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.1
Eh, mais, t'en aller à grand Mamou,C'est pour voir les belles 'tites blondes, mais, malheureux.Eh, jolie 'tite fille, criminelle,M'a quitte pour t'en aller z-avec vaurien,Moi je te souhaite tout le malheur que tu peux avoir,Tu connais j'mérite pas ça, mais, t'après faire.
Trent Oubre Studio
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:
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.1
Hey, well, you're going to big Mamou,It's to see the pretty little blondes, well, oh my.Hey, pretty little girl, it's terrible,I'm leaving for you went away with a scoundrel,I wish you all the misfortune you can have,You know I didn't deserve that, well, what you're doing.
- Wilson Granger interview. Andrew Brown. 2005.
- Lyrics by Stephane F