Never heard Ton Papa before. Do you have a recording of it you can send to my email?

I've always played fast (unless I'm playing a gig) because I respect the old style. That's the first stuff I heard.

I only for dancers a few times a year anyway.

Funny thing is, when I slow it down, I can't play as well.

You know what bugs me a little? At times alot people get on my case about my speed at a jam session.
I figure no one is dancing, let's make it fast and hardcore old style.

Steve: I recorded it with a program you can download for free called Goldwave.
All I used was my dad's flute microphone (tiny little condenser) clipped it onto a fan and plugged it into into my computer.

The beat is a Casio keyboard. #94 country beat. I figure it's got a loud downbeat so it works for me.

Thanks for the feedback my friends!

Should be linked above.

Originally done in the late 20s by Mayeuse Lafleur and Leo Soileau.

Reprised in the late 40s, early 50s by Lawrence Walker.

I think it's on Steve Riley's first CD too.

I appreciate Allie Young's version, recorded for Gerard Dole on a French label. Really clear!

I like the fast, old style too! But I have heard some people say it was recorded at the wrong speed, and if you could slow it down 10% with Audacity, it sounds even better! They name Amede Ardoin as a prime example.

I have heard some early country music by the Carter Family where Joe Bussard swears it was recorded at the wrong speed. He demonstrated it for me at the correct speed, and dang if he wasn't right. It did sound better!

But you should keep on jamming at the speed you like.

I think I may have that Mayeuse Lafleur CD lying around somewhere copied. I'll check it out.

I wonder if Iry Legeune's was recordings were sped up too.

I've heard that the old 1 row player, John Kimmel's were sped up. They must have been, I don't think any human being could play that fast!

"I wonder if Iry Lejeune's recordings were sped up too."

I don't think so! By the time Iry recorded, the technology was more precise for speed, from what I understand. Now for some dancers, they said it was too fast. He played a lot in the Lake Charles area. I am sure Chris and Ganey know more about this than I do.

Hear Iry's heartbreaking waltzes. You won't think they are at the wrong speed.

He was just a fast player. Can you imagine those days in Lake Charles when you could hear Iry and Nathan Abshire play on the same night? For some, Iry was king of the two step, Nathan the waltz.

And then there was Lawrence Walker....

There is one Iry song that I slowed down because it sounded too fast to me. It was a version of Grand Bosco that had a different name that I cant recall at the moment. After slowing it down it sounds closer to just another version of Grand Bosco.

The rest of them I just enjoy for the masterpieces they are.

We slowed down several from that late 20's and early 30's era that I think sound now better, dont know if it to true speed or not.

That collection of Nonc Allie Young by Gerard Dole that Neal is referring to is a treasure. To my untrained ear, he seems to have a great rhythm and I am using that collection to try to learn some tunes on my old box. I dont know where to get a copy. Maybe Mr. Dole could chime in here.

Why slow down old recordings, especially ones that were recorded at real speed? I can understand if you're trying to learn from them to slow it down, but otherwise?

Regardless to popular belief, Cajun music is more than just dance music. It's also music to listen to and get your heart pounding. Sometimes pounding at 101 beats per minute!