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A live recording released as part of a series of Hayride performances includes outbursts of applause. Williams performed "Jambalaya" at the Louisiana Hayride as part of his "homecoming" in fall, 1952 (after being fired from the Grand Ole Opry).
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country charts for fourteen non-consecutive weeks. Released in July 1952, it reached number one on the U.S. The broader audience related to "Jambalaya" in a way that it could never relate to a true cajun two-step led by an asthmatic accordion and sung in patois. However, although Williams kept a Louisiana theme, the song is not a true cajun song, which helped the song gain widespread popularity:Įthnic music is usually unpalatable for a mass market unless it is diluted in some way ( Harry Belafonte's calypsos, Paul Simon's Graceland. Since the original melody of the song was from "Grand Texas", the song is a staple of Cajun culture. The recording Williams made differs significantly from Mullican's, which was released in the same month as Williams' version but with a different order of verses and extra rhyming couplets. Williams recorded the song on June 13, 1952, his first recording session in six months, at Castle Studio in Nashville with backing provided by Jerry Rivers (fiddle), Don Helms (steel guitar), Chet Atkins (lead guitar), Chuck Wright (bass) and probably Ernie Newton (bass). Yvonne is his "chère amie", which is Cajun French for "my dear (female) friend" or more likely to mean "my girlfriend". At the feast they have Cajun cuisine, notably Jambalaya, crawfish pie and filé gumbo, and drink liquor from fruit jars. The narrator leaves to pole a pirogue down the shallow water of the bayou, to attend a party with his girlfriend Yvonne and her family. "Grand Texas" is a song about a lost love, a woman who left the singer to go with another man to "Big Texas" "Jambalaya", while maintaining a Cajun theme, is about life, parties and stereotypical food of Cajun cuisine. Williams' song resembles "Grand Texas" in melody only. Williams' biographer Colin Escott speculates that it is likely Mullican wrote at least some of the song and Hank's music publisher Fred Rose paid him surreptitiously so that he wouldn't have to split the publishing with Moon's label King Records. With a melody based on the Cajun song "Grand Texas", some sources, including AllMusic, claim that the song was co-written by Williams and Moon Mullican, with Williams credited as sole author and Mullican receiving ongoing royalties. Lovely record one of his best from this period.Williams began writing the song while listening to the Cajuns talk about food on the Hadacol Caravan bus. Of the jazz-oriented standards, "Cherokee" finds him using octaves, harmonics, sophisticated chords, and a jazz organ backing, and "How High The Moon" is easily slotted into the Chet Atkins finger-picking groove. The wheezy old Jimmy Durante signature "Inka Dinka Doo" is brought up to date (as of 1970) via a wah-wah pedal and "Tennessee Pride" is actually a tense country-rocker. The leadoff track "Steeplechase Lane" is clearly the best thing on the record, a great nostalgic Jerry Reed tune, with beautiful finger-picking, harmonics, and staccato work by Atkins. It's a relaxed, friendly, assured package, where the jazz, rock, electronic and other elements in playing reveal themselves modestly within the countrified context. The double-fold cover of this sleeper in Chet Atkins's huge catalogue depicts an old-fashioned general store in the country - and in a sense, that's what this LP is, a throwback to some of his earlier, less-cluttered, more musical albums.