The Meters -

The Meters were an American funk band from New Orleans that released three albums on Josie Records in 1969 and 1970, followed by another five albums on Warner/Reprise between 1972 and 1977.

They evolved from the Neville Sounds, formed in 1960 by keyboardist Art Neville and his two brothers, Cyril and Aaron. When the latter pair left, the remaining four-piece worked as an R&B backing band before adopting the Meters moniker. In 1976, all six regrouped for an eponymous album by The Wild Tchoupitoulas.

Members: Arthur Neville (keyboards), Leo Nocentelli (guitar), George Porter, Jr. (bass guitar), Joseph “Zigaboo” Modeliste (drums), Cyril Neville (percussion, 1975-79)

Background

Arthur Neville (1937–2019) entered the scene at age 17, fronting the New Orleans R&B nine-piece The Hawkettes. In 1955, they issued the single “Mardi Gras Mambo” (b/w “Your Time’s Up”) on Chess. During the late ’50s, he cut three solo singles on Specialty.

In 1960, Art formed the Neville Sounds with his younger brothers Aaron (b. 1941) and Cyril (b. 1948). The two soon departed for Soul Machine while Aaron pursued a solo career, cutting seven Minit singles between 1960 and 1962 before charting with “Tell It Like It Is” b/w “Why Worry” (R&B No. 1, Pop No. 2) on Par Lo in 1967. Meanwhile, Art cut three singles apiece on Instant Records and Cinderella Records between 1961 and 1965.

By 1965, Art’s band coalesced around three teenage musicians: guitarist Leo Nocentelli (b. 1946), bassist George Porter, Jr. (b. 1947), and drummer Joseph “Zigaboo” Modeliste (b. 1948). With this lineup, the Neville Sounds served as the house band at Sansu studios and played residencies as local haunts the Ivanhoe and the Nite Cap.

In 1968, Art cut the Toussaint-produced two-parter “Bo Diddley,” issued on Sansa. With its staggering syncopation and call-and-response chanting, it blueprinted the band’s trademark bayou-funk style. By the time of his second Sansu release, “Heartaches” (b/w “I’m Gonna Put Some Hurt On You”), his band renamed itself The Meters and signed to Josie, a division of the New York R&B label Jubilee.

The Meters

The Meters released their self-titled debut album in May 1969 on Josie.

The album establishes the Meters’ trademark New Orleans funk, combining tight, minimalist arrangements with simmering rhythmic complexity. Art Neville’s organ leads the quartet of Leo Nocentelli (guitar), George Porter, Jr. (bass), and Zigaboo Modeliste (drums) through syncopated riffs, subtle dynamics, and a strong emphasis on space and nuance.

The Meters contains ten group-written tracks and covers of Classics IV (“Stormy”) and Sly & The Family Stone (“Simple Song”).

“Cissy Strut” drives with Modeliste’s ruthlessly syncopated drums and Nocentelli’s crisp chanking guitar. “Here Comes the Meter Man” leans on oscillating organ lines, while “Cardova” highlights Porter’s muscular bass. “Live Wire” and “Art” employ marching-band-inspired rhythms, and “Sophisticated Cissy” pushes a fatback strut with oozing bass. “Ease Back” pairs relaxed guitar and organ interplay, while “6V6 LA” adds a rock-influenced spark. Organ-heavy boogies like “Sehorn’s Farm” return to New Orleans roots, and “Ann” blends British Beat–style guitar with funky chank. They render “Stormy” with jazzy, haunting interplay.

A1. “Cissy Strut” (3:00)
A2. “Here Comes the Meter Man” (2:49)
A3. “Cardova” (4:30)
A4. “Live Wire” (2:35)
A5. “Art” (2:30)
A6. “Sophisticated Cissy” (2:50)

B1. “Ease Back” (2:55)
B2. “6V6 LA” (2:20)
B3. “Sehorns Farm” (2:25)
B4. “Ann” (2:40)
B5. “Stormy” (3:32)
B6. “Simple Song” (2:56)

Sessions occurred at Cosimo Recording Studios in New Orleans with producers Allen Toussaint and Marshall E. Sehorn.

The album spawned three singles: “Cissy Strut” (Billboard Pop No. 23, R&B No. 4), “Sophisticated Cissy” (Pop No. 34, R&B No. 7), and “Ease Back” (Pop No. 61, R&B No. 20). The LP itself reached No. 23 on the US R&B Albums chart.

Art direction came from Janie Gans, with cover design and photography by The Graffiteria and back-liner photography by Zenon Montz.

Look-Ka Py Py

The Meters released their second album, Look-Ka Py Py, in December 1969 on Josie.

The album stretches their New Orleans funk with measured restraint. The quartet balances loose-tight interplay, as Modeliste drives the pulse with snappish drumming while Nocentelli and Neville articulate subtle, pulling-back accents on guitar and organ.

Look-Ka Py Py contains eleven group-credited originals and “Oh, Calcutta!,” composer Stanley Walden’s theme to the 1969 avant-garde theatrical revue by British drama critic Kenneth Tynan.

The title track updates the “Cissy Strut” template with sharp, angular guitar lines and shifting rhythmic patterns. “Rigor Mortis” pairs laidback guitar phrasing with precise, driving drums, while “Pungee” flows over the band’s tightly interwoven parts. “9 ‘Til 5” highlights bright wah-wah textures toward its close.

A1. “Look-Ka Py Py” (3:15)
A2. “Rigor Mortis” (2:35)
A3. “Pungee” (2:38)
A4. “Thinking” (1:38)
A5. “This Is My Last Affair” (2:50)
A6. “Funky Miracle” (2:25)

B1. “Yeah, You’re Right” (2:41)
B2. “Little Old Money Maker” (2:38)
B3. “Oh, Calcutta!” (2:45)
B4. “The Mob” (2:44)
B5. “9 ‘Til 5” (2:45)
B6. “Dry Spell” (2:27)

Sessions occurred at Le Fevre Sound Studios, Atlanta, GA, with Allen Toussaint and Marshall E. Sehorn producing and Rodney Mills engineering.

Look-Ka Py Py features design and photography by The Graffiteria and supervised art direction by Janie Gans.

The title track reached No. 11 on the US R&B Singles chart, and the album reached No. 23 on the US R&B Albums chart.

Struttin’

The Meters released their third album, Struttin’, in June 1970 on Josie.

The album broadens their New Orleans funk with sparse, disciplined arrangements. The quartet balances interlocking rhythms, with Modeliste driving the pulse on drums while Nocentelli and Neville provide sharp, punctuated accents on guitar, organ, and vocals.

Struttin’ contains eleven group-credited originals and covers of Jimmy Webb (“Wichita Lineman”), Rogueo B. Davis (“Darlin’ Darlin”’), and Naomi Neville (“Ride Your Pony”).

“Chicken Strut” launches with playful, bouncing riffs and faux-chicken cackles. “Liver Splash” pairs bluesy guitar with Porter’s thumping bass, while “Joog” pushes the rhythm into sparse, suspenseful territory. “Go For Yourself” features jagged guitar chanks and swirling organ, and “Same Old Thing” combines thick Hammond lines with percussive bass. Minimalism dominates “Hand Clapping Song,” with drums, bass, and guitar countering hand claps. Vocals appear on “Darlin’ Darlin’,” “Wichita Lineman,” and “Ride Your Pony,” adding diversity to the largely instrumental set. Other tracks—including “Tippi-Toes,” “Britches,” and “Hey! Last Minute”—range from metallic guitar interplay to aggressive, fatback-driven funk.

A1. “Chicken Strut” (2:48)
A2. “Liver Splash” (2:40)
A3. “Wichita Lineman” (2:58)
A4. “Joog” (2:12)
A5. “Go For Yourself” (3:10)
A6. “Same Old Thing” (2:52)

B1. “Hand Clapping Song” (2:55)
B2. “Darlin’ Darlin'” (2:53)
B3. “Tippi-Toes” (2:26)
B4. “Britches” (2:50)
B5. “Hey! Last Minute” (2:59)
B6. “Ride Your Pony” (3:19)

Sessions occurred at Cosimo Matassa’s studio in New Orleans with Allen Toussaint and Marshall Sehorn producing and David Smith engineering the stereo remix.

Struttin’ features art direction by Janie Gans with design and photography by The Graffiteria.

The first single, “Chicken Strut,” reached No. 11 on the US R&B Singles chart, and the album reached No. 32 on the US R&B Albums chart.

Cabbage Alley

The Meters released their fourth album, Cabbage Alley, on May 11, 1972, on Reprise.

The album extends their second-line–based New Orleans funk into reggae, rock, and boogaloo, while incorporating studio effects such as tape delay and phasing. The music is softer and jammier than previous records, with keyboardist Arthur Neville contributing more vocals, further moving the group from its all-instrumental roots.

Guitarist Leo Nocentelli wrote four tracks and co-wrote “You’ve Got to Change” with drummer Zigaboo Modeliste, both joined by bassist George Porter for “Gettin’ Funkier All the Time.” Neville contributed “Smiling” and the title track. The Meters group-wrote “Soul Island.” Cabbage Alley features conguero guests Cyril Neville and Squirell.

“You’ve Got to Change (You’ve Got to Reform)” launches with distorted guitar and a lengthy jam driven by Porter’s bass. “Stay Away” features progressive rock–leaning textures and tape delay. They slow the pace for “Birds,” a Neil Young cover with anguished vocal phrasing. “The Flower Song” and “Smiling” are instrumental meditations in the Sixties Memphis vein, while “Soul Island” draws on Caribbean rhythms. “Do the Dirt” blends chunky dance patterns with soul-influenced bridges. “Lonesome and Unwanted People” layers chant-based hooks and introspective vocals. The penultimate “Gettin’ Funkier All the Time” invokes jungle vibes while the titular “Cabbage Alley” blends swamp guitar with gumbo piano.

A1. “You’ve Got To Change (You Got To Reform)” (5:11)
A2. “Stay Away” (5:17)
A3. “Birds” (4:22)
A4. “The Flower Song” (4:48)
A5. “Soul Island” (3:06)

B1. “Do The Dirt” (2:35)
B2. “Smiling” (3:06)
B3. “Lonesome And Unwanted People” (4:38)
B4. “Gettin’ Funkier All The Time” (3:17)
B5. “Cabbage Alley” (3:29)

Sessions occurred at Cosimo Matassa’s studio in New Orleans with Allen Toussaint and Marshall E. Sehorn producing. David Willardson created the cover art, depicting a Margritte-like giant cabbage, with Ed Thrasher overseeing art direction and Jon Echevarrieta designing.

The first single, “You’ve Got to Change (You’ve Got to Reform),” reached No. 32 on the US R&B Singles chart.

Rejuvenation

The Meters released their fifth album, Rejuvenation, in July 1974 on Reprise.

The album contains nine group-written songs. They consolidate their New Orleans funk with rock, soul, and dance-oriented textures. Little Feat guitarist Lowell George plays on “Just Kissed My Baby.” Arthur Neville sings lead on select tracks.

“People Say” opens with insistent rhythmic drive. “Love Is For Me” slows into soulful balladry with piano and background vocals. “Just Kissed My Baby” layers wah-wah guitar and textured keyboards. “What’cha Say” combines full-bodied organ and harmonized vocals, while “Jungle Man” emphasizes syncopated drums and gritty keyboard lines. “Hey Pocky A-Way” foregrounds brass and drums with taut harmonized vocals. “It Ain’t No Use” extends nearly twelve minutes with churning funk, soloing guitars, and tight interplay. “Loving You Is On My Mind” blends rhythmic piano with minimal lyrics and brisk guitar accents, and “Africa” closes the album with propulsive funk patterns.

A1. “People Say” (5:15)
A2. “Love Is For Me” (3:49)
A3. “Just Kissed My Baby” (4:42)
A4. “What’cha Say” (3:27)
A5. “Jungle Man” (3:23)

B1. “Hey Pocky A-Way” (4:01)
B2. “It Ain’t No Use” (11:48)
B3. “Loving You Is On My Mind” (3:13)
B4. “Africa” (3:56)

Sessions occurred at Sea-Saint Studio, 3809 Clematis Street in New Orleans, with Allen Toussaint and The Meters producing and Ken Laxton engineering. Richard W. Lee shot the cover photo of a woman seated amid scattered record albums.

The singles “Hey Pocky A-Way” and “People Say” charted at No. 31 and No. 52 on the US R&B Singles chart, respectively.

The Meters backed Robert Palmer on the September 1974 Island release Sneakin’ Sally Through the Alley, the ex-Vinegar Joe singer’s debut solo album.

Fire on the Bayou

The Meters released their sixth album, Fire on the Bayou, in July 1975 on Reprise.

The album presents reconfigured five-piece lineup with Arthur Neville’s brother, Cyril, a singer and prior conga guest. They consolidate New Orleans funk with rock, soul, and R&B textures while maintaining simmering rhythmic interplay across the set.

Fire on the Bayou contains nine group-written originals and the Argent cover “Liar.” They closeout with “Mardi Gras Mambo,” a ceremonial standard. Wardell Quezergue arranged the horn parts.

“Out in the Country” opens with a gentle R&B progression. The title track “Fire on the Bayou,” “Love Slip Upon Ya,” and “Can You Do Without?” maintain mid-tempo funk with layered keyboard and guitar textures. “Talkin’ ’Bout New Orleans,” “They All Ask’d for You,” and “Mardi Gras Mambo” emphasize local New Orleans rhythms and festive references. “Liar” delivers extended funk riffs over nearly five minutes. “You’re a Friend of Mine” layers vocal harmony across laidback Fender Rhodes electric piano, while “Middle of the Road” features relaxed, jazzy guitar excursions. The penultimate “Running Fast” is a brief, propulsive jam.

A1. “Out in the Country” (3:33)
A2. “Fire On the Bayou” (4:05)
A3. “Love Slip Upon Ya” (4:55)
A4. “Talkin’ ‘Bout New Orleans” (3:31)
A5. “They All Ask’d For You” (4:08)

B1. “Can You Do Without?” (3:47)
B2. “Liar” (5:05) originated on the 1970 self-titled album by Argent; written by their singer/guitarist Russ Ballard and popularized by Three Dog Night. The Meters’ funk version recalls a 1972 cover by UK harmony rockers Capability Brown.
B3. “You’re a Friend of Mine” (4:06)
B4. “Middle of The Road” (7:51)
B5. “Running Fast” (1:23)
B6. “Mardi Gras Mambo” (2:36) is a composition by Frankie Adams and Lou Welsch; popularized in 1954 by The Hawketts, Arthur Neville’s earlier R&B combo.

Sessions occurred at Sea-Saint Recording Studio, Inc., with Allen Toussaint and the Meters producing. Ken Laxton and Roberta Grace engineered, and Laxton and Marshall E. Sehorn handled remixing. Rupert Surcouf, Jr. oversaw art direction, with Paul Andrew providing photography. Joseph Modeliste contributed photography and graphic design.

Trick Bag

The Meters released their seventh album, Trick Bag, on July 22, 1976, on Reprise.

The album shifts their New Orleans funk toward soul, dance, and disco while retaining rhythmic interplay at its core.

Trick Bag contains five group-written songs by drummer Ziggy Modeliste, guitarist Leo Nocentelli, bassist George Porter Jr., keyboardist Art Neville, and conguero Cyril Neville. Producer Allen Toussaint wrote “All These Things” under his pseudonym, ‘Naomi Neville.’ His son, Vincent Toussaint, collaborated with Nocentelli on “Doodle Loop.” The Meters also cover James Taylor (“Suite for 20 G”) and merge “Honky Tonk Women” by the Rolling Stones with “Hang ’Em High” by Hugo Montenegro. Vocal guest Earl King supplied the album’s title track.

“Disco Is the Thing Today” opens with a four-on-the-floor beat and polished textures. “I Want to Be Loved by You” stretches into a longer funk-soul hybrid. “Mister Moon” layers sultry instrumentation over a smoother frame, while “(Doodle Loop) The World Is a Little Bit Under the Weather” leans on playful rhythm. Their reading of “Honky Tonk Women” injects grit into the Stones’ hit, contrasting with the restrained treatment of King’s “Trick Bag.”

A1. “Disco Is The Thing Today” (4:08)
A2. “Find Yourself” (4:10)
A3. “All These Things” (3:30)
A4. “I Want To Be Loved By You” (5:22)
A5. “Suite For 20 G” (4:30)

B1. “(Doodle Loop) The World Is A Little Bit Under The Weather” (3:50)
B2. “Trick Bag” (3:19)
B3. “Mister Moon” (4:00)
B4. “Chug-A-Lug” (3:20)
B5. “Hang ‘Em High / Honky Tonk Woman” (5:35)

Sessions occurred at Sea-Saint Recording Studio in New Orleans with Allen Toussaint and the Meters producing.

Trick Bag features cover design and art direction by Lockart, band photography by Tom Copi, additional photography by Johanna Van Zantwyk, and liner notes by Robert Palmer.

New Directions

The Meters released their eighth and final studio album, New Directions, in June 1977 on Warner Bros.

The album marked their only recording outside New Orleans, tracked in San Francisco with producer David Rubinson. They expanded their sound with the Tower of Power horn section while reasserting a grittier rhythmic core after the polish of Trick Bag.

Modeliste, Nocentelli, Porter Jr., and the Neville brothers co-wrote five tracks. Allen Toussaint wrote “I’m Gone,” Peter Tosh authored “Stop That Train,” Michael Angelo Nocentelli penned “We Got the Kind of a Love,” and Carl Marsh, James Tarbutton, and Steve Cropper composed “Give It What You Can.”

“No More Okey Doke” opens with taut funk interplay that sets the tone for “I’m Gone,” a paean to their Cajun roots with clipped rhythm and Toussaint’s distinct phrasing. “Be My Lady” and “We Got the Kind of a Love” slow the pace into extended balladry. “Funkify Your Life” drives with dense rhythm section exchanges, while “Stop That Train” adapts Tosh’s composition into a brisk funk-soul framework. “My Name Up in Lights” pushes forward with talk-box guitar, and the set closes on “Give It What You Can,” a firm ensemble piece.

A1. “No More Okey Doke” (4:19)
A2. “I’m Gone” (4:27)
A3. “Be My Lady” (6:26)
A4. “My Name Up In Lights” (5:20)

B1. “Funkify Your Life” (5:39)
B2. “Stop That Train” (4:49)
B3. “We Got The Kind Of A Love” (5:18)
B4. “Give It What You Can” (4:35)

Sessions occurred at the Automatt in San Francisco with David Rubinson producing and Chris Minto, David Rubinson, and Fred Catero engineering.

New Directions features artwork by Mental Block and photography by Paul Andrew.

Kickback

In 2001, archivists Sundazed released Kickback, a collection of outtakes from the sessions for the 1975–76 Meters albums Fire on the Bayou and Trick Bag.

The set spans studio recordings tracked during their mid-1970s Warner Bros. period, mixing originals with covers by Earl King Johnson, Lennon–McCartney, Neil Young, Hank Williams, Stephen Stills, and Jagger–Richard.

Guitarist Leo Nocentelli wrote “What More Can I Do.” The Meters authored “Keep On Marching (Funky Soldier)” and “All I Do Every Day.” Earl King Johnson wrote “Big Chief” and “A Mother’s Love.” Additional material covers songs by Lennon–McCartney (“Come Together”), Neil Young (“Down by the River”), Jagger–Richard (“Honky Tonk Woman”), Stephen Stills (“Love the One You’re With”), Hank Williams (“Jambalaya”), and Frontier (“Hang ’Em High”).

A1. “Big Chief” (3:00)
A2. “Come Together” (3:09)
A3. “Hang ‘Em High” (3:28)
A4. “What More Can I Do” (2:51)
A5. “Keep On Marching (Funky Soldier)” (3:22)
A6. “Jambalaya” (2:45)
A7. “A Mother’s Love” (2:21)

B1. “Down By The River” (9:02)
B2. “Honky Tonk Woman” (4:16)
B3. “All I Do Every Day” (4:57)
B4. “Love The One You’re With” (3:34)

Sessions occurred in 1975 and 1976 at Sea-Saint Studio in New Orleans with the Meters self-producing.

Discography: