Wednesday, May 1, 2024

"La Fille A Oncle Elair" - Joe Falcon & Cleoma Breaux

The early surge of musical creativity carried over into a new period as Cajun performers throughout the 1930s, adapted tunes they heard on the radio. Joe and Cleoma were both known to have taken popular tunes of the day and recorded them in Cajun French.  

After the Great Depression, Joe and Cleoma were approached by RCA to travel to their makeshift studio in San Antonio for a recording session.  Together, the duo recorded four sings in 1934, one of them known as "La Fille A Oncle Elair" (#2191).  The song's popular was easily eclipsed by the record's popular flipside recording of "Ils Volet Mon Trancas", better known as "Hippy Ti Yo".  


Ah yéyaie les filles à n'onc Hilaire, 
C'est toutes des chères belles filles, 
Y'a une 'tite brune, y'a une 'tite blonde, 
Un qui est trop noire pour moi z'aimer, 
Mais, ça me fait du mal à moi.

Ah yéyaie les filles à n'onc Hilaire, 
C'est toutes des chères belles filles, 
Y'a une 'tite brune, une 'tite blonde, 
Un qui est pas de mon goût du tout, 
Mais, ça me fait du mal.

Ai yé yaille, les filles à Nonc’ Hilaire,
C'est toutes des chères ‘tites filles,
Tout ce qui me dégoute de porter des petits souliers numéro 9,
C’est trop de l’argent pour moi dépenser,
Fait pas ça avec moi.

Je me rappelle quand moi je passais,
Devant la porte de ta maman, 
N'en n’a pas un qui voulait me voir,
J'ai eu de la chance, mais-aujourd’hui,
De m' faire de l’argent,
Mais, ils m'ont tous dit d’aller me voir,
Elle voulait me voir avant de mourir.

Nonc Helaire Trahan
and Anita Babineaux Trahan


The song is a story of Nonc Helaire's daughters, each of whom had different colored hair.  The dark haired one was tough to love as a little girl since she seemed to desire expensive things such as "little size 9 shoes".   The author is clearly broke and only when he acquires enough money to make them happy, then he can visit their dying mother at her home.   In real life, "Nonc Helaire" was Helaire Trahan Sr, who came from such a large family that everyone knew him as "nonc".  A native of nearby Osson, Louisiana, he had three daughters, Nell, Verna and Joycelyn—the three filles referenced in Joe's song.1  


Aye ye yaille, the girls of uncle Helaire, 
They are all dear beautiful girls,
There's a brunnette, there's a blonde,
One who is too dark haired for me to love,
But, that hurts me so much.

Aye ye yaille, the girls of uncle Helaire, 
They are all dear beautiful girls,
There's a brunnette, there's a blonde,
One who is not my taste at all, 
But, that hurts me so much.

Aye ye yaille, the girls of uncle Helaire,  
They are all dear beautiful girls,
Everything disgusts me about them wearing little size nine shoes,
It's too much money for me to spend,
Don't do that to me.

I remember when I passed,
In front of your mother's door,
Not one of them wanted to see me,
I was lucky, today, to have money,
Well, they all told me to come see,
She wanted to see me before she died. 


Since then, the song has been recorded by many, including Beausoleil and the Basin Brothers, even taken on a caricature with Revon Reed as the famed "Nonc Helaire".  In 1996, Helaire's grandson, Horace Trahan, reworked the song in the studio and released it on his Swallow Records CD "Osson Blues".  






  1. Discussions with Anita H
  2. Lyrics by Marc C and Stephane F
Release Info:
BS-83852-1 La Fille A Oncle Elair (Uncle Elair's Daughter) | Bluebird 2191
BS-83853-1 Ils La Volet Mon Trancas | Bluebird 2191

Find:
Cajun Early Recordings (Important Swamp Hits Remastered) (JSP, 2004)

Tuesday, April 23, 2024

"Blues de Basille" - Amede Ardoin & Dennis McGee

With songs like "Two Step de Eunice" and "Blues De Basille," (#531) accordionist Amede Ardoin, helped by his fiddle player and traveling companion Dennis McGee, became one of the first musicians to record Louisiana's Cajun music. Ardoin was an accordion virtuoso who, by all accounts, had an uncanny knack for improvising French lyrics with his strange high voice.1  Named after the town of Basile, Ardoin was no stranger to the "blues" that this town offered him,
One time they had a dance hall in Basile, and what saved him was some white guy who was learning how to play the guitar.  Somebody threw a big ol' rock--whoever done it wanted to hurt him bad--and the rock went through the guitar.4  

Oh comment je vas faire, catin,
Mais, ouais, ’tite fille je m’en vas à la maison tout seul,
Comment tu veux, dis, ouais, je peux faire, ’tite fille,
Si tes parents veulent pas, je te demanderais pas,
Dis, ouais, c’est toi, éou c’est tu veux je peux aller,
Mais, ouais, mon nèg, chaque fois que je vas pas c’ez toi.

Oh, mais, oui, catin; comment,
Si vous-autres peuvent faire m’en aller de toi, ’tite fille,
Moi, je te vois pas, c’est beaucoup rarement,
Je serais contente te rejoindre, te rejoindre, ’tite fille.

Oh, comment je vas faire, catin,
Dis ouais, je vas tout seul éoù c’est je vas aller,
Que tes parents veulent pas, comment je vas faire, tite fille.
Daily Advertiser
May 1, 1931

It's unlikely we'll ever know for certain what became of Ardoin. By some accounts, he wound up in a mental institution in Pineville, Louisiana. The only concrete evidence of this, however, is a death certificate issued May 30, 1941 from Pineville for a person named "Amelie Ardoin." And the certificate lists Ardoin as being 20 years older than he actually was at the time. Others say Ardoin eventually left Pineville and headed home.1  Music writer Tom Schnabel compares the song to his life and death,
Listening to it, I was reminded of a much more famous singer, the blues great Robert Johnson, who himself died of mysterious circumstances at age 27.  There is a great deal of myth surrounding Johnson’s life, as it’s been rumored that he was poisoned by a jealous girlfriend. Others say that he sold his soul to the devil in a faustian deal to become the greatest blues singer of all time. The latter story involved Johnson taking his guitar to Dockery Plantation at midnight to seal the deal, which turned out to be a meeting at the crossroads. The music of Ardoin and Johnson has a certain edge that captures the energy of their youth. Songs like Ardoin’s “Blues de Basile,” parallel the same piercing, exhortatory urgency of Johnson’s “Preaching Blues.”2  


Oh, how will I do this, pretty doll,

Well, yeah, little girl, I'm going to go home all alone,
What do you want, tell me, yeah, I can do this, little girl,
If your parents don't want, I won't demand,
Tell me, yeah, it's you, wherever you want, I can go,
Well, yeah, my friend, every time that I'm not going to you.

Oh, well, yes, pretty doll, how?
If you all can make me leave you, little girl,
I don't see you, it's very rarely,
I'll be happy to join you, to join you, little girl.

Oh, how will I do this, pretty doll,
Say yeah, I will go all by myself, where ever can I go,
That your parents do not want me, how will I do this, little girl.


Amede Ardoin

The common, accepted story is: While playing his accordion at a local farmhouse in Eunice, Louisiana, in the late 1930s, Creole musician Amede Ardoin wiped his brow with a handkerchief given to him by a white woman. Two white men angered by the exchange between Ardoin and the woman followed him outside, where they beat him, backed over him with a Ford Model A truck and threw him in a ditch. He woke up crippled, with permanent brain damage.1  Fellow musician Canray Fontenot remembers how that night changed his friend:


After that, "he didn't know whether he was hungry or not.... He was plumb crazy."1
In 2014, "Blues de Basille" crossed over, making it's appearance into the mainstream when it was recorded by jazz violinist Regina Carter on her album "Southern Comfort".3   





  1. http://www.motherjones.com/mixed-media/2011/03/amede-ardoin-cajun-zydeco-mardi-gras
  2. https://www.kcrw.com/music/articles/the-zydeco-legend-of-amede-ardoin
  3. https://www.newsounds.org/story/regina-carter-in-studio/
  4. The Kingdom of Zydeco By Michael Tisserand
Release Info:
NO-6719 Blues De Basille | Brunswick 531
NO-6720 La Valse A Thomas Ardoin | Brunswick 531

Find:
Pioneers of the Cajun Accordion (Arhoolie, 1989)
I'm Never Comin' Back: The Roots of Zydeco (Arhoolie, 1995)
Cajun Country, Vol. 2, More Hits from the Swamp (JSP, 2005)
Mama, I'll Be Long Gone : The Complete Recordings of Amede Ardoin, 1929-1934 (Tompkins Square, 2011)