Swamp pop musicians often adopted Anglo-American stage names that masked their Cajun surnames. Miller of Crowley, Louisiana (who also recorded swamp pop tunes for larger national labels, such as Ernie Young's Excello Records label of Nashville). In addition, they released recordings on local record labels, such as Floyd Soileau's Jin label of Ville Platte, Eddie Shuler's Goldband of Lake Charles, Carol Rachou's La Louisianne of Lafayette, Huey Meaux's Crazy Cajun label of Houston, and a number of labels owned by J. They performed to receptive crowds in local dancehalls like the Southern Club in Opelousas, Landry's Palladium in Lafayette, the OST Club in Rayne, and the Green Lantern in Lawtell. īy the late 1950s, swamp pop musicians had developed their own distinct sound and repertoires. At the same time, they switched from folk instruments like the accordion, fiddle, and iron triangle to modern ones such as the electric guitar and bass, upright piano, saxophone, and drumming trap set. As a result, these teenaged Cajuns and Creoles shifted away from Louisiana French folk compositions like " Jolie Blonde", " Allons a Lafayette", and " Les flammes d'enfer" in favor of singing rock and roll and rhythm and blues compositions in English. However, like other American youth in the mid-1950s, they discovered the alluring new sounds of rock and roll and rhythm and blues artists like Elvis Presley and Fats Domino. The musicians who went on to birth swamp pop listened to (and often performed) traditional Cajun music and Creole music (which later developed into zydeco) as children, as well as popular country and western ( hillbilly) songs by musicians like Bob Wills, Moon Mullican, and Hank Williams. Hulin's "I'm Not a Fool Anymore" (1963), and Clint West's "Big Blue Diamond" (1965), among numerous others. These include Johnnie Allan's "Lonely Days, Lonely Nights" (1958), Buck Rogers' "Crazy Baby" (1959), Randy and the Rockets' "Let's Do the Cajun Twist" (1962), T. In swamp pop's south Louisiana–southeast Texas birthplace, fans regarded many songs that never became national hits as classics. These included Jimmy Clanton's "Just A Dream" (1958), Warren Storm's " Prisoner's Song" (1958), Phil Phillips' " Sea Of Love" (1959), Rod Bernard's " This Should Go On Forever" (1959), Joe Barry's "I'm a Fool to Care" (1960), and Dale and Grace's "I'm Leaving It Up to You" (1963). ĭuring the genre's heyday (1958–1964), several swamp pop songs appeared on national U.S. But the genre has also produced many upbeat compositions, such as Bobby Charles' " Later Alligator" (1955), popularly covered by Bill Haley & His Comets.
It is exemplified by slow ballads like Cookie and the Cupcakes' "Mathilda" (recorded 1958), considered by many fans as the unofficial swamp pop "anthem".
Far from his home in Chicago, Jonathan adapts to life in a small town on the edge of the Louisiana wilderness where he dodges the advances of overly-hospitable Southern belles, learns that the best music comes from the heart, and wonders if the songs he plays in the bayou will be his last as he confronts his late uncle's arch nemesis-a monstrous alligator known to the locals as Vaurien de Lafourche.The swamp pop sound is typified by highly emotional, lovelorn lyrics, tripleting honky-tonk pianos, undulating bass lines, bellowing horn sections, and a strong rhythm and blues backbeat. Greater mysteries follow as Jonathan's trip to lay his uncle to rest turns into an extended stay. Jonathan just wanted to know where his uncle learned to play-not the violin like him-but that jangly old fiddle. The townsfolk of Lockport, Louisiana wondered which the scarier monster was: the scaly, cold-blooded kind that wound up in their kiddy pools every summer, or the misshapen, warm-blooded one they called to fish them out. His unique anatomy left doctors scratching their heads as Perry grew into adulthood, using his differences to his advantage against the nasty creatures in the bayou. The townsfolk of Lockport, Louisiana wondered which the scarier monster was: the scaly, cold-blooded kind that wound up in their kiddy pools every s Jonathan Preen's uncle Perry came into this world a mystery. Jonathan Preen's uncle Perry came into this world a mystery.
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