Jambalaya, Apple Pie, Chante Quelque Chose Oh Yé Yaille: A History of Cajun Culture through Music from the Early 1920s to the Late 1980s

The Acts of Revival for Cajun Music: The dance Hall Sounds of Swamp Pop

As had happened in the first half of the twentieth century, some Cajuns wished to keep a part of the traditional Cajun styles and merge them with the new popular forms. Such was when Swamp Pop appeared in South Louisiana. It had the R&B backings from New Orleans rhythms, touches of melodies from hillbilly, the early elements of rock’n’roll in instruments and English lyrics and the song themes or "emotional feelings" portrayed in Cajun music.[i] It was one of the earliest music genres that black and white artists playing together became a common occurrence in recording studios.[ii]
 
It was one of the earliest music genres that recorded black and white artists playing together in recording studios outside Louisiana compared to earlier Cajun and Afro-Creole recordings done within the state only. The main instruments were piano, guitars, drums, accordions and saxophones, and the songs were typically sung in English. For these new artists, Swamp Pop gave them a chance to compete nationally now with easily understandable lyrics and mixing the 1920s and 1930s Cajun music styles and new upcoming popular music styles.
 






LISTEN: Bobby Charles and the Cardinals produced Swamp Pop’s first major hit in 1955 from with “(See You) Later Alligator.” [iii] Whilst similar to “Later for You Baby” (1953) by Guitar Slim with its repeating catchphrase and R&B rhythms, Charles took on a different feel with rock’n’roll. The widely popular cover of this song was covered by Bill Haley and Comets in 1956. 
 






 
Well, I saw my baby walkin'
With another man today
Well, I saw my baby walkin'
With another man today
When I asked her what's the matter
This is what I heard her say
 
See you later alligator
After 'while crocodile
See you later alligator
After 'while crocodile
Can't you see you're in my way now
Don't you know you cramp my style
 
When I thought of what she told me
Nearly made me lose my head
When I thought of what she told me
Nearly made me lose my head
But the next time that I saw her
Reminded her of what she said
 
See you later alligator
After 'while crocodile
See you later alligator
After 'while crocodile
Can't you see you're in my way now
Don't you know you cramp my style
 
She said, I'm sorry pretty baby
You know my love is just for you
She said, I'm sorry pretty baby
You know my love is just for you
Won't you say that you'll forgive me
And say your love for me is true
 
I said wait a minute 'gator
I know you meant it just for play
I said wait a minute 'gator
I know you meant it just for play
Don't you know you really hurt me
And this is what I have to say
 
See you later alligator
After 'while crocodile
See you later alligator
So long, that's all, goodbye
 
Did you know? Charles was 17 when he wrote “(See You) Later Alligator,” which was inspired by an experience from a dance hall job one night after talking with a lady in the audience. As he was leaving he yelled out "see you later" and she replied "after a while crocodile."
 
 




































































At the end of the 1950s, the so-called unofficial anthem of swamp-pop became "Mathilda" (1959) by Cookie and the Cupcakes,
which reached No. 47 on the Billboard Hot 100 chart, and is continuously compared by Swamp Pop enthusiasts to “Jole Blon’s" in its popularity and as an overall excellent dancing song.[iv] 
 
Billboard compares Cookie's (Huey Thierry's) vocals to a crying cat as saxophones, guitars, drums, and piano back him while he laments over his love, Mathilda.





Your love for me will always be
Here to stay, so tenderly
Mathilda, I'll cry and cry for you
Yes, no matter what you do
 
Mathilda, I've cried and cried for you
And no matter what you do
Yes, I've cried and cried in vain
I want my baby back again
 
You gave me love when there was none
You know you're the only one
Tears that's in my heart to stay
I want my baby back again
 
Mathilda, I've cried and cried for you
Yes, no matter what you do
Yes, I've cried and cried in vain
I want my baby back again
Mathilda, I've cried and cried for you
Yes, no matter what you do
Yes, I've cried and cried in vain
I want my baby back again
 
You gave me love when there was none
You know you're the only one
Tears that's in my heart to stay
I want my baby back again
 
 




Another song that came out the same year and was the No. 2 on the Billboard Hot 100 for the summer charts was “Sea of Love” (1959) by Phil Phillips & the Twilights.
Strangely, as the song was a significant national hit and the first biggest rated hit to come from South Louisiana, "Sea of Love" was not met locally in Louisiana with the same adoration as "Mathilda."[v] 

 


LISTEN: "Sea of Love" was seen as a simple but catchy tune with members from Cookie and the Cupcakes backing as the band for the harmonizing vocals of Phillips and the Twilights.   
 
Come with me, my love
To the sea, the sea of love
I want to tell you how much I love you
 
Do you remember when we met
That's the day I knew you were my pet
I want to tell you how much I love you
 
Come with me, to the sea
Do you remember when we met
That's the day I knew you were my pet
I want to tell you how much I love you
Come with me, to the sea of love
 
 




Rod Bernard’s and the Twister's “This Should Go On Forever ” made it to No. 20 on the Billboard Hot 100, also in the summer of 1959. Many Louisiana radio stations, including KVOL in Lafayette and most Baton Rouge stations, refused to play the song as the station producers thought its implications of either having amorous relations prior to marriage or an adulterous relationship went too far. They also said the song had simplistic melody, but the records were selling and soon out-of-state radio stations or record companies, like MGM, began to buy the song.[vi]






























 












Lyrics written by Bernard Jolivette, otherwise known as King Karl whom sang with Guitar Gable, gave the song to Bernard.[vii] The song featured a large horn section, piano, guitars, and very bold lyrics of passion for the South, a reflection of the influence of rock’n’roll and showcasing that Swamp Pop was no longer a local music style. 
 



 

Did you know? Bernard could not read or write music so he asked Jolivette/Kings to sing it for him so he could commit the melody to memory. He wanted to use this song to compete with a rival band, the Boogie Kings. 

This should go on forever
It should never, ever end
If it's wrong to really love you
I'll forever live in sin
 
This should go on forever
Let me stay in your arms
Just to gaze into your eyes, dear
And to capture all your charms
 
If it's sin to really love you
Then a sinner I will be
If it's wrong to hug and kiss you
Oh, my soul will never be free
 
This should go on forever
It should never, ever end
If it's wrong to really love you
I'll forever live in sin
 
If it's sin to really love you
Then a sinner I will be
If it's wrong to hug and kiss you
Oh, my soul will never be free
 
This should go on forever
It should never, ever end
If it's wrong to really love you
I'll forever live in sin

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