"Le Valse De Mon Rêve (Waltz Of My Dream)" - Joe and Cleoma Falcon

Joe Falcon and his wife Cleoma Falcon had been the star Cajun musicians throughout the Cajun countryside from 1928 to 1929.  However, as the Depression took hold, their recording career went on hiatus.  It wouldn't be until 1934 when a different set of record scouts arrived in south Louisiana looking for the tried and true Cajun artists of the 20s.  Eli Oberstein, a field scout with RCA's new Bluebird division, attempted to do just that when the Falcons were invited to San Antonio.  Joe's "Le Valse De Mon Rêve (Waltz Of My Dream)" (#2188) backed by his wife Cleoma on guitar, expressed a lover's desire to see his love interest once more—this time, through the viewpoint of a dreamer. 

Tu connais, malheureuse, ça t'as fait, mais, z-avec moi,

Oui, chère catin, ça c'est dur pour moi endurer,

Moi j'connais j'ai pas bien fait, mais, j'aime quand même, jolie fille,

Eh, catin, donne-moi une chance avant de mourir.

Tu voudrais, jolie fille, t'en revenir avec moi-même,

Oui, malheureuse, tu voirais pour toi-même,

Moi me cru dans tout ça que le bon dieu me permettrai,

Oui, malheureuse, pour essayer de faire (ai)mer toi.

Moi j'me tarde de me voir, m'en revenir a la maison,

Oui, malheureuse, de plus trouver personne pour moi,

Moi j'vois pas quoi j'vas faire sur la terre, malheureuse, 

Oui, chère catin, ça c'est dur, ça pour moi.

"Les Falcons"
Cleoma and Joe Falcon
Courtesy of Bob Tooke

Oberstein worked with many other ethnic artists during his stint with RCA including Lydia Mendoza and King Nawahi's Hawaiians.  Accompanying the Falcons that day was black Creole accordionist Amede Ardoin and white Creole fiddler Dennis McGee at San Antonio's Texas Hotel. The city of San Antonio was virtually a world away, both culturally and geographically, for most Cajuns. The music filling the dance halls and streets of San Antonio during the 1930s sounded different in style and in language.  For recording companies, Texas seemed to provide as much talent to record executives up north as did Tennessee, Georgia and Louisiana.  During the decade, both Dallas and San Antonio would become Meccas for Cajuns looking for outlets to record.1       

Daily Advertiser
Sep 14, 1934

You know, miserable one, what you've done, well, with me,

Yes, dear doll, it's hard for me to endure,

I know I haven't been doing well, however, I love you nevertheless, pretty girl,

Hey, pretty doll, give me another chance before I die.

You would like, pretty girl, to come back with me,

Yes, miserable one, you'll see for yourself,

I believe in all of that, which the good Lord will allow me,

Yes, miserable one, to try to make you love (me).

I'm too late to see, returning home,

Yes, miserable one, to never find anyone for me,

I do not see what I'll do on earth, miserable one,

Yes, dear doll, it's hard for me.

Although not a major hit among the Cajun music buying audience, the melody did however influence other post-war recordings such as Austin Pitre's "Redell Waltz" and Nathan's "Avalon Waltz".  Either concerned about appealing to a male-dominated Cajun market or misunderstanding her importance, RCA failed to mention Cleoma’s name on the session notes.  Each of the record sides gave credit to “Joseph Falcon”, leaving Cleoma’s legacy as nothing more than the following footnote: “Singing with accordion and guitar by Mrs. Falcon”.1   

1. "Allons A Lafayette: The First Families of Commercial Cajun Music" by Wade Falcon
2. Lyrics by Stephane F

Release Info:

BS-83850-1 Le Valse De Mon Rêve (Waltz Of My Dream) | Bluebird B-2188-A

BS-83851-1 Vous Etes Si Dous (You Are So Sweet) | Bluebird B-2188-B