Ringo Starr - First All Starr Band - Iko Iko (Dr John) - YouTube Ringo Starr - First All Starr Band - Iko Iko (Dr John) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 28, 2011 Greek Theatre, September 3rd 1989. "Iko Iko" is a much-covered New Orleans song that tells of a parade collision between two "tribes" of Mardi Gras Indians. The song, under the original title "Jock-A-Mo", was written in 1953 by James "Sugar Boy" Crawford in New Orleans. The story tells of a "spy boy" or "spy dog" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another band. He threatens to set the flag on fire. Crawford set phrases chanted by Mardi Gras Indians to music for the song.

Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess and Checkers Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.[1] "Jock-a-mo" was the original version of the song "Iko Iko" recorded by the Dixie Cups in 1965. Their version came about by accident. They were in a New York City studio for a recording session when they began an impromptu version of "Iko Iko", accompanied only by drumsticks on studio ashtrays. Said Dixie Cup member Barbara Hawkins: "We were just clowning around with it during a session using drumsticks on ashtrays. We didn't realize that Jerry and Mike had the tapes running". Session producers Leiber and Stoller added bass and drums and released it. Following is the "Iko Iko" story, as told by Dr. John in the liner notes to his 1972 album, Dr.

John's Gumbo, in which he covers New Orleans R&B classics: The song was written and recorded back in the early 1950s by a New Orleans singer named James Crawford who worked under the name of Sugar Boy & the Cane Cutters. It was recorded in the 1960s by the Dixie Cups for Jerry Leiber & Mike Stoller's Red Bird Records, but the format we're following here is Sugar Boy's original. Also in the group were Professor Longhair on piano, Jake Myles, Big Boy Myles, Irv Bannister on guitar, and Eugene 'Bones' Jones on drums. The group was also known as the Chipaka Shaweez. The song was originally called 'Jockamo,' and it has a lot of Creole patois in it. Jockamo means 'jester' in the old myth. It is Mardi Gras music, and the Shaweez was one of many Mardi Gras groups who dressed up in far out Indian costumes and came on as Indian tribes.

The tribes used to hang out on Claiborne Avenue and used to get juiced up there getting ready to perform and 'second line' in their own special style during Mardi Gras. That's dead and gone because there's a freeway where those grounds used to be. The tribes were like social clubs who lived all year for Mardi Gras, getting their costumes together. Many of them were musicians, gamblers, hustlers and pimps. Category Partners N Crime PNC - N.O. Block Party (Hot Girl Bounce) - YouTube Partners N Crime PNC - N.O. Block Party (Hot Girl Bounce) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jun 15, 2008 Another rare New Orleans bounce music classic track, N.O. Block Party (aka Hot Boy Hot Girl) by Partners N Crime (PNC from Pump Tha Party) featuring DJ Jubilee.

The Mardi Gras Indian in the picture is significant because of the way this song is sung, it's based on the Mardi Gras classic Iko Iko. "Iko Iko" is a New Orleans song that tells of a parade collision between two "tribes" of Mardi Gras Indians. The lyrics are derived from Indian chants and popular catchphrases. The song, under the original title "Jock-A-Mo", was written in 1954 by James "Sugar Boy" Crawford in New Orleans, but has spread so widely that many people take it to be a much older folk song. The story tells of a "spy dog" or lookout for one band of Indians encountering the "flag boy" or guidon carrier for another band. He threatens to set the flag on fire.

Here are the lyrics (I removed some sections) [Kangol Slim] My Hot Girl, and yo Hot Girl, Were sittin' by the Bayou, My Hot Girl, told yo Hot Girl, I got a Hot Boy that is fire, Talkin' bout a Hot Boy [Hot Girl] Hot Boy [Hot Girl] Every where we go [Say what?] Upper Label Take Fo, and now you know how it go, Representin' Down-South, Fa'sho, [Break it down] [D.J. Jubilee] If you from the Seventeen, won't 'cha make noise? I say them Gert-Town Villains got some Hot Boys, If you from the Tenth Ward, won't 'cha make noise? I say them Saint Thomas Villains got some Hot Boys, If you from the Fourth Ward, won't 'cha make noise? I say them Iberville Villains, got some Hot Boys, If you from the Third Ward, won't 'cha make noise? I say them Calliope Villains, got some Hot Boys, Now if you from the Ninth Ward, won't 'cha make noise?

I say them Desire Villains, got some Hot Boys, If you from the Seventh Ward, won't 'cha make noise? I say them St. Bernard Villains, got some Hot Boys, Now if you from the Fifteen, won't 'cha make noise? I say them Fischer Villains, got some Hot Boys, And if you from the Sixth Ward, won't 'cha make noise? I say them Lafitte Villains, got some Hot Boys, Hold up 'Cise stop that track, Put them two Trigger Mans on, So we can get done with it and be out, [All Right!] [D.J. Jubilee] Come with me! Saint Mary! Through the Josephine, V.L. to that Drive, you wanna ride or die? S.T.P. Five plus Five, Every other D.J. I go, I got a girl from the Drive Way go, I say it really doesn't matter where I go, I say people lovin' South Coast, Gert Town, Pigeon Town, Holly Grove, From the Mac to the Melph to the Lio, St.

Bernard, Desire, Fa sho, Them they lovin' South Coast, Every other city we go, Baton Rouge, Lafayette, Shreveport, Houston Texas, ATL, Gulf Coast Them people lovin' South Coast, Kick out, Jubilee, Jubilee, kick out P-N-C, [Kangol Slim] When I was young my Mother watched me as I played And every night she got down on her knees and to the Lord she prayed For her son who will one day be up in this World And that he grows old enough, strong enough to watch her baby Girl Back in those days, we all done some bad But my Mother grabbed me by my shirt and smacked me on my back That's one thing I can say and even the man up above Even though my Mother spanked me she has always shown me love She's Giving Me Love Oh Love *Shout to New Orleans 3rd Ward 4th 5th 6th 7th 8th 9th 10th 11th 12th 15th aka 1.5th. Category Happy Mardi Gras!

‘Iko Iko’ by Captain Jack, The Dixie Cups (videos) : POCHO Happy Mardi Gras! ‘Iko Iko’ by Captain Jack, The Dixie Cups (videos) by WALLY TCHOUPITOULAS on February 12, 2013 in Cultura , Video There’s no Mardi Gras in New Orleans without Iko Iko, but maybe not this version from German Eurodance band Captain Jack . Do you know what the song is about? Here’s the story, from Wikipedia: “Iko Iko” is a much-covered New Orleans song that tells of a parade collision between two “tribes” of Mardi Gras Indians and the traditional confrontation. The song, under the original title “Jock-A-Mo,” was written in 1953 by James “Sugar Boy” Crawford in New Orleans. The story tells of a “spy boy” (i.e. a lookout for one band of Indians) encountering the “flag boy” or guidon carrier for another “tribe.” He threatens to “set the flag on fire.” Can you donate $5 or $10 so we can make more ñews y satire? MR.

POCHO SAYS ¡GRACIAS! Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase “Chock-a-mo,” but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as “Jock-a-mo” for the record’s release. “Jock-a-mo” was the original version of the song “Iko Iko” recorded by The Dixie Cups in 1965. Their version came about by accident. They were in a New York City studio for a recording session when they began an impromptu version of “Iko Iko,” accompanied only by drumsticks on studio ashtrays. “We were just clowning around with it during a session using drumsticks on ashtrays,” said Dixie Cup member Barbara Hawkins. “We didn’t realize that Jerry and Mike had the tapes running.” Dig The Dixie Cups, a cappella, live, in 1965: mudcat.org: hey now hey now ico ico wanna ney what song?

hey now hey now ico ico wanna ney what song? Related threads: From: Date: 22 Mar 99 - 09:29 PM Please help me findthe origin of this song. Who wrote it? Or who recorded it? Lyrics? I remember it well but thewords have faded into old age please e-mail me alley246@aol.com Than From: Mark Roffe Date: 22 Mar 99 - 09:44 PM The Shirelle's popular version of the 60's was based on the original. Although I can't remember much about the original, the Shirelle's version went (phonetically): Hey now, hey now, ako ako anday. Chockamo fino an an day, chocamo fin anday. See the man all dressed in green, ako ako anday. He's not a man, he's a rubbing machine, chocamo fin anday. Hey now...etc... I once knew them all...if no one else comes up with them, I'll dredge them out of my quagmire mind.

Mark From: Ronn Date: 22 Mar 99 - 10:47 PM The origins of this song go back way before the recording era to around the same time as the origin of the Mardi Gras Indians. The song most like the one we know today was originally recorded by Sugar Boy Crawford as "Jock-a-mo" in 1953. The first version to enter popular consciousness was by The Dixie Cups around 1965 (revived by the movie "Rain Man"). My own personal favourite is Dr John's from around 1972. Date: 23 Mar 99 - 02:05 AM Hi, It was redone in the 70's (punkish band).. in the UK,... can't remeber the name but possibly Bow wow wow..... think they also did "I want candy". slainte Date: 23 Mar 99 - 02:49 AM It wasn't Bow Wow Wow, it was Amazulu - not that that matters, go with Dr John! Brian Date: 23 Mar 99 - 08:51 AM Ah yes.....

it's all coming back to me now.... slainte From: mkaye Date: 23 Mar 99 - 11:35 AM It was also a staple for a while in Grateful Dead live performances in the late 70's to early 80's time frame. Don't think it made it onto anything other than bootlegs (although it could be included in one of the Dick's Picks series). Date: 23 Mar 99 - 02:45 PM If you're searching for it somewhere, the title I know is "Iko Iko". Click here and here for versions from Lyrics World. -Joe Offer- Date: 11 Jul 00 - 03:45 PM Iko-Iko (Marilyn Jones, Sharon Jones, Joe Jones, Jessie Thomas, 1965) (Recorded by The Dixie Cups ) My grandma and your grandma were sittin' by the fire My grandma told your grandma: "I'm gonna set your flag on fire" Talkin' 'bout, Hey now! Hey now!

I-KO I-KO un-day Jock-a-mo fee-no ai na-ne Look at my king all dressed in red , I-KO I-KO un-day I betcha five dollars he'll kill you dead Jock-a-mo fee-na-ne My flag boy and your flag boy were sittin' by the fire My flagboy told your flagboy: "I'm gonna set your flag on fire" (chorus) See that guy all dressed in green? I-KO I-KO un-day He's not a man, he's a lovin' machine Jock-a-mo fee-na-ne From: Gary T Date: 11 Jul 00 - 09:28 PM I've always liked this song, but have no clue as to what, if anything, it means. Anyone know what kind of flag we're talking about? What's a flag boy? Is there any significance to the king, or is it just a variation of "man"? And "iko iko", "jock-a-mo", etc.--nonsense syllables? Gullah? A distortion of Gullah or of some other language? If anyone can shed some light on this, I'd be grateful.

Date: 11 Jul 00 - 09:42 PM G'day all, I recently heard an episode of the (Australian) ABC Music program where the presenter had gone to New Orleans for a Festival and had recorded a number of interesting interviews - including one with a lady from the Dixie Cups. She talked at length about this song ... the gist of it was that this was something they did with a family song (from her mother?) and they where mucking around with an a cappella version where they did a lot of instrument imitations while the band was taking a break. The record producer heard it, loved it and got them to put it down on the record. I gather the "Indians" references all go back to a period of New Orleans history when the displaced AmerIndians and the black population ahd much more in common that with the whites and customs (and Voodoo religious beliefs) mingled and reformed. I don't imagine our presenter came up with anything not already known about the traps, but it was interesting to learn something about this enigmatic song.

Regards, From: Mark Cohen Date: 13 Aug 01 - 10:46 PM Apparently somebody just refreshed this thread , which has a wealth of information on the song. There are a few more threads kicking around as well. I don't think we'll ever resolve the issue of how to get people to search to see if their question has been answered on a previous thread, or even, as has been recently brought up as a minority opinion, whether we should encourage that at all. (The feeling expressed was that refreshing long threads tends to encourage people to post redundant info because they don't want to read the whole long thread). This will no doubt continue to be one of the unavoidable bumps on the byways of Mudcat. And that's fine with me. Aloha, Date: 16 Aug 01 - 01:45 AM Nope, not Gullah/Geechee. Here's what the luverly Neville folks have to say: "The song was originally called 'Jockamo,' and it has a lot of Creole patois in it. Jockamo means 'jester' in the old myth.

It is Mardi Gras music, and the Shaweez was one of many Mardi Gras groups who dressed up in far out Indian costumes and came on as Indian tribes. The tribes used to hang out on Claiborne Avenue and used to get juiced up there getting ready to perform and 'second line' in their own special style during Mardi Gras. That's dead and gone because there's a freeway where those grounds used to be. The tribes were like social clubs who lived all year for Mardi Gras, getting their costumes together. Many of them were musicians, gamblers, hustlers and pimps." More as found, ~J Date: 16 Aug 01 - 01:56 PM More of the stuff, and a book to look up: Jen, Dug around last nite in my boxes of New Orleans "stuff" and I did locate three articles cited in Jason Berry's "Up from the Cradle of Jazz." Girl, get this book if it's still in print. It goes into great length about the Mardi Gras Indian tradition as part of its study of New Orleans R&B. The first article circa 1973 is by none other than Allison Miner.

This is a 2 page overview of Indian traditons. Second article is about the Indians past and present by Joan M. Martin. Anyone know about her? Basically discussing the change from the more violent/ritualized traditions pre WWII to the competition to id the "prettiest" Indian post WWII. Also has a few paragraphs about the legendary "Brother Tillman" of the "White Eagles"(and other gangs). The third article is "Creativity in the songs of the Mardi Gras Indians of New Orleans,La." by Finn Welhelmsen. This Scandinavian actually was a member of the Black Eagles. My husband and I spent some time with him a few years ago. God bless him...he's an inspiration and I hope he is well. Anyway, in this article he discusses "Two-way Pokowee" as a song urging other tribes to get out of the way, "Big Chief wants plenty of fire water" is a begging song, "Shoo fly don't bother me", a ring dance song transformed into a warning to get out of the way. Also discusses how the words in the song can vary depending on the actual action occurring at a parade. The folk process in action! Nothing mentioned about Iko Iko.

Enough of the scholarly stuff...bottom line...when Ernie K-Doe said "I'm not sure but I think all music started in New Orleans" I think he was talking about the chants and rhythms of the Mardi Gras Indians! Iko Iko Chords, Guitar Tab, and Lyrics by Dixie Cups at TotalTabs Rock D1 F1 "Iko Iko" is a much-covered New Orleans song that tells of a parade collision between two "tribes" of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock- A -Mo," was written in 1953 by James "Sugar Boy" Crawford in New Orleans. The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe." He threatens to "set the flag on fire." Crawford set phrases chanted by Mardi Gras Indians to music for the song.

Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo," but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.(1) "Jock-a-mo" was the original version of the song "Iko Iko" recorded by The Dixie Cups in 1965. Their version came about by accident. They were in a New York City studio for a recording session when they began an impromptu version of "Iko Iko," accompanied only by drumsticks on studio ashtrays. "We were just clowning around with it during a session using drumsticks on ashtrays," said Dixie Cup member Barbara Hawkins. "We didn't realize that Jerry and Mike had the tapes running." Session producers Leiber and Stoller added bass and drums and released it. D A My grand-ma and your grand-ma were sit-tin' by the fire. A D My grand-ma told your grand-ma: "I'm gon-na set your flag on fire." D A Talk-in' 'bout, Hey now ! Hey now !

I-ko, I-ko, un-day A D Jock-a-mo fee-no ai na-nï¿½, jock-a-mo fee na-nï¿½ D Look at my king all dressed in red I-ko, I-ko, un-day. A D I bet-cha five dol-lars he'll kill you dead, jock-a-mo fee na-nï¿½ D A Talk-in' 'bout, Hey now ! Hey now ! I-ko, I-ko, un-day A D Jock-a-mo fee-no ai na-nï¿½, jock-a-mo fee na-nï¿½ D My flag boy and your flag boy were A Sit-tin' by the fire. - My flag boy told D Your flag boy: "I'm gon-na set your flag on fire." D A Talk-in' 'bout, Hey now ! Hey now ! I-KO, I-KO, un-day A D Jock-a-mo fee-no ai na-nï¿½, jock-a-mo fee na-nï¿½ D A See that guy all dressed in green? I-KO, I-KO, un-day.

A D He's not a man, he's a lov-in' ma-chine Jock-a mo fee na-nï¿½ D A Talk-in' 'bout, hey now! Hey now! I-ko, I-ko, un-day A D Jock-a-mo fee-no ai na-nï¿½, jock-a-mo fee na-nï¿½ D A Talk-in` `bout, hey now! Heynow!! I-ko, I-ko un-day A D Jock-a-mo fee-no ai na-ne, jock-a-mo fee na-nee. An F . K. Tab,,,,Enjoy!!!!!! Ringo Starr - First All Starr Band - Iko Iko (Dr John) - VidInfo Ringo Starr - First All Starr Band - Iko Iko (Dr John) Online Since: May, 28 2011 Dimensions: 640 x 360 Ringo Starr - First All Starr Band - Iko Iko (Dr John) RichardAllStarrBand RichardAllStarrBand's YouTube Channel Greek Theatre, September 3rd 1989.

"Iko Iko" is a much-covered New Orleans song that tells of a parade collision between two "tribes" of Mardi Gras Indians. The song, under the original title "Jock-A-Mo", was written in 1953 by James "Sugar Boy" Crawford in New Orleans. The story tells of a "spy boy" or "spy dog" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another band. He threatens to set the flag on fire. Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess and Checkers Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release... Read more » Willy DeVille International Fans: The Story Of Ik Iko [Jock-A-Mo] News and info about Willy 'Mink' DeVille activities and events – Just Your Friends!

September 24, 2010 The Story Of Ik Iko [Jock-A-Mo] "Iko Iko" is a much-covered New Orleans song that tells of a parade collision between two "tribes" of Mardi Gras Indians. The lyrics are derived from Indian chants and popular catchphrases. The song, under the original title "Jock-A-Mo", was written in 1954 by James "Sugar Boy" Crawford in New Orleans, but has spread so widely that many people take it to be a much older folk song. The song is closely identified as a Mardi Gras song, but it is equally known as a Top 40 hit. The main melody bears a strong resemblance to the guitar riff in "Son de la Loma" recorded by the Trio Matamoros. "Son de la Loma" was written by Miguel Matamoros sometime before May 8, 1925. The story tells of a "spy dog" or lookout for one band of Indians encountering the "flag boy" or guidon carrier for another band. He threatens to set the flag on fire.

Willy DeVille - Iko Iko Iko Iko : Wikis (The Full Wiki) The Full Wiki More info on Iko Iko Wikis Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles . Related top topics Top rankings for Iko Iko 5th Encyclopedia From Wikipedia, the free encyclopedia "Iko Iko" is a much-covered New Orleans song that tells of a parade collision between two "tribes" of Mardi Gras Indians . The song, under the original title "Jock-A-Mo", was written in 1953 by James "Sugar Boy" Crawford in New Orleans . To popular belief, it was commonly assumed to be a much older folk song , which can now be shown to be true. The story tells of a "spy boy" or "spy dog" i.e. a lookout for one band of Indians encountering the "flag boy" or guidon carrier for another band. He threatens to set the flag on fire. Problems listening to this file? See media help.

The lyrics of the song have been the subject of much conjecture for over 50 years. Some have thought its chorus is of African origin, others that it is Creole patois but no authoritative translation of the song's words has ever been offered till now (see below). Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo," but the title was misheard by Chess & Checkers Records President Lloyd Price, who misspelled it as "Jock-a-mo" for the record's release. [1] "Jock-a-mo" was the original version of the song "Iko Iko" recorded by The Dixie Cups in 1965. Their version came about by accident. They were in a New York City studio for a recording session when they began an impromptu version of "Iko Iko," accompanied only by drumsticks on studio ashtrays. Said Dixie Cup member Barbara Hawkins: "We were just clowning around with it during a session using drumsticks on ashtrays.

We didn't realize that Jerry and Mike had the tapes running". Session producers Leiber and Stoller added bass and drums and released it. [2] Contents 5 References Recording history The Dixie Cups , who had learnt "Iko, Iko" from hearing their grandmother sing it[citation needed], also knew little about the origin of the song and so the original authorship credit went to the members, Barbara Ann Hawkins, her sister Rosa Lee Hawkins, and their cousin Joan Marie Johnson. After the Dixie Cups version of the "Iko Iko" was released in 1965, The Dixie Cups and their record label, Redbird Records, were sued by James Crawford, who claimed that "Iko Iko" was the same as his composition "Jockamo". [3] Although The Dixie Cups denied that the two compositions were similar, the lawsuit resulted in a settlement in 1967 with Crawford making no claim to authorship or ownership of "Iko Iko" [4] , but being credited 25% for public performances, such as on radio, of "Iko Iko" in the United States.

[5] Even though a back-to-back listening of the two recordings clearly demonstrates that "Iko Iko" was practically the same song as Crawford's "Jock-a-mo", Crawford's rationale for the settlement was motivated by years of legal battles with no royalties. In the end, he stated, "I don’t even know if I really am getting my just dues. I just figure 50 percent of something is better than 100 percent of nothing." [1] In the 1990s, The Dixie Cups became aware that another group of people were claiming authorship of "Iko Iko". Their ex-manager Joe Jones and his family filed a copyright registration in 1991, alleging that they wrote the song in 1963. [6] Joe Jones successfully licensed "Iko Iko" outside of North America, and it was used as the soundtrack of Mission Impossible 2 in 2000. [7] The Dixie Cups filed a lawsuit against Joe Jones. The trial took place in New Orleans and the Dixie Cups were represented by well known music attorney Oren Warshavsky before Senior Federal Judge Peter Beer.

[8] The jury returned a unanimous verdict on March 6, 2002, affirming that The Dixie Cups were the only writers of "Iko Iko" and granting them more money than they were seeking. [8] The Fifth Circuit Court of Appeals upheld the jury verdict and sanctioned Joe Jones. [9] The song is regularly performed by various artists from New Orleans such as the Neville Brothers (who have recorded it in a medley with the melodically-related Mardi Gras song "Brother John" as "Brother John/Iko Iko"), Larry Williams , Dr. John , The Radiators , Willy DeVille , Buckwheat Zydeco and Zachary Richard , and can often be heard on the streets and in the bars of New Orleans, especially during Mardi Gras. It has also been covered by Cyndi Lauper , the Grateful Dead (who made Iko Iko a constant staple in their live shows from 1977 onward), Cowboy Mouth , Warren Zevon , Long John Baldry , Dave Matthews & Friends, The Ordinary Boys , Glass Candy , and Sharon, Lois & Bram among others.

Amy Holland coverd the song in the film K-9 , Aaron Carter covered the song for The Little Vampire soundtrack, and The Belle Stars ' cover was featured in the films Rain Man and The Hangover. A later version by Zap Mama , with rewritten lyrics, was featured in the opening sequences of the film Mission: Impossible II. Eurodance act Captain Jack re-popularized the tune in Germany in 2001. An early cover version was by Rolf Harris in 1965 with slightly altered words, removing references to "flag boys" and other regionally specific lyrics, although much of the creole patois remained as a sort of nonsense scat. This version made the song popular in England and Australia in the 1960s. The song proved most successful on the UK charts by singer Natasha England who took it into the top 10 in 1982. Her version, released the same week as The Belle Stars, charted higher and significantly outsold their rival version. The Belle Stars version would be released in the United States in 1988, where it would peak at 14 in March 1989.

Natasha's recording was produced by Tom Newman ("Tubular Bells"). Dr. John's story Following is the "Iko Iko" story, as told by Dr. John in the liner notes to his 1972 album , Dr. John's Gumbo , in which he covers New Orleans R&B classics: "The song was written and recorded back in the early 1950s by a New Orleans singer named James Crawford who worked under the name of Sugar Boy & the Cane Cutters. It was recorded in the 1960s by the Dixie Cups for Jerry Leiber & Mike Stoller's Red Bird Records , but the format we're following here is Sugar Boy's original. Also in the group were Professor Longhair on piano, Jake Myles, Big Boy Myles, Irv Bannister on guitar, and Eugene 'Bones' Jones on drums. The group was also known as the Chipaka Shaweez. The song was originally called 'Jockamo,' and it has a lot of Creole patois in it. Jockamo means 'jester' in the old myth.

It is Mardi Gras music, and the Shaweez was one of many Mardi Gras groups who dressed up in far out Indian costumes and came on as Indian tribes. The tribes used to hang out on Claiborne Avenue and used to get juiced up there getting ready to perform and 'second line' in their own special style during Mardi Gras. That's dead and gone because there's a freeway where those grounds used to be. The tribes were like social clubs who lived all year for Mardi Gras, getting their costumes together. Many of them were musicians, gamblers, hustlers and pimps." "Sugar Boy" Crawford's story Here's what the song's author, James "Sugar Boy" Crawford , had to say in a 2002 interview with "OffBeat Magazine": [10] Interviewer: How did you construct 'Jock-A-Mo?' Crawford: It came from two Indian chants that I put music to. “Iko Iko” was like a victory chant that the Indians would shout. “Jock-A-Mo” was a chant that was called when the Indians went into battle. I just put them together and made a song out of them.

Really it was just like “Lawdy Miss Clawdy.” That was a phrase everybody in New Orleans used. Lloyd Price just added music to it and it became a hit. I was just trying to write a catchy song.... Interviewer: Listeners wonder what 'Jock-A-Mo' means. Some music scholars say it translates in Mardi Gras Indian lingo as 'Kiss my ass,' and I’ve read where some think 'Jock-A-Mo' was a court jester. What does it mean? Crawford: I really don't know. (laughs) The meaning of the words of Iko, Iko This interesting study into the origins of the song comes from a Wikipedia contributor [11] .who may have lifted the veil that has hidden the song's meaning for more than 50 years. The Creole/Native American origin "Iko, Iko" made its debut as "Jock-o-mo" in 1953 when it was sung by Sugar Boy Crawford . One version of his song can be heard by clicking on to and entering 'Jockomo' in the search box.

However the song changed its name to 'Iko, Iko' in 1965 when the Dixie Cups made it into an international hit. The song's words are neither impenetrable nor gibberish, as many have thought. They are also neither African, old French nor Cajun French in origin. They are a mix of: -Kreyol Lwizian (Louisiana Creole) which used to be the lingua franca of the old French colony of Louisiana -and words from the Native American Muskogean Languages including the Choctaw, Chickasaw and Houma tribes [12] . The language differences between these various tribes was resolved by the emergence of a common simple Native American languange to facilitate communication and trade. It was known as Mobilian Trade Jargon, its name originating from the Indians around Mobile, Alabama. The words of 'Iko, Iko" therefore come from these two sources - Creole French and Mobilian Trade Jargon. Sadly, today, both Louisiana French Creole and Mobilian are rare. Louisiana Creole is still heard in some rural areas and parts of central Louisiana but it is not spoken in New Orleans any more.

Only words and phrases remain – whilst the Mobilian tongue is even rarer. Age of the Iko Iko chant The song would date back to when the Creole and Native American languages were still spoken in New Orleans i.e. the 19th century. A Youtube clip (Iko Iko meaning) contains a rare etching of Creoles masked as Native Americans in a Mardi Gras 'face-off' parade in Canal Steet, New Orleans, in the late 19th century. The French Heritage of Louisiana The south-eastern United States has two types of French speaking people. One is the Cajun people - settlers of French origin who were expelled by the English from Acadie (Acadia) or Nova Scotia in Canada in 1755 and who after much roaming and hardship eventually resettled in Louisiana in 1764. The second set of French speakers is the Creole people, who are the descendants of the settlers and slaves of the original French colony of Louisiana (La Lousiane). Their language, Louisiana French Creole, evolved from the way the slaves of the French colony of Louisiana copied the way their French masters spoke.

It is bascially pidgin French and its syntax and grammar are much simpler and shorter than real French. The accent is also different to the French accent, being an accent that was African in origin - so it's basically African accented French. The words are foreshortened and spoken flatly in quick, rapid-fire delivery. It is short-form, truncated French - for instance, an English equivalent would be "Me go bayo’” for "I am going to the bayou." Unfortunately, the Creole language was never written down (seriously) for 200 years except for a few poems or songs. Now, it's starting to be, but dictionaries are rare, and often incomplete.

Some dictionaries that do however stand out and which have been used for the purposes of this article are "Dictionary of Louisiana Creole" by Albert Valdman [13] "Le Dictionnaire Créole" [14] “Le Dictionnaire Sioudi” [15] “Louisiana Creole Vocabulary” [16] “The Creole/English Wordlist” [17] and the “Verbix Creole conjugator” [18] The Black “Indian” Tribes African American Mardi Gras revelers masked themselves as Native Americans and formed coherent "teams" or "tribes" (also called "krewes") of Mardi Gras performers that competed informally in the streets during Mardi Gras parades. The African American "Indians" worked all year to develop elaborate personalized costumes, songs, dances, and drum rhythms. Through the socially permitted masking of Mardi Gras, African Americans preserved elements of their African heritage while appearing physically in public as Native Americans. This provided a kind of social sanction for overt expression of African pride, which in most cases and places were punished or supressed the rest of the year.

The African-Americans in New Orleans were mostly Creoles and fraternised with other minorities such as the Native Americans, in particular the Houma, the Choctaw and the Chickasaws. Naturally, the ‘chants’ they sang were based around Creole and the common Native American language of Mobilian Trade Jargon (see There are now about 40 Indian tribes. It wasn't always so. Jelly Roll Morton (born Ferdinand Joseph Lamothe), the American jazz pianist, bandleader and composer, was a 'Spyboy' for a tribe in his youth, and revealed that at that time there were only four or five Black Indian tribes in New Orleans. The confrontations between the tribes at Mardi Gras in the streets of New Orleans are highly ritualised. The principal members of the tribe confront their counterparts in the opposing tribe – Spyboy versus Spyboy, then the Flagboys, 2nd, 3rd and 4th Chiefs, the Queens, and children. Finally, the Big Chiefs have their showdown, swaying and rotating and preening to show off their costumes. An acknowledgement of success is for the opponent to admit that the other’s costume is “pretty”.

The chants are generally in the 'Call and Response' fashion – in fact very much as the Dixie Cups sang their version of the song Iko, Iko. The phonetic words of the song Iko Iko The words as first sung by Sugar Boy Crawford are: Iko! Iko! Jockomo fee no an dan day Jockomo fee na nay Many singers have covered "Iko, Iko" and many sing different lyrics. Their different versions can be heard free of charge on deezer.com by typing in Iko, Iko into the search box. Though musically richer, these newer versions consistently stray from the lyrics of the original and new English language verses are added by various artists. The word "Jockomo" – what it wasn’t Significant information has come to light concerning the word “Jocomo”. Sugar Boy Crawford wasn't the only singer to use the word Chocomo (as he sang the word) or Jock-o-mo (as the record label misheard and entitled the song).

The most oft-recorded Indian tribe, Big Chief Boudreaux and the Golden Eagles, issued "In the Morning, Jockomo", the Krewe Renegades recorded "Jockomo Zydeco", Huey Piano Smith's song "Don't You Know Yocomo" can be heard on Deezer.com and Danny Baker's song released on King Zulu Records had lyrics of "Choco Me Fee ndo Hey". There have been many speculations as to the origin of the word 'Jacomo'. Giacomo (from the Italian) Jester or Jokester ( Dr. John said this on the sleeve of one of his albums) John Jolly (apparently a famous former Big Chief tribe leader) Jacquemot (familiarisation of Jacques) Jacomo (‘Birdman’) Jaquotmo (man in a monkey suit) It is unlikely that Jacomo means 'Jester' despite the huge reputation of Dr. John . The French, the Cajuns and the Creoles would all refer to a jester as a "fou", or as a "buffon" (buffoon in English) as the courts of the Kings of France did.

Even the Joker in a deck of playing cards isn't called a 'Joker' or 'Jocomo' but a 'fou'. If further proof be needed, not one of the Creole Dictionaries or Lexicons referred to above cite the word Jocomo for 'jester'. Neither is Jocomo a Native American word for jester. 'John Jolly' is also an unlikely source for the origin of Jocomo. He was a genuine Cherokee Indian Chief who lived in Houston in the early 1830's and corresponded with Sam Houston over Native American rights in the then fledgling city. Jolly wasn't a Black Indian chief from New Orleans. [19] The speculation that Jocomo could be the French name 'Jacquemot' came about because it could arise from the familiar Creole name Jacques, to which 'mot' was added affectionately meaning "Small Jack", or "Dear Jack" or "Our dear little Jack" – much as Pierrot is used for Pierre, and Jeannot for Jean.

The case for 'Birdman' was the 'Jaco', which is Creole for a perroquet (parrot) and some of the Black Indian costumes are of men completely covered in feathers with a pseudo beak – le Jaco – easily turned into Jacomo. 'Jaquotmo' - the theory of a man dressed in a monkey suit comes from Jaquot (a monkey) but this is less likely because Jaquot is Creole for monkey in other Creole speaking parts of the world rather than in Louisiana. The real origin of “Jocomo” “Jocomo” wasn’t a name. It was a greeting in Native American, which is similar in the Choctaw, Houma and Chickasaw tongues, and of course in the universal language they spoke between different tribes – Mobilian Trade Jargon. (More information on this tongue, as well as Choctaw, Houma and Chickasaw can be found on ). This greeting, common to all the Native Americans living in New Orleans, whatever their tribe, was “CHOKMA”.

Laura Redish, who runs the web site together with Orrin Lewis says: “Chokma is a common greeting in Muskogean Indian languages, and because the ‘c’ sound is unaspirated in most Muskogean languages, it has a sound midway between ‘ch’ and ‘j’ to English speakers. It could definitely get corrupted into ‘jocomo’. But the actual meaning of ‘chokma’ is literally ‘it's good!’ (as in ‘it's good to see you’, ‘it's a good day’)”. And we can turn for further proof to the universal Mobilian Trade Jargon dictionary. Professor Emanuel Drechsel, an acknowledged expert of worldwide renown wrote the dictionary. He also met probably the last living person to speak Mobilian Trade Jargon. Professor Drechsel confirms that "Very Good" or "It's very good" in Mobilian is "čukma fehna". So Jocomo wasn’t a jester, a birdman, or anybody’s name. It was a greeting – “It’s good!” The words "Hey now! Hey now!" This is the opening of the Black Indian chant as popularized by the Dixie Cups .

It's a call and response code - the leader shouts 'Hey now!' and the followers respond 'Hey now! This was not however what Sugar Boy Crawford sang. Instead of the English words 'Hey now! Hey now!' he sang 'Iko! Iko!' - which is what the Indian chant was. As we shall see below, 'Iko! Iko!' are genuine French Creole words - whereas 'Hey now! Hey now! are English words which have been substituted by later singers. The words "Iko! Iko" The case for an African origin for "Iko, Iko" A web site called 'clearlight.com' [20] advances the possibility that "Iko", and "Amay" come from the Gambian language. Their contention is that "Iko! Iko! An day!" is a corruption of a Gambian call for "Ago! Ago! Amay!" (Attention! Attention! - and the response - We are listening!") At first sight, this certainly looks like a reasonable speculation.

There are however good reasons for challenging it because the dictionaries of the two principal Gambian languages (Wollof [21] and Mandinka [22] ) do not include either the word 'Ago" or "Amay". However, it should be noted that in Bamanankan, the primary dialect of Mandingo language spoken in Mali, "A Ko" means, "he says;" and "N Ko: means "I say." These translations might support the notion that "Iko Iko" are African words, rather than French Creole. There is also a case for speculating on a Yoruba origin. "Ago" means "make way" in Yoruba Creole, found in Lukumi songs to Orishas. Yoruba originates from the Niger River Delta region of Nigeria and Benin (formerly Dahomey). Yoruba speakers were brought to Louisiana as slaves, and the evidence of their culture's survival in New Orleans is documented.

It is thus also possible that Yoruba Creole language is the origin of "Iko Iko." However, the web site [23] confirms that the slave trade between Africa and the French colony of Louisiana was a royal monopoly concession granted to the French Compagnie des Indes which was the French equivalent of Britain's East India Company . The Compagnie des Indes had their slave trading HQ on Goree Island in Senegal which was the departure point of the slave ships transporting mostly slave families of Senegalese origin to Louisiana. The language of the Sengalese slaves was Wolof which does not contain the word "Ago", and the fact that the slaves were Senegalese people weakens the case for a Yoruba origin for "Ago" as a possible origin for "Iko", because the Yoruba language is that of Niger and Benin, which are geographically remote from the HQ of the French slave trading company on Goree Island in Senegal. The last factor that militates against an African origin for the words "Iko, Iko" is that the chant is composed entirely of French Creole lyrcs with only one single Native American phase thrown in.

If "Iko, Iko" was African in origin, it would make the chant a trilingual chant! This is possible of course, except that the whole tenure of the chant is French Creole. In addition, it depends when the chant was composed. If it was composed in the late 19th century (the Black Indian parades commenced around 1850) it would mean that the composers still remembered African tribal words handed down by their ancestors. As the US Congress abolished the slave trade in 1808, it would mean that if the composers used African words handed down by their ancestors, those words would have survived in their culture for a century, whereas the composers used French Creole on a daily basis in their everyday lives. An African origin for the words 'Iko, Iko' cannot be ruled out, but the likelihood is that the words were really of French Creole origin. The case for a French Creole origin for "Iko, Iko" There are very plausible arguments for French Creole being the origin of the word “Iko”.

The key is the word "Akout", French Creole for the continental French "Ecoute!" which tranlates as the English word, "Listen!" That the French Creole "Akout!" came across as "Iko!" could have been due to how the Black Indians sang (or rather called out) the word, softening the initial "A" and leaving off the hard "t" at the end of the word, just as one would say 'bayo' instead of 'bayou'. So it ended up being shouted out as "Aikou!" which in a noisy Indian face-off in a New Orleans street at Mardi Gras could phonetically come across as "Iko" and was noted as such by Sugar Boy Crawford in 1953. The words "An day" "An day" as written down phonetically by Sugar Boy Crawford is pure French Louisiana Creole. It is "an déyè". The word "an" is like the French 'en' (in) but accented in the Creole accent. In Creole it has a lot of meanings - 'to' 'at', 'in' etc (See Webster's Creole Dictionary) [24] .

The word "déyè" means 'after', 'behind' 'rear' 'back'. So the combination of the two words "an déyè" means "at the back" or "in the rear". The procession of an "Indian" tribe in the streets at Mardi Gras can be quite long, extending over two or three city blocks. In front are the ceremonially dressed Indians (Spyboy, Flagboy, 2d, 3rd, 4th Chiefs, the Queen, the Wildmen and so on) and they're followed by the rest of the tribe, who're not as fantastically garbed as the front runners. That's why the Big Chief has to be everywhere – he has to keep his entire Tribe in order and together. So "Akout, akout an déyè" – "Listen! Listen at the rear" is what the gang at the front leading the procession would be chanting to their followers behind them as the whole tribe marched down the street. The words "Jocomo fee no an dan day" The next section of the chant phonetically copied down by Sugar Boy Crawford was "Jockomo fee no an dan day".

However, it seems that even Crawford may have got the phonetics slightly wrong when he used the word ‘no’ (instead of 'na') because “fee na nay” is Native American for the word “very”. As Laura Redish of says: “The Mobilian Trade Jargon text lists "chukmo feena" as meaning "very good". This is further confirmed in other Native American language dictionaries. “Finha (pronounced feena) is a word for "very" in some Chickasaw dialects, and Fehna is listed as an older word for "very" in the Choctaw dictionary.” As to why ‘It’s good!’(Chokma) is followed by ‘Very’ (Finha), Laura Redish tells us: “Modifiers normally come after the word they modify in Muskogean languages.” So in effect, to say 'It's very good' the Native Americans would say 'It’s good very’. The above explains the sentence up to 'Chokma finha' but at this juncture, a problem arises. “Chokma finha” is followed by “an dan day” which is not Native American at all.

Phonetically, "nd" sounds are not typical of Muskogean languages. As an entire set of three words, "an dan day" (or its later version 'wan dan day') do not exist in traditional old French, modern French, or Cajun French. In Creole French however, they do exist. Crawford himself sang the lyrics differently in different versions. In the 'deezer.com' version (a later recording) he sings "Jocomo fee no wan dan day". Listening to this rendering it is acoustically undeniable that Crawford follows 'no' with a "wan", and follows the "wan" with "dan day". However in the version issued on the Checkers label in November 1953 he sings "Jocomo fee no an dan day". Both 'wa dan déyè' and an dan déyè are Creole. Professor Thomas Klinger of the French and English Chair at Tulane University in New Orleans says that “Wa dan déyè” could mean “see in the back” but it would depend on the context. And "An dan day" means 'into (or at) the rear'. Below is an explanation of each of these three Creole words.

The word "Wa" or "An" ‘Wa’ is what is used in Creole for the French ‘voir’ (to see). Typically one would say ‘mo allé wa’ for ‘I am going to see’, instead of its French equivalent ‘je vais voir’. It should be noted that ‘Wa’ can also mean ‘Roi’ in French (King). The word 'An' means 'at' or 'in'. The word "Dan" ‘Dan’ is Creole for the French ‘dans’ (in English ‘in’). Crawford wrote 'dan' because that's how he heard it, and that's how the Creoles pronounce it, accenting the 'n' sound at the end, so that it sounds more like 'dann'. Continental French and Cajun French doesn't shorten the word to "dan' as the Creoles do, and it isn't pronounced as 'dan' but more like 'dahn' with a nearly silent 'n'. The word "Deye" ‘Déyè’ is Creole for back, rear, behind, after, following etc. It is exclusive to French Creole (reference - Creole/English Wordlist).

Cajun or classical French would use 'à l'arrière' or 'derrière', but French Creole typically shortened this to "déyè". Why did they compose a bilingual sentence? The question mark that still remains is why the Back Indians started the line in Native American, and finished it in Creole - Chokma finha (Native American) an dan déyè (Creole). In English, the line seems completely nonsensical: “It’s very good! At (or in) the back!” Perhaps Laura Redish’s speculation is nearest the mark. “I would assume it is likely that some of the words in this song came from French and/or Native American roots. I also wouldn't expect that the words of the song necessarily make semantic sense when they are put together-- it could be call and responses of phrases from more than one language”. That’s the most likely explanation in the context of the times. As Laura Redish says: "There was a lot of intermarriage in Louisiana so undoubtedly many of the black Creole youths at that time had a Choctaw or Houma grandmother".

"Chokma finha' would have been a greeting they remembered as an "Indian" phrase from their childhood - it's the kind of thing a grandmother would say to a grandson - "It's very good". Whatever the composers' intention was, the two languages were mixed in the chant, possibly in the interests of timing, rhyming and meter. The words "Jocomo fee nah nay" By now, we know from the explanations above what the first part of this last line is: it's 'Chokma finha' which means 'It's very good' in Native American. The only remaining problem is the last word 'nay'. "Nay" definitely does not mean anything in Choctaw, Chickasaw, or Houma. Neither is it listed in the Mobilian Trade Jargon dictionary. There are no real "ay" vowel sound in any of those languages. The last word 'nay' must thus be Creole. And that's where we have a problem because the closest to 'nay' in Creole is 'ane' (pronounced "annay"), which in all the Creole dictionaries cited earlier means 'year'.

So in English the line would be 'It's very good year' - which doesn't make much sense in proper syntax, but could be Creole short form for "It's a very good year". The other problem with 'ane' however is that it introduces an extra syllable into the line 'Chokma finha A-ne". The Black Indians could have however easily smoothed out this slight wrinkle by just sliding the 'finha' into the 'ane', which would make it 'Chokma finha-ne', written down phonetically by Crawford as 'Jocomo fee na nay'. The second possibility is that the chant's composers just threw in a nonsensical word (nay) to make the last line's ending rhyme with the second line's ending 'déyè'. This however is rank speculation and unworthy of the chant's original authors. Of the two solutions for the last word 'nay', the more likely is 'ane' (year) because it makes more sense. The English verses of the song Over the years new English verses have been added by different artists since Crawford’s original verses in 1953.

They include: ‘My gran’ma and your gran’ma, sitting by the fire’ ‘My spy dog and your spy dog, sittin’ in the bayou’ ‘My marraine said your marraine, I’m gonna fix your chicken wire’ 'Look at my Queen all dressed in red' However, these English verses are not the subject of this study. This artucle only addresses the Creole/Native American chant. The Black Indians who composed the original chant didn’t include any verses in English – they were black Creoles. Their lingua franca was French Louisiana Creole, not the English of their white American masters to whom Napoleon had sold their lands in the Louisiana Purchase of 1803. It would be more than 150 years before African-Americans in New Orleans would become fully Americanized. So their chant was written in the two languages they spoke - everyday French Louisiana Creole and the Mobilian Trade Jargon of their friends the Choctaw, Chicasaw and Houma Indian tribes of New Orleans. The Whole Verse As sung by Sugar Boy Crawford : Iko! Iko! Jockomo fee no an dan day Jockomo fee na nay Akout!

Akout an déyè! (Creole) Chokma Finha (Mobilian) an dan déyè (Creole) Chokma Finha (Mobilian) ane (Creole) And in English: Listen! Listen! at the rear! It’s very good! At the back! It’s a very good year! Conclusion It’s unlikely that we shall ever see another chant like Iko! Iko! because the ‘tribes’ or 'krewes' who wrote the Black Indian chants are now almost completely Americanized and their first language is English, not the French Creole of their forefathers or the Mobilian Trade Jargon of their friends the Houma, Choctaw and Chickasaw tribes. The word "Jocomo", and the expression “Fee na nay” will both undoubtedly continue to be included in Black Indian songs, not so much because the present-day composers understand what the phrases mean, but because they're now a core part of Black Indian folk-lore and already included in so many of their other great songs.

But unfortunately, their ancestors, the original French-Creole speaking Black Indians of the 1800’s and the early 1900's, are now long gone, and the resources for writing a similar chant to 'Iko, Iko' in its source language are scant, if they exist at all. Iko! Iko! is therefore a genuine bit of history that deserves never to be forgotten. Sugar Boy Crawford did us a great service by phonetically copying down the chant he heard - without his foresight it would today be lost forever in the mists of time. Similarly the Dixie Cups are a significant part of the song's history because it was they who in 1965 made Iko, Iko into an international hit and gave the song the springboard to go on to be recorded by so many other artists and figure in the soundtracks of films. Perhaps one day a modern Black Indian Tribe will revive the actual words their ancestors really sang in a Mardi Gras parade or someone will honor the song with a recording of the genuine lyrics so they will be preserved for future generations.. Iko! Iko!

Chokma Finha an dan déyè Chokma Finha-ne Iko Iko- Occasion2B #AlternativeNews - Sample of "Iko Iko" from the Willy DeVille album Big Easy Fantasy ( the Wild Magnolias join on vocals, bass drum, and tambourines) Problems listening to this file? See media help . The lyrics of the song have been the subject of much conjecture, though no conclusive evidence exists that can support a claim of an African or Native American language origin. Similarly, while the lyrics of the song are believed to be based on Louisiana Creole French language, no authoritative translation of the song's words has ever been offered. The song's origin is traced to the New Orleans Mardi Gras Indians , who were the source of the original lyrics and subject matter of a song composed in 1953 by James "Sugar Boy" Crawford called "Jock-a-mo." Crawford set phrases shouted by Mardi Gras Indians to music for the song.

Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo," but the title was misheard by Chess & Checkers Records President Lloyd Price, who misspelled it as "Jock-a-mo" for the record's release. [1] "Jock-a-mo" was the original version of the song "Iko Iko" recorded by The Dixie Cups in 1965. Their version came about by accident. They were in a New York City studio for a recording session when they began an impromptu version of "Iko Iko," accompanied only by drumsticks on a coke bottle [Barbara Hawkins: "We were just clowning around with it during a session using drumsticks on ashtrays. We didn't realize that Jerry and Mike had the tapes running". ]. The tape happened to be running and session producers Leiber and Stoller added bass and drums and released it. [2] Dr. John Gonna Set Your Flag On Fire | The Vampire Diaries Wiki | Fandom powered by Wikia Gonna Set Your Flag On Fire 2,281pages on Share Ad blocker interference detected!

Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Season 2, Episode 10 (32) Air date Brotherhood of the Damned “ Rebekah : I'm in a bit of a bind here. So, tell me; how exactly does one go about breaking out of this joint ? Cassie : You can't break out. Once you're in, there's no leaving this place. Rebekah : That's ridiculous! Surely someone's gotten out? Cassie : Sure. But not alive. ” — Gonna Set Your Flag On Fire is the tenth episode of the second season of The Originals and the thirty-second episode of the series overall. Contents [ show ] Summary WHEN TWO SIDES COLLIDE — With Finn on the loose and hell bent on revenge, Klaus brings Cami to the safe house as he and Hayley return to the compound .

Hayley and Jackson devise a plan to bring the vampires and werewolves together to consider a truce, but tensions grow when Finn places a spell on the compound, trapping the two sides together. Meanwhile, Elijah grows concerned when Rebekah fails to show up at the safe house, prompting Klaus to confront Kol for answers. Lastly, after accepting her mother ’s offer to jump into a new body, Rebekah turns to former Harvest girl Cassie for help when she finds herself trapped inside an insane asylum. Marcel and Davina also appear. Plot SPOILERS AHEAD Klaus and Cami meet Hayley at the house and Klaus reveals that Hope is still alive to Camille. Rebekah in her new body strapped to a bed and is forced fed lobilia flower pills to stop witches from doing magic, later she awakes revealing she didn't ingest the pills she is confronted by harvest witch Cassie who imedioutly knows who she is inspite of her being in a different body. Cast Antagonists: Finn and Mikael . Finn is working with Mikael to destroy his siblings.

In order to bind the spell sealing the vampires and the werewolves in the compound, Finn used sacrificial magic to channel Mikael's power as an energy source, preventing Davina and Kol from breaking the spell with their own magic. They are ultimately able to temporarily break through it by using a destruction to eliminate all magic in the compound for sixty seconds, allowing the werewolves to escape while the vampires are forced to remain (due to their now useless daylight rings). This leaves the vampires trapped in the compound. Finn casts another spell to cause the vampires who are trapped in the compound to feel extreme hunger, with the intention of putting them in a position where they are forced to feed on the werewolves trapped with them and thereby breaking their chances of a truce. This marks the first time vampires have been shown to want to feed on werewolf blood in The Vampire Diaries/The Originals franchise. Hybrids seem to be immune to the spell, as neither Klaus nor Hayley show any sign of extreme hunger for blood like the other vampires.

Rebekah is introduced to the witch asylum by Cassie , who tells her that all witches who have gone mad because of magic have been imprisoned there since the boundary spell had been placed on it by a witch in Klaus' employ in 1914. Rebekah tries her first spell in her new witch body to send a SOS message to Klaus and Elijah with the help of Cassie, whose powers are weakened as a result of the lobelia flower pills the asylum's residents are forced to take by the Kindred. Cassie tells Rebekah the only people who have found a way out of the Dowager Fauline Cottage have accomplished it only after their death, and suggests that the house might be haunted. Rebekah tastes human blood for the first time as a human and finds the taste disgusting after instinctively biting one of the Kindred in the neck while she was fighting them. Apparently, the asylum is also used for witches outside New Orleans as the Kindred are apparently mentioned as being a whole coven who were imprisoned there. This is the first hint that the asylum was also used as a prison for witches who had committed atrocities with magic as well as those who were mentally unstable as a result of this.

This is explored more with the revelation of Rebekah's vessel's identity in They All Asked For You . The Kindred are described as ruling over the Asylum, policing prisoners and forcing them to take their lobelia flower pills in order to keep them too unfocused to be able to adequately practice magic. Cassie tells Rebekah that the Kindred were imprisoned in the Asylum for performing necromancy and immortality spells. Esther is revealed to have completed the transition, and is now a vampire. Finn, disappointed by her weakness, uses her as another body to channel for additional power, along with Mikael. However, whether this form of sacrificial magic used to channel Esther is fatal to regular vampires like the form practiced by Papa Tunde has yet to be determined. Hayley confesses to Jackson that she was with Elijah the past few days, both in terms of location as well as intimacy. Freya is revealed to be alive in this episode, though how that came to be is unknown. Her physical body is apparently locked in a glass coffin while her spiritual self can apparently wander and reveal itself to witches, as evidenced by how she reveals herself to Rebekah.

Elijah has another flashback of Tatia and almost attacks Cami afterward. Continuity Phoebe Tonkin 's 40th appearance as Hayley Marshall . Cultural References The title is a line from the song "Iko Iko," which is a much-covered New Orleans song that tells of a parade collision between two "tribes" of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written in 1953 by James "Sugar Boy" Crawford in New Orleans. Quotes Finn : "The only thing that can exist between your two species is death." Klaus to Kol : "We have a witch problem. Fix it." Cassie to Rebekah : "You're the sister, Rebekah?" Mikael to Finn : "Together, we can finally destroy them." Marcel : "We're gonna have a bloodbath on our hands." Klaus : "I will deposit your head on the end of a spike!" Finn : "They have no idea what they're up against now." Klaus : "Settling in to your new accommodations?" Kol as Kaleb : "Well, I would've preferred me own room.

But seeing as it's filled with a dusty nursery and a hybrid, I thought it best not to complain." Klaus : "I brought you something in honor of your return to the fold. I believe it's your favorite, or, at least it used to be. La Fille Verte " Kol as Kaleb : "Ding, dong. Wow. The witch is dead! Or undead... whichever." Klaus : "Now that we've entombed our mother, I intend to finish making the city safe for Hope. Which to start means dealing with the lingering problem of Finn." Cami : " Once he figures out what you've done to your mother, he's gonna go off the deep end." Klaus : "That's exactly why we need to keep you out of harm's way. Hayley and I will return home and take care of my wayward brother. Elijah will remain here with you. He's been experiencing some side effects since his ordeal as our mother's captive. Best he stay and convalesce." Elijah : "A single violent outburst at the filthy roadside cafe, and one never hears the end of it." Klaus : "Oh, Cami has a way with minds plagued by demons, brother.

You two can bond." Multimedia "Canal Street Blues" – The Tremè Brass Band "Smoke & Mirrors" – Agnes Obel

Question: Which much-covered New Orleans song tells of a parade collision between two 'tribes' of Mardi Gras Indians was written under the original title "Jock-A-Mo" in 1954?
Answer: """Iko Iko"""