The boisterous R&B singer Ernie K-Doe once bragged, "I'm not certain, but I'm almost positive that all music came from New Orleans." Although K-Doe was obviously overstating the case, no other American city has had a hand in shaping as many popular musical styles as New Orleans. Curiously, the city hasn't been a force in the record industry since the early Sixties, when it dominated the charts. But with three New Orleans groups currently enjoying new releases, and an ever-increasing amount of national attention being focused on the Crescent City sound, there are indications that the sleeping giant may soon reawaken.
the Neville Brothers have long since been the consensus choice as potential superstars. They certainly have the talent, but so far that status has eluded the four brothers; their previous records – six in all, counting live and historical anthologies – haven't caught on beyond their cult following.
The Nevilles' latest, Yellow Moon, should boost the brothers' stock considerably, because it's the first studio album that really captures the sound and spirit they portray onstage. Producer Daniel Lanois – who has previously worked with U2 and Peter Gabriel – wisely avoids dressing up the Nevilles' funky rhythms, a mistake their previous producers made too often. But while this is certainly the best studio album the Nevilles have yet recorded, it still falls short of being a masterpiece. One can't help but feel that at times the brothers get carried away with making cultural and political statements and forget that their primary job is to make music.
When the Nevilles do concentrate on making music, however, they'll have you on your feet in no time. Case in point: the hottest tracks on the album, "Wild Indians" and "Fire and Brimstone," which couple the four brothers with the Dirty Dozen Brass Band. A brilliant musical collaboration, this is the modern New Orleans sound at its most impressive.
The title track of Yellow Moon serves as the perfect showcase for the great Aaron Neville, who proves he may be the best pure vocalist working today. Not only are his range, pitch and phrasing flawless, he also seems genuinely committed to the songs he sings. Unfortunately, Aaron is not always fortunate enough to get suitable material. While it's novel to hear him on the stripped-down and bluesy version of Bob Dylan's "Hollis Brown," there's really no point in hearing another version of Sam Cooke's "Change Is Gonna Come," even one sung by Aaron Neville.
Contrasting with the rest of the album is Cyril Neville's "Sister Rosa," which is set to a rap beat. A tribute to Rosa Parks, who sparked the civil-rights movement in 1955 when she refused to give up her seat to a white person on a Montgomery, Alabama, bus, this track might just be palatable enough for urban black radio. Even if Yellow Moon doesn't take t
