Customer Reviews

Rejuvenation

5 star:		(8)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Not to dis the contributions of other funk masters like Parliament/Funkadelic (who are brilliant in their own right), but NO ONE can make an ass shake like the Meters in their prime. And this is their prime. Actually, every one of their previous releases (which are largely all-instrumental with the exception of "Cabbage Alley") up to this one is a five-star title. After "Rejuvenation," things started to go downhill, even though subsequent albums contained their share of highlights. But, it never got any better than this title. Every song is a winner, and a few are stone-cold classics ("Hey Pocky Way," "Jungle Man," "Just Kissed My Baby"). I've put this on at many a party and have delighted at seeing individuals, seated alone, morose and lonesome in the corner, begin to twitch involuntarily and uncontrollably in response to the rhythms the Meters pour out (this last statement is NOT an exaggeration). This is music which makes people who are not in the know approach you asking, "Who IS this? I gotta get this!" Actually, you may be a bit more familiar with the Meters than you think as a new generation of hip-hop artists has sampled their tracks liberally. Great stuff! Get it, you will not regret it.

I am a fan of the Meters' early albums for the Josie label, which consisted of the funkiest 3-minute toss-off instrumentals ever. To me, the closer they got to doing the Neville Bros./New Orleans "sound," the cheesier and less appealing they got. Fortunately, this reissue of their 1974 Warner album shows them stretching out their songs, but still packing a punch. The Porter/Nocentelli/Modeliste rhythm section is as hot as ever, and all of the tracks, from the outrageously funky party tunes to the smooth and soulful groovers, will not disappoint. There is even a 12-minute song, "Aint No Use," which is an R&B-type song that turns into a funky jam.

let me just say that i absolutely love this album. i do enjoy the instrumental years, but this is my favorite era. anyway all of the below reviews are missing out on it ain't no use. they either hate it and think it wanders or they just simply mention its length which is around twelve minutes. besides jungle man this is my favorite song on the album. the opening guitar riff almost sounds southern rockish but the tune eventually morphs into a drum driven, funk fest. the closing drum solo is excellent. i would dare say that this is the best in studio jamming i have ever heard and i love tunes that go off into jams. the meters are an excellent group and this album is definately imho their finest. pick it up just to hear the drum solo at the end of it ain't no use, its well worth it. nuff said.

According to some, the Meters' earlier instrumental stuff is the one and only "classic Meters". I wholeheartedly disagree. This album is about as classic as it gets! It's just very different from their earlier style, so different in fact that you can hardly compare them.
This is a much more mature and sophisticated work, and without dissing the instrumentals in any way - I love them too! - I must say that this is my favorite Meters album. In fact it's my favorite album of all time!
If you are unfamiliar with the funky, funky Meters (possibly the funkiest band of all time? Just listen to the awesome Modeliste/Porter rhythm section!) - this is the place to start. An All-Time Classic from start to finish!

This is one of the best funk albums ever. It's also one of my all time favorite records. If you like funky music, you'll enjoy Rejuvenation. "Just kissed my baby" with the late great Lowell George on guitar and background vocals, is a killer. Joseph Modeliste is one of the greatest drummers alive. These guys are terrific.

The Meters' Josie material is unequivocally seminal and classic, and along with others I have discussed that music on this site. The transition to the second stage of their decade-plus career roughly coincides with the integration of vocals and their 1972 contract with Reprise Records. Actually they had been adding vocals to their recordings since 1970's "Struttin'" on Josie and the last few (1970-71) Josie singles collected on "Zony Mash", which also feature the introduction of Cyril Neville's congas.
"Cabbage Alley" was an impressive deut for Reprise, with layered percussion, influences ranging from "Riot"-era Sly Stone, various strains of contemporary rock, and early Funkadelic, even studio experimentation that leads to "Stay Away" sounding not unlike early psychedelic dub. The differences on the followup "Rejuvenation" issued a full two years later include the evidence that it was recorded in Allen Toussaint's new state-of-the-art studio, Sea Saint. This is a warm, richly textured recording, with deep clear bass and each instrument reproduced just as the band likely intended. There is also evidence the band (especially Leo Nocentelli) spent a lot of time on the mix. And the Meters here move somwhat away from the hard rock of "Cabbage Alley" towards a still contemporary ('74) and integrated funk/soul approach, with some pop and rock touches, as well as, occasionally, jazz by way of Kenny Burrell and Wes Montgomery (Leo's longtime jazz guitar heroes) on the long tracks. This is indeed the first Meters set with no instrumentals at all, but the band gives itself plenty of room to flex its muscles.
"People Say" and "Just Kissed My Baby" are slow, simmering deep grooved funk classics, plain and simple; the single mixes of the former and "Hey Pocky A-Way" included as bonus tracks are indeed slightly different - not just shorter - for a nice contrast. "What'cha Say" and especially "Loving You Is Always On My Mind" (the latter the closest thing to a pure instrumental)are gorgeous, upbeat, and infectious - soulful grooves not unlike the best of the Isley Brothers, and with sparkling melodies as well. But The Meters' virtuosity and New Orleans roots are never lost, with dense rhythm tracks courtesy of Ziggy Modeliste, George Porter, and Cyril Neville. "Jungle Man" and "Africa" are both hard funk, but for me the highlight is the nearly 12-minute "Ain't No Use" which after starting life as a funky and danceable Isleys type groove, including spectacular guitar interjections from Leo, evolves into a truly amazing jam (and I am no jam band fan) with everyone at the top of their game, especially Leo and Modeliste during the last three or four minutes. Dynamic and compelling, this is one of the album's defining moments, as is the hit "Hey Pocky A-Way," heard here in its best-ever version.
Credit also goes out to New Orleans legend Wardell Querzeque's subtle and fresh horn arrangements (which never clutter the mix), and on a couple tracks, some tasty slide guitar from Lowell George. The Meters (who get a co-production credit for the first time) sound confident, telepathic, at their Reprise-era peak, and this is one of the best albums of '74 - and one of the great funk albums of that era as well.

...say! Ain't that Nightbird Nona Hendrix on the cover?

Are you gonna love this. One of the Phonkayist recordings ever made....done in the 70s. If you ain't blown away by "Ain't No Use" and its extended funk workout, well, mebbe there's a history of rigor mortis in your family.

Plus, to all Ol Skoolers looking for something other than the Usual Suspects of Funk Bands, try it out.

The Meters are the kings of funk, and this album is no exception. Many of the tunes are new, the others are well played and delightful to listen to. I would recommend this album to any Meters fan, you won't be disappointed.

Quite possibly the funkiest album ever recorded. The interplay between Leo Nocentelli (guitar), Art Neville(keys), George Porter(bass), and Joseph "Zigaboo" Modeliste(world's funkiest drummer) always was a strong selling point. The band had previously played on hits by Dr. John(Right Place) and Labelle(Lady Marmalade), but solo they break loose creatively and this is for me the cream of '70s funk and much more. Every track is a slice of dance-inducing soul with vinage groove like a 45 and catchy lyrics, all with zig-zagging and interlocking rythyms that are definite forbears of trip-hop and chart topping R&B and hip hop acts like Destiny's Child, Jay-Z, and eminem. On the rock side, take a listen to Dave Matthews and the bands drummer, Carter Beauford, for more funky vines off the branch, and 'It Ain't No Use' is a masterful jam that Phish would be very proud of. All in all, this is a feel good album that puts a smile on my face and a swagger in my step every time I listen to it.