Thursday, October 20, 2016

"One Step De L'Amour" - Hackberry Ramblers

The Hackberry Ramblers were one of RCA's best selling French and English western swing group in the 1930s.  It all started with Luderin Darbonne and Edwin Duhon. Luderin recalls learning to play music:

Most of the fiddling that I learned, I actually first learned to play the hillbilly style.  We lived in Texas.  That's where I learned numbers like Wednesday Night Waltz, Beaumont Rag, stuff like that.  Then we moved to Hackberry.  After I moved there, that's when I met Edwin Duhon.  He played the accordion at that time.  We joined together.  I'd play the fiddle and he'd play the accordion, before he switched over to the guitar.1

Darbone and Duhon's musical progress has reflected both the ebb and flow of Cajun music, and its melding with all kinds of musical forms: country, the jazz-tinged form known as western swing, and a palpable black influence.2  
When I lived in Hackberry, they'd have a dance there every Saturday night, and the owner of the place'd get an orchestra. They were all black. And in the dance-hall, there were no blacks dancing, all whites. There was no mixture. When they'd get to the intermission, the musicians would sit in their cars. They didn't associate with the whites at all. But I'd learn a lot of my tunes from listening to them.2
Moi j'avais une chère tite fille, une tite fille qui m'aimait,
Quoi faire te brailles, (Quoi faire te brailles),
Quoi faire te brailles, (Quoi faire te brailles),
Quoi faire te brailles, chérie, si te connais j'aime un tas.

Tu m'as fait m'en aller, m'en aller avec un autre,
Quoi faire te brailles, (Quoi faire te brailles),
Quoi faire te brailles, (Quoi faire te brailles),
Quoi faire te brailles, chérie, si te connais j'aime un tas.

Tu m'as dit (que) te m'aimais, mais moi je connais (que) c'est pas vrai.
Quoi faire te brailles, (Quoi faire te brailles),
Quoi faire te brailles, (Quoi faire te brailles),
Quoi fairee te brailles, chérie, si te connais j'aime un tas.
Floyd Shreve, Luderin Darbone,
Danny Shreve, Claude "Pete" Duhon

The Ramblers' 1938 recording, "One Step De L'Amour" (#2056), has a similar swing feel as their recording of "J'ai Pres Parley".  The session had Danny Shreve on guitar, Floyd Shreve on guitar, Claude "Pete" Duhon on bass, and Luderin Darbonne on fiddle and vocals.   
I had a dear little girl, a little girl who loved me,
Why do you cry, (Why do you cry),
Why do you cry, (Why do you cry),
Why do you cry, dear, if you knew I like it alot.

You made me go away, went away with another,
Why do you cry, (Why do you cry),
Why do you cry, (Why do you cry),
Why do you crydear, if you knew I like it alot.

You told me that you loved me, but I know it's not true,
Why do you cry, (Why do you cry),
Why do you cry, (Why do you cry),
Why do you crydear, if you knew I like it alot.

This session would be their last before the war and end their 3 years with RCA.  The group wouldn't record until a small label called DeLuxe from New Jersey would find the group still playing music and entice many of the original members to record again in 1947.

  3. Lyrics by Stephanie D and Herman M
Louisiana Cajun Music Volume 8: The Hackberry Ramblers - Early Recordings 1935-1948 (Old Timey, 1988)

Wednesday, October 19, 2016

"Mayor of Bayou Pom Pom" - Walter Coquille

An article about one of the earliest Cajun humor recordings. Although it's not music, it's important to note it's existence among the other pre-war recordings of the culture.

(NOTE: Material borrowed from Pierre Partout)

Walter Coquille was the originator of the beloved fictional character Telesfore Boudreaux who was Mayor of the fictional south Louisiana settlement of Bayou Pom-Pom.  Coquille thrilled thousands for 30 years with his stories of life in rural south Louisiana.

He was born in 1886 in the small rural community of Smoke Bend, Louisiana which sits along the Mississippi River in Ascension Parish.  He was the youngest of seven children born to Robert Coquille and Alice Roberson.  His grandfather immigrated from France and settled in St. James Parish.  His family moved to New Orleans when he was young and Walter attended St. Alyosius.  After his father's death in 1900, his mother ran a boarding house.  According to the 1910 census, the extended family lived under the same roof along with several boarders.  He married Jeannette Phelps in 1910 and started his career as a bank clerk, but later joined the Royal Typewriter Company rising to position of manager in the 1930s. 
Fernand Remanjon, Walter Coquille,
Mrs. Edna Bourg Coquille,
Mrs. Noelie Coquille Coerver

His travels as a salesman took him throughout Louisiana's bayou country, where he fell in love with the people of his youth and became fascinated with the Cajun dialect.  More than likely Coquille's avocation was influenced by his brother-in-law, Fernand Remanjon, whom he lived with in New Orleans.  Remanjon, a native of France, married Walter's sister, Nellie.  Remanjon worked as a travelling salesman for a drug store in New Orleans, work which took him through the countryside of south Louisiana.  Remanjon saw the uniqueness of the Cajun people and shared his stories with Walter.

Walter's mother, Alice, passed away in 1927, a couple of years before publishing his first book, "The Mayor of Bayou Pom-Pom.  He gained popularity from his columns, books, and the song, "Eh La Bas". He published his first book, "The Mayor of Bayou Pom-Pom," in 1929.   His first recordings of his "Creole monologue" were with Brunswick  (#319).  In March, he recorded a two-part series of humor using the same book title.   By September, he headed back to New Orleans and recorded part 3 through part 6, however, Brunswick only released 3 and 4, one about traffic and the other about hunting (#359). 

Telesfore Boudreaux, Bayou Pom Pom's mayor, kept Coquille quite busy with speaking engagements.  The Thibodaux Daily Comet reprinted a letter from beloved Mayor Boudreaux accepting an invite to speak at the Houma chamber of commerce.  The letter is signed by "le maire" with a mark "X" but witnessed by Coquille.  By the end of 1930, he recorded two more records, continuing his series about the mayor, one record entitled "The Re-Election Of The Mayor Of Bayou Pom Pom" (#494) and "The Surprise Party Of The Mayor Of The Bayou Pom Pom" (#591).  
Walter Coquille

In 1938, he followed it up with "The Mayor of Bayou Pom-Pom Speak's," which was reprinted 1954.  His song writing is limited to a translation of "Eh La Bas," but it furthered his authenticity. Many versions of "Eh La Bas" have been recorded over the years.  Originally sung in with Creole lyrics, it was later translated to French and English.  Danny Barker sings a version of the song.

Coquille died November 22, 1957 after a long illness.  Announcement of his death was carried in newspapers throughout the country.  His friends remarked that he told more free stories than he was ever paid for.

His columns can be found in the Loyola University Maroon. 


Saturday, October 15, 2016

"Osson" - Joe Falcon

Joe Falcon would take this much older melody and create the song known as "Osson" for Columbia in April of 1929 in Atlanta.  It was one year after his recording of "Lafayette".   He and his wife Cleoma accompanied her brothers for their first studio session where they recorded a couple of their own tunes. Sometimes listed as "Osson One Step", the fast pace tune carries a somber story of a man feeling unloved.

Oh, mais pauvre Osson,

Mais les belles filles si canailles,

C’’est pitié quand je les vois,

Oh méfie-toi mais les ‘tites brunes est si canailles,

Et les ‘tites blondes, ya pas moyen, sont flères.

Oh, mais pauvre Osson,
Il me fait pitié quand pour moi,
J’vas jongler à ce qu’il m’a fait,
Mais c’est de voir mais hier au soir cette belle tite fille,
Quand elle m’a dit joli cœur,
Moi j’veux plus, plus t’aimer.

Oh, tu m’as quitté moi tout seul,
Comme un pauvre misérable, plus d'espoir de la revoir. 
Hier j’m’ai trainé, bien jonglé,
Mais y avoir l’air pour elle-même,
J’mérite pas non tout ça,
Comme elle a fait hier au soir.
Ossun is a community north of Lafayette.  The tune must have been floating around the countryside since later that year, Angelas LeJeunne would record the tune as the more well-known "Bayou Pom Pom One Step" and Adam Trahan did the same with his "The Waltz of Our Little Town". By 1934, Amede Ardoin traveled to NYC and recorded the song for Decca with many similarities, giving it the title "Tortope d'Osrun".   After the war, Austin Pitre sped up the tempo and created his "High Point Two Step".  Falcon's vocals were always emotional, while his accordion remained unyieldingly dominant and Cleoma's guitar maintained a consistent strumming rhythm.1  Her brother Ophy joined in on fiddle.

Oh, poor Osson,

Well, the beautiful girls are just scum,

It's a pity when I see them,

Oh, but beware, the little brunettes are scoundrels,

And the little blondes, no way, they're snobby.

Oh, poor Osson,
It makes me pitiful,
I'm reminiscing about what she did,
But, seeing, last night, this beautiful little girl,
When she told me that, pretty girl,
I wanted to love you more.

Oh, you left me all alone,
Like a poor wretch, a love story,
Yesterday, I laid low, although reminiscing,
But, there she appeared,
I don't deserve all of that,
As of what she did last night.
Even Lawrence Walker possibly used the melody to create his signature "Osson Two Step", sometimes referred as the "Opelousas Two Step" in 1958.  Iry Lejeune, however, would borrow the melody from his uncle Angelas for his "Bayou Pom Pom Special".  Like the old Cajun and blues singers, he wrote his own lyrics but was often unaware of the origins of the tunes. Joe stated:
The number was there but I had to make up the words.  Like "Osson", it was the name of a little town, but you just have to find a name to put on the record.  It's an old two-step.2

  1. South to Louisiana: The Music of the Cajun Bayous By John Broven
  3. Lyrics by Stéphanie D
Pioneers of the Cajun Accordion (Arhoolie, 1989)
Roots 'N' Blues/The Retrospective 1925-1950 (Legacy/Columbia, 1992)
Old-Time Southern Dance Music: The String Bands, Vols. 1 & 2 (Arhoolie, 1997)
Les Cajuns Best Of 2002 Les Triomphes De La Country Volume 12 (Habana, 2002)

Tuesday, October 11, 2016

"Harry Choates Special" - Harry Choates

In one of many instrumentals Harry Choates recorded in his life, he put together a smooth bluesy number for his group to perform which he later entitled "Harry Choates Special" (#1330).  Recorded in Houston, Texas by Bill Quinn at his recording studio in 1947, it featured several of his seasoned band members such as Esmond Pursley on guitar, Joe Manuel on banjo, Pee Wee Lyons on steel, B.D.Williams on bass, Curzy Roy on drums and, Johnnie Manuel on piano.  According to author Tim Knight:
His "Harry Choates Special" in B-flat was an amazing performance.  The influence of Cliff Brunner was obvious.4
Johnnie Ruth Manuel,
Harry Choates
The piano solo is one of the few recorded by their pianist and wife of Joe Manuel, Johnnie Ruth Manuel.  Sometimes listed as "Johnnie Mae", she was born Johnnie Ruth Smyrl in 1927 to a family around Rankin, Texas and moved to San Angelo, Texas as a child.   By 1940, she was playing the piano which she learned from her grandmother who played in church.   After her father, a tenant farmer, moved to Lake Charles in search of work, she met Joe Manuel and they got married.2,3  

Joe knew Harry and his talent from playing together in Leo Soileau's group in the 30s and by 1946, they teamed up for his famous "Jole Blon" recording.  The following recording session, Joe convinced Harry to have Johnnie play piano in the group. 

Ronald Ray "Pee Wee" Lyons
Occasionally, Harry calls out Ronald Ray "Pee Wee" Lyons on steel guitar for a solo. He probably already know of the Manuels since they too were from Lake Charles.   The song features a fantastic chance for listeners to hear his abilities with the group.  After Harry's band broke up, he continued playing with Eddie Shuler's Reveliers in Lake Charles.  He even sang with Eddie on his recording "Help Us Oh Lord" in 1952. 

According to Shuler:
He was a real good musician. He’d let his fingernails grow, and they was just like the steel picks you used to pick the strings with on the steel guitar. It didn’t seem to bother him.1

  2. Johnnie Ruth Smyrl 1940 US Census
  3. Upton County, Texas Births
  4. Poor Hobo: The Tragic Life of Harry Choates, a Cajun Legend by Tim Knight
Fiddle King of Cajun Swing (Arhoolie, 1982)

Thursday, October 6, 2016

"Valse De La Pointe D'Eglise (Church Point Waltz)" - Amede Ardoin

After recording for Columbia records, Decca gained interest in recording Amede Ardoin's Creole tunes.  By 1934, Ardoin was headed to NYC solo where a slew of songs would be waxed.  It would be his last recording session ever.  During this last session, he recorded the tune "Valse De La Pointe D'Eglise (Church Point Waltz)" for Decca (#17023). It was about a small town in south Louisiana known as Church Point. 

While it is discussed here, it's important to know, his death is mysterious and controversial.  While plenty has been written about his death, some say the popular stories are lies and the truth is buried in the midst of time.   

Oh, moi, je m'en vas à la maison,

Moi, donc, je m'en vas, jolie, je m'en vas,

O, catin, ye yaille, moi je voulais pour te rejoindre, jolie.

Oh, c'est à Church Pointe, eux-autres s'en aller,
Oh, c'est la-bas, c'etait l'heure je m'en vas,
C'etait l'heure aller à Church Pointe.

Oh, allons, allons à Church Pointe pour voir,
Oh, pour la voir, oh, c'est la-bas chez Bellard.

Oh, maman, ayou moi je vas aller pour passer,
Ah, oui, quand j'ai arrive, oh, j'arrive à la porte,
Ils sont toujours la pour me recevoir à la porte,
Quand moi j'arrive et ça veut pas moi je rentre,
Parceque ça trouve moi, j'suis saoul à mourir.
Amede Ardoin

The widely accepted account of his death begins on a night when Amédé was playing at a white dance hall. At one point, he asked Celestin Marcantel, a white farmer who let Amédé live in his barn, for a rag to wipe off his sweat; one of the farmer’s daughters handed him a handkerchief.  Several white men saw the exchange. They waited for Amédé afterward, then beat him savagely; some say they ran over him with a Ford Model A, crushing his vocal cords. Amédé did not die immediately, but the beating left him, as one man described, “stone crazy.”2 

Not everyone agrees with this story.  According to Boozoo Chavis:
In that time, them colored people wouldn't do things like that, they'd kill you.  What they done, they poisoned him in his drink.  Because them white women used to go there by the bandstand and ask him to play a number.  They like his music. They wouldn't shoot him, because he had a white partner with him, so they poisoned him.1
Dennis McGee believes he was poisoned by a jealous black fiddler:
There was a black man who played the fiddle and he wanted to play with Amede.  Amede told him "I'm not going to play with you.  if you and I play together, two blacks, the whites are going to kill us".1
The last time I saw Amede he was in Eunice, plated between two railroad tracks.  I said "What's wrong with you Amede?" He was right there and he was lost, lost, lost.  The black man had given him a dose of poison in the whiskey.1
Milton Ardoin and others believe the handkerchief was a polite metaphor for the obvious truth: that Amede had relations with white women, and that's what killed him.

Oh, I'm going to the house,

Me, therefore, I'm going, my pretty, I'm going,

Oh, doll, ye yaille, I wanted to join you, my pretty.

Oh, it's at Church Point, they are all going,
Oh, it's over there, it's time I get going,
It's time to go to Church Point.

Oh, going, going to Church Point to see,
Oh, to see her, oh, it's over there at Bellard's home.

Oh, mom, where am I going to go to lay down,
Ah, yes, when I arrive, oh, I arrive at the door,
They are still always there to welcome me at the door,
When I arrive and they don't want me to come in,
Because they found that I'm drinking to death.

Central Louisiana State Hospital Cemetery

By some accounts, he wound up in a mental institution in Pineville, Louisiana. The only concrete evidence of this, however, is a death certificate issued May 30, 1941 from Pineville for a person named "Amelie Ardoin." And the certificate lists Ardoin as being 20 years older than he actually was at the time. Others say Ardoin eventually left Pineville and headed home.4  Recently discovered, a death card with case no. 13387 reads:
Name: Amede Ardoin. Age: 43. Civil Condition: M. Race: C. Admitted: 9-26- 42. Parish: St. Landry. Residence: Eunice, La. Birthplace: La. Discharged: (blank). Previous Att’ks: None. Heredity History: None. Religion: Catholic. Correspondent: None given. Died: 11- 3-42. Disposition of Body: Buried here.5

“Here” is the common grave at Central Louisiana State Hospital, the mental health facility in Pineville.  Many historians have tried and failed to located his grave marker.5  Years of attempts to recover the body of Amédé, as he is widely known, have come to nothing.   Amédé’s is known only by its general vicinity: the area where the blacks were buried.2  

  1. The Kingdom of Zydeco By Michael Tisserand
Amadé Ardoin – Louisiana Cajun Music Vol. 6 : Amadé Ardoin – The First Black Zydeco Recording Artist (1928–1938) (Old Timey)
I'm Never Comin Back: Roots of Zydeco (Arhoolie, 1995)

Mama I'll Be Long Gone: The Complete Recordings of Amede Ardoin (Tompkins Square, 2011)

Saturday, October 1, 2016

"Mon Favori" - Falcon Trio

The Falcon Trio.  The group consisted of Joe Falcon on accordion, Cleoma Breaux Falcon on guitar and vocals along with Moise Morgan on fiddle.  Not to be confused with her song "Ma Valse Prefere" recorded in 1934, this song was recorded in New Orleans two years later in 1936 along with some other cover tunes.

Oh moi tout seul à la maison

Plus personne pour m’aimer

Comment ça moi j’vas faire? 

M’quitte pas dans tout ça, ça je prefere,
Ne m’quitte pas à la maison, moi tout seul, malheureux.

Tu vas voir ton erreur avant longtemps,
Ce sera trop tard chère petite fille, tu regretteras, malheureux.

Tu vas venir à la maison avant longtemps,
Me demander des pardons, des excuses pour quoi t’as fait.

P'tite mon dieu, tu connais y a juste toi, 
Dans le pays pour moi donc, oui pour moi oui aimer.

Et moi je veux encore ta petite fille
Pourquoi donc tu veux m’donc maltraiter, comme ça fait mal.

Tu connais, t’as pu voir ton erreur, 
Ton erreur toi t’as fait y a pas longtemps, malheureux.
Cleoma and Joe Falcon

It's sometimes referred to as "Le Meilleur" and also referred to as "Ma Valse Favori" or "My Favorite Waltz".  The melody is the same tune as "La Valse De Marais Bouleur or "Marie Buller". It's a faint rendition of Amedie Breaux's "Ma Blonde Est Partie" which her brother covered seven years earlier.   Given she's singing about a man losing his chère petite fille, it's no surprise if she borrowed from her brother's song.

Oh, I'm at home all alone,

No one left to love me,

How am I going to handle this?

Do not leave me in all of this, that I'd prefer,
Do not leave me in the house, all by myself, oh my.

You'll realize your mistake before too long,
It'll be too late dear little girl, you'll regret this, oh my.

You're coming home before too long,
Ask for forgiveness, apologize for what you did.

Little one, my God, you know you're the only one,
In the country for me, yeh, for me, yeh, to love.

And I still want you little girl,
Why do you want to mistreat me, it hurts so much.

You know, you've seen your mistake,
Your mistake you did to yourself not long ago, oh my.

Unlike "Marie Buller", "Ma Valse Favori" comes the closest to the lyrics chosen for Jolie Blonde.   Since she is historically credited for writing the lyrics to Amedie's song, this may explain why this is her favori.

  1. Lyrics by Stéphanie D

Tuesday, September 27, 2016

"Sur Le Borde De L'Eau (On the Riverside)" - Blind Uncle Gaspard

Alcide Gaspard, otherwise known as Blind Uncle Gaspard was born just south of Marksville, Louisiana. Blinded at the age of seven, Gaspard grew up playing and singing with his brothers, and in local string bands.  Gaspard came from a community descended from the original French settlers of Louisiana, and this particular dialect of the French language seems to have completely disappeared. In the 1920s Gaspard teamed up with a left-handed fiddle player named Delma Lachney, and in 1929, as part of a deal with a furniture store owner, the pair went to Chicago, and recorded a handful of 78s for the Vocalion label.3 It's there he recorded his haunting tune, "Sur Le Borde De L'eau" (#5333).  According to author Ray Templeton:
Sur le Borde de l'Eau sounds to my ears like a traditional song that could originate back in France - with its modal tune, and tragic and possibly allegorical narrative about the loss of a ring and the death of a handsome young sailor.  Gaspard's guitar accompaniment is no more than a rudimentary strum, although he creates quite an interesting and pleasing effect by ending each section on a major chord.4,5  

Un jour, je me promène, tout le long de mon jardin,
Tout le long de mon jardin sur le bord de l'île,
Tout l'long de mon jardin sur le bord de l'eau,
Sur le bord d'un vaisseau.

Je m'aperçois d'une barge, de trente matelots,
Je m'aperçois d'une barge, de trente matelots,
De trente matelots sur le bord de l'île,
De trente matelots sur le bord de l'île,
Sur le bord d'un vaisseau.

Les deux plus jeunes des trente,
Chantaient-z-une chanson,
Chantaient une chanson sur le bord de l'île,
Chantaient une chanson sur le bord de l'eau,
Sur le bord d'un vaisseau.

La belle chanson qu' tu chantes, j'aimerais la savoir,
La belle chanson qu' tu chantes, j'aimerais la savoir,
J'aimerais la savoir sur le bord de l'île,
J'aimerais la savoir sur le bord de l'eau,
Sur le bord d'un vaisseau.

Ma belle, rentrez dans ma barge, je vous la montrerai,
Ma belle, rentrez dans ma barge, je vous la montrerai,
Je vous la montrerai sur le bord de l'île,
Je vous la montrerai sur le bord de l'eau,
Sur le bord d'un vaisseau.

La belle fut embarquée et s'est mise à pleurer,
Elle se mise a pleurer sur le bord de l'île,
Elle se mise a pleurer sur le bord de l'eau,
Sur le bord d'un vaisseau.

Alcide Gaspard

It's similar to later French recordings, such as "La Fille aux Chansons" or "Marion s'y Promène" and "Le Bateau Chargé de Blé", in which deal with the same basic story; a girl is lured on board a ship by a captain who has designs upon her. In some forms, she escapes by cunning; in others she comes to a ghastly end. Given the line "sur le bord d'un vaisseau", some have suggested the last word could be "maison" or "ruisseau" which would have him reference the "edge of the stream".  Gaspard's use of language differed than most of the Cajun recordings of the time.  The majority of settlers in Avoyelles, like Evangeline, Pointe Coupee, and the upper part of St. Landry were all Creole French, most descendants of former French soldiers who had served at the Forts in IL (Upper LA), Arkansas, and Mobile. The French spoken in these parts is still, for the most part, slightly different from the French spoken by the Acadians.6

One day, I walked along my garden,
All along my garden on the edge of the island,
All along my garden on the edge of the water,
On the edge of a ship.

I see a boat of thirty sailors,
I see a boat of thirty sailors,
Thirty sailors on the edge of the island,
Thirty sailors on the edge of the island,
On the edge of a ship.

The two youngest of the thirty,
Sang a song,
Sang a song on the edge of the island,
Sang a song on the edge of the water,
On the edge of a ship.

The beautiful song they sang, I wanted to know,
The beautiful song they sang, I wanted to know,
I'd like to know on the edge of the island,
I'd like to know on the edge of the water,
On the edge of a ship.

My beauty, get into my boat, I'll show you,
My beauty, get into my boat, I'll show you,
I'll show you on the edge of the island,
I'll show you on the edge of the water,
On the edge of a ship.

She boarded and she started to cry,
She started crying on the edge of the island,
She started crying on the edge of the water,
On the edge of a ship.

Gaspard died in 1937, buried near his home in Plaucheville, with his music almost forgotten to time.   "Sur Le Borde De L'eau" was recently featured on the 2014 soundtrack of the HBO Television series True Detective, bringing Gaspard's musical endeavors into the mainstream public for the first time. 

Music journalist Amanda Petrusich discusses the song in her book about collecting 78 rpm records, Do Not Sell At Any Price. The song was among those featured in a 2015 interview with Petrusich on the NPR program, Fresh Air: 

I think this record contains a particular quality that i sometimes hear in pre-war American music, ...that i have failed to find in almost any other genre or time period which is this sort of unspeakable yearning. Of course, with this record, he's singing in French, and a French that's speckled with Creole idioms.  
Whatever he's communicating, it's extra musical.   It's something in the tone of his voice, the way that he's plays the guitar. It's extraordinarily sad.  When I try to imagine the circumstances that would lead someone to sing this way, it's devastating.3

The song was resurrected by the band Feaufollet.  Interest in Gaspard and his unsung music career have grown in significant popularity since the recent rediscovery of his music; as is featured on rare Cajun recordings re-released gradually into the Millennium.1

  2. Discussion with Malcolm Douglas
  3. The Lost Bard of Louisiana By KIRBY RAMBIN.   (
  6. Discussions with Fr. Jason Vidrine
  7. Lyrics by 'pitipoid'
John Bertrand / Blind Uncle Gaspard / Delma Lachney Early American Cajun Music (Yazoo, 1999)
Blind Uncle Gaspard, Delma Lachney ‎– On The Waters Edge (Mississippi, 2014)