Music Review: Dr. John, The Atco/Atlantic Singles 1968-1974

By Melissa Bratcher

If there’s one thing Dr. John does well (though he does loads of things well), it’s setting a scene and creating a vibe. In listening to Omnivore Recordings’ Dr. John collection The Atco/Atlantic Singles 1968-1974, there is such a rich, immersive feeling—a deep swamp that reaches slippery fingers up to pull you down—that it is like taking a trip to the Bayou, sans surprise alligators. Dr. John’s mix of blues, funk, and psychedelia is inimitable, much like his trademark boozy vocal yawp. He’s a one of a kind.

The Atco/Atlantic Singles 1968-1974 captures Dr. John at a quicksilver moment in time. Inventing himself and his Night Tripper persona, and reaching his highest chart rankings (so far: one day, the music world will catch up to him again), Dr. John (a.k.a. Mac Rebennack) was making magic. Drawing from a childhood steeped in the things that make New Orleans New Orleans, like Mardi Gras Indians, mojo men, and that special swampy feeling, Rebennack crafted an image, wearing a gator skin suit and feathers—flamboyant to the core—and made music that was the aural equivalent of his sartorial splendor.

Early on The Atco/Atlantic Singles, there’s a palpable swamp funk to the tracks. “Jump Sturdy,” with it’s low growl of a bass line is almost tactile with thickness, paired with a glittering banjo and an appealingly loose back-up chorus. It’s evocative, and a perfect lead up to “I Walk On Gilded Splinters (Part 1),” in which the swampy creepiness is turned way up with low-slung bongos and a call and response from distant female voices. It’s incredible and mesmerizing, as is it’s companion piece, “I Walk On Gilded Splinters (Part 2).” Here, Dr. John’s vocals are delivered almost under his breath, like a chant or invocation. It’s atmospheric and dark.

The back-up chorus of the swampy smooth “Gris-Gris Gumbo Ya Ya” sounds haunted and zombified. Rich drums that echo and Dr. John’s spoken/sung (but more spoken) delivery is effective, like a man trying to sell you something in an alleyway… the kind of thing you know you shouldn’t buy, but maybe you really want to. With snake charmer flutes and a slinky rhythm built around second line drums, “Loop Garoo” features positively werewolfian delivery from Dr. John. When he sings “I’ll put my hook in you,” you’d better believe he will.

Dr. John’s version of the perennial James “Sugarboy” Crawford classic “Iko Iko” ups the rumba and sounds like a bright and grooving party, as it should. In Dr. John’s hands, Professor Longhair’s “Big Chief” is both faithful and a bold reimagining. A bubbling organ gives an otherworldly, spacey feel, like Mardi Gras Indians in the future. “Huey Smith Medley” sets up an easy groove with a delightful call and response sing along, chunky horns, and Dr. John’s expressive, nimble piano work. “Wang Dang Doodle” is ripping, with blistering vocals from both the good Doctor and his female back up singer. “(Everybody Wanna Get Rich) Rite Away” is electrifying and propulsive. The Doctor’s lyrics are blurted and sound like he’s just riffing in the studio.

When paired with producer Allen Toussaint (and backed by The Meters) on 1973’s In The Right Place, Dr. John had his greatest commercial success. The near-titular track “Right Place, Wrong Time” is rapturous slice of audacious ’70s funk, filtered through gumbo. It’s surprisingly spare, incredibly gritty, and possibly the perfect song. Leo Nocentelli’s chicky guitar drives the tune, and the Doctor’s vocals are sandpapery and right. It’s a groove, groove, groove. The B-side, “I Been Hoodood,” is both earthy and out there, and Dr. John’s own, peculiar pronunciations are, as always, a joy (no one says “boin” with such conviction). The glorious piano riff of the Toussaint-penned “Life” is a delightful ear worm, and Toussaint’s vocals are a smooth counterpoint to Dr. John’s gruffness. The descending back-up vocals are a velvet charm.

There’s no one like Dr. John, and The Atco/Atlantic Singles 1968-1974 captures him at a wildly creative, amazing period. These songs are, for the most part, stone cold classics, with a heavy dose of funk. As an entry point to Dr. John’s music, it’s hard to beat, collecting many of his most influential, important tracks. It’s a portrait of the artist as a young hoodoo man, resplendent in feathers.

The Atco/Atlantic Singles 1968-1974 will be released on September 18 via Omnivore Recordings.