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

Nathan Abshire and the Pinegrove Boys- "Pinegrove Blues"

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Diving right in with one of the popular recordings of the 45 era. Nathan Abshire and the Pine Grove Boys's recording of "Pine Grove Blues" for J.D. Millers Kajun label.

Nathan had recorded the song a couple times before. Nathan's 1935 recording "One Step de Lacassine" with the Rayne Bo Ramblers for  Bluebird is similar in melody. In 1949 he recorded it for the O.T. label, then again in 1960 for Khoury's. In 1951, he tried to recreate his success with the recording "Pine Grove Blues #2" on Khoury's label (#611) to no success.

In 1959, Nathan Left Khoury's and signed with J.D. Miller's Cajun Classics in Crowley. J.D. Miller saw the demand for cajun releases.
In 1946 he opened his recording studio in Crowley. He started the Fais Do Do label then Feature. In 1959 he started a new label called Cajun Classics focusing on cajun releases. A year later he started Kajun.

He recorded 2 sides for Miller's Cajun Classics label. In 1960 he released a string of new sides on Miller's Kajun label. These recordings from 1960 to 1964 represent some of the best of Nathan's middle period work.

This version of the Pine Grove Boys included Ed Juneau, Junior Benoit, Robert Bertrand, Darius LeBlanc and Thomas Langley.
They recorded some new songs but ended the session with a new upbeat version of "Pine Grove Blues".  Out of all the versions he recorded of the song, it seems this is the one people remember more. 

By the 1960's rock and roll had moved in and its influence can be felt on a number of the late 50's and 1960's cajun recordings. But on this recording, Nathan had a modern Cajun band lineup to go along with his stunning accordion work. Miller's productions during this era seems have a unique sound to them as evidenced in his cajun and blues recordings from this era. 

The song appears in 1967 for Swallow, in 1970 for a field recording in New York, in 1972 and in 1978 for La Louisiane.  


In 1978 the Flyrite label released a collection of Nathan's Kajun recordings. Nathan Abshire and the Pinegrove Boys- The Legendary Jay Miller Sessions Volume 13 can still be found online and is must for cajun music listerners.

Resources

Early Cajun Music Blog

John Broven- South To Louisiana