Sidney Brown- "Sha Ba Ba"

                                         

Eddie Shuler founded Goldband Records in 1945 originally to record his own group. But by 1948, he began releasing Cajun music on his Folk Star label, intending it to be a "folk" type of label. Eddie had found that jukebox operators would only buy so many copies of one label; so having two labels would spread out the profit.

One of the first releases on Folk Star were recordings of Iry LeJeune. Based on the success of Iry's recordings, Eddie started recording more Cajun artists. After Iry's death, Eddie needed another artist to record Cajun music in his place. One of those artists in the mid fifties was Sidney Brown.

By 1948, Sidney Brown had moved to Lake Charles and formed the Traveler Playboys. He was working in town at a woodworking job, eventually using the skill to repair and make accordions. Sidney and his band also had a thirty minute program on KPLC radio at this time.

Sidney's first recording Folk Star was "Sha-ba-ba (Dear Baby)". The record is one of many with misspelled tittles, the correct spelling is "chere bebe".

Ouais, catin, 'garde donc mais ça t'as fait,

Ouais, 't'après me quitter, mais ouais pour t'en aller.

Ouais, t'en aller rejoindre un autre que moi.

Ouais, vilaine manière, tu connais tu vas du regret.

Ouais jolie catin, rappelle toi les promesses, chère,

Et tu m'as fait, mais ouais y a pas longtemps.

Ouais, (z)aujourd'hui, c'est te voir après me quitter,

Ouais, chère bébé, moi je connais t'auras du regret.

On this song, Sidney sings about a lover leaving, knowing she will regret it as she walks away. This first record's success led to Eddie moving Sidney from his Folk Star label to Goldband. Sidney and his band would record many sides on Goldband from the mid fifties to 1960.

Originally issued on 78 rpm, this release is thought to be a later issue on 45 rpm. On both versions it is noticeable that Eddie assumed songwriting credits for the song. Also noticeable is the record was pressed by Starday's publishing company, Starrite.

Concerning the publishing, Eddie recalls:

"And, at that point in time, I’d met Don Pierce in Nashville, him and Daily had formed Starday and moved it to Nashville. Don Pierce had come off the West Coast. Don was helping me out, supplying me with a little extra finances, so with him I formed this publishing company."

Sadly by 1960, Sidney's hand was bothering him, leaving him unable to play as he once did. He focused on repairing and building accordions during this time. But his first recording on Folk Star would be one of his biggest selling records.

                                                                               

Resources:

http://wired-for-sound.blogspot.com/2011_11_24_archive.html

Early Cajun Music Blog

Ron Yule-Cajun Dancehall Heyday

http://www.bopping.org/starday-custom-series-1953-1960-an-introduction-how-did-a-flourishing-small-label-to-operate-on-custom-releases/

Session info:

SIDNEY BROWN

AND FRENCH ACCORDIAN 

Acdn, Nelson Young (v/fdl), Wallace Ogea, Eddie Chapman (g)

Goldband Studio, Lake Charles LA; 1955

-A Sha-ba-ba (Dear baby)-1 Folk-Star GF1132

Boozoo Chavis- "Hamburgers and Popcorn"

                                                 

 "Boozoo" Chavis was born Wilson Chavis on October 23, 1930 in the Doghill section of Lake Charles. He was playing accordion and harmonica at the age of nine years old. He was influenced by several local Creole accordion players and soon he was playing at various social functions by his teenage years.

He acquired the nickname "Boozoo" in his childhood, although the origin of the nickname is unknown. When asked by a reporter about his nickname, Chavis replied "Man, I hate that question". His mother opened a dance club in 1944, where ‘Boozoo’ could sit in with Maurice Chenier and his sons Clifton and Cleveland, picking up techniques from the early zydeco masters.

After Iry LeJeune's death, Sidney Brown was Eddie Shuler's star accordionist. Sidney heard Boozoo playing and recommended him to Eddie. At this time Boozoo played by himself, keeping time by stomping his foot on a Coke box.

Eddie recalls:

"Sidney heard this boy out in the country that had a pretty good song. He brought Boozoo by and we recorded "Paper in My Shoe". 

Eddie first wanted Sidney Brown and his band to back Boozoo on his recordings, but Sidney told him he couldn't play that kind of music. Sidney told Eddie that it wasn't Cajun music, that they called it Zydeco. Eddie hired a local band to back Boozoo on the session.

The first recordings in 1954 did so well that soon, Imperial Records leased the master for national distribution. It wasn't long after that Imperial wanted more songs to release. But Boozoo wouldn't make any more records because he hadn't got paid from the previous sessions. The record sold well all over the country, but when Boozoo saw the paltry royalty check it brought him, he thought it was so disgraceful.

Eddie finally got Boozoo 700 dollars for the recordings and he cut two more songs to be released. Sadly, Imperial wasn't interested in the new material and momentum was lost. As for Boozoo, he went back to the horses and would come by the studio to record something every once in a while.

It wouldn't be until 1960 that Boozoo would record again. He released "Hamburgers and Popcorn" on Eddie's Goldband label. The song started out as a instrumental and Little Brother Griffen's vocal was added later.

 Boozoo spent the next thirty years training racehorses, before he signed a contract with the Maison de Soul label in 1984. With a sandpaper voice and a hypnotic single-note riffs, Boozoo took zydeco back to an earlier style compared to the current output of the time. Boozoo recruited his sons Charles on ‘frottoir’ and Rellis on drums into his backing band The Majic Sounds.

                                  

 

Session info 

Goldband 1161

Hamburgers and Popcorn

Vocals- Little Brother

Resources

https://www.allaboutbluesmusic.com/boozoo-chavis/

Liner ntoes to The Lake Charles Atom Bomb

https://en.wikipedia.org/wiki/Boozoo_Chavis

Early Cajun Music Blog

Sidney Brown-Pestauche Ah Tante Nana

Born in Church Point in 1906, Sidney Brown was raised in Point Noir until the family moved to the Richie Community. His uncle had a accordion and Sidney learned to play on it. He steal the accordion and sit in the cotton rows and play. He was self taught on the instrument and by the age of 13, he was playing house dances in the area.

As a young man he worked as a roughneck in the oilfields, eventually moving from the Ville Platte to Lake Charles. He found a job a job in woodworking where he could use his skills. At this point Sidney had already begun developing his skills toward making and repairing accordions while he held down his job at the Lake Charles Sash and Door Company.

After World War II Sidney formed the Traveler Playboys. By 1948, Sidney Brown and the Traveler Playboys were playing on KPLC on a weekly thirty minute program. In addition to shows with his band; from 1952 to 1959, Sidney performed with the Musical 4+1 and the Hillbilly Ramblers.

Around 1955, Sidney and the Travelers began recording for Eddie Shuler's Goldband label. At this point, Eddie had been inspired by the response to Iry LeJeune's records selling so well to record more Cajun music. After the first record, the band's record sales increased and so did offers of personal appearances.

In 1958, Sidney and his band recorded "Pestauche Ah Tante Nana", also known as the Peanut Song. The song went on to become the third best selling record in the history of Cajun music. Originally titled "La Pistache a Trois Nana" or even "La Pistache a Quatre Nanan", it seems to stem from a older tune. It seems the change of wording was no accident; it was a example of Sidney's sense of humor.

S’en aller chez Nonc’ 'Tave,
Ça plante la belle récolte,
Du coton et du maïs,
Et la pistache à Tante Nana.

C’est ça qu’est si bon,
Grillé à dans l’bas du "stove",
Le temps mouillasseux,
La pistache à Tante Nana.

Ils est belle et si mignonne,
Tu dis on l'aime autant, 
Ses ça j'ai t'en aller, 
Et la pistache à Tante Nana.

S’en aller chez Nonc’ Charles,
Ça plante la belle récolte
Du coton et du maïs,
Et la pistache à Tante Nana.

While the song itself is subject to different interpretation; it didn't affect the song's popularity. The song was released in 1958 and Sidney and his band would go on to record many more sides for Goldband until 1960. Besides the many clubs they played, they also appeared on KPLC radio.

Another interesting bit about the record is that Shuler released two versions of the song. There are two released versions of Goldband 1061. The first featured "Noir Chaussettes Two Step" with "Pestauche Ah Tante Nana" was released in 1958. 

Shuler released the same numbered record again in the late 1960's! The later version featured "Chico Two Step" and a overdubbed version of "Pestauche Ah Tante Nana". The overdubbed version featured  Hugh Johnson on fiddle, Mervin Faul on steel guitar, Darrell Higginbotham on guitar and Albert Miller on drums.

Around 1960, Sidney lost his eye sight in one eye due to diabetes and in 1963 he was forced to abandon performing due to a heart condition. He spent the remainder of his years building and repairing accordions, producing many which are still in use today.





Resources
Early Cajun Music Blog
Ron Yule-Cajun Dancehall Heyday

Release info

HIS FRENCH ACCORDION & TRAVELLER PLAYBOYS (1061)
Acdn, Vinus Lejeune (v/fdl),Wallace Ogea (g),Tilford McClelland (st-g), Bill Matte
(d)
Goldband Studio, Lake Charles LA; 1958
-A or -1 Noir chaussette’s two step
-B or -2 Pestauche ah Tante Nana-2 Goldband 1061,

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

Sidney Brown- "La Misere De Mon Beau-Pere"

Sidney Brown was born October 28, 1906 in Church Point. Growing up, he  was self taught on the accordion. He would borrow a accordion and sit in the field and play. By the time he was 13, he was already playing house dances and fais do-dos. 

After years of working in the oilfield as a roughneck, he moved to Lake Charles from Ville Platte in 1940. There he found work as a woodworker and carpenter. It was here that Sidney began developing his skills towards making and repairing accordions. He would eventually be recognized as the first person to build Cajun accordions after WWII in Louisiana.

After World War II he formed the Traveler Playboys. In 1948 they played on KPLC on a weekly 30 minute broadcast. From 1952 to 1959, Sidney performed with the Musical 4 + 1 and the Hillbilly Ramblers, as well as his own bookings. 

In 1955, Sidney and his band began recording for Eddie Shuler. Eddie had been inspired by the success of Iry Lejeune's records and became more involved in recording Cajun music. Sidney's record "Pestauche A Tante Nana" would become the third best selling record in the history of Cajun Music. Sidney and his band played many clubs in Louisiana and Texas. They also appeared on KPLC radio with the Israel Lafleur Show and on KPAC television in Port Arthur.

"La Misere de Mon Beau-Pere" ( My Father-In-Law's Sorrow) was recorded in 1958 at Goldband studio in Lake Charles. Playing with Sidney on the recording was Nelson Young on fiddle, Cliff Newman on vocals, John Crochet on drums and either Tilford McClelland or Mervin Faul on steel guitar.

Toi, petite fille, 
qu'est assis la galerie, 
le chapelet dans la main, 
après prier pour tout qui vient 
jolie fille, 
pourquoi donc t'es comme ça, 
tu connais pour toi même quand ça fait du mal.
toi, malheureuse, 
pas la faute à ton beau père, 
pas la faute à la petite mère.

toi, petite fille, 
rappelles toi pour toi même les misères tu m'as fait ....


In the early 1960's Atlas Fruge joined the Traveler Playboys on steel guitar. By this time Sidney's health began to fail and he slowed down, eventually quitting any dancehall performances. He continued to perform on a limited basis, even winning the Cajun Days accordion contest in 1968. He continued building and repairing accordions, producing a unknown amount, many which are still in use today.


Sidney's impact on the local accordion scene is noted by Mervin Faul. Mervin played steel guitar with the Veteran Playboys for a while in the 1950's when Shirley Bergeron quit because his father's accordion was so bad out of tune and Shirley couldn't stand the sound. The other band members talked Mervin into talking to Alphe about it. Alphe let Mervin take his accordion to Sidney to repair. After his accordion was fixed the band continued playing. But Shirley would peek in and listen in to the group. It wasn't long before Shirley was back in the band thanks to Sidney's repair's to his fathers accordion.


In the early 1960's Atlas Fruge joined the Traveler Playboys on steel guitar. But by this time Sidney's health began to fail and he slowed down, eventually quitting any dancehall performances. He continued to perform on a limited basis winning the Cajun Days accordion contest in 1968. He continued building and repairing accordions, producing a unknown amount, many which are still in use today. One of Sidney's accordions sits in the Acadian Memorial in St. Martinville, Louisiana. He passed away on August 6, 1981.

Resources-
Early Cajun Music Blog
Accadian All Star Special
Ron Yule-Cajun Dancehall Heyday
lyrics by Stephane F.