Look-Ka Py Py
Look-Ka Py Py is the second studio album by the American funk band the Meters, released in December 1969 on Josie Records as an all-instrumental collection of 12 tracks showcasing the group's signature New Orleans funk grooves.[1] Produced by Allen Toussaint and Marshall Sehorn,[2] the album features the core quartet of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr. on bass, and Joseph "Zigaboo" Modeliste on drums, emphasizing tight rhythmic interplay and short, improvisational compositions rooted in the city's musical traditions from Congo Square.[3] Clocking in at 32 minutes, it builds on the band's 1969 debut with deeper, more hypnotic basslines and percussive elements, establishing tracks like the title song and "Funky Miracle" as enduring funk classics that have been widely sampled in hip-hop and rap.[3] Critically acclaimed for its raw energy and collective musicianship over individual solos, Look-Ka Py Py has been hailed as a foundational work in funk, influencing genres from rock to electronic music through its emphasis on groove and community-driven performance.[3] Recorded at LeFevre Sound Studios in Atlanta during a period when the band served as Toussaint's house band in New Orleans,[2] the album captures the Meters' transition from local session players to innovators of "Bayou funk," a style blending soul, R&B, and second-line rhythms.[1] Its legacy endures, with the record ranking at number 415 on Rolling Stone's 2020 list of the 500 Greatest Albums of All Time,[4] underscoring its role in shaping the sound of American popular music in the late 20th century.Background and Production
Development
The Meters formed in New Orleans in 1965 as a funk band rooted in the city's vibrant R&B scene, with keyboardist Art Neville recruiting guitarist Leo Nocentelli, bassist George Porter Jr., and drummer Joseph “Zigaboo” Modeliste to create a tight ensemble initially serving as the house band for Sansu Records.[5] The group quickly established itself through live performances at local venues like the Ivanhoe and as session musicians backing artists such as Lee Dorsey on hits like “Yes We Can Can.”[6] Their early success culminated in the release of their self-titled debut album in 1969 on Josie Records, which featured instrumental tracks like “Cissy Strut” and “Sophisticated Cissy” that reached the Top 10 on the Billboard Soul chart, solidifying their reputation for propulsive, groove-driven funk.[5][6] Following the debut's chart performance, which peaked at #23 on the R&B charts, The Meters transitioned to their second album by committing to an all-instrumental format that amplified their focus on interlocking rhythms and minimalist funk grooves, avoiding vocals to prioritize raw, danceable energy honed in New Orleans clubs.[7] This decision reflected the band's evolution from session work to original material, building directly on the spontaneous jamming style of their first record while refining a more cohesive, repetitive structure suited to extended live sets.[7] The swift production timeline—mere months after the debut—allowed them to capture this evolving sound without major stylistic shifts, emphasizing precision over complexity.[8] Producers Allen Toussaint and Marshall Sehorn played a pivotal role in directing Look-Ka Py Py, leveraging their oversight of Sansu Records to guide the band toward a polished yet gritty aesthetic drawn from New Orleans R&B traditions.[8] As the label's founders, Toussaint and Sehorn had already utilized The Meters extensively as a backing unit for local talent, infusing the album's direction with the city's soulful, hornless funk lineage that prioritized rhythmic interplay over melodic flourishes.[8] Their production choices encouraged a lean arrangement style, ensuring the tracks retained the organic feel of New Orleans studio sessions while appealing to a broader audience beyond regional circuits.[7] The album's conceptual foundation drew heavily from New Orleans' second-line parade rhythms, characterized by syncopated tresillo patterns and improvised accents that lent a communal, marching propulsion to the band's funk.[9] These elements, rooted in 19th-century black parading traditions, informed the restrained approach of Look-Ka Py Py, where static harmonies and “between the cracks” grooves evoked the earthy, unhurried vibe of bayou funk without overt embellishments.[9][10] This synthesis of local cultural motifs—distilled through the band's neighborhood influences—resulted in an album that captured the subtle complexity of Crescent City music, setting it apart from more bombastic national funk trends.[10]Recording and Personnel
The recording sessions for Look-Ka Py Py occurred at LeFevre Sound Studios in Atlanta, Georgia, during late 1969, shortly before the album's December release on Josie Records.[2][1] The Meters employed a live-in-studio method, performing together as a unit with few overdubs to preserve the raw, improvisational funk energy central to their style and reflecting their concurrent nightclub performances in New Orleans.[3] This approach resulted in concise tracks, many under three minutes, that captured the band's telepathic groove and jam-like interactions without excessive polish.[3] The core lineup consisted of Art Neville on organ, Leo Nocentelli on guitar, George Porter Jr. on bass, and Joseph "Zigaboo" Modeliste on drums, delivering the interlocking rhythms that defined the album's sound.[2] Production was handled by Allen Toussaint and Marshall Sehorn, who guided the sessions to emphasize the group's instrumental precision.[2] Engineering duties fell to Rodney Mills, whose technical expertise at LeFevre Studios contributed to the album's notably clear and unhurried sonic clarity, allowing the subtle dynamics of the band's interplay to shine through.[11][12]Musical Content
Style
Look-Ka Py Py exemplifies instrumental funk through its "loose-tight" rhythmic framework, where disciplined precision coexists with subtle flexibility to prioritize groove over melodic elaboration. This approach emphasizes restraint, allowing the interlocking parts to create a hypnotic, propulsive momentum rather than overt virtuosity. The album's sound is built on layered, repetitive motifs that evoke a sense of unhurried immersion, distinguishing it from the more bombastic funk of contemporaries like James Brown.[9] Central to this style are the contributions of each band member: drummer Joseph "Zigaboo" Modeliste delivers snappy, tight beats influenced by New Orleans second-line parades, providing a percussive foundation with intricate hi-hat patterns and tresillo accents. Guitarist Leo Nocentelli employs precise "chicken scratch" palm-muted strums, adding a sharp, rhythmic texture that functions more as percussion than lead lines. Keyboardist Art Neville's sparse organ work offers subtle harmonic support, often evoking the gritty R&B traditions of the region without dominating the mix. Bassist George Porter Jr. anchors the ensemble with innovative, syncopated riffs that underpin the grooves, his lines weaving through the rhythm section to enhance the overall density.[9][13][8][3] The album draws heavily from New Orleans second-line rhythms and R&B, incorporating additive Afro-Caribbean patterns like the 3-3-2 tresillo to infuse a street-parade energy into funk structures. This results in a vibe that feels both communal and trance-like, with an emphasis on "the One" – the downbeat – to drive danceable tension. Unlike busier funk ensembles, The Meters' interplay fosters a restrained, collective hypnosis, rooted in local vernacular music yet universally influential.[9][14][8][3] Compositionally, the tracks are short and loop-based, typically under three minutes, focusing on building intensity through rhythmic dialogue and call-and-response elements between instruments rather than extended solos. This method heightens the groove's repetitive allure, turning each piece into a modular jam that rewards close listening to the ensemble's subtle variations. The overall structure reflects a minimalist ethos, where tension arises from syncopated restraint and mutual responsiveness among the players.[9][3]Track Listing
All tracks on Look-Ka Py Py are instrumental funk compositions, with a total runtime of approximately 32 minutes.[15] The original track listing is:- "Look-Ka Py Py" – The Meters – 3:15. This opening title track features an improvised rhythmic chant and beat derived from the band's road trip in a car with faulty pistons providing a percussive backdrop.[16]
- "Rigor Mortis" – The Meters – 2:35. The song showcases a rigid, driving drum pattern by Ziggy Modeliste that anchors its relentless funk pulse.[17]
- "Pungee" – The Meters – 2:38. It highlights a punchy bass motif from George Porter Jr. that propels the track's sparse, hypnotic groove.[18]
- "Thinking" – The Meters – 1:38. This short piece emphasizes contemplative keyboard lines from Art Neville intertwined with subtle guitar fills.[2]
- "This Is My Last Affair" – The Meters – 2:50. A cover adaptation that builds on adventurous organ interplay between Neville and the rhythm section's steady swing.[3]
- "Funky Miracle" – The Meters – 2:25. The track culminates in a dramatic drum collision and abrupt stop, underscoring its revelatory rhythmic tension.[3]
- "Yeah, You're Right" – The Meters – 2:41. It delivers a laid-back, affirming groove with interlocking bass and guitar riffs creating a conversational flow.[2]
- "Little Old Money Maker" – The Meters – 2:38. Featuring a playful tug-of-war between drums and keyboards, mediated by crisp guitar mediation.[3]
- "Oh, Calcutta" – Stanley Walden – 2:45. This adaptation includes a notable drumless interlude and a looping beat segment later sampled in hip-hop.[3]
- "The Mob" – The Meters – 2:44. The song employs a mob-like, chugging rhythm section to evoke a collective, marching funk energy.[18]
- "9 'Till 5" – The Meters – 2:45. It captures a workday-inspired steady grind through its consistent, workmanlike bass and percussion motif.[2]
- "Dry Spell" – The Meters – 2:27. Closing the album with a dry, arid groove defined by minimalist guitar scratches and taut drumming.[2]