01/16/25

La Bottine Souriante (1976–)

La Bottine souriante are a Québécois folk revival band, formed in 1976 by Yves Lambert and others in his home city of Joliette.[1] Since their founding during a peak period of Québec nationalism, they have become one of the most important disseminators of Québécois folk music, both within the province and internationally; many important Québécois folk musicians have at some time played with the group.[2]

Since their first album, Y’a ben du changement (1978), their music has been received with success: they recorded 14 studio albums with Lambert from 1976 to 2003, winning two Juno awards and eight Prix Félix during this time. La Bottine souriante continues to tour extensively around Europe and Canada,[3] and is especially popular in the USA.[1] They have also been politically active, and campaigned for “Yes” in the 1980 Québec referendum.

The personnel in the band have changed extensively since their founding; the current lineup consists of Eric Beaudry, David Boulanger, Robert Ellis, Jean Fréchette, Jean-François Gagnon-Branchaud, Mathieu Gagné, Jocelyn Lapointe, Olivier Salazar, Sandy Silva, Timi Turmel, and André Verreault, with Lambert having left in 2003. Founding members included Mario Forest, Lambert, André Marchand, Gilles Cantin, and Pierre Laporte, and many other musicians have been involved with the group both as core members and as guest artists. The instrumentation consists of common French-Canadian folk instruments (accordion, guitar, fiddle, harmonica, mandolin, jaw harp) as well as elements of Celtic and Irish music, brass instruments, and more recently jazz-inspired piano and bass.[4] The group has a long history with 16 studio albums and numerous guest appearances over their almost 50-year history. Some suggested listening has been included below.

Since much of their music is intended for dance, foot-tapping is featured prominently (e.g. the opening track Cette bouteille-là from Appellation d’origine contrôlée). This particular album also features percussive dancing by Sandy Silva as part of the music.[5] In this album, the title relates to an agricultural label (AOC) which designates local products produced in a particular region, perhaps to evoke an organic, agrarian aesthetic (though the instrumentals in this album contain a curious fusion of big band and funk not heard in their earlier output). The galloping rhythms are a commonality across much of their musical output across time, and can be also heard as early as in Y’a ben du changement. Alternation between songs and instrumental dance pieces also persists across albums, and many techniques (e.g. call and response) remain the same.

Suggested Sources:

  1. “La Bottine souriante.” The Canadian Encyclopedia. Historica Canada. Article published February 07, 2006; Last Edited December 15, 2013.
  2. Thérien, Robert. “La Bottine souriante.” The Canadian Encyclopedia. Historica Canada. Article published August 21, 2006; Last Edited December 16, 2013.
  3. Noakes, Taylor. “Yves Lambert.” The Canadian Encyclopedia. Historica Canada. Article published September 7, 2022; last edited September 7, 2022.
  4. Wikipedia Editors. “La Bottine souriante.” Wikipedia. https://en.wikipedia.org/wiki/La_Bottine_Souriante
  5. Romero, Angel. “Foot Tapping Good.” Review of Appellation d’origine contrôlée by La Bottine souriante (Borealis, 2011). World Music Central. https://worldmusiccentral.org/2012/01/13/foot-tapping-good/

Suggested Listening:

Related Links:

01/16/25

Beothuk

The Beothuk (a word meaning “the people” or “true people” in the Beothuk language) were an Indigenous people who inhabited what is now called Newfoundland. They were coastal people who mainly lived off fish, seals, and other sea mammals and birds. They traditionally lived in settlements along the southern and northeastern coasts of Newfoundland. Their language is part of the Algonquian language family, and a dictionary of Beothuk vocabulary was created in the 1800s.

The Beothuk were likely the first Indigenous peoples to be in contact with Europeans, possibly as early as when the Norse settled in the area between 800 and 1000 CE. 500 years later, new European settlers arrived from England and France, and the Beothuk were immediately wary of them. As more Europeans flocked to the coasts of Newfoundland and encroached on traditional territory., the Beothuk moved inland. Interestingly, the Beothuk never participated in the trade of goods with Europeans but did repurpose metal objects left behind by settlers into tools for hunting.

As permanent settlements along the coast were established by the English and French, the Beothuk were blocked from fishing in their traditional waters and forced to live off of insufficient land and waterways for their needs. The deterioration of their living situation, combined with the introduction of European diseases, particularly tuberculosis, resulted in a rapid decrease in population. Many history books claim that the Beothuk were wiped out, with Shawnadithit, who died in 1829, being recorded as the last surviving Beothuk. However, the Mi’kmaq, who traded with the Beothuk, have always asserted that some Beothuk fled and intermarried with other Indigenous nations on the mainland.

Very little is known about the Beothuk’s musical traditions, but there are written accounts that reference traditional singing and dancing. One interesting musical artifact is a wax cylinder recording from 1910 of a Beothuk song sung by Santu Toney, a woman who self-identified as Beothuk despite speaking Mi’kmaq and living in Massachusetts. Toney claimed she learned the song from her father before fleeing Newfoundland. While we can never be sure whether the music was traditional or influenced by European traditions, the recording provides our only acoustic glimpse into the musical traditions of the Beothuk people.

Suggested Sources:

01/16/25

Métis

Métis People and Their Identity

The Métis community is one of Canada’s three recognized Indigenous peoples (Canadian Geographic 2018). The earliest mixed Aboriginal-European people could be traced back to the first contact period. However, the emergence of the first community that is made up of distinctly Métis people is still being studied to this day. Scholars have argued that their ancestry is either traced back to Red River settlement or the fur trade in the Great Lakes in the late 18th century. In today’s definition, the Métis people include those of mixed ancestry from the 18th to early 19th centuries fur traders of European descent, primarily French settlers, and Indigenous women of Cree and other nations like Ojibwa and Saulteaux. Before the term “Métis” was used to refer to this mixed community in the early 19th century, they were referred to as “Saulteurs,” “bois brûlés,” or “chicots” (Gaudry 2023). The term “Métis” came from the French verb “métisser,” meaning to mix races. The language developed and spoken within the Métis community is called Michif, which combines verbs and phrases from Cree and French nouns. Today, Heritage Michif is considered an endangered language, as less than a few hundred people speak it, and those who can speak the language are mostly people in their 70s or older (Canadian Geographic 2018).

Resistance to the Canadian government

For a long time, the Métis people faced ongoing discrimination and especially land encroachments from the Canadian government. In 1869, the Canadian government acquired Rupert’s Land from the Hudson’s Bay Company, which the territory belonged to the descendants of original inhabitants including the Métis nation, and sold without consultation or consent from the Indigenous people. The event of sending surveyors onto André Nault’s (Métis leader, farmer and buffalo hunter) land further increased the tension between the Métis and the Canadian government, which ultimately led to the Red River uprising. The continuous disregard for Métis people’s land claims and marginalization angered the Red River Métis people, who eventually formed the National Committee of the Métis in October 1869, and later established their provisional government on December 8, 1869, with Louis Riel as the leader (Gaudry 2023). The Métis people, whether they participated in the 1885 North-West Resistance or not, would be socially, economically, and politically marginalized. As they lose their title to the land, they can’t pay taxes, which results in a cycle of poverty for generations to come (Canadian Geographic 2018).

Contribution to Francophone music

The Métis people also made significant contributions to Canada’s music, mostly in the form of dance and fiddle music. Traditional dances like the Red River Jig (1850s), the Rabbit Dance, and the Sash Dance are highly celebrated dances of their heritage, they are still being performed at powwows, functions, national competitions, and community gatherings (Gaudry 2023). As Europeans brought violins to Canada, the Métis people adopted the instrument and played their traditional tunes with it, these tunes are usually a mix of French-Canadian and Indigenous tunes. Many Métis fiddlers traveled across North America and participated in fiddle contests, as many Métis people held competitions to determine who was the best jiggers and fiddlers. Despite a lack of formal training, many Métis fiddlers could play at a virtuosic level and have developed excellent musicianship (Canadian Geographic 2018).

Suggested Sources:

01/16/25

Mi’kmaq

The Mi’kmaq (or Mi’kmaw, L’nu) are an Indigenous people with roots in the Atlantic provinces of Canada and parts of the northeastern United States that date back to around 10,000 years ago. Their traditional territory, Mi’gma’gi, spans Nova Scotia, New Brunswick, and parts of Newfoundland, Quebec, and Maine, with a population of over 70,000 people identifying as Mi’kmaq in the 2021 Canadian census. Central to their culture are their strong ties to the natural world, their language (now recognized as Nova Scotia’s first language), and their vibrant artistic traditions, particularly music.

Mi’kmaq music has long been an integral part of cultural expression. Traditional songs and chants, often performed during ceremonies or powwows, convey deep emotion using syllabic sounds rather than structured lyrics. The term “welta’q”, meaning “it sounds good,” refers broadly to all pleasing sounds, including music, storytelling, and natural soundscapes. Many traditional songs are believed to have been inspired by animals, such as birds, whose calls serve as the basis for musical creativity.

A recent example of Mi’kmaq musical innovation is Emma Stevens’ 2019 viral cover of Blackbird by the Beatles, sung in the Mi’kmaq language. Her rendition brought global attention to endangered Indigenous languages and highlighted the power of music in preserving culture. Stevens’ performance, supported by her Cape Breton community, aligns with broader efforts to revitalize the Mi’kmaq language, which, despite challenges, has grown in use due to immersion programs and legislative support such as the 2022 Mi’kmaw Language Act.

The Mi’kmaq people’s resilience is also evident in their activism. From advocating for fishing and hunting rights under 18th-century Peace and Friendship Treaties to protests against environmental exploitation, they continue to assert their sovereignty and protect their lands. This cultural perseverance, mirrored in their music, exemplifies the deep connection between art, language, and identity in Mi’kmaq traditions.

Suggested Sources:

01/16/25

Acadian Music

[Add text here]

 

Suggested Sources:

  • Labelle, Ronald. “Acadian Music.” The Canadian Encyclopedia. Historica Canada. Article published March 03, 2014; Last Edited March 04, 2015.
01/16/25

Le cou de ma bouteille

Lyrics:

Le matin quand je m’y lève

J’y mets la main sur le cou

Sur le cou de ma bouteille

Je lui fais faire ‘glouglueglou’

 

Ma femme, jure et tempête

Quand je veux la caresser

Et elle a beau faire la sévère

Je ne peux m’en empêcher

 

Si je meurs, que l’on m’enterre

Dans la cave où est le vin

Les pieds contre la muraille

Et la tête sous le robin

 

S’il en tombe quelques gouttes

Ça m’rafraîchira le teint

Si le tonneau se débouche

J’en boirai jusqu’à la fin

 

Les quatre plus grand ivrognes

Porteront les coins du drap

Et les restes des ivrognes

Chantera la libera

 

Se disant les uns les autres

En se mettant à genoux

Boira-t-il dans l’autre monde

Comme il a bu avec nous ?

 

(Lyrics are from a later text and vary slightly)

 

Source: from Helen Creighton collection. Link: https://drive.google.com/file/d/11SK8XnKdIWcKhXjKI_JdwDhJexRTReRH/view?usp=sharing

Lyrics from Talk like a Pirate Day QC: https://tlapdqc.wordpress.com/musique-chansons-classement/le-cou-de-ma-bouteille

 

Type: A traditional drinking song.

Context: Perhaps to be sung at bars, or sailing/fishing/navy (pirate context)? 

 

Narrative: Begins as a day in the life of a drunk. Describes domestic struggles with alcohol, then takes a dark turn and describes the last wishes of the subject; several verses (highlighted in Word doc) are borrowed directly from “Chevaliers de la table ronde,” a popular Quebecois drinking song. Describes the wish of the deceased to be buried such that his corpse can continue to drink, and how the other drunkards should carry out his funeral rites (‘porteront les coins…’ ‘chantera la libera’). Finally describes those at the funeral wondering whether he will continue to drink in the next life as he drank on earth. 

Clearly a funny and entertaining song, part of which would be familiar to the listeners. The happy musical content feels ironic with the macabre lyrics, but the swaggering, lilting style feels appropriate of a drinking song. Regular strophic form; the first AABA section paints a bleak picture of life, while the next two sections speak enticingly of death (the humorous aspect is interesting). B strophes tend to build tension (i.e. build up to the punchline). 

 

Analysis:

Strophe Rhyme Line Text (Rhyme Quality)
A a 1 Le matin quand je m’y lève
b 2 J’y mets la main sur le cou
A c (a’) 3 Sur le cou de ma bouteille (P)
b 4 Je lui fais faire ‘glouglueglou’ (P)
B d 5 Ma femme, jure et tempête
e 6 Quand je veux la caresser
A f (d’) 7 Et elle a beau faire la sévère (P)
e 8 Je ne peux m’en empêcher (S)
A f 9 Si je meurs, que l’on m’enterre
g 10 Dans la cave où est le vin
A h 11 Les pieds contre la muraille
g 12 Et la tête sous le robin (S)
B i 13 S’il m’en tombe quelques gouttes
g 14 Ça m’rafraîchira le teint
A j (i’) 15 Si le tonneau se débouche (P)
g 16 J’en boirai jusqu’à la fin (P)
A k 17 Les quatre plus grand ivrognes
l 18 Porteront les coins du drap
A k 19 Le meilleur de ces ivrognes (R)
l 20 Chantera mon libera (S)
B m 21 Se disant les uns les autres
n 22 En se mettant à genoux
A o 23 Boira-t-il dans l’autre monde (P)
n 24 Comme il a bu avec nous ? (S)

 

Alternate recordings:

A recent version by Les Charbonniers de l’Enfer: https://www.youtube.com/watch?v=HNL67GtJBqY

– this uses a different melody; slightly more fast-paced and minor mode

An “electrotrad” cover by Mélisande: https://melisandemusic.bandcamp.com/track/le-cou-de-ma-bouteille

– an interesting way of keeping this text relevant; this comes across as more of a sea shanty (another different melody)

 

Related Links:

Les voyageurs

Acadie

Pubnico

Helen Creighton Folklore Society

01/16/25

Partons, la mer est belle

NOTE: The oldest version in a published collection dates from 1891 and was titled “L’étoile du marin.” There are over 70 versions of the song collected in Canadian sources and there are many variants.

As the song contains many textual variants, the lyrics align with the version found here (except the last couplet, which has been ommitted):

Strophe Rime Vers Texte
A a 1 Amis, partons sans bruit;
b 2 La pêche sera bonne,
b 3 La lune qui rayonne
a 4 Éclairera la nuit.
A’ c 5 Il faut qu’avant l’aurore
d 6 Nous soyons de retour,
c 7 Pour sommeiller encore
d 8 Avant qu’il soit grand jour.
B e 9  Partons, la mer est belle;
f 10 Embarquons-nous, pêcheurs,
e 11 Guidons notre nacelle,
f 12 Ramons avec ardeur.
g 13 Aux mâts hissons les voiles,
h 14  Le ciel est pur et beau;
g 15 Je vois briller l’étoile
h 16 Qui guide les matelots.
A i 17 Ainsi chantait mon père
j 18 Quand il quitta le port,
i 19 Il ne s’attendait guère
j 20 À y trouver la mort!
A’ k 21 Par le vent, par l’orage,
l 22 Il fut surpris soudain
k 23 Dans un cruel naufrage,
l 24 Il subit le destin.
B e 9 Partons, la mer est belle;
f 10 Embarquons-nous, pêcheurs,
e 11 Guidons notre nacelle,
f 12 Ramons avec ardeur.
g 13 Aux mâts hissons les voiles,
h 14 Le ciel est pur et beau;
g 15 Je vois briller l’étoile
h 16 Qui guide les matelots.
A i 25 Je n’ai plus qu’une mère
l 26 Qui ne possède rien.
i 27 Elle est dans la misère
l 28 Et n’a que mon soutien.
m 29 Ramons, ramons bien vite.
A’ n 30 Oh, je la vois là-bas;
m 31 Je vais courir de suite
n 32 Me jeter dans ses bras.
B e 9 Partons, la mer est belle;
f 10 Embarquons-nous, pêcheurs,
e 11 Guidons notre nacelle,
f 12 Ramons avec ardeur.
g 13 Aux mâts hissons les voiles,
h 14 Le ciel est pur et beau;
g 15 Je vois briller l’étoile
h 16 Qui guide les matelots.

Song Type: A seafaring song, perhaps also a work song.

Context: As the main recording attests, a song sung during gatherings, maybe during holidays.

Narrative: The song opens as the narrators’ father suggests that a group of fishermen go out to fish at night. He would like to be back before dawn to get a good night’s rest before the next day begins. As they launch, they notice that the sky is clear and the waters are calm. They use a star (probably the North Star), to guide their navigation.

In the second couplet, the narrator reveals that the previous text was spoken/sung by his father. The narrator continues the story, explaining that a storm arose without warning and that the men died in a shipwreck.

The third couplet is a bit ambiguous. Did the narrator accompany their father on the trip and survived? The story continues, now in the perspective of the narrator thinking of his mother who has nothing and cannot live without his help. He wants to return to shore as fast as possible to meet his mother in a loving embrace.

This is a somber song that speaks about the dangers of navigating the sea, but also highlights the importance of loving and cherishing the people that mean the most in our lives.

Suggested sources:

Related links:

Acadie (Acadia)

Partons, la mer est belle (analysis)

Acadian Music

01/16/25

Au chant de l’alouette

NOTE: This is a call and response song for young adults, and functions as a cautionary tale for young women. The narrative is the singer straying from harvesting and searching for nests instead. They step on quail’s wing and argue with the bird. This bird may represent a man and an unpleasant encounter in the forest.

Strophe Rhyme Line Text
A a[1] 1 On m’envoie au champ c’est pour y cueillir. (bis)
a 2 Je n’ai point cueilli, j’ai cherché des nids.
B b 3 Au chant de l’alouette je veille et je dors
b 4 J’écoute l’alouette et puis je m’endors.
A a 2 Je n’ai point cueilli, j’ai cherché des nids. (bis)
a 5 J’ai trouvé la caille assis sur son nid.
B b 3 Au chant de l’alouette je veille et je dors
b 4 J’écoute l’alouette et puis je m’endors.
A a 5 J’ai trouvé la caille assis sur son nid. (bis)
a 6 J’lui marché sur l’ail’ et la lui rompis.
B b 3 Au chant de l’alouette je veille et je dors
b 4 J’écoute l’alouette et puis je m’endors.
A a 6** J’lui marché sur l’ail’ et la lui rompis. (bis)
a 7 Elle m’a dit “Pucell’, retir’-toi d’ici.”
B b 3 Au chant de l’alouette je veille et je dors
b 4 J’écoute l’alouette et puis je m’endors.
A a 7 Elle m’a dit “Pucell’, retir’-toi d’ici.” (bis)
a 8 “Je n’suis pas Pucell’”, je lui répondis.
B b 3** Au chant de l’alouette je veille et je dors
b 4*** J’écoute l’alouette et puis je m’endors.

Continue reading →