Like everything on Memphis Slim's album Goin' Back to Tennessee or Alvin Youngblood Hart's "Tallacatcha" (a Western swing performance worthy of Bob Wills), Clarence "Gatemouth" Brown's 1975 Barclay album Down South in the Bayou Country completely transcends any and all attempts to confine this diverse artist within the artificial parameters of blues or any other preordained category. Consisting mostly of songs written by Hoyt Garrick, Jr., Charles Gressett, and David Craig with additional tunes by J. Loyd and Joe Stampley, this pretty parfait of country & western, Southern rock, cowboy hoedown, and electric Cajun soul music was recorded during February and March 1974 in Bogalusa, LA. Gatemouth, fresh from his tenure as Deputy Sheriff of San Juan County, NM, sounds particularly pleased to be active at the center of a project so completely infused with authentic Southern sensibilities. Perhaps the most satisfying track off of the original album is "Loup Garou." This hoodoo funk ritual with background vocals by Geraldine "Sister Gerry" Richard sounds as if it might have been influenced by Dr. John's "Loop Garoo," which had appeared on that artist's Atco album Remedies in 1970.
Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album. It's not just that "Born on the Bayou" announces that CCR has discovered its sound – it reveals the extent of John Fogerty's myth-making. With this song, he sketches out his persona; it makes him sound as if he crawled out of the backwoods of Louisiana instead of being a native San Franciscan…
Like everything on Memphis Slim's album Goin' Back to Tennessee or Alvin Youngblood Hart's "Tallacatcha" (a Western swing performance worthy of Bob Wills), Clarence "Gatemouth" Brown's 1975 Barclay album Down South in the Bayou Country completely transcends any and all attempts to confine this diverse artist within the artificial parameters of blues or any other preordained category….
The buckle-polishers and skirt-swirlers are back! Presenting 28 rare goodies from Louisiana and South East Texas. The variant of rock’n’roll that emanated from the Gulf Coast of South Louisiana and South East Texas in the 1950s-60s is as evocative of the area as chicken gumbo, crawfish étouffée and red beans and rice. The youthful Cajuns of the period threw themselves into r’n’r like teenagers across the globe, but had additional influences, not just the hillbilly and blues that created rockabilly, but the ethnic music of their parents and, most telling, the R&B sounds carried over the airwaves from New Orleans.
The ninth release in the “…By The Bayou” series brings you some hot rockers from South Louisiana and Southeast Texas, an area where Cajun culture has had a strong influence over its music – and never more so than in the heyday of real rock’n’roll, the 1950s. Rock’n’roll was a hybrid of C&W and R&B right across the USA, but in Cajun country the influences were more specific; the country music was from Texas, the R&B from New Orleans, and into this mix went rockabilly from Memphis via Shreveport and Cajun music. In this exciting compilation you will find all of those influences to varying degrees.
Letting the good times roll again, with this second visit to the dynamic South Louisiana R&B scene there is no waver in the quality of music. We’ve added the work of another Louisiana record man, Sam Montel from Baton Rouge, to the vast stockpile of material in the vaults of J.D. Miller, Eddie Shuler, Floyd Soileau and Jake Graffagnino. Sam (originally Montalbano) got into the music business when his childhood friend Jimmy Clanton hit the charts. Sam became his road manager and the whole scene got into his blood. He decided to start his own record label when only 18 years old. His first release, Lester Robertson’s ‘My Girl Across Town’, is included here, as is a previously unissued outing from Robertson.
Tab Benoit's latest release on Telarc, Fever for the Bayou, continues in what has become Benoit's signature territory, a funky, ragged blend of Louisiana swamp blues and East Texas guitar, with hints of funk, soul, and country thrown in to give the gumbo just the right spice. If it sounds like a formula, well, Benoit's jagged guitar playing and increasingly soulful vocals make it clear that this is the music he loves, so it hardly matters. He touches a lot of bases here, including an eerie approximation of Elmore James' slide sound on a cover of James' "I Can't Hold Out" (which also features some cool tenor sax work from Jimmy Carpenter), then conjures Buddy Guy on Guy's "I Smell a Rat," fires up on the old Slim Harpo chestnut "Got Love if You Want It," and tears through a wonderfully swampy take on Levon Helm's "Blues So Bad" before ending things with an acoustic version of Clarence Williams' "My Bucket's Got a Hole in It" (made famous by another Williams, Hank Williams Sr.).
A sort of a sequel to Gatemouth's 1974 Cajun country & western cowboy album Down South in the Bayou Country, the originally issued Bogalusa Boogie Man consists of 12 tracks performed in more or less that same vein. "Bogalusa Boogie Man" was recorded in Bogalusa, LA, during March of 1975, almost exactly one year after Bayou Country. Material for this project was composed by Danny Morrison, Red Lane, Hoyt Garrick, David Craig, Jerry Hubbard, Pat Rush, Fred Martin, and Little Feat founder Lowell George, whose "Dixie Chicken" features "vocals by everyone around in the studio, including friends and neighbors and the one and only Woody Lee Lewis." George is said to have singled out this version as his all-time favorite.