"Chere Poulette" - Papa Cairo

Adapting to the style of the Light Crust Doughboys and Jimmie Rodgers, Cajun steel-guitar pioneer Julius "Papa Cairo" Lamperez began playing guitar at the age of fourteen.  He eagerly built a guitar from a wooden box and a piece of lumber.   He dabbled in other instruments as well until he "got commercial" in 1935.  After getting a chance to watch Bob Dunn of the Texas Wanderers at a dance in Mermentau, Papa was immediately enamored by the steel-guitar and purchased one.6 He formed the band called the Daylight Creepers with Irby Thibodeaux, Leonard Campbell, and J.D. Miller.  But, after meeting Happy Fats and Doc Guidry, he found himself recording with other string bands such as the Rayne-Bo Ramblers, Harry Choates, and Joe Werner.6,7   Papa recalled, 

The first fiddle player we had around here who could really play [Cajun music] was Doc Guidry.  The second one was Harry Choates. He was a fine musician.6  

After the war, Papa joined up with Leo Soileau's band playing places like the Moulin Rouge Pleasure Club.  Leo remembered him as a serious player that didn't drink.   Having recorded previously with Chuck Guillory for the Bihari's Modern Records of Hollywood, Papa began eyeing different options on forming his own group.  However, not everyone was a fan of Papa's style, rather, they appreciated his determination and self-promotion.  According to Leo,

He'd play all night on two Coca-Colas.  No high ball, no nothing. That's one boy that didn't drink.1  

He decided to rig up a band.  He was selling though.   That's the reason I got him, he was selling.1   

Julius "Papa Cairo" (steel guitar),
Harry Choates (fiddle), Joe Manuel (banjo),
Eddie Pursley (guitar), Johnny Crain 
Poss. Hollywood Club, Rayne, Louisiana
Dec 1946
Courtesy of Arhoolie Foundation

Riding high on the popularity of his previous recording of "Big Texas", he contacted Joe Bihari and together with Chuck Guillory's group, they recorded four more songs.  The first was an English language follow-up to his popular recording, entitled "Big Texas #2".  Then, he created two more songs, a rendition of his original French pre-war recording of "Alons Kooche Kooche" and a Western swing cover of the J.B. Fuselier tune "Chere Tout Tout" entitled "Chere Poulette" (#105).  Papa Cairo and his Boys consisted of Don Lane on xylophone, Murphy Smith on fiddle, Herman Durbin on piano, Albert Roy on guitar, possibly Pete Duhon on bass and Curly Mertz on percussion.   While terms of endearment such as "poulette" and "pou-lute" seem to have been lost to time, in turn-of-the-century France, cute women in Paris were referred to as "poupoule"; as noted in the late 19th century song "Viens Poupoule".  

Oh, mais, chere pou-lute,

'Gardez-donc, mais, quoi t'as fais?

Tu m'as quitte, pour t'en aller,

Pour t'en aller, à lac Arthur, mais, toi tout seul.

Oh, mais, chere 'tit poulette,

'Gardez-donc, mais, quoi t'as fais?

Tu m'as quitte, pour t'en aller,

Pour t'en aller, z-avec un autre, mais, loin de moi.

Oh, mais, chere pou-lute,

'Gardez-donc, mais, quoi t'as fais?

Tu m'as quitte, pour t'en aller,

Pour t'en aller, à lac Arthur, mais, toi tout seul.

Oh, mais, chere 'tit poulette,

'Gardez-donc, mais, quoi t'as fais?

Tu m'as quitte, pour t'en aller,

Pour t'en aller, z-avec 'tit poulette... 

The actual location of this recording session is a bit confusing.  When author Mike Leadbitter of Blues Unlimited caught up with Papa Cairo in 1968 and asked him about the Colonial recording, Papa claims "he was taken back to N.O (New Orleans) to record [Big Texas] under his own name."7  However, other researchers disagree with these details. Author John Broven spoke to Joe Bihari about the session.

I recorded at a radio station in Crowley, Louisiana, the Cajun hillbillies, the original ‘Jole Blon,’ the old French Cajuns. We knew we could sell the records there, purely to sell in Texas and Louisiana, some in Mississippi, too.  They recorded inside out. Their machines recorded from the inside of the disc and came to the outside, instead of the outside to the inside. That’s the way their equipment was set up. Not really a problem, all acetates.8  

Daily Advertiser
Oct 12, 1951

Although record producer JD Miller had a recording studio in Crowley and eventually worked with Papa Cairo and Chuck Guillory separately, the recording quality of these issues suggest that the band wasn't using studio quality equipment.  Author Nick Leigh goes on to affirm the notion, 

Surely these were not Miller tracks.  I don't think it was a case of JD recording Guillory/Cairo and then leasing out the tapes (or acetate) masters, but a Bihari operation during one of his many field trips to the south.5  

Broven thinks maybe the location could have been New Orleans, but not at a formal facility such as Cosimo Matassa's studio.

My feeling is that the Chuck Guillory session was cut at KSIG in Crowley in the summer of 1948. After the Modern recordings did fairly well, there were two Papa Cairo sessions in New Orleans in January and February 1949.  As there were still "inside start" acetates  being used, according to the Ace Records, London, database, I think we can assume the sessions were held at a New Orleans radio station.9  

Herman Durbin, Jimmy Newman,
Murphy "Chuck" Guillory, Kersey "Pork Chop" Roy,
R.R. Sagg (emcee), Julius "Papa Cairo" Lamperez
KSIG, Crowley, LA

Oh, well, dear little one,

So look, well, what have you done?

You left me, to go away,

To go away, to Lake Arthur, well, you're all alone.

Oh, well, dear little one,

So look, well, what have you done?

You left me, to go away,

To go away with another, well, far from me.

Oh, well, dear little one,

So look, well, what have you done?

You left me, to go away,

To go away, to Lake Arthur, well, you're all alone.

Oh, well, dear little one,

So look, well, what have you done?

You left me, to go away,

To go away with another... 

After the Biharis folded their Colonial operation and focused on their new label Flair, the following year, Papa teamed up with JD Miller to re-record both an English and French version of "Big Texas" on Miller's Feature label.  However, after Hank Williams released his 1952 hit "Jambalaya", Papa Cairo ceased recording ever again.  After his death, his family kept most of his memorabilia, including his signature steel guitar, with his name embossed on it.

Listen to sound clip sample: Chere Poulette

1. http://arhoolie.org/leo-soileau-interview/
2. South to Louisiana: The Music of the Cajun Bayous By John Broven
3. Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers By John Broven
4. Discussions with John Broven
5. Discussions with Nick Leigh
6. "Crowley native newest member of CFMA Hall of Fame".  CPS 8-19-2018.  Wade Falcon
7. 1968 Blues Unlimited - Papa Cairo.  Mike Leadbitter. 
8. Joe Bihari interview.  John Broven.  2004.
9. Discussions with John Broven.  10-22-2020
10. Image courtesy of Brittany L
11. Lyrics by Stephane F and Herman M

Release Info:

C 982 Kooche Kooche | Colonial 105A

C 983 Chere Poulette | Colonial 105B

"Country Girl" - Abe Manuel

Coming from a musical family, Abraham "Abe" Manuel watched his brother Joe help form the Melody Boys with famed local fiddler Harry Choates.  By 1949, Harry was on his own and Joe and Abe teamed up to form a new band with many of Harry's old band members.  The group started touring southern and eastern Texas and south-west Louisiana, using both their own names as well as obscure pseudonyms.

Tout les veuve de la coulée, 

Sont partie z-au village,

Pour acheter de coton jaune a la boutique.

Pour achter des coton jaune,

Pour fait des 'tite mémines,

Pour amener la belle 'tit fille au bal à soir.

All the country gals have gone,

To buy some fancy clothes from town,

They will see the country boys this Saturday night,

They will flutter their little eyes,

Wear lipstick or knot some ties,

Trying to get those poor old boys this Saturday night.

Tout les veuve de la coulée, 

Sont partie z-au village,

Pour acheter de coton jaune a la boutique.

Pour achter des coton jaune,

Pour fait des 'tite mémines,

Pour amener la belle 'tit fille au bal à soir.

They'll go to the fais-do-do,

Where the pretty boys all go,

They'll dance away their cares and do things light,

Gunna turn on all their charm,

As they dance in boyfriend's arms,

When they go a-steppin' on a Saturday night.

Louisiana Hillbillies, KTAG, 1954
Bradley Stutes (steel guitar), Dottie Manuel (guitar),
Amos Comeaux (drums), Abe Manuel (fiddle),
Wiley Barkdull (piano)

By 1954, Abe married into another musical family and his wife Dottie assumed the role of guitarist and part-time vocalist in the band. Her father Jules "Chun" Vincent was a Cajun fiddler from Cameron Parish. The band had a show on KTAG as well as a radio spot on KAOK.1  Together with Buston Olsen, Jerome Stubbs on steel guitar, Merton Thibodeaux or Popeye Broussard on piano, and Ronald "Tinky" Bisette on bass, they covered the famous Happy Fats' original "Le Veuve De La Coulee" as "Country Girl" (#1098) in 1955 for J.D. Miller's Feature Records.

Daily World
Apr 28, 1954

All the widows of the gully,

Have gone to the village,

To buy yellow cotton at the store,

To buy yellow cotton,

To make little bloomers,

To bring the beautiful little girl to the dance tonight.

All the country gals have gone,

To buy some fancy clothes from town,

They will see the country boys this Saturday night,

They will flutter their little eyes,

Wear lipstick or knot some ties,

Trying to get those poor old boys this Saturday night.

All the widows of the gully,

Have gone to the village,

To buy yellow cotton at the store,

To buy yellow cotton,

To make little bloomers,

To bring the beautiful little girl to the dance tonight.

They'll go to the fais-do-do,

Where the pretty boys all go,

They'll dance away their cares and do things light,

Gunna turn on all their charm,

As they dance in boyfriend's arms,

When they go a-steppin' on a Saturday night.

Abe's recording career eventually faded away and he continued to perform until the mid-1960s when Miller invited him to join Cajun fiddler Rufus Thibodeaux for a recording session as a tribute to the late Harry Choates. 

1. "Cajun Dancehall Heyday" by Ron Yule
2. Lyrics by Herman M

Release Info:

Hippy-Ti-Yo | Feature 1098

Country Girl | Feature 1098

Find:

Acadian All Star Special - The Pioneering Cajun Recordings Of J.D. Miller (Bear, 2011)

"Tu Peus Pas Me Faire Ce (You Can't Put That Monkey On My Back)" - Alley Boys of Abbeville

While traditional Cajun music began to take a backseat to western Texas swing and big band jazz orchestras, a handful of Cajun musicians from Abbeville landed a spot on KVOL performing some of their favorite jazz tunes as a string band group in 1938.  Lead by Sidney Guidry on vocals and guitar, he and fiddler Frankie Mailhes formed the group called the Alley Boys of Abbeville.  Named after the street in which they rehearsed frequently, it consisted of Murphy Guidry on guitar, Lourse Touchet on steel guitar and Maxie Touchet on drums. 

Tu peux pas me faire accroire que ca c'est tout vrai,

Tu peux pas me faire accroire la neige est noire,

Tu peux m'dire y'a un ouragan quand le soleil est bien chaud

Mais, tu peux pas m'mettre ce macaque sur mon dos.

Tu me quittes moi seul presque tous les jors,

Et tu vas ici et là-bas avec un et l'autre,

Après toi t'as été amuser, tu dis moi j'suis le seul,

Mais, tu peux pas m'mettre ce macaque sur mon dos.

J't'ai vue a un café avec un autre,

Et tu m'as dit t'avais été juste visiter,

Et c't'homme c'était ton cousin, mais, ton cousin il est mort,

Ca fait tu peux pas m'mettre ce macaque sur mon dos.

Tu m'as dit t'avais ete voir ta grand maman,

Mais, ta grand maman reste pas l'autre bord du ch'min d'fer,

Ecoute ici c'est une autre chose, je donne pas de bague en argent,

Ca fait tu peux pas m'mettre ce macaque sur mon dos.

Tu m'aimes quand j'ai un tas de l'argent,

Mais la l'argent est court les visites sont rares,

Tu m'as dit ca aurait ette vrai, mais, j'connais ca tu vas faire,

Ca fait tu peux pas m'mettre ce macaque sur mon dos.

J'ai dit mon dernier "Bonjour" et la j'men vas,

Mon vieux linge, mes souliers j'vas emporter,

Parce que tes cousins y rient c'est exu, ca après m'tuer,

Ca fait j'ai après tout m'mettre ce macaque sur mon dos.

Abbeville Meridional
Nov 18, 1939

Recorded at the Gayoso Hotel, Memphis, TN in 1939, the Alley Boys performed their Cajun rendition of the song "You Can't Put That Monkey On My Back" entitled "Tu Peus Pas Me Faire Ce" (#05058).  The song is a popular tune first recorded by the Shelton Brother the previous year in 1938 and then again in 1939 for Decca records.  The tune was composed by Marshall Walker and written by Hy Heath. It was also made popular by the jazz musician Frankie "Half Pint" Jaxon the same year. 

You can't make me believe that's all true,

You can't make me believe the snow is black,

You can tell me there's a hurricane when the sun is shining,

Well, you can't put that monkey on my back.

You leave me alone almost every day,

And you go here and there with one and another,

After you have your fun, you tell me I'm the only one,

Well, you can't put that monkey on my back.

I saw you at a cafe with another,

And you told me you were just visiting,

And this man was your cousin but your cousin, he died,

You can't put that monkey on my back.

You told me you had been to see your grandma,

But, your grandmother does not stay on the other side of the iron road,

Listen here, another thing, I'm not giving a silver ring,

You can't put that monkey on my back.

You love me when I have a bunch of money,

But the money is short, visits are rare,

You told me that would have been true, but, I know what you're going to do,

You can't put that monkey on my back.

I said my last "Good day" and I'm going,

My old laundry, my shoes, I'll take them, 

Because your cousins ​​laugh at them, it's over, it's killing me,

I did, after all, put this monkey on my back.

Later the recording would be covered by other musicians such as Riley Puckett and Hank Thompson.  According to David Savoy, 

My grandfather played steel guitar on this classic track. But his name is misspelled above. It's actually Lourse Touchet (pronounced "Lauw-us" but everyone called him "Mockay" anyway). He was an awesome man and musician. The Alley Boys came to end due to WWII. A cannon fired in close vicinity to my grandfather during the war and he lost hearing in one ear. He gave up music from that point but I still remember that beautiful steel guitar always hanging in his closet.2  

1. Lyrics by 'ericajun'
2. Discussions with David Savoy

Release Info:

MEM-9-1 Tu Peus Pas Me Faire Ce (You Can't Put That Monkey On My Back) | Vocalion 05058

MEM-6-1 Se Toute Sain Cinne Moi Ma Saine (I Wonder If You Feel The Way I Do) | Vocalion 05058

Find:
Cajun Country, Vol. 2, More Hits from the Swamp (JSP, 2005)
Cajun Capers: Cajun Music 1928-1954 (Proper, 2005)
The Best Of Cajun & Zydeco (Not Now, 2010)
The Very Best of Cajun: La Stomp Creole, Vol. 1 (Viper, 2016)

"Ma Jolie Petite Fille" - Leo Soileau

Cajun fiddler Leo Soileau got his start playing alongside Cajun accordion players such as Mayuse Lafleur and Moise Robin.   Once the string band craze took over the music scene after the Depression in south Louisiana, he adapted and created a new string band group.  The Four Aces was managed by the Shreve family with Olaf Shreve as their booking manager.   By 1936, as his fame spread and his group became better known, they were paid up to $800 for a session, plus all travel expenses and "room and board at those big hotels."1  

Oh, toi, mon nèg, chérie,

Pourquoi-donc, tu fais ça, oui,

Avec, oui, mais, ta negresse?

Oh, toi, mon nèg, chérie,

Tu connais, chérie,

Tu as prends, mais, oui, ton bebe.

(Tu) connais, toi, mon nèg, chérie,

Tu vas, toi, là-bas chérie,

Quand, mais ton nèg, il est pas là.

Ton nèg est pas là, mon nèg.

Tu fais, oui, la mal à jamb,

Mais, quand ton nèg est là, mon nèg.

Daily Advertiser

Apr 30, 1937

It had been almost an entire year before the Shreve brothers decided to leave the Aces.  Leo had to form a new group which he called the Rhythm Boys.  Recorded in 1937 in Dallas, Texas at the Adolphus Hotel, Leo was possibly accompanied with Johnny Baker and Buel Hoffpauir on guitars.   In the background, you can hear Crowley native and former jazz drummer Tony Gonzales trying to project his raucous drum sound from across the room. 

Oh, you, my dearest friend,

So why have you done that, yes,

With, yes, well, your woman?

Oh, you, my dearest friend,

You know, dearie,

You have, well, yes, your baby.

You know, my dearest friend,

You went over there, dearie,

When, well, your friend, he's not there.

Your friend is not ther, my friend,

You make, yes, my legs ache,

Well, when your man is there, my friend.

Lake Charles American Press

Jun 27, 1947

Leo had never received a royalty check from any of this recordings until 1974 when Chris Strachwitz of Arhoolie Records produced an LP of all of Leo's biggest Cajun fiddle hits from the original 78 RPM records.  When Leo was asked if he had a copy of those records, he said,

No. I was too busy playing music. I was a trouper and letting the good times roll and never gave any thought to collecting records.  Now, would you believe I don't have a single record that I made?"1 

1. The Ville Platte Gazette (Ville Platte, Louisiana) 02 May 1974
2. Photo by Jeremy R

Release Info:

61900-A Ma Jolie Petite Fille | Decca 17027 A

61892-A La Bonne Valse | Decca 17027 B

Find:
Leo Soileau: Louisiana Cajun Music Vol. 7 (Old Timey, 1982)
Cajun Louisiane 1928-1939 (Fremeaux, 2003)
The Early Recordings of Leo Soileau (Yazoo, 2006)