Clifton Chenier - Biography
Clifton Chenier didn’t invent zydeco, but he took the genre from a regional music enjoyed primarily by the black French-speaking Creoles of southwest Louisiana and placed it in the international spotlight. When Chenier started recording for Chris Strachwitz at Arhoolie Records in 1963, the music was dying out, supplanted by soul and R&B in the hearts of young Creoles. His success led to a rebirth of interest in the genre and paved the way for Rockin’ Sydney, Buckwheat Zydeco, Queen Ida, Nathan and the Zydeco Cha Chas and the other young bands now carrying the music forward. After he died in late 1987, his son C. J. Chenier took over his band.
Known today as the King of Zydeco, Clifton Chenier was born in Opelousas, Louisiana in 1925. His father played accordion at local dances and young Clifton grew fond of the music of early zydeco artist Amédé Ardoin, as well as the blues he heard on the radio. By the time he was 16 years old, Chenier was playing accordion, accompanied by his older brother Cleveland on rub board, which was a metal washboard that players hang around their neck and play with thimbles worn on their fingertips. The brothers worked day jobs but played music in a small band called The Zydeco Ramblers during the night and on weekends. In 1954, J. R. Fulbright of Elko Records heard the Chenier’s and signed them. The Zydeco Ramblers put out two singles and attracted the attention of Specialty Records’, Art Rupe. Chenier’s first Specialty single, “Ay, ‘Tit Fille,” became a regional R&B hit. The band collectively quit their day jobs and were soon the biggest attraction on the zydeco circuit.
Despite Chenier’s success, and subsequent singles for the Chess and Zynn labels, zydeco audiences were dwindling as trends shifted. The Zydeco Ramblers relocated to Houston, playing to the large Creole population of Frenchtown. Chris Strachwitz, the founder of Arhoolie Records, caught one of their shows and signed Chenier to his label in 1963, and they released Louisiana Blues and Zydeco (1964 Arhoolie). It was the beginning of the ’60s folk boom, so clever marketing was needed. Being a shrewd businessman, Strachwitz marketed Chenier as a folk artist, although The Zydeco Ramblers played soul, rock and pop standards as well as blues and zydeco numbers. Chenier was soon selling out folk clubs, college concert halls and playing rock clubs as well.
The albums Black Snake Blues (1966 Arhoolie) and Louisiana Blues (1969 Arhoolie) did so well that Specialty put out an album of the sides Chenier cut for them, entitled Bayou Blues (1970 Specialty.)
The unexpected success of the Arhoolie albums made Chenier and his band a big concert draw in the United Stated and Europe, but his success was not without problems. Strachwitz wanted Chenier to play older, traditional music, and Chenier wanted to play soul, rock and R&B to appeal to younger crowds and expand the audience for zydeco.
King of the Bayous (1970 Arhoolie) captured Chenier’s traditional side, while 1970’s Clifton Chenier (Live at a French-Creole Dance) (Arhoolie) showed what the band did at their high-energy gigs. Slowly Chenier made Strachwitz realize that music had no future unless its audience got bigger.
Elvin Bishop and Steve Miller sat in on Out West (1970 Arhoolie), which was recorded in San Francisco, while Bogalusa Boogie (1975 Arhoolie) showed Chenier playing with renewed intensity. In 1976, he reorganized the group as The Red Hot Louisiana Band with sax man “Blind” John Hart and guitarist Paul Senegal.
Clifton Chenier and His Red Hot Louisiana Band (1978 Arhoolie) and the live recording Clifton Chenier & His Red Hot Louisiana Band in New Orleans (1979 GNP Crescendo) show off the band’s fierce approach and Chenier’s soulful vocal style. Boogie ‘n’ Zydeco (1980 Maison de Soul) was aimed at dancers, while I’m Here! (1982 Alligator) showed off the band’s improvisational abilities. Oddly enough, despite its jazzy flavor, I’m Here! won a Best Ethnic or Traditional Folk Album Grammy.
Chenier and his band stayed on the road thrilling audiences, all the while making excellent albums throughout the 1980s, like Live at San Francisco Blues Festival (1982 Arhoolie), The King of Zydeco Live at Montreux (1984 Arhoolie), the gritty Clifton Chenier Sings the Blues (1987 Arhoolie), which compiles early side from the Prophecy and Home Cooking labels, and Live at St. Mark’s (1987 Arhoolie). The latter was recorded at a “French dance” in Richmond, California, and the Creole fans tear up the dance floor while Chenier’s blend of rock, soul and blues smokes the place. It’s one of his best live albums.
Chenier fell into poor health in the last years of his life, but he didn’t lead on in the music. Even when he began playing sitting down after having a foot amputated due to complications with diabetes, Chenier still rocked whatever venue he was at. Chenier died in 1987.
Posthumously, 60 Minutes with the King of Zydeco (1988 Arhoolie) is a selection of sizzling cuts from his 15 Arhoolie albums; Zydeco Sont Pas Sale (1997 Arhoolie) collects rockers, blues and two steps from the Arhoolie days; and Zydeco Dynamite (1993 Rhino) gives an excellent overview on two 20-track CDs, each which trace Chenier from his Elko singles to his Arhoolie sets.
