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Louisiana Blues - The Best Louisiana Sounds



One of the best known Louisiana blues artist to perform in this mode was thelate guitarist Robert Pete Williams (1914-1980), who was first recorded in theAngola State Penitentiary in 1958, by folklorist Dr. Harry Oster of LouisianaState University. Williams went on to tour and record actively, winning theadmiration of such rock performers as Bob Dylan, and the Rolling Stones. NewOrleans guitarist Boogie Bill Webb also performed some numbers with asimilarly quirky, rural approach which, at first, seemed quite baffling if listened towith expectations of conventional form. Some Cajun and zydeco musicians alsobend the confines of verse structure to make lyrics fit. The late Nathan Abshireand Boozoo Chavis, respectively, were two notable examples, as, on occasionwas the band The Hackberry Ramblers. The practice persists at this writing.




Louisiana Blues - The Best Louisiana Sounds



The most dramatic difference between pre- and post-War blues is that the latteris characterized by the use of amplified and electric instruments andbass/drums accompaniment. In Baton Rouge, guitar electrification produced a"country in the city" synthesis, as essentially rural material was played in ablues-band format. Many Baton Rouge electric blues guitarists, includingLightnin' Slim, Lazy Lester, Slim Harpo, Silas Hogan, and Arthur "Guitar" Kelley,were recorded in the 1950s and 1960s at a small studio in Crowley, Louisiana,where the owner, Jay Miller, also served as the producer. Miller was acontroversial figure, like many record-business entrepreneurs, and all the moreso in his case because he released some virulently racist rants on a label calledRebel. Nonetheless, even with such overt prejudice, Miller still produced bluesrecords with extraordinary atmosphere, soul, and vitality, which are nowregarded as classics. Perhaps the best known of these is Slim Harpo's "Baby,Scratch My Back," which became a national pop-chart hit in 1966. Othersignificant hits included Harpo's "Rainin' in My Heart," and Lightnin' Slim's "Rooster Blues." Since Miller leased hisproductions to the Excello label in Nashville, his concept became known in blues circles as "the Excello sound," which wasthought to have emanated from Tennessee so that its Louisiana origins often went unrecognized.


Some zydeco artists play and focus on so much blues, rhythm-and-blues, funk, or rap/hip-hop, that the Creole base of theirrepertoire is often obscured. Even so they play the accordion and sing, at least partially, in French, thus establishing theirzydeco bona fides. At the other end of the spectrum, zydeco accordionist Willis Prudhomme, from the small town of Oberlin inrural Allen Parish, claims no influence from either zydeco or blues; his role models, rather, were Cajun accordionists such asIry LeJeune and Nathan Abshire. Both LeJeune and Abshire sang with the same raw, emotional intensity that distinguishesthe best blues performances, underscoring the importance of blues as one component of Cajun music.


At the other end of the spectrum, New Orleans is, at this writing, still home tosuch rural-sounding, unabashedly time-jumping blues guitarists as Little FreddieKing, and Guitar Lightning Lee. Another notable figure in this vein, sadly nolonger with us, was the archaic-styled blues harmonicist Brother PercyRandolph (1914 - 1991). One of the great experiences that living in NewOrleans offered in the 1980s was an encounter with Randolph as he rode thecity's streets on his bicycle, playing through a home-made speaker systemmounted on his handlebars. An equally memorable (although far more dapper)figure was the late pianist and sophisticated comedic lyricist Cousin Joe(Pleasant Joseph), best known for such original, witty gems as "Every ThingThat's Made of Wood Was Once a Tree."


Around the same time, highways were being developed, connecting Louisiana with Texas and eventually the rest of the nation, giving musicians the opportunity to tour and bring back to Louisiana the sounds of their neighbors and other major cities. For example, just listen to the similarities in sound between Louisiana blues and the Texas honky-tonk and dancehall music.


The leading sounds of New Orleans rub shoulders with the swamp blues of Baton Rouge to get the musical gumbo of blues, pop, Cajun and rockabilly you get recorded here on this superb 2CD set from Jasmine.


  • Label: APO Records Genre: Blues Product No.: CAPO 2016 SA UPC: 753088201660 Availability: In Stock Category: Hybrid Stereo SACD Original Price: $25.00(Not Eligible for Additional Discount)All Sales Final on This Item$5.00 Add to Cart or Add to Wishlist Description Tracks (12)

A longtime sideman of Zydeco King Clifton Chenier and later C.J. Chenier, Harry Big Daddy Hypolite steps into the spotlight for the first time with Louisiana Country Boy, his solo debut. If you share the tastes of APO Records' CEO Chad Kassem, you'll wonder, after hearing this recording, how this soulful voice and natural charisma have gone relatively unnoticed for so long. Deep down in rural Louisiana, Hypolite, a self-confessed poor boy, has been honing his blues since he could talk - first in Creole French and then in English (both languages are represented on this release). The results are heartfelt confessions of real-life hard times. "Nobody gave me a chance before," Hypolite said. "But I said, 'I'm going to show 'em what I can do.' For me, this comes from deep in my soul. I want to play the blues, and I want to tell people about my Creole French heritage." These are deep, unpolished, gravely blues. In short, this is the real stuff - the blues of undiluted emotion. Louisiana Country Boy is also full of zydeco - a genre Hypolite said is not always played the way masters like Clifton Chenier intended it to be. "Zydeco is simple music," he said. "Guys who try to play jazz and put big chords in zydeco make it hard on themselves. You just need to know how to phrase it right, and it has to have a feeling and a meaning to it." Feeling and meaning - those are attributes Big Daddy is never short on. Even in the simplest of conversations, Hypolite wears his heart on his sleeve. If he doesn't win you over with his smile, he'll floor you with his laugh. Hypolite has bottled pure emotion by writing and singing autobiographical songs that reach all the way back to his childhood. He's been waiting for this moment for so long, played it over in his head so many times, that almost every song on this recording was done in one take, with no lyric sheets. In accordance with an APO Records tradition, the small mistakes were overlooked if the feeling captured could not be reproduced. At a time when many authentic blues artists are in the twilight of their careers, it's the dawn of Harry Hypolite's time in the sun. "This is like a dream for me," he said. "I'm proud of this record." "...just a dozen songs performed with warmth and sincerity by a man who knows what he wants to say and how to say it." - Jim DeKoster, Living Blues "The disc debut of South Louisiana blues guitarist Harry Hypolite is undoubtedly one of the best surprises of the year...Aficionados of Louisiana and southern blues in general will likely be enthralled by this offering as this Creole bluesman is diamond in the rough. His deep gravely, sandpaper rough voice drips with Spanish moss and insufferable humidity, which often leads to unexpected howls and bursts of pent-up anguish that's expressed as if it were the first time...As a guitarist, Hypolite hangs with the best of 'em, emitting warm, fluid tones from his candy apple red Gibson...Just like that fabled day when Chenier offered Hypolite his golden opportunity, another one of life's thrilling rides is just beginning for the 'Big Daddy'." - Dan Willging, ZydE-Zine, March 2002 "His open and syncopated acoustic and electric guitar licks are as steamy and brooding as the Louisiana swamps that serve as an ever present back drop to those rich and fulsome vocals which so memorably capture an essence of poverty, hard luck and heartache." Recording = 7.25/10 Music = 8.5/10- Reuben Parry, Hi-Fi+, Issue 31, page 134For a closer look at this outstanding bi-monthy audio magazine, please visit


Acoustic and usually a male performer, a blues shouter performs a song without using a microphone but at full volume. Its music for extroverts and the best blues shouter embodies energy and outstanding performance.


There are many great YouTube channels that feature Louisiana blues music. In this article, we will recommend some of the best channels for you to check out. Louisiana blues music is a rich and diverse genre, featuring elements of jazz, rock, soul, and more. Whether you're looking for live performances, guitar lessons, or delta blues history, there's a YouTube channel for you. Keep reading to find the best Louisiana blues YouTube channels for your listening pleasure.


The Brian G. Loza YouTube channel is a great place to go to enjoy some Louisiana blues music. There is a wide variety of music, from Jazz to more contemporary sounds, and it is all performed with skill and passion. Whether you're in the mood for some soulful tunes or just want to relax and groove to some great music, this channel is definitely worth checking out.


Currently residing in Jackson, Mississippi, Kern Pratt brings rocking blues that tips a hat to the sounds of the Delta in his inspired performances. He brings the blues to life in a vivid, captivating fashion, always with a new wrinkle. 041b061a72


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