Center for Louisiana Studies Archival Catalog
This searchable database provides information on images, documents, and audio and video recordings, made between 1934 and the present.
Acadia North and South - Zachary Richard interviewing Carol Fran
Episode 9: Carol Fran - Bury My Heart with the Blues - Hosted by Zachary Richard
00:50 - Zachary Richard explains that the careers of many musicians started in Crowley, Louisiana, including that of Carol Fran;
02:15 - Zachary talks musicians who suffered and used that pain to inspire their music;
02:51 - Footage of Carol getting ready in her room;
03:30 - Carol singing "Mon coeur est casser" and playing piano;
04:39 - Carol says her mother played piano. There was a piano in her home growing up;
05:00 - Carol talks about the custom of burying a baby's umbilical cord under a rose bush and the baby becoming a musician or singer;
05:59 - Carol Fran singing "Emmitt Lee" (1958) (shows Carol arriving at the old KRVS studio) Speaking with Zydeco Joe Citizen, John Broussard, and Melvin Cesar;
06:49 - Melvin Cesar interviewing Carol Fran on KRVS show;
06:57 - Carol discusses when she started singing, Carol singing "On the Battlefield for My Lord;"
07:14 - Images of Laural Valley Plantation located in Thibodaux, LA
07:47 - Carol singing in the KRVS studios;
08:03 - Zachary explains that Carol sings it all but she started with gospel music;
09:08 - Zachary talks to Carol about her childhood and her mother letting her sing in other places besides church to make money;
10:05 - Carol Fran singing "I'm Gonna Try" (1965);
10:17 - Carol and friend, Willis Constantin, talk about getting old and old recipes;
12:13 - Carol Fran singing "Knock Knock" (1959);
12:23 - Zachary talks to Carol about her neighborhood and if a lot of French was spoken when she was young;
13:04 - Carol talks about if her parents spoke French or not when she was young;
13:10 - Discussing how French and Creole language was different from town to town;
13:49 - She talks about being able to tell the difference between the two languages;
14:24 - Carol talks about taking care of her sister's son along with the rest of her family after her father died;
17:22 - Carol Fran singing at the Cruiser's Club in Lafayette, LA;
18:53 - She speaks about her family and their skin color. (She recounts about by called "pickaninny" by her cousins because of her dark skin);
20:38 - Carol Fran singing "Crying in the Chapel" (1965);
21:05 - As she walks through a cemetary she talks about the death of her loved ones;
22:55 - Zachary thanks Carol for everything she has done in her life;
Dutch Radio Show Interview with Johnnie Allan (Part 1)
00:10 - Talking about Clifton Chenier - Johnnie says he's still performing despite health issues;
01:40 - Hey ‘tit fille (Clifton Chenier)
04:30 - Discussing the Zydeco rubboard;
05:55 - Hold onto that Tiger (Rockin’ Dopsie);
08:55 - Discussing Tommy McClain and Clint West;
10:00 - Johnnie’s beginnings playing Cajun music - Everyone on his mother's side of the family all played music. Started his first band when he was 13 years old, went on to play with Lawrence Walker for 6 years. Krazy Kats;
11:20 - Try to Find Another Man (Tommy McClain and Clint West);
14:00 - Playing professionally, releasing "Lonely Days, Lonely Nights," Recording for Jin Records;
16:15 - Popularity of South Louisiana music in Europe;
17:15 - She’s Gone (Johnnie Allan);
19:45 - Discussion about Cajun food – Gumbo, Crawfish Etoufee;
22:00 - Little White Cloud (Johnnie Allan)
Interview Ends;
Dutch Radio Show Interview with Johnnie Allan (Part 2)
00:00 - Talking about Cajun people - their personalities, work ethics, entertainment, language;
01:05 - The state of the French language in LA; discussing the school system not allowing French to be used in schools in the 20s and the revival of French being taught in schools;
04:40 - "Alligator Bayou;"
08:30 - Johnnie’s description of Cajun music;
10:30 - Differences between Zydeco and Cajun music;
12:25 - Work ethics of the Cajun people
13:15 - "South to Louisiana;"
16:00 - Explanation of the fais do do;
18:00 - The city of Lafayette - oil boom, population growth;
19:20 - Joe Falcon;
20:00 - "Allons à Lafayette"
22:20 - Discussion about the diatonic "Cajun" accordion;
24:50 - "La queue de tortue" - Nathan Abshire;
26:25 - The T-fer;
27:35 - The Cajun yell;
28:15 - Vin Bruce
28:45 - "Allons danser, Colinda" - Vin Bruce;
Clifton Chenier Live at Festival de Musique Acadienne - Part 1
0:00 - Lucille
3:49 - "Dis bye-bye"; announcement (lost baby backstage)
7:27 - Jolie blonde
11:00 - Tous les temps en temps
15:25 - "You Hurt a Good-Hearted Man"; Clifton's accordion costs $5,500. Electronic, but didn't have time to hook it up today. Plays like an organ, piano, saxophone, violin, and everything. Donation from the people from Germany; Tells crowd to give the Ardoin brothers a hand
19:52 - Cher catin (Eunice Two-Step)
23:20 - "La valse à Tante Nana"; Clifton's godchild
27:31 - Les haricots sont pas salés
31:15 - J'ai passé devant ta porte (dedicated to all the nurses at the Kidney Center)
35:40 - Pine Top Boogie Woogie by Tommy Dorsey on accordion
40:32 - "I'm Comin' Home"; announcements (beer truck)
44:45 - announcements (Casino in St. Martinville next Sunday); Barry Ancelet requests 'Joséphine, c'est pas ma femme'
46:00 - "We don't just don't play French music, play what we want" (Clifton Chenier); "It's Alright"
Clifton Chenier Live at Festival de Musique Acadienne - Part 2
0:00 - It's Alright
1:10 - "Rock-Me-Baby"; Clifton says whoever records his songs without his permission will be in trouble - he'll be rich tomorrow
5:36 - "Zydeco Cha-Cha"; announcement (Vance Lenier to come to the bandstand); reminds Clifton of Switzerland. 'As far as you could see, nothing but heads'
9:50 - "Laisse les bons temps rouler"; announcement (20 more minutes of the set)
15:28 - "Ooo-ooo"/"I Know" (Fats Domino tune) (for Pee Wee LeBlanc and Mr. Jim Olivier and Mr. Barry Ancelet); The band was in Montreal, Canada the week before - just back from the west coast (California, Oregon)
19:29 - "You're the One"; talking about Jim Olivier, bus for kids from Vermilion Catholic school
25:38 - "Tu peux cogner mais tu peux pas rentrer"; applause/encore; Chenir says they were playing all night the night before in Houston and they're kind of worn out
30:09 - Joséphine, c'est pas ma femme
32:09 - I'm a Hog for You
Musical performance by Canray Fontenot
Canray Fontenot;
-La dernière valse. Aldus Roger made that. Pretty waltz;
-Blues du voyageur (La Coulée Rodaire?);
-Bassing with special tuning/ Untitled Two Step (with special tuning for accordion). Learned that from other second fiddlers;
-Untitled Two Step à defunct Pop (5:52);
-Canray's uncle played with a certain tuning;
-Westphalia Waltz. Reprise with key change;
-Canray tries to play a song when he hears a song he likes. Playing in Lake Charles. He forgets the names of the songs (10:39);
-La Valse de Mercredi au Soir. Clark Cassinger?;
-Zydeco Gris Gris (tune from Adam Fontenot). Bois-sec and Canray recorded it under different names (15:41);
-Les haricots est/sont pas (mal) salés;
-Les bars de la prison (20:56);
Musical performance by Canray Fontenot
Canray Fontenot:
-Fragment of Two-Step à Amédé. Plaque 78 tour pour les Hébert de Jeanerette;
-Someone died in a wreck. Surprised Canray. The eve of July 4th. Horses killed 5 people?;
-Harmonica (tuned to B?) with fiddle:
-Untitled Blues;
-Lake Charles Two Step/Chameau One Step and goes into 'Jongle à Moi' at the end (4:06);
-When Canray first started playing, 3 different ways to play on harmonica. Basses on the third time;
-La Robe Barrée/Madame Etienne?;
-Zydeco à Doopsie (8:05);
-Untitled Blues;
-Would sound better with a Harmonica tuned to C;
-Je Peux Pas T'oublier;
-Untitled Two Step à son Père (same as on AN1.105) (12:17);
-Malinda?;
-Running into Queen Ida's uncle;
-Working songs. Parents both sang. Both of Canray's grandfathers would sing drinking songs when they'd come for Christmas or New Years;
-La table ronde (15:56);
-Grandfathers drinking and singing;
-Canray played in Lake Charles last year and a lady came up to him and told him she didn't know he knew those songs;
-Trinquez, trinquez les verres à la main. Explaining when others would join leader. Canray grew up with late nights hearing those songs. Giving money to Canray to eat for him to get a chicken and make a gumbo;
-Only Canray and his sister (she was spoiled) (20:42);
-Wood stove;
-Been working ever since he was strong enough to work;
-Beau-père à Bois-sec (Canray est parent avec la femme à Bois-sec);
-Welfare nowadays when a father dies. They didn't have that back then. $8/month was the first pay Canray can remember. Fontenots trying to pay debt after father died;
-Canray's used to 300-something pounds of cotton (24:34);
-One of Canray's uncles worked in rice fields. Canray's wife would go help him;
-Bois-sec's 1st cousin from Kinder, small lady. Picked more than 400 lbs of cotton;
-Nonc Howell?;
-People used to work. You had to make it or you weren't going to make it at all;
-Bonjour, Bonne année. Sung for New Years;
Interview with Alphonse 'Bois Sec' Ardoin
Alphonse 'Bois Sec' Ardoin:
-Musicians in the family. Amédé Ardoin was a cousin. Joyard? Soileau from l'Anse Maigre never recorded;
-2-2.5 years old when he father died. Mother had to wash white people's clothes and sending kids to school. Bois Sec was too small to work, his brother worked;
-Brother wanted to learn accordion, so got one. Bois Sec would play with it while his brother worked. His brother caught him one day on top of the barn playing accordion. His brother never did learn and he gave Bois Sec his accordion;
-Balls around the area, chances to play instruments;
-Des bals de maison, cogner basse-tringue en arrière d'Amédé. Faire 50 sous par semaine, $3 pour un bal;
-No instrument cases, only flour sacks;
-Finally being able to afford a good accordion;
(07:00) - Meeting Canray Fontenot (12 years old at the time) and playing with him around age 15. Bois Sec will be 66 years old in November, about 50 years they're together;
-Teaching his grandson accordion. He doesn't want to learn fiddle or guitar. Young people playing the new style;
(09:00) - Main influence Amédé Ardoin, his cousin. Iry LeJeune redid a lot of Amédé songs. He doesn't know where Amédé got all his songs (maybe from older people who taught him?);
-Amédé was orphaned in a sense. He was the baby of the family and his mother bought him an accordion. He never worked in the fields;
-The elements that make a good musician. Confidence, feelings, talent, practice. Needs to be in the blood to learn it quicker;
(11:35) - Canray is a great fiddler and not one of his kids plays music. You also have to be interested in it and want to do it;
-Bois Sec didn't think it was hard to learn accordion;
-He started playing with an accordion around age 10. You have to start young and be able to whistle a tune. You have to be able to whistle it and know it in order to play it. Avoir bonne tête pour jouer de la musique;
-Jouer la musique à bouche (harmonica). Barry peut jouer la musique à bouche, mais ce n'est pas bon si tu courtises une fille parce que ça coupe tes babines et tu ne peux pas béquer ta belle;
(14:40) - Amédé grew up around Eunice, l'Anse des Rougeaux?;
-Bois Sec grew up in the house his father built. Undoing the house, building a boat and rebuilding it;
-Dad was musical (played a little guitar), mom wasn't;
-Mme. Inez Catalon peut chanter. Des chansons que le monde chantait dans le clos;
-Jurés. Taper les mains, chanter, et dansait comme un bal sans instruments;
-Alan Lomax--Les Zydeco Sont Pas Salés;
-Se mettre en rond et un à la tête. Faire des jurés n'importe quelle temps de l'année. Des bals entre les jurés. S'amuser sans un tas;
(19:55) - Joe McIntyre--this man could sing like no one else, in French;
-One of Bois Sec's aunts, Tante Rose, remembers some jurés. Her brother was Joe McIntyre;
-Jurés mainly during Lent to pass the time without music;
-Dennis McGee's Adieu Rosa (Jurer my Lord). Dennis jouait avec Amédé;
(21:45) - L'Anse des Priens Noirs--il y avait un tas des maisons dans le voisinage dans le temps. L'Anse des Rougeaux à l'est et Duralde au sud. Soileau. Ressembler comme une anse ;
-Went to Mamou by wagon when he was little. 10 miles by wagon to bring the cotton to milled/sell. Buggy to go to the store;
-Ne pas courtiser des filles de Mamou. C'était partout comme ça. Tu ne mêlais pas, tu restais dans ton voisinage. La musique a égliasé l'affaire;
-Jouer des bals pour des mûlatres/des blancs. Le monde pouvait être drôle;
-Le monde ne peut pas danser comme nous-autres;
(26:19) - L'affaire des noirs et blancs. Pas blanc et noir, mais du mauvais monde et du bon monde. Colorblind;
(27:20) - Playing at festivals--manière drôle. Ralph Rinzler trouver Bois Sec, Revon Reed, etc. Different for people who've never traveled before. Shining shoes because they were around so many people;
-Playing at festivals isn't the same as playing for locals. Thousands of people watching you, gives you the chills. A few drinks calmed their nerves;
(30:15) - Going to Germany, New York, Newport (Rhode Island);
-Driving and flying. Scared the first time they flew. Bois Sec always had their instruments as cargo, he never played while playing. Nathan Abshire played a few times on a plane. Des grands planes, des grands salons. Ils mangeaient, buvaient du pop, regardaient des films;
-La première fois jouer au Colissée Blackham à Lafayette, un tas de monde (Un des premiers Festivals Acadiens et Créoles). Il y avait un gros effect dessus le public;
-Planning the festival this year in September;
-Gas is expensive. Needing a little bit of money;
-Work around the area. Bois Sec is still working in the fields on his tractor. Taking vacation to see places he's never seen ans spending time with friends;
-Guy from Washington (D.C.) asking Bois Sec to go back;
(38:00) - Freeman Fontenot asking Bois Sec to go play in Lafayette, gives people the chance to get out;
-What music means in his life. Allowed him travel, meet people, make a little money. As long as he can still play, he will even though he cannot do as much as he used to. Memories;
-Baille a fait sa course, Baille à couru--it's over/finished, time's up;
-Music keeps him in good health, keeps him from going to the doctor. Sa femme n'est jamais tombée malade;
Alphonse 'Bois Sec' Ardoin
Dewey Balfa at Creswell Elementary;
Dewey Balfa, Tony Balfa, Nonc Allie Young, and Rockin' Dopsie at Creswell Elementary in Opelousas, Louisiana:
-Talking in English. Honor for Dewey to come and talk about the Cajun culture;
-What the word Cajun means. From corruption of the word Acadian, from France. Came to Acadia and exiled in 1755 to Southwest Louisiana;
-Hard lives, music pulled them through. Playing music and telling stories after a hard days of work;
-Acadians brought violins/fiddles. Difference between a violin and a fiddle--same instrument, just depends on who's playing it. Classical music-violin, Cajun music-fiddle (can't read and write music, plays his feelings and not what's on paper). Tuned the same way (EADG);
-Bow made of hardwood and horsehair. Tightening and loosening the hair. White horses? Bleaching hair to make it white;
-A bow needs rosin to make a noise. From a pine tree and makes the hair catch the strings;
-Learning where the notes are on the instrument in order to play a song in mind;
-Tu peux cogner/Keep a knockin';
-Country fiddling (single notes) vs. Cajun fiddling (drones). Blues mans plays his blues, Cajun plays with drones;
-Seconding-chords and rhythm with the bow. There was no guitar or anything else to keep rhythm;
-Started teaching kids rhythm (triangle). Everything has an art (cutting grass, painting, etc.);
-Tony playing triangle without choking it (without feeling) and with choking it (feeling);
-Scott Playboys Special (Old Crowley Two-step) with spoons;
-Very few people had money to buy instruments. Using fiddlesticks (with cross-tuned fiddle);
-Sponsors for Dewey coming to the schools to teach school kids about Cajun and Creole culture;
-Fiddlesticks are used to keep rhythm, like a drummer. Cross-tuned (BGDG). Hitting the bigger strings. Certain time to hit the big and small strings;
-J'ai été au bal hier au soir (similar to The Rabbit Stole The Pumpkin, Joe Falcon's Ne Buvez Plus Jamais)/Lost Indian (from Appalachian fiddler);
-1890-1900-arrival of the accordion by the Acadians, Mexicans, and Blacks (Amédé Ardoin), German origin. Popular because there was no amplification and the accordion could be heard. 4 sets of reeds, 4 times louder than a fiddle;
-Accordion can bass himself too, whereas you'd need at least two fiddles (one to play melody and one to second);
-Diatonic-different notes when you push and pull;
-Sundown Playboys Special (without and then with bass). Fuller with bass;
-Late 1920s-1930s, Cajun adopted guitar. At one time, fiddles had 5 strings. Adding a string to guitars and putting frets. Can't sliding up on a fretted instruments, sliding up on fiddle. The fiddle has any note within the reach of his 4 fingers. Picking or rhythm on guitar;
-Tous les Soirs and Tu Peux Cogner/Keep a knockin' sung;
-Tous les Soirs with accordion and guitar;
-Accordions and fiddles playing solo until they could tune together. Creation of bands;
-Same melodies, different titles. La Vasle à Allie Young/Rockin' Dopsie/des Opelousas. Where or whom the person learned the tune from;
-Always a leader in the group. Dewey telling people it's time to end the song;
-Triple-row accordion, can play any kind of music. Zydeco music (French music mixed with blues and jazz). Sounding like an accordion, saxophone, violin, harmonica, organ;
-Changing buttons. 12 bass buttons on the bass side. Breather/blower/whistle/air button-Asthma Waltz;
-Rockin' Dopsie plays accordion upside down because he plays left-handed. Learning how to play instruments. Dewey learned harmonica opposite with the big notes to his right;
-Rockin' Dopsie learning on his father's accordion while he was working in the field. He thought it was the right way;
-Joséphine, c'est pas ma femme (without, then with bass and full band);
-Opelousas Waltz;
-Zydeco and Cajun music can play together, except for the blues. Nobody can the blues like a Black person;
-Rockin' Dopsie playing the blues until 4 am, he got home and his wife said he didn't live there anymore;
-Untitled Zydeco/Blues number (same as on AN1-197). Did the organ part on the last round, really bluesy and wanna cry. Dewey playing the blues on triangle;
-Why Nonc Allie doesn't play when Rockin' Dopsie is playing;
-Learning what buttons to push/pull. Driving down the street and turning left, not right. Bringing a bite of food to your mouth. Ray Charles plays piano blind, he know where the notes are;
-Only 6th graders in band, these are only 3rd and 4th graders. Who has a desire to play music. Music as a universal language;
-Practicing just like doing homework, you've got to study. You have to work at it. Music is just as hard as education. Dopsie can only sign his name, he didn't go to school;
-Kids fortunate to go to school;
-Not forgetting the hard times. Music kept families together and the happy life going;
-Diatonic Accordion with explanation;
Dewey Balfa, Tony Balfa, Nonc Allie Young, and Rockin' Dopsie at Creswell Elementary in Opelousas, Louisiana
Dewey Balfa at Park Vista School;
Dewey Balfa, Tony Balfa, Nonc Allie Young, and Rockin' Dopsie at Park Vista School in Opelousas, Louisiana:
-Talking about Cajun music. Acadians bringing their music with them. Very important and music as a universal language. Watches the audience;
-Acadians brought violins/fiddles with them. Depends on who uses it (Classical-violin, Cajun-fiddle);
-Tuned EADG. Dewey plays the fiddle because he can't read music;
-Bow made of hardwood and horse hair. White horses? Bleaching hairs. Loosening and tightening the bow;
-Rosin from pine trees makes the sound. Without rosin, the strings wouldn't sound;
-Each string tuned to a different note. Finding the song that you want by learning the fiddle;
-No frets, very sensitive instrument. It becomes part of you, like any body part;
-He doesn't not play music for a living;
-Nonc Allie Young, retired store owner. Very proud of his nephew who is a brick layer, Tony Balfa, Rodney's son. Playing country music and rock and roll. Filling his father's shoes. Rockin' Dopsie traveling the world;
-Country sound (single notes) vs. Cajun sound (with drones). T'es Petit et T'es Mignonne;
-Hear the hurt of the Acadians from years past;
-It's hard to play, but if you practice and want it enough, you'll get it. Dewey first starting and sounding like catching a cat by its tail. Practicing in the barn;
-Teaching Cajun fiddle, Dewey has a couple of albums or talking to a musician;
-Different sizes of fiddles, violas;
-Dewey started when he 13 years old. He can play fiddle, accordion, rhythm guitar, harmonica, mess around with piano. His fiddle is his best. Relaxing to play fiddle;
-Keeping rhythm is very important. Older people would teach rhythm before melody. Triangle--beating it without and then with choking (T'es Petit et T'es Mignonne);
-Anything that is worth doing is not easy. Learning to play spoons. People didn't have money to buy instruments (J'ai vu le loup, le renard, et la belette);
-Fiddlesticks with cross-tuned (BGDG). Fiddlesticks give rhythm, hit big and little strings (J'ai été au bal hier au soir (similar to The Rabbit Stole The Pumpkin, Joe Falcon's Ne Buvez Plus Jamais)/Lost Indian (from Appalachian fiddler);
-Kids that speak French;
-Fiddle harder to play than accordion because there are no frets. Accordion (diatonic), you only get a certain note by pushing or pulling. Sour notes (no sour notes on accordion?);
-Playing festivals all over the world;
-Fiddle has every note there is;
-No instrument is easy, Dewey is partial to the fiddle;
-Why Dewey played music. Dewey never thought of music as a means of earning a living, but satisfying you. Playing music, he can be happy or cry while he's playing, but he enjoys it;
-Dewey professional or amateur?;
-Learning music is just like education, you have to study/practice to get good at it;
-All of Dewey's family played music by ear. No radio, television, very few phonographs (first record was in 1928 with Joe Falcon and Cleoma Breaux's Allons à Lafayette);
-Violins harder to play because they have to read, Dewey can't read music;
-Cajun music means a lot to the Cajuns;
-Dewey played at the Cotton Festival;
-1890-arrival of the German accordion. No amplification, very loud instrument. Hard to hear the fiddle. Accordion is 4 times as loud as a fiddle, with 4 sets of reeds;
-Playing for gatherings, accordion could be heard and became very popular;
-Second fiddle. Accordion could play melody and bass;
-Asthma Waltz;
-Eunice Two-step/Jolie Catin (without, then with bass);
-Late 1920s-1930s, Acadians adopted the rhythm guitar which has frets. G chords, everyone plays a G chord, makes it a band;
-People didn't know how to tune a fiddle to an accordion. Bands started when they figured out how to do it;
-Jolie Blonde (La Fille de la Veuve/Ma Blonde est Partie/La Valse de Gueydan/La Valse de Jolly Rogers/La Valse de Couillon);
-Nice to get a bunch of people together and play music. Never too young, never too old to enjoy music;
-Triple-row accordion, mainly used by the Black population. You can play anything on this accordion;
-Can play rock, blues, jazz, French, any music on the triple-row accordion. Make it sound like a violon, guitar, piano, saxophone;
-Bass side. Mix up Zydeco and Cajun;
-Breather to let the air out-Asthma Waltz. Using different buttons to get which ever notes he wants. He used to running all over, up and down (passe-partout);
-Joséphine, c'est pas ma femme (without, then with bass and full bass);
-Zydeco version of Jolie Blonde (Cajun-single, Zydeco-triple/double). Black people add a bluesy, jazzy feeling;
-Untitled Zydeco Blues number (same as on AN1-196). Playing the blues until 4 am. When he's lonesome and when his girlfriend puts him out. No one can play the blues like a Black. The Devil the first one to play the blues;
-Playing a song before it escapes hims, even if it's at 4 am;
-His son is 11 years old and he plays just as good as him. He can't read, he can only sign his name, no education, had to help his father working;
-Learning accordion upside-down on his father's accordion while he was working in the fields. He's been all over the world;
-If a musician/someone think he knows everything, he's lost everything. You never know too much in music, never think that you're too good. Never will learn all, he's still learning. Allie has been playing for 60 years and he's still learning;
-Accordion weighs about 10-12 lbs for diatonic, 40 lbs for triple-row;
-Remember music, or what 'yes' or 'no' means, you just memorize it;
-Mamou Mardi Gras;
-Country, Bluegrass, can play any style of music that they know how;
-Dewey loves to play fiddle, but he does sometimes get tired of it;
-Not a group, working with different people each program. Like to play together;
-Hard to play accordion;
-Being on television all over the world. 10 albums of Dewey and his late brothers;
-Dewey's been playing for 50 years, Tony since he's knee-high, Allie for 60 years, Dopsie for 27 years-he got married when he first started playing music. Watching Rockin' Dopsie on channel 15 Saturday from 4-5 pm. Allie will be on tv on March 21st from 4-5 pm;
Chez Nous Autres
-Mardi Gras Jig -Savoy, Balfa, Menard;
-Musiciens qui vont jouer à l'Hommage à la Musique Acadienne le 23-25 Mai, présenté par CODOFIL;
-Marc Savoy, Dewey Balfa, et D.L. Menard vont finir le jour Samedi, 24 de Mai;
-Festival dédié à Iry LeJeune cette année. Ramener une fierté d'être Cadien, parler le français Cadien, etc.;
-La Valse du Pont d'Amour (1948) - Iry LeJeune;
-15 ans sans accordéon pendant le Deuxième Guerre Mondiale. Pas Western Swing;
-Nathan Abshire, Lawrence Walker, Austin Pitre ont repris leur accordéons avec un peu d'influence de Western Swing, en français et traditionnel;
-1928 et 1932 on RCA Bluebird, first Cajun recordings. Dennis McGee and his brother-in-law, Sady Courville (7:43);
-Happy One-Step - Dennis McGee and Sady Courville;
-Dennis McGee avec le Mamou Cajun Band le matin du 25 (dimanche). Dennis a 84, il est pas vieux, mais là pour longtemps. Sady Courville, Roy Fuselier, Preston Manuel, la groupe qui jou tous le samedis soir chez Fred's Lounge à Mamou;
-Aldus Roger. La fin des 1950s et le début des 1960s, tous le fins de semaines/samedis dessus Channel 10 et 3-5 fois par semaine dans les salles de danses. Sa groupe a un son bien pratiqué;
-"Une danse qui faisait brailler les vieiles femmes," Madame Sosthène - Aldus Roger (13:23);
-Aldus Roger samedi matin. Aldus avait arrêté de jouer la musique avant 3-4 ans passé et il voulait laisser les jeunes jouer, mais l'envie de jouer était plus fort;
-Il a joué 3 ans passé au Festival, le 24 de Mai;
-Belton Richard va jouer le vendredi soir. L'année passée, le vendredi soir était si bien reçu qu'ils ont décidé d'en faire une autre cette année;
-Zachary Richard, Les Sam Brothers (Zydeco), et Belton Richard (né à Rayne et reste à Carencro). Belton bien influencé par Aldus. Belton avait le premier band d'avoir 7 membres dans un band, modernisé la musique dans les salles de danse;
-Snippet of the Perrodin Two-Step;
-Un Autre Soir Ennuyant - Belton Richard (18:21);
-Belton sera là le 23 de Mai (vendredi soir de 7-10 heures). Nouvelle partie du festival;
-Jambalaya était supposé de jouer le vendredi soir. La jeunesse. Les écoles, CODOFIL, etc. Encourager les jeunes de jouer avec les vieux pour préserver la culture unique qu'est ici. Ça devient de Cécilia et Pont Breaux. L'espoir pour la musique Cadienne dans l'avenir;
-Juste une partie des musicens Cadien et Créoles. 3 heures vendredi, et 11 AM - 6/7 PM samedi et dimanche;
-Waterfront Special - Jambalaya Cajun Band (23:09);
-Lafayette, Girard Park près de USL. 7ème Festival de la Musique Cadienne;
Bayou Boogie Television Show Hosted by Herman Fueslier - Featuring Anne Goodley
00:00 - Herman Fuselier introduces Anne Goodley;
00:27 - Anne Goodley plays part "Oh Bye Bye" leading into and out of commercial break;
03:00 - Herman Interviews Anne - started playing accordion in 1981, plays with the Zydeco Boneshakers;
04:40 - Anne discusses her influences and inspirations - Combining Zydeco and Gospel music;
09:10 - "The Queen of Zydeco Salutes You";
11:00 - She was 10 when she made her first record;
11:55 - Grew up listening to John Delafose and Clifton Chenier;
12:30 - Rockin' Sidney recorded her first 45 record and was one of her early promotors;
13:20 - Talking about different bands that backed her over the years;
14:00 - Drug and alcohol issues she had; advice she has for other musicians who are having problems;
16:25 - Working with Cullen Washington and the Zydeco Boneshakers;
19:00 - "Goin' Back to Big Mamou";
22:00 - Interview - Current shows, Isle of Capri Casino;
23:50 - Herman joins Anne and plays "Jolie Blonde" on accordion;
Interview with Floyd Soileau
0:58 - Interest in music and early experiences in the industry;
3:26 - Recording French music and beyond;
5: 33 - Other independent producers and labels;
10:30 - Building the studios;
14:54 - Record Pressing Plant taking the place of the studio;
16: 11 - Early releases;
19:42 - Splitting off the Jin label;
20:24- Editing the spelling of Soileau to Swallow;
21:30 - Starting his roots music label and his Zydeco music label - the "house of soul" "Maison de Soule";
24: 09 - Flat town music co.;
25:087 - Other labels founded by Soileau;
26:54 - Rare records;
28:01 - Popular recording artists;
36:17 - Changing artists names;
39:46 - Future of Swamp Pop;
40:50 - Defining Swamp Pop - Origin of the name "Swamp Pop";
42:52 - Hank Williams;
43:37 - Creating a great song;
45:31 - A touch of sax.
Interview with J.D. "Jay" Miller
01:00 - The life of a musician;
01:58 - Current projects for the label;
03:37 - Buckwheat Zydeco;
04:23 - Clifton Chenier;
05:26 - "La La" Music;
06:24 - Recording before regional studios;
06:37 - New Orleans and Cosimo Matassa;
07:00 - Tape Recorders;
08:15 - Getting into the recording business;
11:00 - 78rpm records;
11:20 - Rice Festival;
13:00 - Recording then and now;
16:35 - Nashville Studios;
17:08 - Jimmy Newman and Al Terry;
17:28 - Fred Rose and Hickory Records;
18:57 - "Cry, Cry Darling" and "Good Deal Lucille";
19:38 - Sam Davis Hotel;
20:57 - Acuff-Rose Music;
22:30 - Playing music- 1930s;
22:40 - Music Contest in Lake Charles;
23:30 - String bands, Original Aces;
26:49 - Breaux Brothers;
28:49 - Performing at places with no electricity;
31:50 - Military service;
34:10 - Fais Do-Do Records;
34:30 - Colinda; Happy Fats, Doc Guidry And The Hadacol Boys;
35:28 - Jimmie Davis;
38:22 - Feature Labels;
39:34 - Blues Unlimited label;
39:45 - Clarence Garlow;
39:47 - Richard King;
40:08 - Lightnin' Slim;
40:21 - Slim Harpo, Lonesome Sundown, Lazy Lester;
40:45 - Zen label name meaning;
41:11 - Blues Unlimited and Buckwheat Zydeco;
41:20 - Kajun Label and Nathan Abshire;
41:45 - Rocko Label;
42:10 - Warren Storm;
44:44 - Johnnie Allen
Interview with Chick Vidrine (cont.)
00:16 - Wesley Brown;
00:38 - Paul Soileau;
01:50 - Esquerita;
03:38 - Little Richard;
03:50 - Chuck Berry;
03:58 - Lloyd Price;
04:37 - Segregation in the dance halls;
05:45 - Cookie and the Cupcakes - black bands playing for white crowds, violence of the white crowds;
10:37 - Club competition;
12:55 - First association with Zydeco music;
12:57 - Clifton Chenier;
13:37 - Zydeco name origin;
14:00 - diabetes;
16:25 - Rockin Dopsie;
16:45 - Lafayette, LA;
18:05 - Changing names of Cajun names;
19:45 - Leaving Louisiana;
20:40 - Norman Artigue;
21:25 - Band wages;
22:03 - Jimmy Reed;
24:50 - Ray Charles;
25:53 - Club capacity;
27:25 - Hard rocking 1970s;
29:30 - Matisse
Interview with Sam Montalbano (cont.) and Grace Broussard
Interview with Sam Montalbano (cont.):
00:10 - 1968 - Selling his recording studio
03:15 - Montel Studio became Deep South Studio, only sold physical equipment, not the masters;
04:30 - Floyd Soileau had distribution rights to The Boogie Kings;
05:30 - Johnny Vincent - ACE Records, Cosimo Matassa;
07:45 - Boogie Kings split and lawsuit - mainly worked with Ned Theall's version of the band;
13:44 - Sam spent three years at USL from 1956-1958
14:55 - Sam speaks about Rod Bernard's importance to the LA music scene;
17:30 - Interview with Grace Broussard;
17:45 - Personal history - born in 1939 in Prairieville, LA;
18:15 - Musical family members - brothers and sister both sing, her grandfather played fiddle;
19:45 - Started singing professionally at 16 - Van and Grace;
20:30 - Musical influences - Kitty Wells, Loretta Lynn, Irma Thomas;
22:50 - First recording of "I'm Leaving it up to You" with Jay Chevalier
23:30 - Getting started performing with Dale Houston;
26:20 - "Leavin' it all up to You" becoming a hit - Performing on the Dick Clark Tour;
27:50 - Backing group - Junior Hebert on bass, Kenny Gill on Guitar, Dale Houston on piano, she says she can't remember everyone;
29:35 - Grace says that her and Dale never got along well. He didn't show up for a performance in New York and she had to perform herself;
31:50 - Shane asks who wrote "Stop and Think it Over" - Jay Graffanino or Jay Randall;
33:50 - Broven's term "Swamp Pop." Grace said they used to call the genre Bayou Boogie;
36:15 - Zydeco music
39:00 - Van Broussard tour with Carl Perkins;
39:55 - Awards - Gold Record, Louisiana Hall of Fame Lifetime Achievement Award;
42:40 - Floyd Soileau releasing Van and Grace's songs on a compilation CD; Royalties issues;
Interviews with Huey "Cookie" Thierry and Ernest Jacobs
00:45 - Blues scene in Louisiana in his early days. Most of his blues artists came from Southwest LA and East TX;
03:30 - Lee Baker Jr. "Lonnie Brooks;"
05:30 - Major labels struggled with blues artists. Eddie says recordings were to "slick";
06:00 - Eddie's approach to recording Blues music;
07:20 - Started recording Blues artists before any other genre;
07:50 - James Freeman "Big Leg Mama" from around 1945. Lost masters;
09:00 - Other blues artists recorded - Bill Parker, Clarence Garlow;
11:00 - Recorded his band, The All-Star Reveliers, first;
11:10 - Hackberry Ramblers - their radio show and early Shuler recordings;
13:40 - Guitar Slim and T-Bone Walker - their influence on other artists;
15:40 - Southwest LA blues clubs;
17:50 - "Zydeco Blues" - Marcel Dugas, Rockin' Sidney, Thadius Declouet, Little Latour;
20:20 - Discussing Clifton Chenier and Boozoo Chavis - Boozoo's "Paper in My Shoe" was leased to Imperial and sold 136,000 copies;
21:30 - Lawrence Chenier - Clifton's uncle who taught him;
24:00 - Local Blues clubs;
26:00 - Story about the son of the mayor of New York - Offered to buy a Goldband 45 from a discjockey for $300;
27:45 - Ivory Jackson - Drummer for Cookie and the Cupcakes and for Phil Phillips;
28:20 - Clarence Garlow;
29:19 - Al Smith;
29:30 - "Chicken Stump"
30:20 - Lazy Lester;
31:20 - Ashton Savoy, Katie Webster, Barbara Lynn;
33:30 - Lonesome Sundown
34:00 - "Left-handed" Charlie Morris;
35:20 - Walter Price;
36:00 - Little Miss Peggy, Bill Parker, Cal Miller, Little Latour;
42:00 - Joe Turner's influence;
Moondog Matinee - Tall Tom's Radio Show on WESU
Moondog Matinee - Tall Tom's Radio Show on WESU
***Recording date unknown***
-Unknown song;
-"Don't Wave Goodbye" - Gene Faulk
-"Loneliest Man in the World" - Willie Mallory
-"I'm a Country Boy" - Iry Lee Jackson
-"Bye-bye, Little Angel" - Elton Anderson
-Tall Tom - radio banter
-"Highway Zydeco" - "Bon Temps" St. Marie
-"You're No Longer Mine"
-"Lean on Me" - Willie Mallory
-Tall Tom - radio banter
-"My Little Angel" - The Royal Jokers
-"Do the Best You Can"
Interview with Rod Bernard
Rod Bernard:
-00:00 - Getting started with Mercury records
-01:00 - "This Should Go On Forever" - Floyd Soileau not being able to keep up with orders
-02:00 - Working with Huey Meaux on distribution of "This Should Go on Forever;"
-04:00 - Management contract with Bill Hall, discussion about Bill's various music business endeavors. Hall Records; Mentions of J.P. Richardson "The Big Bopper,"
-08:40 - Recording for Argo Records
-12:00 - Recording with Johnny and Edgar Winters
-14:40 - Beginning work at KVOL
-16:40 - Cutting "Colinda" for Bill Hall - discussing the successes of the record
-18:30 - Discussing the title "Swamp Pop" - John Broven
-19:15 - The Shondells with Skip Steward and Warren Storm, Carol Rachou, La Louisianne Records
-20:50 - Jimmy Donley
-23:15 - Discussion about drug abuse, burnout and retiring from performing
-25:00 - Discussing his tenures with KVOL and KLFY
-27:00 - "Boogie in Black and White" - album that Rod made with Clifton Chenier; Discussing Clifton's music and style
-30:00 - Returning to part-time public performances and potentially recording again
-37:00 - Awards - One award at Acadian Village, One award from the Times of Acadiana
-39:20 - Arbee Record Lable - Label that Carol Rachou and Rod made together
-42:45 - Going into treatment for substance abuse
-44:00 - Discussing his job at the station
Interview with Eddie Shuler
Eddie Shuler:
-01:00 - Talking about his new 24 track console
-01:15 - Love Bug Pellerin
-04:10 - Background information
-07:00 - Managing a record store in Lake Charles
-08:30 - Joining the Hackberry Ramblers as a singer
-11:00 - Chicken wire between musicians and spectators at clubs
-14:00 - Mothers chaperoning daughters at dances
-16:25 - Singing in French but not being able to speak it
-17:00 - Early versions of the Hackberry Ramblers - Edwin Duhon, Luderin Darbonne, Cheek? Widcamp, ?? Gentry, Johnny Fab
-19:00 - Ramblers on KPLC radio, Producing advertisements
-24:00 - Leaving the Ramblers, moving to Houston and trying to start a new band
-25:45 - Moving back to Lake Charles, forming the Reveliers
-26:30 - Forming Goldband Records
-28:15 - Meeting Iry Lejeune - First time Eddie had seen an accordion
-29:25 - Eddie reprimanded for putting Iry on the radio
-31:40 - Producing Iry Lejeune's records - 24 78 rpm records; Reissuing Iry's recordings
-34:45 - Pressing plants Eddie used
-38:00 - Recording process before the studio was built
-40:30 - Boozoo Chavis, Sidney Brown
-42:00 - Zydeco music
-43:00 - Hiring Classie Ballou to play with Boozoo, Discussion about Boozoo's recording sessions
-46:35 - Folkstar Record Label
Interview with Eddie Shuler
Eddie Shuler:
-00:00 - Starting the Folkstar label
-01:00 - How he was separating artists between Goldband and Folkstart labels
-01:40 - Starting Goldband Records
-02:55 - Cookie and the Cupcakes
-04:55 - Phil Philips - "Sea of Love"
-05:45 - George Khoury - Publishing company that George and Eddie started but never used
-06:30 - Publishing companies - Eddie's first publishing company - K-Mar; Fort Knox Publishing, TEK Publishing
-09:45 - Rockabilly Music
-12:15 - Katie Webster - discussing her early session work with Barbara Lynn
-15:00 - Rockin' Sydney - Eddie cut 156 sides with him through the 60's, Sydney changing to playing the accordion
-17:00 - Eddie expanding his studio to 16 track capability
-18:55 - "Juke Boy" Bonner - Hitch hiking to Lake Charles from California "I Can't Hardly Keep From Crying"
-19:40 - Jimmy Wilson
-22:20 - Hop Wilson - Rhythm and Blues played on lapsteel guitar
-24:10 - Guitar Jr. - "Family Rules"
-27:00 - Why many artists were gravitating to recording for Eddie over others
-28:00 - Bill Parker, Miss Peggy, Ole Yvonne
-30:25 - Don Pierce
-40:00 - Respect that Eddie has built - talking about his legacy, Wayne Shuler
-43:50 - Missing out on recordings because he was out of town. Rod Bernard - "This Should Go On Forever" and J.P. Richardson "Chantilly Lace"
Sea of Love
Interview with Eddie and Wayne Shuler
Eddie and Wayne Shuler:
-00:00 - Eddie makes statement to Wayne Shuler - naming Wayne as successor to Goldband / TEK companies
-01:30 - Eddie talking about not wanting to work for other people
-02:55 - Eddie's thoughts on how to be successful in the record business - approaching big companies; finding artists; leasing songs
-08:50 - Zydeco music
-10:00 - Speaking about the longevity of any given artist
-13:25 - Conversation between Eddie and Wayne - Wayne discussing his vision for Goldband's future
-16:30 - Record collectors
-17:15 - Goldband being known for Cajun and Zydeco genres
-18:50 - Finding the right song for a particular artist
-19:05 - Goldband Blues releases - market for Blues genre
-20:30 - Record labels overextending themselves and going into debt
-23:30 - Market for Country music - tough market to break into
-26:30 - Herman G., Rockin' Sidney
-29:30 - Management business, working with other labels and distributors;
-34:20 - Hackberry Ramblers - prestige for the label - Issues with Luderin Darbonne not wanting to work with Goldband
-38:50 - Finding a select group of artists to work with and push
-43:00 - Existing catalogue; selling lesser-known artists
Interview with Eddie and Wayne Shuler
Eddie and Wayne Shuler:
-00:30 - Skip Dowers, Herman Gee
-03:35 - Boozoo Chavis - His momentum and following
-06:15 - Gulf War - effects on the business
-08:00 - Younger demographic
-08:45 - Eddie's thoughts on female musicians
-13:00 - Issues with being in Lake Charles / Louisiana
-15:15 - Robert "Bobby" Parker
Interview with Eddie and Wayne Shuler
Eddie and Wayne Shuler:
***Explicit language***
-00:00 - Wayne says he's looking forward to working with his dad
-02:30 - White blues
-03:00 - Kerri Gregory
-03:15 - Eddie's commentary on Wayne's issues with patience
-06:45 - Working with others, Compromising
-08:00 - Wayne things Eddie is difficult to work with
-09:00 - end of track - Long argument between Eddie and Wayne
Interview with Clarence "Jockey" Etienne
Interview with George Khoury - recatalog
Clarence "Jockey" Etienne:
Clarence:
-born 11/22/1935 in St. Martinville
-bugle player at school- parade
-rode horse with his dad- that is why his nickname is 'Jockey'
-Victor Jordan- first band late 1940s
-JD Miller "Laka lai, Lakai Lai"
-met Guitar Gabriel added drums
-Joe Simon after Guitar Gabriel late 1950s
-local agent Charles Carter
-played Leo's Rendezvous- New Iberia
-toured with Solomon Burke after "He'll Have to Go"
-Bobby Powell
-Rodney and the All-Stars
-in 1976 joined Fernest Arceneaux and the Thunders until July 1989
-Blues Unlimited label
-Shelton Skerrett recording Fernest
-JJ Callier in the studio
-Bobby Price and Gene Morris recordings
-Creole Zydeco Farmers
-European tours: Germany, Holland (Festival in Utrecht), Switzerland, France, Luxemburg, 1991, 1993, 1994
-tour in states: Dallas, St. Louis, Kansas City
-photos
-band mates
-new C.D.
-Jazz Fest
-Fernest
-Memphis
Interview with Lynn August
Lynn August:
-0:00 - background information- born in Lafayette
-1:00 - blind from birth- parents supportive of music
-2:00 - early musical experiences- Mom bought piano records: Johnny Ace, Ray Charles, Lloyd Price, Fats Domino
-2:30 - family entertainer- sang and played harmonica
-3:00 - practiced drums on washtub while other kids played guitar
-3:45 - Dad managed kid band- got first gig when drummer wasn't able: sang 1958 song Willie West: "Did you have fun?"
-7:00 - joining a band- Buckwheat on keys, piano accordion in early band- nickname given
-7:30 - gigs- Dad managed band, Wednesday night in New Iberia until people caught on- then Saturday nights: "Little August"
-9:30 - 1959 Lafayette Club- piano players every night Rolling Dice (3 nights) and Fats Junior (3 nights)
-11:00 - Esquerita (Eskew Reeder)- special Friday night guest- something from outer space- had played New Orleans- started playing with Esquerita- Abbeville first, then New Orleans
learned funk from New Orleans records
-13:45 - Jay Nelson- 1961 to 1963 needed a temporary drummer- three piece horn section- New Orleans R&B
-15:30 - state school for the blind in Baton Rouge- boarding school- certain age to play music- Henry Butler was his roommate- quit at 8 years old
-18:00 - learned braille 1975/1976, later learned to read/write braille music and composition
-20:00 - formed band with Buckwheat in Lafayette
-20:30 - Eskew Reeder told him to play piano- said he got Little Richard on piano; wanted to play with foot pedals- Dad traded painting job for organ
-22:30 - 1965 bought Hammond B3, later Wurlitzer electric piano
-23:00 - weekend gigs, band having a tough time- approached to play for $300 a week for four nights @ 17 years old
-25:00 - St. Martinsville- Beano's Club; week nights slower, but weekends packed at $2 a head
-27:30 - had new car and a live-in chauffer
-28:00 - four piece band- every other Saturday at Slim's Y-Ki Ki
-28:30 - band drama; car and trailer vandalized and broke up the band 1970- started with drum machine
-29:00 - hotel gigs- six nights a week- 1976- stayed six weeks at a time in one place
-30:00 - 1976 gospel and choirs; popular and very busy- multiple churches and choir- correspondence courses to read
-31:15 - Lynn August Trio with female singer
-32:00 - JD Miller wanted more of a swamp pop sound- 1963 "Little Red Rooster" and "Let Them Talk" at La Louisiane, then at JD Miller's- session musician at Miller's
-35:00 - 1974 recorded record at Floyd Solieau's- "Sick and Tired" and "If You Love Me"- done with JD Miller
-36:30 - late 1977 rub board played with Marcel Dugas playing zydeco- could keep job at church- until 1979
-38:00 - 1979 back to work in lounges and more involved at church- until 1981-82 oil industry crashed
-39:00 - making a deal with the wife- help her through school and then he could do what he wanted
-40:00 - 1987-1989 six nights a week in small clubs / supper clubs
-41:45 - built studio in 1988 20 digital 4 analog tracks DAT tape
-43:30 - signed with Blacktop Records playing zydeco
-44:30 - 1988 "Party Time" on Maison de Soul Helping Morris Francis with a recording
-46:30 - singles
Interview with Lynn August
Lynn August:
-00:00 - Keyboard patches for sounds on zydeco recording
-01:00 - Bought piano accordion from Mark Savoy- $2200 and played day and night
-03:00 - difference in piano and accordion
-04:00 - picked up accordion at session jam and played that day
-04:30 - Clifton Chenier- preserve his sound- not impersonate
-05:00 - bought accordion June 1989 and October 1989 in Florida January 1990 already on tour playing accordion
-06:00 - recording zydeco album- September 1989
-07:00 - Recording at La Louisiane zydeco band;
-07:30 - The Big Shoot Out on Rounder Records recorded at El Sid O's 1991
-08:30 - Creole Cruiser on Blacktop Records with Rodney Bernard, George Porter, Sammy Brophette on keys, Selwin Cooper guitar, Carmen Jacob
-10:00 - Jure/Lala style acapella 1990
-12:00 - Tours: New York City, Boston, Chicago,
-13:00 - Eric Clapton, Johnny Winters, Stevie Ray Vaughn came to shows
-14:00 - Festival gigs
-15:00 - West coast tour coming up
-15:30 - 1991, 1992 European tours
Interview with Peter Thompson
Peter Thompson speaks about the start of Zane Records
Interview with Lee Lavergne
Lee Lavergne:
-00:55 - Background information, Born Dec 10, 1932
-01:40 - Early exposure to Cajun Music - Amedé Ardoin, Joe Falcon, Aldus Roger, Nathan Abshire
-02:50 - Eddie Shuler - Iry LeJeune recordings. He also made one recording in Houston
-03:35 - Radio programs - Nathan Abshire was on the radio every Thursday afternoon
-04:10 - Lee always had an interest in music, but never played much
-04:35 - Sold seeds to buy his first guitar
-05:30 - Talks to another person (unknown) in the room. He played with Lawrence Walker
-06:30 - Johnnie Allan leaving Lawrence Walker's band and taking several members
-07:15 - Lee says he really liked Nathan Abshire and Hank Williams
-08:30 - Lee leaving for the service - changes in the music while he was gone
-09:00 - Good Rockin' Bob - Camille Bob, Cookie and the Cupcakes
-10:00 - Racial issues at live music shows back in the 50s and 60s
-10:55 - Lanor Records started in 1960. Lee talks about recording music, first reel to reel tape machine
-12:10 - Used Floyd Soileau's, J.D. Miller's, Cosimo Matassa's, Huey Meaux's studios
-13:00 - Lee says it was tough to get good session musicians
-13:40 - First releases - Shirly and Alphée Bergeron, Elton Anderson
-15:30 - Goldband's release of Sugar Bee - others trying to release French Rock 'n Roll records
-16:30 - Talking about various musicians - Duke Stevens, Elton Anderson
-19:30 - King Karl / Guitar Gable songs - "This Should Go On Forever," "Irene"
-21:00 - Lee started his own studio in 1982
-21:25 - Charles "Drifting Charles" Tyler, Lloyd Renault, Classie Ballou; Elton Anderson
-24:25 - Phil Phillips
-26:15 - Classic Ballou release circa 1980
-27:10 - Robbie Robinson
-28:45 - Maw-Maw Theriot - In Angola
-29:25 - Charles Mann - Talking about first recordings and musical style
-35:15 - Jim Olivier
Interview with Camille Bob
Camille Bob:
-00:30 - Other musicians in family - Second cousin to Clifton Chenier
-01:30 - Background information - born in Arnaudville, Started his band in 1958
-03:10 "Take it Easy, Katie" and "Little One" - Recording he made for Eddie Shuler. Katie Webster played piano
-05:00 - Lil Bob and the Lollipops; bands and members - Morris Francis
-06:30 - Recordings - Went from Goldband, to La Louisianne, to Jin
-07:10 - "I Got Loaded;" - Writer credits
-10:30 - Hits for Jin -"I Don't Wanna Cry"
-11:25 - Band Personnel - John Perrodin, Morris Francis
-12:45 - Driftwood Lounge - Northgate Mall
-14:00 - Played Zydeco tunes occasionally
-14:30 - Acadiana Studio - Studio Camille was trying to start with some other musicians
-15:30 - Talking about his name
-17:30 - Hairspray - Movie that Larry provided music for
-18:50 - Stanley "Buckwheat" Dural, Jr. - played in Camille's band for 4 years
Interview with Isaac "Big Ike" Martin; Interview with Mel Melton
"Big Ike" Martin and Mel Melton:
"Big Ike" Martin:
-00:00 - Background information
-01:00 - Early exposure to music - Aunts were singers at church
-01:45 - Talent show that he won in school
-02:55 - The Episodes, changing name of the band to Lake City Show Band in 1976 - repertoire
-05:00 - Opening for bigger acts - Aretha Franklin, Bobby Blue Bland
-05:45 - Clubs they played at - Paul's Auditorium, Jones' Flying Fox
-06:45 - White clubs
-07:30 - Only sang, never played instruments in his bands
-08:00 - Recordings made with the Lake City Show Band
-09:30 - J.D. and Mark Miller - Mastertrak Studio and Label
-17:20 - Playing casino shows
-19:30 - Magic City Club, The In Crowd Club
-25:00 - Eddie Shuler
-27:00 - Playing Zydeco music - Cacean Ballou, Classie's daughter, plays accordion for Isaac
-27:40 - Plaisance Zydeco Festival - Not being booked for the Festival
-28:15 - Playing with Wayne Toups
-29:20 - Band Lineup - Cacean Ballou, Joe Orsot, Shelton Dixon
-32:20 - Artists he's backed - Bobby Blue Bland, Johnny Taylor, Benny Wright, Buddy East
Mel Melton:
-34:05 - Another interview starts - Unknown person, possibly Mel Melton
-34:38 - Playing for Zachary Richard
-35:00 - Playing in Colorado when Zachary Richard wasn't working
-37:30 - Having trouble learning to play the accordion, sticking with playing the harmonica
-40:00 - Reaction to original material
-41:00 - Quitting "Bayou Rhythm" after getting married
-44:45 - Retiring in Chicago
-47:00 - Returning to playing music
-50:00 - Talking about his new band and new release
Louisiana Hot Stuff Radio Show with Buddy King
Louisiana Hot Stuff Radio Show with Buddy King:
***All songs are edited into short fragments***
-00:00 - Clifton Chenier - "We're Gonna Party." Live at the 1984 San Francisco Blues Festival
-02:45 - Interview with C.J. Chenier about Clifton - "Bow Legged Woman"
-04:30 - Irma Thomas - "Break Away"
-05:25 - Charles Mann - "Red, Red Wine"
-06:30 - Wayne Toups - "Sweet Jolene"
-08:15 - Zachary Richard - "Zydeco Party"
-10:00 - Mamou - "Jolie Blonde"
-11:50 - Cookie and the Cupcakes - "Matilda"
-13:05 - Beausoleil - "Colinda"
-14:18 - Rod Bernard - "Colinda"
-16:20 - Clarence "Frogman" Henry - "You Gonna Need Somebody Someday"
-17:28 - Buckwheat Zydeco - "Hot Tamale Baby"
-18:58 - Boozoo Chavis - "La butte de chiens"
-21:00 - Uncle Ned's Joke
-22:00 - Professor Longhair
Interview with Hammond Scott
Hammond Scott:
-00:00 - Background information - Born in Alexandria, May 1950
-01:40 - Talks about clubs that had good music scenes going - Shep's in Mansura, Pelican Club in Marksville, Purple Peacock
-02:45 - His siblings had alot of records at home when he was growing up. A friends' dad had a Jukebox company, so they would get used records
-03:45 - Always had blues records around while growing up
-05:40 - Buddy King - Broke Tommy McClain'
-06:15 - Parents didn't have any musical background
-07:20 - How he became involved with recording music
-09:00 - Older blues musicians reemerging, collecting old records
-11:25 - Booking and traveling with Clarence "Gatemouth" Brown
-18:00 - Recording; producing; mixing
-21:30 - Most important thing a producer can do is get the best performance from the band and have a good engineer in the control room
-24:00 - Band chemistry in the studio
-26:30 - Changes in how he mixes records
-28:45 - Working as a graphic designer
-30:00 - Work after Gatemouth with the D.A. and going back to law school. Starting Blacktop Records while in law school
-34:30 - Rounder Records became their distributor
-34:45 - Artists recorded for Blacktop - Johnny Reno, Buckwheat Zydeco, Ronnie Earl. Discovering other blues bands
-43:00 - Big Jesse Yawn
Interview with Roy Carrier
Roy Carrier:
-01:15 - background information - born in Church Point
-02:00 - learning to play the guitar when he was 16, influences
-03:20 - KVPI Radio out of Ville Platte
-04:00 - Starting to play professional gigs
-04:45 - switching to accordion, liked Rockin' Dopsie and Clifton Chenier
-08:00 - First recordings - with Lee Lavergne
-11:00 - Talking about Chubby Carrier
-12:50 - Oilfield work, drilling and roughnecking
-14:15 - Touring and playing festivals
-17:00 - Band mates - Raymond Randall, Chubby, Calvin Sam (Sam Brothers 5), David Edmond, Jimmy Sherell
Interview with Herman Guiee (Herman Guidry)
Herman Guiee (Herman Guidry):
-00:00 - background information - From Lake Charles, family and stage names
-01:10 - musicians in the family - Brothers and Father played music. His dad played and made fiddles
-02:45 - His brother, Calvin Guidry, played with Clifton Chenier; Lil Buck Senegal
-04:30 - Started learning accordion two years ago
-05:00 - Playing guitar and slide trombone with Katie Webster, says that she inspired his playing
-07:55 - Big Ike and the Episodes - played R&B
-09:00 - First recording with Eddie Shuler with "The Young Generation"
-10:50 - Herman's own first band - Cold Love (circa '76)
-11:50 - Magic - "I'm Loving You and You're Loving Him"
-14:45 - Working with Boozoo Chavis and Lil Buck Senegal
-17:45 - playing in various Zydeco bands - Leo Thomas, Lawrence Ardoin, Rockin' Sidney, C.J. Chenier
-22:00 - Recordings he's made with Goldband - The Freeze and Harlem Shuffle
-25:25 - Played on some of Jo-El Sonnier's old recordings when they were remixed
-26:35 - Playing music is his job - freelances and focusses on his recording career; Eddie Shuler; Albums and singles
Interview with Jockey Etienne
Jockey Etienne:
-00:00 - background information - Born in Saint Martinville
-00:45 - Exposure to music at school
-01:25 - Explains his nickname
-03:00 - Early session with J.D. Miller
-04:00 - playing with Guitar Gable
-04:45 - Joe Simon, Leo's Rendez-vous
-06:10 - Touring with Solomon Burke
-07:30 - Working with Bobby Powell
-09:10 - Furnest and the Thunders - Furnest's injury
-10:40 - Playing with Shelton Skerrett, J.J. Callier, Bobby Price, Gene Morris
-13:15 - Forming of the Creole Zydeco Farmers
-13:45 - European tours - Germany, Holland, France, Luxembourg
-16:45 - Creole Zydeco Farmers members - Morris Francis; Chester Chevalier, Joe Richard, Murphy Richard
-22:40 - Going overseas with Furnest Arceneaux
-24:10 - Steve Nails - Dockside Studios
-25:20 - Jazz Fest
-27:10 - Sullivan Club in Memphis
Interview with Bobby Charles
Bobby Charles:
-02:00 - First record in 1955 - meeting with Phil Chess, thought Bobby would be black
-05:00 - How Bobby hooked up with Chess Records - Charles Rutledge, Dego's Record Shop
-06:00 - First band - Harry Simoneaux
-07:15 - Recording "See You Later, Alligator" with Paul Gayten in New Orleans
-10:40 - Left Chess in the late 50's, went to Imperial Records
-11:30 - Clarence "Frogman" Henry recording Bobby Charles songs
-14:00 - Owned only a third of many of the songs that became hits for Fats Domino and others
-14:55 - Structure of his songs - comes naturally, doesn't focus on making a song sound a certain way
-15:50 - Stan Lewis
-21:00 - Tennessee Blues
-22:00 - Didn't trust record execs that he was working with. Talks about being taken advantage of
-26:30 - Discussing the rumor that Bobby is a hermit
-29:45 - Discussing Clifton Chenier
-34:00 - Discussing Rockin' Dopsie and how he proclaimed himself "The King of Zydeco" after Clifton passed away
-35:35 - Chuck Berry - Said Bobby Charles was booed off of the stage at the Apollo, when that never happened. Bobby said he had him confused with somebody else
Interview with Beau Jocque
Beau Jocque:
-00:00 - Background information - Born in Basile, LA 11/1/1957. His father played music but stopped after he got married
-01:35 - Influenced by Gustave "Bud" Ardoin (Morris Ardoin's brother), was killed in a car accident
-02:40 - "Bud" Ardoin learned to play the accordion from Nathan Abshire - Talking about Nathan's junkyard
-04:00 - Other instruments played in high school - tenor sax and tuba
-05:00 - Bud encouraged him to play the accordion
-05:40 - Sunday afternoon community dances at Morris Ardoin's place
-08:00 - Plays a B flat diatonic accordion
-08:45 - Hearing his father play the accordion for the first time
-10:00 - Had a band with Warren Ceasar in high school
-11:30 - Mastering the instrument
-12:45 - Boozoo Chavis and John Delafose - hottest bands at the time
-13:45 - Injury from work at the refinery - unable to walk for 9 months
-14:55 - Recording for Lee Lavergne "Pop That Coochie"
-16:15 - Hip Hop influence in his music
-17:25 - Plaisance Zydeco Festival; Hamilton Club
-18:50 - Festival International
-20:15 - Six-piece band
Interview with Donnie Jennings
Donnie Jennings:
-00:20 - Background information - Born and raised in Opelousas
-00:35 - musical influences - His brother, Terry Jennings. Started learning to play drums at age 5
-01:30 - Parents and other siblings also played music - would all play songs together
-02:20 - Instruments played in school - trombone and drums
-03:00 - First band with other kids, age 8, making money playing gigs
-04:30 - Early band names - The Young Revolution, Toast to Freedom
-05:30 - Going door to door and playing songs for neighbors
-08:00 - Starting to play guitar
-09:50 - Playing 6 nights per week, quitting high school
-10:40 - Making a living playing music
-11:50 - Hacienda Lounge - Carencro
-13:00 - Going to Nashville - recording his first 45 for Indigo Records. Hargus "Pig" Robin
-15:00 - Bad record deals
-17:00 - Playing keyboards with a Christian rock band "Wisdom" on tour
-18:50 - Playing bass with Terrence Simeon - Blue Bayou Movie
-21:20 - Left Terrence's band, wanted to play more guitar
-22:00 - Forming a new band - Donnie Jennings and Louisiana's Blues at Eleven
-23:00 - Touring with Chubby Carrier
-24:50 - Sherman Robinson, Joe Murphy
Interview with Rosco Chenier
Rosco Chenier:
00:30 - Talks about musicians in the family; Learning from them; His father, Arthur "Bud" Chenier, played accordion
-Played at house dances; Duke Stevens father, John Stevens, played fiddle with Arthur; Mention Lanor records in Church Point
02:00 - Duke Stevens was on Rosco's early recording
02:30 - Larry tells a story of meeting John Hart's backing band at a truck stop
03:35 - Talk more about John Stevens and Bud Chenier playing french music; Music was in the family
04:45 - Larry says Roy Carrier might take Duke to London with him
05:20 - There wasn't much black music on the radio back then
-A lot of his songs came from Good Rockin' Bob, Lonesome Sundown, Lightnin' Slim, Leroy Washington (His first cousin, his mom's nephew)
06:00 - All of those people recorded with J.D. Miller; Leroy died pretty young; He played with Good Rockin' Bob in Leesville Friday, Saturday, and Sunday
-He died on a Saturday night; Lil Bob was playing with Good Rockin' Bob back then; Rosco was born in 1941; He started as a singer
07:50 - Started playing with Rockin' C.D. when he was 15 in the mid-1950s; The record came out in about 1962; This was his first real band
09:10 - White Eagle Club in Opelousas - Little Richard, Ray Charles, B.B. King played there; Southern Club - Fats Domino played there; Guitar Slim
-Rosco was too young to go to the clubs; The man who ran the club, Bradford, told him he could stand there but not dance
-White Eagle (Blanchard St. - it was known as "the Hill") was a black club and Southern Club (Highway 190) was a white club
11:40 - Not as many clubs as there used to be; Rita's Continental Lounge in Opelousas
-He's been gigging on Sundays at the Charcoal Lounge in the Hill on Academy, which was owned by a man named Mason who owned hotels
-Rosco plays Franks every Thursday night; Bob's pub in Lafayette
13:00 - He hasn't had to call for a gig in two months; Turning down jobs; Did a workshop at Festival Acadien with Lil Buck, John Henry, and a few others
-Talk about Baton Rouge; Tabby's Blues Box; Rosco wants an agent to book some tours
-Larry has been started to book zydeco up north; Murphy's mother is cousins with Rosco's dad and is related to C.D. too
16:40 - J.J. Caillier record; Rosco started learning guitar to gut bucket blues; Popular back then in the area until mid-1960s
-He started playing guitar on the bandstand around 1964; He played with C.D. for 12 years
20:00 - Blues in competition with zydeco; He mostly plays at white clubs (Franks); White kids are getting into blues; Not as popular with black kids
22:50 - Talk about his band; Early 1970s; Said Clifton Chenier would play zydeco and people would laugh, but he kept playing
-Rosco wouldn't change his style for the audience; He knows at least 350 songs
25:15 - He was a teenager when he started playing guitar; His mom bought him a Kay guitar for $21; His first electric guitar was $57 ($5 a month)
27:20 - He retired from playing with C.D. 5 years ago; He was a truck driver for almost 20 years and has some back and leg injuries; So started playing music full-time
29:00 - After C.D.'s band, he played with Good Rockin' Thomas for a year and a half; After that, Good Rockin' Bob; Sometimes with Lonesome Sundown
-C.D. started being a DJ; Rosco played with C.D.'s brother Robert's band for a year; Then played with Duke Stevens for about 3 years (about 1979-1980)
31:00 - Now he plays with his own band: Wadsworth Johnson - tenor sax, Patrick Lavergne - bass, Peter Burby? - drums; Blue Angel club in Lafayette
33:00 - Talk about the old clubs he played with C.D.; Lafayette clubs: Chipped Mirror, Bon Temps Rouler, Cliff's Country Club
-Opelousas clubs: Gabriel's Lounge, Hollywood Inn Club, Southern Lounge; Frank Andrus' Bar and Lounge in Port Barre; Teenage parties, school dances
34:35 - His band started in 1980; Played for 3-4 years; Original band members started moving, so he replaced them
36:45 - Recorded a single on ?; Then recorded a single on his own label called Chenier about 6 years ago; 500 pressings; A side: You Don't Understand
-Recorded it in Eunice and Floyd Soileau pressed it; Then recorded CD in Vidrine Label; Avenue Jazz label picked him up and he's recording a new CD at Vidrine studio
41:10 - Touring overseas; Explains how he got booked overseas
43:15 - Talk about Raymond Randle and his family
45:20 - Talk more about booking
46:40 - Audio cuts out