ups
603:
been recently demolished to make way for a football stadium. Described by
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Active since the 1960s, the Meters were regarded as leaders in authentic
292:
which had been a centre for the city's second line funk music, while the
289:
273:
250:
57:
566:-oriented "Lonesome and Unwanted" is sung by Neville and built around a
276:
than the group's earlier records and also sees them increase the use of
2702:
1092:
735:
563:
518:
469:", while music writer John Laycock that while the Meters are known for
420:
261:
245:. It was the band's first album for the label, following the demise of
230:
129:
41:
28:
2320:
Keeping the Beat on the Street: The New Orleans Brass Band Renaissance
302:
The title track and "Do the Dirt" were issued as singles. On release,
2852:
2792:
940:
588:
538:
2359:. Worthing, England: Littlehampton Book Services Ltd. p. 151.
1297:
955:
943:
elements into the album's jams, they "perfected" the pop aspect on
778:
679:
deemed it "a good dancing record, if you play it real loud and, as
639:
530:
482:
466:
265:
453:
While rooted in dance-oriented funk with second line syncopation,
1008:
2076:
Up from the Cradle of Jazz: New Orleans Music Since World War II
703:
chart, but unlike the group's first two records, it missed the
462:
257:
253:
to the lineup, having briefly left the band some time earlier.
69:
509:
track with a lengthy jam section. "Stay Away" is a delve into
2671:
1921:. North Carolina: University of North Carolina. p. 292.
567:
277:
36:
2554:. Vol. 112, no. 39. September 23, 2000. p. 35
580:, "a stuttering rhythm track two years ahead of its time."
547:
deemed it a "New Orleans reggae" song with similarities to
495:
226:
64:
473:, the record's music more closely resembles the reggae of
1960:"The Meters: Gettin' Funkier All The Time – album review"
1918:
The New Encyclopedia of Southern Culture Volume 12: Music
425:
323:, with a danceable, rhythmic sound characterised by the
963:
hear a "remarkably sympathetic, supple group" play. In
272:-based, syncopated funk style. The music is softer and
2033:
Christgau's Record Guide: Rock Albums of the Seventies
2602:"Watch Jon Stewart Fawn Over Ad-Rock on 'Daily Show'"
2294:"The Meters: The Battle of New Orleans Re-visited..."
2268:. Vol. 84, no. 27. July 1, 1972. p. 40
921:
a "largely (and unfortunately) ignored album", while
633:, which itself had been reproduced on the sleeve of
2176:. San Francisco: Backbeat Books. pp. 57, 168.
1887:
1400:"The Meters remain the measure of New Orleans funk"
754:
529:. "Soul Island" was inspired by the band's trip to
2173:Funk, Third Ear: The Essential Listening Companion
2073:Berry, Jason; Foose, Jonathan; Jones, Tad (2009).
1993:Funk, Third Ear: The Essential Listening Companion
1582:
461:wrote that the album features several prominently
1501:"The Meters Biography by Stephen Thomas Erlewine"
747:led to the Meters working on Dr. John's popular "
2925:
2871:Uptown Rulers: The Meters live on the Queen Mary
2357:The Illustrated History of the Rock Album Cover
2246:: CS1 maint: others in cite AV media (notes) (
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1718:"The Meters: Twenty Years on the Funk Meter #2"
1686:: CS1 maint: others in cite AV media (notes) (
1494:
1492:
1490:
1278:"Chug Chug Chug-A-Lug (Push and Shove) Part II"
1264:"Chug Chug Chug-A-Lug (Push and Shove) Part I"
724:believed the wider public "didn't click" with
710:chart. Arthur Neville told an interviewer for
517:experimentation, and tape delay. A cover of a
445:The title track is based on "Hey Now Baby" by
2687:
2619:
2354:
2310:
2287:
2285:
2283:
2169:
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1990:
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1709:
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1701:
1699:
1697:
1616:
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1612:
1588:
1055:"You've Got to Change (You've Got to Reform)"
1019:the "maddest" find in his record collection.
1872:
1794:
1487:
906:Reviewing the 1975 reissue, Peter Harvey of
833:
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1986:
1984:
1982:
1980:
1953:
1951:
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1947:
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1462:
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891:(1975) were further re-released in 2000 by
335:, complemented by organist and keyboardist
314:
225:is the fourth studio album by the American
2694:
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2316:
2280:
1847:
1845:
1817:
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347:. By 1972, the group had achieved several
268:, while retaining the group's distinctive
27:
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2200:
2135:
2133:
2131:
2129:
2022:
1777:"The Meters: Funk From The Crescent City"
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1422:
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2599:
2572:
2566:
2408:
2406:
2226:
2068:
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2064:
1977:
1957:
1942:
1565:"The Meters' Resilient New Orleans Funk"
1527:
1525:
1523:
1521:
1453:
594:
440:
413:as a companion project to his own album
296:album sleeve was inspired by the art of
2839:Funkify Your Life: The Meters Anthology
2655:
2523:"Cabbage Alley - The Meters - Releases"
2495:
2106:
1851:
1842:
1775:St. Pierre, Roger (November 26, 1974).
1558:
1556:
1554:
1432:
2926:
2633:from the original on December 22, 2015
2432:
2384:
2373:
2355:Errigo, Angie; Leaning, Steve (1979).
2206:
2197:
2139:
2126:
1914:
1531:
1417:
1397:
1274:
1260:
1219:
687:
2675:
2412:
2403:
2389:. London: Virgin Books. p. 838.
2291:
2209:"Allen Toussaint: Introspective Funk"
2061:
2018:
2016:
2014:
2012:
1715:
1562:
1518:
1205:
1191:
1177:
1163:
1115:
1101:
1085:
1071:
1051:
764:
385:The group's first album for Reprise,
2464:
2387:Virgin Encyclopedia of Popular Music
2385:Larkin, Colin (1997). "The Meters".
1991:Dave Thompson (2001). "The Meters".
1958:Chaligne, Craig (January 29, 2020).
1621:O'Brien, Andrew (January 20, 2020).
1597:from the original on January 9, 2017
1551:
1498:
477:than "New Orleans stalwarts such as
2627:"Allmusic: Cabbage Alley – credits"
2458:
2236:(liner). The Meters. Reprise. 2001.
1826:. No. RS 114. Straight Arrow.
1676:(liner). The Meters. Reprise. 1972.
1467:Rodriguez, Juan (August 26, 1972).
1307:– drums, cowbell, gourd, wood block
16:1972 studio album by The Meters
13:
2954:Albums produced by Marshall Sehorn
2944:Albums produced by Allen Toussaint
2009:
1896:from the original on March 4, 2016
1890:"Allmusic: Cabbage Alley – review"
1433:Perkins, Terry (August 20, 2000).
513:, and is stretched out by unusual
14:
2970:
2959:Reggae albums by American artists
2649:
2140:Harvey, Peter (August 16, 1975).
1995:. Hal Leonard. pp. 164–168.
1744:"Toussaint: Life, Love And Faith"
1563:Terry, Josh (November 23, 2021).
976:The Encyclopedia of Popular Music
835:
785:
2600:Blistein, Jon (April 14, 2015).
2573:MacQueen, Steve (May 10, 1991).
2057:– via robertchristgau.com.
1742:Wingfield, Pete (October 1972).
1532:Crouse, Timothy (May 11, 1972).
1347:Tim Livingston – project manager
1022:
854:
849:
844:
839:
834:
804:
799:
794:
789:
784:
755:Legacy and retrospective reviews
607:as "the poor black's version of
521:song, "Birds" is an exercise in
2663:The Daily Show with Jon Stewart
2593:
2515:
2489:
2413:Abbey, John (August 31, 1973).
2348:
2254:
2207:McEwen, Joe (October 2, 1974).
2109:"They All Tried to Play Reggae"
2107:Walters, Idris (May 31, 1975).
2100:
1915:Wilson, Charles Reagan (2006).
1908:
1852:Laycock, John (July 27, 1972).
1735:
1666:
1398:Heller, Jason (March 5, 2014).
2701:
2498:"The Meters Are Right On Time"
1716:White, Cliff (February 1977).
1640:
1391:
1245:
1209:"Gettin' Funkier All the Time"
1195:"Lonesome and Unwanted People"
1148:
1036:
485:." The album is also slicker,
436:
1:
2496:Swenson, John (May 1, 2005).
2292:White, Cliff (June 5, 1976).
1818:Bob Palmer (August 3, 1972).
1384:
1212:Modeliste, Nocentelli, Porter
828:Encyclopedia of Popular Music
2656:Stewart, Jon (14 May 2015),
1313:– organ, tambourine; vocals
1291:
1003:recommended them alongside "
533:, where they performed with
241:and released in May 1972 by
7:
1820:"The Meters: Cabbage Alley"
728:or the Meters' later album
653:received wide acclaimed by
370:In 1971, the Meters' label
10:
2975:
2666:, New York: Comedy Central
2465:Lien, James (March 1995).
2442:. AllMusic. Archived from
1534:"Resurrecting New Orleans"
1499:Erlewine, Stephen Thomas.
2898:
2880:
2862:
2809:
2742:
2709:
1888:Stephen Thomas Erlewine.
1255:
1252:
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1244:
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188:
177:
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136:
128:
105:
93:
77:
56:
48:
35:
26:
21:
2028:"Consumer Guide '70s: M"
1365:Al Quaglieri – mastering
966:Christgau's Record Guide
816:Christgau's Record Guide
315:Background and recording
1439:St. Louis Post-Dispatch
990:St. Louis Post-Dispatch
952:Stephen Thomas Erlewine
749:Right Place, Wrong Time
527:Booker T. & the MGs
409:, Toussaint approached
327:syncopation of drummer
2949:Reprise Records albums
2825:The Best of The Meters
2170:Dave Thompson (2001).
1589:Steve Leggett (2011).
450:
2471:CMJ New Music Monthly
2446:on September 22, 2012
2440:"The Meters - Awards"
2262:"New and Action LP's"
1838:on November 18, 2007.
1368:Rich Russell – design
1362:Bob Irwin – mastering
1296:Credits adapted from
1281:Modeliste, Nocentelli
1267:Modeliste, Nocentelli
721:CMJ New Music Monthly
595:Release and reception
444:
2579:Tallahassee Democrat
2575:"The Brothers blend"
2038:Ticknor & Fields
1322:– guitar, tambourine
1237:2001 CD bonus tracks
1000:Tallahassee Democrat
917:, Joe McEwen called
760:Professional ratings
416:Life, Love and Faith
380:Warner Bros. Records
343:-oriented guitarist
2906:Russell Batiste Jr.
2415:"The Mighty Meters"
2317:Mick Burns (2006).
2242:cite AV media notes
1682:cite AV media notes
1627:Live for Live Music
761:
688:Commercial response
667:of the Seventies."
665:black popular music
635:the Jeff Beck Group
541:." Idris Walter of
2908:(The Funky Meters)
2810:Compilation albums
1654:. October 29, 2019
1648:"Album of the Day"
759:
740:red beans and rice
630:The Listening Room
613:Lionel Batiste Sr.
572:Professor Longhair
535:the Mighty Sparrow
451:
447:Professor Longhair
378:, a subsidiary of
2939:The Meters albums
2921:
2920:
2786:Fire on the Bayou
2024:Christgau, Robert
1473:The Montreal Star
1337:Squirell – congas
1326:George Porter, Jr
1316:
1288:
1287:
1233:
1232:
1136:
1135:
1128:George Porter Jr.
1105:"The Flower Song"
889:Fire on the Bayou
876:
875:
731:Fire on the Bayou
676:The Montreal Star
627:'s 1952 painting
553:Concrete and Clay
333:George Porter Jr.
329:Zigaboo Modeliste
218:
217:
169:
168:
2966:
2899:Related articles
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2689:
2682:
2673:
2672:
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2642:
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2629:. allmusic.com.
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2548:"Vital Reissues"
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2070:
2059:
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2020:
2007:
2006:
1988:
1975:
1974:
1972:
1970:
1955:
1940:
1939:
1937:
1935:
1912:
1906:
1905:
1903:
1901:
1892:. allmusic.com.
1885:
1870:
1869:
1867:
1865:
1858:The Windsor Star
1849:
1840:
1839:
1834:. Archived from
1815:
1792:
1791:
1789:
1787:
1772:
1759:
1758:
1756:
1754:
1739:
1733:
1732:
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1722:Blues & Soul
1713:
1692:
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1677:
1670:
1664:
1663:
1661:
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1638:
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1593:. Allmusic.com.
1586:
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1577:
1575:
1569:Vinyl Me, Please
1560:
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1395:
1378:David Willardson
1315:(tracks 3, 6, 8)
1314:
1247:
1242:
1241:
1150:
1145:
1144:
1038:
1033:
1032:
971:Robert Christgau
950:Less impressed,
933:Vinyl Me, Please
893:Sundazed Records
859:
858:
857:
853:
852:
848:
847:
843:
842:
838:
837:
809:
808:
807:
803:
802:
798:
797:
793:
792:
788:
787:
762:
758:
712:Blues & Soul
708:Top LPs and Tape
670:The Windsor Star
617:Treme Brass Band
558:A "chunky dance
511:progressive rock
471:rhythm and blues
431:Roger St. Pierre
396:Blues & Soul
321:New Orleans funk
309:Sundazed Records
207:
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2914:(The Meter Men)
2894:
2876:
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2805:
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2719:Ziggy Modeliste
2705:
2700:
2658:"Adam Horovitz"
2652:
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2323:. Baton Rouge:
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2091:
2089:
2087:
2071:
2062:
2052:
2050:
2048:
2021:
2010:
2003:
1989:
1978:
1968:
1966:
1964:Louder Than War
1956:
1943:
1933:
1931:
1929:
1913:
1909:
1899:
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1396:
1392:
1387:
1374:– art direction
1305:Ziggy Modeliste
1294:
1289:
1234:
1223:"Cabbage Alley"
1137:
1126:, Nocentelli,
1059:Ziggy Modeliste
1025:
979:(1997), writer
969:(1981), critic
915:The Real People
868:(Dave Thompson)
855:
850:
845:
840:
805:
800:
795:
790:
757:
690:
597:
583:Louder Than War
439:
429:interview with
399:. According to
376:Reprise Records
357:Marshall Sehorn
353:Allen Toussaint
317:
243:Reprise Records
239:Marshall Sehorn
235:Allen Toussaint
210:
205:
202:
201:
196:
194:"Cabbage Alley"
193:
192:
164:
155:
146:
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120:Marshall Sehorn
115:Allen Toussaint
86:
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44:
17:
12:
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5:
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2912:Page McConnell
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2800:New Directions
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2737:
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2726:
2724:Leo Nocentelli
2721:
2716:
2710:
2707:
2706:
2699:
2698:
2691:
2684:
2676:
2670:
2669:
2651:
2650:External links
2648:
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2565:
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2402:
2395:
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2327:. p. 89.
2309:
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2213:The Real Paper
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605:Timothy Crouse
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577:The Real Paper
475:Desmond Dekker
438:
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407:Pete Wingfield
345:Leo Nocentelli
316:
313:
233:, produced by
216:
215:
212:
211:
209:
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206:Released: 1972
199:
197:Released: 1972
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183:Cabbage Alley
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2758:Look-Ka Py Py
2755:
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2748:
2747:
2745:
2743:Studio albums
2741:
2735:
2734:Cyril Neville
2732:
2730:
2729:George Porter
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2606:Rolling Stone
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2234:Cabbage Alley
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2149:Record Mirror
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2110:
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2086:9781887366915
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2029:
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2019:
2017:
2015:
2013:
2004:
2002:9780879306298
1998:
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1981:
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1359:– liner notes
1358:
1355:
1353:– liner notes
1352:
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1345:
1341:
1340:
1336:
1333:
1332:Cyril Neville
1330:
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1169:
1167:"Do the Dirt"
1166:
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1146:
1139:
1138:
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1125:
1121:
1119:"Soul Island"
1118:
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1027:
1026:
1023:Track listing
1020:
1018:
1017:Cabbage Alley
1014:
1010:
1009:Adam Horovitz
1006:
1002:
1001:
996:
995:Cabbage Alley
992:
991:
986:
985:Cabbage Alley
982:
978:
977:
972:
968:
967:
961:
960:Cabbage Alley
957:
953:
948:
946:
942:
938:
934:
930:
929:Dave Thompson
926:
925:
920:
919:Cabbage Alley
916:
911:
910:
909:Record Mirror
904:
902:
898:
894:
890:
886:
885:
880:
879:Cabbage Alley
871:
869:
867:
863:
862:
832:
830:
829:
825:
824:
820:
818:
817:
813:
812:
782:
780:
777:
776:
768:
765:Review scores
763:
752:
750:
746:
745:Cabbage Alley
741:
737:
733:
732:
727:
726:Cabbage Alley
723:
722:
715:
713:
709:
707:
702:
700:
695:
694:Cabbage Alley
685:
682:
678:
677:
672:
671:
666:
662:
661:
660:Rolling Stone
656:
655:music critics
652:
651:Cabbage Alley
648:
646:
642:
641:
636:
632:
631:
626:
625:René Magritte
622:
618:
614:
610:
606:
601:
600:Cabbage Alley
592:
590:
585:
584:
579:
578:
573:
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561:
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550:
546:
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512:
508:
503:
501:
497:
493:
488:
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468:
464:
460:
456:
455:Cabbage Alley
448:
443:
434:
432:
428:
427:
422:
418:
417:
412:
411:Cabbage Alley
408:
404:
403:
398:
397:
392:
388:
387:Cabbage Alley
383:
381:
377:
373:
372:Josie Records
368:
366:
362:
358:
354:
350:
346:
342:
338:
334:
330:
326:
322:
312:
310:
305:
304:Cabbage Alley
300:
299:
298:René Magritte
295:
291:
287:
283:
279:
275:
271:
267:
263:
259:
254:
252:
248:
247:Josie Records
244:
240:
236:
232:
228:
224:
223:
222:Cabbage Alley
213:
203:"Do the Dirt"
200:
191:
190:
187:
184:
180:
176:
172:
163:
162:
158:
154:
153:
152:Cabbage Alley
149:
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144:
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135:
131:
127:
121:
118:
116:
113:
112:
110:
108:
104:
101:
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96:
92:
80:
76:
71:
68:
66:
63:
62:
61:
59:
55:
51:
47:
43:
38:
34:
30:
25:
22:Cabbage Alley
20:
2869:
2851:
2844:
2837:
2830:
2823:
2816:
2798:
2791:
2784:
2779:Rejuvenation
2777:
2771:
2770:
2763:
2756:
2749:
2661:
2637:December 20,
2635:. Retrieved
2621:
2609:. Retrieved
2605:
2595:
2583:. Retrieved
2578:
2568:
2556:. Retrieved
2551:
2542:
2530:. Retrieved
2526:
2517:
2505:. Retrieved
2501:
2491:
2479:. Retrieved
2474:
2470:
2460:
2448:. Retrieved
2444:the original
2434:
2422:. Retrieved
2418:
2386:
2356:
2350:
2338:. Retrieved
2319:
2312:
2300:. Retrieved
2296:
2270:. Retrieved
2265:
2256:
2233:
2228:
2216:. Retrieved
2212:
2187:. Retrieved
2172:
2165:
2153:. Retrieved
2148:
2142:"Album Pick"
2116:. Retrieved
2112:
2102:
2090:. Retrieved
2075:
2051:. Retrieved
2031:
1992:
1967:. Retrieved
1963:
1932:. Retrieved
1917:
1910:
1898:. Retrieved
1862:. Retrieved
1857:
1836:the original
1823:
1784:. Retrieved
1780:
1751:. Retrieved
1747:
1737:
1725:. Retrieved
1721:
1673:
1668:
1656:. Retrieved
1651:
1642:
1630:. Retrieved
1626:
1599:. Retrieved
1584:
1572:. Retrieved
1568:
1541:. Retrieved
1537:
1508:. Retrieved
1504:
1477:. Retrieved
1472:
1443:. Retrieved
1438:
1407:. Retrieved
1403:
1393:
1357:Barry Hansen
1295:
1016:
1013:Beastie Boys
998:
994:
988:
984:
981:Colin Larkin
974:
964:
959:
949:
945:Rejuvenation
944:
932:
922:
918:
914:
907:
905:
901:bonus tracks
888:
884:Rejuvenation
882:
878:
877:
865:
826:
814:
744:
729:
725:
719:
716:
711:
705:
701:Top Soul LPs
698:
693:
691:
674:
668:
658:
650:
649:
638:
628:
599:
598:
581:
575:
557:
542:
504:
454:
452:
424:
414:
410:
400:
394:
386:
384:
369:
363:'s manager,
361:Otis Redding
331:and bassist
318:
303:
301:
255:
221:
220:
219:
182:
161:Rejuvenation
159:
151:
150:
141:
52:May 11, 1972
37:Studio album
2934:1972 albums
2889:Cissy Strut
2863:Live albums
2818:Cissy Strut
2714:Art Neville
2611:February 6,
2585:January 30,
2558:February 1,
2532:February 6,
2507:February 6,
2481:February 1,
2467:"Flashback"
2424:January 30,
2302:January 30,
2272:February 1,
2218:January 30,
2155:February 3,
2118:January 30,
2092:February 1,
1969:February 4,
1934:February 1,
1864:January 30,
1786:January 30,
1753:February 3,
1748:Let It Rock
1727:January 30,
1658:February 6,
1632:February 4,
1601:November 4,
1574:February 6,
1543:February 6,
1510:February 4,
1479:January 30,
1469:"Pop Music"
1445:January 30,
1409:February 6,
1380:– cover art
1372:Ed Thrasher
1311:Art Neville
1124:Art Neville
1122:Modeliste,
1075:"Stay Away"
1005:Cissy Strut
993:wrote that
983:notes that
958:wrote that
887:(1974) and
681:James Brown
539:the Islands
523:smooth soul
479:Fats Domino
449:(pictured).
437:Composition
402:Let It Rock
391:Cliff White
365:Phil Walden
337:Art Neville
325:second line
290:New Orleans
270:second line
251:Art Neville
2928:Categories
2751:The Meters
2703:The Meters
2366:0706409159
2183:0879306297
2047:089919026X
1928:0807859087
1900:October 4,
1435:"CDs: Pop"
1385:References
1342:Production
1198:Nocentelli
1170:Nocentelli
1108:Nocentelli
1093:Neil Young
1078:Nocentelli
736:Mardi Gras
645:Surrealist
555:" (1965).
549:Unit 4 + 2
519:Neil Young
515:electronic
459:Bob Palmer
421:soul music
294:surrealist
282:tape delay
231:the Meters
132:chronology
130:The Meters
42:The Meters
2853:Zony Mash
2793:Trick Bag
2765:Struttin'
2552:Billboard
2340:August 6,
2325:LSU Press
2266:Billboard
2189:August 6,
1832:0035-791X
1404:A.V. Club
1292:Personnel
1253:Writer(s)
1181:"Smiling"
1156:Writer(s)
1044:Writer(s)
937:Caribbean
924:Billboard
897:WEA Japan
706:Billboard
699:Billboard
589:Dixieland
311:in 2000.
143:Struttin'
2846:Kickback
2631:Archived
2527:AllMusic
2053:March 7,
2026:(1981).
1894:Archived
1595:Archived
1505:AllMusic
1334:– congas
1298:AllMusic
1140:Side two
1028:Side one
956:AllMusic
779:AllMusic
640:Beck-Ola
621:district
551:'s hit "
531:Trinidad
483:Dr. John
467:boogaloo
266:boogaloo
107:Producer
49:Released
39: by
2881:Singles
2502:Offbeat
2450:31 July
1226:Neville
1184:Neville
1089:"Birds"
1015:called
1011:of the
560:novelty
492:phasing
487:jammier
405:writer
349:R&B
286:phasing
274:jammier
179:Singles
165:(1974)
156:(1972)
147:(1970)
100:Reprise
2393:
2363:
2331:
2180:
2113:Sounds
2083:
2044:
1999:
1925:
1830:
1328:– bass
1256:Length
1159:Length
1047:Length
773:Rating
770:Source
544:Sounds
463:reggae
278:chants
258:reggae
229:group
78:Length
70:reggae
2145:(PDF)
1854:"Pop"
1652:Rhino
1475:: C-7
1250:Title
1153:Title
1041:Title
568:chant
507:dance
500:delay
181:from
95:Label
58:Genre
2639:2015
2613:2023
2587:2023
2581:: 3E
2560:2023
2534:2023
2509:2023
2483:2023
2477:: 45
2452:2022
2426:2023
2391:ISBN
2361:ISBN
2342:2016
2329:ISBN
2304:2023
2274:2023
2248:link
2220:2023
2191:2016
2178:ISBN
2157:2023
2151:: 15
2120:2023
2094:2023
2081:ISBN
2055:2019
2042:ISBN
1997:ISBN
1971:2023
1936:2023
1923:ISBN
1902:2011
1866:2023
1860:: 24
1828:ISSN
1788:2023
1755:2023
1729:2023
1688:link
1660:2023
1634:2023
1603:2017
1576:2023
1545:2023
1512:2023
1481:2023
1447:2023
1441:: F5
1411:2023
1284:3:26
1270:3:30
1229:3:30
1215:3:19
1201:4:39
1187:3:09
1173:2:36
1132:3:10
1111:4:51
1097:4:23
1081:5:22
1067:5:15
872:8/10
866:Funk
564:rock
498:and
496:echo
355:and
341:riff
339:and
284:and
264:and
262:rock
237:and
227:funk
65:Funk
2297:NME
1781:NME
1275:12.
1261:11.
1246:No.
1220:10.
1149:No.
1037:No.
954:of
941:pop
738:or
637:'s
615:of
481:or
426:NME
393:of
2930::
2660:,
2604:.
2577:.
2550:.
2525:.
2500:.
2475:19
2473:.
2469:.
2417:.
2405:^
2375:^
2282:^
2264:.
2244:}}
2240:{{
2211:.
2199:^
2147:.
2128:^
2111:.
2063:^
2040:.
2036:.
2030:.
2011:^
1979:^
1962:.
1944:^
1874:^
1856:.
1844:^
1822:.
1796:^
1779:.
1763:^
1746:.
1720:.
1696:^
1684:}}
1680:{{
1650:.
1625:.
1611:^
1567:.
1553:^
1536:.
1520:^
1503:.
1489:^
1471:.
1455:^
1437:.
1419:^
1402:.
1300:.
1206:9.
1192:8.
1178:7.
1164:6.
1116:5.
1102:4.
1086:3.
1072:2.
1061:,
1052:1.
947:.
903:.
502:.
494:,
367:.
260:,
87:10
83:47
2891:"
2887:"
2695:e
2688:t
2681:v
2668:.
2641:.
2615:.
2589:.
2562:.
2536:.
2511:.
2485:.
2454:.
2428:.
2399:.
2369:.
2344:.
2306:.
2276:.
2250:)
2222:.
2193:.
2159:.
2122:.
2096:.
2005:.
1973:.
1938:.
1904:.
1868:.
1790:.
1757:.
1731:.
1690:)
1662:.
1636:.
1605:.
1578:.
1547:.
1514:.
1483:.
1449:.
1413:.
821:B
85::
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