Edition #7B (May 2021)
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EDITION #7B (MAY 2021) Cover design by Bob McGrath 0 CAJUN RECORDS 1946-1989 – A DISCOGRAPHY © Nick Leigh 2020 INTRODUCTION TO THE REVISED EDITIONS I began collecting blues records in 1959 but it was another 7 years before I heard Cleveland Crochet & the Sugar Bees on the Storyville anthology “Louisiana Blues”. My appetite whetted, I wanted more. Buying the Iry Le Jeune LPs on Goldband a few months later (not one but two volumes – and purchased as imports on a student’s allowance!) fuelled an appreciation of Cajun music that has remained undiminished. In the mid 1960s, however, there was little information available about the great music I was listening to, other than the catalogues I obtained from Goldband and Swallow, and the early articles by Mike Leadbitter and John Broven in “Blues Unlimited” and “Jazz Journal”. Thanks to people like Mike, John, Neil Slaven, Rob Ford and Les Fancourt there is now a lot of information available to provide the background to blues and rhythm & blues recordings. However much of the information about the post World War 2 music of South Louisiana in general and the French (Cajun) recordings in particular, remains elusive. So far as I know no single ‘discography’ of post-war Cajun record releases has been published and I thought I would try to correct this oversight. This is notwithstanding the increasing amount of well researched material about the music in general and individual artists. Therefore I take only limited credit for the information included herein about the recordings. My aim has been to bring that material together in a single document. From the start I realised that it is already a little too late to gather all the requisite names, recording dates etc., since so many of the musicians and record company men of the period covered are sadly no longer around to provide the missing details. However, I felt compelled to attempt to set down as much information as I could before even more years elapsed. The recordings listed herein reflect the changes in style (rather than content or feeling) of the Cajun music scene. From the string bands of the 1940s, the emergence of the accordion stars, and the driving dance music and new influences reflected in the 1960s, to the rise of ‘new traditionalists’ in the 1970’s and the zydeco influences of the late 1980s – it is all captured on vinyl and then CD at some point. And there are many fine new Cajun bands recording right up to the present day. My own lack of knowledge notwithstanding, it has to be said that information regarding many of the releases will forever remain shrouded in mystery. Cajun singles more often than not sold less than 500 copies and primarily only within the South Louisiana-East Texas area. Even the larger record companies involved, such as Khoury’s/Lyric, Goldband, La Louisianne and Swallow, or J.D. Miller’s catalogue were small-time operations when compared with the likes of Chess, Imperial, Modern, Specialty, Atlantic etc. This is not to denegrate them but it is inevitable that documenting recording sessions was not a priority. Many of the record labels in the discography are long gone and most probably any incidental recording information with them. However, one can but hope. I must include a brief note about the dates and music covered by the discography. Selecting a starting point of 1946 was not too hard, since this marks the re-commencement of recording activities after WW2 and the rise of local independent labels. Choosing a date to finish was a little more subjective. Initially I settled on 1979 but was persuaded, rightly, to extend this to 1989, the year that the 45rpm single ceased to be a significant record outlet. Doubtless some post-1989 recordings have been included inadvertently or some pre- 1990 releases overlooked due to a lack of available information on my part. The two sections of the previous editions have now been combined into a single discography. I should also emphasise that this is a ‘Cajun’ music discography in a fairly narrow sense. Artists often referred to as ‘Cajun Country’ are only included in the discography when the tracks in question are thought to be of direct interest to the Cajun collector. A list of narrated and comedy material is contained in Appendix 2.. I reckon I had to stop somewhere! Meanwhile, Cajun’s sister musical genre, Zydeco, is outside the scope of this work, but there is a comprehensive “Zydeco Discography” by Robert Ford and Bob McGrath published by Eyeball productions. The discography does not set out to give every release of any given title over the past 70 years. That is nigh on impossible given the sheer number of CD reissue compilations since the late 1980s. The aim is to try and document Cajun music recorded during the selected period, along with as much information as possible on musicians, dates etc. and the original releases, be that as 78/45 rpm singles or in album format. LP and CD releases devoted to a particular artist’s work are included. Details of LP or CD compilations are given selectively, mainly where they are the original source of a particular recording, or the main point of re-issue. I freely acknowledge the number of ‘possiblies’ and ‘probablies’ scattered throughout the pages, along with a lack of precise recording dates and locations in many instances, and even some matrix and catalogue numbers. These omissions confirm that this is very much an on-going project. I am sure that other collectors will bring me up to date wherever appropriate.Once again I am indebited to the many folk who have sent me corrections and additions over the past two years. (See page 2). It is now almost 3 years since the first edition of the Cajun Discography appeared on the Blues & Rhythm website, so it is time for Edition #7 which I hope you will find is ‘tidier’ and with fewer typographical blips than before. Recent updates and Cajun French spoken material are now included in the main text and there are two new appendices. The index has been revisited and corrected where necessary. You may also notice a number of clear spaces every so often – these are to enable me to update entries without disturbing the entire text. However, please feel free to use them to jot down your own notes should you so wish. Once again, my sincere thanks to Tony Burke and all at B & R for publishing this work, and thanks also to all of you who have taken the time and trouble to send me corrections and updates. Please continue to send any further updates or corrections to me direct at the e-mail address below. If requested I can forward copies of any revised page(s) direct. As before, no material should be sent via Blues & Rhythm. Nick Leigh, Bedfordshire, England ([email protected]) 1 NEW FOREWORD TO THE 5th EDITION By John Broven Author of South to Louisiana, Rhythm and Blues in New Orleans (formerly Walking to New Orleans) and Record Makers and Breakers. Long Island NY July 2019 www.johnbroven.com In 2017, after a few false starts through the years, Nick Leigh published the first ever post-World War II Cajun records discography, covering the period from 1946 through 1989, when the shellac 78 rpm and vinyl 45 rpm singles, then the LP, reigned supreme. Nick’s work, in corroboration with Blues & Rhythm magazine, is an online publication where updates and corrections are easily made and is now in its fifth edition. Cajun Records 1946-1989 joins a 2016 publication, Zydeco 1949-2010 by Robert Ford & Bob McGrath (Eyeball Productions) in giving us an unprecedented look into the South Louisiana and East Texas recording scenes. Incidentally, the surprisingly numerous pre-World War II Cajun releases have been documented in the monumental Country Music Records, A Discography, 1921-1942 by Tony Russell with Bob Pinson (Oxford University Press, 2004). The value of Nick’s publication has been recognized by the Association of Recorded Sound Collections (ARSC) in awarding the work Best Discography in the Country, Folk, Roots or World Music Category for 2018. Postwar Cajun recordings took off in the wake of Harry Choates’ ‘Jole Blon’ on Gold Star out of Houston, Texas which made No. 4 in the Billboard folk charts in 1947. The fact that the date of such a landmark recording (April 1 1946) was unknown until very recently, highlights the problem that Nick and other researchers have had with a Cajun discography: There is very little paperwork extant. This lack of documentation is particularly true with releases in the 1940s through the mid 1950s covering small indie labels such as Fais-Do- Do/Feature, Goldband/Folk-Star, Khoury’s/Lyric, Opera, and O.T. At times, it is difficult to guestimate the year of release. Many singles from the late 1950s onward are still covered in a similar murky darkness. Which makes this publication even more precious. In his introduction, Nick readily gives credit to other Cajun music researchers through the decades. One name stands out, that of Mike Leadbitter. I was with Mike on the day in 1963 when he received at his Bexhill-on-Sea flat a big box of promotional 45s from Eddie Shuler of Goldband Records in Lake Charles. Included were the first Cajun records we had heard, notably the Iry LeJunes and ‘Sugar Bee’ by Cleveland Crochet, an unbelievable Billboard top 100 hit in 1961. The Crochet was immediately accessible, being sung in English with a boogie beat,, but Iry’s recordings took longer to absorb.