Papa Cairo and His Boys- "Big Texas"

                   
One of the best sidemen in Cajun music was Papa Cairo and he recorded on some of the finest pre and post war recordings of the genre. While it is common for melodies to be borrowed or recycled in Cajun music, sadly this story of Papa Cairo is one of a stolen song.

Julius Angelle Lamperez was born July 27, 1920. He was a guitar playing boxer and World War II veteran that recorded for both national labels and independent Louisiana labels as well. He was better known by his knickname: Papa Cairo. Lamperez was born in New Orleans but raised in Crowley. By 1932, at age of 12, he learned to read music and play the fiddle and became good friends with Joe Falcon and Cleoma Breaux. He started playing the guitar across his knees with a metal finger attachment around this time.

Growing up, he listening to Western Swing and Jimmie Rodgers. By his teenage years he mastered the guitar, and occasionally dabbling in playing the fiddle. Soon he formed his first band known as the Daylight Creepers featuring a young guitarist named Jay Denton "J.D." Miller and their music was broadcast on KVOL. When not playing music, he played football and loved boxing. By 1937 he would join Joe Werner's group; the Louisiana Rounders. While in the band, he would meet Horace Andrus "Uncle Ambrose" Thibodeaux, Leroy "Happy Fats" Leblanc, Oran Guidry and Harry Choates. 

Happy Fats noticed he always wore a diamond-shaped gem on his tie and finger. Using the Cajun French word for "diamond" ("karo", pronounced "cairo"), his nickname became "Papa Cairo". He played the guitar across his knees with a metal finger attachment and with the Rounders they recorded a song of Papa's called "Alons Kooche Kooche",  a tune based on the Jolly Boys of Lafayette's "Abbeville". The melody to the song would go on to inspire one of the biggest country music hits after World War II.

After the war in 1948, Papa settled down and found steady work in Eunice playing in Chuck Guillory's band. One night a record producer for Modern Records came down to Eunice to catch the band's show. He convinced Guillory and his band to head to New Orleans to record two songs. For the session Papa resurrected his "Kooche Kooche" song and retitled it "Big Texas". The record sold well and became a local sensation for Chuck's band. In 1949, he would form his own band called "Papa Cairo And His Boys", including fiddler Rufus Thibodeaux. Thibodeaux had worked extensively as a studio musician for J. D. "Jay" Miller's Crowley Studio, working with The Clement Brothers among others.

In 1951, Papa tried to reach a wider audience with his song. He went to J.D. Miller and convinced him to re-recorded the song twice, once in English and once in French for Feature Records out of Crowley. He marketed the song well on KSIG and at different festivals.

In 1952, Hank Williams used the melody for his song "Jambalaya" and it went to the top on Billboard Country songs. Cairo immediately claimed Williams had stole the song, because the label identifies him as the composer. Papa was furious that Williams stole his tune and he vowed to never record again. He remained in music the rest of his life and continued to perform live shows.

Papa Cairo's "Big Texas" was released on Feature Records as a 78 rpm and also on 45 rpm. Miller soon started issuing 45 rpm issues of his releases, but this 45 of Papa Cairo could be on one the first Cajun releases on 45 rpm.

                       

Resources
Early Cajun Music Blog
John Broven:South to Louisiana

Release Info:

V/st-g with possibly Ambrose Thibodeaux or Tiny Whalen (fdl), Albert Roy (g),
Johnny Redlich (p), unknown b, Bhuel Hoffpauir (d)
J.D. Miller Studio, Crowley LA: 1951
-A Big Texas (English) Feature F1049
-B Big Texas (French) Feature F1049

Austin Pitre and the Evangeline Playboys- Chinaball Waltz

Austin Pitre was born February 23, 1918 in Ville Platte, Louisiana. Growing up his parents were sharecroppers and would always sing in the field and in the evenings play music on the porch. His father, Joseph, played fiddle, but he presented Austin a accordion on his 6th birthday in hopes of his young son playing with him at fais do do's. By age 11 he was playing with his father as a regular musician.

By the age of 22 he formed the Evangeline Playboys. His flamboyant playing style and energetic vocals set him apart from other musicians at the time. Austin was known for playing the accordion behind his back, over his head and between his legs. 

 In 1950 he had the distinction of being the first Cajun artist to record for J.D. Miller's Feature label out of Crowley. Around this time, Austin had a radio show every Sunday afternoon on KSLO in Opelousas. During the day, he had a steady job as a mechanic. But during the evenings he played locals clubs and dance halls.

His wife, Dorothy recalls,

"Austin was very popular and drew big crowds in a fifty mile radius of our home,
playing six or seven nights a week, plus he worked his day job as a mechanic."

He recorded with Feature records until 1956. At this time labels like Khoury's and Goldband were focused on music outside of Cajun music. Floyd Soileau started recording Cajun music in 1957 with two brief labels; Vee Pee and Big Mamou. Jukebox operator Ed Manuel had recorded Austin and his band at a party and their recording of "Manuel Bar Waltz" would be Floyd Soileau's entry into the music buisness.

It was in 1960 that Austin Pitre and the Evangeline Playboys recorded "Chinaball Blues". The song was actually a melody by Doc Guidry called "Le Nuevo Te Maurice". Austin's "Chinaball Waltz" also sounds similar to his previous Feature recording of "Chatatinia Waltz". 

Austin had a long engagement at the Chinaball Club which was located in Bristol, between Opelousas and Rayne.  The Chinaball Ball Club was originally built in 1949 and owned by Alex Leger. At the time, the Chinaball Club wasn't doing too good. The owner, in a last desperate effort to save his club, begged Austin to play his club. At this time, Austin and his band were drawing capacity crowds wherever they played. The owner told Austin that he didn't come play there that the club would be forced to close up. So Austin and his band packed up and headed to Bristol and brought the crowds with them. A lot of artists around this time recorded songs with the clubs name in it. Sometimes the intent was for more work at the club and sometimes just to celebrate and market the club.


"Viens nous joindre au Chinaball,
c’est pour avoir un bon temps avec votre famille
T’allais voir les mazurkas.
C’est cela, oui qui va vous traiter bien
La plus belle place dedans le pays,
oui, asteur, oui, que tu vas au Chinaball.
Viens nous joindre là-bas au Chinaball.
C’est la place moi je vas quand ça fait noir
Oui, cela ayoù tout le monde
peut se joindre, oui, pour avoir de l’agrément.
Va les joindre ,
Oui, là-bas, la meilleure place dedans le pays."


"Come join us at the Chinaball
to have a good time with your family.
You can see the mazurkas.
It’s the place where they’ll treat you right.
It’s the most beautiful place in the world,
yes, now that you come to the Chinaball.
Come join us out there at the Chinaball.
It’s the place that I go when it’s dark out.
Yes, the one where everybody
can meet up, yes, to have fun.
Go join them,
Yes, out there, the best place in the world."

n 1959 Soileau had changed the name of his label to Swallow and would continue to record and release Austin's music. His recording of "Flumes Dans Faire (Flames of Hell) was the first big hit for the label. He recorded for the label from the late 50's until the 1970's. In 1973 Austin was invited to perform in Washington, D.C. to perform at the Smithsonian Festival. He passed away April 8, 1981.

Resources
John Broven- South to Louisiana
Early Cajun Music Blog
lyrics by Erin S.

Aldus Roger and The Lafayette Playboys- New Mardi Gras Dance

During Mardi Gras in the rural areas of south Louisiana, communities will dance around to the playing of a Cajun accordion, known as the Mardi Gras dance.




Aldus Roger was born in Carencro in 1915. Growing up his father didn't want him playing the accordion. But Aldus would borrow one and sneak out to the barn and play. By his mid-teens he was playing in public. During the 1940's he formed his group, The Lafayette Playboys. Aldus began to make his mark with his band in the 1950's during the accordion revival.

Aldus looked to Lawrence Walker as a inspiration growning up. He remembers watching Lawrence play and imitating his style. In the Lafayette Playboys, he surrounded himself with professional musicians who were well rehearsed. By the 1950's television stations in south Louisiana provided a few shows aimed at local audiences. By June 1955, KLFY offered viewers a half hour Cajun music program of Aldus and his band.


Aldus and his band were recording for J.D. Miller's Feature label at this time. From the late 50's to the 1960's he recorded for Feature, Swallow and Goldband. In 1960 he returned to recording for Miller on his Cajun Classics label. It was here he recorded another version of his Feature Classic, "Mardi Gras Dance". Miller had previously recorded great Cajun Music on his Fais Do Do and Feature label. Around 1955 he had focused on mainly country and blues. With the recent success of Floyd Soileau's Swallow label, Miller started recording Cajun music again on his new 45 labels.

In 1960 he recorded "New Mardi Gras Dance" for Miller's Cajun Classics. The song is a quick tempo, full sounding instrumental with solos throughout the song. Unlike the early traditional chant, the "dance" would have a bluesy chord progression with room for different musicians to take the lead. Aldus's version of the deeply traditional Mardi Gras Dance took it a step further,being pepped up to a frenzy by rock and roll drumming.

It was recorded in Crowley, Louisiana in 1960 at Miller's Modern Sound Studio. Joining in on this version, it featured the great fiddle work of Doc Guidry. Rounding out the band were Phillip Alleman, Johnny Credeur,Tunice Abshire and Fernest Abshire.

Throughout the 1960's he continued performing on KLFY and recording for La Louisianne. His last released record was for Lanor in 1981.

Resources
Early Cajun Music blog
Lyle Ferbrache- Accadian All Star Special

Pee Wee Broussard and His Melody Boys- "Perradin Twoster"

Chester "Pee Wee" Broussard was born February 20, 1920 in Henderson La. Early on, he started a band with his brothers called the Youngsville Playboys. Later on he formed The Melody Boys and started recording for Feature Records out of Crowley. By 1955 Miller wasn't releasing Cajun music. In 1959, Pee Wee and his band released a 45 rpm for Khoury's Record Label out of Lake Charles.

But by the end of the 50's it was obvious. The influence of Rock and Roll was taking a toll on Cajun music sales. George Khoury wasn't too interested in Cajun music, as R&B was mainly selling. 

In 1959, "Mathilda" was released on Khoury's Lyric label, causing a surge in Rock and R&B recordings. Khoury would occasionally issue out a Cajun record to keep sales up. One of his last Cajun records to be released on the label was Pee Wee Boussard and His Melody Boys-"Perradin Twoster".

"Perradin Twoster" is a cover of a old Angles Lejeune song called "Perrodin Two Step" which Angles recorded with Dennis McGee in 1929. The song is known as one of the more difficult accordion instrumentals and continues to be a favorite. Happy Fats used the melody in his "Rayne Breakdown" as did The Jolly Boys of Lafayette on "Jolly Boys Breakdown".

Recorded in 1959, Pee Wee is joined by Leon Credeur, Ellie Arceneaux, Jules Broussard, Joe Fabacher and Adam Meaux. The group would go on to record one more record for Khoury's in 1960. 

Following 1960, the remainder of the Khoury catalog would consist of poor selling R&B and Swamp pop. By 1966, after a long period without a hit, Khoury ended his recording activities. Pee Wee and His Melody Boys would go on to record a couple sides for La Louisianne in 1963 and 2 records thru the 1970's and 1980's on Bee Records.

                             Pee Broussard and His Melody Boys-"Perrain Twoster"
                                                          Khoury's 709
                                  Goldband Studio, Lake Charles,La 1959

                                                 Resources
                                             Lyle Ferbrache- Acadian All Star Special
                                             Early Cajun Music Blog
                                             John Broven-South To Louisiana
                                             additional info thanks to-
                                             Betty Broussard

Robert Bertrand and Jo El Sonnier- "Memphis"

Robert Bertrand was influenced growing up by his relatives playing music and started playing at a young age. He played with Iry Lejune and was a member of Nathan Abshire's Pinegrove Boys.  He soon joined Bobby Leger's group, The Lake Charles Playboys. After a while he started his own band called "The Louisiana Ramblers". They recorded for J.D. Miller's labels, Fais Do Do and Cajun Classics.

 Jo El was influenced by Iry Lejune growing up.  He won many  accordion contests before recording with Swallow at 13 years old. When he finished school, he moved to Lake Charles where he joined Bertrand's Louisiana Ramblers.

Miller started his record label after the success of Harry Choate's "Jole Blon". He started the Fais Do Do label in 1946 and continued it until 1949. He then recorded Cajun Music on Feature Records from 1950-1954.



In the late 50's, Miller started recording Cajun music again. Although he stopped using the Fais Do Do label in 1949, he mysteriously brought it back in 1959 for a Robert Bertrand release. He then used it once more in 1965 for a recording of Bertrand and Jo El Sonnier.










The 1965 recording with Jo El doing a cover of Chuck Berry's "Memphis"  backed with "Mother's Day Waltz" was more successful. This time around it was the new group; Robert Bertrand and His Louisiana Ramblers. Around this time, Rock and Roll and Swamp Pop dominated over Cajun Music. Some of the musicians mixed  Cajun music with Rock and Roll to create some truly interesting results. Just as Johnnie Allan mixed the accordion with Chuck Berry's "The Promised Land",  Sonnier and Bertrand added Cajun accordion and fiddle to compliment this unique cover.

On the 1965 recording of "Memphis" and "Mother's Day Waltz",  Jo El sang the lead backed by Bertrand, Hilrae Mott, Herman Rhodes, Dusty Rhodes, and  Garland Domingue. In 1966, Jo El would go on to record with Bertrand on Goldband after these recordings . Afterwards Jo-El would start his solo career on Goldband. Robert Bertrand would have a string of recordings on Goldband through the 70's.

Resources

John Broven- South To Louisiana

Lyle Ferbrache-Acadian All Star Special