GalacticJanuary 12, 2013
It’s incredible that GALACTIC has never made a carnival album yet, but now itʼs here.
To make CARNIVALE ELECTRICOS, the members of GALACTIC (Ben Ellman, harps and horns; Robert Mercurio, bass; Stanton Moore, drums and percussion; Jeff Raines, guitar; Rich Vogel, keyboards) draw on the skills, stamina, and funk they deploy in the all-night party of their annual Lundi Gras show that goes till sunrise and leads sleeplessly into Mardi Gras day.
GALACTIC was formed eighteen years ago in New Orleans, and they cut their teeth playing the biggest party in America: Mardi Gras, when the town shuts down entirely to celebrate. CARNIVALE ELECTRICOS is beyond a party record. Itʼs a carnival record that evokes the electric atmosphere of a whole city – make that, whole cities – vibrating together all on the same day, from New Orleans all down the hemisphere to the mighty megacarnivals of Brazil. Armed with a slew of carnival-ready guests— including Cyril and Ivan Neville, Mystikal, Mannie Fresh, Moyseis Marques, Casa Samba, the KIPP Renaissance High School Marching Band, and Al “Carnival Time” Johnson (who remakes his all-time hit)—GALACTIC whisks the listener around the neighborhoods to feel the Mardi Gras moment in all its variety of flavors.
CARNIVALE ELECTRICOS begins on a spiritual note, the way Mardi Gras does in the
black community of New Orleans. On that morning, the most exciting experience you can have is to be present when the small groups of black men called Mardi Gras Indians perform their sacred street theater. Nobody embodies the spiritual side of Mardi Gras better than the Indians, whose tambourines and chants provide the fundament of New Orleans carnival music. These ―gangs, as they call them, organize around and protect the figure of their chief. The albumʼs keynote singer, BIG CHIEF JUAN PARDO, is, says Robert Mercurio, ―one of the younger Chiefs out there, and heʼs become one of the best voices of the new Chiefs. Pardo grew up listening to the singing of the older generation of Big Chiefs, points out Ben Ellman, and ―heʼs got a little Monk [Boudreaux], a little Bo Dollis, heʼs neither uptown nor downtown.
On ―Karate, says Ellman, the band was aiming to ―capture the power of one of the fundamental musical experiences of Mardi Gras: ―a marching band passing by you. The 40-piece KIPP Renaissance High School Marching Bandʼs director arranged up GALACTICʼs demo, then the band rehearsed it until they had it all memorized. The kids poured their hearts into a solid performance, and, says Mercurio, ―I think they were surprised to hear how good they sounded on the playback.
Musical energy is everywhere at carnival time. ―You hear the marching bands go by,says Mercurio, moving us through a Mardi Gras day, ―and then you hear a lot of hiphop. There hasnʼt been a Mardi Gras for twenty years that hasnʼt had a banging track by beatmaker / rapper MANNIE FRESH sounding wherever you go. ―You canʼt talk about New Orleans hiphop without talking about MANNIE FRESH, says Ellman. His beats have powered literally tens of millions of records, and he and GALACTIC have been talking for years about doing something together. On ―Move Fast, heʼs together with multiplatinum gravel-voiced rapper MYSTIKAL, who is, says Ellman, ―somebody weʼve wanted to collaborate with forever. It was a coup for us.
Out in the streets of New Orleans, you might well hear a funky kind of samba, reaching southward toward the other end of the hemispheric carnival zone. There has for the last twenty-five years been a smoking Brazilian drum troupe in town: CASA SAMBA, formed at Mardi Gras in 1986. Theyʼre old friends of GALACTICʼs from their early days at Frenchmen Streetʼs Café Brasil, and the two groups joined forces for a new version of Carlinhos Brownʼs ―Magalenha, previously a hit for Sérgio Mendes.
But the Brazilian influence on CARNIVALE ELECTRICOS goes beyond one song. ―When we started this album, we all immersed ourselves in Brazilian music and let it get into our souls, says Mercurio. The group contributed three Brazilian-flavored instrumentals, including ―JuLou, which riffs on an old Brazilian tune, though the name refers to the brass-funk Krewe of Julu, the ―walking krewe that Galactic members participate in on Mardi Gras morning. After creating the hard-driving track that became ―O Côco da Galinha, they decided it would be right for MOYSÉIS MÁRQUEZ, from the São Paulo underground samba scene, who collaborated with them and composed the lyric.
If you were GALACTIC and you were making a carnival album, wouldnʼt you want to play ―Carnival Time, the irrepressibly happy 1960 perennial from the legendary Cosimo Matassa studio? Nobody in New Orleans doesnʼt know this song. The remake features a new performance in the unmistakable voice of the original singer, AL ―CARNIVAL TIME JOHNSON, whoʼs still active around town more than fifty years after he first gained Mardi Gras immortality.
The closing instrumental, ,―Ash Wednesday Sunrise, evokes the edginess of the post- party feeling. The group writes, ―There is the tension you feel on that morning — one of being worn out from all of the festivities and one of elation that you made it through another year.
But, as New Orleanians know, thereʼs always another carnival to look forward to, and GALACTIC will be there, playing till dawn and then going to breakfast before parading.
GALACTIC is a collaborative band with a unique format. Itʼs a stable quintet that plays
together with high musicianship. Theyʼve been together so long theyʼre telepathic. But though the band hasnʼt had a lead singer for years, neither is it purely an instrumental group. GALACTIC is part of a diverse community of musicians, and in their own studio, with Mercurio and Ellman producing, they have the luxury of experimenting. So on their albums, they do something thatʼs unusual in rock but not so controversial an idea in, say, hiphop: they create something thatʼs a little like a revue, a virtual show featuring different vocalists (mostly from New Orleans) and instrumental soloists each taking their turn on stage in the GALACTIC sound universe.
Mostly the band creates new material in collaboration with its many guests, though they occasionally rework a classic. Despite the appearance of various platinum names on GALACTIC albums, they especially like to work with artists who are still underground. If you listen to CARNIVALE ELECTRICOS together with the two previous studio albums (YA-KA-MAY and FROM THE CORNER TO THE BLOCK), youʼll hear the most complete cross-section of whatʼs happening in contemporary New Orleans anywhere – all of it tight and radio-ready.
Despite the electronics and studio technology, GALACTICʼs albums are very much band records. Mercurio explained the GALACTIC process, which starts out with the beat: ―The way we write music, he says, ―we come up with a demo, or a basic track, and then we collectively decide how weʼre gonna finish it. The result is a hard-grooving sequence of tight beats across a range of styles that glides from one surprise to the next.
What pulls all the diverse artists on CARNIVALE ELECTRICOS together into a coherent album is that one way or another, itʼs all funk. GALACTIC is, always was, and always will be a funk band. Whatever genre of music anyone in New Orleans is doing, from Mardi Gras Indians to rock bands to hardcore rappers, itʼs all funk at the bottom, because funk is the common musical language, the lingua franca of New Orleans music. Even zydeco can be funky — and if you donʼt believe it, check out ―Voyage Ton Flag, the albumʼs evocation of Cajun Mardi Gras, in which Mamou Playboy STEVE RILEY meets up with a sampled Clifton Chenier inside the GALACTIC funk machine.
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