ABSOLUTELY THE BEST
OF CAJUN AND ZYDECO
Hit the rub board, break out the button accordion, tune up the fiddles and burl up a mess oÕ crawfish. This album was born
on the bayou in a way CCR could only imagine. Cajun and Zydeco music grew up in the isolated swamps of the Mississippi
Delta. For centuries, the only way to get to those areas of Louisiana was by
boat. Few outsiders had the need or
even the yen to explore this remote area. Little wonder the music that grew up there sound like nothing else.
Cajun
music came originally from an area of Canada called Acadie in the 17th
century. The Acadians were French speaking settlers. When the British took over, they expelled these settlers. The
Acadians went down the Mississippi and found a place in the bayous, so remote
they figured no one would bother them again.
"The Acadians chose to move to a part of Louisiana that was more isolated than even New Orleans,Ó adds Michael Doucet, leader of the band Beausoleil. A musicologist before he became a recording artist, he and his band plays roots Cajun music. An Acadian himself, he thinks of his sound in the less bastardized terms of Acadian music. ÒThe area was accessible only by water. At the
same time, it was inaccessible if you could not ford the rivers. The first bridge over the Mississippi was
built in the 1920s, so, they were pretty much isolated for about 150
years. That's how the music matured.Ó
Even with the
mass communication revolution that began the 20th century, Cajun
music remained a very local phenomenon. Early in the 20th Century, few outside of the Acadian
community had heard it. Over the course of the last quarter century, however,
Cajun music has gone (relatively) mainstream. Madison Avenue used it to sell heartburn medicine and cars. Same with its good neighbor, Zydeco. For a hot minute in the 1980s, Zydeco went worldwide. Artists like Clifton Chenier and Alton Jay ÒRockinÕ DopsieÓ Rubin started the ball rolling as early as the 50s, fusing R&B with the more traditional music. However, it took a record cut on a four-track studio in the garage of the late RockinÕ Sidney Simien, the infectious dance tune ÒMy Toot Toot,Ó burst Zydeco into mainstream consciousness. Covered by a host of artists, including John Fogerty and Denise LaSalle, it became a hit on both sides of the Atlantic and earned Sidney a Grammy and two W. C. Handy awards. Sidney is represented here by his ÒAlligator Waltz,Ó while the unlikely duo of Cajun fiddler Doug Kershaw and New Orleans rocker Fats Domino cut SidneyÕs big hit in a gumbo of rock, Cajun, funk and Zydeco.
ÒZydeco is the African-American French music nurtured in the bayou,Ó Doucet explains. ÒBasically, the difference between Cajun and Zydeco is black and white. It's just the different names. Cajun music, or Acadian music, comes from
Acadie. The Acadians, a certain group
of people, support it. Zydeco music,
though it does use Acadian songs, is sort of a blend of African music and
French music. The rhythm is the main
difference. And of course proponents like Clifton Chenier added rhythm and blues to it, where the Acadian music of the 30s and 40s and even the 50s came under the influence of the country and western and even swing music. Ò
Even this is not so clear cut, though. Zydeco artist Boozoo ChavisÕs music has a strong country feel. He uses the same basic two-step
and the same instruments -- give or take a tenor sax -- as Chenier, with strong
accent on the accordion and rub board. Chavis and his Magic Sounds have a more
rustic sound than most Zydeco artists (and even a few contemporary Cajun
performers), however.
"Boozoo Chavis is really country,Ó Doucet intimates. ÒHe wears a cowboy hat and has heavy blues influences. He plays what's
called a melodeon, to be specific. It's like a diatonic accordion.Ó
The influence of Cajun on contemporary
country and pop has been very subtle. ÒJolie Blon,Ó a traditional Acadian song performed her by Vin Bruce, has become a staple for rock and country artists. Gary US Bonds has done it, as have numerous country performers. However, contemporary culture has wreaked many changes on Cajun and Zydeco.
These
changes are most evident in the music of performers who came up in the wake of
Chenier. Stanley "Buckwheat" Doral exemplifies the modern fusion of
Zydeco and rock 'n' roll. The accordion and washboard that distinguished
Chenier's nuevo Zydeco are part of Dural's music, but so are electric guitar,
bass and a killer horn section. This
allows for versions of songs by the Blasters, Bob Dylan, Booker T. & the
MGs as well as Chenier. In effect, he
uses Zydeco instruments to play rock and roll with a distinctive N'awleans
flavor. He pays homage to that regional
music here with Lee Dorsey's "Ya Ya," Nathan and the Zydeco Cha-Chas have an even more rocking sound
with the help of the sax and Paul Daigle's up-front guitars
This
effect is not limited to Zydeco, though. Wayne Toups has confessed that his main look out is crossing Cajun, this
very distinctly regional music, over on it's own terms. On Toups' more recent
albums, this meant downplaying the squeezebox in favor of a slick pop-rock
band.
Traditional
Cajun and Zydeco have very little to do with anything else that comes out of
Louisiana (or anywhere else) musically, though. While New Orleans has always
been a hotbed of musical styles, Cajun and Zydeco come from another place
entirely.
ÒThe Acadian part of Louisiana is in Lafayette Louisiana,Ó Robbie Robertson once explained. ÒIt has nothing to do, whatsoever, with New Orleans. It's a very distinct thing.Ó
Yet, these tracks have far more in common than just geography and genre. They have strong shared roots, bred in the bayou for centuries, relatively unmarked by the changes that went on outside of the culture. Listening to these songs, you can practically taste the cayenne, I gaw-ran-tee.