"Rejuvenation" is the fifth studio album by the New Orleans funk group The Meters, released in 1974. In 2003, the album was ranked #138 on Rolling Stone magazine's list of the 500 greatest albums of all time. The somewhat garish front cover artwork features a photograph of a seemingly footloose woman sitting on a couch alongside several record albums strewn about her living room, such as Allen Toussaint's 1972 Life, Love and Faith as well as the Meters' own previous Reprise LP Cabbage Alley.
This text presents a clear and simple outline of Greek and Latin meters in order that the verse of the Greeks and Romans may be read as poetry. Although the Greek and Latin components are conceived as essentially independent, the arrangements of each section confirm in such a way as to facilitate the use of the two in conjunction. No comparable volume exists in English.
This collection comes in a cardboard slipcase that contains each of the five discs in its own individual cardboard sleeve, like a mini vinyl LP sleeve. This is definitely a budget repackaging of back catalog items, with no extra tracks, booklets or other add-ons, but if you're a fan it's a treasure trove. All The Meters' albums for Warner/Reprise, including "Fire on the Bayou", their best known and biggest seller. Though this is a budget reissue, these discs sound as good as they ever have, without the heavy-handed compression and EQ that have become so common with recent "remasters". The full dynamic range and tonal balance remain unmolested. Thanks to Rhino for respecting the music. And what music it is; If you know The Meters, you know you want this in your collection. If not, give 'em a listen…and then you'll want this in your collection.
The title of the Meters' final album is hopeful, and New Directions does indeed represent if not a new direction, at least a shift from the disco dead end of Trick Bag. From the second "No More Okey Doke" kicks off the record, it's clear that the Meters are gritty again, kicking out some really funky grooves – maybe not as dirty as their Josie recordings, maybe a little cleaned up, but still pretty funky. The slower numbers betray their era, but in a pleasing way, something that's also true of generic numbers like "My Name Up in Lights," which may have too much talk-box guitar, but still grooves effectively. That may not be a new direction, per se, but it is a welcome change-up after the dud Trick Bag. It wasn't enough to save the Meters and it's not really a lost treasure, but it's a far more dignified way to bow out.