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

Phil Menard and His Cajun Five-Dugas Day Special

                                           
Growing up Phil Menard first heard Cajun music at house dances near the Pine Island community. He recalls seeing Joe and Cleoma Falcon play at Philmeon Foriester's dance hall in Pine Island. He remembers house dances in the community where he heard some of Cajun music pioneers play such as Dennis McGee, J.B. Fuselier and Leo Soileau.


After spending years listening to Cajun music, he heard Aldus Roger play when he was 12 and it sparked his interest in playing accordion. By 1939 Phil began attending a club in Pine Island and he saw bands such as Papa Cairo there. The music in the club was mainly string band but occasionally J.B. Fuselier would play a tune on accordion.

He began courting his wife a couple years later. Her father was Bull Leger and Phil would come visit and watch him play. Phil's wife says she wasn't too sure if Phil came around to see her or to see her father play. Phil began to learn the accordion, married, and moved to Orange, Texas. 

Later he moved to Lake Charles where he opened a service station. His father in law opened a restaurant next to the service station and many accordion greats like Nathan Abshire and Lawrence Walker and play there.

In 1953 he met Cursey Fontenot who had a band called the Louisiana Travelers. Cursey asked Phil to join the band and he played with them for five years. He quit playing for a couple of years, but continued to play local jam sessions. In 1964, he rejoined Cursey's band and got back into the music business. Cursey eventually moved and Phil retained the Louisiana Travelers name for his band.

The band were beginning to get bookings and even played on KPLC for a while. By 1967 Phil approached Eddie Shuler and they set a recording date. The first two records were recorded as Phil Menard and the Cajun Five due to Cursey Fontenot occasionally booking as the Louisiana Travelers and Eddie Shuler did not want a conflict. The second record they recorded for Shuler's Folk-Star label was "Dougas Day Special".

"Dougas Day Special" was written for Jerry Dugas, a KJEF disc jockey, and commemorated a day of celebrations for his contributions to the promotion of Cajun music. This session included Robert Bertrand, who at this time was a in demand session musician. Robert played with the Travelers until commitments with his group increased.

After Cursey joined the Pineywood Playboys, Phil began using the Louisiana Travelers band name on all his recordings and bookings. The band played with steady bookings around the area, including playing at VFW Post 2130 where they played for the next eleven years.
                                      
Resources
Ron Yule-Cajun Dancehall Heyday

Release info
AND HIS CAJUN FIVE
Acdn, Robert Bertrand (v/ fdl), Wallace Derouen (g), Nelson Bergeron (st-g),
Garland Domingue (d)
Goldband Studio, Lake Charles LA: 1967

-1 Dougas day special (instrumental) Folk-Star 1209
-2 My mama and papa Folk-Star 1209

Robert Bertrand- Tee Maurice

Robert Bertrand was originally from Hathaway, Louisiana; but in 1952, his family moved to Lake Charles. His father, Jake, was a Cajun fiddler and had played with the Elton Playboys. Robert followed in his father's footsteps and learned the fiddle as well. He was a fast learner and soon he and his father were playing at dance halls near Eunice by late 1950.

While living in Lake Charles, Jake and Robert joined accordionist Bobby Leger and played together. They formed the Lake Charles Playboys around 1955. Robert being the better vocalist, provided vocals for the group. Together the group recorded several records at J.D. Miller's studio in Cowley.

Robert played as a sideman playing with numerous local bands in the area. He played drums with Iry LeJeune in the mid 1950's and also played with Sidney Brown.  He played drums, fiddle, and guitar with Joe Bonsall and Phil Menard as well.

In 1965, Robert formed the Louisiana Ramblers. They recorded a couple sides for Miller's label then started recording for Eddie Shuler's Goldband Records. The bulk of Robert's recording output was with Goldband between 1966 and 1970. Jo-El Sonnier played accordion with the group for a while the first year, recording a couple sides for the label.

Around 1967, accordionist John Oliver started plating with the group. John Oliver was born June 18, 1915 in Mowata, Louisiana. In the early 1950's he recorded for the New Orleans based label Meladee Records and recorded one record with them. He moved to Lake Charles in 1962 and by 1967 he was recording with Robert and the Ramblers.

In 1968 the Louisiana Ramblers recorded "Tee Maurice" for Goldband in their Lake Charles studio. It would mark the first recording of Oliver on accordion with the group. The group borrowed the tune as a cover of Oran "Doc" Guidry's recording of "Le Nuevo Tit Maurice". Originally it was recorded by Happy Fats and Doc for RCA during a 1946 session. It was also recorded in 1952 by Terry Clement and his brothers.

John would continue playing with the Ramblers until around 1970. Afterwards the group would use Geno Thibodeaux and Ervin LeJeune to play accordion on recordings sessions. By 1970, Robert had became a standard musician at Goldband Records and Eddie Shuler would use him on other artist's records.

Chris Strachwitz, of Arhoolie records, regretted the day when he told Shuler that the Goldband recordings lacked "bottom" due to the primitive studio conditions.  Thereupon, Eddie proceeded to reissue many of his pristine 1950s recordings, sacrilegiously, with plodding bass guitar and fiddle overdubs. The bass track overdubs were allegedly done by Jo-El Sonnier and Robert Bertrand overdubbed fiddle and guitar on some recordings.

Ervin recalls Robert borrowing Iry's fiddle to record at Goldband studio and notes that most fiddle recordings by Robert in the late 1970's were recorded with Iry LeJeune's fiddle; Robert like the sound the instrument made.

Resources
Early Cajun Music Blog- Wade Falcon
Ron Yule-Cajun Dancehall Heyday
Nick Leigh-Cajun Records 1946-1989
Mitch S. for Bertrand pictures

Release info
Robert Bertrand with John Oliver 
V/fdl, John Oliver (acdn), Ed Gary, T-June Benoit, Wallace Derouen (g), Garland
Domingue (d)
Goldband Studio, Lake Charles LA: 1968-1969
-1 (9060) Tee’ mamou blues Goldband 1199
-2 (9061) Tee’ Maurice Goldband 1199

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

Robert Bertrand and Jo El Sonnier- "Memphis"

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

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

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



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










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

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

Resources

John Broven- South To Louisiana

Lyle Ferbrache-Acadian All Star Special