Adam Hebert and his French band- "Ten Year Blues"

                                     

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),

Willard Matte (mand), John ‘Boy’ Miller (d)

Crowley 1958

J8OW 4488 Ten year blues Cajun 500

Resources

Early Cajun Music Blog

Interview with Floyd Soileau

Ann Savoy- Cajun Music Vol.2

Lyrics- Cajun lyrics.com

thanks to Jesse Lege

Shirley Bergeron and the Veteran Playboys - "J'ai Fait Mon Ede'e"

 Shirley Bergeron was born in 1933 and raised in the Point Noir area of Church Point. He would work the fields as a child, sometimes picking a sack of cotton before he would get on the school bus. His father, Alphee, gave him a guitar when he was 11 years old and soon he was playing with his father and his friends. While he was a teenager he joined his father's Veteran Playboys band. The Veteran Playboys was originally led by Bill Matte, then he moved to Lake Charles and it became Alphee Bergeron's band. 

With soldiers returning home from the war with money and farmers doing well, times were good. The band played dances every night of the week in the late forties and broadcast regularly on KSLO in Opelousas. While Shirley started playing rhythm guitar in the group, he switched to steel guitar when Adam Hebert suggested the instrument to him because all the new bands had a steel guitar. The band did well until the rock and roll era and suddenly their dance dates went to Saturday night only.

Lee Lavergne grew up the son of poor farming parents. His love of Cajun French music started at a early age. He first heard the music on his neighbor's record player. Then in the late forties he started listening to the bands on the radio on KSIG and KSOL. In 1953, he went into the service and went to Korea. When he retuned he soon found out that the music he loved had been taken over by rock music. Around 1959, he decided he wanted to go into the record business.

He met up with his old school friend, Shirley Bergeron, one night and Shirley knew someone to talk to Lee about starting a label. Shirley took him to Crowley and they met up with J.D. Miller. Shirley and the original Veteran Playboys had recorded for Miller before. Jay asked Lee what kind of work he did and Lee told him he did bookwork. Miller advised him he better stick with that because there was more money in that. But Lee was determined and soon Jay helped Lee set up Lanor Records.

They used Miller's studio in Crowley and J.D. helped with the recording and processing the tapes. Lanor Records was on its was with it's first release by Shirley and Alphee Bergeron with the Veteran Playboys called " J'ai Fait Mon Ede'e"

J’ai fait mon idée

En faisant mon paquet.

Ta bonne vieille maman,

Elle s’est mise à pleurer.

Elle, elle m’a dit :

Quo faire toi

T’es comme ça ?

Moi j’ai répondu :

Moi j’ai fait mon idée.

Les enfants sont donnés,

Leurs papiers sont signés.

ça qui me fait du mal,

C’est qu’ils vont m’oublier.

Il a cassé notre ménage,

C’est ça qui me décourage,

C’est pour ça moi j’te dis :

Moi j’ai fait mon idée.

Shirley based the song on a old fiddle tune, but changed the lyrics to tell a story about a friend of his. His friend's wife left him with all the kids in the house. The friend tried to bluff the estranged wife by saying he could not work and take care of the kids. He told her if she didn't want to come back and take care of the kids, that they were going to have to give them up for adoption. The wife bluffed him and signed the kids to be taken away, leaving the husband heartbroken.

The song was Lanor's first release and was a hit leading to more releases on the label. Shirley recorded for the label until 1969. He retired from music to focus on his family and became a insurance salesman. His father, Alphee, passed away in October of 1980.

                       

Session info:

V/st-g, Alphee Bergeron (acdn), M J Achten (g), Wallace LaFleur (d), probably

Shelton Manuel (fdl)

J.D.Miller Studio, Crowley LA: May 1960

L 2000 J’ai fait mon edée Lanor 500

Resources

Ann Savoy- Cajun Music

John Broven- South to Louisiana

Lyrics- cajunlyrics.com

Photo: Wade Falcon

Nick Leigh- Cajun Records 1946-1989

Robert Bertrand- "Drunkard's Two Step"

 

                                                

Elias "Bobby" Leger was the leader of the Lake Charles Playboys and was among the many accordion players born in the Rayne area. Bobby also had a offshore job with Chevron Oil. He was always worried that Chevron would be upset; if they thought he wasn't getting enough rest when he was home and did not want his name on the record. So the records were sold under Robert Bertrand's name.

Robert Bertrand was influenced growing up by his relatives playing music and started playing at a young age. He played with Iry LeJeune and was a member of Nathan Abshire's Pinegrove Boys.  He soon joined Bobby Leger's group, The Lake Charles Playboys.

Bobby never did like singing and because of this he was always in need of Robert to handle vocals and fiddle. Bertrand understood the situation and took full advantage of it many times. Sometimes Robert would hold out for more money and would often walk out because some other band offered more money. There were times Bobby would play for free so he could pay Robert Bertrand.

Here Robert and the Playboys cut "Drunkard's Two Step", which conjured up woozy images of Saturday night revelers absent mindedly tripping over the dance floor. On the recordings is Bobby on accordion, his son Leroy on drums, Robert on vocals and fiddle and the steel guitar of Louis Fournerat. Recorded in 1959, this is pure Cajun honky tonk.

Hier au soir j'ai été au bal

J'ai été mais moi tout seul

Pus personne qui voulait me recevoir

Mais je m'ai saouler 'sus mon bon vieux whisky

Ma belle-mère, alle était si cassée

Mon beau-père il était de bonne humeur

Ils ont passé la journée avec moi

On s'a saouler sur un bon vieux whisky

Mon vieux cheval il est proche crevé

Pus de maïs dans mon magasin

J'ai tout vendu à l'enfer

Pour moi faire mon bon vieux whisky

Mon linge il est tout déchiré

Pus de manière pour moi aller à la mer

J'ai pus rien pour me tracasser

Mais j'vas m'saouler 'sus mon bon vieux moonshine

Bobby and Robert both had long recording careers. Bobby went on to record for Miller on various labels, and Robert for Eddie Shuler's labels. 

One has to wonder about the record. J.D. Miller stopped using the "Fais Do Do" label in 1949 and introduced his "Feature" label. He used the Feature label until 1955. When the rock and roll era hit, Cajun music became obsolete. J.D. abandoned Cajun music for the new market of Southern blues and rock and roll.

In 1957 Floyd Soileau started recording and releasing Cajun on his label. Not having a studio, he used Miller's in Crowley. Perhaps J.D. saw the new interest in Cajun music; because in 1959 he revived the Fais Do Do label to release Robert and the Playboys on 45 rpm. Also in 1959, J.D. would introduce two new labels devoted to Cajun music. 

He would go on to use the Fais Do Do label one more time with a collaboration between Robert Bertrand and a hot new accordion player named Jo El Sonnier.

                                        

AND THE LAKE CHARLES PLAYBOYS (1000)

V/fdl, Bobby Leger (acdn),Louis Fournerat (st-g) .Leroy Leger (d)

J.D.Miller Studio, Crowley LA: 1959

F 401 Lost love waltz Fais-Do-Do 1000

F 402 Drunkard’s two step FDD 1000, BCD17206

Resources

Broven- South To Louisiana

Lyle Ferbrache- Acadian All Star Special

lyrics- cajunlyrics.com

Nathan Abshire- "Lemonade Song"

                                                    
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

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

Floyd LeBlanc- Roseland Two Step

Floyd LeBlanc was born on September 17, 1924 in Mermentau, Louisiana. His father Lessin, played accordion and fiddle while his mother, Merillia, played guitar and sang. In the early 1930's the family moved to Cypress Point, where Floyd and his brother began making homemade instruments because the family coundn't afford real instruments. Floyd was influenced first by Luderin Darbone of the Hackberry Ramblers, who were popular in the area.

While Floyd's playing was similar to Harry Choates, he  added a Cajun sensibility to the post war Cajun swing music of this era. During the peak of Cajun music resurgence, he recorded several of his own French fiddle tunes.

His biggest break came when he joined Bennie Hess and his Oklahoma Tornadoes and recorded sides for the Opera label in the late 40's. The band traveled around playing their mixture of country music. Floyd also contributed to the label by introducing them to Iry LeJeune. In 1949 he recorded for Virgel Bozmen's O.T. label but in 1950, he quit playing for a while opening his own business and focusing on his family. He opened Floyd's Net Shop on Fontenot Road in Lake Charles and worked as a carpenter and fished commercially during this time. 

Floyd's ability to adapt to Cajun and country music styles is evidenced by his numerous recordings during his career. His smooth fiddling style has gone unappreciated it seems, along the years. Many musicians that heard him play recall his style and remember hearing him on the radio and being in awe.

After a departure from recording Cajun and focusing on other genres, Miller was back in the game in the late 50's. Was he jealous of the success of Swallow Records? No one is quite sure the exact reason. Miller's Cajun Classics was his first label focusing on Cajun music after the Feature label in the late early 50's. Miller's Cajun Classics and Kajun label provided artists a label to record for after the Khoury's label folded.


Floyd's talent was known well around Lake Charles and he was always asked to return and play dances. By the mid-fifties he relented and began playing with Sidney Brown. In the mid 1960's he started back playing at clubs and local shows with Bobby Leger, Robert Bertrand and Jo-El Sonnier. He also played with Dorris Matte on KPLC-TV's "Saturday Night Down South". In 1967, Floyd recorded "Roseland Two Step" again at the Modern Sound Studio in Crowley for Miller's Cajun Classics label. He recorded five songs in all for the Cajun Classics label in April of 1967.

In 1964 Floyd and Oday Boudreaux formed the Louisiana Playboys, one of several bands Floyd headed. The group played dances and also had a Saturday morning slot on KIKS radio in Sulpher. In 1973 he resurfaced on the O'Day label out of Sulpher, recording as Floyd LeBlanc and his Magic Fiddle. He returned to play also with the Orange Playboys, Lake Charles Playboys, Louisiana Ramblers, Pineywood Playboys, Traveler Playboys and the Lake Charles Playboys. He also recorded on two lp's in the 1960's with Joe Bonsall. 

At the time of Floyds death, he and the O'Day label were making a album, which was never completed. Crawford Vincent once said that Floyd wanted to make a tribute album to Luderine Darbone, but never did because Luderin told him that he couldn't make a tribute album of his music until he was dead.

Resources
Ron Yule- Cajun Dancehall Heyday
Ron Yule-Louisiana fiddlers

Release Info:

LH 3207 Roseland Two Step ] Cajun Classics 2001

LH 3208 Tolan Waltz ] Cajun Classics 2001

Nathan Abshire and the Pine Grove Boys- Popcorn Blues

By 1958, the recording career of Nathan Abshire and the Pine Grove Boys recording career with Khoury's was coming to a end. The last three of their records on Khoury's would be that of a new band that Nathan would use until the band called it quits. The market for Cajun music was moving from the big nightclubs that were operating seven nights a week to just having weekend dances. Clubs that didn't have space or money for bands could have a good jukebox full of the latest Cajun records.

At this time, Floyd Soileau was recording and releasing Cajun music. J.D. Miller had put a hold on releasing Cajun music on his label in favor of recording country and blues. Floyd not having his own studio at the time, saw the opportunity and used Miller's studio to his advantage to record his artists. It didn't take Miller long to figure out he needed to be back in the Cajun music market.

Knowing Nathan Abshire could still sell records, Miller quickly signed him to a contract. Soon he had Nathan and the Pine Grove Boys in the studio. Miller knew how to make quality recordings at this point and had the best studio to do just that. In fact some of the best recordings of Nathan and the Pine Grove Boys come from this period. This was a change for Nathan in the sense that most of the recordings he did for Khoury's were recorded in radio stations. Miller's studio in Crowley would mark the first time Nathan had been in a real studio.

Nathan's first release for Miller was in 1959 on the Cajun Classics label. The following year, Nathan kick started off Miller's new 45 label, Kajun Records. Kajun 500 was "Popcorn Blues" backed by "Broken Hearted Blues" and as far as one to kick off the label; it's hard to beat. Junior Benoit's guitar kicks off the song followed by Nathan's accordion. While other Cajun musicians had been experimenting with incorporating the new rock and roll sound into their music, this is Nathan's first attempt at it. Also on board with the new band was Robert Bertrand who has a great fiddle solo on "Popcorn Blues", while Ed Juneau handles the vocals with Nathan. The call and response vocals they use on the track are similar to the vocal recordings of "Pine Grove Blues".

J'ai étais au bal hier au soir. (Ici dans la village?)
J'ai étais au bal hier au soir. (Ah, mon vieux cochon!)
On a mangé du tac-tac!
On a mangé du tac-tac. (Vous-autres a pas emporté un tit brin, vieux nègre?)
C'est des pacanes à Nonc Edouard qu'il est si bon en pralines.
Je m'ai saoulé hier au soir. (j'croyais t'avait dit t'avais arreter d'boire, mon vieux nègre!)
Je m'ai saoulé hier au soir. (C'est ça qui amener dans l'finir!)
On a mangé des grillots!
On a mangé des grillots.
Je m'ai saoulé hier au soir.
Je vas me saouler à soir encore. Ah ouais!
J'ai été au bal hier au soir. (Toi tout seul, Nathan?)
J'ai été au bal hier au soir. (Pense t'amené ta gamine avec toi, hein?)
On a mangé des grillots. (Comment t'as fait ça mon nègre? T'as pas d'dents!)
On a mangé des grillots. (Ta vielle t'as oté un tit brin, hein?)
C'est des pacanes à Nonc Edouard qu'etait si bon en pralines.
Je m'ai saoulé hier au soir. (Ah, tu devrait arreter d'boir, mon nègre!)

Je m'ai saoulé hier au soir.

Sadly, Nathan was never happy after signing a contract with Miller. Nathan and his new drummer and vocalist, Thomas Langley, were against any interference from Miller when they recorded. It has been noted by another recording artist for Miller, Kate Webster, that Miller was a strong personality and ruled the studio. Nathan and Langley tried standing up to him to keep the Cajun music pure, but Miller had other ideas that he would have the band try. 

While there was plenty of drama surrounding these Miller recordings, some of the Pine Grove Boys best recordings were done at the studios in Crowley. At this point Miller knew his way around a recording studio, the proper microphone set up and how to set the recording levels. His expertise in the studio would show on these Kajun releases from in 1959 to 1964.

It all came to a head and soon Nathan was at Floyd Soileau's trying to record. Floyd told Nathan thee was nothing he could do and that Miller had a iron clad contract with him. Nathan and his band were frustrated and Nathan didn't record for two years. Nathan ended up having to get his own lawyer and after negotiations, he was finally free to record elsewhere.

Resources
Early Cajun Music blog
Ron Yule-Cajun Dancehall Heyday
Bryan L - lyrics

Release Info:

KR 200 Popcorn Blues ] Kajun 500
KR 201 Broken Hearted Blues ] Kajun 500

Clifton Chenier- Rockin' Accordion

Clifton Chenier was born near Opelousas June 25, 1925. He was born to family of sharecroppers and spent much of his youth working in the cotton fields. He received his first accordion as a gift from his father, who was an established accordionist in the local house dance and weekend circuit. Clifton left Opelousas for Lake Charles, where he worked as a truck driver. During his off hours he played and listened to music, working on his own style.

He first recorded in 1954 for Elko label, recording then the earliest examples of zydeco. In 1955 he signed with Specialty Records giving him national exposure and opportunity to tour more. It's hardly surprising that before too long, J.D. Miller should be recording this new strain of music which had recently emerged on his doorstep.

J.D. Miller started his Zynn label in the late 1950's. It was one of the many 45 rpm labels he put out during the late 50's and 60's. The label had a diverse group of artists featuring Rocket Morgan, Terry Clement and Warren Storm, among many.

By 1956, Chenier had left his day job to devote his full-time attention to music, Touring with his band, the Zydeco Ramblers, which included blues guitarist Philip Walker. The following year, Chenier left Specialty and signed with the Chess label in Chicago. Although he toured, along with Etta James, throughout the United States, Chenier's career suffered when the popularity of ethnic and regional music styles began to decline. Although he recorded 13 songs for the Crowley, LA-based Zynn label, between 1958 and 1960, none charted.

Clifton first recorded for Miller's Zynn label in May of 1959. The tracks were recorded at Miller's home in Crowley. The session took place on the patio and was unsuccessful due to Miller's shortage of mikes. He ended up cutting most of the tracks without vocal, intending to over dub Clifton's voice at a later date. Eventually only two records were issued from that session.

The following year Clifton and his band was back in Crowley and there they cut two more titles; Night and Day My Love and Rockin' Accordion, a instrumental. After this session Clifton moved on and was soon recording for Arhoolie, where he gained national attention. 

Resources
Bruce Bastin- Zydeco Blues liner notes.

Terry Clement and the Tune Tones- French Blues

Terry Clement was born May 5, 1934. Growing up, Terry and his brothers (Purvis and Grant) all played musical instruments. Terry grew up idolizing Nathan Abshire and soon took to playing the accordion. Purvis learned the fiddle, while Grant became a great guitar player by the age of 12. They were some of the youngest playing French music and had to work hard finding work playing as the older players held them in contempt.

Their first record was "Diggy Liggy Lo". The song gave the band the boost it needed for better bookings and higher pay. In the late 50's and early 60's, it was tough for Terry and his band. Rock and Roll and Swamp Pop put Cajun French bands out of work. To survive, Terry and his brothers started playing rockabilly for Miller.

By the 1960's J.D. Miller had more than five 45rpm labels. It is rumored that he even had over 100 labels. Jukebox owners wouldn't put on alot of one label on their jukeboxes. Miller, always the entrepreneur; found ways to get the records out there. Terry and his brothers rock and roll sides are lively and upbeat and carried the same energy with them they had on the Cajun French sides. During the early 1960's Terry and his brothers recorded on multiple 45 labels for Miller.


By 1961, Terry Clement's musical hero was also recording for J.D. Miller. Nathan Abshire was recording for Miller's Kajun label at this time. Terry had sides out on Rocko, Zynn and Cajun Classics during this era. Although many details aren't known, we do know in 1961, Terry got to record with Nathan on the Zynn label. They did a upbeat number of Nathan's "French Blues" with Nathan on accordion. Nathan originally recorded "French Blues" with the Rayne Bo Ramblers in 1935 on the Bluebird label.


On the record its Terry Clement and the Tune Tones, featuring Terry, Purvis Clement on fiddle, Nathan Abshire on accordion, Grant Clement on guitar, Linus Simar on steel guitar and Ronnie Goudreaux on drums. Nathan's accordion playing on the song is strong as during this era he was in his prime. The experience must have had a profound effect on Terry and his brothers recording with their musical idol. After Nathan's passing they recorded a tribute album on Miller's revived Kajun label to Nathan. It was recorded in 1984 and is highly recommended.

Resources
Liner notes- Crowley Two Step by Bruce Bastin
Lyle Ferbrache- Acadian All Star Special
Wade Falcon- Early Cajun Music blog

Aldus Roger -"Oson Two Step"

Kate Webster remembered Miller's producing:
"When you go into J.D. Miller's studio you have to cut perfect records. He hears the least mistake, he seems to have microphones in his ears. Yes, he was a good producer."

J.D. Miller started his Cajun Classics label in 1959 starting with a release by Nathan Abshire. The Cajun Classics label offered many Cajun sounds, from the throwback sounds of Moise Robin to the cajun country of Jimmie Choates. Jay Miller was willing to record almost any kind of material as long as it had commercial potential. The more mainstream Cajun performances were popular. Terry Clement's "Les Filles Mexie" and Floyd Leblanc's "Roseland Two Step" were some of the best. Among some of the great recording artists on the Cajun Classics label was Aldus Roger.

Aldus Roger and the Lafayette Playboys set the standard for modern tradional Cajun  bands. He formed the band in the 1940's and always featured the best musicians. Aldus's playing was unlike other accordionists, his playing was loud and full force. He and his band had a devoted following among dancers and musicians.

Aldus was not new to the J.D. Miller studio. He had first recorded for Miller on his Feature label in 1954 and stopped in 1955. When Miller started recording country and blues, Aldus got lost in the shuffle. In 1958 he recorded again for Floyd Soileau's Vee Pee label and again in 1959 for Goldband. In 1960 returned to recording for Miller and his Cajun Classics label. His first release was "Oson Two Step" backed by "Family Waltz". Aldus was always known for having a tight band and this recording is no exception. Doc Guidry plays fiddle on the track with Phillip Alleman on steel guitar, Johnny Credeur on guitar, T-Man Abshire on bass and Fernest Abshire on drums.

The song is similar to Lawrence Walker's "Osson Two Step" which was recorded in 1956 and Pee Wee Broussard's "Creole Stomp" recorded in 1953. As for Aldus, he led his group for over twenty years. He brought Cajun music to a wider audience on his weekly television program on Channel 10 in Lafayette. They had a full hour on Saturdays to play. They weren't paid for the program, instead they used the show to advertise where they were playing that night. He would continue to play and record into the 1980's.


Resources
Early Cajun Music blog
John Broven- South To Louisiana

Nathan Abshire- Hoola Hoop Two Step

The end of the 1950's left Cajun musicians in a comprising situation. The years before found south Louisiana independent labels like Khoury's, Feature and Goldband finding success with their Cajun recordings. But by the end of the decade these labels were finding success in other genres.

J.D. Miller was one of those. By the mid fifties he was recording not only Cajun French but was recording more blues and swamp pop sessions. He was recording blues for Excello, rock and roll and R&B for his Rocko and Zynn labels.

Miller's interest in recording Cajun music again might have been sparked by the success that Floyd Soileau was having with Swallow records. At any rate, Miller started recording Cajun music again in 1959. And with the entrance back he grabbed one of the biggest recording artists for his new label. 

Nathan Abshire had recorded for Khoury's from the late 40's to the 50's. His last recordings for Khoury were in 1959, with "Cannonball Special" and "Red Rock Waltz". George Khoury was finding success with blues, R&B and swamp pop as well. His Cajun recording had slowed down to a trickle with some of his last Cajun recordings done by Pee Wee Broussard in 1959. But as far as Nathan, he was far from done.

After a uneventful decade since the success of "Pine Grove Blues" in 1949, Nathan saw his fortunes improve when he recorded for Miller during the early sixties. He had a modern Cajun band lineup augmenting his stunning accordion work. He went on to have a fine series of releases for the Crowley record man, whose production skills were as good as ever. On these recordings he brought the blues and honky tonk and released some of his more rock and roll output.

Miller started Cajun Classics with Nathan releasing the first sides on the label. He brought along a familiar friend in Dewey Balfa to these recordings. On Cajun Classics 101 he recorded "Hoola Hoop Two Step." Nathan was a big fan of The Segura Brothers. On Khoury's, he had reworked their song "A Mosquito Ate My Sweetheart" into "La Valse De Holly Beach". He did the same with his first recording on Cajun Classics. He reworked the Segura's "Rosalia" into "Hoola Hoop Two Step". The Segura's "Rosalia" itself was derived from Amede Ardoin's "Les Blues De Voyage". Nathan always seemed to have a way into reworking old classics and making them relevant.


Miller recorded some of Nathan's best material in the 1960's. He proved that he was still a driving force in Cajun Music. In his Miller recordings he brought back "Pine Grove Blues" with a new updated version. He reworked some old classics and introduced some new songs as well. But by 1965 he had left Miller and signed with Floyd Soileau's Swallow records. His Miller recordings seems to be overlooked for some reason, as his Swallow recordings are more well known. But the Miller years for Nathan are a definite high point in his career.
                             

Resources
Early Cajun Music Blog
John Broven-South To Louisiana
Thanks to Wade Falcon

Terry Clement and The Tune Tones- Teenage Rock

Terry Clement was born May 5th 1934 in Evangeline, Louisiana. His interest in music came from his family who were all musicians. He grew up loving Nathan Abshire and The Pinegrove boys.

He and his brother started their first band in 1949 as The Clement Brothers. Their first show was at the Silver Dollar Club in Crowley. They called themselves the Rhythmic Five and patterned their music after Nathan Abshire.

Terry first recorded for J.D. Miller's Feature label. Their first big song on the label was "Diggy Liggy Lo" in 1954. Terry's brother Purvis could not speak French all that well so he used "diggy,diggy,do" during some of song passeges and the hit was derivived from that.

In 1960 Terry recorded for Miller's rock and roll label; Rocko. The label started life as Rocket  in 1958 and was aimed at the rock and roll market. After recording rock and roll and swamp pop for Rocko, Miller began using the label for a harder form of R&B. Terry recorded for various Miller labels such as Cajun Classics, Zynn and Kajun. 

Terry was one of the most versatile performers recording artists to come out of south Louisiana. He recorded not only Cajun french sides but also recorded some great rock and roll sides.

It was a difficult time for Cajun music as Terry remembers-
                              
"Rock and Roll and swamp pop almost killed the cajun music clubs. Nobody wanted French bands. To survive we started playing rockabilly and swamp pop."





Terry Clement and the Tune Tones released "Sugar Bee" backed by "Teenage Rock" in 1960 on Rocko 517. The A side is a take on the Goldband hit of the same name. The B side is a rock and roll instrumental similar to the cuts Goldband was releasing. With its driving beat and accordion melody it is a fusion of Cajun and rock and roll that a lot of artists were blending at the time. On the label for the 45 it lists the author of the song as J. West. But this was one of a couple of pseudonyms that belonged to one Joseph D. Miller.

After his 1960's recordings for Miller, Terry's next release for Miller wasn't until the 1980's for the Kajun label. In 1984 Terry released a tribute album to Nathan Abshire on Miller's Kajun label. In addition to his recordings for Miller, he also did recordings for Khoury and Goldband.  He was inducted into the Louisiana Hall of Fame in 1993.

                                   
                                      Terry Clement and The Tune Tones
                                                  Rocko 517
                                               "Teenage Rock"
                                         Recorded 1961 in Crowley,La.



Resources
Acadian All Star Special
Early Cajun Music blog
John Broven- South to Louisiana