Bitrate: MP3@320K/s
Time: 44:00
Size: 100.7 MB
Styles: Louisiana blues, R&B, Cajun/Creole
Year: 2013
Art: Front
[2:57] 1. Dwayne Dopsie - My Louisiana Beauty
[5:02] 2. Charlie Cuccia - Nadine
[4:02] 3. Papa Don McMinn - When Marley Got The Blues
[3:37] 4. Von Johin - On The Road Again
[2:38] 5. Phat2sday - Blue Monday
[3:25] 6. Tommy Dardar - Voodoo Queen
[5:35] 7. Memphis All Stars - Jesus On The Mainline
[2:49] 8. The Wallbangers - Moon Madness
[2:52] 9. Bill E. Shaw - Double Monkey Time
[3:17] 10. G.G. Shinn - Ain't That Just Like A Woman
[3:57] 11. Anderson Brothers - Ten Wheel Dog
[3:43] 12. Don Nix - Addicted To You
Swamp pop is a musical genre that combines New Orleans-style rhythm and blues (R&B), country and western, and Cajun and black Creole music. It hails from the Acadiana region of south Louisiana, as well as from the section of southeast Texas inhabited by many Cajuns and black Creoles. Peaking between 1958 and 1964, the swamp pop sound resulted in several national hits and many more regional favorites, including Rod Bernard’s “This Should Go on Forever,” Tommy McLain’s “Sweet Dreams,” Johnnie Allan’s “Lonely Days, Lonely Nights,” and Cookie and the Cupcakes’ swamp pop anthem, “Mathilda,” to name but a few.
Swamp pop music originated around 1955 during the rapid Americanization of south Louisiana’s historically French-speaking parishes. The Cajuns and black Creoles who pioneered the sound were generally born between 1935 and 1940 and came of age during the mid-1950s, when mainstream American culture and values were taking the place of local folk traditions, including “old-time” accordion and fiddle music. Although many swamp pop musicians played Cajun and black Creole music as children, they generally regarded the music of their parents and grandparents as outmoded by the time they became teenagers during the 1950s. Instead, they gravitated toward the new, more urban sounds of R&B and early rock ‘n’ roll. They eagerly emulated young musicians such as Elvis Presley, Little Richard, and particularly Fats Domino. Unlike Domino’s New Orleans R&B, however, swamp pop drew heavily on Anglo-Protestant country and western music, introduced to the French-speaking parishes by Texas oil field workers and distant high-powered radio stations, such as WSM in Nashville or, closer to home, KWKH in Shreveport. Among the era’s country and western artists, Hank Williams Sr. exerted the most notable influence on the budding swamp pop sound.
Despite the substantial impact of Americanization on young swamp pop musicians, Cajun and black Creole music (zydeco as well as its precursors, like juré, la-la, and pic-nic music) continued to influence their developing style. As a result, swamp pop musicians not only performed and recorded the tell-tale love ballads most strongly associated with the genre, but they also pulled songs from multiple popular and regional styles. For example, they played country and western standards like “Jambalaya,” as well as Cajun and black Creole folk songs like “Hip et Taïaut” and “Allons à Lafayette”—though these songs were recorded rock ‘n’ roll-style in English, or bilingually in English and French under the Americanized titles “Hippy Ti Yo” and “Let’s Do the Cajun Twist.” Young swamp pop musicians carried the cultural baggage of their French-speaking heritage, a fact reflected by their ethnic surnames, which they often exchanged for Anglo-sounding stage names. They did this not because of shame for their heritage (although many Cajuns and black Creoles did experience cultural prejudice), but because of a desire to sell records outside south Louisiana, where the pronunciation of their actual names would confuse fans, deejays, and promoters. John Allen Guillot, therefore, became Johnnie Allan, Robert Charles Guidry became Bobby Charles, Elwood Dugas became Bobby Page, Clinton Guillory became Clint West, and Phillip Batiste became Phil Phillips.
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