In the time since the Saints won the Super Bowl on Sunday, a welcomed flood of euphoria has washed through the streets of the Big Easy. Today has been (un)officially dubbed Lombardi Gras, and in just a few hours the Saints are set to parade through the streets of New Orleans in what should easily go down as the most festive victory celebration in the history of American sports. Of course I, along with everyone in the Crescent City, have been reveling virtually nonstop since Shawn Payton and Drew Brees triumphantly raised the Lombardi Trophy. But I’ve finally managed to slow myself down (for a minute, at least) to share with you a few of the tunes that have helped to stir this city into its spirited state.

First I’ll start with the original Saints salute “Who Dat,” as performed by The Topcats and Aaron Neville and featuring a slew of old school Saints players from back in ’83. If you’ve been following the news lately, you may be aware that there has been a rather unsettling dispute regarding who owns the phrase “Who Dat,” the NFL or the people of New Orleans. Well, after Sunday night, I think it’s pretty clear that WE own “Who Dat” and that ain’t nobody gonna beet them Saints! Next up I’ve got the feel good anthem “Glory Bound,” which was composed by the original “Who Dat” composer Carlo Nuccio and featuring Theresa Andersson and (once again) Aaron Neville as well as a multitude of New Orleans favorites. In the hip-hop realm, I’ve got Baby Boy da Prince’s 2009 Saints remix of his local hit “This Is the Way I Live” cued up right behind, perhaps, the most played song of the season, K. Gates’ “Black and Gold (Who Dat!!),” a take on the Yin Yang Twins “Halftime (Stand Up and Get Crunk).” Then you’ll find Leslie Limberg’s Super Bowl spin on Miley Cyrus’ “Party in the USA,” “Party in the MIA” preceding one of my favorite Saints sing-alongs, Harrison Ave’s “I Believe,” originally a tribute to the first Saints playoff team in 1987. Last but not least, I’ve got Louis Armstrong’s performance of the city-adopted folkway “When the Saints Go Marching In” from the Ed Sullivan Show in 1959. Enjoy… WHO DAT!







MP3: The Topcats ft Aaron Neville – Who Dat
MP3: Various Artists ft Theresa Andersson and Aaron Neville – Glory Bound
MP3: K. Gates ft the Yin Yang Twins – Black and Gold (Who Dat!!)
MP3: Baby Boy Da Prince – This Is the Way I Live (Saints Remix 2009)
MP3: Leslie Limber – Party in the MIA
MP3: Harrison Ave – I Believe
MP3: Louis Armstrong – When the Saints Go Marching In

Waking up Sunday morning (May 3rd), I was in no rush to get down to the Fair Grounds. The final leg of the Jazzfest marathon awaited me, and I felt energized – after sleeping in late, of course. As I approached the gate, I heard Cedric Burnside & Lightnin’ Malcolm bearing down some mean Hill Country Blues. Without hesitation, I headed straight to the Blues tent and sought out those blustery rhythms. There, drummer Burnside – grandson of the Mississippi blues legend R.L. Burnside – and his burly, guitar-toting partner Malcolm blazed through tracks such as the sweltering “My Sweetheart” and the blistering “Tryin’ not to Pull My Gun” from their aptly title album 2 Man Wrecking Crew. The tent was smoking, and the eager crowd dove right into the hard-nosed duo’s muscular beats and fiery guitar riffs.

After grooving till 4:00am Saturday morning, I somehow managed to hit the Fair Grounds running on May 2nd. This day at Jazzfest, I did it big. My first stop was at the Acura stage where Cajun icon, activist and poet laureate Zachary Richard showcased songs from his latest release Last Kiss – his first English album in 15 years. He also riled up the crowd with Louisiana rockers “Snake Bite Love” and “Crawfish.” In addition to swapping accordion solos with pianist David Torkanowsky, the most spirited moment of Richard's set came during the Hurricane Katrina remembrance “The Levee Broke:” “Seven generations stuck in the mud, but the only way that I’ll be leaving Louisiana is if I’m swept away in a flood,” those lyrics carried with them a profound message that resonated throughout the crowd.