Friday, May 18, 2018

"Anuiant Et Bleu" - Roy Gonzales

In the summer of 1929, Opelousas jewelry store owner, Frank Dietlein2 negotiated a recording deal for Leo Soileau and Paramount Records.   Crowley native Roy Gonzales, who sang French interpretations of Jimmie Rodgers songs, went along for the ride with an old four-string guitar.  Paramount expected them to perform, having invested $700 to transport them on a fast mail train to Indiana.1  

When Gonzales arrived at the studios in July of 1929, he had a change of heart and pleaded with the producers not to record.  The record executives insisted , and the Louisiananian produced six Cajun adaptations of tunes popularized by Jimmie Rodgers, including "Anuiant Et Bleu" (#1456), better known as "Lonely and Blue".1  

Ennuyé et bleu, et mon coeur cassé, 

Personne pour me contenter, chère,
Tu m'as laissé seul, t'as parti chez toi, 
Pourquoi tu voyages, ma chère fille? 

T'as promis toi t'étais juste pour moi, 
Et toi et moi t'aurais jamais laissé,
Tu m'as pas écouté, tu m'as laissé, 
Peut être un jour tu viendras. 

Tu crois tu saurais je m'ennuie de toi, 
Que moi je t'aime pour toujours,
Peut être tu dirais "Un jour je m'en reviendrai",
Mais, j'ai laissé seul chez toi, chère.

T'as promis (que) t'aurais été que pour moi,
Et toi et moi t'aurais jamais laissé,
Tu m'as pas écouté et tu m'as laissé,
Peut être un jour tu reviendras. 

Gonzales approached the microphone, four-stringed guitar in hand and proceeded to strum through several familiar Rodgers-styled blues. The accomplished vocalist confidently swung his warm vibrato-laden baritone through the material, embellishing his vocal with yodeling.1  

Lonely and blue, and my heart is broken,

Noone to make me happy, dear,
You left me alone, you went back home,
Why did you roam, my dear girl?

You promised you were just for me,
And you'd never leave me,
You didn't listen, you left me,
Maybe one day you will return.

You think you know that I will miss you,
That I'll love you forever,
Maybe you would say, "Someday I'll return"
Well, I left your house alone, dear.

You promised me you would have been only for me,
And you, you'd never leave me,
You did not listen to me and you left me,
Maybe one day you'll come back.

At the same session, Roy also sang a variation of Jimmie Rodgers' "Blue Yodel" entitled "Choctaw Beer Blues".   It was a tune that he recorded earlier with John Bertrand, but it ended up becoming un-issued by Paramount.  Named after the famed beer of Oklahoma's native Americans, a portion of the song was attributed to orchestra band leader and neighbor, Joe Rivet.    Rivet was a trumpeter from Iberville Parish, and traveled with his band in places such as New Orleans, Shreveport, Lake Charles, Lafayette, and spots in east Texas such as Port Arthur, Longview, and Nacogdoches.5  After playing in Herman Scallan's group in the 1920s, he formed his own group.  Even Harry James' saxophonist and trumpeter Claude Lakey filled in.4   Roy joined his group playing drums and eventually they settled in Alexandria.  Known as Joe Rivet and his Castle Garden band, you could catch their show billed as "Swing and Sweat with Joe Rivet".3   Gonzales and Rivet remained playing until the 1950s. 
Rayne Tribune
Jul 26, 1935

If you're from Mobile, what are you doing down here,

If you're from Mobile, baby what you doing down here,

I'm just messing around, drinking good ole Choctaw beer.


I'm going up the country, but I sure can't take you,

I'm going up the country, but I sure can't take you,

There's nothing up there that an ugly woman can do.

Now, a dog run a rabbit, he run for a thousand miles,
Boy, a dog run a rabbit, run it for a thousand miles,
A rabbit broke down and busted our good time.

There's one thing in this world, I can't understand,
Well there's one thing in this world, baby I can't understand,
It's why an ugly woman always picks a bow-legged man.

Now, blues and trouble, they ramble hand in hand,
Oh, blues and trouble, they ramble hand in hand,
You ain't never had no trouble till you marry a no-good man.

Anuiant Et Bleu

Choctaw Beer Blues

  1. Cajun Breakdown: The Emergence of an American-Made Music By Ryan Andre Brasseaux
  2. NOTE: In Tony Russell's Paramount liner notes, he makes no mention of Frank Dietlein.  Instead, he mentions Winter Lemoine of Opelousas as the agent in which Gonzales contacted Paramount
  3. The Town Talk from Alexandria, Louisiana. January 1, 1987.
  5. Longview News. February 13, 1933.
  6. Lyrics by Stephane F, Jerry M and Jeremy R
  7. Photos by John T

Release Info:
G-15353-A Anuiant Et Bleu | Paramount 12832
G-15354-A Choctaw Beer Blues | Paramount 12832

Paramount Old Time Recordings, CD B (JSP, 2006)
The Rise & Fall of Paramount Records: Volume Two, 1928-1932, CD G (Third Man, 2014)

Monday, May 14, 2018

"Teche Special" - Iry Lejeune

The legendary Iry Lejeune ranks as one of the truly great blind musician/performers.  Iry got his second chance at the recording world in 1947 when he heard about Eddie Shuler's radio show on KPLC in Lake Charles, La. Shuler provided a 15- minute segment daily during which any amateur musician could walk in and play on the air. Iry pitched his French accordion into a flour sack and showed up on Eddie Shuler's doorstep. The young accordion player was a smash hit with the listeners. Unfortunately, the station owner was not a fan of Cajun accordion music and ordered Shuler not to bring Lejeune back on his show.1 Shuler explains:
[Iry] came in and performed on my show, two songs.  When we were walking out of the station after the show was over, the head man of the station, his name was Mr. Wilson, he came out of that back room.  He had a voice like a bellowing bull.  He weighed about 290 pounds.  He said "Eddie Shuler, you S.O.B, what in the hell was that you had on my radio station?" I said "Mr. Wilson, that man said that was Cajun music. I don't know, I have to go along with him. I have never heard anything like it". He said, "If you ever do that again I'm going to throw you right out the front door.  I'm not going to tell you you're through, just kick your effed up self out the front door". I said, "Yes sir".3  

Eh, 'tit monde, comment tu crois, moi, je vas faire,
Tout le temps après, mais, jongler à toi,
Tu devrais quand même chez toi, t'en venir, oui, 'tite monde,
J'aimerais te dire quelque chose, que j'aimerais entendre.

Eh, je devrais, mais, pas oublier tout ça, toi,
Tout ça que, toi, t'etais apres me faire,
Juste par rapport à ta famille, 
Moi, je connais, tite monde, t'es apres me faire du mal.

Moi j'connais, catin, mais, viens donc me rejoindre,
Moi, je voudrais te dire quelque chose, que je peux pas te dire,
Moi, je peux pas t'envoyer te dire, mais, cher 'tit monde, pas jusqu'à, toi,
Tu reviens, oui, me rejoindre, que je te dis toi-même.

R.C. Vanicor, Ernest Fruge, Iry Lejeune,
Alfred "Duckhead" Cormier, Earl Demary,
Ernest's son

Not looking to loose his radio business, he dropped the act.  In the meantime, Shuler had formed a small record company, Goldband Records. He and Lejeune quickly reached a gentleman's agreement that they would record four sides in the middle of the night in the KPLC studios when they were not being used for station purposes. The agreement stated that Shuler would use all of his contacts with other disk jockeys and radio stations throughout Louisiana and Texas to promote and distribute the records produced, and that only if positive financial results could be produced within six months from the initial recording sessions would future recording sessions result.1  During one of those sessions, in 1949, Iry recorded the "Teche Special" (#101) alongside Ellis Vanicor on fiddle, Ivy Vanicor on rhythm guitar, and Orsy "R.C" Vanicor on steel guitar.  

Hey, my little everything, how do you think I'll deal with this,
Always, well, thinking of you,
You should still come home, yeah, my little everything,
I would like to tell you something, that I'd like (you) to hear.

Hey, I shouldn't, well, forget all that you (did),
All that which you did to me,
Just because of your family,
I know, my little everything, you made me sad.

I know, pretty doll, well, come and join me,
I would like to tell you something, that I can't say to you,
I can't send (someone) to tell you, well, dear little everything, not until you,
You come back, yeh, to join me, which I'll tell you, yourself.

Although this song was recorded in 1948, Iry was playing this song as early as 1944.3  His group under this agreement, Iry Lejeune cut 26 sides for Goldband Records and his subsidiary Folk-Star between 1948 and his tragic death in 1955.  Record sales rarely went beyond the local Cajun audience due mainly to the language barrier and the fierce down-home nature of the music.  Eddie considered one of these early copies a "big hit": selling a mere 3500 copies!2

  2. Cajun Honky Tonk. The Khoury Recordings.  John Broven. Liner notes.
  4. Ye Yaille Chere by Raymond Francois
Release Info:
-A Teche Special | Goldband F-101-A
-B Te Mone | Goldband F-101-B

The Legendary Iry LeJeune (Goldband, 1991)
Iry Lejeune: Cajun's Greatest: The Definitive Collection (Ace, 2003)

Wednesday, May 9, 2018

"Hippitiyo" - Hackberry Ramblers

The Hackberry Ramblers had been playing music since 1933 and by 1936, they were the darlings of Bluebird Record producer Eli Oberstein.  But by 1939, the Hackberry Ramblers were having a hard time staying together. Luderin Darbone had quit playing and the recording industry ignored Cajun music.   After the war, Cajun music was hot again, and Luderin decided to get the group back together.  

Deluxe had already worked with Bill Quinn of Houston when he needed the outfit to help press his Harry Choate recording "Jole Blon".  With this arrangement, Deluxe had entered into the Cajun music market.  

Eh, Hip et Taïaut, chere,
Qu'a volé mon traîneau, chere,
Quand il a vu j’étais devenu chaud, chere,
Il a ramené mon traîneau.

Eh, Hip et Taïaut, chere,
Qu'a volé mon chapeau, chere,
Quand il a vu j’étais devenu chaud, chere,
Il a ramené mon chapeau, negre.

Eh, Hip et Taïaut, chere,
Qu'a volé mon chapeau, chere,
Quand il a vu j’étais devenu chaud, negre,
Il a ramené mon chapeau, chere.

Eh, Hip et Taïaut, chere,
Qu'a volé mon chapeau, chere,
Quand il a vu j’étais devenu chaud, chere,
Il a ramené mon chapeau, negre.

It would be Joseph Leibowitz of DeLuxe records who would discover the group.  Darbone recalls his encounter with DeLuxe:
Right after Harry Choates recorded Jole Blon, I wrote to a company out of Houston. It wasn't the same company that he had recorded for, but there was another company there. We sent them some records that we had cut here at one of the music stores in Lake Charles. Then they wrote back and said they didn't think we're going to record that type music. In the meantime, this fellow that was with the DeLuxe, he must have had connections, but he got some way, he got in touch with the same company. They referred our band to him. 1
Part of their recording set list had Luderin Darbone on fiddle, Edwin Duhon on bass, Grover Heard on lead guitar, Lennis Sonnier on acoustic guitar, Neil Roberts on trumpet, Westley "Chink" Widcamp on bass, Gary Major on sax, and Lefty Boggs on drums.

Hey, Hip and Taïaut, dear,
Who stole my sled, dear,
When they saw I was mad, dear,
They returned my sled.

Hey, Hip and Taïaut, dear,
Who stole my hat, dear,
When they saw I was mad, dear,
They returned my hat, dear.

Hey, Hip and Taïaut, dear,
Who stole my hat, dear,
When they saw I was mad, my man,
They returned my hat, dear.

Hey, Hip and Taïaut, dear,
Who stole my hat, dear,
When they saw I was mad, dear,
They returned my hat, my man.

Lennis Sonnier rejoined the group and they left for New Orleans in 1947.  He sang an old classic Cajun tune "Hippityo" (#5035), a cover of the Cleoma Breaux recording "Ils La Volet Mon Trancas".  


Release Info:
D 344 Te Petite | DeLuxe 5035 A
D 349 Hippitiyo | DeLuxe 5035 B

Louisiana Cajun Music Volume 8: The Hackberry Ramblers - Early Recordings 1935-1948 (Old Timey, 1988)

Friday, May 4, 2018

"Fa-De-Do Stomp" - Harry Choates

Gold Star records was the creation by a record producer named Bill Quinn.  Bill got his start partnering up with Orville "Bennie" Hess and Frank Sanborn with their very first label named 'Gulf'.  However, after Frank left the team and Hess started his own label named Opera, Bill ventured out on his own. Quinn's methods were nothing near professional.  His make-shift setup was always causing issues.  According to Clyde Brewer:
It used to be an old grocery store.  Quinn really didn't have a company then, but he had a studio. We recorded some that afternoon, but when we came back the next morning, a cold norther had blown in. And there was no heat in this building.  His turntable would run about 78 RPM, then it would go about 33, then about 20.  So, he went out to his car and got a blowtorch, fired it up, and held it close to that motor until he could get the speed fixed.   And then we recorded a few more things.1  

Many of the recordings Quinn had lined up never materialized, mainly due to rugged, poor maintained equipment.  Occasionally, one of a kind master discs were destroyed or damaged in the processing tanks, casualties of Quinn's ongoing experiments.   According to Deacon Anderson:
Quinn had an old Rek-O-Kut belt driven turntable.  His overhead lathe was Presto.  Every now and then, the arm would slip and ruin the record.1  
Crowley Daily Signal
Aug 17, 1948

By 1946, Quinn discovered a lowly Cajun fiddle player named Harry Choates and the two kicked off a slew of session for his Gold Star label. Harry's band was backed by himself on fiddle, Esmond Pursley on guitar, Joe Manuel on banjo, Pee Wee Lyons on steel guitar, B.D. Williams on bass, Curzy Roy on drums, and Johnnie Manuel on piano.  The following year, Harry and Quinn were working close together, waxing a tune called "Fa De Do Stomp" (#1326) when Quinn discovered Harry was secretly recording for Jimmy Mercer's Cajun Classics outside of his contract.  This was the beginning of the end of Harry and Bill's relationship. Drummer Curzy Roy remembers a session for Decca in Houston that was about to commence when Quinn suddenly appeared, bringing things to a sudden halt.1  

Curzy "Pork Chop" Roy

"Fa De Do Stomp", a misspelled title of Fais Do-Do Stomp, was a swingy instrumental of a 1937 string band recording by J.B. Fuselier called "Lake Arthur Stomp". Cursy Roy loved playing with Harry:
I like him, but Choates was kind of a lowlife...some nights we'd play, Harry would get so drunk, he'd rock.   Like he was gonna fall forwards or backwards.  But he'd never miss a lick.  On that fiddle, ...never ever hit a bad chord.1  

Having no concern with his Gold Star contract, Harry began recording for Macy Henry's new label and with the break-up of Harry's original Melody Boys band, the two partners parted ways. 

  1. "Devil in Bayou".  Andrew Brown. liner notes.

Release Info:
1326A Cajun Hop | Gold Star 1326-A  Modern 20-526
1326B Fa-De-Do Stomp | Gold Star 1326-B Modern 20-530

Harry Choates ‎– The Fiddle King Of Cajun Swing (Arhoolie, 1982, 1993)
Devil In The Bayou - The Gold Star Recordings (Bear Family, 2002)

Monday, April 30, 2018

"La Valse Du Ballard" - Amede Ardoin

One of the greatest to ever record Cajun music was invited to a Decca session in New York in 1934.  (mistakenly listed as "New Orleans")  After almost drowning in a ferry accident on the way there, Amede Ardoin recorded a series of songs, by himself, including the song entitled "La Valse Du Ballard" for Decca (#17014).  Most likely, "Ballard" refers to Amede's close friend Douglas Bellard.  Bellard is even mentioned in his "Valse De La Pointe D'Eglise".

The recording contains somewhat of a mystery.  Given that his recording of "La Turtape De Saroied" mentions "c'est la valse de Bellard" and recording labels were notoriously known to make mistakes on Cajun listings, it's possible both of these songs were swapped during production.  
O, moi je m'en vas, moi je m'en vas moi tout seul,
O, je connais pas quand jamais,
Que moi je sera capable, donc, te voir. 

O, comment je vas faire,
O, comment je vas faire, moi je m'en vas.
O, c'est temps moi je m'en vas,
Pour coucher éou je vas aller?

Quoi je vas faire,
Moi, j'suis bien, mon tout seul, elle veut partir,
O, mes parents ça veut pas croire en ça je vas dire.

O, éoù je vas aller, moi, je m'en vas,
Tout seul à la maison, comment je vas faire?
Toi, oubliais tous les misères toi t'as fais,
A ton nèg, il y a déjà pas longtemps.
Douglas Bellard

The song had a distinct similarity to Angelas Lejeune's "La Valse de Pointe Noire".  However, most of Ardoin's tunes were considered originals, some written on the spot and in his dreams.  According to Milton Ardoin,
I remember that he said that at night, he would dream.  And he would take his accordion and play that dream, and then he was making a song with it.

Oh, I'm going, myself, I'm going all alone,

Oh, I don't know when ever,

I'll be able to see you.

Oh, how am I gonna make it?
Oh, how am I gonna make it, myself, I'm going.
Oh, it's time for me to go.
To sleep, where will I go?

What am I going to do?
Myself, I'm all right by myslef, she wants to leave,
Oh, my family doesn't want to believe what I say.

Oh, where am I going to go, myself, I'm going,
All alone to the house, how will I make it?
You had forgotten all the misery you caused,
I was your little boy, not long ago.

  1. The Kingdom of Zydeco By Michael Tisserand
Cajun: Rare & Authentic (JSP, 2008)
Cajun Capers: Cajun Music 1928-1954 (Proper, 2005)
The Beginner's Guide to Cajun Music (Proper/Primo, 2008)

Wednesday, April 25, 2018

"Home Sweet Home" - Breaux Brothers

Another great cajun musician from the old days, Amedie Breaux, along with his brothers Ophy, Clifford, and his sister Cléoma were sons and daughter of a great accordion player, Auguste Breaux. Auguste was never recorded but his sons made many sides under the name "Breaux Frères" from 1929 through 1934. The Breauxs were one of those big Louisiana family where Cajun music was passed down from father to son and all the children learned to play at a very young age. Amedie was the one who took the accordion.  He learned the instrument quickly, started to play at house-parties at age 14 and became a great player like his father.1

Amedie Breaux

In the fall of 1934, the Breaux brothers traveled to San Antonio, Texas for a recording session for Vocalion where they cut several titles, including this version of "Home Sweet Home."   Clifford Breaux is listed as the lead vocalist, with his brothers credited as additional vocalists.  According to Anthology of American Folk Music author Harry Smith, he points out that this version of the popular song is performed in waltz time:

A well known popular song is here played in waltz time, a dance of much greater importance to the French speaking rural population. The freedom with which the melody is treated, particularly in incorporating long downward runs, is also very typical of Louisiana.

Moi, j'm’en vas de la maison, 

Moi tout seul comme un pauvre, 

Malheureux, mais, c’est toi, 
R’garde, c’est dur après tout ça, 
Oh, c’est dur d'quitter,
Hé mignonne, petite fille,
De m’en aller, hé, tout seul,
Oh malheureux, oh chère, chagrin.

Ah,moi, j'm’en vas de la maison.

Ça c'est dur de m'en aller d'la maison, moi tout seul, 
En tournant , en disant c'tte mignonne fille, "Chère petite fille,
Ça c'est dur, j'ai quitté, chère mignonne, 
Petite fille, m'en aller à la maison, hé, pour ça!"

Ta maman et ton papan étaient contre moi,
Et c’est toi, par rapport à les conseils.
The “Home Sweet Home” (#02961) played by the Breaux Brothers is a very “Cajun-ized” version of a very famous song written in 1823 by dramatist and actor John Howard Payne with a melody by English composer Sir Henry Bishop (the later claimed that it was originally a “sieilian air”, a traditional melody from Sicily). Composed for Payne’s opera “Clari, maid of Milan”, the song became very popular throughout America and even abroad (It is known in Japan as “Hanyū no Yado”). With its beautiful and simple melody and its nostalgic lyrics (“There’s no place like home…”) it was a favorite among soldiers from both sides during the Civil War and of Abraham Lincoln and his wife.French-Canadian Joseph Allard recorded a version in 1928, set as a reel entitled "Quadrille de chez nous (Our House/Home Quadrille)", and again in 1945, this time as "Reel de Tadoussac."4  Like the Breauxs, songs like this influenced other Cajun musicians such as Leo Soileau.  He stated: 
When I first started playing, I learned "Home Sweet Home" and "Dixieland" like nobody's business.  I used to play that in school.5 

I'm going home,
All alone like a poor person,
Oh my, well, it's because of you.
Look, it's hard after all that
Oh, it's hard to leave,
Hey cuitie, little girl,
I'm leaving, hey, all alone,
Oh my, oh dear, it's sorrowful.

It's hard to go home alone,
Turning around, saying to that cute girl, "Dear little girl,
All of that is hard, I am leaving, dear cutie,
Little girl, I'm going away to the house, hey, because of all that."

Your mom and your dad were against me,
With you, because of the advice given.

Cowboys and frontier people loved to sing the song too and even made their own versions. It was also a favorite among opera singers and many versions were put on records during the early years of the phonograph.  The song was heard as well in many rural homes and entered the folk repertoire, both as a song and as an instrumental piece. In the South, it became a favorite number to play on the 5-string banjo, and bluegrass players included it in their repertoire.1

The Breaux Frères were not the only Cajun band to record “Home Sweet Home”. Versions can be found by Creole players like Alphonse “Bois Sec” Ardoin and the Carrière Brothers.

  3. Harry Smith.  Anthology of American Folk Music.  Liner notes.
  6. Lyrics by Jordy A
  7. NOTE:  Only a few Vocalion labels with the black lettering on a gold box design were ever issued.   This design only appears with a few issues and was short lived.  It is shown at the top.
Anthology Of American Folk Music Volume Two: Social Music (Folkways, 1967)
Pioneers of the Cajun Accordion (Arhoolie, 1989)
Cajun Vol. 1 Abbeville Breakdown 1929-1939 (Columbia, 1990)
Les Triomphes De La Country Music (Habana, 2002)
Shine on Me - Classic American Folk Songs and Anthems (Get Gone, 2014)

Friday, April 20, 2018

"Vingt Et Un Ans (Twenty One Years)" - Louisiana Rounders

Growing up, multi-talented musician and entertainer, Joe Werner, dazzled the local audiences in Crowley with his abilities to sing, whistle, play guitar, and the harmonica as a kid on stage.   Before long, his name as a local entertainer would reach neighboring cities. Throughout the 20s and 30s, he learned the popular tunes of the day and converted the lyrics to his native Cajun French language.  By 1936, Joe worked alongside the Hackberry Ramblers before forming a small group for his own recording session with Decca to record some popular American cover songs.  Still considered an amateur musician, he continued to perform in many talent contests, winning awards and garnering more fame. 
Rayne Tribune
May 8 1936

Le juge dit "Lève-toi debout garçon et sèche tes larmes,
T'es condamné a Nashville pour vingt et un ans",
Embrasse-moi bye-bye, chère, et dis tu seras pour moi,
Parce que vingt et un ans, chère, c'est bien longtemps.

Pas le loin du chemin d'fer, chère, aussi loin tu peux voir,
Et continue à m'faire bye-bye, chère, a "farewell" a moi,
Alors, embrasse-moi bye-bye, chère, et dis tu seras pour moi,
Parce que vingt et un ans, chère, c'est bien longtemps.

Werner teamed up with Julius "Papa Cairo" Lamperez and Wayne Perry, who were both Crowley residents.   By the end of 1937, they were in Dallas, TX at the Adolphus Hotel for their first Decca session.  The trio covered a popular 1930 Bob Miller tune called "Vingt Et Un Ans (Twenty One Years)" (#17046) in a Cajun string band style.   Werner's harmonica mimic'd the accordion sound that had been so popular 10 years earlier.  
The judge said "Stand up boy and dry your tears,
You've been condemned to Nashville for twenty one years,"
Kiss me bye-bye, dear, and say you'll be mine,
Because twenty one years, dear, it's a very long time.

Not far from the railroad, dear, as far as you can see,
And continue waving bye-bye, dear, wishing farewell to me,
So, kiss me bye-bye, dear, and say you'll be mine,
Because twenty one years, dear, it's a very long time.
Bob Miller
Nashville Songwriters Hall of Fame

The original song writer, Bob Miller, was among the pioneering professional songwriters who specialized in what was then called hillbilly music. He worked for Irving Berlin Music, formed his own publishing company in 1933, and also worked as an A&R man and record producer for the Columbia and Okeh labels. His biggest early hit was the prison song "Twenty-One Years." During the Depression, this song was so popular and was sung by so many artists that Miller wrote a number of follow-up songs to it, including "Twenty-One Years, Part Two," "New Twenty-One Years," "Answer to Twenty-One Years," "Woman's Answer to Twenty-One Years," "After Twenty-One Years," "The End of Twenty-One Years" and "The Last of the Twenty-One Year Prisoner."1    

  2. Lyrics by Stephane F

Release Info:
L05 63075 Le Vieux Arbe De Pin (They Cut Down The Old Pine Tree) 17046 A Decca
L08 63078 Vingt Et Un Ans (Twenty One Years) 17046 B Decca