![]() ![]() However, like other American youth in the mid-1950s, they discovered the alluring new sounds of rock and roll and rhythm and blues artists like Elvis Presley and Fats Domino. ![]() The musicians who went on to birth swamp pop listened to (and often performed) traditional Cajun music and Creole music (which later developed into zydeco) as children, as well as popular country and western ( hillbilly) songs by musicians like Bob Wills, Moon Mullican, and Hank Williams. ![]() Hulin's "I'm Not a Fool Anymore" (1963), and Clint West's "Big Blue Diamond" (1965), among numerous others. These include Johnnie Allan's "Lonely Days, Lonely Nights" (1958), Buck Rogers' "Crazy Baby" (1959), Randy and the Rockets' "Let's Do the Cajun Twist" (1962), T. In swamp pop's south Louisiana–southeast Texas birthplace, fans regarded many songs that never became national hits as classics. These included Jimmy Clanton's "Just A Dream" (1958), Warren Storm's " Prisoner's Song" (1958), Phil Phillips' " Sea Of Love" (1959), Rod Bernard's " This Should Go On Forever" (1959), Joe Barry's "I'm a Fool to Care" (1960), and Dale and Grace's "I'm Leaving It Up to You" (1963). ĭuring the genre's heyday (1958–1964), several swamp pop songs appeared on national U.S. But the genre has also produced many upbeat compositions, such as Bobby Charles' " Later Alligator" (1955), popularly covered by Bill Haley & His Comets. It is exemplified by slow ballads like Cookie and the Cupcakes' "Mathilda" (recorded 1958), considered by many fans as the unofficial swamp pop "anthem". The swamp pop sound is typified by highly emotional, lovelorn lyrics, tripleting honky-tonk pianos, undulating bass lines, bellowing horn sections, and a strong rhythm and blues backbeat. ![]()
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