"Pauvre Garcon" - Falcon Trio

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.1    

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. 

Comment tu crois, mais, que moi j’peux faire, chère?

Mais, avant hier soir, mais, t’après faire avec moi,

Moi j’vois pas quoi moi j’va faire, moi seul.

Garde-donc toi, ‘tite fille qui crois bien pourquoi toi t’as dit, toi chère,

Il y a pas, mais, si longtemps tu m’as donc promis de jamais oublier,

Mais, ‘garde-donc toi t’après faire avec moi,

Tu devrais donc, chère, user ta tête, ouais, tu vois les promesses,

J’mérite, mais, oui, pas tout la misère que toi t’après me faire avec moi.

Au jour d’aujourd’hui, mais, moi j’connais, chère,

Tu vas r’venir, oui, mais, donc me r’joindre, oui chère,

Mais, pour des bonnes excuses à moi avant longtemps.

Tu connais, ‘tite fille, mais j’mérite pas, mais, donc tout ça, toi chère,

Le seul Bon Dieu va m’mettre la main, ça c’est moi, oui, pour toi, oui chère,

Mais, malheureuse, ‘garde moi donc, moi j’va faire, oui, tout seul.

Joe Falcon
Courtesy of Squalor Illustrations
squalorillustrations.bigcartel.com

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.1  

How do you think, well, that I'll be able to do this, dear?

Well, before last night, well, what you've done to me,

I don't see what I'm going to do, I'm alone.

So look, little girl, who really believed what you said, my dear,

It wasn't, well, so long ago (that) you promised to never forget me,

Well, so, look at what you've done to me,

So, dear, you should use your head, yeah, you'll see the promises (made),

I don't deserve, well yeah, all of the misery that you've done to me.

As of today, well, I know, dear,

You have returned, yeah, well, so join me, yeah dear,

Well, apologies to me before long.

You know, little girl, well, I don't deserve, well, all of that, you dear,

Only the Good Lord will hold my hand, mine, yes, for you, yes dear,

Well, oh my, so look at me, i'm doing (this), yeah, all alone. 

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

Release Info:
BS-99227-1 Mon Vieux D'Autrefois (My Old Used To Be) | Bluebird 2185
BS-99228-1 Pauvre Garcon (Poor Boy) | Bluebird 2185

Find:
Raise Your Window: A Cajun Music Anthology 1928 - 1941 (The Historic Victor-Bluebird Sessions Vol. 2) (CMF, 1993)
Cajun Early Recordings (JSP, 2004)

"Catahoula Stomp" - Falcon Trio

The mid-1930s saw a dramatic change for Cajun musicians, one that had the largest effect on traditional accordion players.  The old-fashioned sound of the 20s was gone and American pop songs, mainly driven by string bands, were all the rage.  Slowly, groups like Leo Soileau and the Falcons had to adapt to these growing changes to meet the demand in the dance-halls of the South. 

One of Joe and Cleoma Falcon's favorite places to play was at Catahoula Lake near the Atchafalaya Basin in St. Martin Parish.   The "lake" is actually a wide section of water at the junction of Bayou Mersier and Bayou Berard Canal.  The town of Catahoula was established here and by 1928, dance-halls popped up such as the large Catahoula Inn and Noe Lasseigne's dance-hall.  The Catahoula Inn boasted a large gathering room for 2500 dancers and became a popular spot for area musicians to perform.  

Cleoma Breaux Falcon

Once I loved a darling seaman,

Oh, and he thought this world of me,

Until another girl persuaded,

And now he cares no more for me.

I don't want your greenback dollar,

I don't want your watch and chain,

Yes, all I want is your heart, darling,

Won't you take me back again?

Oh, many a strolls we took together,

Oh, down beside the deep blue sea,

But in your heart, you love another,

But in my grave I'd rather be.

I don't want your greenback dollar,

Oh, I don't want your watch and chain,

Yes, all I want is your 22-20,

Just to shoot out your dirty brain.

Papa says we cannot marry,

Oh mama says it'll never do,

But if you ever learn to love me,

I will run away with you.

Catahoula Inn, 1928

In 1936, fiddler Moise Morgan tagged along with Joe and Cleoma to create their own unique string band sound.  In New Orleans, the trio covered their rendition of the old traditional "I Don't Want Your Greenback Dollar" which is slightly based on a song called "East Virginia Blues".  Leo Soileau used a similar melody in his English hillbilly recording of "Little Darling Pal of Mine". Maybe fearing royalty conflicts or legal action by other labels, RCA had the trio change the title.  Being a frequent performer at Lasseigne's dance-hall hot spot along the lake, the song became the "Catahoula Stomp" (#2186).  To increase sales in the Cajun market, the record company pressed the song on the flip-side of a Hackberry Ramblers tune.  This cover of a beloved English radio tune foreshadowed the style which the Falcons soon found themselves accustomed.  

1. Lyrics by Jimmy Walker

Release Info:
BS-99231-1 Catahoula Stomp | Bluebird B-2186-A
BS 99213-1 Leave Me If You Wish (Hackberry Ramblers) | Bluebird B-2186-B

"Pin Solitaire" - Cleoma Breaux

Singer and guitarist Cleoma Breaux Falcon is remembered today for two major contributions to Cajun music. First, she and future spouse Joe Falcon were responsible for the first recording ever made of Cajun music. In New Orleans in 1928, the couple recorded the song "Allons à Lafayette" for Columbia. Second, she was one of very few women of her day to perform Cajun music on-stage. The setting of a dancehall was considered improper, and a strong chance existed that a woman who sang there would be seen as immoral. Breaux overcame the stigma, possibly due to the fact that she mounted the stage with a man -- her husband -- at her side.2 Now married to Joe Falcon, they traveled and sang one of many influential country & western tunes of the day called "Pin Solitaire" (#17024) for Decca in 1936.   

Moi, je m'en vas de la maison,

Moi, je vois p'us quoi je vas faire, p'tite fille,

Tu connais, mais, pour toi-meme, 

Ça me fait pitié comme un pauvre orphelin,

Comme un pauvre orphelin, 

Ni père, ni mère, p'us personne pour m'aimer,

Moi, je m’en vas pour toi, p’tite fille,

Ouais, pour toi, ma petite, ça t’après me faire,

Moi, je connais que je mérite pas donc, 

Tout ça t’après m’faire, malheureuse

Dit "bye bye" à ton papa et ta maman, 

Malheureuse, p’tite fille,

Moi, j’après mais m’en aller,

Pour t’amener avec moi, malheureuse.

Oh malheureuse, (ma) p’tite, ouais. 

With Moise Morgan on fiddle, the trio covers a traditional country and western tune called "Lonesome Pine".   It would be similar to the same melody used by her brothers a year earlier on the song "La Valse Du Bayou Plaquemine".

I'm going away from home,

I see what Im going to do, little girl,

You know, well, yourself,

It makes me pitiful like a poor orphan,

Like a poor orphan, 

No father, no mother, no one to love me.

I'm leaving you, little girl,

Yeah, for you, my little one, that you've done,

I know that I do not deserve this,

All that's been done, oh my,

Say "bye bye" to your dad and your mom,

Oh my, little girl,

I have, oh my, left,

To bring you with me, oh my.

Oh my, little girl, yeh.

If the melody seems oddly familiar, have no doubt it is.  The first recording of this melody as a Cajun tune was by the Guidry Brothers called "Le Garcon Negligent" in 1929.  It's quite possible this old tune is the foundation for Jolly Boys' song "Abbeville" and Louisiana Rounder's "Allons Kooche Kooche" which later became Papa Cairo's "Big Texas" and Hank Williams' "Jambalaya". 

1. Cajun Breakdown: The Emergence of an American-Made Music By Ryan Andre Brasseaux
2. Linda Seida, Rovi.  https://soundhound.com/?ar=200229471107479185
3. Lyrics by Jordy A
4. Image by Malcolm V

"Mon Favori" - Falcon Trio

The Falcon Trio.  The group consisted of Joe Falcon on accordion, Cleoma Breaux Falcon on guitar and vocals along with Moise Morgan on fiddle.  Not to be confused with her song "Ma Valse Prefere" recorded in 1934, this song was recorded in New Orleans two years later in 1936 along with some other cover tunes.

Oh moi tout seul à la maison

Plus personne pour m’aimer

Comment ça moi j’vas faire? 

M’quitte pas dans tout ça, ça je prefere,

Ne m’quitte pas à la maison, moi tout seul, malheureux.

Tu vas voir ton erreur avant longtemps,

Ce sera trop tard chère petite fille, tu regretteras, malheureux.

Tu vas venir à la maison avant longtemps,

Me demander des pardons, des excuses pour quoi t’as fait.

P'tite mon dieu, tu connais y a juste toi, 

Dans le pays pour moi donc, oui pour moi oui aimer.

Et moi je veux encore ta petite fille

Pourquoi donc tu veux m’donc maltraiter, comme ça fait mal.

Tu connais, t’as pu voir ton erreur, 

Ton erreur toi t’as fait y a pas longtemps, malheureux.

Cleoma and Joe Falcon

It's sometimes referred to as "Le Meilleur" and also referred to as "Ma Valse Favori" or "My Favorite Waltz".  The melody is the same as Lawrence Walker's 1929 recording of "La Vie Malheureuse" and Happy Fats' 1935 recording of "La Valse De L'Amour". It's also a faint rendition of her and Joe Falcon's 1929 "Poche Town".  Given she's singing about a man losing his chère petite fille, it's no surprise if she borrowed from her brother's song.  It's a very familiar melody throughout Cajun music, influencing other songs such as Lawrence Walker's 1929 "La Vie Malheureuse" and the Hackberry Ramblers' 1935 "Crowley Waltz".

Daily Advertiser
Apr 10, 1936

Oh, I'm at home all alone,

No one left to love me,

How am I going to handle this?

Do not leave me in all of this, that I'd prefer,

Do not leave me in the house, all by myself, oh my.

You'll realize your mistake before too long,

It'll be too late dear little girl, you'll regret this, oh my.

You're coming home before too long,

Ask for forgiveness, apologize for what you did.

Little one, my God, you know you're the only one,

In the country for me, yeh, for me, yeh, to love.

And I still want you little girl,

Why do you want to mistreat me, it hurts so much.

You know, you've seen your mistake,

Your mistake you did to yourself not long ago, oh my.

Unlike "Poche Town", "Ma Valse Favori" comes the closest to the lyrics chosen for Jolie Blonde.   

1. Lyrics by Stéphanie D

Release Info:

"Jeusté Parcqué (Just Because)" - Cleoma Breaux

Cleoma Breaux Falcon and Moise Morgan paired up in this 1936 Decca recording (#17015) done in New Orleans at the Roosevelt Hotel called "Jeusté Parcqué (Just Because)".  Based on the 1928 tune "Just Because" by the Nelston's Hawaiians, it would be one of many popular tunes Cleoma covered as traditional Cajun music was on the decline. The group "Nelston" was the combination of musicians Hubert Nelson and James D. Touchstone.

Juste parce qu'tu croyais que t'etait jolie, 

Juste parce tu crois que tu es plus qu'moi,

Comme juste parce tu croyais que que t'avais quelque chose,

Quelque chose moi j'avais pas.

Te m'as fait gaspiller tout mon argent, 

Tu croyais moi j'étais vieux Santa Claus, 

Sapristi! Ouais, asteur j'ai fini-z avec toi, 

Juste parce (que) je te veux plus.

The French word "sapristi", meaning "Oh heavens!", is still used in France but in a comical way because it's colorful and old-fashioned, so people have tenderness for this word. "Sapristi" is not vulgar, however, its a way to swear without being dirty or offending God. It's an expression of surprise, impatience, or
hopelessness and may come across as sarcastic out of frustration.  Saying this is a way to curse without cursing, by referring to something religious.

"Just Because" was a prolific tune, covered by many groups of the day. The craze for Hawaiian music in America started in the early 20th century. The Hawaii Territory Department of Tourism when on a huge ad campaign in 1934, with marketing videos showing the people and sights, even having president Roosevelt visit the islands. The exotic sounds of Hawaiian guitars and ukuleles were featured everywhere in pop and country music of that time and Hawaiians' musicians were blending their own styles with jazz and country influences. Blues musicians were inspired by the slides techniques and made it their own, using bottlenecks and knives. 

The Hawaiian falsetto singing was echoed by the yodel in the voice of country singers like Jimmy Rodgers and Gene Autry and steel guitar would soon become an essential part of western swing and modern country music.

Just because you thought you were pretty,

Just because you thought you're better than me,

Just because you thought you had something,

Something I didn't have.

You made me waste all my money,

You believed I was Santa Clause,

Oh heavens! Yeh, right now, I'm finished with you,

Just because, I want you no more.

A few other Cajun renditions were released around the same time such as "Jus Parque" by Happy Fats' Rayne Bo Ramblers and "Just Because" by the Hackberry Ramblers.

1. https://oldweirdamerica.wordpress.com/2008/11/26/2-fatal-flower-garden-by-nelstones-hawaiians/
2. Lyrics by Jerry M and Stephanie D

"Raise Your Window" - Falcon Trio

In 1936, with record sales holding up after the end of the Depression slump, the Victor mobile recording unit under the direction of Eli Oberstein visited New Orleans to record local hillbilly, blues and Cajun artists.  In what was one of the last major field trips, mammoth sessions were held at the St. Charles Hotel, with more than twenty five titles recorded each day.  The ensuing 78s were eventually released on Bluebird, Victor's subsidiary budget label, at a cost of thirty-five cents per copy.  The 2000 series had been set aside for it's Cajun artists.

Among the artists were the Falcon and Breaux musical families.  Joe and Cleoma most likely brought along fiddle player and family friend, Moise Morgan, to fill in the band labeled as the Falcon Trio.  However, some list the third player as Joe's brother, Ulysse Falcon. Leading the vocals, Cleoma sang the song "Raise Your Window" (#2183) for Bluebird.  

If you see me coming, raise your window high,

When you see me coming, raise your window high,

When you see me leaving, hang your little head and cry.

I went home last night, baby, knocked at my front door,

I went home last night, baby, knocked at my front door,

I heard someone say, I don't live here no more.

I found a stranger passing through your town,

I found a stranger passing through your town,

I'd ask a favor, but boy, you'd turn me down.

I can make more money with my pick and guitar than my good old Jersey cow,

I can make more money with my pick and guitar than my good old Jersey cow,

St. Charles Hotel

I can make more money than a passenger train can ride

I'm wild about Memphis, fool about Tennessee,

I'm wild about Memphis, fool about Tennessee,

Give me sweet Dallas, Texas where the men think the world of me.

It's an English version of a song she had recorded in Cajun french two years earlier for Decca in New York called "Ouvrez Grand Ma Fenetre" (also referred to as "Leve Tes Fenetres Haut" or "Raise Your Window High").  It's a swingy, bluesy song in the style of Jimmie Rodgers' "Anniversary Blue Yodel (Blue Yodel No. 7)" that most likely has an older origin. Even the lyrics between the two versions changed.  In this version, she sings about leaving her home and traveling the country, making more money playing music than farming, and the men she met in different towns.  Songs, like this 12-bar blues and similar others, would eventually influence Iry Lejeune's "Grand Bosco" and Happy Fats' "Blues de Bosco".

1. Louisiana Women: Their Lives and Times edited by Janet Allured 
2. South to Louisiana: The Music of the Cajun Bayous By John Broven

Find:

Raise Your Window: A Cajun Music Anthology 1928 - 1941 (The Historic Victor-Bluebird Sessions Vol. 2) (CMF, 1993)
Cajun Early Recordings (JSP, 2004)
Let Me Tell You About the Blues: New Orleans (Fantastic Voyage, 2011)

"Lulu's Back In Town" - Cleoma Breaux

Not only were the blues influential on Cajun music, even jazz played a part in early Cajun recording artists.  In 1937, Cleoma Breaux Falcon covers this swingy tune called "Lulu's Back In Town" (#17030) for Decca in Dallas, TX.   Recorded at the Adolphus Hotel, the recording consisted of Cleoma Falcon on vocals and guitar with Moise Morgan on violin.  

Mon j'ai pour avoir mon suit bien r'passé,

Pour côde ain bouton sus mon gilet,

Pace qu'a soir j'ai pour m' bien m' préparer:

Lulu est r'venu dans l' village.

J'ai pour trouver ain ciquante-sou en queque part,

J'ai pour briller mes souiller, bien peigner mes chfeux,

Pace qu'assoir j'ai pour m' bien m' préparer:

Lulu est r'venu dans l' village.

Ti peux dére à tous mes préférées:

Mes blones et mes brunes,

Que monsieur Otis regréttait

Il etait pas à l'entour.

Aw ti peux dére au postillion d' pas vnére;

J'vas pas ête à la maison avant automne; 

J'vas peutête pas m'en r'venere ditout:

Lulu est r'venu dans l'village.

Daily Advertiser
Aug 18, 1937

Cleoma was born into a musical family.  Contrary to popular belief, the song was not written for her daughter Loula, however one wonders if the song was recorded with her in mind.  It's a Cajun french cover version of the popular Fats Waller song. Originally written for the 1935 musical Broadway Gondolier, Waller, whose innovation of the Harlem stride style which laid the groundwork for modern jazz piano, recorded the tune for Victor records. Taking a more moderate tempo than Waller, the limiting structure of the song inhibited the full power and range of Cleoma's vocal abilities as she casually swung through the tune backed by Morgan.  It's one of the clear evidences of popular music influencing Cajun musicians in the 1930s. The song would later be popularize again by Mel Tormé in the 1950s.

Adolphus Hotel, Dallas, TX

Gotta get my old tuxedo pressed

Gotta sew a button on my vest

'Cause tonight I've gotta look my best

Lulu's back in town

Gotta get a half a buck somewhere

Gotta shine my shoes and slick my hair

Gotta get myself a boutonniere

Lulu's back in town

You can tell all my favorites

All the blondes and brunettes

Mister Otis regrets

That he won't be aroun'

Tell the mailman not to call

Ain't comin' home until the fall

And then again I might not get home at all

Lulu's back in town

Cléoma had an enormous impact on Cajun music. At the time, women had a significantly smaller presence in Cajun Music. Her vocals and guitar skills fascinated many people. This made her recordings very successful. 

1. Cajun Breakdown : The Emergence of an American-Made Music: By Ryan Andre Brasseaux

Find:

Cajun Music (Goldenlane, 2009)