|Single by The Dixie Cups|
|from the album Chapel of Love|
|B-side||"Gee Baby Gee" or "I'm Gonna Get You Yet"|
|Songwriter(s)||James Crawford, Barbara Hawkins, Rosa Hawkins and Joan Johnson|
|Producer(s)||Jerry Leiber, Mike Stoller, Ellie Greenwich and Jeff Barry|
|The Dixie Cups singles chronology|
"Iko Iko" (/
- 1 Sugar Boy and his Cane Cutters version
- 2 The Dixie Cups version
- 3 Dr. John version
- 4 Natasha version
- 5 The Belle Stars version
- 6 Captain Jack version
- 7 Other versions
- 8 Linguistic origins
- 9 Pop culture usage
- 10 References
- 11 External links
Sugar Boy and his Cane Cutters version
The song was originally recorded by and released as a single in November 1953 by James Crawford as "Sugar Boy and his Cane Cutters", on Checker Records (Checker 787). The single features Dave Lastie on tenor saxophone. Crawford's version of the song did not make the charts. 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.
"Sugar Boy" Crawford's story
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 Dixie Cups version
The Dixie Cups version was the result of an unplanned jam in a New York City recording studio where they began an impromptu version of "Iko Iko", accompanying themselves with drumsticks on an aluminum chair, a studio ashtray and a Coke bottle. After their producers cleaned up the track and added the backup vocals, bass and drums to the song, the single was then released in March 1965. The Dixie Cups scored an international hit single with "Iko Iko" in May 1965 on the Billboard Hot 100 chart where their version peaked at number 20 and spent 10 weeks on the Top 100. The song also charted at number 23 on the UK Singles Chart and peaked at number 20 on the R&B Chart. In Canada "Iko Iko" reached number 26 on the RPM Chart. It was the third single taken from their debut studio album Chapel of Love issued on Red Bird Records in August 1964.
The Dixie Cups had learned "Iko, Iko" from hearing the Hawkins sisters' grandmother sing it, but they 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.
The Dixie Cups' version was later included on the soundtrack to the 1987 film The Big Easy. This same version was also used on the soundtrack of the 2005 film The Skeleton Key. In 2009, a version based on The Dixie Cups' was used in an ad for Lipton Rainforest Alliance Ice Tea.
After the Dixie Cups version of "Iko Iko" was a hit in 1965, they and their record label, Red Bird Records, were sued by James Crawford, who claimed that "Iko Iko" was the same as his composition "Jock-a-mo". 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", but being credited 25% for public performances, such as on radio, of "Iko Iko" in the United States. 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."
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. Joe Jones successfully licensed "Iko Iko" outside of North America. 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. 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. The Fifth Circuit Court of Appeals upheld the jury verdict and sanctioned Joe Jones.
|U.S. Billboard Hot 100||20|
|UK Singles Chart||23|
|U.S. R&B Chart||20|
Dr. John version
|Single by Dr. John|
|from the album Dr. John's Gumbo|
|B-side||"Huey Smith Medley"|
|Genre||Rhythm and Blues|
|Songwriter(s)||Barbara Hawkins, Rosa Hawkins, Joan Johnson, James Crawford|
|Producer(s)||Jerry Wexler, Harold Battiste|
|Dr. John singles chronology|
New Orleans singer and pianist Dr. John covered "Iko Iko" in 1972 for his fifth studio album Dr. John's Gumbo. Released as a single in March 1972 on Atco Records, his version of the song charted at number 71 on the Billboard Hot 100 chart. It was produced by Jerry Wexler and Harold Battiste. The "Iko Iko" story, is 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.
Dr. John, playing himself, performs the song in the "movie" Polynesian Town on the May 22, 1981 episode of the Canadian comedy show SCTV.
|U.S. Billboard Hot 100||71|
|Single by Natasha|
|from the album Captured|
|Format||7" vinyl, 12" vinyl|
|Songwriter(s)||Barbara Hawkins, Rosa Hawkins, Joan Johnson|
|Natasha singles chronology|
The most successful charting version in the UK was recorded by the Scottish singer Natasha, whose version reached number 10 on the UK singles chart in 1982. The song also charted highly in Ireland, Israel and New Zealand. The single was produced by Tom Newman. A remix of the single was released in 2007, and Natasha's version enjoyed a resurgence in 2014 when it was included on the soundtrack to the highest-grossing Italian film of 2014, A Boss in the Living Room (Un Boss in Salotto).
|UK Singles Chart||10|
The Belle Stars version
|Single by The Belle Stars|
|from the album The Belle Stars/Rain Man Soundtrack|
|Songwriter(s)||Barbara Hawkins, Rosa Hawkins, Joan Johnson|
|The Belle Stars singles chronology|
In 1989, the British girl group the Belle Stars had a US chart hit with their cover of "Iko Iko" which reached number 14 on the Billboard Hot 100 chart in March, after it was included on the soundtrack of the film Rain Man, starring Tom Cruise and Dustin Hoffman. The single was issued on Capitol Records. Their song is in the opening scene of the 1988 film.
It was originally released several years earlier on Stiff Records in 1982 as a single in the UK where it peaked at a modest number 35 on the UK Singles Chart in June 1982. The track was produced by Brian Tench and was also featured on the band's eponymous debut album, The Belle Stars which reached number 15 on the UK Albums Chart.
|UK Singles Chart||35|
|U.S. Billboard Hot 100||14|
Captain Jack version
|Single by Captain Jack|
|from the album Top Secret|
|Songwriter(s)||Barbara Hawkins, Rosa Hawkins, Joan Johnson, James Crawford|
|Producer(s)||Udo Niebergall and Eric Sneo|
|Captain Jack singles chronology|
The German Eurodance act Captain Jack recorded a cover version of "Iko Iko" for their fourth studio album, Top Secret in 2001. It was released on E-Park Records. The single was produced by Udo Niebergall and Eric Sneo. Captain Jack's version was a hit in several countries, reaching number 22 in Germany, number 62 in Switzerland and peaking at number 16 in Austria.
- The Larry Williams version, included on the Specialty Records Larry Williams album released in 1989, credits the song as being written by "Hawkins, Hawkins and Johnson" though Barbara Ann and Rosa Lee Hawkins and Joan Marie Johnson did not record it until eight years after Williams recorded it on April 26, 1957.
- Rolf Harris in 1965 recorded a cover version 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. It was released in Australia both on the Rolf Harris Show album, and on the Jake The Peg picture-cover EP.
- It has also been covered by the Grateful Dead who made "Iko Iko" a staple in their live shows from 1977 onward. It was included on their live album, Reckoning as a bonus track on the 2004 CD reissue.
- The Neville Brothers recorded it in a medley with the melodically-related Mardi Gras song "Brother John" as "Brother John/Iko Iko" for their 1981 album Fiyo on the Bayou.
- Saragossa Band recorded a cover of the song in 1981 as "Aiko Aiko".
- Cyndi Lauper covered the song on her True Colors album in 1986.
- An a cappella version of the song was performed by Britta Phillips, Julia Roberts, Justine Bateman, and Trini Alvarado in the 1988 film Satisfaction.
- Amy Holland covered the song in 1989 for the soundtrack of the film K-9.
- Kids Incorporated covered the song in the episode "Pollution Problems", recorded in 1989 and released in 1990.
- The song is regularly performed by artists from New Orleans such as The Radiators, Willy DeVille, Buckwheat Zydeco, Irma Thomas and Zachary Richard, and can often be heard on the streets and in the bars of New Orleans, especially during Mardi Gras.
- James Booker covered the song on his album United, Our Thing Will Stand (2004).
- Other remakes were by Cowboy Mouth, Warren Zevon, Long John Baldry (with backing vocal by Elton John), Dave Matthews & Friends, The Ordinary Boys, Glass Candy, and Sharon, Lois & Bram, among others.
- Aaron Carter covered "Iko Iko" for 2000's The Little Vampire soundtrack and included it on his album Aaron's Party (Come Get It). He filmed a music video for his cover located in Honolulu, Hawaii.
- A later version by Zap Mama, with rewritten lyrics, was featured in the opening sequences of the film Mission: Impossible 2 in 2000.
- South African singer Claire Johnston covered the song for her 2004 album, Africa Blue.
- South African singer Kurt Darren covered the song in Afrikaans for his 2004 album, Staan Op.
- The band Schtärneföifi released a Swiss German version, "Heicho – Ohni Znacht is Bett", which has become a popular children's song in Switzerland. In 2009, the band rerecorded their version with The Dixie Cups and the Hot 8 Brass Band in New Orleans.
- Rooster Davis and Ann Vriend perform the song on Rooster Davis' album "For Saints and Sinners", released in 2015.
- Alvin and the Chipmunks covered the song for their 2015 film and soundtrack Alvin and the Chipmunks: The Road Chip.
- Turkish singer Gökçe Dinçer recorded a cover of the song in 2015 as "Tik Tak".
- Sia, along with Jimmy Fallon, Natalie Portman, and band The Roots, performed the song for The Tonight Show Starring Jimmy Fallon in 2016.
- Musical agency SOUTH created an Italian version of the song called "Bella" for two US commercials for Peroni Brewery in 2019.
Linguists and historians have proposed a variety of origins for the seemingly nonsensical chorus, suggesting that the words may come from a melange of cultures.
An interpretation in Louisiana Creole French is:
Akout, akout, an déyè
Chaque amour fi nou wa na né
Chaque amour fi na né
Hey now! Hey now!
Listen, listen at the back
All our love made our king be born
All our love made it happen.
Linguist Geoffrey D. Kimball derives the lyrics of the song in part from Mobilian Jargon, an extinct American Indian trade language consisting mostly of Choctaw and Chickasaw words and once used by Southeastern American Indians, Blacks, and European settlers and their descendants in the Gulf Coast Region. In Mobilian Jargon, čokəma fehna (interpreted as "jockomo feeno") was a commonly used phrase, meaning "very good".
Another possible translation interprets the third and fourth lines as:
Chokma finha an dan déyè
Chokma finha ane.
Chickasaw words "chokma" ("it's good") and "finha" ("very"), Creole "an dan déyè" from French Creole "an dans déyè" ("at the back"), and the Creole "ane" from the French "année" ("year").
It's very good at the rear
It's a very good year.
In a 2009 Offbeat article, the Ghanaian social linguist Dr. Evershed Amuzu said the chorus was "definitely West African", reflecting the tonal patterns of the region. He notes that the phrase ayeko—often doubled as ayeko, ayeko—is a popular chant meaning "well done, or congratulations" among the Akan and Ewe people in modern-day Togo, Ghana, and Benin. Both groups were frequently taken in the slave trade, often through Haiti to Louisiana. Ewes in particular are credited with bringing West African cultural influences like Vodun rites to Haiti and on to New Orleans.
Musicologist Ned Sublette has backed the idea that the chorus might have roots in Haitian slave culture, considering that the rhythms of Mardi Gras Indians are nearly indistinguishable from the Haitian Kata rhythm. Yaquimo, he has also noted, was a common name among the Taino inhabitants of Haiti in the early years of the slave trade. "Jakamo Fi Na Ye" is also, whether coincidentally or not, the phrase "The black cat is here" in Bambara, a West African Mandingo language.
In a 1991 lecture to the New Orleans Social Science History Association, Dr. Sybil Kein proposed the following translation from Yoruba and Creole:
God is watching
Jacouman causes it; we will be emancipated
Jacouman urges it; we will wait.
Louisiana Voodoo practitioners would recognize many aspects of the song as being about spirit possession. The practitioner, the horse, waves a flag representing a certain god to call that god into himself or herself. Setting a flag on fire is a curse. The man in green, who either changes personality or whose appearance is deceiving, would be recognized in Voodoo as possessed by a peaceful Rada spirit, inclining to green clothes and love magic. The man in red, who is being sent to kill, would likely be possessed by a vengeful Petwo spirit.
Haitian ethnologist Milo Rigaud published a transcription in 1953 of a Voodoo chant, "Crabigne Nago". This chant to invoke the Voodoo mystère Ogou Shalodeh is similar to "Iko, Iko" in both pentameter and phones.
Liki, liki ô! Liki, liki ô!
Papa Ogou Jacoumon,
Papa Ogou Shalodeh.
Pop culture usage
- The film The Big Easy (1987) featured the Dixie Cups version of the song.
- The film Satisfaction (1988) pays homage to this song with the band singing the song on their way to their next gig.
- The Belle Stars version is used in Rain Man (1988).
- The Todd Phillips film The Hangover (2009) pays homage to the Belle Stars version with a scene (also a homage to Rain Man) in which the men attempt to win money at blackjack by counting cards.
- A version in 1990 by Amit Kumar is performed in the Hindi film Kishen Kanhaiya (1990).
- Zap Mama covered the song for the opening scene of Mission: Impossible 2 (2000).
- A recurring song in The Skeleton Key (2005).
- Natasha's version is used in A Boss in the Living Room (Italian: Un Boss In Salotto) (2014).
- Alvin and the Chipmunks covered the song for their 2015 film and soundtrack Alvin and the Chipmunks: The Road Chip
- A modified version was created for a "Nickelodeon Nation" campaign.
- South African artist Kurt Darren created his own version of the song, entitled "Aiko Aiko".
- In 1989, Mowaya covered this song in Season 1 of The All-New Mickey Mouse Club (now MMC).
- Actress Kim Dickens' character Janette sings it while wandering the streets during Mardi Gras in episode 8, season 1 of the HBO series Treme. It also features in episode 4, season 3 of the series.
- It was used as an opening song in Miss USA 2014 which was held in Baton Rouge, Louisiana.
- It also made an appearance on The Fresh Prince of Bel Air in Season 2, when Will and Aunt Vivian play a jump rope game together singing the song.
- It's featured in the 2017 series American Gods, during a bar fight scene depicting the joy of conflict.
- Abita Brewing Company produces a beer called Jockamo IPA.
- Advertising agency Saatchi & Saatchi (Australia) used the track as backing for a Cadbury Chocolates Australia 2014 ad campaign.
- The protagonist of Neil Gaiman's novel American Gods recognizes the song as sung by the Dixie Cups as "an old children's song" while in a dive bar with the god Odin.
- [Cafarelli, Carl (April 25, 1997). "An Informal History of Bubblegum Music". Goldmine #437. pp. 16–76.]
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- [dead link]
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