Ideas and Sonic Connection “Iko Iko” Revision #2
Primarily, the most important ideas components for “Iko Iko” are the function, context and aesthetics. “Iko Iko” is a very popular Rhythm and Blues standard that features classic New Orleans instruments such as pianos and trumpets.
First of all, “Iko Iko” is a New Orleans party song that features Mardi Gras rhythms. The lyrics contain various traditional Indian Chants and is one of the most beloved New Orleans carnival songs. In the 1950’s, New Orleans Rhythm and Blues was certainly a popular genre of music. With musicians such as Little Richard and Fats Domino, rock and roll was in full swing. (I really enjoy Fat’s Domino’s songs “Ain’t That A Shame” and “Blueberry Hill”). James “Sugar Boy” Crawford and His Cane Cutters recorded “Jock-O-Mo” in 1954. This recording created the magic that would be soon heard in “Iko Iko”. The two songs are derived off each other.
“Iko Iko” is an extremely beautiful song and it defines the magic of the great city of New Orleans. In my opinion, New Orleans is such a special city and “Iko Iko” is the Crescent City’s signature song! It has been covered by artists like Dr. John, The Dixie Cups and The Greatful Dead. The sweet consonant sounds of the piano and percussion allow the song to spread it’s powerful sonic magic.
The Dixie Cups 1965 version of “Iko Iko” represents the power and creative expression of musical unity. The recording features vocal unity and repetitive percussive sounds. The Dixie Cups version is relaxed and improvised. It’s a great piece of work. Yes, “Iko Iko” is beautiful and it truly represents the cultural identity of New Orleans. “Iko Iko” truly belongs to New Orleans, Louisiana. It belongs to the people and the city. It represents the preservation of identity and tradition.
Dr. John is truly a master musician. According to “Musical Gumbo”, “Building on the fame he won in the psychedelic era, he merged the Crescent City keyboard sound into the mainstream of rock and thus introduced it to a vast new audience on both sides of the Atlantic, much as Fats Domino had done in the previous era. What’s more, he made his contribution on his own terms. singing in a patois borrowed from black slang and building on the legends of his own hometown. Who could have predicted that what one rock historian called his “funk, glitter and voodoo charm” would be so commercial? But it was. Furthermore, when the charm was no longer in favor, he eased into a more mature style that got him bookings for every venue from jazz clubs to radio jingles. While other stars of the sixties found themselves over the hill, Dr. John, genially singing pop standards, became timeless” (Lichtenstein, Pg. 144).
Both Dr. John and the Dixie Cups use their musical talent to keep the traditional identity of “Iko Iko” alive!
In conclusion, “Iko Iko” is a timeless classic. By listening to the Mardi Gras Indian chant lyrics, call and response form and classic New Orleans styles, one can truly apprecitate the magic of “Iko Iko”.
Works Cited
Lichtenstein, Grace, and Laura Dankner. Mucho Gumbo: The Music of New Orleans.
New York: W.W. Norton, 1993. Print.
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