The response to Alligator Stomp's first two volumes was so favorable that in 1992, Rhino gave us Volume 3 of the fine series. Regrettably, the CD (which runs from the 1960s to the 1980s) doesn't list either exact or appropriate recording dates. But the sound quality, detailed essay by Chuck Taggart and choice of material aren't anything to complain about. The CD illustrates are the differences between zydeco and traditional Cajun music. While Eddie LeJeune's version of "La Valse de Pont D'Amour," the Savoy-Doucet Cajun Band ...
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The response to Alligator Stomp's first two volumes was so favorable that in 1992, Rhino gave us Volume 3 of the fine series. Regrettably, the CD (which runs from the 1960s to the 1980s) doesn't list either exact or appropriate recording dates. But the sound quality, detailed essay by Chuck Taggart and choice of material aren't anything to complain about. The CD illustrates are the differences between zydeco and traditional Cajun music. While Eddie LeJeune's version of "La Valse de Pont D'Amour," the Savoy-Doucet Cajun Band's arrangement of "High Point Two-Step" and Lawrence "Black" Ardoin's interpretation of "You Used To Call Me" are examples of Cajun traditionalism, gems by Buckwheat Zydeco ("Hot Tamale Baby"), Clifton Chenier ("S'Mappel Fou") and his son C.J. Chenier ("My Baby Don't Wear No Shoes") show us exactly what zydeco is -- Cajun music combined with R&B/soul, blues and Creole music. When French-speaking African-Americans with Creole heritage were influenced by French-speaking Cajun-Americans with Anglo-French heritage, the potent result was zydeco. And when one plays this disc, the richness of those cultures comes alive in a major way. ~ Alex Henderson, Rovi
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