"Jolie Blonde" is a traditional cajun waltz, often called "the cajun national anthem" because of the popularity it had in cajun culture. The song was then later popularized on a nationwide scale by a series of renditions and references in late '40s country songs. It has been the subject of occasional covers later in the 20th century by cajun and classic country revival bands.
The original cajun version is a brief address to a "pretty blonde" who had left the singer and moved back in with her family, and is also now in the arms of another man. The singer concludes that there are plenty of other pretty blonde women. The fiddle-based melody probably dates to before the 1900s. I found a version (titled "La Valse De Gueydan") that predates the 1929 recording of the Breaux family. (SEE FURTHER ON IN THIS POST)
The earliest recording of the song is believed to be a version by the Breaux family trio entitled "Ma Blonde Est Partié".
There is some mystery to its origin. While Amede Breaux is credited with writing the song, it was his sister Cleoma who actually wrote the lyrics and Amede sang the song.
(o) Amadie Breaux, Ophy Breaux and Clemo Breaux (1929) (as "Ma Blonde Est Partié")
Recorded on April 18, 1929 in Atlanta
Released on Columbia 40510-F
Also released on Okeh 90010
Jolie blonde, regardez donc quoi t'as fait,
Tu m'as quitte pour t'en aller,
Pour T'en aller avec un autre, oui, que moi,
Quel espoir et quel avenir, mais, moi, je vais avoir?
Jolie blonde, tu m'as laisse, moi tout seul,
Pour t'en aller chez ta famille.
Si t'aurais pas ecoute tos les conseils de les autres
tu serait ici-t-avec moi aujourd 'hui
Jolie blonde, tu croyais il y avait just toi,
Il y a pas just toi dans le pays pour moi aimer.
Je peux trouver just une autre jolie blonde,
Bon Dieu sait, moi, j'ai un tas.
Listen here:
Dennis McGee claims the original song was written by Angelas Lejeune as "La Fille De La Veuve" (aka "La Valse De La Veuve") during WWI and Cleoma Breaux rewrote the lyrics, allegedly about Amede's first wife.
Angelas Lejeune and Ernest Fruge would eventually record this song in 1930.
(c) Le Jeunne & Fruge (1930) (as "La Valse De La Veuve")
Recorded on November 19, 1930 in New Orleans
Released on Brunswick 558 and Melotone M18052
Listen here:
Or here:
Angelas LeJeune was one of the most influential of the early Cajun accordion players. His repertoire passed down to his younger cousin Iry LeJeune, who made big hits with his reworkings of tunes by Angelas and Amd Ardoin in the late 1940s, early 1950s.
As I said here above his "Valse de la Veuve" (aka "La Fille de la Veuve") has the same tune as Jolie Blonde /Jole Blon but with different lyrics.
In 1929 the Guidry Brothers would lay down their version of the melody, calling it "Homme Abandonné".
(c) Guidry Brothers (1929) (as "Homme Abandonné")
Recorded on October 1, 1929,
Released on Vocalion 15849.
Listen here:
Or here:
But there's another song with a similar melody, that definitely predates "Ma Blonde Est Partié" and all the others.
(o) John Bertrand and Milton Pitre (1929) (as "La Valse de Gueydan")
Recorded January 1929 in Chicago.
Released on Paramount 12748A
Listen here: npmusic.org/John_Bertrand_Gueydan.mp3
"La Valse de Gueydan" was also recorded in New Orleans in 1930 by Amédé Ardoin and Dennis McGee.
(c) McGee & Ardoin (1930) (as "La Valse de Gueydan")
Recorded on November 19, 1930 in New Orleans
Released on Brunswick 513
Comment je vas faire, malheureuse
Il faudra moi, je m'en vas
O, catin, mais, ouais, t'es tout seule
Mon, je connais, c'est pas ta faute
C'est pas toi qui fait tout ça
O, 'tite fille, toi, jamais tu brailles.
Fais pas ça, 'tite fille, fais pas ça t'après me faire
O, catin, fait pas ça t'après me faire.
Donc, cependant je t'ai rien fait
Toi, aperçois, toi, tu me fais
O, catin toi, tu me fais autant do mal.
Toi,'tite fille, catin, comment je vas faire, moi, je m'en vas
À la maison, catin, toi, jolie, dimanche au soir.
rai jamais d'agrément de rentrer, toi, et de m'assis
à la table pour moins manger quand t'as déjà venu faire, à rapport à toi.
Listen here:
With slightly different lyrics Leo Soileau also recorded a version of "La Valse Gueydan".
(c) Leo Soileau and his Three Aces (1935) (as "La Valse de Gueydan")
Recorded on January 18, 1935.
Released on the B-side of his famous "Hackberry Hop" (Bluebird B-2086)
Also released on Bluebird B-2171
Eh, jolie, moi je m'en vas dans grand Gueydan,
C'est pour voir, ma jolie petite fille,
Jolie cœur, je peux pas venir.
Eh, jolie, pourqoui-donc, mais, tu fait ça,
Avec ton vieux nègre, jolie petite fille,
Pourquoi-donc mais tu fais ça avec ton nègre?
Tu m’as laissée dans les misères,
Mais, jolie fille, pourquoi-donc,
Tu fait ça avec ton vieux nègre,
Et jamais j'avais cru quoi j'ai vu.
Tu ma dit, jolie fille.
Listen here:
Or here:
In 1934 Alan Lomax traveled to Louisiana, recording artists including the Segura Brothers and their version of "La Fille De La Veuve".
The title "Jolie Blonde" was first given to the melody by the Hackberry Ramblers.
But it's the same melody and lyrics as Amadie Breaux, Ophy Breaux and Clemo Breaux "Ma Blonde Est Partié"
(c) Hackberry Ramblers (1936) (as "Jolie Blonde")
Floyd Rainwater [gt], Lennis Sonnier [vcl/gt], Johnny Puderer [bass], Lunderin Darbone [fiddle]
Recorded October 17, 1936 in St. Charles Hotel, New Orleans, LA.
Released on Bluebird B-2003
Listen here:
And (on the same day) Miller's Merrymakers recorded "Te Ma Lessa Jolie Blonde", which sounds very similar to "Jolie Blonde", but has other lyrics and a slightly different tune.
Miller's Merrymakers (J.B. Fuselier [vcl/fiddle], Bethoven Miller [gt], Preston Manuel [gt])
Recorded October 17, 1936 in New Orleans, LA.
Released on Bluebird B-2006
Listen here:
The melody also appears in "La Valse de La Lafayette" and in "Jolie (Brunette)" by the Jolly Boys of Lafayette. Both versions recorded on the same day in 1937.
(c) Jolly Boys of Lafayette (1937) (as "La Valse de La Lafayette")
Recorded on February 21, 1937 in Dallas, TX
Released on Decca 17029
Listen here:
(c) Jolly Boys of Lafayette (1937) (as "Jolie (Brunette)")
Recorded on February 21, 1937 in Dallas, TX
Released on Decca 17032
Listen here:
Happy Fats and his Rayne-Bo Ramblers used the melody in "Nouveau Grand Gueydan" (New Gran Guadyan)
(c) Happy Fats and his Rayne-Bo Ramblers (1937) (as "Nouveau Grand Gueydan")
Recorded September 10, 1937 in St. Charles Hotel New Orleans.
Released on Bluebird B-2024
Listen here:
During the late 1940s, as country's nationwide market had solidified, a number of country artists popularized the song "Jole Blon". The popularization began in 1946 with Harry Choates and his French version of "Jole Blon" for Goldstar records.
(c) Harry Choates (1946) (as "Jole Blon (Pretty Blond)")
Harry Choates [vcl/fiddle], Esmond Pursley [gt], B.D.Williams [gt], Charles Stagle [banjo],
James Foster [bass], William Slay [piano]. Producer: Bill Quinn)
Recorded March 1946 Quinn Recording Co., 3104 Telephone Road, Houston, TX
Released July 1946 on Gold Star 1314.
In December 1946 the same master was re-released on Modern Music # 511 and it hit the charts.
É ha ha!
Jolie blonde, jolie fille
Chère petite, jolie cœur
Tu m'as laissé pour t'en aller
Avec un autre, mais chère petite fille
Dans l'pays de la Louisiane
Mais malheureuse
Oh, mais jolie cœur
Ca t'as fait à ton pauvre papa
Tu m'as laissé, mais, chère petite
Mais moi tout seul
Mais malheureux
Quelle espoir, mais quel avenir
Mais moi j'peux avoir?
É hé hé! Oh ha ha!
Chère petite, jolie blonde
Mais ca t'as dit, ma malheureuse
Quoi t'as fait? Tu vas avoir
Tu serais pitié
A few years later Harry Choates recorded an English version of "Jole Blonde"
(c) Harry Choates (1955) (as "New Jole Blon")
Recorded somewhere between 1947-1950 at Quinn Recording Co., Houston, TX
Released 1955 on Starday 45-187
Listen here:
After the big succes of Harry Choates' French version, various country artists recorded an English version of the song.
Moon Mullican's version, credited to Al Miller (the King Records sales manager)
It reached the # 2 spot in the C&W charts
(c) Moon Mullican And The Showboys (1946) (as "New Pretty Blonde")
Moon Mullican [vcl/piano], Mutt Collins [ld gt], Guy Cotton Thompson [fiddle],
Acie Peveto [steel], Reggie Ward [bass], Richard Prine [drums], Ralph Lamb [fiddle]
Recorded October 1946 Cliff Herring Studio, 1705 W. 7th St., Ft. Worth, TX
Released on King 578
Listen here:
2 months later Red Foley even reached the # 1 spot in the C&W charts.
His version credits Al Miller and Sydney Nathan (founder of King Records)
(c) Red Foley and The Cumberland Valley Boys (1947) (as "New Jolie Blonde")
Zeb Turner [gt], Zeke Turner [gt], Smoky Lohman [steel], Louis Innis [bass],
Dolph Hewitt [violin], Jimmy Bennett [accordion], Salty Holmes [harmonica], ? [trumpet])
Recorded January 8, 1947 Chicago, IL
Released on Decca 46034
Listen here:
(c) Johnny Tyler and Riders of Rio Grande (1947) (as "New Pretty Blonde (New Jole Blon)")
Johnny Tyler [vcl], George Chumura [gt], Richard Hamilton [gt], Judith Lee Cragin [gt],
Robert Terry Fell [gt/harmonica], Leodie Jackson [steel], Carl Victor Bias [bass],
Ralph Gleason [drums], Jesse Ashlock [fiddle], Norman Baker [fiddle],
Robert Armstrong [piano]
Recorded January 9, 1947 RCA Victor Studio, 1016 North Sycamore St., Hollywood CA
Released on RCA-Victor 20-2171
Listen here:
In 1947 Roy Acuff recorded his own version of "Jole Blon", Writing credits: Acuff.
It was this version that most likely inspired Bruce Springsteen and Gary US Bonds to record their version in 1980.
(c) Roy Acuff And His Smoky Mountain Boys (1947) (as "(Our Own) Jole Blon")
Roy Acuff [vcl], Lonnie Wilson [gt], Brother Oswald Kirby [dobro/vcl], Jess Easterday [mandolin], Welma Williams [bass], Tommy Magness [violin], Francis “Sonny Day”Tamvourin [accordion].
Recorded Jan 1947 CBS Studio (Radio Station KNX), Hollywood, CA
Released on Columbia 37287
Listen here:
(c) Johnny and Jack and the Tennessee Mountain Boys (1947) (as "Jole Blon")
Johnny Wright, Jack Anglin, Ray Atkins, Eddie Hill, Paul Buskirk, Dorris Paul Warren.
Recorded March 25, 1947 New York City
Released on Apollo 142
Listen here:
Eventually, in 1949, Amede Breaux would form the band Acadian Aces and record the song again.
(c) Amidie Breaux And The Acadian Aces (1951) (as "Jole Blonde")
Recorded 1949 in Jay Miller's studio in Crowley, Louisiana
Released on Feature F-1023.
Listen here: http://npmusic.org/Amedee_Breaux_Jolie_Blonde.mp3
(c) Waylon Jennings (1959) (as "Jole Blon")
Buddy Holly on guitar and King Curtis on tenor sax
Recorded September 1958 in Clovis, New Mexico
Released in 1959 on Brunswick 9-55130
Listen here:
(c) Jimmy Newman (1959) (as "Jolie Blon")
Recorded June 10, 1959 Bradley Film and Recording Studio, Nashville, TN
Released on the album "This is Jimmy Newman" (MGM SE-3777)
Listen here:
Jimmy re-recorded the song in 1963.
Released on the album "Folk Songs Of The Bayou Country" (Decca DL 4398)
and in 1974.
(c) Rod Bernard (1965) (as "My Jolie Blonde")
Listen here:
(c) Gary U.S. Bonds and Bruce Springsteen (1981) (as "Jole Blon")
Springsteen had originally recorded the song for his 1980 album, The River, but it was never released and he decided to re-record the song with Gary U.S. Bonds for Bonds 1981 album "Dedication".
The Bonds/Springsteen version was most likely modeled after the Roy Acuff version (SEE ABOVE)
Listen here;
Gary U.S. Bonds peforms "Jole Blon" with Bruce Springsteen at MetLife Stadium in New Jersey (September 21, 2012). "The Boss says, "I've seen this sign at 95 shows. It's a pain in my ass." So to the satisfaction of the fan who says she's been carry the sign "her whole life", Bruce "imported Gary U.S. Bonds" to finally honor her request."
Listen here:
