Cabbage Alley

Active since the 1960s, the Meters were regarded as leaders in authentic New Orleans funk,{{cite web |last1=Heller |first1=Jason |title=The Meters remain the measure of New Orleans funk |url=https://www.avclub.com/the-meters-remain-the-measure-of-new-orleans-funk-1798266725 |website=A.V. Club |access-date=February 6, 2023 |date=March 5, 2014}} with a danceable, rhythmic sound characterised by the second line syncopation of drummer Zigaboo Modeliste and bassist George Porter Jr.,{{cite journal |last1=Rodriguez |first1=Juan |title=Pop Music |journal=The Montreal Star |date=August 26, 1972 |page=C-7 |url=https://www.newspapers.com/image/743125340/?terms=cabbage%20alley%20%22the%20meters%22&match=1 |access-date=January 30, 2023}} complemented by organist and keyboardist Art Neville and riff-oriented guitarist Leo Nocentelli. By 1972, the group had achieved several R&B hits in the United States with danceable instrumentals,{{cite web |last1=Erlewine |first1=Stephen Thomas |title=The Meters Biography by Stephen Thomas Erlewine |url=https://www.allmusic.com/artist/the-meters-mn0000402872/biography |website=AllMusic |access-date=February 4, 2023}} but spent much of their time as the house band for Allen Toussaint and Marshall Sehorn's production company Sansu Enterprises.{{cite magazine |last1=Crouse |first1=Timothy |title=Resurrecting New Orleans |magazine=Rolling Stone |date=May 11, 1972 |url=https://www.rollingstone.com/culture/culture-news/resurrecting-new-orleans-178254/4/ |access-date=February 6, 2023}} 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 Otis Redding's manager, Phil Walden.

In 1971, the Meters' label Josie Records went bankrupt,{{cite web|url=https://www.allmusic.com/album/here-comes-the-meter-man-the-complete-josie-recordings-1968-1970-mw0002147595|title=AllMusic: Here Comes the Meter Man: The Complete Josie Recordings, 1968–1970 – review|author=Steve Leggett|publisher=Allmusic.com|date=2011|accessdate=November 4, 2017|archiveurl=https://web.archive.org/web/20170109133403/https://www.allmusic.com/album/here-comes-the-meter-man-the-complete-josie-recordings-1968-1970-mw0002147595|archivedate=January 9, 2017|url-status=live}} 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, Reprise Records, a subsidiary of Warner Bros. Records. The deal necessitated that Neville return to the group. Porter Jr later reflected: "For the band, it was a good move [for Neville to rejoin]. We’re getting ready to go to a better label, get a better budget for recording and stuff."{{cite web |last1=O'Brien |first1=Andrew |title=George Porter Jr. Talks Art Neville, Allen Toussaint, & The Hindsight Of The Meters [Interview] |url=https://liveforlivemusic.com/features/george-porter-jr-interview-2020-artneville-drjohn-meters/ |website=Live for Live Music |access-date=February 4, 2023 |date=January 20, 2020}} The move from Josie to Reprise did not compromise the Meters' relationship with Sansu, as they retained Toussaint as producer and Sehon as manager.

The group's first album for Reprise,{{cite web |title=Album of the Day |url=https://www.rhino.com/aod/cabbage-alley-the-meters |website=Rhino |access-date=February 6, 2023 |date=October 29, 2019}} Cabbage Alley was produced by Toussaint and Sehorn,{{cite AV media notes| title = Cabbage Alley| others= The Meters| year = 1972| type = liner| publisher = Reprise}} 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 Cliff White of Blues & Soul.{{cite journal |last1=White |first1=Cliff |title=The Meters: Twenty Years on the Funk Meter #2 |journal=Blues & Soul |date=February 1977 |url=https://www.rocksbackpages.com/Library/Article/the-meters-twenty-years-on-the-funk-meter-2 |access-date=January 30, 2023}} According to Let It Rock writer Pete Wingfield, Toussaint approached Cabbage Alley as a companion project to his own album Life, Love and Faith (1972), further noting that the musician hoped the release of both records through Warner labels would revive interest in soul music 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."{{cite journal |last1=Wingfield |first1=Pete |title=Toussaint: Life, Love And Faith |journal=Let It Rock |date=October 1972 |url=https://www.rocksbackpages.com/Library/Article/toussaint-ilife-love-and-faithi |access-date=February 3, 2023}} However, in a 1974 NME interview with Roger St. Pierre, 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."

File:New Orleans Jazz Fest 1975 - Jambalaya - Fess.jpg (pictured).]]

While rooted in dance-oriented funk with second line syncopation, Cabbage Alley also sees the group explore a wider array of musical styles than on previous albums. Bob Palmer wrote that the album features several prominently reggae-style tracks, in addition to "generous helpings of the more fashionable second line and its bastard child boogaloo", while music writer John Laycock that while the Meters are known for rhythm and blues, the record's music more closely resembles the reggae of Desmond Dekker than "New Orleans stalwarts such as Fats Domino or Dr. John."{{cite journal |last1=Laycock |first1=John |title=Pop |journal=The Windsor Star |date=July 27, 1972 |page=24 |url=https://www.newspapers.com/image/502358455/?terms=cabbage%20alley%20the%20meters&match=1 |access-date=January 30, 2023}} The album is also slicker, jammier and funkier than the group's earlier recordings,{{cite web|url=http://www.allmusic.com/album/cabbage-alley-mw0000608555|title=Allmusic: Cabbage Alley – review|author=Stephen Thomas Erlewine|publisher=allmusic.com|accessdate=October 4, 2011|archiveurl=https://web.archive.org/web/20160304080652/http://www.allmusic.com/album/cabbage-alley-mw0000608555|archivedate=March 4, 2016 |url-status=live}} and continues to move them away from their all-instrumental beginnings by increasing the use of Neville's vocals,{{cite book |last1=Wilson |first1=Charles Reagan |title=The New Encyclopedia of Southern Culture Volume 12: Music |date=2006 |publisher=University of North Carolina |location=North Carolina |isbn=0807859087 |page=292 |url=https://books.google.com/books?id=i7zWAAAAMAAJ&q=meters+cabbage+alley |access-date=February 1, 2023}} with a higher total of tracks with vocals than instrumentals.{{cite web |last1=Chaligne |first1=Craig |title=The Meters: Gettin' Funkier All The Time – album review |url=https://louderthanwar.com/the-meters-gettin-funkier-all-the-time-album-review/ |website=Louder Than War |access-date=February 4, 2023 |date=January 29, 2020}} The band also experimented with several then-popular studio effects, such as phasing, echo and delay.

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 dance track with a lengthy jam section.{{cite magazine|url=https://www.rollingstone.com/artists/themeters/albums/album/199016/review/5944165/cabbage_alley|title=The Meters: Cabbage Alley|author=Bob Palmer|date=August 3, 1972|magazine=Rolling Stone|issue=RS 114|publisher=Straight Arrow|issn=0035-791X|archiveurl=https://web.archive.org/web/20071118200137/http://www.rollingstone.com/artists/themeters/albums/album/199016/review/5944165/cabbage_alley|archivedate=November 18, 2007|url-status=dead}} "Stay Away" is a delve into progressive rock, and is stretched out by unusual electronic experimentation, and tape delay. A cover of a Neil Young song, "Birds" is an exercise in smooth soul, while "The Flower Song" and "Smilin'" are instrumentals which have been compared to the music of Booker T. & the MGs. "Soul Island" was inspired by the band's trip to Trinidad, where they performed with the Mighty Sparrow,{{cite book |last1=Berry |first1=Jason |last2=Foose |first2=Jonathan |last3=Jones |first3=Tad |title=Up from the Cradle of Jazz: New Orleans Music Since World War II |date=2009 |publisher=University of Louisiana at Lafayette Press |location=Lafayette, Louisiana |isbn=9781887366915 |pages=197, 219 |url=https://books.google.com/books?id=UO4IAQAAMAAJ&q=%22but+led+to+studio+work+on+dr.%22 |access-date=February 1, 2023}} 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 the Islands." Idris Walter of Sounds deemed it a "New Orleans reggae" song with similarities to Unit 4 + 2's hit "Concrete and Clay" (1965).{{cite journal |last1=Walters |first1=Idris |title=They All Tried to Play Reggae |journal=Sounds |date=May 31, 1975 |url=https://www.rocksbackpages.com/Library/Article/they-all-tried-to-play-reggae |access-date=January 30, 2023}}

A "chunky dance novelty", "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 rock-oriented "Lonesome and Unwanted" is sung by Neville and built around a chant-aided hook. The album's title track "Cabbage Alley" was inspired in part by Professor Longhair's "Hey Now Baby",{{cite book|url=https://books.google.com/books?id=RIEjkWXZdrMC&pg=PA57|title=Funk, Third Ear: The Essential Listening Companion|author=Dave Thompson|publisher=Backbeat Books|location=San Francisco|year=2001|accessdate=August 6, 2016|isbn=0879306297|pages=57, 168}} 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 The Real Paper, "a stuttering rhythm track two years ahead of its time." Louder Than War 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 Dixieland 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."

Cabbage Alley was released in the US by Reprise in May 1972,{{cite AV media notes| title = Cabbage Alley| others= The Meters| year = 2001| type = liner| publisher = Reprise}}{{cite magazine |title=New and Action LP's |magazine=Billboard |date=July 1, 1972 |volume=84 |issue=27 |page=40 |url=https://books.google.com/books?id=CSgEAAAAMBAJ&dq=meters+cabbage+alley&pg=PA40 |access-date=February 1, 2023}} and was also the group's first album released in the United Kingdom, issued to coincide with their tour of the country.{{cite journal |last1=St. Pierre |first1=Roger |title=The Meters: Funk From The Crescent City |journal=NME |date=November 26, 1974 |url=https://www.rocksbackpages.com/Library/Article/the-meters-funk-from-the-crescent-city |access-date=January 30, 2023}} 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 been recently demolished to make way for a football stadium. Described by Timothy Crouse as "the poor black's version of Bourbon Street", the site was a centre for the city's uplifting second line funk music. According to Lionel Batiste Sr. of Treme Brass Band: "Cabbage Alley was around Perdido Street. They had a lot of musicians down there—it was almost like a [red light] district—fast women. Near the battlefield."{{cite book|url=https://books.google.com/books?id=Q44RubiPFVQC&pg=PA89|title=Keeping the Beat on the Street: The New Orleans Brass Band Renaissance|author=Mick Burns|publisher=LSU Press|location=Baton Rouge|year=2006|accessdate=August 6, 2016|isbn=9780807133330|pages=89}} Designed by John Echevarrieta, the album cover is based on a variation of René Magritte's 1952 painting The Listening Room, which itself had been reproduced on the sleeve of the Jeff Beck Group's Beck-Ola (1969). According to authors Angie Errigo and Steve Leaning, "Both pictures are Surrealist in the incongruous, claustrophobic propinquity of two equally convincing, yet texturally antithetical realities."{{cite book |last1=Errigo |first1=Angie |last2=Leaning |first2=Steve |title=The Illustrated History of the Rock Album Cover |date=1979 |publisher=Littlehampton Book Services Ltd. |location=Worthing, England |isbn=0706409159 |page=151}}

Cabbage Alley received wide acclaimed by music critics,{{cite journal |last1=White |first1=Cliff |title=The Meters: The Battle of New Orleans Re-visited... |journal=NME |date=June 5, 1976 |url=https://www.rocksbackpages.com/Library/Article/the-meters-the-battle-of-new-orleans-re-visited |access-date=January 30, 2023}} with many describing as the band's best album yet. Writing favourably in Rolling Stone, 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 [doubling] 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 black popular music of the Seventies." The Windsor Star 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 The Montreal Star deemed it "a good dancing record, if you play it real loud and, as James Brown says, con-cen-trate." They wrote that the sound is thick and funky and the group can be forgiven for "[overdoing] it sometimes", while praising the combination of the band and Toussaint's production for resulting in a unique record.

Despite the album's strong reviews, smoother sound, and the move to a major label,{{cite journal |last1=Abbey |first1=John |title=The Mighty Meters |journal=Blues & Soul |date=August 31, 1973 |url=https://www.rocksbackpages.com/Library/Article/the-mighty-meters |access-date=January 30, 2023}} Cabbage Alley and its two singles were commercial disappointments. The album reached number 48 on the Billboard Top Soul LPs chart, but unlike the group's first two records, it missed the Billboard Top LPs and Tape chart.{{cite web|title=The Meters - Awards|url=https://www.allmusic.com/artist/the-meters-mn0000402872/awards|publisher=AllMusic|access-date=31 July 2022|archive-url=https://web.archive.org/web/20120922233748/https://www.allmusic.com/artist/the-meters-mn0000402872/awards|archive-date=September 22, 2012}} Arthur Neville told an interviewer for Blues & Soul that he believed the album should have had stronger exposure, "because everyone agrees that the material is the strongest we have ever done."

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 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 CMJ New Music Monthly believed the wider public "didn't click" with Cabbage Alley or the Meters' later album Fire on the Bayou (1975) because "they were peppered with so many obscure references to local New Orleans culture that folks who didn't know about Mardi Gras or red beans and rice just couldn't pick up on it."{{cite journal |last1=Lien |first1=James |title=Flashback |journal=CMJ New Music Monthly |date=March 1995 |volume=19 |page=45 |url=https://books.google.com/books?id=GC0EAAAAMBAJ&dq=meters+cabbage+alley&pg=PA25 |access-date=February 1, 2023}} 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, Cabbage Alley led to the Meters working on Dr. John's popular "Right Place, Wrong Time" (1973) and taking a European tour in mid-1973 with Dr. John and Professor Longhair.

{{Album ratings

| rev1 = AllMusic

| rev1Score = {{Rating|3|5}}

| rev2 = Christgau's Record Guide

| rev2Score = B{{cite book|last=Christgau|first=Robert|author-link=Robert Christgau|year=1981|title=Christgau's Record Guide: Rock Albums of the Seventies|publisher=Ticknor & Fields|isbn=089919026X|chapter=Consumer Guide '70s: M|chapter-url=https://www.robertchristgau.com/get_chap.php?k=M&bk=70|accessdate=March 7, 2019|via=robertchristgau.com}}

| rev3 = Encyclopedia of Popular Music

| rev3Score = {{Rating|4|5}}{{cite book|last1=Larkin|first1=Colin|title=Virgin Encyclopedia of Popular Music|date=1997|publisher=Virgin Books|location=London|isbn=1-85227 745 9|page=838|chapter=The Meters}}

| rev4 = Funk (Dave Thompson)

| rev4Score = 8/10{{cite book|chapter=The Meters|title=Funk, Third Ear: The Essential Listening Companion|author=Dave Thompson|publisher=Hal Leonard|year=2001|isbn=9780879306298|pages=164–168}}

}}

Cabbage Alley was re-released in the UK in 1975 by Warner. The album and its follow-ups Rejuvenation (1974) and Fire on the Bayou (1975) were further re-released in 2000 by Sundazed Music, a label specializing in reissues of 1960s and 70s "classic recordings", with liner notes by John Swenson.{{cite journal |last1=Swenson |first1=John |title=The Meters Are Right On Time |journal=Offbeat |date=May 1, 2005 |url=https://www.rocksbackpages.com/Library/Article/the-meters-are-right-on-time |access-date=February 6, 2023}} Further reissues of the record were by Reprise in 2001, Hi Horse Records in 2009, Music on Vinyl in 2013 and WEA Japan in 2014.{{cite web |title=Cabbage Alley - The Meters - Releases |url=https://www.allmusic.com/album/cabbage-alley-mw0000608555/releases |website=AllMusic |access-date=February 6, 2023}} Some re-releases include both parts of "Chug Chug Chug-a-Lug (Push and Shove)" as bonus tracks.

Reviewing the 1975 reissue, Peter Harvey of Record Mirror 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."{{cite journal |last1=Harvey |first1=Peter |title=Album Pick |journal=Record Mirror |date=August 16, 1975 |page=15 |url=https://worldradiohistory.com/hd2/IDX-UK/Music/Archive-Record-Mirror-IDX/IDX/70s/Record-Mirror-1975-08-16-IDX-15.pdf#search=%22cabbage%20alley%22 |access-date=February 3, 2023}} In The Real People, Joe McEwen called Cabbage Alley a "largely (and unfortunately) ignored album",{{cite journal |last1=McEwen |first1=Joe |title=Allen Toussaint: Introspective Funk |journal=The Real Paper |date=October 2, 1974 |url=https://www.rocksbackpages.com/Library/Article/allen-toussaint-introspective-funk |access-date=January 30, 2023}} while Billboard referred to it as a "great" debut for Reprise that "saw the band branch out with more chants and Neville's soulful vocalizing."{{cite magazine |title=Vital Reissues |magazine=Billboard |date=September 23, 2000 |volume=112 |issue=39 |page=35 |url=https://books.google.com/books?id=0RAEAAAAMBAJ&dq=meters+cabbage+alley&pg=PA35 |access-date=February 1, 2023}} Dave Thompson noted that while the group "[rewrapped] 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 Vinyl Me, Please said that while vocals were more prominent, "the grooves were still there — anchored with a Caribbean flavor from a trip to Trinidad and Tobago". He also noted that while the Meters tentatively incorporated pop elements into the album's jams, they "perfected" the pop aspect on Rejuvenation.{{cite web |last1=Terry |first1=Josh |title=The Meters' Resilient New Orleans Funk |url=https://www.vinylmeplease.com/blogs/magazine/the-meters-liner-notes |website=Vinyl Me, Please |access-date=February 6, 2023 |date=November 23, 2021}}

Less impressed, Stephen Thomas Erlewine of AllMusic wrote that Cabbage Alley 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 while the Meters had "gotten a little softer than necessary", it remained pleasurable to hear a "remarkably sympathetic, supple group" play. In Christgau's Record Guide (1981), critic Robert Christgau questioned whether the album's stylistic variation, or ambiguity, hinted at an identity crisis for the band. In The Encyclopedia of Popular Music (1997), writer Colin Larkin notes that Cabbage Alley began a series of "critically acclaimed albums" for the Meters that "reinforced their distinctive, sinewy rhythms." Terry Perkins of St. Louis Post-Dispatch wrote that Cabbage Alley and its two follow-ups "clearly mark the band's high point as a unit", and further highlighted "Gettin' Funkier All the Time",{{cite journal |last1=Perkins |first1=Terry |title=CDs: Pop |journal=St. Louis Post-Dispatch |date=August 20, 2000 |page=F5 |url=https://www.newspapers.com/image/142697336/?terms=cabbage%20alley%20%22the%20meters%22&match=1 |access-date=January 30, 2023}} while Steve MacQueen of Tallahassee Democrat recommended them alongside "Cissy Strut" (1969) for defining the group's "stripped-down, choppy, syncopated funk style of the early 70s".{{cite journal |last1=MacQueen |first1=Steve |title=The Brothers blend |journal=Tallahassee Democrat |date=May 10, 1991 |page=3E |url=https://www.newspapers.com/image/247493626/?terms=cabbage%20alley%20%22the%20meters%22&match=1 |access-date=January 30, 2023}} In a 2015 interview, Adam Horovitz of the Beastie Boys called Cabbage Alley the "maddest" find in his record collection.{{cite magazine |last1=Blistein |first1=Jon |title=Watch Jon Stewart Fawn Over Ad-Rock on 'Daily Show' |url=https://www.rollingstone.com/tv-movies/tv-movie-news/watch-jon-stewart-fawn-over-ad-rock-on-daily-show-121004/ |magazine=Rolling Stone |access-date=February 6, 2023 |date=April 14, 2015}}

;Side one

{{Track listing

| title1 = You've Got to Change (You've Got to Reform)

| writer1 = Ziggy Modeliste, Leo Nocentelli

| length1 = 5:15

| title2 = Stay Away

| writer2 = Nocentelli

| length2 = 5:22

| title3 = Birds

| writer3 = Neil Young

| length3 = 4:23

| title4 = The Flower Song

| writer4 = Nocentelli

| length4 = 4:51

| title5 = Soul Island

| writer5 = Modeliste, Art Neville, Nocentelli, George Porter Jr.

| length5 = 3:10

}}

;Side two

{{Track listing

| title6 = Do the Dirt

| writer6 = Nocentelli

| length6 = 2:36

| title7 = Smiling

| writer7 = Neville

| length7 = 3:09

| title8 = Lonesome and Unwanted People

| writer8 = Nocentelli

| length8 = 4:39

| title9 = Gettin' Funkier All the Time

| writer9 = Modeliste, Nocentelli, Porter

| length9 = 3:19

| title10 = Cabbage Alley

| writer10 = Neville

| length10 = 3:30

}}

;2001 CD bonus tracks

{{Track listing

| title11 = Chug Chug Chug-A-Lug (Push and Shove) Part I

| writer11 = Modeliste, Nocentelli

| length11 = 3:30

| title12 = Chug Chug Chug-A-Lug (Push and Shove) Part II

| writer12 = Modeliste, Nocentelli

| length12 = 3:26

}}

Credits adapted from AllMusic.{{cite web|url=http://www.allmusic.com/album/cabbage-alley-mw0000608555/credits|title=Allmusic: Cabbage Alley – credits|publisher=allmusic.com|accessdate=December 20, 2015|archiveurl=https://web.archive.org/web/20151222174111/http://www.allmusic.com/album/cabbage-alley-mw0000608555/credits|archivedate=December 22, 2015|url-status=live}}

• Ziggy Modeliste – drums, cowbell, gourd, wood block
• Art Neville – organ, tambourine; vocals (tracks 3, 6, 8)
• Leo Nocentelli – guitar, tambourine
• George Porter, Jr – bass
• Cyril Neville – congas
• Squirell – congas

;Production

• Tim Livingston – project manager
• Bunny Matthews – liner notes
• Barry Hansen – liner notes
• Bob Irwin – mastering
• Al Quaglieri – mastering
• Rich Russell – design
• Ed Thrasher – art direction
• David Willardson – cover art

{{Reflist}}

• {{Citation |last=Stewart |first=Jon |contribution-url=http://www.cc.com/video-clips/vozgst/the-daily-show-with-jon-stewart-exclusive---adam-horovitz-extended-interview |contribution=Adam Horovitz |title=The Daily Show with Jon Stewart |date=14 May 2015 |publisher=Comedy Central |location=New York }}.

{{The Meters}}

{{Authority control}}

Category:1972 albums

Category:The Meters albums

Category:Albums produced by Allen Toussaint

Category:Reprise Records albums

Category:Albums produced by Marshall Sehorn

Category:Reggae albums by American artists