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The legendary Dr. John the Night Tripper, the Grammy-winning New Orleans hoodoo rock-and-roll musician, presents his life story, in an infectious and spicy journey through the musical back alleys of New Orleans and of America. 25,000 first printing.
- Sales Rank: #578237 in Books
- Published on: 1994-04
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 6.00" w x 1.25" l,
- Binding: Hardcover
- 264 pages
From Publishers Weekly
As much a tribute to Rebennack's native New Orleans and its vibrant music scene as it is an autobiography, this candid book provides an inside look at the drug-using, hell-raising lifestyle adopted by many rock musicians. Writing in a loose, slangy style with freelancer Rummel, Rebennack, whose albums as Dr. John ( Gris Gris ; Gumbo ) helped popularize the distinctively Cajun-influenced music that is now a hallmark of the New Orleans sound, presents a compelling picture of his hometown as a place of enormous musical energy and excitement. We read of all-night jam sessions, quirky local characters and Voodoo rituals (the sobriquet Dr. John is borrowed from an early Voodoo master). Influenced by such New Orleans greats as James Booker and Professor Longhair, Rebennack hit the road with his first band when he was 16 and, because of narcotics, soon found himself in trouble with the law. He is oddly blase about drugs and tries so hard to maintain his cool-cat rock 'n' roll persona that he comes across more as a caricature than as a real person. The portrait of Crescent City's music scene, by contrast, has depth. Photos not seen by PW. Author tour.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Rebennack, a.k.a. Dr. John the Night Tripper, was born in New Orleans in 1940. In his early teens he played hooky from Catholic school in order to pitch songs to Little Richard and Art Neville. By the age of 16, he had recorded an album of original songs and developed a heroin habit. Over the next six years, he honed his craft playing for strippers, pimps, junkies, and even a pickpocketing monkey. When the infamous Jim Garrison cleaned up the city in 1962, Mac took a two-year sabbatical at a federal prison in Fort Worth. Upon his release, he headed for California, where his prodigious session work led to his solo career as Dr. John, one of the Sixties' most outrageous and creative performers. Today, four Grammy Awards later and his drug problems behind him, he's still rocking. This no-holds-barred autobiography by the hippest, "fonkiest" cat to come down the musical turnpike is essential for music libraries.
- Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, Pa.
Copyright 1994 Reed Business Information, Inc.
From Booklist
Musician Mac Rebennack, aka Dr. John, is the embodiment of New Orleans culture, and his colorful autobiography serves as a virtual history of the city's music from the 1950s on. As a teenager, Rebennack had already launched a successful career as a guitarist when his finger was nearly shot off, forcing him to switch to piano. Eventually, he landed in L.A., where he survived on session work until in 1967 his career as a headliner took off when he created the stage persona Dr. John the Night Tripper, a sort of psychedelic voodoo king. This book ends with Rebennack's return to New Orleans to record his most recent album, a tribute to the city's musical history. Some of its most engaging passages are recollections of musicians Rebennack learned from and played with; most notable among them is the affectionate tribute to his musical godfather, Professor Longhair. Like many such memoirs, the story loses a bit of its drive once its subject begins to achieve commercial success, but Rebennack's distinctive "N'Owleans" patois, which he and Rummel capture to perfection, helps sustain interest throughout. Gordon Flagg
Most helpful customer reviews
0 of 0 people found the following review helpful.
Interesting stories from a singular man
By aleester
I got this book partly because I wanted to learn about Dr. John, but the other reason was because I wanted to learn about New Orleans music in the 50's. At the $5 used price, it was hard not to. It's entertaining on both fronts, with plenty of stories about the shady characters and wild band mates you would imagine going down in New Orleans at the time. It reads very much like an interview, and he's completely honest about everything and everyone (i.e. his rant on Van Morrison was entertaining). But like every autobiography, some details on certain aspects of his life were not embellished upon. While he does talk a lot about music, he doesn't really ever go into detail as to HOW he learned piano! We know he was originally a guitar player, but his transition to piano was always a mystery to me. Was it immediate, or had he learned bits and pieces before? Did he take lessons and learn how to read, or was it all street-learned? All these questions, and yet he kind of glosses over all those years of learning piano during the 1960's, but goes into great detail about his years of guitar lessons. Oh well. Overall, if you're a casual fan, it's probably something you can skip. But as a huge fan of Dr. John and the New Orleans music scene, past and present, it was a no-brainer for me to buy this.
0 of 0 people found the following review helpful.
VOODOO SPIRIT
By DIRTBAG
Dr. John's spirit is alive in this book. It's honest, raw and real. His musicality comes through in his words. If you want to see what's behind his music, this is a good place. If you want to hear what's behind the man, listen to his music.
There's a rhythm to the words of musicians. I found the same rhythm in the words of Smokey Robinson and Keith Richards in their books. They bare their souls in their music and can't seem to contain the truth in their words.
I just saw him perform recently, and it's means so much more now having seen something of how he became who he is.
I hope you enjoy the read.
3 of 3 people found the following review helpful.
Insights into the post-war New Orleans music scene
By A. Fogey
I bought this book because I had heard a series of interviews with Mac (on [...]) made during the research for the book. The book is amazingly true to the interviews. The guy can talk. If I hadn't heard the interviews I might have been turned off by the idiosyncrasies of spelling and language, like fonk instead of funk.
To me, it provided a very absorbing inside look at the post-war New Orleans music scene. Man, that was tough: cut-throat competition for work, ubiquitous drugs, and significant violence. It was interesting to read about how so many people kept such remarkable focus on improving as musicians in the business. The discussions of the LA recording scene were interesting too.
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