tag:blogger.com,1999:blog-59980399846149934572024-03-19T01:48:08.591-07:00Early Cajun MusicA unique window into the world of Cajun music between 1928 and 1965. Compiled histories from websites, books, news articles, liner notes, and interviews. Most come from my personal 78 collection. Also covering Creole, Cajun-Country, and Cajun swing.WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.comBlogger541125tag:blogger.com,1999:blog-5998039984614993457.post-34732495255939558192022-12-20T13:01:00.002-08:002022-12-20T13:42:26.462-08:00"Je Te Recontrai De La Broulier" - Leo Soileau & Moise Robin<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMmXFeXq8WBWR1a04CQ3b5VdEQ6eHnRksm217qlc7xCRqsQ0v1HTkxK9J2J1eXUnvZ8yPn7zMOXJZgW1eOTWQsa2aYP3QEqFaq8kb-dAAnKPiseUgX7JcgNs1gumkv-tqwdg6xzhx79U/s1600/Soileau_Robin_12908-B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="492" data-original-width="489" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMmXFeXq8WBWR1a04CQ3b5VdEQ6eHnRksm217qlc7xCRqsQ0v1HTkxK9J2J1eXUnvZ8yPn7zMOXJZgW1eOTWQsa2aYP3QEqFaq8kb-dAAnKPiseUgX7JcgNs1gumkv-tqwdg6xzhx79U/s320/Soileau_Robin_12908-B.jpg" width="318" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">I Had Met You In The Fog! Fiddler <a href="https://en.wikipedia.org/wiki/Leo_Soileau">Leo Soileau</a> was exposed to music at an early age. His father was an amateur fiddler who was very adept at playing many French Cajun songs. By age 12, Leo, too, could ably handle a fiddle and bow and play the traditional music learned from his father.<span style="font-size: xx-small;">1</span> Leo recalled,</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>My papa and his brother would plough all day and come in and play music every night. My papa used to take his fiddle out after supper. I can see him now.<span style="font-size: xx-small;">2</span> </i> </span></blockquote>
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<span style="font-family: verdana;"><i>Moi, j'connais, moi j'ai vu, dans le brouillard, hier matin,</i></span></blockquote><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>J'ai demandé à ton papa pourquoi tu viens pas à la maison.</i></span></blockquote>
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Ton papa et ta maman z'é (?)m'as dit, malheureuse,</blockquote>
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C'est trop jeune pour tu t'aimé avec ton neg', oh, yé yaille,</blockquote>
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Quelles nouvelles que moi j'attends, chère 'tite fille, ça crève mon cœur,</blockquote>
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Mais comment donc moi j'vas faire, moi tout seul, malheureuse.</blockquote>
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C'est la danse que j’étais z'avec toi, mais malheureuse. </blockquote>
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Mais (re)garde encore qui sont aprés faire avec nous autre aujourd'hui. </blockquote>
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Ecoute pas ton papa (et) de ta maman, oh, chere 'tite fille. </blockquote>
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Et tu vas venir dans la maison z'avec moi d'un jour à venir.</blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUtTbrulanPnKLbCoO0IgYjKGOC4QQORZ19wySit7ruthz3dHDiE8VxybQMp-8tz6YrwUZdjcci3dKwo6JlKa8_MSBQTGZ4DME5uOawhPEf5rPgqwuo8CWGWikM4zQHV4QpoHPZ1zUrEc/s1600/moiserobin.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="523" data-original-width="458" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUtTbrulanPnKLbCoO0IgYjKGOC4QQORZ19wySit7ruthz3dHDiE8VxybQMp-8tz6YrwUZdjcci3dKwo6JlKa8_MSBQTGZ4DME5uOawhPEf5rPgqwuo8CWGWikM4zQHV4QpoHPZ1zUrEc/s320/moiserobin.JPG" width="280" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Moise Robin</span></td></tr>
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<span style="font-family: verdana;"><br />
<span face=""verdana" , sans-serif">Cajun musician Moise Robin was the second accordionist that Leo chose to work with. The two began performing together in 1928, shortly after Soileau’s first partner, Mayeus LaFleur, was shot and killed. During the summer and fall of 1929, they recorded for three different companies: Paramount, Victor, and Vocalion. Together, they traveled to the Gennett Recording Studio, Starr Piano Company Building, Whitewater Gorge Park in Richmond, Indiana around July of 1929. The session produced</span><span face=""verdana" , sans-serif"> "Je T'ai Recontre Dans Le Brouillard" (#12908). The accordion melody could have been inspired by John Bertrand's "<a href="http://earlycajunmusic.blogspot.com/2015/10/the-rabbit-stole-pumpkin-john-bertrand.html">Rabbit Stole The Pumpkin</a>", however, the vocals are unique on their own. Misspelled as "Je Te Recontrai de la Broulier", Moise sings of young girl chasing an older man, a song most likely self-composed. Moise recalled,</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>I made the songs myself, when I was young. My dances and my tunes and my songs, I would write in French and understand my own language, you see. So I would compose my songs and write them down and practice them.<span style="font-size: xx-small;">4</span> </i></span></blockquote>
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<span style="font-family: verdana;"><i>I know, I saw through the fog, yesterday morning,</i></span></blockquote><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>I asked your dad why you didn't come home.</i></span></blockquote>
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Your dad and your mom told me they're unhappy,</blockquote>
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That's too young for you to be in love with an older man, oh yé yaille,</blockquote>
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That news I awaited for, dear little girl, burst my heart,</blockquote>
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Well, how am I going to make it all by myself, oh my.</blockquote>
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This is the dance I had with you, well oh my,</blockquote>
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Well, look who's still with us after another day,</blockquote>
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Don't listen to your dad and your mom, oh dear little girl,</blockquote>
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And come to the house with me another day in the future.</blockquote>
</i></span></blockquote>
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<span face=""verdana" , sans-serif">When the recording session was done, the engineers began producing the recordings on 78 RPM records. Unfortunately, when it was time to press the previous song "La Valse De La Rue Canal", Paramount engineers mistakenly replaced it with audio of "Je Te Recontrai De La Broulier". Today, the original Soileau and Robin recording of "La Valse De La Rue Canal" has yet to surface. </span><br />
<span face=""verdana" , sans-serif"><br /></span></span><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TbErwI3t9dc" width="320" youtube-src-id="TbErwI3t9dc"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><ol>
<li><span style="font-family: verdana; font-size: x-small;">The Ville Platte Gazette (Ville Platte, Louisiana) 06 Feb 1969</span></li>
<li><span style="font-family: verdana; font-size: x-small;">Times Picayune. Leo Soileau. 1975.</span></li>
<li><span style="font-family: verdana; font-size: x-small;">Image courtesy of the Arhoolie Foundation</span></li>
<li><span style="font-family: verdana; font-size: x-small;">https://arhoolie.org/moise-robin/</span></li>
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<span style="font-family: verdana; font-size: x-small;"><span face=""verdana" , sans-serif">Release Info:</span><br /><span face=""verdana" , sans-serif">15345-A Ce Pas La Pienne Tu Pleur | </span><span face=""verdana" , sans-serif">Paramount 12908-A</span></span></div>
<div><span style="font-family: verdana; font-size: x-small;">15348-A Je Te Recontrai De La Broulier | Paramount 12908-B</span></div>
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<span style="font-family: verdana; font-size: x-small;">Find:</span></div>
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<span style="font-family: verdana; font-size: x-small;">The Early Recordings of Leo Soileau (Yazoo, 2006)</span></div>
WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-37740881020704318902022-11-02T12:19:00.003-07:002023-03-15T12:16:34.503-07:00"Old Time Waltz" - Texas Melody Boys<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH8RXdBFDCVbxXVZH12VjEcG5QfDzOH9z0gMhP-L8MlYzwl-aD941rtDrDXlH4SLxuhk9NSBlLfZnyTKJrPGzqSnsKYKqn5TVP-twlJ4PYR40R5y2-I8S4HKyyv2jmSEfnVEo98ttgF-o/s1600/oldtimewaltz-texasmelodyboys.PNG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH8RXdBFDCVbxXVZH12VjEcG5QfDzOH9z0gMhP-L8MlYzwl-aD941rtDrDXlH4SLxuhk9NSBlLfZnyTKJrPGzqSnsKYKqn5TVP-twlJ4PYR40R5y2-I8S4HKyyv2jmSEfnVEo98ttgF-o/s320/oldtimewaltz-texasmelodyboys.PNG" width="279" /></a></div><span style="font-family: verdana;">Robert William "Pee Wee" Pitre was one of the single session Cajun recording artist of the early 1950s. A native of Kinder, Louisiana, he was a radio entertainer and accordion player in Eunice. He moved to Texas at some point after WWII and formed a group he referred to as the Texas Melody Boys. </span><div><span style="font-family: verdana;">
<br />During his early years, Pitre worked along side Eddie Shuler's band and performed on his radio show. Eventually, Shuler hosted a stage show where Pitre showed up as a one-man-band, dressed in blackface minstrel.2 <br /><br /><br /></span><div><blockquote><span style="font-family: verdana;"><i><blockquote>Oh, mignone, moi j'connais, tu va vieux nègre,</blockquote><blockquote>Tu va vieux nègre, mais, ça t'as fais dedans vieux nègre.</blockquote><blockquote><br /></blockquote><blockquote>Eh, mignone, moi j'connais, tu va vieux nègre,</blockquote><blockquote>T'es misère, mais, mon tout seule à la maison,</blockquote><blockquote>Eh, catin, t'oublie faire, mais, ça t'as fais,</blockquote><blockquote>T'oublie faire, mais, ça t'as fais, dedans vieux nègre.</blockquote></i></span></blockquote><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ucUVy6eda3R4G2k3e10hspbLW84XYuGlXeLj1SvGI3o31p282uC3jy6BBgo4vm79KpEhAYO3-nCo1leA0gAGS1fWlYFfH9dE6bOtBitOR12bCwe2gBeU5P1rVGPVlTevfCdvaW3nZlo/s1600/peeweepitre-LV-6-17-1954.PNG" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="492" data-original-width="650" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ucUVy6eda3R4G2k3e10hspbLW84XYuGlXeLj1SvGI3o31p282uC3jy6BBgo4vm79KpEhAYO3-nCo1leA0gAGS1fWlYFfH9dE6bOtBitOR12bCwe2gBeU5P1rVGPVlTevfCdvaW3nZlo/s320/peeweepitre-LV-6-17-1954.PNG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Liberty Vindicator<br />Jun 17th, 1954</span></td></tr>
</tbody></table><span style="font-family: verdana;">Pee Wee moved to Texas where he worked alongside fiddler Ralph Richardson. Ralph, originally from Lake Charles, heard Pee Wee playing on KPLC. </span><span style="font-family: verdana;"> </span><span style="font-family: verdana;">According to researcher Lyle Ferbrache,</span><div><div><span style="font-family: verdana;"><blockquote><i>He was happy go-lucky and was a very smooth dancer, drawing his friends to follow him from club to club. Pee Wee also had a record on his own Pee Wee label with fiddle player Ralph Richardson.<span style="font-size: xx-small;">1</span> </i></blockquote></span></div></div></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Pitre's reputation as a solo entertainer made the newspapers during a halftime football show on the field. </span></div><div><span style="font-family: verdana;"></span><blockquote><span style="font-family: verdana;">"The second quarter saw Private Peewee Pitre, </span><span style="font-family: verdana;">who was recently awarded a Hollywood </span><span style="font-family: verdana;">contract which he plans to take up after the </span><span style="font-family: verdana;">duration, amaze the crowd with songs, </span><span style="font-family: verdana;">dances, and snappy patter. He scored heavily </span><span style="font-family: verdana;">with musical imitations without instruments </span><span style="font-family: verdana;">and tap danced his way to a touchdown as the </span><span style="font-family: verdana;">half ended, with a glass of water balanced on his </span><span style="font-family: verdana;">head."<span style="font-size: xx-small;">3</span> -<i>Lake Charles American Press</i></span></blockquote><i><span style="font-family: verdana;"></span></i><span style="font-family: verdana;"><div><br /></div></span><div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Oh, cutie, I know you left, your old man,</blockquote><blockquote>You left your old man, well, what you've done to your old man.</blockquote><blockquote><br /></blockquote><blockquote>Hey, cutie, I know you left your old man,</blockquote><blockquote>You are in misery, well, I'm all alone at home,</blockquote><blockquote>Hey, pretty doll, you've forgotten, well, what you've done,</blockquote><blockquote>You've forgotten, well, what you've done to your old man.</blockquote></i></span></blockquote></div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_PEGywEw7BA-IGKgpNt9MXd4w-PqqYBddKW6tYj3kZqX3NqDBxwunYnW1gYiBdyY68g9hjnYNi0y-HbFFqnSGhHJsaY-hAelGoUL9-vPK_Eu7m0CM6e48QRbSjFCbHsFaeCU5w1lO3Y3XsKHOuwo45CoXDsLQskLjONF7Ri-eVmxvVtTUzldvVooo/s443/peeweepitre.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="443" data-original-width="321" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_PEGywEw7BA-IGKgpNt9MXd4w-PqqYBddKW6tYj3kZqX3NqDBxwunYnW1gYiBdyY68g9hjnYNi0y-HbFFqnSGhHJsaY-hAelGoUL9-vPK_Eu7m0CM6e48QRbSjFCbHsFaeCU5w1lO3Y3XsKHOuwo45CoXDsLQskLjONF7Ri-eVmxvVtTUzldvVooo/s320/peeweepitre.JPG" width="232" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Pee Wee Pitre</span></td></tr></tbody></table><div><div><div><span style="font-family: verdana;">"Old Time Waltz" (#500) turned out to be his rendition of the classic "Jolie Blonde", first recorded by the Amede Breaux. Pitre's repertoire of accordion songs were quite limited according to the Vanicor family. After Ellis and Orsy Vanicor agreed to accompany Pitre at a performance, he played the same songs over and over, forcing the dance feel long and tiresome. Fiddler Wilson Granger shared the same experience with Pitre and his antics.</span></div></div></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"></span></div><blockquote><div><span style="font-family: verdana;"><i>Pee Wee Pitre was slick. When we’d play, like at the Shamrock Club. He’d come there about 10, 11 o’clock. He’d say (motioning toward a distant table), “A bunch of people over there asked me to play ‘Jolie Blonde’ for them.” He was lying, but we’d let him play it.<span style="font-size: xx-small;">4</span> </i></span></div><div><span style="font-family: verdana;"><i><br /></i></span></div><div><span style="font-family: verdana;"><i>I went there one night to play music with him. Bill Mott was playing accordion with Pitre that night. He wouldn’t give us a chance to tune our music. He’d make us play whether we were ready or not. He was slick. He could talk himself into anything.</i><span style="font-size: xx-small;">4</span> </span></div></blockquote><div><span style="font-family: verdana;"></span></div><span style="font-family: verdana;">
<br /><br />
<br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/m9dgdBvl58U" width="320" youtube-src-id="m9dgdBvl58U"></iframe></div><br /><span style="font-family: verdana;"><br /></span></div><div><ol><li><span style="font-family: verdana; font-size: x-small;">Post War Cajun 78 RPM Nuggets - Blues & Rhythm. Lyle Ferbrache. 2014. </span></li><li><span style="font-family: verdana; font-size: x-small;">The Eunice News Eunice, Louisiana · Friday, November 29, 1946</span></li><li><span style="font-family: verdana; font-size: x-small;"><a href="http://earlycajunmusic.blogspot.com/2017/05/cajun-dancehall-heyday-by-ron-yule.html">"Cajun Dancehall Heyday" by Ron Yule</a></span></li><li><span style="font-family: verdana; font-size: x-small;">Interview with Wilson Granger. Andrew Brown. 2005.</span></li></ol><div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div></div></div></div></div><div><div><span style="font-family: verdana; font-size: x-small;">Ain’t No More | Khoury's 500 A</span></div><div><span style="font-family: verdana; font-size: x-small;">Old Time Waltz | Khoury's 500 B</span></div></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><div><span style="font-family: verdana; font-size: x-small;">Find:</span></div><div><span style="font-family: verdana; font-size: x-small;">Cajun Honky Tonk: The Khoury Recordings, Volume 1 (Arhoolie, 1995)</span></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-25133041381933983112022-10-20T14:03:00.001-07:002022-10-20T14:03:09.879-07:00"Chinaball Special" - Veteran Playboys<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvv3AhBZvXI18woFihWn1bG12TOLNzUwN2qtQ5W2_vHJ6BucTRAtF3BIrGcvUuudDMl0ArVz2cJpa8H0w7WEMUgn3yOxjIqwexMG2Bw9Fq0SHsHN2BmMS-n9Xn0mFTxnfKSvVJ9bMNMS4urzeTYlhqHLYo-YuzzC1Q68WOM_lN1eB5KEcp-_8rKDRU/s471/chinaballspecial-adamhebert.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="471" data-original-width="384" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvv3AhBZvXI18woFihWn1bG12TOLNzUwN2qtQ5W2_vHJ6BucTRAtF3BIrGcvUuudDMl0ArVz2cJpa8H0w7WEMUgn3yOxjIqwexMG2Bw9Fq0SHsHN2BmMS-n9Xn0mFTxnfKSvVJ9bMNMS4urzeTYlhqHLYo-YuzzC1Q68WOM_lN1eB5KEcp-_8rKDRU/s320/chinaballspecial-adamhebert.JPG" width="261" /></a></div><span style="font-family: verdana;">Hailing form the same Pointe Noire area west of Church Point that produced the remarkable Lejeune clan of singers and musicians, Alphée Bergeron had played before the war (including alongside Amede Ardoin and Mayuse Lafleur), but like many of his contemporaries, he had put aside his accordion for two reasons: first, because he felt he should tend to the serious business of raising his family and second, because accordion driven Cajun music had faded from the scene. In the years following WWII, many were growing uncomfortable with the widespread loss of ethnic identity caused by social stigmatization. Legendary Cajun musicians such as Iry Lejeune, Lawrence Walker, Austin Pitre and Aldus Roger launched a renaissance of Cajun music culture. Another of these pioneers was Alphée Bergeron.<span style="font-size: xx-small;">2</span> </span></div><div><br /></div><div><blockquote><blockquote><span style="font-family: verdana;"><i>Hé, jolie petite blonde, j'aimais tant, </i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Oh, petite mignonne pour moi, </i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Hé, pour faire donc toi t'as eu pour me quitter moi comme ça.</i></span></blockquote><blockquote><span style="font-family: verdana;"><i><br /></i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Hé, 'tite fille, mais gardez donc de ma maison, </i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Hé, mignonne,(je) m'ennuie de toi, </i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Hé, pour faire donc je pourrai pas te revoir une fois encore.</i></span></blockquote><blockquote><span style="font-family: verdana;"><i><br /></i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Hé, petite, moi j'voudrais, mais, te demander, </i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Oh, c'est bien éyou t'as été?, </i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Ouais, parce que moi je suis misérable quand je vais à Duralde asteure. </i></span></blockquote></blockquote></div><div><br /></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnUGIUh_6MNwTY-nfP20LzATI13Xt2Lq6TzMvfMxzbkihDUz8KBvGm1M-LjVrRqG4EN_AoRiq-n4QFg473aBWIxQPDpOhVeQ3cEKhfco1upPEm1Lh61Cw8a2cKffu0NfS06kyi1BIDQ2U/s680/billmatte-veteransplayboys.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="454" data-original-width="680" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnUGIUh_6MNwTY-nfP20LzATI13Xt2Lq6TzMvfMxzbkihDUz8KBvGm1M-LjVrRqG4EN_AoRiq-n4QFg473aBWIxQPDpOhVeQ3cEKhfco1upPEm1Lh61Cw8a2cKffu0NfS06kyi1BIDQ2U/s320/billmatte-veteransplayboys.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Shirley Bergeron, Bill Matte, Adam Hebert,<br />Raymond Lafleur, Alphee Bergeron,<br />Wallace Lafleur</span></td></tr></tbody></table><span style="font-family: verdana;">In 1947, the musical climate had changed. He dusted off his instrument and formed his aplty-named Veteran Playboys. He teamed up with fiddler Adam Hebert, a veteran himself, in 1948 in which they recorded the "Chinaball Special" (#1012), named after a dance-hall they frequented called the Chinaball Club in Bristol, Louisiana. It featured a melody commonly associated with the song "<a href="http://earlycajunmusic.blogspot.com/2017/06/bo-sparkle-waltz-leroy-broussard.html">B.O. Sparkle</a>" by Leroy Broussard. </span><span style="font-family: verdana;">According to author and collector, Lyle Ferbrache,</span></div><div><span style="font-family: verdana;"></span><blockquote><i><span style="font-family: verdana;">This is truly one of the great post-war records. It was the first super group of Cajun music. Adam Hebert sings and plays fiddle with </span><span style="font-family: verdana;">Alphée </span><span style="font-family: verdana;">Bergeron playing accordion. </span><span style="font-family: verdana;">Alphée</span><span style="font-family: verdana;">'s son, Shirley Bergeron, Bill Matte and Raymond Lafleur played in this great band as well. In time, all the members went on to their own successes.<span style="font-size: xx-small;">1</span> </span></i></blockquote><p> </p></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB8Z7S1KtnQG0Wc687P-FG2Zb_sEnbmR77oJblKvhdk4kdeZzGEhyphenhyphenzBvxsyHVWVJue35HvTCteQ7wJAu6wr8Wkaz6IZYdB4XS4fCLmPfWD8mxL_1vOkfZ0X8D4U2tqhh5B9opIqVGguc/s459/alpheebergeron.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="459" data-original-width="418" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB8Z7S1KtnQG0Wc687P-FG2Zb_sEnbmR77oJblKvhdk4kdeZzGEhyphenhyphenzBvxsyHVWVJue35HvTCteQ7wJAu6wr8Wkaz6IZYdB4XS4fCLmPfWD8mxL_1vOkfZ0X8D4U2tqhh5B9opIqVGguc/s320/alpheebergeron.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Alphee Bergeron</span></td></tr></tbody></table><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Hey, pretty little blond, I loved so much,</blockquote><blockquote>Oh, little cutie for me,</blockquote><blockquote>Hey, so what's done, you had to leave me like that.</blockquote><blockquote><br /></blockquote><blockquote>Hey, little girl, well, so look, I'm home,</blockquote><blockquote>Hey, cutie, I miss you.</blockquote><blockquote>Hey, so what's done, I won't be able to see you again.</blockquote><blockquote><br /></blockquote><blockquote>Hey, little one, I would like, well, to ask you,</blockquote><blockquote>Oh, it's good wherever you are?</blockquote><blockquote>Yeah, because I am miserable when I go to Duralde, right now. </blockquote></i></span></blockquote></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Alphée </span><span style="font-family: verdana;">gave up farming after Hurricane Audrey wiped out his crops in 1957. However, he was still able to make a living as a musician and continued to play music alongside Adam Hebert and Bill Matte. </span></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJDTYEKzrqValO7hhjafD9UDQfz1FxAAWmQLST4VWVKz7nHplW849H1HvueIB-Z3HHZtOXRUChgWLx087UNQKjsvT0h2oc7q6TxayBJ9rHYWBT4ZDOyJJdtOgy9YsPKTRCSwE-nOfnkk/s1001/AdamHebert.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="924" data-original-width="1001" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJDTYEKzrqValO7hhjafD9UDQfz1FxAAWmQLST4VWVKz7nHplW849H1HvueIB-Z3HHZtOXRUChgWLx087UNQKjsvT0h2oc7q6TxayBJ9rHYWBT4ZDOyJJdtOgy9YsPKTRCSwE-nOfnkk/s320/AdamHebert.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Adam Hebert</span></td></tr></tbody></table><span style="font-family: verdana;">Hebert was a gifted song writer whose music is at the center of traditional Cajun repertoire. Adam constructed his first fiddle as a child out of a chocolate box and screen wire, later progressing to one his brother made out of a cigar box and horse hair. When his father overheard him playing for his sister and her beau in the parlor, he realized Adam's talent and ordered a real violin out of the Montgomery Ward catalog. Adam, then began playing hose dances at age 13 and later recalled how he approached singing,</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div><div><i><span style="font-family: verdana;"></span></i><blockquote><span style="font-family: verdana;"><i>Some musicians just count from their mouth when they sing, they just speak. I approach my music not from my mouth, it comes straight from my heart.<span style="font-size: xx-small;">3</span> </i></span></blockquote></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Alphée continued to play in bands until the the 1970s and quit when he got sick. His son Shirley, who was also an accomplished musician, stated,</span></div><div><span style="font-family: verdana;"><blockquote><i>Daddy was a very comical fellow and very serious at his work as a farmer. He was a hard working accordion player at the dance jobs. He played until he got physically unable to keep up But his music lives on through the records. His music is still popular.<span style="font-size: xx-small;">4</span> </i></blockquote></span></div><div><span style="font-family: verdana;">
<br /></span><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span><div style="text-align: center;"><span style="font-family: verdana;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/YcaQT-lkMQk/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/YcaQT-lkMQk?feature=player_embedded" width="320"></iframe></span></div>
<span style="font-family: verdana;"><br /></span></div><div><ol style="text-align: left;"><li><span style="font-family: verdana; font-size: x-small;">Post War Cajun 78 RPM Nuggets – Lyle Ferbrache</span></li><li><span style="font-family: verdana; font-size: x-small;">Barry J. Ancelet. The Daily Advertiser (Lafayette, Louisiana) 17 Sep 1997</span></li><li><span style="font-family: verdana; font-size: x-small;">Adam Hebert. The Daily Advertiser (Lafayette, Louisiana) 12 Oct 2010</span></li><li><span style="font-family: verdana; font-size: x-small;">Daily World (Opelousas, Louisiana ) 12 Apr 1991</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li></ol><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div></div></div><div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div><div><span style="font-family: verdana; font-size: x-small;">Eunice Waltz | Fais-Do-Do F1012</span></div><div><span style="font-family: verdana; font-size: x-small;"><div>Chinaball Special| Fais-Do-Do F1012</div><div><br /></div></span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana; font-size: x-small;">Find:</span></div><div><span style="font-family: verdana; font-size: x-small;">Acadian All Star Special - The Pioneering Cajun Recordings Of J.D. Miller (Bear, 2011)</span></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-44136495686560234522022-10-08T12:35:00.001-07:002022-10-08T12:35:15.133-07:00"Grand Mamou" - Nathan Abshire<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiud2h6T9hEhtBagUKPTovXikWF3DblBqAgYif8iFkAuCklCq5EALAPe7jYX1sEHW0Fw3J4IXVeAhfB29HPWqv4d02LtpTf5GJUQkJGKTCdIKmla0S9nxguw6Xt8DJ-89ihH8mNo_7hil0/s661/grandmamou-nathanabshire.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="554" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiud2h6T9hEhtBagUKPTovXikWF3DblBqAgYif8iFkAuCklCq5EALAPe7jYX1sEHW0Fw3J4IXVeAhfB29HPWqv4d02LtpTf5GJUQkJGKTCdIKmla0S9nxguw6Xt8DJ-89ihH8mNo_7hil0/s320/grandmamou-nathanabshire.JPG" /></a></div></div><div><span style="font-family: verdana;">While he mirrored the midcentury infatuation with country-flavored honky-tonk music—fiddle-driven and slide-guitar-embellished—<a href="https://en.wikipedia.org/wiki/Nathan_Abshire">Nathan Abshire</a> later helped lead a resurgence of more traditionally crafted Cajun music with the sound of the old-time button accordion reinstalled at its center. This was the music that had fueled both bals des maisons (house parties) and fais do-dos (weekend dances) in the old days.<span style="font-size: xx-small;">2</span> </span></div><div><span style="font-family: verdana;"><span style="text-align: left;"><br /></span></span></div><div><span style="font-family: verdana; text-align: left;"><br /></span></div><span style="font-family: verdana;"><span style="text-align: left;">After the war, Nathan's big break came when Ernest Thibodeaux and Wilson Granger convinced the Avalon Club owner, Quincy Davis, that the band needed an accordion player. Wilson recalled:</span>
</span><blockquote class="tr_bq">
<i><span style="font-family: verdana;">That’s where I met him, when I started playing with him. I had heard of him. I know he was from Riceville. Nathan didn’t know much of anything. When they (Quincy Davis) went and got him to play music, he was fixing stoves. Cooking stoves. You know, there’s not a big business in fixing stoves. Davis had him on the radio five days a week. He got very popular.<span style="font-size: xx-small;">1</span> </span></i></blockquote>
<span style="font-family: verdana;"><br /></span><div><blockquote><span style="font-family: verdana;"><i><blockquote>Eh, mais, t'en aller à grand Mamou,</blockquote><blockquote>C'est pour voir les belles 'tites blondes, mais, malheureux.</blockquote><blockquote><br /></blockquote><blockquote>Eh, jolie 'tite fille, criminelle,</blockquote><blockquote>M'a quitte pour t'en aller z-avec vaurien,</blockquote><blockquote>Moi je te souhaite tout le malheur que tu peux avoir,</blockquote><blockquote>Tu connais j'mérite pas ça, mais, t'après faire. </blockquote></i></span></blockquote><div><span style="font-family: verdana;"><br />
</span><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">It wouldn't be long before Quincy found record label owner Virgil Bozman and convinced him to record Nathan and his band to help promote his Pine Grove Club near Jennings. Bozman took advantage of this agreement and recorded at least ten songs for his Oklahoma Tornadoes label, starting in May of 1949 at the local KPLC radio station in Lake Charles. One of these songs was the popular 1935 Leo Soileau tune called "Grand Mamou" (#106). It was a song that Leo had recorded earlier as "Basile" with Mayuse Lafleur in 1928.</span><div><div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Nathan Abshire<br /><span>Trent Oubre Studio<br />www.trentoubre.com</span></span></td></tr>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">His band during this recording is believed to have consisted of Will Kegley on fiddle, Atlas Fruge on steel guitar, Ernest Thibodeaux on guitar, Jim Baker on bass, and special vocalist Roy Broussard. After the OT recordings were produced, many musicians began comparing his style to the more popular Cajun accordionist Iry Lejeune. When Nathan's first fiddler, Wilson Granger, was asked to compare his style against Iry Lejeune, he stated:</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>Nathan played the smoothest accordion, in my opinion, than anybody else. Iry was a hell of an accordion player. He could play two-steps like nobody else. But Nathan was easier to follow than Iry, put it that way.<span style="font-size: xx-small;">1</span> </i></span></blockquote>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><br /></span></div><div><span style="font-family: verdana;"><blockquote><span face=""verdana" , sans-serif"><i><blockquote>Hey, well, you're going to big Mamou,</blockquote><blockquote>It's to see the pretty little blondes, well, oh my.</blockquote><blockquote><br /></blockquote><blockquote>Hey, pretty little girl, it's terrible,</blockquote><blockquote>I'm leaving for you went away with a scoundrel,</blockquote><blockquote>I wish you all the misfortune you can have,</blockquote><blockquote>You know I didn't deserve that, well, what you're doing.</blockquote></i></span></blockquote></span></div><div><br /></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">Nathan continued to record, and travel, into his later years. In 1970, he and the Balfa Brothers performed "Grand Mamou" during a Cajun concert in New York City. </span></span></div><div><br /></div><div><span style="font-family: verdana;">
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</span><ol>
<li><span style="font-family: verdana; font-size: x-small;">Wilson Granger interview. Andrew Brown. 2005.</span></li><li><span style="font-family: verdana; font-size: x-small;">https://64parishes.org/entry/nathan-abshire</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li>
</ol><div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div><div><span style="font-family: verdana; font-size: x-small;">106-A Grand Mamou | OT 106-A</span></div><div><span style="font-family: verdana; font-size: x-small;">106-B Lake Charles Two Step | OT 106-B</span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana; font-size: x-small;">Find:</span></div><div><span style="font-family: verdana; font-size: x-small;">Cajun Honky Tonk: The Khoury Recordings Vol. 2 (Arhoolie, 2013)</span></div>
</div></div></div></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-4356644386144157642022-09-04T20:27:00.000-07:002022-09-04T20:27:32.081-07:00"Louisiana Boogie" - Harry Choates<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA6dyoiCwgDuBR24g48mEzc22USFNFOWiJwXsPv0CEnk8gem53r5ZaPT3C-fDZFWQzH3IVs3JDSXiCOzaj14xhhL1lX44UIwlivInK4QnTiI77xuxv10bogpsvebpDmRPCn3Rr0U71gAU/s1600/louisianaboogie-harrychoates.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA6dyoiCwgDuBR24g48mEzc22USFNFOWiJwXsPv0CEnk8gem53r5ZaPT3C-fDZFWQzH3IVs3JDSXiCOzaj14xhhL1lX44UIwlivInK4QnTiI77xuxv10bogpsvebpDmRPCn3Rr0U71gAU/s320/louisianaboogie-harrychoates.JPG" width="263" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Cajun swing fiddler <a href="https://en.wikipedia.org/wiki/Harry_Choates">Harry Choates</a> never worried or cared about he daily trials and tribulations of life. Such things as far as he was concerned could be drowned in a liquor bottle. Harry was addicted to the music. The feelings of others were of no concern to him. After the breakup of his first band, he continued to find recording opportunities; this time for Macy Henry's label with a song called "Louisiana Boogie" (#134). </span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">In this April 1950 recording session, he re-purposed an old Breaux Brothers 1929 recording of "Vas Y Carrement", better known as "Step It Fast". Although not an actual "boogie woogie" tune, he took the quick paced melody and make it even faster, giving it a Texas swing flavor. </span><br />
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif"></span><br /><br /></span><div><blockquote><span style="font-family: verdana;"><i><blockquote>Moi laisser, pour t'en aller,</blockquote><blockquote>Moi, j'connais, j'mérite pas ça,</blockquote><blockquote>Quoi t'as fait, ce pas de rien,</blockquote><blockquote>Eh, ça m'fait de la peine.</blockquote><blockquote><br /></blockquote><blockquote>Eh petite, vilain moyens,</blockquote><blockquote>Moi j'connais, ça m'fait de la peine,</blockquote><blockquote>Moi j'connais, ça m'fait de la peine,</blockquote><blockquote>Quoi t'as fait, mais, pauvre vieux nègre.</blockquote></i></span></blockquote><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4bGSPZZSxmBdI6ucyAIRWh8Hv9DL5HOvmWlw70kMQ4UAg9cCgyoGeKdgSjvZ1TyqifEFXS0k-rXQE2WX5pqtL9nH0-fgP4SVfbGOIYkAaNwngs_wrvdmqhabn_oMrixjmQ-6F1jZ-B4/s1600/harrychoates-corpuschristie-1949.png" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4bGSPZZSxmBdI6ucyAIRWh8Hv9DL5HOvmWlw70kMQ4UAg9cCgyoGeKdgSjvZ1TyqifEFXS0k-rXQE2WX5pqtL9nH0-fgP4SVfbGOIYkAaNwngs_wrvdmqhabn_oMrixjmQ-6F1jZ-B4/s320/harrychoates-corpuschristie-1949.png" width="229" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: x-small;">B.C. Jennings, Harry Choates,<br />unknown, unknown<br />1948</span><br /><span style="font-size: xx-small;">Joe Watson Collection</span></span></td></tr>
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<span face=""verdana" , sans-serif">No longer with his original Melody Boys, he regrouped with Macy Henry's studio musicians at the ACA Recording Studio in Houston, Texas accompanied by Earl Rebert on steel guitar, possibly Sue Romero on bass, and possibly Louis Oltremari on piano. Fellow side musician, Roland "R.A." Faulk accompanied Harry to Macy's Recording Studio in Houston in April of 1950. Although not on the recordings, R.A. was now considered a part of Harry's band. He witnessed the decline of a musician's musician during the recording session. He could still play his fiddle, but the alcohol had taken its toll. It was as if Harry was just going through the motions recording, so that he could earn enough money to tide him over until the next time.<span style="font-size: xx-small;">1</span> </span><br /></span></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>I'm leaving, for you left me,</blockquote><blockquote>I know, I don't deserve that,</blockquote><blockquote>What you've done, it's nothing,</blockquote><blockquote>Hey, it's not worth it.</blockquote><blockquote><br /></blockquote><blockquote>Hey, little one, (your) naughty ways,</blockquote><blockquote>I know, it's not worth it,</blockquote><blockquote>I know, it's not worth it,</blockquote><blockquote>What you've done, well, (to your) poor old man.</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;">
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<span face=""verdana" , sans-serif">According to Tim Knight, whenever Harry would report to Macy's studio, he would sit against the wall with elbows resting on his knees, his much traveled fiddle crooked in his arm. Usually he was drunk, but he could still play.<span style="font-size: xx-small;">1</span></span><span face=""verdana" , sans-serif"> Although he performed with Jesse James & His Gang on radio station KTBC after the disbanding of the Melody Boys in 1951, Choates suffering ended a few months later.</span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Macy herself was a strong, steadfast lady who used the subtitle, "Queen of Hits", showing off her female proprietress which was rare for the time. When Joe Bihari (of Modern Music's Bihari brothers) decided to check on his inventory at Macy's distribution shop, she exploded, telling him:</span><br />
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<span face=""verdana" , sans-serif" style="font-family: verdana;"><i>I paid for those records. They're mine. Get your ass out of here!</i></span></blockquote>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">By June 1951, many of Macy's signature artists moved to Modern Records and Aladdin Records ending the Macy's label production.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vvU5cGdw9Pc" width="320" youtube-src-id="vvU5cGdw9Pc"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: verdana;">
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</span><ol>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;"><a href="https://earlycajunmusic.blogspot.com/2017/10/poor-hobo-tragic-life-of-harry-choates.html">Poor Hobo: The Tragic Life of Harry Choates, a Cajun Legend by Tim Knight</a></span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">http://therecordlive.com/2009/12/16/harry-choate-and-jolie-blon-cajun-musics-founding-father/</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Blues Encyclopedia edited by Edward Komara</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Mojo Hand: The Life and Music of Lightnin' Hopkins By Timothy J. O'Brien</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Down in Houston: Bayou City Blues By Roger Wood</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Billboard Magazine, Aug 13, 1949</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Billboard Magazine, Jul 2, 1949</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">http://www.rootsandrhythm.com/roots/NEWSLETTER%20130/newsletter130_blues_6.htm</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">http://home.earthlink.net/~jaymar41/labels_five.html</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers By John Broven</span></li>
<li><span face=""verdana" , sans-serif" style="font-family: verdana; font-size: x-small;">Jim Reeves: His Untold Story By Larry Jordan</span></li>
</ol>
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<span face=""verdana" , sans-serif" style="font-size: x-small;">Release Info:</span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">ACA </span></span><span style="font-family: verdana; font-size: x-small;">1556 Louisiana Boogie | Macy's 134-A</span></div><div><span style="font-family: verdana; font-size: x-small;">ACA 1560 What's The Use | Macy's 134-B</span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">Find:</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Cajun Capers: Cajun Music 1928-1954 (Proper, 2005)</span></span></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-2417979090288743632022-08-23T12:04:00.001-07:002022-08-23T12:04:22.555-07:00"Oberlin" - Amede Ardoin & Dennis McGee<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBoEDiQLbEwesCqDrC7kweCTGTfz-QZh3jW7Sa_tb2bdwuBi-pcoNxWerZ2kqgyFD3_ZLmXsHNkoyO5sadhvb7Nmx6qc6vCo9Su1a069tXnK6uTr305YO5UltPzio_pT72ZYJBxwX3TniXx5ejVn03_M6lPZvhHut7oBK7iu6zFBfGPLhTD0KSg2-m/s493/oberlin-ardoin.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="493" data-original-width="410" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBoEDiQLbEwesCqDrC7kweCTGTfz-QZh3jW7Sa_tb2bdwuBi-pcoNxWerZ2kqgyFD3_ZLmXsHNkoyO5sadhvb7Nmx6qc6vCo9Su1a069tXnK6uTr305YO5UltPzio_pT72ZYJBxwX3TniXx5ejVn03_M6lPZvhHut7oBK7iu6zFBfGPLhTD0KSg2-m/s320/oberlin-ardoin.JPG" width="266" /></a></div><span style="font-family: verdana;">Cajun accordionist </span><a href="https://en.wikipedia.org/wiki/Am%C3%A9d%C3%A9_Ardoin" style="font-family: verdana;">Amede Ardoin</a><span style="font-family: verdana;"> himself was a sought-after dance musician who played both white Cajun gatherings and black la-la dances and was known for his ability to improvise lyrics about those in attendance; a practice which sometimes got him in trouble. It might seems strange that a black Creole musician who left little more of a trace on the world than 34 scratchy recordings would come to be known as the father of a musical style rooted in the culture of French-Canadian exiles. In this sense, the record stands as a testament to the musical creativity happening in Louisiana during the first half of the 20th Century. Around the same time Ardoin was mastering his accordion, musicians like Jelly Roll Morton and Buddy Bolden were in nearby Storyville, New Orleans, shaping ragtime music into jazz.</span><span style="font-family: verdana; font-size: xx-small;">3</span><span style="font-family: verdana;"> According to journalist Ed McKeon:</span><p></p><p></p><blockquote><i><span style="font-family: verdana;">He played in a rhythm-heavy syncopated style and sang with a passion unmatched even to this day in Cajun and Creole song.<span style="font-size: xx-small;">1</span> </span></i></blockquote><p></p><p><br /></p><blockquote><blockquote><p><span style="font-family: verdana;"><i>Oh, 'coute mes paroles, ye yaille,</i></span></p><p><span style="font-family: verdana;"><i>Comment, mon je vas faire, mon j'm'en vas,</i></span></p><p><span style="font-family: verdana;"><i>J'vas faire, j'vas faire, mon j'm'en vas, catin,</i></span></p><span style="font-family: verdana;"><i>Où c'est t'as prender*, malheureuse</i></span><i style="font-family: verdana;">?</i><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh, quoi faire, t'as m'fais ca, maman,</i></span></p><p><span style="font-family: verdana;"><i>Comment mon je vas faire, mon j'm'en vas,</i></span></p><p><span style="font-family: verdana;"><i>Mon j'm'en vas, m'en vas à la maison, maman,</i></span></p><p><span style="font-family: verdana;"><i>Mon cœur fais si mal qu'à jongler.</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh chère!</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Mon j'm'en vas, mes parents, mon j'm'en vas,</i></span></p><p><span style="font-family: verdana;"><i>Oh, c'est tous les dimanches au soir,</i></span></p><p><span style="font-family: verdana;"><i>Mais, les samedis, tous les samedis au soir,</i></span></p><p><span style="font-family: verdana;"><i>Maman, j'après aller pour mon t'voir. </i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh, oh, ye yaille, ye yaille,</i></span></p><p><span style="font-family: verdana;"><i>J'suis loin d'la maison,</i></span></p><p><span style="font-family: verdana;"><i>J'connais pas equand je vas m'retourner, ye yaille,</i></span></p><p><span style="font-family: verdana;"><i>J'm'en vas, mon tout seul, mais, 'tit </i><i>cœur</i><i>,</i></span></p><p><span style="font-family: verdana;"><i>Mes parents veulent pas je reste jamais avec toi,</i></span></p><p><span style="font-family: verdana;"><i>Quique* (chose), va rester, j'ai pas d'argent.</i></span></p></blockquote></blockquote><p><br /></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlW1GPdYQPUdVw1WePUMDtAJGGikSh9rqNSE1PM5m021X4LUbXgdmk24XW2JMnoe64s7gLAv5CHRJBvk0gyS3bPxjSss3Zcau9Vk7iqCd55qAIH3xsFRzhvknUUCCIaR_-5nFQYu4xvAbdLZk23Z6-qgoxkGnU8AsOZlQlg8vHz8V3TI0GXC56YVmF/s302/elioberstein.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="302" data-original-width="193" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlW1GPdYQPUdVw1WePUMDtAJGGikSh9rqNSE1PM5m021X4LUbXgdmk24XW2JMnoe64s7gLAv5CHRJBvk0gyS3bPxjSss3Zcau9Vk7iqCd55qAIH3xsFRzhvknUUCCIaR_-5nFQYu4xvAbdLZk23Z6-qgoxkGnU8AsOZlQlg8vHz8V3TI0GXC56YVmF/s1600/elioberstein.jpg" width="193" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Eli Oberstein</span></td></tr></tbody></table><span style="font-family: verdana;">Along the outskirts of San Antonio in 1934, a small group of recording engineers, alongside producer Eli Oberstein, gathered various folk performers, including Amédé Ardoin, in two rooms of the Texas Hotel to make some records. Despite his stylistic affinity with the white French music of rural Louisiana, the six tunes Ardoin documented that day (for the Bluebird/Victor company) included some distinct differences foreshadowing the future of black Creole music.</span><span style="font-family: verdana; font-size: xx-small;">2</span><span style="font-family: verdana;"> According to music producer, Christopher King, the combination white and black musicians during this time period was quite unique,</span></p><p></p><blockquote><i><span style="font-family: verdana;">It was one of the first instances of that actually occurring in Cajun music. And it actually is a rare occurrence in pre-war music taken as a whole. But as you can hear from the recordings, they're so perfectly integrated and relaxed with each other.</span></i></blockquote><p></p><div><span style="font-family: verdana;"><br /></span></div><p><br /></p><blockquote><blockquote><p><span style="font-family: verdana;"><i>Oh, listen to my words, ye yaille,</i></span></p><p><span style="font-family: verdana;"><i>How will I do this, i'm going,</i></span></p><p><span style="font-family: verdana;"><i>I'm doing this, I'm doing this, I'm going, pretty doll,</i></span></p><p><span style="font-family: verdana;"><i>Where are you going to go, naughty woman?</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh, why do you do that to me, little mama,</i></span></p><p><span style="font-family: verdana;"><i>How will I do this, I'm going,</i></span></p><p><span style="font-family: verdana;"><i>I'm going, I'm going home, little mama,</i></span></p><p><span style="font-family: verdana;"><i>Oh, my heart aches thinking about this.</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh, dear!</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>I'm leaving my family, i'm leaving,</i></span></p><p><span style="font-family: verdana;"><i>Oh, it's every Sunday night,</i></span></p><p><span style="font-family: verdana;"><i>But, the Saturdays, the Saturday evenings,</i></span></p><p><span style="font-family: verdana;"><i>Little mama, I'm leaving to go to see you.</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh, oh, ye yaille, ye yaille,</i></span></p><p><span style="font-family: verdana;"><i>I am so far away at home,</i></span></p><p><span style="font-family: verdana;"><i>I don't know when I will return, ye yaille,</i></span></p><p><span style="font-family: verdana;"><i>I'm leaving, all alone, well, little sweetheart,</i></span></p><p><span style="font-family: verdana;"><i>My parents never wanted me to stay with you,</i></span></p><p><span style="font-family: verdana;"><i>Whatever, I'm staying, I have no money.</i></span></p></blockquote></blockquote><p><br /></p><p><span style="font-family: verdana;">He and fiddle player Dennis McGee recorded "Oberlin", an ode to the small town in Louisiana. Not to be confused with his "One Step de Oberlin", the Texas Hotel session marks another significant development. Although Ardoin had generally established a reputation for playing in a syncopated style more consistent with his Creole legacy than with straight Cajun music, none of his catalog of thirty-four recordings included any percussion instrument accompaniment.<span style="font-size: xx-small;">2</span> </span></p><p><span style="font-family: verdana;">Portions of the tune resemble Cleoma Breaux's classic recording of "Mon Coeur T'appelle". The greatest legacy of the song would be it's usage as Iry Lejeune's "Te Mone" in the 1950s.</span></p>
<div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tFgxoF4IgBU" width="320" youtube-src-id="tFgxoF4IgBU"></iframe></div><br /><span style="font-family: verdana;"><br /></span></div>
<ol style="white-space: pre;"><li style="white-space: normal;"><span style="font-family: verdana; font-size: x-small;">http://www.downhomemusic.com/product/amede-ardoin-im-never-comin-back/</span></li><li style="white-space: normal;"><span style="font-family: verdana; font-size: x-small;">Southeast Texas: Hot House of Zydeco by R. Wood.</span></li><li style="white-space: normal;"><span style="font-family: verdana; font-size: x-small;">http://www.motherjones.com/mixed-media/2011/03/amede-ardoin-cajun-zydeco-mardi-gras</span></li><li><span style="font-family: verdana; font-size: x-small; white-space: normal;">https://www.npr.org/templates/transcript/transcript.php?storyId=135638265</span></li><li style="white-space: normal;"><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li></ol><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div><div><span style="font-family: verdana; font-size: x-small;">BS-83856-1 | Les Blues De Crowley (Crowley Blues) | Bluebird B-2190-A</span></div><div><span style="font-size: x-small;"><span style="font-family: verdana;">BS-83857-1 | Oberlin | Bluebird </span><span style="font-family: verdana;">B-2190-B</span></span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana; font-size: x-small;">Find:</span></div><div><span style="font-family: verdana; font-size: x-small;">I'm Never Comin' Back: The Roots of Zydeco (Arhoolie, 1995)</span></div><div><span style="font-family: verdana; font-size: x-small;"><div>Cajun Country, Vol. 2, More Hits from the Swamp (JSP, 2005)</div><div>Cajun Capers: Cajun Music 1928-1954 (Proper, 2005)</div><div>Mama, I'll Be Long Gone : The Complete Recordings of Amede Ardoin, 1929-1934 (Tompkins Square, 2011)</div></span></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-26518178282808899362022-07-15T21:30:00.003-07:002022-07-15T21:30:38.243-07:00"Creole Stomp" - Pee Wee Broussard<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_fZkp07K98kVUntXSGu-dspodRke9d9mkn7A6tj_xZfJLC9q5E0U1GSoWZ09z8q2UyvvHN8SBCQL1bWPVQpZlwV3OC0WyDTaXjZftSH6qQ-t0WYktH7NdEZBAuYZvWl31jo3bDRnRtbk/s1600/creolestomp-peeweebroussard.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="525" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_fZkp07K98kVUntXSGu-dspodRke9d9mkn7A6tj_xZfJLC9q5E0U1GSoWZ09z8q2UyvvHN8SBCQL1bWPVQpZlwV3OC0WyDTaXjZftSH6qQ-t0WYktH7NdEZBAuYZvWl31jo3bDRnRtbk/s320/creolestomp-peeweebroussard.JPG" width="262" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Chester Isaac 'Pee Wee' Broussard was born in Henderson, Louisiana into a musical Cajun family. His father, Sosthène Broussard, played mandolin and clarinet as well as accordion, while his grandfather played accordion and fiddle. Two brothers played guitar: Jules played rhythm and Jim played "4-string guitar".<span style="font-size: xx-small;">1</span> </span><br /><br />
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif">In 1952, a New Iberia DJ arranged Pee Wee to record at J.D. Miller's studio in Crowley along with Walter Guidry on steel guitar, and Nathan Latiolais on drums.<span style="font-size: xx-small;">1</span> Popularized by Aldus Roger, "Creole Stomp" (#1051) is one of the most covered post-war Cajun instrumentals. The group added two Breaux Bridge natives, rhythm guitarist Andy Johnson and fiddler Jean "Kaiser" Perez. </span><br />
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<span face=""verdana" , sans-serif">Kaiser Perez played fiddle with several musicians around the Lafayette and St. Martin area. His aunt gave family nicknames based on leaders and generals, in this case, naming Jean after Germany's Kaiser Wilhelm.<span style="font-size: xx-small;">2</span> </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Daily Advertiser<br />Dec 2, 1952</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Teche News</span></td></tr>
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<span face=""verdana" , sans-serif">Perez, who had spent time serving in WWII, had stumbled into music quite literally. According to son Rickey Perez, </span><br />
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<span style="font-family: verdana;"><i>While overseas in Germany, he found two fiddles in a building he was searching. He took one and shipped it back home. When he got home, his mother handed him the package she received and he started playing with it until he learned something.<span style="font-size: xx-small;">2</span> </i></span></blockquote>
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<span face=""verdana" , sans-serif">Perez spent his time filling in with many bands such as Belton Richard and playing on the TV show Passe Partout. In the 1970s, he open up Kaiser's Place dance and pool hall in Breaux Bridge. </span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div>
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<span style="font-family: verdana; font-size: x-small;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/XFaE5sRDjAQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/XFaE5sRDjAQ?feature=player_embedded" width="320"></iframe></span></div>
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</span><ol>
<li><span style="font-family: verdana; font-size: x-small;">Acadian Two Step. Bruce Bastin. Liner notes.</span></li>
<li><span style="font-family: verdana; font-size: x-small;">Discussions with Rickey P</span></li>
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<span style="font-family: verdana; font-size: x-small;"><span><span face=""verdana" , sans-serif">Release Info:</span></span></span><div><span style="font-family: verdana; font-size: x-small;">Chere Tu Tu | </span><span style="font-family: verdana; font-size: small;">Feature </span><span style="font-family: verdana; font-size: small;">F-1051-A</span><span style="font-family: verdana; font-size: x-small;"><br /></span><div><span style="font-family: verdana; font-size: x-small;"><span><span face=""verdana" , sans-serif">Creole Stomp | Feature F-1051-B</span></span></span></div><div><span style="font-family: verdana; font-size: x-small;"><span><span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Find: </span></span><br />
<span face=""verdana" , sans-serif">Acadian Two Step (Flyright, 1987)</span><br />
<span face=""verdana" , sans-serif">Acadian All Star Special - The Pioneering Cajun Recordings Of J.D. Miller (Bear, 2011)</span></span></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-66870089985701571422022-06-16T12:04:00.001-07:002022-06-16T12:04:52.115-07:00"Pauvre Garcon" - Falcon Trio<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif29CUddR0RUbmh7d-dq4ZeiZklZ6KgSKLEpnbTIDb7Kh--3JprmiI1AL3KKMEUZDVWXASNjl_9mCxGeAZ8ZIxsWcQWAGqT_sGESeSGswHpIyK0BRAJP9CQ3NSlFpSo_NtFrEVJeon-wKelzwWxMVK7ofCYrvXjMF9CSqP3RPNni1iWC5rtPOaDXY0/s854/pauvregarcon-falcontrio.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="854" data-original-width="758" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif29CUddR0RUbmh7d-dq4ZeiZklZ6KgSKLEpnbTIDb7Kh--3JprmiI1AL3KKMEUZDVWXASNjl_9mCxGeAZ8ZIxsWcQWAGqT_sGESeSGswHpIyK0BRAJP9CQ3NSlFpSo_NtFrEVJeon-wKelzwWxMVK7ofCYrvXjMF9CSqP3RPNni1iWC5rtPOaDXY0/s320/pauvregarcon-falcontrio.PNG" width="284" /></a></div><p><span style="font-family: verdana;">By 1936, it had been over a year since Joe and Cleoma Falcon had stepped foot in a studio before they had scored another contract with RCA. Eli Oberstein and other recording executives had arrived the week before Mardi Gras and began loading their equipment into the second floor of the building. There, they planned a three-day session where bands such as Bo Carter and the Arthur Smith Trio were waiting for their turn.<span style="font-size: xx-small;">1</span> </span></p><p><span style="font-family: verdana;">Feeling the need for a fiddle player, Joe convinced Crowley native and musician, Moise “Mose” Morgan join their duo. Mose had learned to play the fiddle as a young child and grew up learning popular tunes. The trio recorded a song Joe called "Pauvre Garçon (Poor Boy)" (#2185). In typical form, Joe often held the verses beyond the standard meter, allowing the chord changes to match the lyrical changes. </span></p><p><span style="font-family: verdana;"><br /></span></p><blockquote><p><i><span style="font-family: verdana;">Comment tu crois, mais, que moi j’peux faire, chère?</span></i></p><p><i><span style="font-family: verdana;">Mais, avant hier soir, mais, t’après faire avec moi,</span></i></p><p><i><span style="font-family: verdana;">Moi j’vois pas quoi moi j’va faire, moi seul.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">Garde-donc toi, ‘tite fille qui crois bien pourquoi toi t’as dit, toi chère,</span></i></p><p><i><span style="font-family: verdana;">Il y a pas, mais, si longtemps tu m’as donc promis de jamais oublier,</span></i></p><p><i><span style="font-family: verdana;">Mais, ‘garde-donc toi t’après faire avec moi,</span></i></p><p><i><span style="font-family: verdana;">Tu devrais donc, chère, user ta tête, ouais, tu vois les promesses,</span></i></p><p><i><span style="font-family: verdana;">J’mérite, mais, oui, pas tout la misère que toi t’après me faire avec moi.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">Au jour d’aujourd’hui, mais, moi j’connais, chère,</span></i></p><p><i><span style="font-family: verdana;">Tu vas r’venir, oui, mais, donc me r’joindre, oui chère,</span></i></p><p><i><span style="font-family: verdana;">Mais, pour des bonnes excuses à moi avant longtemps.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">Tu connais, ‘tite fille, mais j’mérite pas, mais, donc tout ça, toi chère,</span></i></p><p><i><span style="font-family: verdana;">Le seul Bon Dieu va m’mettre la main, ça c’est moi, oui, pour toi, oui chère,</span></i></p><p><i><span style="font-family: verdana;">Mais, malheureuse, ‘garde moi donc, moi j’va faire, oui, tout seul.</span></i></p></blockquote><p><span style="font-family: verdana;"><br /></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvD21bjtfpSRoQL6irrZonQSGbNA_MsCBP7cwdi33D0M6SnmH32pJ-ebNRwddYuHBxdFteW_6BvdUeiA9kV54jr9oiWd7rXdB5BqH-VawEtyZWskdgSaV8mVrKNHldLgs9GUcJO3M_bQd5bCSR8DRsUonnbM1G-yUpB6TJc1-C0uTsSjbZRWxLVgn/s579/joefalcon-squalorillustrations.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="579" data-original-width="337" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvD21bjtfpSRoQL6irrZonQSGbNA_MsCBP7cwdi33D0M6SnmH32pJ-ebNRwddYuHBxdFteW_6BvdUeiA9kV54jr9oiWd7rXdB5BqH-VawEtyZWskdgSaV8mVrKNHldLgs9GUcJO3M_bQd5bCSR8DRsUonnbM1G-yUpB6TJc1-C0uTsSjbZRWxLVgn/s320/joefalcon-squalorillustrations.JPG" width="186" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: x-small;">Joe Falcon</span><br /><span style="font-size: xx-small;">Courtesy of Squalor Illustrations<br />squalorillustrations.bigcartel.com</span><br /></span></td></tr></tbody></table><p><span style="font-family: verdana;">Other bands such as the Hackberry Ramblers and the Dixie Ramblers were on the docket that day, awaiting their turn to record as well. To avoid possible conflicts with any earlier contract that Joe and Cleoma may have signed with the Kapps at Decca, Oberstein got creative and renamed the group, The Falcon Trio. When RCA Bluebird pressings arrived in stores, eager buyers discovered Falcon Trio songs stamped on the flip-side of some Hackberry Ramblers recordings as well as on the flip-side of some Dixie Ramblers pressings.<span style="font-size: xx-small;">1</span> </span></p><p><span style="font-family: verdana;"><br /></span></p><blockquote><p><i><span style="font-family: verdana;">How do you think, well, that I'll be able to do this, dear?</span></i></p><p><i><span style="font-family: verdana;">Well, before last night, well, what you've done to me,</span></i></p><p><i><span style="font-family: verdana;">I don't see what I'm going to do, I'm alone.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">So look, little girl, who really believed what you said, my dear,</span></i></p><p><i><span style="font-family: verdana;">It wasn't, well, so long ago (that) you promised to never forget me,</span></i></p><p><i><span style="font-family: verdana;">Well, so, look at what you've done to me,</span></i></p><p><i><span style="font-family: verdana;">So, dear, you should use your head, yeah, you'll see the promises (made),</span></i></p><p><i><span style="font-family: verdana;">I don't deserve, well yeah, all of the misery that you've done to me.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">As of today, well, I know, dear,</span></i></p><p><i><span style="font-family: verdana;">You have returned, yeah, well, so join me, yeah dear,</span></i></p><p><i><span style="font-family: verdana;">Well, apologies to me before long.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">You know, little girl, well, I don't deserve, well, all of that, you dear,</span></i></p><p><i><span style="font-family: verdana;">Only the Good Lord will hold my hand, mine, yes, for you, yes dear,</span></i></p><p><i><span style="font-family: verdana;">Well, oh my, so look at me, i'm doing (this), yeah, all alone. </span></i></p></blockquote><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bA5mLKYJvKM" width="320" youtube-src-id="bA5mLKYJvKM"></iframe></div><br /><span style="font-family: verdana;"><br /></span><p></p><p><span style="font-family: verdana;"><br /></span></p><p></p><ol style="text-align: left;"><li><span style="font-family: verdana; font-size: x-small;">"Allons A Lafayette: The First Families of Commercial Cajun Music" by Wade Falcon</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Marc C</span></li></ol><p></p><p><span style="font-size: x-small;"><span style="font-family: verdana;">Release Info:<br />BS-99227-1 Mon Vieux D'Autrefois (My Old Used To Be) </span><span style="font-family: verdana;">| Bluebird 2185</span><span style="font-family: verdana;"><br /></span><span style="font-family: verdana;">BS-99228-1 Pauvre Garcon (Poor Boy) | Bluebird 2185</span></span></p><p><span style="font-family: verdana; font-size: x-small;">Find:<br />Raise Your Window: A Cajun Music Anthology 1928 - 1941 (The Historic Victor-Bluebird Sessions Vol. 2) (CMF, 1993)<br />Cajun Early Recordings (JSP, 2004)</span></p>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-82726107645136266772022-05-16T08:22:00.005-07:002022-05-16T08:22:32.464-07:00"Amadie Two Step" - Amede Ardoin & Dennis McGee<p><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEielPtyQCAqLKLFlKq2HwBR6IMv9CPm3I2xUk9wQ4puf90IvmGtN0hztN2-IOBYVjTFucIYHulOGNL111pBtSTCVl3vasa5qLCaTPz8kCHWMdyI_YRv5N8eFHZad6Sxy1X7BBMnBVLVxEvVyahXoSYmi1LLNveMO5g9hViJj0NwoIaiGV3r0Kmp6Wq4/s617/amadietwostep-mcgee-ardoin.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="486" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEielPtyQCAqLKLFlKq2HwBR6IMv9CPm3I2xUk9wQ4puf90IvmGtN0hztN2-IOBYVjTFucIYHulOGNL111pBtSTCVl3vasa5qLCaTPz8kCHWMdyI_YRv5N8eFHZad6Sxy1X7BBMnBVLVxEvVyahXoSYmi1LLNveMO5g9hViJj0NwoIaiGV3r0Kmp6Wq4/s320/amadietwostep-mcgee-ardoin.JPG" width="252" /></a></span></div><span style="font-family: verdana;">Before there was zydeco music, early French-speaking musicians in Southwest Louisiana were creating French-Creole music. And, one of the earliest recording artists of this style was accordion player <a href="https://en.wikipedia.org/wiki/Am%C3%A9d%C3%A9_Ardoin">Amede Ardoin</a>, whose life on the Creole music trail went from stardom to tragedy. Ardoin was a virtuoso on the accordion, and he wrote and recorded a series of songs from 1929 to 1934. According to author Darrell Bourque:</span><p></p><p><span style="font-family: verdana;"></span></p><blockquote><span style="font-family: verdana;"><i>He was kind of like a rock star of his own day and time. The most repeated a line in his songs, other than wanting a girl to pay attention to him, ... this thing about not having a home, you know, being exiled.<span style="font-size: xx-small;">1</span></i></span></blockquote><p></p><p><br /></p><blockquote><p><i><span style="font-family: verdana;">Oh, bonsoir, catin, ouais, je m'en va, jolie,</span></i></p><p><i><span style="font-family: verdana;">Moi, je m'en va, donc, moi tout seul, droite à la maison,</span></i></p><p><i><span style="font-family: verdana;">Moi, je voudrais si vous-autres peuvent faire,</span></i></p><p><i><span style="font-family: verdana;">Ouais, pour toi, qu'es aussi mal,</span></i></p><p><i><span style="font-family: verdana;">Tu t'en va à ta maison, toi, tu me quittes derrière.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">Oh, bonsoir, catin, quoi tu veux (que) je peux faire?</span></i></p><p><i><span style="font-family: verdana;">Moi, je te vois, mais, t'en aller, ouais, ça me fait du mal,</span></i></p><p><i><span style="font-family: verdana;">Si tu vas, comment je peux faire quand je jongle à toi?</span></i></p><p><i><span style="font-family: verdana;">Toi, peut-être j’aurais le courage, ouais, de m’en aller.</span></i></p><p><i><span style="font-family: verdana;"><br /></span></i></p><p><i><span style="font-family: verdana;">Oh, bonsoir, catin, peur tout le temps fait ça,</span></i></p><p><i><span style="font-family: verdana;">C’est pour faire plaisir, catin, pourqoui à tes parents,</span></i></p><p><i><span style="font-family: verdana;">Quand ton neg’ radotte sur moi, je crois, toi, tu me fais ça,</span></i></p><p><i><span style="font-family: verdana;">Tu me fais du mal, c’est toi, catin, (qu'es) assez pour moi pleurer.</span></i></p></blockquote><p><br /></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj55mkczIaIFaLB-90J7DFhmEFADQ8namM6ExQcCPDcYfeLLZVsaQb0xhCEjliju7eoamldPdELpVqmP6A-fUu7aCv408m6ZI-8bZ3D4GZGa4lg8CmWIo-SUv9_bh0eroTnjy0YSBjTjvWr7SFWFKt7DqJ3IKpv3sFGhZNUxo65Lpfd6G28m7ezBsLE/s852/amedeardoin-DA-8-26-1932.PNG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="426" data-original-width="852" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj55mkczIaIFaLB-90J7DFhmEFADQ8namM6ExQcCPDcYfeLLZVsaQb0xhCEjliju7eoamldPdELpVqmP6A-fUu7aCv408m6ZI-8bZ3D4GZGa4lg8CmWIo-SUv9_bh0eroTnjy0YSBjTjvWr7SFWFKt7DqJ3IKpv3sFGhZNUxo65Lpfd6G28m7ezBsLE/s320/amedeardoin-DA-8-26-1932.PNG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Daily Advertiser<br />Aug 13, 1931</span></td></tr></tbody></table>It had been almost a year since <a href="https://en.wikipedia.org/wiki/Dennis_McGee">Dennis Mcgee</a> and Amede Ardoin had made their ground-breaking recordings for Columbia, which were co-pressed on Okeh. The Great Depression had taken a toll on the recording industry. November of 1930 was quite late into the Depression for recording labels to attempt marketing new Cajun music, but Brunswick decided to try one last time. They gathered Dennis and Ardoin together and recorded a song that reflected the pain in which Ardoin was so familiar with... the loss of a lover. While he attempts to blame her parents, he also passes blame on her as well. Unlike Columbia and Okeh, Brunswick did not employ a special numberical series for its Cajun records. Instead, the firm released all of these titles, which consisted of waltzes, one-steps, two-steps and blues, under the bill of McGee and Ardoin in its "Songs from Dixie" series.<span style="font-size: xx-small;">3</span> He continued to play with McGee and his black Creole neighbor Douglas Bellard into the early 1930s. </span></p><p><br /></p><p><span style="font-family: verdana;"></span></p><blockquote><p><span style="font-family: verdana;"><i>Oh, goodnight my pretty doll, yeah, I'm leaving, my pretty,</i></span></p><p><span style="font-family: verdana;"><i>I'm leaving, so, all alone, straight to the house,</i></span></p><p><span style="font-family: verdana;"><i>I'd like it if you could do this,</i></span></p><p><span style="font-family: verdana;"><i>Yeah, for you, who's also sad,</i></span></p><p><span style="font-family: verdana;"><i>You have gone to your house, you've left me behind.</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh, goodnight my pretty doll, what do you want (that) I can do?</i></span></p><p><span style="font-family: verdana;"><i>I see you, well, you're going, yeah, it makes me feel sad,</i></span></p><p><span style="font-family: verdana;"><i>If you're going, how will I handle this when I'm thinking about you?</i></span></p><p><span style="font-family: verdana;"><i>You, maybe I'll have the courage, yeah, to go away.</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>Oh, goodnight my pretty doll, always scared to do that,</i></span></p><p><span style="font-family: verdana;"><i>Trying to please, pretty doll, your parents,</i></span></p><p><span style="font-family: verdana;"><i>When your father rambles on about me, I believe you've done that to me,</i></span></p><p><i><span style="font-family: verdana;"></span></i></p><p><span style="font-family: verdana;"><i>You've made me sad, it's you, pretty doll, (who did) enough to make me cry. </i></span></p></blockquote><p><span style="font-family: verdana;"></span></p><p></p><p><span style="font-family: verdana;">The popularity of the song gave way to Happy Fats' 1935 "Les Fille De St. Martin" and Nathan Abshire's 1950 "Choupique Two Step" and his 1960 "Jolie Catin". In the 1980s, Marc Savoy recorded a different melody giving it the same name. Because of the confusion it caused, he explains:</span></p><p></p><blockquote><span style="font-family: verdana;"><i>In the 1980s the Savoy-Doucet Cajun Band recorded Arhoolie CD #316 entitled "Two-Step Amédé." Initially, the title song, which I had composed out of love and admiration of Amédé Ardoin's music, was supposed to be called "Tribute to Amédé Ardoin." Even though the submitted track list clearly described the title correctly, the producer went to press having changed it to "Two-Step Amédé" not realizing that there was already a completely different song entitled "Amédé Two-Step" by Amédé Ardoin recorded in the 1930s. My recording of "Two-Step Amédé" was never meant to be a version of Amédé's wonderful song. Instead it was my feeble attempt to compose a tune to honor his contribution to Cajun/Creole Music.<span style="font-size: xx-small;">2</span> </i></span></blockquote><p></p><p><span style="font-family: verdana;"><br /></span></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ClEk1OK5EG4" width="320" youtube-src-id="ClEk1OK5EG4"></iframe></div><br /><span style="font-family: verdana;"><br /></span><p></p><p><span style="font-family: verdana;"><br /></span></p><p></p><ol style="text-align: left;"><li><span style="font-family: verdana; font-size: x-small;">http://www.fox8live.com/story/37771315/heart-of-louisiana-the-story-of-amede-ardoin</span></li><li><span style="font-family: verdana; font-size: x-small;">https://folkways.si.edu/arhoolie </span></li><li><span style="font-family: verdana; font-size: x-small;">Hidden in the Mix: The African American Presence in Country Music edited by Diane Pecknold</span></li></ol><p></p><p><span style="font-size: x-small;"><span style="font-family: verdana;">Release Info:<br />NO-6717-A Amadie Two Step | Brunswick 576 </span><br /><span style="font-family: verdana;">NO-6718-A La Valse A Austin Ardoin | </span><span style="font-family: verdana;">Brunswick 576</span></span></p><p><span style="font-size: x-small;"><span style="font-family: verdana;">NO-6717-A Amadie Two Step | </span><span style="font-family: verdana;">Melotone M18050</span><br /><span style="font-family: verdana;">NO-6718-A La Valse A Austin Ardoin | </span><span style="font-family: verdana;">Melotone M18050</span></span></p><p><span style="font-size: x-small;"><span style="font-family: verdana;">Find:<br />I'm Never Comin' Back: The Roots of Zydeco (Arhoolie, 1995)<br /></span><span style="font-family: verdana;">Cajun Country, Vol. 2, More Hits from the Swamp (JSP, 2005)<br /></span></span><span style="font-family: verdana;"><span style="font-size: x-small;">Mama, I'll Be Long Gone : The Complete Recordings of Amede Ardoin, 1929-1934 (Tompkins Square, 2011)</span><br /></span></p>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-57227883747740665732022-05-02T12:39:00.005-07:002022-05-02T12:47:09.136-07:00"Se Mallereux" - Happy Fats<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXcWnyKfZZkja7TzP80szPdHCnkvVcJ6KhYZ40YgqACDgu11oquZUCdq1F0wryN-m9Elex4t3eLT3k7dtIFe5BTIxlvIO7EHJGOWYvJOI9IyiJPPoK2Wu2La3px027DFVtNU7ictf0KXo/s1600/semallereux-happyfats.PNG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXcWnyKfZZkja7TzP80szPdHCnkvVcJ6KhYZ40YgqACDgu11oquZUCdq1F0wryN-m9Elex4t3eLT3k7dtIFe5BTIxlvIO7EHJGOWYvJOI9IyiJPPoK2Wu2La3px027DFVtNU7ictf0KXo/s320/semallereux-happyfats.PNG" width="263" /></a></div><span style="font-family: verdana;">
Records had been available regionally since the late 1920s and a few of them got played elsewhere from time to time, but it was in 1939 that <a href="https://en.wikipedia.org/wiki/Leroy_Leblanc">Leroy "Happy" Fats LeBlanc</a> and the Rayne-Bo Ramblers became the first band from south Louisiana to play on a radio show broadcast nationally over the CBS network. Old-timers will recall that Fats and his band were regular performers at the OST Club in Rayne and Tee Maurice Club near Vatican.<span style="font-size: xx-small;">1</span> </span><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>T'as quitté hier au soir,</blockquote><blockquote>Avec un gros en or,</blockquote><blockquote>T'as revenu à ce matin,</blockquote><blockquote>Tu sentais le vin blanc.</blockquote><blockquote><br /></blockquote><blockquote>C'est malheureux, (c'est malheureux,) </blockquote><blockquote>C'est malheureux tu m'fais comme ça,</blockquote><blockquote>C'est malheureux tu m'as quitté, </blockquote><blockquote>Quoi faire tu veux venir.</blockquote><blockquote><br /></blockquote><blockquote>Quoi faire donc, pitié, </blockquote><blockquote>Tu fais ça z-avec moi,</blockquote><blockquote>T'es après faire du mal,</blockquote><blockquote>À ton pauvre nègre.</blockquote><blockquote><br /></blockquote><blockquote>C'est malheureux, (c'est malheureux,)</blockquote><blockquote>C'est malheureux tu m'fais comme ça. </blockquote><blockquote>C'est malheureux tu m'as quitté, </blockquote><blockquote>Quoi faire tu veux venir.</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span><div><span style="font-family: verdana;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQv85m5Ked_R_Yomv73JF0erT2pCpnTbwpo7Y9wpDdjNjwncLWY39-Xo4tvr7p8Hh5xwG-hH4GUAZG2k7C2qnwhMSEr5Az8m34wTyy3i3N8uc5fxyGv6Y-xXRVaBuAU4SbdOX4tAH44O-7PVcZfbZzx-MjK0F6uMa9MfPNtW_GXbuo-dCYmgH3q6y/s300/happyfats2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="297" data-original-width="300" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQv85m5Ked_R_Yomv73JF0erT2pCpnTbwpo7Y9wpDdjNjwncLWY39-Xo4tvr7p8Hh5xwG-hH4GUAZG2k7C2qnwhMSEr5Az8m34wTyy3i3N8uc5fxyGv6Y-xXRVaBuAU4SbdOX4tAH44O-7PVcZfbZzx-MjK0F6uMa9MfPNtW_GXbuo-dCYmgH3q6y/s1600/happyfats2.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Happy Fats</span></td></tr></tbody></table>
Fats was reared on a rice farm near Rayne, Louisiana and got his first guitar by trading a sack of rice for it. He was working in a rice mill for $1.50 a day when he started his band as a way to earn a little bit of money during the Depression. "<i>We'd play dances for ten dollars for the whole band,</i>" he said in an interview some years ago. "<i>That was two dollars apiece and two dollars for traveling expenses</i>."<span style="font-size: xx-small;">1</span> </span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">By 1938, after having many musicians in and out of his band, he regrouped with the Guidry's, Roy "Blackie" Romero and a talented 17-yr-old pianist from the St. Martinville area named Robert Thibodeaux. Together, they formed a western swing outfit for a recording session at the St. Charles Hotel in New Orleans and recorded a French version of Deep Elem Blues entitled "Se Mallereux" (#2089).</span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>You left last night,</blockquote><blockquote>With a big man in wealth,</blockquote><blockquote>You've returned this morning,</blockquote><blockquote>You smelled of white wine.</blockquote><blockquote><br /></blockquote><blockquote>That's terrible, that's terrible,</blockquote><blockquote>That's terrible, you did like that,</blockquote><blockquote>That's terrible, you left me,</blockquote><blockquote>How you want to come back.</blockquote><blockquote><br /></blockquote><blockquote>So, what's done, pitiful,</blockquote><blockquote>You did that with me,</blockquote><blockquote>You're going to hurt,</blockquote><blockquote>Your poor old man.</blockquote><blockquote><br /></blockquote><blockquote>That's terrible, that's terrible,</blockquote><blockquote>That's terrible, you did like that,</blockquote><blockquote>That's terrible, you left me,</blockquote><blockquote>How you want to come back.</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;"><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/aI6CtbjWxco" width="320" youtube-src-id="aI6CtbjWxco"></iframe></div><br /><div><br /></div><div><div><span style="font-family: verdana;">
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<li><span style="font-family: verdana; font-size: x-small;">Jim Bradshaw. "Happy Fats Heard Nationwide". The Abbeville Meridional, published in Abbeville, Louisiana on Sunday, January 29th, 2012</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li>
</ol>
<span style="font-family: verdana; font-size: x-small;">Release Info:</span></div><div><span style="font-size: x-small;"><span style="font-family: verdana;">BS-022035-1 Ma belle Mellina | </span><span style="font-family: verdana;">Bluebird B-2046-A</span></span></div><div><span style="font-family: verdana; font-size: x-small;">BS-022036-1 Se Mallereux | Bluebird B-2046-B</span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana;"><span style="font-size: x-small;">BS-022036-1 Se Mallereux | Bluebird B-2089-A</span></span></div><div><span style="font-size: x-small;"><span style="font-family: verdana;">BS-022023-1 Cherie a you toi te? [Hackberry Ramblers] | </span><span style="font-family: verdana;">Bluebird B-2089-B</span></span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana; font-size: x-small;">Find: </span></div><div><span style="font-family: verdana;"><span style="font-size: x-small;">HAPPY FATS & His Rayne-Bo Ramblers (BACM, 2009)</span><br /></span></div></div></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-72191852630111655042022-03-30T15:11:00.011-07:002022-03-31T06:38:22.210-07:00"A Ute" - Leo Soileau<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFBfgT-FmVerh76gE8ltm3gZZIAQl8jM4p3KuVreg8cN5L0Upk9seO03RnDolKhqaD-TAKejg26TF8mTj3Eld2BcnCYu5KF8Mo5_gSASDvc-xToDtJ59WSKhix3WP3KI6sexB_skdl1Ic/s621/AUte-Leosoileau.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="621" data-original-width="502" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFBfgT-FmVerh76gE8ltm3gZZIAQl8jM4p3KuVreg8cN5L0Upk9seO03RnDolKhqaD-TAKejg26TF8mTj3Eld2BcnCYu5KF8Mo5_gSASDvc-xToDtJ59WSKhix3WP3KI6sexB_skdl1Ic/s320/AUte-Leosoileau.JPG" /></a><p>
</p></div>
<p><span style="font-family: verdana;">Cajun fiddler <a href="https://en.wikipedia.org/wiki/Leo_Soileau">Leo Soileau</a> made a name for himself after waxing four sides for Victor Records in 1928. He became the second Cajun recording artist after the Falcons and was the first fiddler to record for a major label. After his partner Mayuse Lafleur died in a senseless tragedy, he continued to record until the Great Depression took hold.</span></p><p><br /></p><blockquote><blockquote><span style="font-family: verdana;"><i>Eh, bébé, éyoù toi t'es?</i></span></blockquote></blockquote><blockquote><span style="font-family: verdana;"><i><blockquote>Pourquoi-donc toi t'es fais,</blockquote><blockquote>Jolie fille, avec moi,</blockquote><blockquote>Jolie fille, pour ton vieux nègre?</blockquote><blockquote><br /></blockquote><blockquote>Eh, bébé, pourquoi-donc,</blockquote><blockquote>T'as fait ça à ton vieux nègre,</blockquote><blockquote>Jolie 'tite fille, faudra que tu viens,</blockquote><blockquote>Pour faire t'as fait avant longtemps.</blockquote><blockquote><br /></blockquote><blockquote>Eh, chère, comment ç(a) se fait,</blockquote><blockquote>Ma jolie, t'as jamais vu,</blockquote><blockquote>J'vu jaimais, jolie fille, </blockquote><blockquote>Pourquoi-donc tu t'en reviens pas?</blockquote><blockquote><br /></blockquote><blockquote>Oh, chère, éyoù toi t'es,</blockquote><blockquote>Jolie 'tite fille, ton vieux nègre,</blockquote><blockquote>Cher tit monde, pour trop tard,</blockquote><blockquote>Tu viens pas t'en revoir ton nègre.</blockquote><blockquote><br /></blockquote><blockquote>Ah, mon nègre, moi j'm'en va,</blockquote><blockquote>Oui, là-bas, z'à grand Crowley,</blockquote><blockquote>Oh, mon nègre, pour te rejoindre,</blockquote><blockquote>Pourquoi-donc tu fais tout ça?</blockquote></i></span></blockquote><p><br /></p><p><span style="font-family: verdana;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE6ECpsdzhWShGobLnLOLuTpVc2onimqZB2rlWpyiZ8GRTfnJqkLww2rMStVdkkwd2cl0vgTihC0ymxIUCrIzJPeywkLDtdC0rx86p8sBG1akmqA03Zt5mssfUrBI8BglBWwLMh16jDpI/s427/fouraces-CPS-9-12-1936.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="365" data-original-width="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE6ECpsdzhWShGobLnLOLuTpVc2onimqZB2rlWpyiZ8GRTfnJqkLww2rMStVdkkwd2cl0vgTihC0ymxIUCrIzJPeywkLDtdC0rx86p8sBG1akmqA03Zt5mssfUrBI8BglBWwLMh16jDpI/s320/fouraces-CPS-9-12-1936.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Crowley Post Signal<br />Dec 9, 1935</span></td></tr></tbody></table>By 1935, RCA's new Bluebird recording division contacted Leo about recording again and this time he assembled a string band group. By 1936, Leo had been switched over from Bluebird to Decca Records where he used the opportunity to re-record two of his original Victor pieces, one entitled "A Ute (Where Are You)" (#17017). A clear mis-spelling of the phrase <i>éyoù toi</i>, the song was a string band version of the classic Mayuse Lafleur song "<a href="http://earlycajunmusic.blogspot.com/2014/10/mama-where-you-at-leo-soileau-mayuse.html">Mama Where You At?</a>".</span></p><p><span style="font-family: verdana;">Leo was backed by fellow guitarists Bill Landry, Floyd Shreve and probably drummer Tony Gonzales, all billed as the Four Aces of Crowley. The melody remained in the popular Cajun repertoire among area musicians until after WWII, when the song became more commonly known as "Hey Mom". </span></p><p><br /></p><blockquote><blockquote><span style="font-family: verdana;"><i>Hey, baby, where are you at?</i></span></blockquote></blockquote><blockquote><span style="font-family: verdana;"><i><blockquote>So, what have you done,</blockquote><blockquote>Pretty girl, with me,</blockquote><blockquote>Pretty girl, with your old man?</blockquote><blockquote><br /></blockquote><blockquote>Hey, baby, so what,</blockquote><blockquote>You'd done that to your old man,</blockquote><blockquote>Pretty little girl, you have to return,</blockquote><blockquote>To do what you've done before long.</blockquote><blockquote><br /></blockquote><blockquote>Hey, dear, how that feels,</blockquote><blockquote>My pretty one, you'll never see,</blockquote><blockquote>I'll never see, pretty girl,</blockquote><blockquote>So why don't you return.</blockquote><blockquote><br /></blockquote><blockquote>Oh, dear, where are you at?</blockquote><blockquote>Pretty little girl, you old man,</blockquote><blockquote>Dearest everything, it's too late,</blockquote><blockquote>You won't return to see your man.</blockquote><blockquote><br /></blockquote><blockquote>Ah, my friend, I'm leaving to ,</blockquote><blockquote>Yea, over there, to big Crowley,</blockquote><blockquote>Oh, my friend, you'll come back,</blockquote><blockquote>So why have you done all that?</blockquote></i></span></blockquote><p><br /></p><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OhCOc4hvaEo" width="320" youtube-src-id="OhCOc4hvaEo"></iframe></div><br /><span style="font-family: verdana;"><br /></span><div><ol style="text-align: left;"><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li></ol><p></p><div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div></div></div><div><span style="font-family: verdana; font-size: x-small;">NO-60795 A Ute (Where Are You) | Decca 17017 A</span></div><div><span style="font-size: x-small;"><span style="font-family: verdana;">NO-60792 Je M'Ennui Ce Soir (I'm Lonesome Tonight) | </span><span style="font-family: verdana;">Decca 17017 B</span></span></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-88332793412184517512022-02-25T09:18:00.003-08:002022-02-25T11:43:33.771-08:00"Faded Love Waltz" - Eddie Shuler<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgh9QhpD4t6dUso4FL4ab8OVK5-jQFb2dQ7USY1Wd9CAVe83mXSVdZHVva1JcCI8POAHFP9-KuKUIXtLb5ScXx4_ifbI_9vyAxIDmcaxDf2mHJd96ExSB4PCyToYerEEryfDvzKsK5KtJWvxIcy7RCx49byfsrcuNbAy7LijsLv113xt7xsYUahcUN2=s473" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="393" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgh9QhpD4t6dUso4FL4ab8OVK5-jQFb2dQ7USY1Wd9CAVe83mXSVdZHVva1JcCI8POAHFP9-KuKUIXtLb5ScXx4_ifbI_9vyAxIDmcaxDf2mHJd96ExSB4PCyToYerEEryfDvzKsK5KtJWvxIcy7RCx49byfsrcuNbAy7LijsLv113xt7xsYUahcUN2=w266-h320" width="266" /></a></div><span style="font-family: verdana;">Eddie Shuler spent much of the 1940s filling in western swing groups and Cajun string bands such as the Hackberry Ramblers. By the end of WWII, he managed to assemble his own group called the Reveliers and decided a new record label was needed in order to promote his new group. In doing so, he couldn't ignore the sudden increased demand for Cajun music. Eddie was surrounded by Cajun people who wanted more of those records. His band had to adapt to the music demand. He recalls:</span></div>
<blockquote class="tr_bq">
<i><span style="font-family: verdana;">Oh yes, I sold a lot of records to the jukebox operators; that was where you sold most of your records in those days. There were not all that many record shops, and then the people didn't have all that much money to buy records, except the richer people. That's where you sold most of those pop records. But the jukebox operators had to have what they called race records and hillbilly records; they had to have that stuff and the Cajun records, too. So we got into the Cajun thing.<span style="font-size: xx-small;">1</span></span></i></blockquote>
<span style="font-family: verdana;"><br /></span><div><blockquote><span style="font-family: verdana;"><i><blockquote>Oh, chère, mais, j'ai prié, mais, pour t'avoir,</blockquote><blockquote>J'ai pas vu, joli 'tite monde, comment je vas faire.</blockquote><blockquote><br /></blockquote><blockquote>Oh, chère, mais, quel espoir, mais, que tu connais,</blockquote><blockquote>Moi de mourir de plus t'avoir, joli 'tit monde.</blockquote><blockquote><br /></blockquote><blockquote>Oh, chère, mais, pourquoi-donc, mais, (.........),</blockquote><blockquote>Tu vas voir que je mérite pas tout ça tu m'fais.</blockquote></i></span></blockquote><div><span style="font-family: verdana;"><br /></span><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6Mu8-ZOlmEcnL_8KD2FeIdbIWE1_n8VJq2YQ1IhFZ_rirNA5TTLlPe2IVI3T8CZ_eGc8_wYAD9wFXfD0aWS97al34Zw3ayCX1Uwb537urirx1L2jHsuEvUDH6BzWo_5g1_gNWRrMX84/s1600/eddieshuler-LV-12-11-1947.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="604" data-original-width="423" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6Mu8-ZOlmEcnL_8KD2FeIdbIWE1_n8VJq2YQ1IhFZ_rirNA5TTLlPe2IVI3T8CZ_eGc8_wYAD9wFXfD0aWS97al34Zw3ayCX1Uwb537urirx1L2jHsuEvUDH6BzWo_5g1_gNWRrMX84/s320/eddieshuler-LV-12-11-1947.JPG" width="224" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Liberty Vindicator<br />Dec 11, 1947</span></td></tr>
</tbody></table><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">Shuler wanted to record his own songs and focus more on hillbilly music, like his main influence, Bob Wills. He explained:</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>Any country band was hillbilly. It didn't make no difference who you were, you were hillbillies. There wasn't no country music then. They hadn't even invented the word.<span style="font-size: xx-small;">2</span> </i> </span></blockquote>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Between 1944 and 1945, Shuler cut the first record for the Reveliers, featuring Shuler's compositions "Broken Love" and "Room in Your Heart For Me Darling." By 1946, Cajun music was ramping up among the population of south Louisiana and he brought in Norris Savoy to assist in singing some classic Cajun songs. Along with Pee Wee Lyons on steel guitar and Johnny Babb on bass, they recorded the melody of the 1936 "<a href="http://earlycajunmusic.blogspot.com/2016/10/mon-favori-falcon-trio.html">Ma Valse Favori</a>" by Cleoma Breaux in which he entitled it "Faded Love Waltz" (#1017). The melody is the same as Lawrence Walker's 1929 recording of "<a href="http://earlycajunmusic.blogspot.com/2017/05/la-vie-malheureuse-walker-brothers.html">La Vie Malheureuse</a>" and Happy Fats' 1935 recording of "<a href="https://earlycajunmusic.blogspot.com/2020/05/la-valse-de-lamour-happy-fats.html">La Valse De L'Amour</a>". Shuler called his new record label Goldband Records. </span><br />
</span><blockquote class="tr_bq">
<i><span style="font-family: verdana;">It had something to do with my mentality. I said, 'This is going to be a goldmine, so I'll just call it Goldband.'<span style="font-size: xx-small;">2</span> </span></i></blockquote>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><br /></span></div><div><blockquote><blockquote><span style="font-family: verdana;"><i>Oh, dear, well, I prayed, well, to have you,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>I couldn't see, pretty little everything, how I'll do this.</i></span></blockquote><blockquote><span style="font-family: verdana;"><i><br /></i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Oh, dear, well, what hope, well, that you know,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>I'm dying to have you anymore, pretty little everything.</i></span></blockquote><blockquote><span style="font-family: verdana;"><i><br /></i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Oh, dear, well, so why, well, (........),</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>You'll see that I don't deserve all that you've done. </i></span></blockquote></blockquote></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/dVR6oz2FHPY" width="320" youtube-src-id="dVR6oz2FHPY"></iframe></div><br /></div><div><span style="font-family: verdana;">
<br />
</span><ol>
<li><span style="font-family: verdana; font-size: x-small;">Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers By John Broven</span></li>
<li><span style="font-family: verdana; font-size: x-small;">http://theind.com/article-168-the-record-man.html</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li>
</ol>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">Release Info:</span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">Hey Cushmall | Goldband G-1017-A</span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">Faded Love Waltz | Goldband G-1017-B</span></span></div><div><span style="font-family: verdana; font-size: x-small;"><span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif">Find:</span><br />
<span face=""verdana" , sans-serif">Eddie Shuler & His All Star Reveliers: Grande Mamou (BACM, 2016)</span></span></div></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-2950296499026080122022-01-31T09:09:00.001-08:002022-01-31T09:13:23.853-08:00"Cow Island Special" - Cliff Lemaire<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPXUu1CLkWSz2XdccYl3D4yYU1q5NrxzrTDu7vHV2Qq2DUPIv_Qjk9DIufgsq_HcHobr0wQHx3TfLARtuLXGfi65jAACQVPcnCL7TGvaBEWkOsy-oP_y-IpZAdIog9b0488v5tKGEs2gU/s1600/cowislandspecial-clifflemaire.PNG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="507" data-original-width="409" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPXUu1CLkWSz2XdccYl3D4yYU1q5NrxzrTDu7vHV2Qq2DUPIv_Qjk9DIufgsq_HcHobr0wQHx3TfLARtuLXGfi65jAACQVPcnCL7TGvaBEWkOsy-oP_y-IpZAdIog9b0488v5tKGEs2gU/s320/cowislandspecial-clifflemaire.PNG" width="258" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">A native of Cow Island, George Clifford "Cliff" Lemaire led a group during the late 1940s, playing Cajun music in the western swing style. By 1950, he assembled a backup band called "The Swingsters" made up of local musicians from New Iberia. Cliff and the Romeros arranged a shuffle-style tune called "Cow Island Special" (#104). </span><span face=""verdana" , sans-serif">Cow Island (also known as </span><span face=""verdana" , sans-serif"><i>Ile des Vache</i>) </span><span face=""verdana" , sans-serif">is a small community in Vermilion Parish that got it's name from a hill in the midst of a marsh where herds of wild cattle roamed.<span style="font-size: xx-small;">2</span> </span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif">Musician Harold Romero Sr. </span><span face=""verdana" , sans-serif">learned at a young age to make fiddles and by the time he was a teenager, he was learning to build and repair guitars and mandolins. Harold </span><span face=""verdana" , sans-serif">recalled the early years,</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>We were pretty popular, I guess. There was a demand for string bands. I remember the first Saturday night we played we got $20 a piece—that was a lot of money back then.<span style="font-size: xx-small;">3</span> </i></span></blockquote><blockquote class="tr_bq">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><i></i></span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>Toutes mes chères catins,</i></span></blockquote>
<span style="font-family: verdana;"><i>
<blockquote class="tr_bq">
Quoi faire tu brailles tout les temps?</blockquote>
<blockquote class="tr_bq">
...</blockquote>
<blockquote class="tr_bq">
...</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
J’ai fait des nuits ennuyant,</blockquote>
<blockquote class="tr_bq">
Et c’est toujours la cause,</blockquote>
<blockquote class="tr_bq">
De jouer l’accordéon,</blockquote>
<blockquote class="tr_bq">
Là-bas à Chez Ménard's.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
Quand j’étais garçon,</blockquote>
<blockquote class="tr_bq">
C’est la, j’ai passé mon temps,</blockquote>
<blockquote class="tr_bq">
Et courtiser,</blockquote>
<blockquote class="tr_bq">
J’attend l’accordéon.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
Asteure, j’sus marié,</blockquote>
<blockquote class="tr_bq">
Mais, ina une dizaine,</blockquote>
<blockquote class="tr_bq">
Que j’ai la moyère coullion,</blockquote>
<blockquote class="tr_bq">
Mais, ma vielle dit,</blockquote>
<blockquote class="tr_bq">
“J’vas t’aimer tout les temps”.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
Et c’est toujours la cause,</blockquote>
<blockquote class="tr_bq">
Eh, des nuits ennuyant,</blockquote>
<blockquote class="tr_bq">
Jouer l’accordeon,</blockquote>
<blockquote class="tr_bq">
Là-bas à Chez Ménard's.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
Quand j’étais garçon, </blockquote>
<blockquote class="tr_bq">
C’est la, j’ai passé mon temps,</blockquote>
<blockquote class="tr_bq">
Et courtiser,</blockquote>
<blockquote class="tr_bq">
J’attend l’accordéon.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
Asteure, j’sus marié,</blockquote>
<blockquote class="tr_bq">
Mais, ina une dizaine,</blockquote>
<blockquote class="tr_bq">
Que j’ai la moyère coullion,</blockquote>
<blockquote class="tr_bq">
Mais, ma vielle dit,</blockquote>
<blockquote class="tr_bq">
“J’vas t’aimer tout les temps”.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
J’ai fait des nuits ennuyant,</blockquote>
<blockquote class="tr_bq">
Et c’est toujours la cause,</blockquote>
<blockquote class="tr_bq">
De jouer l’accordéon,</blockquote>
<blockquote class="tr_bq">
Là-bas à Chez Ménard's.</blockquote>
<blockquote class="tr_bq">
<br /></blockquote>
<blockquote class="tr_bq">
Quand j’étais garçon,</blockquote>
<blockquote class="tr_bq">
C’est la, j’ai passé,</blockquote>
<blockquote class="tr_bq">
Et courtiser,</blockquote>
<blockquote class="tr_bq">
Et aimer les filles.</blockquote>
</i></span></blockquote>
<span style="font-family: verdana;"><br />
<span face=""verdana" , sans-serif"><br /></span>
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</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMr6tdxSwIutmtqs0e3q1R0hAnct-CbOQeR0kFdHvclrTa_ved7f2ML4dAxS9tjk7e9XN8WKBse9EEhYegdg8O5UL_gpKhCQKEZVFZVOVPBlJjGOoKvGraj4gaBOtsT2MFbjUHINk9x9E/s1600/image+%25288%2529.png" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="715" data-original-width="680" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMr6tdxSwIutmtqs0e3q1R0hAnct-CbOQeR0kFdHvclrTa_ved7f2ML4dAxS9tjk7e9XN8WKBse9EEhYegdg8O5UL_gpKhCQKEZVFZVOVPBlJjGOoKvGraj4gaBOtsT2MFbjUHINk9x9E/s320/image+%25288%2529.png" width="304" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Cliff Lemaire</span></td></tr>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif"></span><br />
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<span face=""verdana" , sans-serif">Hot Rod record producer Virgil Bozman brought the group to the Harold Romero's Music Shop in downtown New Iberia and recorded a song entitled "Cow Island Hop". It was an ode to the Cliff's hometown and the small club known as Menard's. Located between HWY 82 and the Forked Island bridge, the small dance-hall was just south of the more well known Rock-A-Bye Club. </span><br />
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<span face=""verdana" , sans-serif">"The Swingsters" comprised of Harold Romero Sr. on fiddle, Johnny Romero on drums, and Louis "Bee" Romero on bass. Cliff owned a nightclub in Kaplan, owned an amusement company, became good friends with George Jones, and according to musicologist and author Lyle Ferbrache,</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>At one time, he played at the Louisiana Hayride and was on the bill the night Elvis changed the course of country music.<span style="font-size: xx-small;">1</span> </i></span></blockquote>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Cliff recorded for Khoury's of Lake Charles in the mid 1950s but left the music business soon after for a career in auto sales.</span><br />
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<span style="font-family: verdana;"><i>All my dearest dolls,</i></span></blockquote>
<span style="font-family: verdana;">
<blockquote class="tr_bq">
<i>Why do you cry all the time,</i></blockquote>
<blockquote class="tr_bq">
<i>...</i></blockquote>
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<i>...</i></blockquote>
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<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>I have lonely nights,</i></blockquote>
<blockquote class="tr_bq">
<i>And it's always the reason,</i></blockquote>
<blockquote class="tr_bq">
<i>To play the accordion,</i></blockquote>
<blockquote class="tr_bq">
<i>Down there at Chez Menard's</i></blockquote>
<blockquote class="tr_bq">
<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>When I was a boy,</i></blockquote>
<blockquote class="tr_bq">
<i>It's there, I passed my time,</i></blockquote>
<blockquote class="tr_bq">
<i>And courted,</i></blockquote>
<blockquote class="tr_bq">
<i>Waiting for an accordion.</i></blockquote>
<blockquote class="tr_bq">
<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>Right now, I'm married,</i></blockquote>
<blockquote class="tr_bq">
<i>Well, it's been 10 years,</i></blockquote>
<blockquote class="tr_bq">
<i>Since I've had foolish ways,</i></blockquote>
<blockquote class="tr_bq">
<i>But, my old lady says,</i></blockquote>
<blockquote class="tr_bq">
<i>"I'm going to love you forever."</i></blockquote>
<blockquote class="tr_bq">
<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>And it's always the reason,</i></blockquote>
<blockquote class="tr_bq">
<i>On these lonely nights,</i></blockquote>
<blockquote class="tr_bq">
<i>To play the accordion,</i></blockquote>
<blockquote class="tr_bq">
<i>Down there at Chez Menard's.</i></blockquote>
<blockquote class="tr_bq">
<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>When I was a boy,</i></blockquote>
<blockquote class="tr_bq">
<i>It's there, I passed my time,</i></blockquote>
<blockquote class="tr_bq">
<i>And courted,</i></blockquote>
<blockquote class="tr_bq">
<i>Waiting for an accordion.</i></blockquote>
<blockquote class="tr_bq">
<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>Right now, I'm married,</i></blockquote>
<blockquote class="tr_bq">
<i>Well, it's been 10 years,</i></blockquote>
<blockquote class="tr_bq">
<i>Since I've had foolish ways,</i></blockquote>
<blockquote class="tr_bq">
<i>But, my old lady says,</i></blockquote>
<blockquote class="tr_bq">
<i>"I'm going to love you forever."</i></blockquote>
<blockquote class="tr_bq">
<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>I have lonely nights,</i></blockquote>
<blockquote class="tr_bq">
<i>And it's always the reason,</i></blockquote>
<blockquote class="tr_bq">
<i>To play the accordion,</i></blockquote>
<blockquote class="tr_bq">
<i>Down there at Chez Menard's</i></blockquote>
<blockquote class="tr_bq">
<i><br /></i></blockquote>
<blockquote class="tr_bq">
<i>When I was a boy,</i></blockquote>
<blockquote class="tr_bq">
<i>It's there, I passed by,</i></blockquote>
<blockquote class="tr_bq">
<i>And courted,</i></blockquote>
<blockquote class="tr_bq">
<i>And loved the girls.</i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwG7X2LQhT_2V3r1TwAP-oW30369ivi5TK5rZtYUt0vlRXlKP_d5GK3f0LFSZmozHQVubs6FMD1LII8CZrAQpV9bnFe5OJmhL7SShY8VmU7ygfzlGWGDiZudeAiWGDsKNL3BdhnA4i1gk/s1600/haroldromero.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="598" data-original-width="835" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwG7X2LQhT_2V3r1TwAP-oW30369ivi5TK5rZtYUt0vlRXlKP_d5GK3f0LFSZmozHQVubs6FMD1LII8CZrAQpV9bnFe5OJmhL7SShY8VmU7ygfzlGWGDiZudeAiWGDsKNL3BdhnA4i1gk/s320/haroldromero.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Harold Romero</span></td></tr>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">While running their music store during the day, the three Romero brothers later created their own group called the "Teche Playboys" which played everything from country music to rock n roll. They played at places such as the Showboat Club in New Iberia an the Lafitte Club in Abbeville.<span style="font-size: xx-small;">3</span> </span><span face=""verdana" , sans-serif">Bee Romero would continue on throughout the 50s playing rockabilly music with his band called the Down Beats. </span><br />
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<br /><br /></span><div><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FD6Q6lOoT90" width="320" youtube-src-id="FD6Q6lOoT90"></iframe></div><br /><span face=""verdana" , sans-serif"><br /></span>
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</span><ol>
<li><span style="font-family: verdana; font-size: x-small;">Discussions with Lyle F</span></li>
<li><span style="font-family: verdana; font-size: x-small;">http://files.usgwarchives.net/la/vermilion/history/cowisl.txt</span></li>
<li><span style="font-family: verdana; font-size: x-small;">The Daily Advertiser (Lafayette, Louisiana) 20 Mar 1996</span></li>
<li><span style="font-family: verdana; font-size: x-small;">Lyrics by Smith S</span></li>
</ol>
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<span style="font-family: verdana; font-size: x-small;"><br /></span></div>
<div>
<span style="font-family: verdana; font-size: x-small;">Release Info:</span></div>
<div>
<span style="font-family: verdana; font-size: x-small;"><div>Rou Li Aie | Hot Rod 104</div><div>Cow Island Special | Hot Rod 104</div></span></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com1tag:blogger.com,1999:blog-5998039984614993457.post-85836083359292146862022-01-15T07:25:00.003-08:002022-01-15T10:25:18.826-08:00"New Orleans Waltz" - Nathan Abshire<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKFQCVT4p1tqmrITvodCnVcUpUT5MBaiY5e8GAk_P6qkuc1sUto0v0Ws8SvJFGxF7EuhyphenhyphenlxAhRNozFqLk4cLNQJrvPmXqEs7Tj63T_j2CxbCwBJf9O0WU4uZX5P8aJ3X2MDdrmXDxw69o/s1600/neworleanswaltz-nathanabshire.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKFQCVT4p1tqmrITvodCnVcUpUT5MBaiY5e8GAk_P6qkuc1sUto0v0Ws8SvJFGxF7EuhyphenhyphenlxAhRNozFqLk4cLNQJrvPmXqEs7Tj63T_j2CxbCwBJf9O0WU4uZX5P8aJ3X2MDdrmXDxw69o/s320/neworleanswaltz-nathanabshire.JPG" width="264" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">One of the most colorful and greatest Cajun musicians of all time was the late Nathan Abshire. Abshire’s unique style—best heard on the likes of “<a href="http://earlycajunmusic.blogspot.com/2014/11/pine-grove-blues-nathan-abshire.html">Pine Grove Blues</a>,” “<a href="http://earlycajunmusic.blogspot.com/2016/05/mama-rosin-yvonne-leblanc-nathan-abshire.html">Mama Rosin</a>,” “Shamrock Waltz,” and even Joe South’s “Games People Play”—came from blending traditional Cajun music with Louisiana Creole and blues music, music other early Cajun musicians largely disdained or ignored. He also ignited his performances with a spirit and joy for life that few musicians could match.</span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif"><br /></span></span><div><blockquote><span style="font-family: verdana;"><i><blockquote>Ah, 'tite fille, moi j'm'en vas, chère,</blockquote><blockquote>Moi j'm'en vas, m'en aller dans la maison.</blockquote><blockquote><br /></blockquote><blockquote>Ah, 'tite fille, tu vas voir, chère,</blockquote><blockquote>Tu vas voir ton erreur, ça va tout le temps.</blockquote><blockquote><br /></blockquote><blockquote>Ah, 'tite monde, c'est malheureux, chère,</blockquote><blockquote>Malheureux de te voir t'es, là.</blockquote><blockquote><br /></blockquote><blockquote>Ah, 'tite fille, t'écoutais, chère, </blockquote><blockquote>T'écoutais tous les conseils de tous les autres.</blockquote></i></span></blockquote><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHpdPO9pwH7zuCiIwKrAamEt8g3lisG7StGsx8j8CWAIJyeoLIy6y1hebXnLLueGghYK2e9CbgKcNRG7vCHCfa2IkFZJNuYzCi96qI0c9g86l-wjtQULBtgpff6WTiskuJWLRDWR6DI0/s1600/nathanabshire4.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHpdPO9pwH7zuCiIwKrAamEt8g3lisG7StGsx8j8CWAIJyeoLIy6y1hebXnLLueGghYK2e9CbgKcNRG7vCHCfa2IkFZJNuYzCi96qI0c9g86l-wjtQULBtgpff6WTiskuJWLRDWR6DI0/s320/nathanabshire4.JPG" width="226" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Nathan Abshire</span></td></tr>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif">The 1949 tune is an ode to the Crescent City called "New Orleans Waltz" (#110). A melody popularized in the 1930s by Norris Savoy, Norris recorded the same melody in 1947 as "<a href="https://earlycajunmusic.blogspot.com/2018/07/la-valse-de-meche-eddie-shuler.html">La Valse de Meche</a>". Nathan and Norris recorded briefly with Warnes Schexnayder and Happy Fats at a New Orleans recording session in 1935. It's fitting that Nathan chose this title instead, reminiscing about his days playing music with the group in the Big Easy. </span></span><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">The band consisted of Nathan on accordion and vocals, Will Kegley on fiddle, Atlas Fruge on steel guitar, Ernest Thibodeaux on guitar, Jim Baker on bass, and Ozide Kegley on drums. Recorded for Virgil Bozman's OT Records, supported by George Khoury, he would record some of his earliest post-war material for this label. It didn't take long for Khoury to see Nathan's potential and sign him on his own label, Khoury's Recordings. Eddie Shuler recalls Bozman:</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>He sold cow horns. In fact, I still have one of his cow horns over the entrance to my door there that he gave me back at that time. I let him sing on my radio show. Anyway, he went then and teamed up with George Khoury and then he went out and found Nathan Abshire. They used the radio station's disc cutting facilities because that's the way they made their commercials.<span style="font-size: xx-small;">2</span></i></span></blockquote><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span><br /></div><div><span style="font-family: verdana;"><blockquote><span face=""verdana" , sans-serif"><i><blockquote>Oh, little girl, I'm leaving, dearie,</blockquote><blockquote>I'm leaving, I'm going home.</blockquote><blockquote><br /></blockquote><blockquote>Oh, little girl, you will see, dearie,</blockquote><blockquote>You will see your mistake, always how it is.</blockquote><blockquote><br /></blockquote><blockquote>Oh, my little everything, it's terrible, dearie,</blockquote><blockquote>Sad to see how you are, over there.</blockquote><blockquote><br /></blockquote><blockquote>Oh, little girl, listen, dearie,</blockquote><blockquote>Listen to all the advice of others.</blockquote></i></span></blockquote></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM3bFh56r06RAjTjPZ4pPLUWeis_ffw9No4EswyUmQdSeGqN2DcNd_fghhZoEBC0EETIqt6qAet-B411nR9z1Rg1YMfS0EZAkNqiUEiH7pMFnyDF73dsKyk8Fff3bx4jniWs4WjLBu0Es/s1600/nathanabshire5.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: verdana;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM3bFh56r06RAjTjPZ4pPLUWeis_ffw9No4EswyUmQdSeGqN2DcNd_fghhZoEBC0EETIqt6qAet-B411nR9z1Rg1YMfS0EZAkNqiUEiH7pMFnyDF73dsKyk8Fff3bx4jniWs4WjLBu0Es/s320/nathanabshire5.JPG" width="226" /></span></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">Masters were cut onto aluminum-based acetate-covered discs, which were then sent to a processing plant. Many of the metal plating work for Virgil's records were done by the Charles Eckart Co. on Santa Monica Blvd in Los Angeles. This firm in turn probably sent the metal parts to a Los Angeles pressing plant to manufacture the discs, since there were no such plants in Louisiana.<span style="font-size: xx-small;">3</span> </span></span></div><br /></span><span face=""verdana" , sans-serif">Eventually, Nathan re-recorded the melody as "<a href="https://www.youtube.com/watch?v=tnX1LCY5ecA">La Valse De Meche</a>" in 1973 for La Louisianne Records with Bessyl Duhon on rhythm guitar, Rufus Thibodeaux on bass, Joe Thibodeaux on drums, record producer Carol Rachou on triangle, and Merlin Fontenot on fiddle.</span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif">Towards the end of his days, Abshire adopted the motto “The good times are killing me.” It was the title of his last Swallow LP and he had it spelled out in gold mail box letters on his accordion case. </span><span face=""verdana" , sans-serif"><br /></span>
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</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: verdana;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/yefNA3iju7M/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/yefNA3iju7M?feature=player_embedded" width="320"></iframe></span></div>
<span style="font-family: verdana;"><br />
</span><ol>
<li><span style="font-family: verdana; font-size: x-small;">http://www.offbeat.com/articles/masters-of-louisiana-music-nathan-abshire/</span></li>
<li><span style="font-family: verdana; font-size: x-small;">http://arhoolie.org/eddie-shuler-goldband-records/</span></li><li><span style="font-family: verdana; font-size: x-small;">Cajun Honk Tonk Vol.2. Liner notes. </span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li>
</ol>
<span style="font-family: verdana; font-size: x-small;"><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Release Info:</span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">New Orleans Waltz | </span></span><span style="font-family: verdana; font-size: small;">OT Records 110-A</span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">French Blues | OT Records 110-B</span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">Find:</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Cajun Music - The Early 50s (Arhoolie, 1969)</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Bayou Two-Step - Cajun Hits From Louisiana 1929-1962 (Jasmine, 2015)</span></span></div></div></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-32197668535240200092022-01-02T10:59:00.004-08:002022-01-02T11:04:29.863-08:00A New Year And Retrospective Thoughts<p><span style="font-family: verdana;">Can you believe it's been 8 years since the blog began? A project, one that was started to collectively place the obscure history of this beautiful music in one place, has grown immensely. It moved from a personal repository of songs, lyrics and history to a website that people around the world have contributed to and helped inspire. It has allowed musical families to share their history with others, allowed me to meet some wonderful people along the way, and acquire long lost information about some of the most crucial components in our culture's history. This site has helped fill in the gaps and provide a more complete picture of how the music started and evolved. </span></p><p><span style="font-family: verdana;">Continuing on into 2022, the density and frequency of the articles will change, however, the energy and passion about early Cajun music remains. </span><span style="font-family: verdana;">This blog project has spawned future ideas for other projects, some too amazing to ignore. As we sit back and pour through everything, hopefully soon, more interactive things come about. </span></p><p><span style="font-family: verdana;">The biggest hope is that it has helped others continue their research journey by chasing after the source material that has driven much of this, and encouraged others to get immersed into the early Cajun music history like never before. There's plenty more songs to cover and you are encouraged to pick up where this blog leaves off by reading through some of the great sources provided in each article. </span></p><p><span style="font-family: verdana;">After 8 years, I'm pleasantly surprised in the overall interest I've received and excited so many that have reached out to help guide the project. If you have anything to contribute, as always, feel free. Bonne année et allons écouter!</span></p>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com2tag:blogger.com,1999:blog-5998039984614993457.post-60759583655581475662021-12-28T13:20:00.026-08:002024-01-09T15:29:12.785-08:00The Rise And Fall … And Redemption of Cajun Musician Moise Robin<p><span style="font-family: verdana;">In the 1920s, some of the most talented accordion players to rise among the ranks of Cajun musicians were born and raised along the Bayou Teche. Artists such as the Segura Brothers, Didier Hebert, Columbus “Boy” Fruge, the Guidry Brothers, Artelus Mistric, Berthmost Montet and Joswell Dupuis were some of the lucky few to score recording contracts with major recording labels. But none of them had become as infamous and garnered such wild notoriety in later years as Arnaudville-native Moise Robin. His life and early success was followed by self-inflicted tragedy and regret that affected not only his family, but the whole community. </span></p><p></p><p></p><span style="font-family: verdana;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhXXUxZ2lLs-m3jshzdU2amjT1gHNlaG5gRepaIW5tdu1H_JqeR_Uqv9HvQBpCE2v1tSB212NEtZvkMV5usHZC3_vPot1Uc94PzrEtTM20J2DVbvxw8dkFTnSkdEDScXRglTmXhZW9lv_89LomYawfq9s7EYAkcJjjdfNtgXk_54OXDE7tyjGzZm-7R=s907" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="907" data-original-width="632" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhXXUxZ2lLs-m3jshzdU2amjT1gHNlaG5gRepaIW5tdu1H_JqeR_Uqv9HvQBpCE2v1tSB212NEtZvkMV5usHZC3_vPot1Uc94PzrEtTM20J2DVbvxw8dkFTnSkdEDScXRglTmXhZW9lv_89LomYawfq9s7EYAkcJjjdfNtgXk_54OXDE7tyjGzZm-7R=s320" width="223" /></a></span>Joseph Moise Robin was born January 4th, 1911 in Point Claire, a small community between Leonville, Louisiana and Arnaudville, Louisiana. His father, Joseph, was a talented accordion player in his own right. “He played all over, around the territory Ville Platte and everywhere, play dances, for many years”, Robin told Chris Stratchwitz in 1980. “My daddy was born in 1886 … And he started play when he was young.” Moise began borrowing his father’s accordion and by the age of nine, he was assisting him at dances. “He would make me play a few dances for the people that took those great, big, red accordions, old time, and just my head would show up on top of the accordion.” Moise struggled to keep up and his vocals could never attain the sound that he desired. “I didn't have a good voice,” recalled Robin. “It was too low and I never had a good voice up to this day. One of my friends advised me to drink raw eggs and that would cause me to have a beautiful voice. So, I started watching the chicken house and looking for eggs.”</span><div><p></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><b>THE RISE</b></span></p><p><span style="font-family: verdana;">By his late teens, Robin had a chance to make it big. In 1929, Ville Platte fiddler Leo Soileau lost his accordion playing partner Mayuse Lafleur in a brawl outside a bar room. By the time Leo was ready to resume his professional career, he contacted Moise. “He heard about me”, said Robin. “So he came home with my daddy and seen me that’s when he got me to play with him. So, I replaced [Lafleur]. And the first place we went, we played all around in clubs.” Paramount Records heard that scouts for RCA and Columbia were scoring big regional hits with Cajun musicians and their executives wanted a piece of the action. By July, they were in contractual discussions with Opelousas sewing machine seller and record dealer, Winter Lemoine. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEicCZJJ8aFwQdC3NxT28BOzwx6gjMzk9awkhZE8-cC_ihbyGE5YQX1lchhrfK3DzUatAuxbg8QsN_uwMHdXvwOsuvvOkaBfhR_sz22zPDKlBsV_kG8_baCNHfwA82EwhrZ3LalzWRrTQeDaz-UrRD0ZtIVpF5abwOWEHUpI6l5vkX4aGUd0NaRu4qJ3=s440" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="331" data-original-width="440" height="241" src="https://blogger.googleusercontent.com/img/a/AVvXsEicCZJJ8aFwQdC3NxT28BOzwx6gjMzk9awkhZE8-cC_ihbyGE5YQX1lchhrfK3DzUatAuxbg8QsN_uwMHdXvwOsuvvOkaBfhR_sz22zPDKlBsV_kG8_baCNHfwA82EwhrZ3LalzWRrTQeDaz-UrRD0ZtIVpF5abwOWEHUpI6l5vkX4aGUd0NaRu4qJ3=s320" width="320" /></a></span></div><p></p><p><span style="font-family: verdana;">Lemoine was a native of Leonville and a distributor for Paramount records in the region. Along with Leo’s history of recording, Lemoine arranged the duo to travel to the Starr Piano Company Building in Whitewater Gorge Park in Richmond, Indiana where the Gennett Recording company had constructed a studio. “So we met in Richmond, Indiana and made two records there,” recalled Robin. “It was all steam trains …They would pay all expenses, and the year was, in that time, money, it was Depression, $25 each, to make that first record. And it was great for us to $25.”</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhoTms7vUg5jiVtWSTJzr-cILkoa2uXWi4A_1UkHbR-TquOiVuWnZMC1WKJ_VdAW-7QpmFjQvRYzmyQ4gQJ-FSNWHVMsNbT2RY_Zxj8FFT5RFr0UbFiIplbuHR7Q4JUjl5dUhq8SB-vw_4y_N6aYa2WLomIY9_vLB7S1uln3KwrUCp9_JiDia8Eyi3V=s608" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="501" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhoTms7vUg5jiVtWSTJzr-cILkoa2uXWi4A_1UkHbR-TquOiVuWnZMC1WKJ_VdAW-7QpmFjQvRYzmyQ4gQJ-FSNWHVMsNbT2RY_Zxj8FFT5RFr0UbFiIplbuHR7Q4JUjl5dUhq8SB-vw_4y_N6aYa2WLomIY9_vLB7S1uln3KwrUCp9_JiDia8Eyi3V=s320" width="264" /></a></div><br /><span style="font-family: verdana;">The duo recorded six sides for the label and the future was looking good for the young Robin. Soon after, RCA contacted Leo in September for another session, however, this time, Robin tagged along. “We was called to Memphis, Tennessee, me and Leo, and made again two records there.” RCA record scout Ralph Peer was in charge and had previously worked with Opelousas merchant and agent for Leo named Frank Deitlein. Frank had paid for the duo’s travel and brought along Columbus “Boy” Fruge. “In the grand ballroom in the Claridge Hotel, where the Victor company did their recording, the four of us entered and were greeted by a fellow by the name of Ralph Peer,” recalled Frank. “I believe that he was president of the Southern Music Publishing Co., which specialized in recording Southern folk songs.” Leo and Moise recorded four songs followed by Columbus who recorded another four tunes. </span><p></p><p><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><br /></span></div><span style="font-family: verdana;">The sessions made huge impacts on southern record scouts causing executives at Brunswick Recording Company to take note. Richard Voynow, orchestra director and Vocalion recording scout, traveled down to the Evangeline countryside and found several area musicians interested in a local recording session. Voynow lined up Leo and Moise, along with Dennis McGee, Ernest Fruge, Douglas Bellard, Kirby Riley, and the Guidry Brothers. Each musician was sponsored by a local area Vocalion record dealer. “We was called to New Orleans, Louisiana, at the Roosevelt Hotel and we made again two records,” said Robin. <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjJNVRPD_gJ26ZBAf-dJSOksNwdgUe3DIXUJfAROnx9Vwp9iOISKjpQRg3rvEl_hXo-VVS9pPI6tbV6s2yLjgE4tTEqEvThP0NaPr5F9ppfCLUi6r1qZB9fshFLvq2V1iQ6rkUilXcxPaT84Zu4ZCDe6UkSYGAD83ikNG4DqEc3FqcvnznH1WnIUos9=s662" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="662" data-original-width="522" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjJNVRPD_gJ26ZBAf-dJSOksNwdgUe3DIXUJfAROnx9Vwp9iOISKjpQRg3rvEl_hXo-VVS9pPI6tbV6s2yLjgE4tTEqEvThP0NaPr5F9ppfCLUi6r1qZB9fshFLvq2V1iQ6rkUilXcxPaT84Zu4ZCDe6UkSYGAD83ikNG4DqEc3FqcvnznH1WnIUos9=s320" width="252" /></a></div></span><p></p><p><span style="font-family: verdana;">Moise’s career had reached a pinnacle point. However, dark times loomed ahead. He and Leo’s professional relationship was starting to sour, and their personalities were showing signs of conflict. Both men seemed to disagree on each other’s technique and the New Orleans session would be Robin’s last. When folklorist Ralph Rinzler asked Robin why they split, he explained their performances were suffering. “It's the same D, G, C,” exclaimed Robin. “There's no chorus in that son of a gun (Cajun music)... accordion and fiddle, it's just you got to pap. You just can't stop.” Their split wasn’t the only reason the recording opportunities ceased. The end of 1929 signaled the Great Depression and all southern scouts declined to record Cajun music for another five years. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"></span></div><p></p><p><span style="font-family: verdana;">Throughout the mid-1930s, Leo would continue recording and playing in regional dancehalls throughout the southwestern part of the state, recording for other labels such as Bluebird and Decca, while Robin found himself content playing music in small bars around Arnaudville. These bars rarely were places hosting grand cosmopolitan events. They catered to rural folks, generally farmers, that were looking for an escape from the daily grind. With the economic effects still lingering from the Depression, alcohol consumption increased, and with it, the pension for violence in bars did too. On July 24th, 1937, while playing late night at Forest Dupuis’ Dance Hall outside of Leonville, five men approached Robin and attacked him with knives. When officers arrived, Robin was found slashed across his abdomen and he remained in critical condition at his home. All five assailants were arrested however, Robin’s problems were only beginning.</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><b>THE FALL</b></span></p><p><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkwOVFTODoJvp2Iv90rEyUAuMYq3iUM-PidoZLp9uAixVEd4gJjq-8DxgwUPYN7ZFTr2pJdEk9qri6rx0IMR2wtptDVVqMfSqsoVIrlzvo97_i20fZrzVNUj8J6MQNBL0gmi4Yj0xfgOzOpaxDF6bLR8rYyjA_ATxVXKMoxV8O7pYd1HwPiCvHfbJc=s699" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="699" data-original-width="472" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkwOVFTODoJvp2Iv90rEyUAuMYq3iUM-PidoZLp9uAixVEd4gJjq-8DxgwUPYN7ZFTr2pJdEk9qri6rx0IMR2wtptDVVqMfSqsoVIrlzvo97_i20fZrzVNUj8J6MQNBL0gmi4Yj0xfgOzOpaxDF6bLR8rYyjA_ATxVXKMoxV8O7pYd1HwPiCvHfbJc=s320" width="216" /></a></span></div><span style="font-family: verdana;">Moise’s rough and tumble livelihood spilled out into his relationship with his wife Louise. The couple married in 1934 at the Leonville church and had a daughter Erilda soon afterwards. But their relationship was never stable. In 1949, everything came crashing down. Late at night on September 12th, 1949, Louise and Moise had gotten into another dispute. They had been quarrelling over a week, however, this time, Louise wasn’t interested in arguing anymore. She made it clear that she was leaving him. To top it off, she threatened to take custody of both of their daughters. Angry, Moise threatened her life if she ever left him but she had already made up her mind. Louise packed her things, grabbed their two daughters, fled their house in Leonville and headed to her father Ovide Richard’s house in Paccaniere. </span><p></p><p><span style="font-family: verdana;">In a fit of rage, Moise jumped into his car and headed to her father Ovide’s home. Not to alarm the family of his presence, he parked his car a considerable distance from the Richard home, walked through the fields and entered the home from the back door. Quietly, he walked into the house, hoping to not alarm the other family members. </span></p><p><span style="font-family: verdana;">Louise, who was busy talking to her father, noticed Robin enter the adjacent room. Immediately, she screamed and ran toward her father. Suddenly, Robin revealed a 12-gauge sawed-off shotgun, loaded with buckshot. He fired directly at her face and after she fell to the ground, he vengefully fired a second shot into her back. According to Robin's daughter Erilda, “I did not see [Moise] come in but I saw him when he was at the door and when he shot. Then I ran to the bathroom and then into the front room where my mother was.” Louise’s mother lay on the ground, cradling her daughter’s head. </span></p><p><span style="font-family: verdana;">Several pellets from the shot missed his intended target and lodged in Ovide’s foot. Knowing that Moise had used all the shells in his gun, Ovide tried to prevent Moise’s escape. Ovide explained during the hearing, “I jumped over my daughter and ran in the back room, the same room that Moise had shot from. I grabbed my shot gun and went after him but he had gone out in the dark and I did not see him after that.” </span></p><p><span style="font-family: verdana;">Robin fled the scene. He arrived at his sister Alfreda’s house where he explained to her that he killed his wife and was going to kill himself. Robin's nephew, after hearing the news, jumped in a car, attempting to chase him. Robin left Alfreda's home and ended up finding a pistol at his father's house. Before anyone could stop him, Robin fired a round into his own head and another one that entered the left side of his face. Amazingly, Robin survived. He was taken to the Arnaudville sanitarium, surrounded by security guards. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhDLsbzZEkJTSomyZonPxmngH5hOOD7BO6o0IZGMJwnAdg8DKCF9jVe48udifGK8G_g1EZJFxJcNKbEJvkcoPFAu4kX5UOLTtt2DC87AD50IQWRitKUL4-eHJkTEl-0uftsIDzpUUn4yxirsgPheuvmvkF_J2ASZrnRN80fDl4A_IooFWZ7E2bwqzJT=s905" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="449" data-original-width="905" height="159" src="https://blogger.googleusercontent.com/img/a/AVvXsEhDLsbzZEkJTSomyZonPxmngH5hOOD7BO6o0IZGMJwnAdg8DKCF9jVe48udifGK8G_g1EZJFxJcNKbEJvkcoPFAu4kX5UOLTtt2DC87AD50IQWRitKUL4-eHJkTEl-0uftsIDzpUUn4yxirsgPheuvmvkF_J2ASZrnRN80fDl4A_IooFWZ7E2bwqzJT=s320" width="320" /></a></div><p></p><p><span style="font-family: verdana;">The shock from the event rippled across Cajun communities. Newspapers across the state were suddenly covering the case and all the gruesome details. The coroner labeled her death from “shock and hemorrhage from a gunshot would into the abdomen and liver inflicted by Moise Robin.” He stayed in an Opelousas hospital until he could recover enough to be moved to the St. Landry parish jail at Opelousas. Later that month, a grand jury was formed where they indicted him on murder charges for the slaying of his wife. They transported him to Angola State Penitentiary where he awaited the results of the investigations. </span></p><p><span style="font-family: verdana;">In October, he began another attempt to kill himself. For nine days, he went on a starvation diet. He eventually regained his awareness after being admitted to the prison hospital where they injected fluids and nourishment. Superintendent Lawrence believed he had “somewhat improved but remained in pretty bad shape.” In November, a panel of specialists were assigned to judge Robin’s mental condition in order to determine if he was fit to stand trial. Although Angola physicians believed he was improving physically, they claimed “he is so mentally confused and incompetent that he is unable to care for himself, has to be fed, bathed, and have his bodily needs attended to”. They also claimed, in the presence of witnesses and a Catholic priest, Robin said he had “just seen the Blessed Virgin and spoken to her” and that “he would perform miracles” before he died. His attorneys contended that such delusions and irrational statements question Robin’s sanity. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEglXE95gjk0ztQTxWooa1mU-B_dnyRgt_Z2Q1WkYir2VQcKxfdG6uM88mqRuC8qd9sR0vDmQ42Jy6GQQP2UXfWXDWB1s5UloMEL0_mU6kumI6Z5ADDbrOfWBbVdjvalIUUlauTuG2xogigsmAfaFkOXX63ZTJPWMWt2d8dcvxdDaUJZNq081bJfNmIi=s465" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="465" height="284" src="https://blogger.googleusercontent.com/img/a/AVvXsEglXE95gjk0ztQTxWooa1mU-B_dnyRgt_Z2Q1WkYir2VQcKxfdG6uM88mqRuC8qd9sR0vDmQ42Jy6GQQP2UXfWXDWB1s5UloMEL0_mU6kumI6Z5ADDbrOfWBbVdjvalIUUlauTuG2xogigsmAfaFkOXX63ZTJPWMWt2d8dcvxdDaUJZNq081bJfNmIi=s320" width="320" /></a></div><p></p><p><span style="font-family: verdana;">By December, the judgement arrived from Judge Lessley Gardiner. Moise Robin was declared “insane, incapable of understanding proceedings against him or of entering into his own defense” by Dr. Magruder and Dr. Robards. Robin was transferred from Angola to the East Louisiana State Hospital’s criminal insane department in Jackson in early January of 1950.</span></p><p><span style="font-family: verdana;">He remained at the sanitarium as a mental patient for 17 years until October of 1966. He decided to plead guilty to the charge of manslaughter in order to receive a five-year suspended sentence. The medical staff notified the district attorney that Robin was “capable of taking part in his own defense”. He was returned to the St. Landry Parish jail where he awaited his fate. Judge Gardiner placed Robin on five-year active supervised probation by a psychiatrist. </span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><b>THE REDEMPTION</b></span></p><p><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgM9amKQkGv7kYyJ4s3z2WztaKtS4YKUH9ixDKEb1nlsWhda3DBhoRgpG9kKxlTKT5Sq4jNOIAVf6MlrQLSvaFOpF3pz6flL4-CjSsyP3yeSNAhst6WHg9dCxB1yDj5NnkOZ91XeomiK7-rB2jWQh5uVt9JtsmIKrFGnLvNZZ6PwF99Smwx81ebuMQH=s523" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="523" data-original-width="458" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgM9amKQkGv7kYyJ4s3z2WztaKtS4YKUH9ixDKEb1nlsWhda3DBhoRgpG9kKxlTKT5Sq4jNOIAVf6MlrQLSvaFOpF3pz6flL4-CjSsyP3yeSNAhst6WHg9dCxB1yDj5NnkOZ91XeomiK7-rB2jWQh5uVt9JtsmIKrFGnLvNZZ6PwF99Smwx81ebuMQH=s320" width="280" /></a><span style="font-family: verdana;"></span></div><span style="font-family: verdana;">By 1968, Robin believed he was a changed man. Like many ex-convicts, Robin was convinced that he was in the midst of a "religious awakening". The time he spent in confinement would be used to redeem himself and move into a more familiar lifestyle. He met Marie Artigue, a companion that he remained with, although they never married. Robin even considered performing music again. He formed a small group called the Opelousas Playboys, playing at small venues such as Richard’s Casino in Lewisburg. Both record producers, J.D. Miller and Eddie Shuler, took chances and recorded Robin in their respective studios, releasing several singles on 45 RPM records. </span><p></p><p><span style="font-family: verdana;">By 1983, the guilt of his offenses began to weigh on him and he spent time writing religious laments claiming, “he was led by a spirit" to write a book by the name of ‘<i>The Golden Gate</i>’. In it, he attempts to redeem himself in the eyes of the public and loosely writes about premonitions and future predictions, all with a spiritual flare. He took out ads in the paper to sell his book, making exorbitant claims, hoping his public perception about him would change. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiNWvwWeeO6U1hunyrPkqf-WA8l993eBdeITp-EM0Pa4EATQ-CKqGbFiLUC4p2fbYMSddeEOuoeZEZkyfNy_uUeRQ_P6gHXxxWVeT8qeq7MNoGFvwluTDHhV8lFx9oJ6m1CBCejQIEbTzw8hG4VpMZOqwaj249ZyUwokpqc8KfSbaV-yoYlNBA4yx7U=s742" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="742" data-original-width="453" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiNWvwWeeO6U1hunyrPkqf-WA8l993eBdeITp-EM0Pa4EATQ-CKqGbFiLUC4p2fbYMSddeEOuoeZEZkyfNy_uUeRQ_P6gHXxxWVeT8qeq7MNoGFvwluTDHhV8lFx9oJ6m1CBCejQIEbTzw8hG4VpMZOqwaj249ZyUwokpqc8KfSbaV-yoYlNBA4yx7U=s320" width="195" /></a></div><p></p><p><span style="font-family: verdana;">In the end, he would freely admit his falling from grace. He told others in documentaries, such as Gerard Dole, Chris Strachwitz and Marc Savoy, of the things that had happened, although, after much time had passed, details were missing from his recollection. He performed for the 1984 Festival Acadian with his Arnaudville Playboys and continued selling his book in small shops. He often teamed up with Doc Guidry and Faren Serrette, playing at places such as Pat’s Waterfront Restaurant, Eunice’s Liberty Theater and area festivals. Gerard Dole recorded Robin playing one last time in 1989 for his CD release of “<i>Le Légendaire Moise Robin</i>”. It seems Robin never used his music to hide from his time during incarceration and thought others should take note of his spiritual prophecies. According to Robin, </span></p><p></p><blockquote><span style="font-family: verdana;">“And why should we believe a prisoner? Let me remind you that the 'Old Man' has always and always will choose a prisoner to do his spiritual work.”</span></blockquote><p></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p><p></p><ol style="text-align: left;"><li><span style="font-family: verdana; font-size: xx-small;">https://arhoolie.org/moise-robin/</span></li><li><span style="font-family: verdana; font-size: xx-small;">Clarion-News (Opelousas, Louisiana) 15 Sep 1949</span></li><li><span style="font-family: verdana; font-size: xx-small;">Clarion-News (Opelousas, Louisiana) 22 Sep 1949</span></li><li><span style="font-family: verdana; font-size: xx-small;">Clarion-News (Opelousas, Louisiana) 24 Nov 1949</span></li><li><span style="font-family: verdana; font-size: xx-small;">Daily World (Opelousas, Louisiana) 20 Dec 1949</span></li><li><span style="font-family: verdana; font-size: xx-small;">Daily World (Opelousas, Louisiana) 16 Oct 1966</span></li><li><span style="font-family: verdana; font-size: xx-small;">The Daily Advertiser (Lafayette, Louisiana) 06 Nov 1983</span></li><li><span style="font-family: verdana; font-size: xx-small;">Daily World (Opelousas, Louisiana) 26 Feb 1984</span></li></ol><p></p></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com1tag:blogger.com,1999:blog-5998039984614993457.post-535868191895418732021-12-07T07:33:00.002-08:002021-12-07T07:33:39.905-08:00"Prison Two Step" - Austin Pitre<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVMrmqV2TqHblJ6z5TNWuzzkTnfpCJto75RCQj4lWI1CVitxaqDZt7vo695SOOElMJgKZPcsS0vnud_hnTJUzqnYbT767hkh6EDKPLwIPu2EdtwAfNa_XniyLMiQQt7ZZyUABBJ_Dy_tA/s1600/prisontwostep-austinpitre.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVMrmqV2TqHblJ6z5TNWuzzkTnfpCJto75RCQj4lWI1CVitxaqDZt7vo695SOOElMJgKZPcsS0vnud_hnTJUzqnYbT767hkh6EDKPLwIPu2EdtwAfNa_XniyLMiQQt7ZZyUABBJ_Dy_tA/s320/prisontwostep-austinpitre.JPG" width="264" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Born in Ville Platte, Louisiana, <a href="https://en.wikipedia.org/wiki/Austin_Pitre">Austin Pitre</a>, he was surrounded by house parties and the emerging dance-hall scene. All of the area's musicians had a profound influence on Austin's sound, just as his life of hard work added a unique rough edge to his style. Austin's fiddle-playing father gave him an accordion in hopes that his six-year-old son would learn to accompany him at the local house dances.<span style="font-size: xx-small;">1</span> </span><br />
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<span face=""verdana" , sans-serif">"Prison Two Step" (#500) was Pitre's version of Amede Ardoin's "<a href="http://earlycajunmusic.blogspot.com/2014/08/les-blues-de-prison-amede-ardoin.html">Les Blues De La Prison</a>", originally recorded in 1934. Austin was known to have several of Ardoin's original 78 RPM records and there's little doubt he learned the song from endless days of listening to them. His group between 1954 and 1956 is possibly Cliff Fontenot on fiddle, Floyd Fontenot and Pee Wee McCoullough on guitar. The session, recorded in Crowley, would be his last one with J.D. Miller. From that point on, he would work almost exclusively with a new up-and-coming local record giant, Floyd Soileau. </span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">In 1956, Dr. Harry Oster recorded Austin again during a field session, this time calling the tune "Prison Song". Later in life, </span><span face=""verdana" , sans-serif">Austin was invited to travel and play for the Library of Congress in 1973. Guitarist Preston Manuel recalled,</span><br />
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<span style="font-family: verdana;"><i>A group I played with a long time ago was Austin Pitre. Yes, we played many dances--me, and Austin, his son, Jimmy, [James Williams] "J.W." Pelsia, the steel player, and Roy Tate. We went to Washington, D.C. for nine days. We played in Arlington, Virginia, for that big fair.<span style="font-size: xx-small;">2</span> </i></span></blockquote>
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<li><span style="font-family: verdana; font-size: x-small;">Austin Pitre "Opelousas Waltz". Liner notes.</span></li>
<li><span style="font-family: verdana; font-size: x-small;"><a href="http://earlycajunmusic.blogspot.com/2015/10/ye-yaille-chere-traditional-cajun-dance.html">Ye Yaille Chere by Raymond Francois</a></span></li>
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<span style="font-family: verdana;"><br /><span face=""verdana" , sans-serif" style="font-size: x-small;"><br /></span><span face=""verdana" , sans-serif" style="font-size: x-small;">Release Info:</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Prison Two Step | French Hits F-500</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">La Valse De Chagrin | French Hits F-500</span><br />
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<span face=""verdana" , sans-serif" style="font-size: x-small;">Find:</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Louisiana Cajun Music Volume 4: From The 30s To The 50s (Old Timey, 1972)</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Acadian All Star Special - The Pioneering Cajun Recordings Of J.D. Miller (Bear, 2011)</span></span>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-68944773870027843992021-11-03T11:43:00.003-07:002021-11-03T11:43:52.157-07:00"Confession D'Amour (Confessions Of Love)" - Sydney Landry<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWITY-HFF0b3X3vaS6rQFjaRN45oSmwgvvRBkvFhJkQ-dv1YFt5uXjT9t0VJxo_D5kM2dv5CbJ_dqq5Cd-BfKgwxDioD0W_wpadiCPE7k3k0fgpOmxSbcuYdhjUMWqS_huP4lkvWBQK9A/s705/confessiondamour-sydneylandry-okeh.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="562" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWITY-HFF0b3X3vaS6rQFjaRN45oSmwgvvRBkvFhJkQ-dv1YFt5uXjT9t0VJxo_D5kM2dv5CbJ_dqq5Cd-BfKgwxDioD0W_wpadiCPE7k3k0fgpOmxSbcuYdhjUMWqS_huP4lkvWBQK9A/s320/confessiondamour-sydneylandry-okeh.JPG" width="255" /></a></div><p><span style="font-family: verdana;">Sydney Landry was one of the last Cajun recording artists of the pre-Depression era. Better known as "Syd", the Landry's grew up in the small community of Henry, Louisiana outside of Erath. He started in music when he was nine years old as a drummer, like his dad Louis Landry, who played for local dances. Sydney often entertained friends singing with his guitar.</span></p><p><span style="font-family: verdana;"><br /></span></p><blockquote><p><span style="font-family: verdana;"><i>Mais, il est temps pour moi j'avance, moi faire sans toi,</i></span></p><p><span style="font-family: verdana;"><i>Tout ça que š'apprendre pour* moi et toi,</i></span></p><p><span style="font-family: verdana;"><i>Tous les langueurs, j'ai passé pour essayer de faire m'aimer,</i></span></p><p><span style="font-family: verdana;"><i>Faudra s'assoir, tous les jours, oublier, t'as jamais voulu m'aimer. </i></span></p><p><span style="font-family: verdana;"><i>[yodel]</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>J'ai pris mon pistolet, un jour, et j'ai parti pour me tirer,</i></span></p><p><span style="font-family: verdana;"><i>Quand j'ai pensé à ma promesse, je m'ai donc dû bouger.</i></span></p><p><span style="font-family: verdana;"><i>[yodel]</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>J'ai tout mon linge dedans ma malle, avec mon cœur qui me fait bien mal, </i></span></p><p><span style="font-family: verdana;"><i>Avec l'idée juste à partir, mais, m'en aller bien loin dedans le noir.</i></span></p><p><span style="font-family: verdana;"><i>[yodel]</i></span></p></blockquote><p><span style="font-family: verdana;"><br /></span></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghjxpbQnAZaR6xjj1qSEB1tKrjfH4H5sGiFK7caVlK8IhSc13VMeFUff_RoQP3xPlsSsVl4me1WvZTX91SSPk2WZE0m03gLxMPlW5pitMS02bVhUV_SYi6clfef5xWDyuI-sXl9nXLWSQ/s600/Sydney+Joseph+Landry.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="600" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghjxpbQnAZaR6xjj1qSEB1tKrjfH4H5sGiFK7caVlK8IhSc13VMeFUff_RoQP3xPlsSsVl4me1WvZTX91SSPk2WZE0m03gLxMPlW5pitMS02bVhUV_SYi6clfef5xWDyuI-sXl9nXLWSQ/s320/Sydney+Joseph+Landry.jpg" width="213" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Sydney Joseph Landry</span></td></tr></tbody></table><span style="font-family: verdana;"></span><p></p><p><span style="font-family: verdana;">Sydney's family moved westward to Ged, Louisiana in Calcaseiu parish. There, he worked alongside Lawrence Walker's band. By 1929, Columbia records offered him a chance to record two songs in New Orleans, one which was a Jimmie Rodgers-style recording entitled "Confession D'Amour" (#40516), later co-pressed by Okeh. He arrived in early December along with Amede Ardoin, the Segura Brothers, and Didier Hebert. </span></p><p></p><p><span style="font-family: verdana;"><br /></span></p><blockquote><p><span style="font-family: verdana;"><i>Well, it is time for me to move on, without you,</i></span></p><p><span style="font-family: verdana;"><i>All of that I learned about* me and you,</i></span></p><p><span style="font-family: verdana;"><i>All the languor I have spent trying to make you love me,</i></span></p><p><span style="font-family: verdana;"><i>Have to sit, every day, forgetting (that) you never wanted to love me.</i></span></p><p><span style="font-family: verdana;"><i>[yodel]</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>I took my pistol, one day, and I left to go shoot myself,</i></span></p><p><span style="font-family: verdana;"><i>But, when I though about my promise, I had to move on,</i></span></p><p><span style="font-family: verdana;"><i>[yodel]</i></span></p><p><span style="font-family: verdana;"><i><br /></i></span></p><p><span style="font-family: verdana;"><i>I have all of my clothes in my trunk, with my heart that aches,</i></span></p><p><span style="font-family: verdana;"><i>With the idea of just leaving, well, to go far into the darkness.</i></span></p><p><span style="font-family: verdana;"><i>[yodel]</i></span></p></blockquote><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpaa10C-Zm6OSgyDIvHoI0uYKC99x4k89g1VKFbK8A0UDkD2dTz-ACU_Ohy-3RuN1QU0pEA7VYug-5ELKb7D57mO1Jf5cgpWbpCqRnV9Pedus5mpUqzWGsuQax2sKT0BKF_yZc6ExJW10/s405/conf1.PNG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: verdana;"><img border="0" data-original-height="405" data-original-width="369" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpaa10C-Zm6OSgyDIvHoI0uYKC99x4k89g1VKFbK8A0UDkD2dTz-ACU_Ohy-3RuN1QU0pEA7VYug-5ELKb7D57mO1Jf5cgpWbpCqRnV9Pedus5mpUqzWGsuQax2sKT0BKF_yZc6ExJW10/w183-h200/conf1.PNG" width="183" /></span></a></div><p></p><p><span style="font-family: verdana;">Sydney moved to Texas, living in different areas of southeast part of the state, until finally retiring in Columbus, Texas. Sydney's recordings remained obscure and his music career never materialized. According to his son Grady,<br /></span></p><p><span style="font-family: verdana;"><i></i></span></p><blockquote><span style="font-family: verdana;"><i>"He had a very bad automobile accident in the 30's. He lost his voice and ended up breaking all his records."<span style="font-size: xx-small;">1</span> </i></span></blockquote><p><span style="font-family: verdana;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div style="text-align: center;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/P0cb2DJwcKo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/P0cb2DJwcKo?feature=player_embedded" width="320"></iframe></div>
<p></p><p></p><ol style="text-align: left;"><li><span style="font-family: verdana; font-size: x-small;">Discussions with Grady L</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li></ol><div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div><div><span style="font-family: verdana; font-size: x-small;">111382-2 Confession D'Amour (Confessions Of Love) | Columbia 40516-F | Okeh 90016</span></div><div><span style="font-size: x-small;"><span style="font-family: verdana;">111383-2 La Blouse Francaise (French Blues) | </span><span style="font-family: verdana;">Columbia 40516-F </span><span style="font-family: verdana;">| Okeh 90016</span></span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana;"><span style="font-size: x-small;">Find: <br />CAJUN-Rare & Authentic (JSP, 2008)</span><br /></span></div><p></p><p style="-webkit-text-stroke-width: 0px; color: black; font-family: "Times New Roman"; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></p>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com1tag:blogger.com,1999:blog-5998039984614993457.post-72782342941775984262021-10-18T10:23:00.002-07:002021-10-18T10:23:45.988-07:00"Chere Catan" - Lee Sonnier<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibUk8ON4GIVu8L-j2HWntIra6JezJ9UD5vghEujmP5gNDFDq65JGSkczhzXC-Uc0E0EaDEI1NZFUUQAHoLlQ2smuCF1YYi52tz9jn-h8gxcgAVJxXentpDhFHmc9d6UBK_HOf9wNcHDEY/s1600/cherecatan-leesonnier.PNG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibUk8ON4GIVu8L-j2HWntIra6JezJ9UD5vghEujmP5gNDFDq65JGSkczhzXC-Uc0E0EaDEI1NZFUUQAHoLlQ2smuCF1YYi52tz9jn-h8gxcgAVJxXentpDhFHmc9d6UBK_HOf9wNcHDEY/s320/cherecatan-leesonnier.PNG" width="276" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Accordionist Lee Sonnier and his contemporaries were attuned to, and profoundly affected by, the ever-changing musical landscape that sustained their art. They were not only products of their environment, but also cultural actors who intervened by adapting the diatonic accordion into a Cajun swing framework, a context they knew intimately well.<span style="font-size: xx-small;">1</span> But it would take his son-in-law JD Miller to bring him into the studio to shine.</span><br />
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<span face=""verdana" , sans-serif">Before Miller married into the Sonnier family, he had been a musician himself. When Miller was 11 years of age, he played in the grade school band and his interest in music was born. At the age of 15 Miller joined the Crowley High School band as a drummer. He recalled,</span><br />
</span><blockquote class="tr_bq">
<span style="font-family: verdana;"><i>That band was the only formal music training I ever got, and I didn't pay any attention to the instructor even then. I just played!<span style="font-size: xx-small;">3</span> </i></span></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgstrTENn-KugsfkZ3md0lKOm8et7p9Hhjq2ZCho3uiODqibaDhe5FQJV02osFmGuXCcc4KitP9Hw537IT_o2HzEvGYz-4hwsuMEMCKjbx0OLcJIjftoSb5lp5XIJcRWRiOEV0y0wZ81Rs/s1600/jdmiller-1954.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="910" data-original-width="1317" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgstrTENn-KugsfkZ3md0lKOm8et7p9Hhjq2ZCho3uiODqibaDhe5FQJV02osFmGuXCcc4KitP9Hw537IT_o2HzEvGYz-4hwsuMEMCKjbx0OLcJIjftoSb5lp5XIJcRWRiOEV0y0wZ81Rs/s320/jdmiller-1954.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">J.D. Miller, 1954</span></td></tr>
</tbody></table><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Oh, bébé, malheuruse, catin,</blockquote><blockquote>'Tite monde, quoi moi j'va faire, chère,</blockquote><blockquote>Ouais, quand mon j'vu là, 'tite fille,</blockquote><blockquote>(Pour toi m'écoute), malheuruse.</blockquote><blockquote>...</blockquote></i></span></blockquote></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">During his high school days, he began writing songs. Though this period, he wrote 95 songs, but being convinced that they were not good, he destroyed them all and temporarily put the thought of a musical career behind him.<span style="font-size: xx-small;">2</span> </span><span face=""verdana" , sans-serif">However, by the 1930s, Miller was invited by steel guitarist Papa Cairo, and fiddler Irby Thibodeaux to form the band called Daylight Creepers. J.D. </span><span face=""verdana" , sans-serif">Miller states:</span></span></div><div><span style="font-family: verdana;"><br />
</span><blockquote class="tr_bq">
<i><span style="font-family: verdana;">You think the names of bands are strange now. We used to play at night and it seemed that almost every time the old car we used broke down. We'd have to push that car back home during the day and that's how we came up with the name.<span style="font-size: xx-small;">1</span></span></i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9o8etkDXtdvUE9-_ZLlGLPK103QgIlgwdu2AIdsX1K-zpJn2FRio7zrI1KQiRV_HahxZP1Ic2LnhBvNLIhUN5-m8NNNdjvpm79yfD4OYGAo18U4k5-TSXTBCWPLi-c4Yv4RE0A3BdI7w/s1600/LeeSonnier.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9o8etkDXtdvUE9-_ZLlGLPK103QgIlgwdu2AIdsX1K-zpJn2FRio7zrI1KQiRV_HahxZP1Ic2LnhBvNLIhUN5-m8NNNdjvpm79yfD4OYGAo18U4k5-TSXTBCWPLi-c4Yv4RE0A3BdI7w/s320/LeeSonnier.jpg" width="259" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Lee Sonnier</span></td></tr>
</tbody></table><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Oh, baby, oh my, pretty doll,</blockquote><blockquote>Little everything, what you've done, dearie,</blockquote><blockquote>Yeah, when I saw you there, little girl,</blockquote><blockquote>You were listening (to me), naughty woman. </blockquote><blockquote>...</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span>
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<span face=""verdana" , sans-serif">By 1946, he was no longer in a band. Instead, Miller gathered Sonnier's group into his new recording studio at M&S Electrical shop around 1948 and using a tape recorder, listened to Lee's band record a traditional tune called "Chere Catan" (#1002) with Calvin Holloway as vocalist, Lawrence "Blackie" Fruge on fiddle, Eula Mae Fruge on guitar, and Happy Fats on bass. Sadly, Miller struggled with balancing the instruments and Calvin's vocals are hardly heard over the volume of Lee's accordion.</span><br />
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<span style="font-family: verdana; font-size: x-small;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/n_Ip_pPcPuA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/n_Ip_pPcPuA?feature=player_embedded" width="320"></iframe></span></div>
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</span><ol>
<li><span style="font-family: verdana; font-size: x-small;"><a href="http://earlycajunmusic.blogspot.com/2015/07/cajun-breakdown-emergence-of-american.html">Cajun Breakdown : The Emergence of an American-Made Music by Ryan Andre Brasseaux</a></span></li>
<li><span style="font-family: verdana; font-size: x-small;">JD Interview. RT. 1953</span></li>
<li><span style="font-family: verdana; font-size: x-small;">JD Interview DA. 1954</span></li>
</ol>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">Release Info:</span></span></div><div><span style="font-family: verdana;"><span style="font-size: x-small;">Dans Les Grand Meche | Fais Do Do F-1002-A</span></span></div><div><span style="font-family: verdana;"><span style="font-size: x-small;">Chere Catan </span><span style="font-size: small;">| Fais Do Do F-1002-B</span><span style="font-size: x-small;"><br /></span>
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<span face=""verdana" , sans-serif" style="font-size: x-small;">Find:</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Fais Do Do Breakdown - Volume One - The Late 1940's (Flyright, 1986)</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;"><span face=""verdana" , sans-serif">Acadian All Star Special - The Pioneering Cajun Recordings Of J.D. Miller (Bear, 2011)</span></span></span></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-48963041649284496542021-10-12T09:45:00.001-07:002021-10-12T09:45:59.223-07:00"Cajun Hop" - Harry Choates<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7_N9TpaVjg2E0GfDEWC45XkoxqfrH9Etf5Oc1cRyuJwlN46eS9gEFDAKDoJY3VjFV5rIpMJmz95HBLibxly30puYwd3RvOagifH-D15OxG2cFlpIHAAXH9VHyCcUDQUAMESsHla2iOo/s1600/cajunhop-harrychoates2.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7_N9TpaVjg2E0GfDEWC45XkoxqfrH9Etf5Oc1cRyuJwlN46eS9gEFDAKDoJY3VjFV5rIpMJmz95HBLibxly30puYwd3RvOagifH-D15OxG2cFlpIHAAXH9VHyCcUDQUAMESsHla2iOo/s320/cajunhop-harrychoates2.JPG" width="253" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Harry Choates, the earliest of post-war Cajun groups to record, had joined Leo Soileau's group around the late 1930s or early 1940s. He had gained a reputation of an excellent fiddle player around southwest Louisiana. While filling in, he would remember several of their signature tunes and later borrow them while recording with his Melody Boys by the mid 40s. </span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Having played in Leo Soileau's band during the war years, "Cajun Hop" (#1326) was merely an updated version of Soileau's "Les Blues de Port Arthur". </span><span face=""verdana" , sans-serif">It was recorded in 1947 at Bill Quinn's Gold Star studios and the</span><span face=""verdana" , sans-serif"> "hop" is a generic name Bill Quinn usually gave to any fast Cajun tune.</span><br />
<span face=""verdana" , sans-serif"><br /></span><br /></span><div><blockquote><span style="font-family: verdana;"><blockquote><i>Eh, 'tite fille, tu m'as lesse pour t'en aller,</i></blockquote><blockquote><i>Malheureuse, moi j'connais, mérite pas ça.</i></blockquote><blockquote><i>Eh, chere, jolie fille, jolie cœur,</i></blockquote><blockquote><i>Quoi t'as fais, mais, avec moi, (que misérable).</i></blockquote><blockquote><i><br /></i></blockquote><blockquote><i>Eh, eh, eh, ha, ha.</i></blockquote><blockquote><i>Eh, 'tite fille, t'apres la peine.</i></blockquote><blockquote><i><br /></i></blockquote><blockquote><i>Eh, chere, jolie fille, jolie cœur,</i></blockquote><blockquote><i>Eh, mais, moi j'connais m'aimer (...)</i></blockquote><blockquote><i>Eh, 'tite fille, eh villian moyens,</i></blockquote><blockquote><i>Moi j'connais, quoi t'as fais, t'as fais pas bien.</i></blockquote>
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</span></blockquote><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FDMPlCCHDTcxvUZp67_DRxgwjns7I3K0BTtOkOWwvvqNFjJowrIoaxQGRim7YXWyL2bmkYtBafgizzp5IzbmEBhp48rb3t5orXXEHxp_jTcuggfd1NZhf_GQ8vY7J5lKkKoBKPJTVEM/s1600/harrychoates1rayne.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="350" data-original-width="622" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FDMPlCCHDTcxvUZp67_DRxgwjns7I3K0BTtOkOWwvvqNFjJowrIoaxQGRim7YXWyL2bmkYtBafgizzp5IzbmEBhp48rb3t5orXXEHxp_jTcuggfd1NZhf_GQ8vY7J5lKkKoBKPJTVEM/s320/harrychoates1rayne.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Hollywood Club<br />B.D. Williams, Curzey "Porkchop" Roy, Harry Choates<br />Johnnie Manuel, Joe Manuel, Eddie Pursley,<br />Ronald Ray "Pee Wee" Lyons</span></td></tr>
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<span style="font-family: verdana;"><br />
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<span face=""verdana" , sans-serif">The "Cajun Hop" session is unique because Bill Quinn actually typed up a session sheet which the entire band signed, and, miraculously, this sheet actually survived and is now in the University of Texas archives. This is one of only two session sheets to survive for any Gold Star session, by anyone. It listed the band members: Joe Manuel on banjo, Eddie Pursley on guitar, Johnnie Manuel on piano, Ronald Ray "Pee Wee" Lyons on steel, and B.D. Williams on bass.</span><span face=""verdana" , sans-serif"><br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ4ZjEYlAW1sSFY5IdvXIEc5nL4MmjfDpFg6fOPA1lb2wxD5DLmul_W4DjmeHI_DbqBgoJvYq-Nx6YXpDXv-rNusSJBfg4EG7v16OqQ2zZO77niIZGqqWFWsvbywXNmsi1_7kPUHlanwk/s1600/Gold+Star+Choates+session+Feb+47.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ4ZjEYlAW1sSFY5IdvXIEc5nL4MmjfDpFg6fOPA1lb2wxD5DLmul_W4DjmeHI_DbqBgoJvYq-Nx6YXpDXv-rNusSJBfg4EG7v16OqQ2zZO77niIZGqqWFWsvbywXNmsi1_7kPUHlanwk/s200/Gold+Star+Choates+session+Feb+47.jpg" width="170" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Gold Star session, 1947</span></td></tr>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Quinn's motivation was apparently to prove that he had paid the band for their services in case one of them tried to sue him later (as Jimmie Foster would do later that year for his non-credit on "Jole Blon"), though since he's only paying them $1.00 each, the contract is purely a formality. Either that, or the Melody Boys worked very cheap. </span><span face=""verdana" , sans-serif">The song was the flip side of "Harry Choates Special" for Goldstar but the Bihari's released it on the other side of "Rubber Dolly".</span></span></div><div><span style="font-family: verdana;"><br />
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<span face=""verdana" , sans-serif">Typically, though, his records show him as a Cajun Bob Wills, interspersing his singing and fiddling with cries of "eh,ha ha!". It was a common phrase he used, especially when playing live, due to having a limited Cajun french vocabulary and constantly forgetting the lyrics mid-song.</span></span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="clear: right; float: right; font-family: verdana; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZTrVYu-B5XGXRdosJkz7TEI0poO5_gChCQORfbrXkJNLoG9Vqu5uvzbHRwbE2EZ8YZy34l-rCopTaZDdCdNA4JtF3nEcPPgYPNeTuXXVKdFAKxfr2HF_ncmASQD5QPObwDlZdRc70NSw/s200/cajunhop-harrychoates.JPG" width="158" /></span><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Hey, little girl, you have left me to go away,</blockquote><blockquote>Naughty woman, I know, I don't deserve that,</blockquote><blockquote>Hey, dearie, pretty girl, pretty sweetheart,</blockquote><blockquote>What you've done, well, with me, (that's miserable).</blockquote><blockquote><br /></blockquote><blockquote>Hey, hey, hey, hah, hah.</blockquote><blockquote>Hey, little girl, you're painful. </blockquote><blockquote><br /></blockquote><blockquote>Hey, dearie, pretty girl, pretty sweetheart,</blockquote><blockquote>Hey, well, I know I love (...),</blockquote><blockquote>Hey, little girl, hey, naughty ways,</blockquote><blockquote>I know, what you've done, you've not been good.</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;"><br />
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</span><ol>
<li><span style="font-size: x-small;"><span style="font-family: verdana;">Country Music Originals: The Legends and the Lost By Tony Russell</span></span></li>
<li><span style="font-size: x-small;"><span style="font-family: verdana;">http://wired-for-sound.blogspot.com/2010/08/harry-choates-on-gold-star-13261330.html</span></span></li>
</ol>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: x-small;">Release Info:</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">1326-A Cajun Hop | Gold Star 1326-A</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">1326-B Fa-De-Do Stomp | </span><span face=""verdana" , sans-serif" style="font-size: x-small;">Gold Star 1326-B</span><br />
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<span face=""verdana" , sans-serif" style="font-size: x-small;">1331 Rubber Dolly | Modern 20-528A</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">1326-A Cajun Hop | Modern 20-528B</span><br />
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<span face=""verdana" , sans-serif" style="font-size: x-small;">Find:</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Harry Choates – The Fiddle King Of Cajun Swing (Arhoolie, 1982, 1993)</span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Devil In The Bayou - The Gold Star Recordings (Bear Family, 2002)</span></span></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-15934419002242535762021-08-13T07:23:00.000-07:002021-08-13T07:23:05.502-07:00"Blues Negres" - Cleoma Falcon<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcfa11eN7AeYUowNyc5gPKwTdWt8SiRJJgrdNnhWRUajJb5LklV_A1mrsbJmi_kVvsUaRqYXfXIXZ1GiJZ8bQrZlcNpXZQyCXd7aEydpQuaXbypylzUiOqG1FxfUAOBnwbRfNLELcyqyw/s1600/niggar.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcfa11eN7AeYUowNyc5gPKwTdWt8SiRJJgrdNnhWRUajJb5LklV_A1mrsbJmi_kVvsUaRqYXfXIXZ1GiJZ8bQrZlcNpXZQyCXd7aEydpQuaXbypylzUiOqG1FxfUAOBnwbRfNLELcyqyw/s1600/niggar.JPG" width="255" /></a></div>
<span style="font-family: verdana;"><div><i><span style="font-size: xx-small;"><span style="font-family: verdana;">This article may </span>contain potentially offensive language, including obscenities and ethnic or racial slurs. In the interest of making this material fully available to scholars, we have chosen not to censor this material.</span></i></div><div><br /></div>In the 1920s and 1930s, Cajun musicians could not avoid the influence of the blues sound heard throughout the south. So much so, many of them recorded at least one tune with some blues influence. A great example is the tune by <a href="https://en.wikipedia.org/wiki/Cl%C3%A9oma_Falcon">Cleoma Breaux Falcon</a> entitled "Blues Negres (Niggar Blues)" on Decca (#17004). According to Dr. Barry Ancelet, it would be the influence of Afro-Creole and Native American sounds that makes Cajun music sound so different than the Acadian music of Nova Scotia. </span><div><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Oh, pour tu m'aimer,</blockquote><blockquote>Tu connais j'mérite pas donc tout ça, toi t'après faire,</blockquote><blockquote>C’est pitié a la maison, moi tout seul, j'ai p'us personne, mais, p'us m'aimer,</blockquote><blockquote>Moi j'm'en va, moi tout seul, comme un pauvre malheureuse.</blockquote><blockquote><br /></blockquote><blockquote>Écoute-moi tout les conseils de les autres,</blockquote><blockquote>Tu connais moi j't'aime, bon Dieu sait, chère 'tite fille,</blockquote><blockquote>Tu connais j'mérite pas tout ça toi t'après faire.</blockquote><blockquote>Moi j'm'en va, moi tout seul, à la maison, j'ai p'us personne, mais, p'us m'aimer,</blockquote><blockquote>Pourquoi moi j'ai des regrets quoi toi t'après faire?</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq8ccIqrNbq-z708PhjJ5j_aYsbUDswMK-U4rhjC0g2AOVHYSffGGsMXU6z3yLGO1pYqiLEXxPKEPOIA7ZM2QezuejrZ5jUQrg0QyHGGwNZ7d5B_W5hhTng_8G2IyxvefEqKUa58JDXjY/s626/nb.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="626" data-original-width="492" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq8ccIqrNbq-z708PhjJ5j_aYsbUDswMK-U4rhjC0g2AOVHYSffGGsMXU6z3yLGO1pYqiLEXxPKEPOIA7ZM2QezuejrZ5jUQrg0QyHGGwNZ7d5B_W5hhTng_8G2IyxvefEqKUa58JDXjY/s320/nb.jpg" width="252" /></a></div><span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Recorded in 1934 in New York City, "Blues Negres", i</span></span><span style="font-family: verdana;">t shares similarities with a song called "Bull Doze Blues" by Henry Thomas in 1928 for Vocalion. </span><span style="font-family: verdana;">It's loosely related to the old minstrel song, composed in 1912 by Leroy “Lasses” White entitled "Nigger Blues", which was one of the first blues songs published. In addition to the importance of the "Nigger Blues" for being one of the first published blues songs and written by one of the first composers of twelve-bar blues, it was the first whose lyrics were in what would become the standard blues form used by the 1920s vaudeville performers and found in the folk blues songs collected and recorded in the 1930s.</span><span style="font-family: verdana; font-size: xx-small;">3</span><span style="font-family: verdana;"> </span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Whoa, how you loved me,</blockquote><blockquote>You know, so I don't deserve all that you've done,</blockquote><blockquote>It's pitiful at home, I'm all alone, I have no one, well, no one to love me,</blockquote><blockquote>I'm going, all alone, like a poor miserable woman.</blockquote><blockquote><br /></blockquote><blockquote>Listening to all the advice of others,</blockquote><blockquote>You know I love you, the good Lord knows, dear little girl,</blockquote><blockquote>You know I don't deserve all that you've done,</blockquote><blockquote>I am going, all alone, to the house, I have no one, well, no one to love me,</blockquote><blockquote>Why do i have such regret for what you are doing?</blockquote></i></span></blockquote></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">Blues arrangements and one-steps acted as a cultural weather vane indicating the direction of commercial Cajun music.</span></span><span style="font-family: verdana;"> Cleoma would go on to record other bluesy tunes such as "Ouvrez Grand Ma Fenetre" and "En Route Chez Moi". </span></div><div><div><br /></div><div>
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</span><ol>
<li><span face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: x-small;">Against the Tide, the story of the Cajun people of Louisiana by Zachary Richard</span></span></li>
<li><span face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: x-small;"><a href="http://earlycajunmusic.blogspot.com/2015/07/cajun-breakdown-emergence-of-american.html">Cajun Breakdown : The Emergence of an American-Made Music By Ryan Andre Brasseaux</a></span></span></li>
<li><span style="font-family: verdana; font-size: x-small;">https://en.wikipedia.org/wiki/Nigger_Blues</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Herman M</span></li>
</ol>
<div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div><div><span style="font-family: verdana; font-size: x-small;">39208-A Soucis Quand J'Etais Gamin (Troubles When I Was A Boy) | Decca 17004 A</span></div><div><span style="font-family: verdana; font-size: x-small;">39207-A Blues Negres (Nigger Blues) | Decca 17004 B</span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div>
<span style="font-family: verdana; font-size: x-small;">Find:</span></div>
<div>
<span style="font-family: verdana; font-size: x-small;">Presents Hot Women Singers (Kein & Aber, 2003)</span></div>
</div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-33850898198439954532021-08-03T10:34:00.000-07:002021-08-03T10:34:30.031-07:00"Madame Donnez Moi Les" - Angelas Lejeune & Ernest Fruge<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_glHjb9ERTBwoJPKrb0p4-EFdvA6IcqJIbzgBTv8daooryLWb9RQYsdUpWuOlg0hHCIrF0TAwmdoSjKDqU9sWOZPDHZy-zjfm93w_D0bQbAupDLMrz5SkR7mRBsBCCJtroHegmjYt4c/s1600/madamedonnezmoiles-lejeune-fruge.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="603" data-original-width="465" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_glHjb9ERTBwoJPKrb0p4-EFdvA6IcqJIbzgBTv8daooryLWb9RQYsdUpWuOlg0hHCIrF0TAwmdoSjKDqU9sWOZPDHZy-zjfm93w_D0bQbAupDLMrz5SkR7mRBsBCCJtroHegmjYt4c/s320/madamedonnezmoiles-lejeune-fruge.JPG" width="246" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif">Petite Ou Gros! The famous Creole melody that inspired so many covers, most notably "Les Flammes D'Enfer" in the later years of Cajun repertoire. The original tune, "Adieu Rosa", would be covered in it's raw form by Dennis McGee. Other musicians such as Joe Falcon, Leo Soileau, Moise Robin and Douglas Bellard all created their own renditions of this bye-gone song. It's about a love-interest begging a mother for either of her daughters' hands in marriage. Either the skinny one or the large one—it doesn't matter. </span><br />
<span face=""verdana" , sans-serif"><br /></span><br /></span><div><blockquote><span style="font-family: verdana;"><i><blockquote>Ah, ye yaille, la malheureuse.</blockquote><blockquote><br /></blockquote><blockquote>Aye, ye yaille. </blockquote><blockquote><br /></blockquote><blockquote>Madame donnez-moi les, ouais, </blockquote><blockquote>La petite ou bien la grosse, </blockquote><blockquote>La petite elle est mignonne, </blockquote><blockquote>La grosse, elle est si belle.</blockquote><blockquote><br /></blockquote><blockquote>Aye ye yaille, petite.</blockquote><blockquote><br /></blockquote><blockquote>Madame donnez-moi les, ouais, </blockquote><blockquote>La petite ou bien la grosse à cause, </blockquote><blockquote>Si j'en ai une, </blockquote><blockquote>C'est tout que moi je voudrais.</blockquote><blockquote><br /></blockquote><blockquote>Quitte-moi, vous dire, </blockquote><blockquote>Comment j'veux t'croire,</blockquote><blockquote>J'en aurais pas une,</blockquote><blockquote>Ni la petite ni bien la grosse,</blockquote><blockquote><br /></blockquote><blockquote>Falloir dire, ouais madame, </blockquote><blockquote>Moi j'vas voler la grosse, </blockquote><blockquote>Vas pas la garde la belle,</blockquote><blockquote>Ça m'lesse tout seul.</blockquote><blockquote><br /></blockquote><blockquote>Ah, ye yaille, la malheureuse.</blockquote></i></span></blockquote><p> </p><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOvbwXZUlsWn-8GDwljiwCghp8_cZ_0DRsgJ6E_OJKCJ2gIGSDx2UCJAsbeGXnx1ob3tcCp5HzXn_7FlRHScA2dbhRaEjA2XwrdTDIduEAihLKPD41Z8tvSTZpn5-jyhB9aES8JcH_Mus/s1600/RichardVoynow2.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="420" data-original-width="431" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOvbwXZUlsWn-8GDwljiwCghp8_cZ_0DRsgJ6E_OJKCJ2gIGSDx2UCJAsbeGXnx1ob3tcCp5HzXn_7FlRHScA2dbhRaEjA2XwrdTDIduEAihLKPD41Z8tvSTZpn5-jyhB9aES8JcH_Mus/s320/RichardVoynow2.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Richard Voynow</span></td></tr>
</tbody></table><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Angelas' first session was produced by Brunswick's A&R representative Richard Voynow. A jazz pianist and composer for The Wolverine Orchestra, Voynow dabbled in finding artists for the record label. During a lengthy expedition into the south, he supervised Lejeune, Fruge and McGee's 1929 session with several area musicians from the Opelousas area. By November of 1930, the label held their final session in New Orleans in which Angelas and Ernest were waxing another set of songs to disc. For this recording, "Madame Donnez Moi Les" (#527), Angelas put down his accordion and let his vocals ride along Ernest's fiddle melody. It's one of the few recordings that allow listeners to hear Fruge's fiddling talent dominate and it would be the duo's very last recording ever. </span><br />
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<span face=""verdana" , sans-serif"><br /></span><br /></span></div><div><span style="font-family: verdana;"><blockquote><span face=""verdana" , sans-serif"><i><blockquote>Oh, ye yaille, miserable woman.</blockquote><blockquote><br /></blockquote><blockquote>Oh, ye yaille.</blockquote><blockquote><br /></blockquote><blockquote>Madam, give them to me, yeah, </blockquote><blockquote>The little one or the big one,</blockquote><blockquote>The little one, she is cute,</blockquote><blockquote>The big one, she is so beautiful.</blockquote><blockquote><br /></blockquote><blockquote>Oh, ye yaille, little one.</blockquote><blockquote><br /></blockquote><blockquote>Madam, give them to me, yeah,</blockquote><blockquote>The little one or the big one because,</blockquote><blockquote>I have to have one, </blockquote><blockquote>That's all I want.</blockquote><blockquote><br /></blockquote><blockquote>Leave me, you said, </blockquote><blockquote>How I wanted to believe you,</blockquote><blockquote>(Now), I won't get one,</blockquote><blockquote>Neither the small one nor the big one.</blockquote><blockquote><br /></blockquote><blockquote>Have to say, yeah madam,</blockquote><blockquote>I'm going to steal the big one,</blockquote><blockquote>Don't protect the beauty,</blockquote><blockquote>It hurts me to be alone.</blockquote><blockquote><br /></blockquote><blockquote>Oh, ye yaille, miserable woman.</blockquote></i></span></blockquote></span></div><div><br /></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">The melody influenced many other pre-war Cajun tunes such as Joe Falcon's "<a href="http://earlycajunmusic.blogspot.com/2016/12/arcadian-one-step-joseph-falcon.html">Acadian One Step</a>", Leo Soileau's "<a href="https://earlycajunmusic.blogspot.com/2018/05/demain-cest-pas-dimanche-moise-robin.html">Demain C'Est Pas Dimanche</a>" and Bixy Guidry's "Ella A Plurer Pour Revenir". <span face=""verdana" , sans-serif">Leo would rework the song in the 1930s as "Petit Ou Gros", made famous by Joe Bonsall in the 1960s. </span></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif"><span style="font-family: verdana;"><br /></span></span></span></span></div><div><div style="text-align: center;"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXT-wnfQilXkz6MBGnUY5LayWMERenrn3WUWrkYAU5OnUG76EJHH6fCSmtuM1HfvVM2M2cu6nSifqlWgooCU-PadIzbBHUKaaIlp_NzpkgUvKS6zLAY9HhQa6oA-qaFlHnXqFeLmHNNcU/s400/AdieuRosa.JPG" style="font-family: verdana;" width="400" /></div><span style="font-family: verdana;">
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<li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F and Herman M</span></li>
</ol><div><span style="font-family: verdana; font-size: x-small;">Release Info:</span></div><div><span style="font-family: verdana; font-size: x-small;"><div>NO-6727 Valse A Aristil Creduer | Brunswick 577</div><div>NO-6728 Madame Donnez Moi Les | Brunswick 577</div></span></div><div><span style="font-family: verdana; font-size: x-small;"><br /></span></div><div><span style="font-family: verdana; font-size: x-small;">Find:</span></div><div><span style="font-family: verdana; font-size: x-small;">Let Me Play This For You: Rare Cajun Recordings (Tompkins, 2013)</span></div></div></div></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-24979962465669842332021-07-27T19:26:00.006-07:002021-07-28T08:20:33.330-07:00"La Valse De L'Amour" - Happy Fats<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzLAuF9EbY6hkHwcOthMREk8U07tx1pk867Ha7oG02anUyi4p3spj65Ikdft245ScodePXFtAKjoOrGj3nad-5QJbBztj0w8obeHzLfRipjj3T5BAmpaBRJwLvtsyyFxXx80UdryLimtM/s1600/lavalsedelamour-happyfats.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="566" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzLAuF9EbY6hkHwcOthMREk8U07tx1pk867Ha7oG02anUyi4p3spj65Ikdft245ScodePXFtAKjoOrGj3nad-5QJbBztj0w8obeHzLfRipjj3T5BAmpaBRJwLvtsyyFxXx80UdryLimtM/s320/lavalsedelamour-happyfats.JPG" width="271" /></a></div>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><a href="https://en.wikipedia.org/wiki/Leroy_Leblanc">Leroy "Happy Fats" Leblanc</a> turned into a musician as a young boy trying copy Jimmie Rodgers tunes. His mother would feed and house traveling musicians with a deal to help her young son become a better player. One of those players was a black blues guitarist that he found playing music on the streets of Rayne. Happy remembered,</span><br />
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<span style="font-family: verdana;"><i>Sometimes when I'd bring those fellows home with me, momma would fuss a little, but she always took care of things for me.<span style="font-size: xx-small;">2</span> </i> </span></blockquote>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">With better instruction, now, Happy Fats took a job as night waiter in the old Farmer's Cafe in Rayne, and between customers, he'd spend the long night hours practicing his guitar.<span style="font-size: xx-small;">2</span> He recalled,</span><br />
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<span style="font-family: verdana;"><i>I worked 12 hours a night, but I had plenty of time to practice. And once, while I was there, I met Gene Autry, who was passing through Rayne on his way to New Orleans.<span style="font-size: xx-small;">2</span> </i></span></blockquote>
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Oh, chère, j’ai prié, ouais, pour t'avoir,</blockquote>
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J'ai pas pu, oui, comment, moi j’vas faire.</blockquote>
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Oh, chère, quelle espoir, moi j’peux t'nir, </blockquote>
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Pour t’avoir, jolie ‘tite fille, malheureuse.</blockquote>
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Oh, chère, viens donc ‘oir la grosse erreur,</blockquote>
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T’vas ‘oir, jolie ‘tit cœur, ça t’as fait.</blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ndn0BizTWQ88JUCQUI22gV_LVhvmR8Blgc3qUBKX1R5399NOJYicgrplnDOQCD3iaJH0iIrYMfJPvFN_IrXM0WRsFaKq54JPthgITbOF-L2-P9DfKUvh9LVUagbqUvquysuHkI5R7CY/s1600/49-3++D53.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" data-original-height="690" data-original-width="471" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ndn0BizTWQ88JUCQUI22gV_LVhvmR8Blgc3qUBKX1R5399NOJYicgrplnDOQCD3iaJH0iIrYMfJPvFN_IrXM0WRsFaKq54JPthgITbOF-L2-P9DfKUvh9LVUagbqUvquysuHkI5R7CY/s320/49-3++D53.jpg" width="218" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Farmer's Cafe<br />Rayne, LA</span></td></tr>
</tbody></table>
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<span face=""verdana" , sans-serif">In 1935, he scored his very first recording contract with RCA. He rounded up band members Norris Savoy on fiddle and Warnes "Tee Neg" Schexnayder on guitar and recorded a familiar melody as "La Valse De L'Amour" (#2172). It had similarities with Joe Falcon's 1929 "<a href="http://earlycajunmusic.blogspot.com/2018/06/poche-town-joe-falcon.html">Poche Town</a>", and almost identical in melody to Lawrence Walker's 1929 "<a href="https://earlycajunmusic.blogspot.com/2017/05/la-vie-malheureuse-walker-brothers.html">La Vie Malheureuse</a>", the Hackberry Ramblers' 1935 "<a href="https://earlycajunmusic.blogspot.com/2018/11/crowley-waltz-hackberry-ramblers.html">Crowley Waltz</a>", and Cleoma Falcon's 1936 "<a href="https://earlycajunmusic.blogspot.com/2016/10/mon-favori-falcon-trio.html">Ma Favori</a>" RCA's Bluebird A&R executive, Eli Oberstein was in charge of the session. He had previously worked alongside Amede Ardoin and Joe and Cleoma Falcon in San Antonio the previous year. Happy recalled the first recording session:</span><br />
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<i><span style="font-family: verdana;">Eli Oberstein was in charge, he was a very jolly man, I'd call him a jolly giant. I'd say he was a man about six feet, five inches tall, a Jewish man. He could be a stormy type of fellow, though, if you didn't get things done right he'd get awful mad for a few seconds. Then he'd come back and say, "let's cut a good one!"<span style="font-size: xx-small;">1</span> </span></i></blockquote>
<span style="font-family: verdana;">The following year, Cleoma Falcon would record the song as "Ma Valse Favori", slowed down and shifted in key.</span><span style="font-family: verdana;"> </span><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span><br />
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<span style="font-family: verdana;"><i><blockquote class="tr_bq">
Oh, dear, I prayed, yeah, to have you,</blockquote>
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I couldn't, yes, how will I handle this?</blockquote>
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Oh, dear, what hope can I hold onto?</blockquote>
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To have you, pretty little girl, oh terrible woman.</blockquote>
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Oh, dear, so come see your big mistake,</blockquote>
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You'll see, pretty little sweetheart, what you've done. </blockquote>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc8NhRpNkQIDulK4nmhfOFwBOgM8x8R24S1B-Vzk6ePAKBv7-8q-qmQI8XgBUkFYvXgEuPHhu3EZ9R7FkYtdRPOdEf3V8skYy-bGDsLnB-3GMY1vbvilNuxCKh-ZR1J9FheGQGMDCwAWU/s727/clarencelocksey-RT-10-21-1979.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="727" data-original-width="477" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc8NhRpNkQIDulK4nmhfOFwBOgM8x8R24S1B-Vzk6ePAKBv7-8q-qmQI8XgBUkFYvXgEuPHhu3EZ9R7FkYtdRPOdEf3V8skYy-bGDsLnB-3GMY1vbvilNuxCKh-ZR1J9FheGQGMDCwAWU/s320/clarencelocksey-RT-10-21-1979.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Happy Fats and <br />Clarence Locksey<br />1979</span><br /></td></tr></tbody></table><span face=""verdana" , sans-serif"><br /></span></span></div>For years, Happy kept the identity secret of this early guitar "teacher" that had kick-started his love for the instrument until 1979. Author John Broven asked Happy how he got started,</span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><blockquote><i>I taught myself and if I'd see a hobo or something with a guitar, I'd go pick him up and bring him home, give him dinner, maybe learn a few chords with him. Then there was a colored boy here in town that I learned a lot from, a fellow by the name of Clarence Locksey, he's still living. He knew some chords, he'd play this black blues stuff.<span style="font-size: xx-small;">1</span> </i></blockquote></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face=""verdana" , sans-serif">In 1979, during a celebration of his life and career, Happy introduced Rayne native Clarence Locksey to join him in the celebration and have him play some of the "mean blues" which he does so well.<span style="font-size: xx-small;">3</span> Born in 1910, Locksey lived his life as a sharecropper and his wife Adeline worked as a housekeeper in the landlord's house. Many people recalled seeing Clarence walk up and down the streets of Rayne with a guitar, playing the blues. In the 1950s, record producer J.D. Miller spotted the musician and invited him to record four songs for his label with Lazy Lester on percussion and lead guitar. The tracks remained unreleased until Flyright Records issued them on LP in 1989. Locksey lived to be over 100 years old. </span></span></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div>
<div style="text-align: center;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/9Gb3zNDwPeg/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/9Gb3zNDwPeg?feature=player_embedded" width="320"></iframe></div><div><span style="font-family: verdana;"><br />
</span><ol>
<li><span style="font-family: verdana; font-size: x-small;"><a href="http://earlycajunmusic.blogspot.com/2015/07/south-to-louisiana-music-of-cajun.html">South to Louisiana: The Music of the Cajun Bayous By John Broven</a></span></li>
<li><span style="font-family: verdana; font-size: x-small;">Interview with John Uhler. 1954. CDS</span></li><li><span style="font-family: verdana; font-size: x-small;">The Rayne Acadian-Tribune (Rayne, Louisiana) 08 Nov 1979</span></li>
<li><span style="font-family: verdana; font-size: x-small;">Lyrics by Smith S and Stephane F</span></li>
</ol>
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<span style="font-family: verdana;"><span face="Verdana, sans-serif" style="font-size: x-small;">Release Info:</span></span></div><div><span style="font-family: verdana; font-size: x-small;">BS-94402-1 La Fille De St Martin | Bluebird B-2172-A</span></div><div><span style="font-family: verdana; font-size: x-small;">BS-94403-1 La Valse De L'Amour | Bluebird B-2172-B</span><span face="Verdana, sans-serif"><br /></span></div>
</div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-22987066499916641362021-07-22T11:34:00.005-07:002023-05-31T11:48:13.110-07:00"Chere Petite" - Jimmy Newman<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLaBBaErug3FzqOWufQJKz1GNMeuraKyzJApuDlurlDjdRNVpsmQi9ZmC01s0MlWpERBXw4B_kvnaezCUhnCa2GPM0JcfLTAcpKajcLIChJIvQ9MUXxqu9NQIJpw7P9MnnQQmE9YYlZI/s1600/cherepetite-jimmynewman.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="648" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLaBBaErug3FzqOWufQJKz1GNMeuraKyzJApuDlurlDjdRNVpsmQi9ZmC01s0MlWpERBXw4B_kvnaezCUhnCa2GPM0JcfLTAcpKajcLIChJIvQ9MUXxqu9NQIJpw7P9MnnQQmE9YYlZI/s320/cherepetite-jimmynewman.JPG" width="260" /></a></div>
<span style="font-family: verdana;"><a href="https://en.wikipedia.org/wiki/Jimmy_C._Newman">Jimmy Yves "C" Newman</a> was born in High Point, Louisiana, near Big Mamou, and raised in a bilingual family with parents who delighted in the cowboy sounds of Gene Autry and the country music of Jimmie Rodgers and The Carter Family. Mr. Newman's father died when he was a teenager, and he left school after six years of education, to work on a farm. During World War II, Mr. Newman worked in a defense plant as a welder's helper, and there he met an electrician and music aficionado named J.D. Miller.<span style="font-size: xx-small;">1,2</span> </span><div><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Eh, chère petite, </blockquote><blockquote>Moi j'm'en vas, moi tout seul,</blockquote><blockquote>Et pour ça, quoi t'as fait, </blockquote><blockquote>Avec moi, il y a, pas longtemps,</blockquote><blockquote>Eh, mon cœur fait mal,</blockquote><blockquote>De te voir t'en aller,</blockquote><blockquote>Aussi loin avec un autre, </blockquote><blockquote>Si j'connais je donne pas mieux.</blockquote><blockquote><br /></blockquote><blockquote>Après ma mort, tu vas veiller,</blockquote><blockquote>Tu vas mendier pour tes mêmes choses,</blockquote><blockquote>Quoi t'as fait avec moi,</blockquote><blockquote>Il y a, pas longtemps, chère petite.</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5gj0v-cvQ1Z1g-hXcu5Czj6-t4rtpR3leShYS7uWJIqjebjkA4dWlHpbTbkQWTxjAHMQT3xVZT4pe_uhdRIuwgP4diR6TnU2Q7744N1HvEv4arm5zcuqxes82dZPPnYXxbFM_uDGhcJE/s320/14138026_10202205546497436_7911131253793288981_o.jpg" style="margin-left: auto; margin-right: auto;" width="265" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Jimmy "C" Newman</span></td></tr></tbody></table></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Jimmy first stint was with Murphy "Chuck" Guillory's billing in 1948. The Bihari brothers of Modern records had previously helped release Harry Choates' Jole Blon two years earlier and they were scouting other Cajun music in Louisiana. They had spotted Chuck's band playing Eunice and had them record the song, possibly in New Orleans. Chuck and J.D. Miller kicked off Jimmy's musical career with his first vocal recording entitled "Chere Petite" (#20-612). The flip-side was "Gran Texas", sung by Julius "Papa Cairo" Lamperez, made famous later by Hank Williams. However, Miller had struggled to gain commercial awareness. Even Iry Lejeune in 1954 covered one of his tunes "I Made A Big Mistake", after Newman failed to garner success with it in 1953. His stint didn't last long with Chuck, leaving Chuck's group in 1950 to carry his on his own.</span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><blockquote><blockquote><span style="font-family: verdana;"><i>Hey, dear little one,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>I'm going, all alone,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>And for that, what you've done,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>To me, over there, not long ago,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Hey, my heart is broken,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>To see you go,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>So far away with another,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>I know, I won't get better.</i></span></blockquote><blockquote><span style="font-family: verdana;"><i><br /></i></span></blockquote><blockquote><span style="font-family: verdana;"><i>After my death, you will watch over me,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>You will cry about all the same things,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>What have you done to me,</i></span></blockquote><blockquote><span style="font-family: verdana;"><i>Over there, not long ago, dear little one.</i></span></blockquote></blockquote></div><div><br /></div><div><div>
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<div><span style="font-family: verdana;">"Chere Petite" featured fiddler Murphy "Chuck" Guillory, pianist Herman Durbin, drummer Curzy "Porkchop" Roy, steel guitarist Julius "Papa Cairo" Lamperez, and bassist Claude "Pete" Duhon. It wouldn't be until Miller convinced Fred Rose to record Jimmy's "Cry, Cry, Darling" at Rose's Nashville home on Woodmont Ave that Newman became a fixture in the country music scene. He climbed to the heights of country stardom but he never forgot his roots. He was a tremendous ambassador of our Cajun music and became the first performer on the Grand Ole Opry to sing Cajun French music.</span></div><div><br /></div><div><span style="font-family: verdana;">
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<li><span style="font-family: verdana; font-size: x-small;">https://www.tennessean.com/story/entertainment/music/2014/06/22/jimmy-c-newman-obituary/11232265/</span></li>
<li><span style="font-family: verdana; font-size: x-small;">https://www.usatoday.com/story/life/music/2014/06/22/jimmy-c-newman-opry/11237203/</span></li><li><span style="font-family: verdana; font-size: x-small;">Lyrics by Stephane F</span></li>
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<span style="font-family: verdana; font-size: x-small;"><br />
Release Info:<br />
A Big Texas 20-612A Modern<br />
B Chere Petite 20-612B Modern<br />
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Find:<br />
Grand Texas (Arhoolie, 1998)<br />
Jimmy C NEWMAN - The Original Cry, Cry, Darling (Jasmine, 2009)</span><br /></span></div>
</div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0tag:blogger.com,1999:blog-5998039984614993457.post-42881686361772889982021-07-14T11:40:00.005-07:002022-10-05T07:47:04.129-07:00"The LeGrange Waltz" - Floyd Leblanc<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Sd1Eh_KcshogT6y5b2F7c8AsSxoVKn7xZRDRH4iGkYbCoQbaO0KUdAyEFYSApfAKGEgTNLRCb_mll9n6MA8-ALcPr4y2UNT3NFg6fncl7w8qlCv05goJCJM22jSLTOAtwWFIRbF6JpE/s1600/thelegrangewaltz-floydleblanc.PNG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Sd1Eh_KcshogT6y5b2F7c8AsSxoVKn7xZRDRH4iGkYbCoQbaO0KUdAyEFYSApfAKGEgTNLRCb_mll9n6MA8-ALcPr4y2UNT3NFg6fncl7w8qlCv05goJCJM22jSLTOAtwWFIRbF6JpE/s320/thelegrangewaltz-floydleblanc.PNG" width="274" /></a></div><span style="font-family: verdana;">Influenced first by Luderin Darbone of the Hackberry Ramblers, Cajun fiddler Floyd Leblanc adopted the same western swing style popularized by Texas fiddlers in the late 1940s. Before long, he was the lead fiddler in Benny Hess' Oklahoma Tornadoes band where they recorded several sides for his Houston-based label Opera.</span><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Aujourd'hui, chère, t'es après m'quitter,</blockquote><blockquote>Pour t'en aller dedans les chemins,</blockquote><blockquote>Aussi loin, chère, comment tu crois?,</blockquote><blockquote>Mais, pourquoi-donc, mais, tu me fais ça?.</blockquote><blockquote><br /></blockquote><blockquote>Rappelle-toi, ouais, mais, quand tu m'as dit,</blockquote><blockquote>Mais, moi je pouvais, mais, plu(s) t'aimer,</blockquote><blockquote>Malheureuse, chère, mais, je (ne) veux plus,</blockquote><blockquote>Pour ça t'as fait à ton p'tit chien.</blockquote><blockquote><br /></blockquote><blockquote>Rappelle-toi, ouais, tout ça t'as fait,</blockquote><blockquote>Il y a pas longtemps, mais, dis donc "bye-bye",</blockquote><blockquote>Moi j'connais, chère, tu vas pleurer,</blockquote><blockquote>mais, un jour à venir, mais, malheureuse.</blockquote></i></span></blockquote></div><div><span style="font-family: verdana;"><br /></span><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyol4ODdPfip8B6x3iqJbBpHg9sxYNTCrFHHvBoGUlPHZjORWBouZw0xs9P3QitLuNf9lIL4BJv_4tSVTIhqsB088kdyNs0R0WL763r0VSX3LAXXjltkeNSAym15TfqC3baUE5vXNHFYw/s1600/Daily_World_Fri__Oct_28__1949_.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyol4ODdPfip8B6x3iqJbBpHg9sxYNTCrFHHvBoGUlPHZjORWBouZw0xs9P3QitLuNf9lIL4BJv_4tSVTIhqsB088kdyNs0R0WL763r0VSX3LAXXjltkeNSAym15TfqC3baUE5vXNHFYw/s320/Daily_World_Fri__Oct_28__1949_.jpg" width="191" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: x-small;">Daily World<br />Oct 28, 1949</span></td></tr>
</tbody></table><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Named after prominent family in the area, Leblanc entitled this 1948 recording "The LaGrange Waltz". </span><span style="font-family: verdana;">His song was a familiar melody that inspired J.B. Fuselier's</span><span style="font-family: verdana;"> </span><a href="https://earlycajunmusic.blogspot.com/2014/10/chere-tu-tu-millers-merrymakers.html" style="font-family: verdana;">Chere Tout Tout</a><span style="font-family: verdana;"> </span><span style="font-family: verdana;">and later, Papa Cairo's</span><span style="font-family: verdana;"> </span><a href="https://earlycajunmusic.blogspot.com/2020/06/chere-poulette-papa-cairo.html" style="font-family: verdana;">Chere Poulette</a><span style="font-family: verdana;">. His group is largely unknown at this time, but it's </span><span style="font-family: verdana;">possible Bennie Hess and Virgil Bozman are on guitars, and B.D. Williams is on bass. </span><span style="font-family: verdana;">T</span><span style="font-family: verdana;">he LaGrange family settled in Calcasieu and notably donated money for a school. The school was opened in 1929 and remained the primary school in the area until 1954 when the larger high school was built.<span style="font-size: xx-small;">1</span> </span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><br /></div><div><blockquote><span style="font-family: verdana;"><i><blockquote>Today, dear, you've left me,</blockquote><blockquote>To go down the country roads,</blockquote><blockquote>So far away, dear, how do you think?</blockquote><blockquote>Well, so why, well, have you done that to me?</blockquote><blockquote><br /></blockquote><blockquote>Remember, yeah, well, when you told me,</blockquote><blockquote>Well, I cannot, well, love you anymore,</blockquote><blockquote>Naughty woman, dear, well, I don't want anymore,</blockquote><blockquote>For what you've done to your little man.</blockquote><blockquote><br /></blockquote><blockquote>Remember, yeah, all you've done,</blockquote><blockquote>Over there not long ago, well, so say "bye-bye",</blockquote><blockquote>I know, dear, you're going to cry,</blockquote><blockquote>Well, to return one day, well, naughty woman. </blockquote></i></span></blockquote></div><div><br /></div><div style="text-align: center;"><span style="font-family: verdana;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguDguZyI86TSbCYpXcYn0KT7pZDQtPeVntzPt6s411oVYjJE_5iqco8MXleaBEBTS_QvnF4Hi0-s0Tpb6xUlzlYsmLy5ZHlEBqROx27NJTNWM8TGfefAWZx0ZD4JhEAaIk0CP599CDmOY/s320/lagrangehighschool.jpg" width="320" /></span><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;">
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</div><br /><span style="font-family: verdana;"><br /></span></div><div><div><br /></div><div><span style="font-size: x-small;"><span style="font-family: verdana;"><ol style="text-align: left;"><li><span style="font-family: verdana;">http://www.cpsb.org/Page/1019</span></li><li><span style="font-family: verdana;">Lyrics by Stephane F</span></li></ol></span><span style="font-family: verdana;">Release Info:</span><br /></span></div></div></div><div><span style="font-family: verdana; font-size: x-small;"><div>111-A (638) You Musn’t Cry | Opera 111</div><div>111-B (638) The LeGrange Waltz | Opera 111</div></span></div>WFhttp://www.blogger.com/profile/05663277462772045636noreply@blogger.com0