| Boogie Woogie Zydeco | |
| Type: | studio |
| Artist: | Chubby Carrier and the Bayou Swamp Band |
| Cover: | Boogie Woogie Zydeco.jpg |
| Released: | 1991 |
| Genre: | Zydeco |
| Label: | Flying Fish[1] |
| Prev Title: | Go Zydeco Go |
| Prev Year: | 1989 |
| Next Title: | Dance All Night |
| Next Year: | 1993 |
Boogie Woogie Zydeco is an album by the American band Chubby Carrier and the Bayou Swamp Band, released in 1991.[2] [3] The album was part of the zydeco revival of the late 1980s and early 1990s, and was noted for its especially fast tempos and rock elements.[4] [5] [6]
The album was recorded in Evanston, Illinois.[7] The band wrote 12 of the album's 15 songs. "Good for the Goose" is a cover of the Rockin' Sidney song; "Dog Hill" is a cover of the Boozoo Chavis song, while ""Madelaine" is a traditional song. The two washboards heard on the album were played by Carrier's brother and cousin.[8] Rodney Dural, Buckwheat Zydeco's nephew, played bass on Boogie Woogie Zydeco; David LeJeune played guitar.[9]
The Washington Post wrote that "Carrier's singing is nothing to write home about either, but at least it's more engaging than the tedious blues-rock guitar solos that punctuate the album with dulling frequency."[10] The Orlando Sentinel determined that "Carrier isn't a Cajun purist, but he's a third-generation accordionist... The traditional element is prominent in both his spritely playing and the band's washboard-driven polyrhythms."
The Edmonton Journal stated that "Carrier mixes various shades of dance music with a couple of washboards, bass and percussion keeping up the pace."[11] The Telegram & Gazette noted the addition of "hot Southern-rock guitar licks."[12] The Commercial Appeal concluded that Boogie Woogie Zydeco showcases Carrier's "fine accordion playing, tight band and strongly traditional approach to zydeco's Cajun-Creole-R&B fusion."[13]
AllMusic wrote that "Carrier slows down the tempo for the 1960s-type soul numbers 'Be Fair to the People' and 'Sherrie', both of which are so appealing that they make one wish he embraced slower tempos more often."[7] The Penguin Guide to Blues Recordings praised the "exceptionally crisp, articulate and well-recorded percussion."