Joe Bonsall was one of 11 children and was born in Lake Arthur, La. He learned to play music at his mother's knee; Theresia Theriot Bonsall, was an accordion player. While the name Bonsall is not French, it is English. His ancestor was rescued from a shipwreck off the coast of Louisiana according to family accounts. The survivor was adopted by the Cajuns, became immersed in the Acadian culture and fell in love with a local woman of French descent.
Joe was inspired by Lawrence Walker and Joe Falcon growing up. In 1937 his family moved from Lake Arthur to the Gum Cove area north of Vinton in Calcasieu Parish. He was known to play house dances during this time with "Moot" Harrington. The original Orange Playboys were formed by Joe around 1952-53 when Moot Harrington retired from performing. Over the next couple of years a steady stream of musicians played with the Orange Playboys.
John Lloyd “Tee Bruce's” Broussard's parents moved to Port Arthur, Texas around 1924 from Carencro, Louisiana and there February 25, 1929, “Tee Bruce” was born. After graduating from High School in Port Arthur he spent two years in the Air Force and worked for a Texaco refinery for 38 years. During that time he frequented the Twilight Club in Port Neches, Texas every Saturday night listening to Cajun music. This is about the time he got interested in the accordion and bought one and learned to play. He didn't consider himself a good accordion player, but played for his own amusement. He played in a band for a while and made accordions for about eight years. “Tee Bruce” answered the telephone for Huey Meaux's Cajun show on KPAC Radio station and later at KOLE Radio. He then was able to start his own Cajun show on KOGT Radio in Orange, Texas. For 14 years he hosted “Tee Bruce's Cajun Jamboree.”
Joe and the Orange Playboys first made their mark on the recording scene when they recorded for Goldband Records in 1962. In 1963, Joe Bonsall contacted John “Tee Bruce” Broussard and asked him to produce recordings and help promote Joe Bonsall and the Orange Playboys. The group released a couple sides on Floyd Soileau's Swallow label at first.
Floyd Soileau recalls the association:
"Tee Bruce originally pushed him onto me and I did their recordings in my studio, the last studio I had. But later on, he developed his Cajun Jamboree label and he was recording and trying to sell some records and tried to make money on it, and later he sold me the masters on his Cajun Jamboree stuff. But they came in and did a couple of records in my studio."
By 1965 Joe and his band were releasing records Tee Bruce's Cajun Jamboree label. The second record they released on the label was a spirited version of a Iry Lejeune classic that the band made into their own and called it "Bayou Pon-Pon Two Step". The band at the time consisted of Joe on accordion, Bobby Caswell on guitar, Russell Quebodeaux on fiddle, Tilford McClelland on steel guitar and Rayford Quebodeaux on drums.
The songs goes back further than Iry's version of course. Iry's relative, Angelus LeJeune, recorded it in 1929 as "Bayou Pom Pom One Step" and a earlier version of the melody was recorded by Joe Falcon as "Osson". Early Cajun music researcher, Wade Falcon, writes that Bayou Pon Pon (spelled either "Pon Pon" or "Pom Pom") is a mythical town, somewhere in Lafourche Parish, in which comedian Walter Coquille would use as the basis for his 1929 satirical recordings on Brunswick records.
Session info:
Gold Star Studio, Houston TX; 1965
6946 (LH 2275) Over the waves-1 Cajun Jamboree 803,
6947 (LH 2276) Bayou pon-pon two step-1 Cajun Jamboree 803
Born in Mamou in 1909, Maurice Barzas picked up the accordion at a young age. He picked up the harmonica at first, but after hearing his uncle play the accordion; he switched his interests to it. Soon he was playing at house dances and clubs.
His first job performing was at the Evangeline Club in Ville Platte. Dewey Balfa started playing with him locally as well. But after Maurice got married, he didn't play dances as much. And during a time in the late 1930's and early 1940's, the accordion went down locally with string bands dominating the musical scene.
Maurice recalls J.B. Fuselier bringing back the accordion:
"It was J.B. who started having more accordion. At the old fais do-do's, he would play with a string band; but he would bring an accordion. He'd play dances just on the accordion. The people went crazy for that. It started there."
Maurice soon started playing the accordion again as well. He played locally in his area with his group; The Mamou Playboys. In 1962, he and his band recorded for Swallow Records in Ville Platte. Floyd remembered them in a interview I did with him:
"He's a great accordion player! He and his son, they needed to make a record, so they came to see me and I recorded that in my studio."
The group returned in 1963 and recorded the "Eunice Two Step" with Maurice on the accordion, Allen West on the steel guitar, Vorrance Barzas on the drums and Roy Fontenot on the fiddle. Sadly this would be the last time the group recorded.
Judging by the four songs the group recorded, they were one of the best of this time. Floyd recalls they didn't have many songs and at this point on his label, he thought he had enough Cajun records by different bands.
As for Maurice and the Mamou Playboys, they started playing at Snook's in Ville Platte every Saturday night. The group continued this tradition for thirty five years.
Resources
Wade Falcon
Ann Savoy- Cajun Music Vol 2
Session info
Acdn, Roy Fontenot (v-1/fdl), Allen West (g), st-g, Vorrance Barzas (v-2/d)
One record that has had some collectors baffled is Cajun Records #500. This particular release was released by Adam Hebert and issued on 78 rpm and 45 rpm.
Early Cajun music researcher, Wade Falcon, has wrote about the Cajun #500 released on 78rpm. That release contained "Homesick Waltz". But the Cajun #500 on 45 rpm contained different titles and the sound was definitely not the same as the 78rpm recording. But still we didn't know who put this out. Was it J.D. Miller? Was it Floyd Soileau?
First a bit of backstory. After returning home from the service, Adam Hebert joined the Veteran Playboys in 1946. The group was well received locally and even played on KSIG. In 1948, the group released one record on J.D. Miller's Fais Do Do label.
Afterwards the group split up. Alphee Bergeron continued on with the Veteran Playboys and Adam started his own group called the Country Playboys. But before the group recorded on Swallow Records, we have these two mysterious Cajun releases. While the 78 version is credited to Adam and Cleby Richard with the Welcome Playboys, the 45 version is credited to Adam Hebert and his French band.
As for the 45 rpm release of Cajun #500 we now know the truth. It seems Adam was ahead of his time. Instead of recording for a label during this time, Adam paid for the session and the records and put them out himself. He did this twice with with two different sessions with the same record number. He recalls:
"Well, this record, J.D. recorded for me at his studio in Crowley. I put up the money, and I had enough time, I went around and I sold it, and I sold them all. Miller charged me 35 dollars to cut it and send to the company, then I ordered so much.."
So it seems Adam had enough foresight to bypass recording for a label and pay for the sessions and records and put it out himself. "Ten Year Blues" would be the second release by Adam Hebert and recorded in 1958. In light of a new interview with Adam, he notes that the accordion player on the recording was not Cleby Richard, but Nathan Menard. I asked Floyd Soileau about this recording in a interview recently, he confirms what Adam said:
"That was a Jay Miller! He went to Miller's Studio. Jay had come out with different labels and what not, and maybe that one was recorded because he possibly because he wasn't too crazy about Hebert's recording.."
The lyrics tell the tale of a man sentenced to jail for ten years; being falsely accused by a lover. And after the ten years is up and he is released; the old lover sees him and starts to cry.
Dix ans, dix ans, c'est long pour espérer
Avec une pierre, tout le temps sur mon oreiller
Dix ans, dix ans, c'est long pour misérer
Mais pour quelque chose que moi j'avais pas fait
C'est toi qui m'as accusé, tu m'as condamné
Le juge était content de m'envoyer
Ils m'ont maltraité, quand même que je l'ai demandé
De m'pardonner, pour ça j'avais pas fait
Quand ils m'ont pardonné, après ces grandes années
Quand tu m'as vue, tu t'as mis à pleurer
Toi t'as réalisé, le mal tu m'avais fait
Et comment gros, que j'avais miséré
Adam kept busy selling copies of "Ten Year Blues". In fact he drove to Floyd's Record Shop in Ville Platte and sold him the last 150 copies. Floyd was impressed with the recording and with Adam's songwriting. Floyd recalls:
"I mean when Adam came to me, I was impressed by the stories of his songs. He was coming up with some great lyrics and some great songs."
Floyd was so taken with Adam, he signed him to a contract with Adam getting the royalties from his releases. And from then on he recorded only for Floyd and Swallow Records.
As for the Cajun label, Adam's two releases were the only ones on it. But the next year in 1959, Miller did start up a new label called "KAJUN".
Session info
ADAM HERBERT AND HIS FRENCH BAND
V/fdl with Nathan Menard (acdn), Dirk Richard (st-g), Wilfred Labie (g),
Floyd Soileau's first venture into the music business had paid off well. He had partnered with Ed Manuel on a 78 rpm and 45 rpm release on the Big Mamou label. This record featured recordings by Milton Molitor and Austin Pitre recorded at a local radio station and was a hit on the jukeboxes in South Louisiana.
Other artists took notice of the success of the record after its release. While Cajun music had been on a slow decline with the lack of labels putting out new material; this new label caught artist's attention. Many artists who had had success with recording on such labels such as Khoury's and Feature, were looking for someone to release their music. One of those artists was Lawrence Walker.
Starting in 1955, Lawrence had been recording for George Khoury's label. Through the early 1950's he had released nine records on the label. But by 1955, Lawrence's last Khoury's was released. Rock and blues were gaining popularity and were the preferred styles being recording, leaving artists like Lawrence to the side.
In 1957 Lawrence and his band traveled to Eunice to record four songs at KEUN radio station. Johnny Allan had just began playing with Lawrence at this time, playing steel guitar. The radio station would go off the air at night and allowed the band the studio to record there. Lawrence had heard about Floyd and brought the tapes to him. Floyd recalls:
"Lawrence said, "Well, I want to get some records made and I understand you're starting to make some records." And after I asked, "What do you want for the records? Do you want a royalty?" He said, "No, no, no, I had this royalty business a while back, I got shafted. I want $100 for that tape, got four songs on it." $100 back in 1956 was a lot of money, and I said, "Well, I know it's worth that, but I'm a little shy on some cash right now. How about if I buy two of the songs now and put them out , and I'll put the other two later." "Well," he said, "give me $50 now and the other $50 later on. If that's good enough for you, that's good enough for me." I said, "I'll go for that." So I had money and I gave him $50 and I clipped the tape, took the first two songs out."
So Floyd bought the songs from Lawrence with idea to follow up on his and Ed's first release. He went to Ed Manuel to see about putting out a new record. Ed wasn't interested, he had just wanted to do the one release to help out his jukebox sales. He offered Floyd some cash if he needed it, but Floyd had made enough off the first record to release Lawrence's record.
Not wanting to call it Big Mamou, Floyd decided on Vee Pee; a nod to his town of Ville Platte. He sent two songs to Starday in Nashville to press on the new label; "Osson Two Step" and "Bon Ton Rouley". As with the first record, Floyd put the name of his record store and address below the label title. Even though 45 rpm was desired new format; Floyd released the record on 78 rpm as well.
"Bon Ton Rouley" lyrics describe a young girl's parents not wanting their daughter to be courted with a older man. He speaks of travelling to Holly Beach and Hackberry with her; there, they get ate up by the mosquitoes only for him to shrug it off by saying "Let the good times roll".
C'est par rapports à ton papa et par rapports à ta maman,
Si moi j'peux p'us t'aimer, mais laissse le bon ton rouler.
J't'ai trouvè dans les grands mêches. j't'ai amené aux "Holly Beach",
Les maringoins sont aprés m'manger, mais laisse le bon temps rouler.
Ton pa pa il est fàcher et ta maman est pas contente,
Les marengoins sont aprés m'manger,
Mais laissse le bon ton rouler.
J't'ai trouvér dans les grande mêches, j't'ai amené aux "Hackberry",
Les maringoins sont aprés m'manger, mais laisse le bon temps rouler.
Ton papa aprés river, moi l'entende su' la galerie,
Ta mamam aprés quereller, les enfants sont aprés pleurer,
Les vaches sont pas tirés et les "gaimes" sont aprés chanter,
Les maringoins aprés m'manger, mais laisse le bon temps rouler.
This new record by Lawrence on the Vee Pee label sold well and put Floyd in touch with more jukebox operators and music stores. After these two records, Lawrence didn't record for Floyd again. The other two songs that were part of the deal were later released. But as far Lawrence, he was recruited to record for La Louisianne records by Rufus Thibodeaux in the early 1960's. The Vee Pee label didn't last long with Floyd. He released one more record on the label before he had a new idea for a title for the label.
While the Big Mamou release was numbered 101, this Vee Pee record was numbered 102. A mix up at the pressing plant resulted in the label sides being swapped. "Bon Ton Rouley" is actually on the "Osson" side and vice versa.
Resources:
Conversations with Floyd Soileau
Early Cajun Music blog
Band photo: Center for Louisiana Studies
Ad: Early Cajun Music Blog
Session info:
AND WANDERING ACES (Vee Pee 102)
V/acdn, U J Meaux (fdl), Johnnie Allan (st-g), Al Foreman (g), Bhuel Hoffpauir (d)
KEUN Radio Station, Eunice LA; 1957
VP 102-A Osson (Opelousas) two step Vee Pee 102,
VP 102-B Bon ton roulay (Les bon temps) Vee Pee 102,
After Austin Pitre passed away in 1981, a box was found in his house of well used 78 rpm records by artists such as Amede Ardoin and Douglas Bellard. His love of the older music was evident from his music he chose to record through the years.
Austin was born in Ville Platte, surrounded by house parties. All of the area's musicians had a great effect on Austin growing up. His family were hard working sharecroppers making little money. His father was a fiddle player and his mother played the accordion. Soon Austin's father gave him a accordion in hopes that he would learn to play and join him at the local house parties.
Austin soon married and balanced the responsibility of working in the fields or as a mechanic all day then playing at dances at night. World War II came and Austin stayed home as he was the only son left to support his family. During this time the accordion popularity went down, Austin formed a string band to play for out of state soldiers.
He first recorded for J.D. Miller with his group, The Evangeline Playboys. In the following years, Austin and the Playboys played many of the large dancehalls of the time. In 1957 he was recorded by Ed Manuel and the release was released on Big Mamou Records, which would be one of Floyd Soileau's first labels.
Harry LaFleur recalls working with Austin in the early 1950's. He would go watch Austin at the Dixie Club in Eunice and like his playing. At the time both Harry and Austin were working at Bordelon's Ford Garage. Austin asked Harry if he and his band would back him on a record.
Austin's first release in 1959 was on Floyd's Swallow Records. It was a double sided affair, paying tribute to two artists Austin listened to on those 78 rpm records. The A side was a cover of a Amede Ardoin song, but the B side became a hit.
The B side is a cover of a pre war Cajun song recorded by Douglas Bellard. Douglas was a black fiddler from Bellaire Cove, not far from Ville Platte. In 1929, he recorded "Mon Camon La Case Que Je Suis Cordane"; which was also known as "The Flames of Hell". The song is derived from another classic Creole song called "Adieu Rosa".
Austin and his new band recorded their version of the Bellard classic but used the title it was known for; "Flum De Faire" or Flames of Hell. The song is a Cajun classic that Austin made his own with the desperate plea plea to a loved one to "pray for me, save my soul, I am condemned to the flames of hell.."
Hey, maman
T'as tout l'temps dit
J'aurais pleurer
J'vas regret j'sus gone
C'est une belle tite fille
Elle etait si fine
J'sus parti la avec
Pour un bon temp
Quand moi, j'ai vu
J'sus condamné
J'sus condamné
Les flammes d'Enfer
Priez pour moi
Sauvez mon âme
Sauvez mon âme
Les flammes d'Enfer
Hey, maman
Priez pour moi
J'sus condamné
Les flammes d'Enfer
J'ai ité a la porte
Disait 'Tite Tante
Qui c'est qu'est la?
---C'est ton neveu
---Qui c'est tu veux??
Priez pour moi
J'sus condamné
Austin's session was recorded in Floyd's first studio next to the Platte Theatre. Floyd recalls the session:
"I used a delayed echo system that I devised from using a voice of music recorder and that little space between the recorder head and playback head gave a reverb sound where you could split the mic and feed it back in to get as much echo as you wanted from it. I didn't like the sound at first and held back on releasing it. I finally released it and it sold well on the jukeboxes and became a hit. My first million seller."
This first record was a hit for Austin and the Evangeline Playboys. Austin recorded extensively for Swallow Records between 1959 and 1971 recording many classic songs. He is largely responsible for keeping some of the old classics alive, many of which he had on the old 78 rpm records. His music is a prime example of the powerful dancehall sound of the time.
The 1960's were the beginning of a Cajun Cultural renaissance. Interest in more traditional Cajun music emerged after years of Rock, Pop and Country influence and one of the leaders was a accordion pioneer; Nathan Abshire.
Nathan's popularity rose in the late 1940's recording for the Khoury's label. The label slowly faded out of the Cajun music scene and the beginning of the 1960's found him recording for J.D. Miller. While Nathan and his new band made some great recordings on the label; Nathan wasn't happy with Miller's antics. By 1963, he wanted out. Floyd Soileau had started up a label and was having success releasing traditional Cajun music. Nathan approached Floyd about recording for Swallow Records in the mid 1960's. Sadly, Nathan was still under contract with Miller at this time. Nathan ended up hiring a lawyer to get out of contract with Miller to record with Floyd. Floyd Soileau recalls: “I went to see him when he was working at the Basile dump, People were starting to cover ‘Pine Grove Blues’ and I researched the song at BMI but couldn’t find it. Khoury never registered the song but Nathan had recorded it as ‘Pinegrove Blues’ for J.D. Miller. He registered it at BMI, but wasn’t paying Nathan royalties. I told Nathan that if he signed a publishing contract with me, I could get him his writer’s royalties. I took him to a notary and he put his X on a contract. I cleared the song with BMI. J. D. contested it, but I had a contract. J.D. claimed his got burned in fire. But Dewey Balfa, who played on the Miller sessions, said nobody signed anything with J. D.” So in the 1965, Nathan gave recording another try. He assembled a band who had recorded with him earlier in the decade. Dewey Balfa had recorded before as a Pine Grove Boy and had a good working relationship and friendship with Nathan. Their musical careers would continue till Nathan's death. Junior Benoit and Thomas Langley were also mainstays in Nathan's band at this point. In 1966 they entered Floyd's and recorded a number of sides at the Swallow studio in Ville Platte. Nathan knew he needed to cut some 45's to help with local bookings, so at this session; Nathan and the Pine Grove Boys reworked a song Columbus Fruge had recorded in 1929 as "Point Clear Blues". Moi j'aime cousin et moi j'aime cousine mais j'aime mieux la cuisinière. Samedi, ce soir, moi courir au bal, je m'ai saoulé comme un gros cochon. Dimanche matin, il est tout manière malade, Passez lui le verre à limonade. L'hiver arrive, l'hiver arrive, ton p'tit nég a pas de couverte, Samedi, ce soir, l'ai courir au bal, je m'ai saoulé comme un gros cochon, Dimanche matin, j'ai tout manière malade, Passez moi le verre à limonade. Moi j'aime cousin et moi j'aime cousine mais j'aime mieux la cuisinière. Samedi, ce soir, moi courir au bal, moi saoulé comme un gros cochon. Dimanche matin, il est tout manière malade, Passez moi le verre à limonade. Nathan had paid tribute to earlier pre war Cajun songs before. He had transformed the Segura Brothers "Mosquito Ate My Sweetheart" into "La Valse De Holly Beach"and turned "Fe Fe Ponchaux" into the "Musical Five Special". Previously, Leroy Broussard had recorded a version of the "Lemonade Song" in 1957 for Goldband, but it seems Nathan's version is the most well known version and rightfully so. From 1965 to 1972 Nathan recorded for Swallow Records with great success and it seems these recordings are what he's best remembered for. Nathan hit his stride as a recording artist in these years, turning out a string of remarkable records for the Swallow label. Floyd Soileau remembers: “That was when I had my first little studio. “We did some things with the Balfas and some with other musicians Nathan rounded up. If you sold 1,500 copies of a Cajun single, then you jumped up and shouted ‘Hooray.’ Most of Nathan’s singles did 1,500 to 2,000, with a lot being sold to juke box operators." With this new success, Nathan appeared with Dewey Balfa and The Balfa Brothers at the Newport Folk Festival in 1967. Along with Dewey , Nathan devoted much of his time in the 1960's and 70's to promoting Cajun music through appearances at festivals, colleges, and schools throughout the United States. Nathan stayed with Swallow until the mid-1970's when Soileau slowed down his recording activities.
AND HIS PINE GROVE BOYS (10170, 10173 & 10175)
V-1/acdn, Dewey Balfa, Dewey Balfa and Will Balfa (fdl), Darius LeBlanc, Junior
Benoit (g), Thomas Langley (d)
Swallow Studio, Ville Platte LA: 1966
Resources
Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing
Early Cajun Music Blog
https://64parishes.org/entry/dewey-balfa
Ervin "Vin" Bruce was born in Cut Off, Louisiana on April 25, 1932. His father, Levy played fiddle at local dances when Vin was growing up. Being from a musical family, Vin’s love for Cajun music grew and at the early age of 10, Vin learned how to play the guitar on his own.
Although a shy country boy, Vin also began to sing. At 14 he began playing and singing in a local band, performing once a week on the radio in New Orleans. In 1946, Vin joined Dudley Bernard and “Southern Serenader's Band” and later went with Eugene Rodrigue and “The Louisiana Troubadours Band.” On October 22, 1951, Bruce signed a recording contract with Columbia Records in Nashville, Tennessee. Just three years after the accordion made a comeback, Vin recorded such classics such as "Dans La Louisiane" and "Fille de la Ville", making him the first Cajun recording artist to work with Nashville musicians. Vin's Columbia sides brought that sound to the jukeboxes, airwaves and the Grand Ole Opry. Hank Williams was so endeared to Bruce's music that he invited him to play his public wedding ceremony at New Orleans' Municipal Auditorium. He recorded for the Columbia label from 1952 till 1954, and then in the mid-1950s; Vin's career took a downturn as Rock and Roll became popular. He played locally until he could no longer support himself by singing. To get by, he started to roughneck on offshore rigs. In the early 1960's, Floyd Soileau was having success with his label Swallow Records. Many of Floyd's records were appearing on jukeboxes and playing a major role for independent record makers. Around this time, he opened Floyd's Record Shop in Ville Platte; bringing customers from the dance halls to his shop. The old Cajun legends came to Floyd one by one, hoping to achieve new life and endurance for their music. One of those artists was Vin Bruce. It was 1961 when Bruce signed a recording contract with Swallow Records. By now, Floyd had developed his production company, Flat Town Music, and had been able to create a recording studio of his own in the back of his shop. It was for Swallow Records that Vin Bruce recorded his next hit single, “Jole Blon.” The original version of the song was recorded in 1929 by the Breaux Brothers called "Ma Blonde Est Partie". In 1936 the song appeared with the title "Jole Blonde" for the first time on two records, when the Hackberry Ramblers and Miller's Merrymakers recorded it in New Orleans. Then in 1946 the song gained success again from Harry Choates. In the 1960’s Doc Guidry began playing and recording with Vin Bruce on Floyd Soileau’s Swallow Label. Their first record together was in 1961, and was widely successful. But together their recording of "Jole Blon" was a a hit all over again. The key ingredient to the record's success was Doc Guidry’s phenomenal fiddling. As for Vin, he continued recording for Swallow until the early 1970's.
Session info
Vin Bruce (V/g), Oran ‘Doc’ Guidry, Wilbert Robichaux (fdl), Harry Anselmi (st-g), Luke
Charpentier, Ebdon Barrios (g), D J Collins (b-g), Mack Cheraimie (d)
1962
S-6356 Jole blon Swallow 129
Resources
https://www.flattownmusic.com/artist/vin-bruce/
Jessica Dauterive- Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing
http://www.ponderosastomp.com/music_more.php/259/Vin+Bruce
Early Cajun Music Blog
When talking about the revival of traditional Cajun music, it's hard not to mention Dewey Balfa. Together with his brothers, Dewey helped introduced the sound of traditional Cajun music to people around the world. During World War II, Dewey left home to work in a Texas shipyard followed by a stint in the Merchant Marines. He played Texas swing, maintaining a heavy swing influence. It was here, being away from home where he felt the missing connection with his cultural music. In 1948, he returned to Louisiana and formed the Musical Brothers, a popular string dance band, with brothers Harry, Will and Rodney. By then Dewey had developed his own sound with his accurate, flowing style and was often requested to gig with other musicians. By the 1950's, Dewey was a in demand musician. He began a lifelong association with Nathan Abshire. But it wouldn't be until the 1960's that Dewey would make a recording career with Floyd Soileau and Swallow Records. In 1963, Dewey approached Floyd about recording traditional Cajun music on his label. At the first session for Swallow Records, Dewey and his brothers recorded a number of traditional songs. The second record they released was a number written by his brother, Will called "Valse De Balfa". Quand j´ai parti de la maison, J´avais fait mon idée, J´étais parti pour te chercher, cher, Où mourir au bout de mon sang. Quand j´ai arrivé à ta maison, J´en ai trouvé -z-un autre avec toi, Ça, ça a cassé mon coeur, cher, J´aimerais mieux mourir que voir ça. Si j´aurais cinq jours dans ma vie, J´en donnerais trois dans les cinq, Pour passer las deux autres avec toi, J´amerais mourir tes dans tes bras. Like many traditional Cajun songs, the song is a haunting tale of one's love for another and his agony of seeing her with someone else. The song has had a lasting influence and is still played by many to this day. Louis Michot and the Lost Bayou Ramblers also recorded the song recently. Louis describes the song:
"La Valse de Balfa is one of those songs that draws anybody in who hears it. The pain and emotion is palpable, and the lyrics go straight to the heart."
Later in 1964, he played at the Newport Folk Festival and played in front of 17,000 people. He continued recording traditional Cajun music for Floyd and others through the 1960's and 1970's. The Balfa Brothers played together until 1978, when Dewey’s brothers Will and Rodney were killed in an automobile accident. Dewey continued to play, and Rodney Balfa’s son Tony joined the group.
DEWEY BALFA AND HIS MUSICAL BROTHERS (10172, 10185)
Dewey Balfa (v/fdl), Will Balfa (v/fdl), Rodney Balfa (v,g), Harry
Balfa (g), Burke Balfa (triangle)
Swallow Studio, Ville Platte, LA; 1964
Valse de Balfa-1 Swallow 10185,
Resources:
Early Cajun Music Blog
with thanks to Louis Michot
Folkways.com
Lyrics-cajunlyrics.com
In 1957 Floyd Soileau quit working for the radio station after noticing that Cajun record releases were getting limited. While at the radio station, he had seen ads from Don Pierce of Starday Records advertising to press records. He collaborated with Ed Manuel to put out one record; but after its release, Manuel lost interest. So Floyd decided to go venture out on his own. He changed the name to Vee-Pee Records after the town of Ville Plate. By this time, Floyd had made some good connections in the record business and the word was out that a new record company had opened up in Ville Platte. He bought 2 songs from Lawrence Walker for 60 dollars and released them on Vee Pee's first release. For that record he only pressed seven hundred 45's and 300 78's. Soon other artists were knocking at the door. Aldus Roger and the Lafayette Playboys had recorded previously for J.D. Miller's Feature label in the mid fifties. But when labels such as Miller's and Khoury's slowing their Cajun recording down, artists like Aldus were looking for other labels to release their music. Floyd's label was a relief to artist like Aldus as it gave them a renewed output for their music. Following Lawrence's example, Aldus went to Floyd to record and put out a record of him and his band. While Floyd didn't have a studio yet, he had to use Miller's studio in Crowley for some of his early releases. It was in 1958 that Aldus recorded "O.S.T Special" at Modern Sound Studio for Vee Pee 103. Floyd had it shipped to Nashville and RCA pressed it with a unique green label. Aldus was known for having a tight band and this recording finds the band playing in high gear. Doc Guidry joined the band during this time and this recording marks his first record with Aldus. Phillip Alleman played his first dance when he was 11 with Aldus; replacing his brother, Clarence, on guitar and started a 25 year career with Aldus. Fernest “Man” Abshire joined the band around this time; he played with Aldus until his death. Johnny Credeur played with Aldus from 1958 to 1964, joining Belton Richard's group afterwards. Tunice "T Man" played with Aldus for a couple of years, sadly passing away at age 29. O.S.T is in reference to the O.S.T dance hall in Rayne, La. The name is shortened for the Old Spanish Trail, named after a colonial Spanish Highway that connected San Diego, Ca. to St Augustine, Fla. The old route is now mostly made up of Highway 90 that passes thru Crowley and Rayne. Musician Michael Dupuy says about the record: "The unique and odd thing about that record is the fact that no other instrument takes a lead. It is strictly accordion with a strong rhythm guitar that echoes a bass at times. Also, there’s no drums being played. I am pretty sure it’s a cabasa."
But with this record, Aldus started a long reign in popularity and this was his most productive era. He would continue his career on a popular television show on KLFY for 15 years. He would go on to record for J.D. Miller again but recording for most of the 1960's at La Louisianne Records. As for Floyd, he would soon discontinue the Vee Pee label and would branch off into two labels; Jin and Swallow.
Resources:
Broven: South To Louisiana
Early Cajun Music blog
Michael Dupuy
Johnnie Allen- Memories
Picture of Aldus from the Michael Dupuy collection.
Session info:
Acdn with possibly Oran ‘Doc Guidry (fdl), Phillip Alleman (st-g), Johnny Credeur
(g), Tunice Abshire (b-g), Fernest ‘Man’ Abshire (v/d)
Modern Sound Studio, Crowley LA: 1958
VP 103A (J8OW1280) Midway waltz
(La valse a Alida) Vee Pee 103,
Jin 108, Swallow 110
3003, LP6003
Ace(E) CDCHD743
VP 103B (J8OW 1281)O.S.T. (Cajun) special Vee-Pee 103, Jin 108,
Swallow 110, 3003,
LP6001 LP6007,
Ace(E) CDCHD 743
In the summer of 1957, Floyd Soileau left radio broadcasting to focus on his record business. He was selling alot of Cajun music, mostly from George Khoury. He would get a order list from Khoury of what was available and every time the list kept getting shorter and shorter. Floyd knew someone had to start making Cajun records or there wouldn't be any. Floyd started his own label with the first two artists he put out were Milton Molitor and Lawrence Walker on his label out of Ville Platte.
Jo-El was born in Rayne on October 2, 1946. As a baby he was put under the wagon while the rest of the family picked in the cotton fields. His mother surprised him with a makeshift accordion to keep him occupied. He became obsessed with the instrument learning to play from hearing others. He recalls hearing music off the AM radio, listening and learning from the music of Iry, Nathan and Lawrence. By age 8 he was playing radio shows and meeting those he heard on the radio such as Nathan Abshire.
Jo-El and a group of friends who lived around Duson, starting a band playing together. Nelson "Shorty" Sonnier and his brother Henry were in the band with Jo-El and Gerald Forestier, calling themselves the Duson Playboys. They played and practiced working on their sound and eventually made their way to Swallow Records in Ville Platte. By the time Jo-El and the band made it to Floyd's, Soileau had put out eleven records on Swallow. The band had one song which Jo-El had wrote for his mother.
While Lawrence Walker had a song called "Tit Yeux Noirs" out around this time, Jo-El's song for his mother was "Tee Yeaux Bleu". They arrived at the studio not knowing anything about how records were made; they just knew what they heard on the radio. At this time, Floyd's studio was just a small room at the back of his record store in Ville Platte. They recorded the song and were breaking down their equipment and Floyd told the group they had to have another song for the flipside of the record. The group followed Jo-El's lead and made up a instrumental on the spot and called it "Duson Playboys Special." "Heh, mes tits yeux bleu, tu m'as quitte pour un autre. Regarder donc, comment j'va faire?
J'su moi tout seul a la maison dans les miseres. Heh, mes tits yeua bleu tu va brailler, brailler pour moi. Regarder donc, comment j'va faire? J'su moi tout seul a la maison dans les miseres." The reaction to the record was good and the band began receiving request to play shows. The first club they played was the Triangle Club and they played the Jolly Rogers afterwards. But the group went their separate ways due to day jobs. Jo-El continued recording on a independent label then moved on to record with Robert Bertrand on Goldband.
Resources
John Broven-South To Louisiana
Conversations with Jo-El Sonnier
Wade Falcon
lyrics by Jules Guidry
