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Many songs that became standards in the Cajun music repertoire were first recorded in this period of the 1920s and 1930s. The first commercial recording of Cajun music, "Lafayette (Allon au Laufette)," was made by Joe Falcon and his future wife Cléoma Breaux for Columbia Records on April 27, 1928. [7]
Cajun folklorist Barry Jean Ancelet has called this the most played and recorded Cajun song ever, selling over 500,000 copies in 1962 alone. [11] It has been covered by dozens of Cajun and zydeco bands and by other francophone artists such as Kate & Anna McGarrigle .
This list of songs or music-related items is incomplete; you can help by adding missing items. ( October 2021 ) This is a list of notable Cajun musicians , Cajun music instrument makers, Cajun music folklorists, Cajun music historians, and Cajun music activists.
Some of the hit singles produced by Soileau include Rockin' Sidney's "My Toot Toot," Keith Frank's "Movin' On Up," and Don Fontenot's "Ride the Donkey." [5] He has always encouraged his artists to compose new songs to record, and his Flat Town Music Company now publishes over 2800 songs, a majority of which are Cajun, swamp pop, and zydeco songs.
When bands like the Balfa Brothers, Octa Clark and Hector Duhon, and the black Creole band Bois-Sec Ardoin and Canray began to appear and perform at prestigious national folk festivals like the Newport Folk Festival, the University of Chicago Folk Festival, and the National Folklife Festival, they inspired renewed interest in Louisiana in Cajun ...
The term Creole music (French: musique créole) is used to refer to two distinct musical traditions: art songs adapted from 19th-century vernacular music; or the vernacular traditions of Louisiana Creole people which have persisted as 20th- and 21st-century la la and zydeco in addition to influencing Cajun music.
Disenchanting Les Bons Temps: Identity and Authenticity in Cajun Music and Dance is a 2003 book by Charles J. Stivale. The book delves into the complexities of Cajun music and dance, exploring themes of identity, authenticity, and cultural dynamics through an ethnographic and theoretical lens.
The song is an old tune about a mysterious creature, women or a couple of dogs, Hip and Taiaud, who prowl about stealing things off the farm, engendering the ire of the farmer which makes them return the items. Origin of the phrase is suggested to belong to the Cajuns of the Cajun prairies.