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It was in that kind of setting that the recordings above were made, and they constitute a windfall.

A fortunate, unique record of cultural history, with songs of joy and pride and common woes. Segura Brothers tearing it up on accordion and vocal, from a December 16, 1928 session in New Orleans!

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Parts of the tune also appear in the recordings of Dennis Mc Gee. Hear the shouts of his band members telling him to "make it hot, Leo!

Fusilier moved to Lake Arthur so that he could play with Varise Conner, and they played dances during some of the leanest days of the Depression. " Louisiana Blues and La Bonne Valse epitomize Soileau's soulful, mournful sound.

With nothing more than the scant, vague promise that a furniture store, for example, could sell a few hundred copies of a local musician's songs, recording companies like Victor, Vocalion, Brunswick, Columbia, Bluebird, and Paramount sent engineers and recording equipment to outposts like New Orleans, San Antonio, Memphis, and Atlanta, or a bus ticket north to headquarters in Camden, New Jersey, Chicago, Richmond, Indiana, Grafton, Wisconsin, etc., and Cajun musicians were among the bunch to record alongside commercial artists like Jimmie Rodgers, jazz greats like Johnny Dodds, ragtime guitarists like Blind Blake, ladies of the blues like Bessie Smith, etc.

And the Library of Congress had a mandate to go everywhere and record the story of the music people made when it looked to some like the world was going to end in the Great Depression, dust storms at home, and a world war brewing abroad!

A time of great music whose influence we cannot forget. Haunting, uncommonly tender folk music from fiddler Delma Lachney, vocalist Blind Uncle Gaspard, and accordion player John Bertrand.

Douglas Bellard, a black fiddler, was the playing partner of the great Amede Ardoin before Ardoin decided to go with fiddler Dennis Mc Gee, a white man who could offer him more protection when playing before crowds in those racially segregated days. Here Douglas is accompanied by Kirby Riley, accordion.

Danced to his exciting band at Coz's Blue Goose hall in Eunice around that time, early 80s. The 1920s and 30s were a period of unequalled recording of the musical heritage of our country!

The phonograph was finding its way into many homes, and people wanted to hear local music.

); and Chere Yeux Noirs, not to be confused with 'Tit Yeux Noirs by Lawrence Walker.

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