Became a state on..... April 30, 1812
Southern Genres..... Creole, Cajun, Zydeco, Swamp Blues, Swamp Pop, Jazz, Blues, Country, Folk, Jazz, Gospel, Spirituals, Pop, Rhythm & Blues, Southern Hip-Hop
Music Museum..... Louisiana Music Hall Of Fame,
The music of Louisiana can be divided into three general regions: rural south, home to Creole Zydeco and Old French (now known as cajun music), New Orleans. The region in and around Greater New Orleans has a unique musical heritage tied to Dixieland jazz, blues and Afro-Caribbean rhythms. The music of the state starting at Baton Rouge has similarities to that of the rest of the US South.
Louisiana is a state located in the southern region of the United States. Louisiana is the 31st most extensive and the 25th most populous of the 50 United States. Its capital is Baton Rouge and largest city is New Orleans. Louisiana is the only state in the U.S. with political subdivisions termed parishes, which are the local government's equivalent to counties. The largest parish by population is East Baton Rouge Parish, and the largest by land area is Plaquemines. Louisiana is bordered by Arkansas to the north, Mississippi to the east, Texas to the west, and the Gulf of Mexico to the south.
Some Louisiana urban environments have a multicultural, multilingual heritage, being so strongly influenced by a mixture of 18th-century French, Spanish, Native American, and African cultures that they are considered to be exceptional in the US. Before the American purchase of the territory in 1803, the current Louisiana State had been both a French colony and for a brief period, a Spanish one. In addition, colonists imported numerous African people as slaves in the 18th century. Many came from peoples of the same region of West Africa, thus concentrating their culture. In the post-Civil War environment, Anglo-Americans increased the pressure for Anglicization, and in 1921, English was for a time made the sole language of instruction in Louisiana schools before a policy of multilingualism was revived in 1974. There has never been an official language in Louisiana, and the state constitution enumerates "the right of the people to preserve, foster, and promote their respective historic, linguistic, and cultural origins," whether English, French, Spanish, or otherwise.
"You Are My Sunshine" is a popular song recorded by Jimmie Davis and Charles Mitchell and first recorded in 1939. It has been declared one of the state songs of Louisiana because of its association with Davis, a country music singer and former governor of the state.
The song has been covered numerous times — so often, in fact, that it is "one of the most commercially programmed numbers in American popular music." The song, originally country music, has "virtually lost" its original country music identity, and "represents both the national flowering of country music and its eventual absorption into the mainstream of American popular culture.” In 1941, it was covered by Gene Autry, Bing Crosby, Mississippi John Hurt and Lawrence Welk. In subsequent years, it was covered by Nat King Cole (1955), The Marcels, (1961), Ray Charles, Ike and Tina Turner, The Rivingtons (1962), Frank Turner, Aretha Franklin, Johnny Cash, Brian Wilson, Mouse and the Traps, Jamey Johnson, Low, Andy Williams, and Johnny and the Hurricanes, amongst many others.
The 1940 version by Davis has been added to the National Recording Registry in the Library of Congress on March 21, 2013 for long-term preservation.
Virginia Shehee, a long-time Davis family friend and member of the Louisiana State Senate from 1976 to 1980, introduced legislation to make "You Are My Sunshine" the official state song.
In the words of Ben Sandme, Independent Scholar... The abundance of music in Louisiana has been aptly described as an embarrassment of riches. Louisiana generated several seminal musical styles and contributed to the development of many others. From Angie to Zwolle, Shreveport to Grand Isle, Sulphur to Sondheimer, Louisiana has influenced popular music far beyond its borders. New Orleans' unique blend of cultures nurtured some of the most significant developments in the emergence of jazz. Rhythm & blues also made great strides in New Orleans, where it continues to evolve. In recent years, the city has also served as an important center for rap, bounce, and southern hip-hop, modern styles with distinct folk roots. Many nationally-renowned blues artists honed their craft in Baton Rouge. The southwestern part of the state is home to Cajun music and zydeco, while northern Louisiana has played an important role in the histories of country music, rockabilly, and the blues. Gospel music is a significant tradition throughout the entire state, in black and white communities alike.
The music most commonly associated with New Orleans Jazz, though the belief that jazz was born, literally and exclusively, in the Big Easy is overly simplistic. While the evolution of any genre is a complex and lengthy socio-cultural process, New Orleans undoubtedly has played an important role in the evolution of jazz. Nineteenth-century New Orleans provided a uniquely fertile climate for the interaction of African aesthetics and technique with European instrumentation and concepts of musical standardization. This synthesis, combined with Afro-Caribbean rhythmic patterns brought by immigrants from Cuba and Haiti, forms the core of early jazz and supports the contention that Louisiana is the northern frontier of Caribbean culture.
The first renowned New Orleans jazz musician was cornetist Charles "Buddy" Bolden, who began performing publicly around 1895. Second-generation artist such as cornetist/trumpeter Louis Armstrong, clarinetist/saxophonist Sidney Bechet, and pianist Jelly Roll Morton rose to prominence a quarter-century later and helped define the classic New Orleans jazz sound. While many early jazz musicians were African American, there was also considerable input from New Orleans' Italian-American community. A whole spectrum of jazz--traditional, contemporary, avant-garde, and brass band--continues to evolve in New Orleans.
Rhythm & blues, commonly known as R&B, synthesizes traditional African American blues with various mainstream, commercial sources. The period between the late 1940s and the early 1960s is often called the golden age of New Orleans R&B, thanks to path-breaking records by Fats Domino, Lloyd Price, Smiley Lewis, Professor Longhair, Ernie K-Doe, Irma Thomas, Clarence "Frogman" Henry, Frankie Ford, and other talented artists. Many of their songs became national and/or global hits, while some were primarily popular on the Gulf Coast. In the 1970s, artists such as Dr. John and the Neville Brothers took R&B in new directions. Today pianist and singer Davell Crawford, among other artists, carries the torch. New Orleans rap star Lil’ Wayne also maintains a link to this legacy.
In addition, the huge success of Fats Domino inspired many major record companies based in New York or Los Angeles to bring their top artists to New Orleans studios. Their theory was that accompaniment by the city's talented studio musicians would increase the chance of scoring a hit, and such thinking often proved right. Perhaps the most notable example is Little Richard’s "Tutti Frutti" recorded in 1955.
A center of both blues and rock activity, Baton Rouge provided the setting for seminal records such as Slim Harpo’s “Baby, Scratch My Back” and “Judy In Disguise (With Glasses)” by John Fred and the Playboys. To the west lies the home of Cajun music and zydeco, the exuberant dance music genres of southwestern Louisiana's French-speaking people, white and black respectively. Cajuns are the descendants of French Acadians deported from the area now known as Nova Scotia in the mid-eighteenth century, many of whom them settled in southwestern Louisiana. The word zydeco comes from the Creole French phrase les haricots sont pas salés, which literally means, "the snap-beans are not salty." The phrase is a metaphor for hard times when people could not afford salt pork to season their food. In the early 1950s, this adage provided the name for the dance music played by black, French-speaking Creoles. (“Creole” has many definitions in Louisiana. Its usage here denotes members of southwestern Louisiana’s black community who speak French or have ancestors who did.)
As performed by definitive stylists like Clifton Chenier, Boozoo Chavis, and Stanley “Buckwheat” Dural, zydeco has interacted with blues and R&B, funk, and soul. More recently, younger artists such as Chris Ardoin have incorporated the influence of rap and hip-hop. Cajun music, in addition to its Acadian legacy of fiddle tunes and a capella ballads, has shaped and been influenced by country music. Leading Cajun musicians, historic and contemporary, include Dennis McGee, Dewey Balfa, Nathan Abshire, and Michael Doucet. Cajun and zydeco also contributed to swamp pop, a hybrid of French Louisiana music synthesizing pop, rock, and R&B.
Shreveport, in Louisiana's northwestern corner, is a vitally important city in the history of Louisiana music. The great blues guitarist Huddie Ledbetter, also known as Leadbelly, honed his performance skills in Shreveport's blues clubs and street corners during the early twentieth century. First recorded by Library of Congress folklorists Alan and John Lomax, Leadbelly became a popular and influential entertainer, introducing rural blues and other genresto urban audiences around the nation. Leadbelly’s repertoire overlapped considerably with country music, which has many manifestations around Louisiana.
In its earliest forms, country was a new-world expression of the folk music traditions brought to America by British emigrants. When the recording industry emerged in the early twentieth century, modern commercial country music blended British folk roots with African American influences blues, and the sentimental compositions and popular, published songs sometimes known as parlor music. The country styles known respectively as western swing and bluegrass, for instance, absorbed jazz rhythms and the concept of instrumental improvisation. Beginning in the 1930s, western swing also interacted with Cajun music through bands such as The Hackberry Ramblers.
Shreveport played a particularly pivotal role in country music. From 1948 until the 1960s, a live radio program known as ouisiana Hayride was broadcast on Saturday nights from Shreveport’s Municipal Auditorium. Louisiana Hayride reached a broad national audience and hosted talents like Kitty Wells, Jim Reeves, Webb Pierce, Hank Williams, and Johnny Cash. In addition, the show helped nurture a new, multi-cultural style known as rockabilly by hiring a then-obscure young singer named Elvis Presley to perform between 1954 and 1956.
Rockabilly combined elements of country music with African American blues and rhythm and blues, and the gospel fervor of both cultures. One of the most important originators of rockabilly was a wild pianist and singer named Jerry Lee Lewis, from Ferriday in Concordia Parish. Lewis emerged in the mid-1950s with such passionate recordings as "Great Balls of Fire" and "Whole Lotta Shakin' Goin' On." Lewis remains active in the genre, as does the great Shreveport guitarist James Burton, whose career also began on the Louisiana Hayride.
Louisiana's gospel traditions encompass a range of styles. Solo singers such as the late Mahalia Jackson inspired listeners with their religious fervor and pure vocal power. Jackson used many time-honored African-American musical techniques--including call-and-response, syncopation, bent and slurred notes, growls, and screams--all of which are also heard in blues. The classic gospel quartet sound combines these effects with exquisite use of four-part harmonies, sung in different registers to maximize the effect of the contrasting voices. The quartet sound also influenced secular R&B. Many gospel quartets perform a cappella while others use bass and drums, electric guitar, and keyboards. This same instrumentation also accompanies gospel choirs, which may include dozens of singers.
In northern Louisiana, one of the most striking manifestations of African American gospel music is Easter Rock—a traditional ceremony involving music and dance. This ritual, which originated in the antebellum era, is relatively unknown outside the Louisiana delta. In the Original True Light Baptist Church in Franklin Parish, for example, the Easter Rock service has been performed on the Saturday evening before Easter Sunday for generations. As the congregation sings hymns, participants take rhythmic, reverberating steps from side-to-side while circling a table filled with food. At the end of the “rock” ritual, the food is served to the congregation. In the past, the Easter Rock service traditionally lasted until midnight, but today it often ends earlier since members attend a sunrise church service on Easter morning.
Another striking tradition in Louisiana gospel music, black and white, is shape-note singing. This a cappella style, found in some Protestant congregations, is based on a simplified system of musical notation. Instead of reading musical notes on a staff, shape-note singers sound out the tune by reading the shapes of the notes. There are two systems of shaped notation. The older Sacred Harp system, named after a book by that title, uses only four syllables (fa, sol, la, and mi) in the musical scale; each syllable has its own shape and gets repeated when moving up the scale. The newer seven-note system (using do, re, mi, fa, sol, la, ti) is more commonly used in northern Louisiana today.
In addition to the dominant regional music traditions of Louisiana, immigrants from a wide variety of nations added their musical traditions to Louisiana’s distinctive cultural blend. Early French colonists brought the traditions of western classical music with them. Similarly, Isleños, who immigrated from the Canary Islands, brought ballads known as décimas, which are sung in a seventeenth-century Spanish dialect, to the area around of St. Bernard Parish. Hungarians, Czechs, Irish, Italians, German, Croatians, Jews, and Filipinos, among others, also imported their musical traditions. Italian music intersected with jazz and R&B, while salsa, merengué, and other styles from Central America, the Caribbean, Vietnam, and Laos are more recent additions. After Hurricane Katrina, immigrants from Mexico added yet another dimension to the state’s musical heritage. While some documentation of these communities exists, much remains to be done.
The term "Creole music" is used to describe both the early folk or roots music traditions of French and Metis rural Creoles of South Louisiana and the later more contemporary genre called Zydeco. It was often simply called French music or La La. It was sung in French patois by Creoles. This early American roots music evolved in the 1930s into a richer sound accompanied by more instruments. Creole pioneer Amede Ardoin is said to be the first Creole to record this indigenous music. He has also been credited for greatly influencing the foundation of Cajun music. Melodies from pioneers like Ardoin provided a basis for works by composers Louis Moreau Gottschalk and Moses Hogan and others. Creole music traditions in the US have been known to change and evolve as quickly as they were being replicated by white artists, the music of the Creoles also eveolved into a more contemporary amplified sound that was later called zydeco, which is the indigenous music of the Creoles or "Creole music". Zydeco comes from French "les haricots," meaning snap or green beans as in "les haricots (ne) sont pas salés (the beans are not seasoned (with salt pork) because times are hard right now). Zydeco fused the traditional Creole roots music sang in French with contemporary sounds making it relevant, dynamic and constantly attracting a new generation of listeners within the Creole community as well as outside the community. This fusion was birthed in the Creole lala, jazz and blues halls (joints) of Frenchtown, Houston, Texas which were frequented by Creole immigrants from West Louisiana and East Texas.
Cajun music is rooted in the music of the preexisting Creoles and the French-speaking Catholics of eastern Canada and became transformed into a unique sound of the Cajun culture. In earlier years of the late 18th century the fiddle was the predominant instrument and the music tended to sound more like early country music. Cajun music is typically a waltz or two step. Unlike the folk music of Quebec it is not associated with the Celtic tradition.
In the early 1950s, zydeco evolved from the music of the Creoles in southwest and south central Louisiana. At an earlier period, Creole and Cajun music were more similar, but after World War II, this regional French music evolved into a distinct expression of the Creoles, Louisianians whose shared languages and culture transcend race. Along with the accordion, the second main instrument in a zydeco group is a corrugated metal washboard, called a Zydeco Rubboard or frottoir. They made the music contemporary by adding electrical instruments (guitar and bass), keyboards, drumkit and even sometimes horns. The Creole Zydeco music of Grammy winning artists Queen Ida Guillory, Clifton Chenier, Rockin Sidney Simien, Buckwheat Zydeco and Terrance Simien remain some of the most internationally recognized zydeco music. John Delafose, Andrus Espree (aka Beau Jocque), Boozoo Chavis, Rosie Ledet, Chubby Carrier, Conray Fontenot, Amede Ardoin, Rockin Dopsie, Geno Delafose, Nathan Williams, Keith Frank, Chris Ardoin, Cedric Watson and Jeffrey Broussard are also other well known Creole Zydeco musicians.
Swamp blues developed around Baton Rouge in the 1950s and which reached a peak of popularity in the 1960s. It generally has a slow tempo and incorporates influences from other genres of music, particularly the regional styles of zydeco and Cajun music. Its most successful proponents included Slim Harpo and Lightnin' Slim, who enjoyed a number of rhythm and blues and national hits and whose work was frequently covered by bands of the British Invasion.
Swamp pop came about in the mid-1950s. With the Cajun dance and musical conventions in mind, nationally popular African American music genres such as rock, pop, country, and R&B songs were re-recorded, sometimes in French. Swamp pop is more of a combination of many influences, and the bridge between zydeco, New Orleans second line, and rock and roll. The song structure is pure rock and roll, the rhythms are distinctly New Orleans based, the chord changes, vocals and inflections are R&B influenced, and the lyrics are sometimes French.
The region's location, bordered by Texas on the west and the Mississippi Delta on the east has not led to a development of a "local" music. Traditional and modern country music has been dominant, creating its own country stars, like Tim McGraw, Jimmie Davis, Trace Adkins, Hank Williams Jr. and Andy Griggs.
However, northern Louisiana's lasting contribution to the world of popular music was the radio program "The Louisiana Hayride", which started broadcasting in 1948 on KWKH in Shreveport. Hank Williams, George Jones, Elvis Presley and nearly every other country legend, or future country legend alive during the 1950s stepped on stage at the Shreveport Municipal Auditorium. They performed, many for the first time on radio, on a signal that covered much of the southeastern US. The original production of the show ended in 1960, but re-runs and the occasional special broadcast continued for a few years. The Louisiana Hayride was regarded as a stepping stone to The Grand Ole Opry, the legendary radio show from WSM in Nashville, Tennessee.
Northern Louisiana in the 1950s had a country rock scene, many of whose artists(the Lonesome Drifter) were recorded by local Ram Records. Later, Shreveport produced The Residents, Kenny Wayne Shepherd, Ladarius McDonald, and Sunday Mass Murder.
Shreveport native Danny Johnson a veteran of the industry gracing the stages and recordings of Rod Stewart, Rick Derringer, Alice Cooper, and Alcatrazz. (Eddie Van Halens) Private Life, Danny Johnson and the Bandits, and Axis. He has been the guitar slinger for the last 16 years for Steppenwolf.
Jeff Mangum, founder of Neutral Milk Hotel and The Elephant 6 Recording Company was born in Ruston, Louisiana.
In the 19th century there was already a mixture of French, Spanish, African and Afro-Caribbean music. The city had a great love for Opera; many operatic works had their first performances in the New World in New Orleans.
Unlike in the Protestant colonies of what would become the USA, African slaves and their descendants were not prohibited from performing their traditional music in New Orleans and the surrounding areas. The African slaves, many from the Caribbean islands, were allowed to gather on Sundays, their day off, on a plaza known as Congo Square. Permitted as early as 1817, dancing in New Orleans had been restricted to the square, which was a hotbed of musical fusionism, as African styles from across America and the Caribbean met and danced in large groups, often in circle dances. The Congo Square gatherings became well known, and many whites came to watch and listen. Nevertheless, by 1830, opposition from whites in New Orleans and an influx of blacks elsewhere in the U.S. caused the decline of Congo Square's prominence. The tradition of mass dances in Congo Square continued sporadically, though it came to have more in common with minstrelsy than with authentic African traditions.
Caribbean dances known to have been imported to Louisiana include the calenda, congo, counjai and bamboula.
Louis Gottschalk was an early 19th-century White Creole pianist and composer from New Orleans, the first American musician/composer to become famous in Europe. A number of his works incorporate rhythms and music he heard performed by African slaves.
In addition to the slave population, antebellum New Orleans also had a large population of free people of color, mostly Creoles of mixed African and European heritage who worked as tradesmen. The more prosperous Creoles sent their children to be educated in France. They had their own dance bands, an opera company, and a symphony orchestra. The community produced such composers as Edmund Dede and Basil Bares. After the American Civil War many Creole musicians became music teachers, teaching the use of European instruments to the newly freed slaves and their descendants.
Probably the single most famous style of music to originate in the city was New Orleans jazz, also known as Dixieland. It came into being around 1900. Many with memories of the time say that the most important figure in the formation of the music was Papa Jack Laine who enlisted hundreds of musicians from all of the cities diverse ethnic groups and social status. Most of these musicians became instrumental in forming jazz music including Buddy Bolden, Bunk Johnson and the members of Original Dixieland Jass Band. One of early rural blues, ragtime, and marching band music were combined with collective improvisation to create this new style of music. At first the music was known by various names such as "hot music", "hot ragtime" and "ratty music"; the term "jazz" (early on often spelled "jass") did not become common until the 1910s. The early style was exemplified by the bands of such musicians as Freddie Keppard, Jelly Roll Morton, "King" Joe Oliver, Kid Ory. The next generation took the young art form into more daring and sophisticated directions, with such creative musical virtuosos as Louis Armstrong, Sidney Bechet, and Red Allen.
New Orleans was a regional Tin Pan Alley music composing and publishing center through the 1920s, and was also an important center of ragtime.
The blues that developed in the 1940s and 1950s in and around the city of New Orleans was strongly influenced by jazz and incorporated Caribbean influences, it is dominated by piano and saxophone but has also produced major guitar bluesmen. Major figures in the genre include Professor Longhair and Guitar Slim, who both produced major regional, R&B and national hits.
Louis Prima demonstrated the versatility of the New Orleans tradition, taking a style rooted in traditional New Orleans jazz into swinging hot music popular into the rock and roll era.
The city also has a rich tradition of gospel music and spirituals; Mahalia Jackson was the most famous of New Orleans' gospel singers.
In the 1950s, New Orleans again influenced the national music scene as a center in the development of rhythm and blues. Important artists included Fats Domino, Snooks Eaglin, Dave Bartholomew, Professor Longhair, and Clarence Garlow.
The 1960s saw the emergence of Malcolm John "Mac" Rebennack, Jr. (born November 21, 1940), better known by the stage name Dr. John a New Orleans born singer/songwriter, pianist and guitarist whose music combined blues, boogie woogie and rock and roll. Dr. John cited Professor Longhair as one of his musical influences and has recorded a number of his compositions, most notably "Tipitina".
1980s new style of "street beat" brass bands combining the jazz brass band tradition with funk and hip hop was spearheaded by the Dirty Dozen Brass Band (which had more of a bebop influence than many of the later bands), then the Rebirth Brass Band.
Contemporary jazz has had a following in New Orleans with musicians such as Alvin Batiste and Ellis Marsalis. Some younger jazz virtuosos such as Wynton Marsalis and Nicholas Payton experiment with the avant garde while refusing to disregard the traditions of early jazz.
Continuing development of the traditional New Orleans jazz style, Tom McDermott, Evan Christopher, New Orleans Nightcrawlers.
Louisiana blues created a specialized form of blues music sometimes using zydeco instrumentation and slow, tense rhythms that is closely related to New Orleans blues and swamp blues from Baton Rouge.
Significant New Orleans rock and roll bands include Zebra, The Meters, The Radiators, Galactic, Better Than Ezra, 12 Stones, and Cowboy Mouth. Popular alternative rock bands include Mutemath and Meriwether.
Beginning in the mid-1990s, New Orleans became a hub of Southern Hipo-Hop & Rap. First with Master P and his No Limit clique based out of the 3rd Ward, then later came the Cash Money clique who popularized a unique semi-melodic Louisianan style of rapping to the hip hop mainstream. Lil Wayne became one of the most prominent New Orleans rappers. The city has also been a center of Southern hip hop, and the birthplace of Bounce music.
Louisiana is known as the most important place for the development of a style of heavy metal: sludge metal. Two of its founding acts, Eyehategod and Crowbar, are from New Orleans, where the genre's most important scene can be found. Other notable sludge metal bands such as Acid Bath, Down, Soilent Green and Choke are based in Louisiana. Blackened death metal band Goatwhore are from New Orleans.
Britney Spears (from Kentwood) has had 4 #1 hits on the Billboard Hot 100, including the dance-pop song "...Baby One More Time" from 1999. Lil Wayne has 2 #1 hits on the Hot 100, including "Lollipop" from 2008. Juvenile (rapper) had one #1 hit on the Hot 100 with "Slow Motion" ft. Soulja Slim, from 2004. Tim McGraw has had 25 songs that have reached #1 on the Hot Country Songs chart, including "Live Like You Were Dying" from 2004. The Dixie Cups had a #1 Hot 100 hit with "Chapel of Love" in 1964. They also did the song "Iko Iko" about Mardi Gras. R&B singer Frank Ocean had a #1 album on the Billboard 200 with Blonde in 2016.
Small, local record labels proliferated from Houston, Texas to New Orleans, specializing in recording and distributing local acts. Labels such as Jin, Swallow, Maison De Soul, and Bayou continue to record and distribute Creole music, and other south Louisiana music. Many of the original versions of classic songs are still being made and distributed.
One of the most successful label owners was Floyd Soileau. Soileau started as a local DJ in Ville Platte, Louisiana in the mid-1950s, and soon decided he would rather help make music than play it. He started most of the labels listed in the previous paragraph. He and his record shop are important pieces of Louisiana's music history.
Louis Armstrong - December 7, 2008
Marcia Ball - 2012
Dave Bartholomew - November 8, 2009
Harold Battiste - November 7, 2010
BeauSoleil - October 16, 2011
Tab Benoit - May 16, 2010
Rod Bernard - January 29, 2012
Kix Brooks - July 13, 2013
The Boswell Sisters - April 13, 2008
James Burton - August 22, 2009
Bobby Charles - October, 2007
Chubby Carrier - October 16, 2011
Clifton Chenier - June 25, 2011
Jay Chevalier - December 7, 2008
Jimmy Clanton - April 14, 2007
Bill Conti - April 22, 2008
Cowboy Mouth - May 14, 2011
Floyd Cramer - December 7, 2008
James "Sugarboy" Crawford - November 7, 2010
Dale & Grace - October 27, 2007
Dash Rip Rock - January 7, 2012
Jimmie Davis - October 27, 2007
The Dixie Cups - April 14, 2007
Fats Domino - October 2007
Elvis Presley 2013
D J Fontana 2013
Frankie Ford - May 16, 2010
Pete Fountain - March 18, 2007
John Fred - April 14, 2007
Playboy Band - May 16, 2010
Mickey Gilley - August 7, 2012
Henry Gray 2013
Buddy Guy - April 16, 2008
Dale Hawkins - October 27, 2007
Clarence "Frogman" Henry - April 14, 2007
Al Hirt - November 7, 2009
Slim Harpo - September 25, 2011
Hunter Hayes - September 7, 2012
Dick Holler - October 27, 2007
Johnny Horton - August 22, 2009
Mahalia Jackson - December 7, 2008
Al "Carnival Time" Johnson - April 14, 2007
Kidd Jordan - November 7, 2010
Ernie K-Doe - August 2, 2009
Luther Kent - November 18, 2011
Doug Kershaw - October 9, 2009
Sammy Kershaw - December 7, 2008
Bobby Kimball - May 16, 2010
Jean Knight - October 27, 2007
Ronnie Kole - November 4, 2012
Sonny Landreth - October 25, 2012
Lead Belly - December 7, 2008
LeRoux - October 10, 2009
Jerry LaCroix - January 29, 2012
Jerry Lee Lewis - June 4, 2008
Stan Lewis - August 22, 2009
Lillian Axe - May 16, 2010
Little Richard - May 30, 2009
Little Walter Jacobs 2013
Louisiana Hayride - August 22, 2009
LSU Tiger Band - September 11, 2009
Master P - July 4, 2013
Cosimo Matassa - October 27, 2007
Dennis McGee - December 11, 2011
Gerry McGee - December 11, 2011
Tim McGraw - August 3, 2012
Tommy McLain - October 27, 2007
Ellis Marsalis - December 7, 2008
Jelly Roll Morton - December 7, 2008
D. L. Menard - October 9, 2009
S J Montalbano - February 7, 2012
John Moore - April 24, 2008
Kenny Neal - September 25, 2011
Jimmy C Newman - October 9, 2009
Randy Newman - February 11, 2011
Aaron Neville - December 12, 2010
Neville Brothers - January 7, 2012
Joe Osborn - June 12, 2010
Robert Parker - April 14, 2007
Phil Phillips - October 27, 2007
Potliquor - October 20, 2012
Queen Ida Guillory - April 26, 2013
Webb Pierce - October 27, 2007
Lloyd Price - March 9, 2010
Louis Prima - December 7, 2008
Wardell Quezergue - November 7, 2010
The Radiators (American band) - June 10, 2011
Eddy Raven - September 14, 2012
Mac Rebennack - December 28, 2007
River Road - May 14, 2011
Johnny Rivers - June 12, 2009
Mike Shepherd - December 1, 2013
Eddie Shuler - May 11, 2013
Benny Spellman - August 2, 2009
Percy Sledge - May 11, 2007
Jo El Sonnier - October 9, 2009
Joe Stampley - October 9, 2010
Warren Storm - September 10, 2010
Irma Thomas - April 14, 2007
Luke Thompson - October 27, 2011
Wayne Toups - October 13, 2011
Allen Toussaint - August 2, 2009
Wilson "Willie Tee" Turbinton - April 14, 2007
The Uniques - October 9, 2010
Vince Vance - November 28, 2010
Larry Williams - February 9, 2014
Lucinda Williams September 16, 2013
Gregg Wright 2013
Zebra - July 10, 2010
Huey P. Long & Castro Carazo
The Inn Crowd
Shotgun LeBoa & the Livestock Show
Little Freddie King
J J Muggler Band
Randy Jackson (Zebra)
Walter "Wolfman" Washington
Cookie and the Cupcakes
T K Hulin
Jivin' Gene Bourgeois
G G Shinn
Lil Buck Senegal
Willie Tee Trahan
Glen David Andrews