Lawrence Walker- "Evangeline Waltz"

                                        

 

George Khoury was a business man from Lake Charles who owned a record shop. He got into releasing records by financing Virgil Bozeman's OT Records. Soon he started his own record label, calling it Khoury's. Operating out of his record shop, he soon was attracting Cajun musicians from East Texas and south Louisiana.

With his new business, he started off with the recordings of Lawrence Walker. Lawrence's popularity was well known around south Louisiana at this time as he was filling up the local dancehalls. Khoury signed Lawrence before Nathan Abshire as he knew Lawrence's intense accordion would rival Nathans's.

So in 1950, Lawrence emerged from retirement and stated recording for George Khoury. That first session produced two records. They sold well enough and the following year; Khoury had him back in the studio. Lawrence did something different than what his competitor Nathan was doing; he added a hypnotic drum beat to his songs. This session produced what would be his biggest seller; "Evangeline Waltz".

J'sus assis dans la port de ma maison, après pleurer,

J'sus après pleurer pour tu t'en reviens à rejoindre ton nègre,

Oui, chère 'tit monde, quand t'as quitter d'la maison,

Tu m'as dit tu pouvais, mais, p'us m'aimer,

Oh, yé yaille, mon cœur me fais mal.  

J'ai p'us personne à la maison, mais, pour m'aimer.

Oui, chère 'tit monde, si tu voudrais t'en revenir,

J'te pardonnerais pour tout ça que tu m'as fait,

C'est d'voir, aujourd'hui, j'ai p'us personne pour m'aimer

J'sus moi, tout seul, après mourir dedans l'chagrin.

Oh, bébé, mon chère 'tit bébé,

J'ai p'us personne à la maison, mais, pour m'aimer.

J'sus assis dans la porte de ma maison, après jongler,

J'sus après jongler si jamais tu va revenir,

Oui, chère 'tit monde, quand t'as quitter d'la maison,

Tu m'as dit tu pouvais, mais, p'us m'aimer.

Lawrence and his band play top notch here, doing a bluesy waltz. His band at the time consisted of U.J. Meaux on fiddle, Demus Comeaux on guitar, Junior Benoit on steel and Lawrence Trehan on drums.

While most pressings started off with a run of 500 copies, its safe to say "Evangeline Waltz" had multiple pressings.  Even when Khoury started focusing on rock and roll and country sides later on, he would reissue his big sellers on the new 45 rpm medium. The only two Cajun artists he reissued on 45 rpm was Nathan Abshire and of course; Lawrence Walker.

Lawrence's sound became the prototype of what Khoury's records were to sound like.  His success on Khoury's  prompted George Khoury to sign Nathan in 1951 and even had him to stick with the formula that Lawrence had created. He would go on to record for the label until 1955. Even then Lawrence would try to keep up with the times, even recording up tempo English songs.

Years later when Chris Strachwitz was compiling a Khoury's recording compilation, George Khoury was insistent on having Lawrence's "Evangeline Waltz" on it saying:

"Make this at once- will pay you for your trouble. Don't let no one have Evangeline Waltz!"

                                        

Session info

V/acdn, Ulysse Joseph (U J) Meaux (fdl), Demus Comeaux (g).Valmont ‘Junior’ 

Benoit (st-g), Lawrence Trahan (d)

Lake Charles LA; (possibly Goldband Studio) 1951

A Evangeline waltz Lyric/Khoury’s 615

Resources

Wade Falcon- Early Cajun Music Blog

Liner notes to Cajun Honky Tonk Vol 1 & 2

Lawrence Walker- "Bon Ton Rouley"

                                        

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,

Lawrence Walker- "Chere Alice"

Lawrence Walker and his brother first recorded for Brunswick in 1929. After the depression, they recorded again for Bluebird in 1935. It would be 15 years before he recorded again, this time for the Khoury's label. After a string of recordings on the label, he recorded for the Swallow label and by the 1960's he moved to La Louisianne Records in Lafayette.

Carol Rachou founded La Louisianne Records in 1959. His first release was by Alex Broussard but in the following years, such greats as Lawrence, Aldus Roger and Happy Fats were recording for his label. Lawrence would finish out his recording career with the label, cutting 12 songs in total on 45 rpm.

  

Around Acadia Parish the story of Alice, Adam and his horse Henri was well known. Angelas Lejeune had previously used the story for his song "La Valse A Tidom Hanks". The story involves Adam "Tee Dom" Hanks and Alice Royer. The two were lovers but Alice's father didn't approve of the two being together. Adam loved to ride his horse, Henri, while drinking whiskey from a jug and this was enough to make Alice's father not like him. The two seperated and eventually married others. But Adam's love for Alice never died. He composed a song about his love for Alice called "La Valse a Tee Dom" and would sing the song on his accordion with tears streaming down his face at house dances.

As for Lawrence, Adam told him the lyrics to the song at a dance one night near Bosco. He used the melody from his "Country Waltz" on Khoury to transform into his song "Chere Alice" recorded in 1962 on La Louisianne Records featuring the great fiddling of Doc Guidry. It would be one of the last singles he ever released.

Lawrence and his Wandering Aces kept kept the Cajun dance hall fire going in the late 1950's and 1960's. But soon Rock music influence would soon dominate the scene. Lawrence's steel guitar player was Johnny Allan and would use Lawrence's band to play as the Krazy Kats. Lawrence soon got aggravated at the situation and abandoned playing. He passed away in 1968 at age 60.



Resources
Early Cajun Music Blog
Johnnie Allan: Memories

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

Lawrence Walker and His Wandering Aces- Reno Walz (La Valse De Reno)

                               

Lawrence Walker was born September 1, 1907 in Duson, La. At age 13 he began playing in a band with his father and brother. He and his brother first recorded with Brunswick in 1929 and then again in 1935 with Bluebird Records.

He returned to farming after the Bluebird recordings and later on, back to recording and playing after World War II. Lawrence and his Wandering Aces played the clubs and had a string of recordings from 1950-1962. By the 1950's Lawrence was known for developing a new style in Cajun music. He was known to be a perfectionist; he demanded higher standards of his band.

He first recorded "Reno Waltz" for George Khoury's label. Reno was named after the Reno Dance Hall located between the towns of Kaplan and Gueydan. It is based on a older tune, "La Valse de Grand Chenier". Lawrence had gotten into a argument with Reno's owner, "Dado" Seaux. In order to make amends and to keep performing there, he named the song after the Club. Lawrence's popularity in his live performances earned him the title "King of The Dancehalls". He was a big leader in the accordion revival in Cajun music. Johnnie Allan remembers:

            " Lawrence was a big factor in French music. His songs were all the sad, melodic type songs, he was a very good  accordion player, very well known in the area. I played steel guitar for him for 6 years and he crowds were tremendous almost everywhere we played."

From 1950 thru 1955 Lawrence and his Wondering Aces recorded for Khoury's. By the late 1950's, Khoury lost interest in recording Cajun music, Lawrence aproached Floyd Soileau to release his recordings. Two records were released on Swallow in 1956 and Lawrence didn't have a record come out until 1961. 

Carol Rachou built a studio in Lafayette out of his parent's old grocery store and started his label, La Louisianne. From 1961 thru 1962, Lawrence released seven titles on La Louisianne Records. Along with one of the first Cajun rock and roll numbers sung in English; "Allons Rock and Roll", he also recut his Khoury classic, "Reno Waltz". On this version, Lawrence used different lyrics than he used on the original and replaced the steel guitar with fiddling by "Doc" Guidry.

Oui, la place que moi, je voudrais mourir                      

c’est dans les bras de mon petit bébé.                          

Demander pardon pour ça j’ai fait,                             

là je serais d’accord de m’en aller dans Grand Gueydan.         

Quand je vas mourir, j’aimerais que tu viennes.                 

Fermer mes yeux, petit bébé, pour moi je m’en vas.              

Pour moi, je m’en vas dans la terre pour toujours.              

Comme tu connais, ça fait du mal juste à y jongler.

             

T’es si petite, si mignonne, si canaille, petit bébé,         

Mais je t’aime quand même.                                      

Moi je vois p’us dans le monde quoi moi je vas faire.           

J’ai p’us personne dedans le pays qui veut m’aimer.            

Yes, the place where I’d like to die

is in the arms of my little baby.

To ask forgiveness for what I’ve done,

then, I’d agree to go away to Big Gueydan.

When I die, I’d like for you to come.

Close my eyes, little baby, so that I can go away,

so that I can be buried in the ground forever.

As you know, it hurts just to think about it.

You’re so little, so cute, so mischievous, little baby,

but I love you anyway.

I don’t see anything left for me to do on this Earth.

I don’t have anyone left in this land who wants to love me.

After these recordings, Swamp Pop and Rock and Roll took over music like Lawrence's. Johnny Allan had joined the Wandering Aces a few years prior. After a couple years playing, he left the group due to his career taking off. Johnny convinced members of the Wandering Aces to join his band called the Krazy Kats. With this band set up they played a couple shows until Lawrence found out about the other group. By this time he had enough.

He stopped recording after these recordings and in 1968, he passed due to a heart attack. His legacy remains overlooked. His playing was bluesy and full of Cajun soul. His songs have been a influence on the next generation of Cajun musicians, but Lawrence has been mainly overshadowed by Nathan and Iry, sadly.

                                                     
                                        Lawrence Walker and His Wandering Aces
                                        Reno Walz (La Valse De Reno)
                                               LL 8030
                                         Recorded 1961-1962
                                           La Louisianne Studio, Lafayette, La,





                                                          Resources
                                                            Early Cajun Music Blog
                                                          John Broven-South To Louisiana
                                                          translation- Erin S.