Feufollet:
Future Past Perfect
B Y G EOFFREY H IMES
C
hris Segura held up the CD booklet from
the first album by his band Feufollet (“FOH-
fuh-lay”). The cover of the 1999 recording,
La Bande Feufollet, was a photo of two
young girls and four young boys looking
sheepish as they cradled their seemingly gigantic adult
instruments on the wooden porch of an old Cajun house.
They looked like what they were: a bunch of kids, ages 9-
14, with the baby-fat cheeks, buck teeth and ill-pro-
portioned bodies of that awkward growing stage.
They were already prodigies on their instruments,
but most of them had yet to go through puberty.
Segura, now 24, waved the CD booklet at an
interviewer and declared, “Sometimes I wish I
could get rid of all these, so people would stop
Feufollet.P65 43
© Jillian Johnson
thinking of us as these kids and recognize who we are
today.”
The fiddler’s frustration was understandable. How would
you like your junior-high photos to be forever associated with
your professional career? Because so many Cajun-music fans
first encountered Feufollet as an irresistibly cute, talented-
for-their-age group of youngsters, that’s how those fans still
think of them. It has been an uphill struggle for the musi-
cians to convince listeners that they’re now adults in their
early 20s who just made an album, Cow Island Hop,
that deserved its 2009 Grammy nomination for Best
Zydeco or Cajun Music Album (even if they lost to
Beausoleil).
“The challenge is to get away from being thought
of as the Cajun Menudo,” lamented guitarist Josh
Vol. 53 #1 • Sing Out! 43
6/15/2009, 3:37 PM
 Feufollet belting out a tune
at the South Louisiana
Blackpot Festival & Cookoff
in 2006.

Caffery. “It’s hard when we

read something about us be-
ing a ‘young Cajun band,’
because our aggregate age is
no different than the Pine

Leaf Boys’. We don’t want
to be the prodigy kids; we
just want to be regarded as
a good Cajun band. I think
that’s finally changing with
Cow Island Hop.”
“It seems impossible for them to shake off the reputation as
‘cute little kids,’” added Joel Savoy, head of Valcour Records,
the label that released Cow Island Hop. “And yet, there is noth-
ing childish about them. In fact, as a band, they are more ma-
ture musically than almost any group in Southwest Louisiana
at this time. A lot of the popular music I hear on Cajun radio
stations is the most mindless, poor-quality schlock performed
by young folks without any sense of responsibility as ambassa-
dors of our culture. Call them what you want, but the music
Feufollet is making is the stuff that’s going to be remembered.”
© David Simpson
On the other hand, Feufollet wouldn’t be the accomplished
band it is today if it hadn’t gotten such a big head start in the
business. By beginning so young, and by playing so many
professional gigs as teenagers, the band members gained not
only a proficiency on their instruments but also a command
of Cajun music’s tradition and possibilities ... a command
that most musicians don’t acquire till their 30s. In other
words, that 1999 album represents not just their biggest ob-
stacle but their greatest advantage, too.
“Because they were already playing in the ’90s, Feufollet
was exposed to a lot of the old masters while they were still

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 living,” noted Joel, the son of Cajun
music icons Marc and Ann Savoy. “I re-
member Chris Segura as a young child
coming every Saturday morning to my
dad’s jam session and watching him
progress from an uninterested child
wearing headphones to a peer, sitting
on the counter playing along on a tiny
fiddle.
“We all grew up playing along in the
background of jams led by Denis
McGee, Octa Clark and Chuck Guillory
– the same place Steve Riley learned
to play. Having started at such a young
age, they’ve already reached a level of
musical maturity that most people come
into in their middle ages.”
“It’s definitely cool to be 21 and
have all this professional experience
when so many people are just starting
out,” conceded Chris Stafford, the
band’s founding accordionist. “I can’t
imagine starting now without any ex-
perience. But sometimes I wish I could
get rid of those old photographs and
recordings. Sometimes I think we
should change our name.”
Segura noted that their musician
pal Kristi Guillory had joked that they
should change their name to Feufollet
Starship (in the same way that the
Jefferson Airplane became Jefferson
Starship). This prompted a round of
laughter, but everyone also recog-
nized how valuable the brand name
of Feufollet is in getting gigs. It was
yet another example of how their past
is both an advantage and a burden.

O n the Sunday evening before this

year ’s Mardi Gras, Feufollet
played the Blue Moon Saloon in their
hometown of Lafayette, Louisiana. The
club’s performance area resembles a
large, backyard wooden deck with a cor-
rugated-steel roof – and it has, in fact,
been added on to a rambling old house
that serves as a bed & breakfast. The
rough barn-plank walls around the deck
have been decorated with an iron wagon
wheel laced with Christmas lights, a cow
skull draped in Mardi Gras beads, a spin-
ning mirror ball, dozens of license plates
and a “Henderson Swamp” sign pock-
marked by shotgun shells.
Only three of the original members
were still in the band: Chris Segura on
fiddle, Chris Stafford on accordion and

Vol. 53 #1 • Sing Out! 45

Feufollet.P65 45 6/15/2009, 3:37 PM


© David Simpson
younger brother Michael Stafford on drums. Singer/rhythm
guitarist Anna Laura Edmiston joined in 2003; guitarist Josh
Caffery in 2005; and bassist Philippe Billeaudeaux in 2008.
The new album’s title song, written by Caffery, opened
with a jumpy guitar figure, soon backed by a bleating button
accordion and then the entire rhythm section as it dived into
a fast, fearless two step. Segura, no longer a gangly kid but
now a young man with a black pullover and blond bangs
across his eyes, took the first solo, bending the melody a bit
more with each pass. The red-bearded Caffery, the band’s
elder statesman at 33, handled the second solo on guitar, his
swinging syncopation hinting at his past stint with the Red
Stick Ramblers. Chris Stafford, no longer a short, pudgy 12-
year-old but now a tall, lanky 22-year-old with long, dark
sideburns, took the third solo, fast-fingering the buttons on
his box.
While this happened, the dance floor filled – not with the
baby boomers you see at most Cajun dances outside Louisi-
ana but with local kids the same age as the musicians. And
they were dressed, as Offbeat editor Alex Rawls has pointed
out, not as if they were going to the gym but as if they were
going to a singles bar to pick someone up. Cajun music in
Lafayette is not, in other words, a cherished historic tradi-
tion but rather an active social music, the soundtrack for the
drinking, gossiping and flirting of the town’s young adults.
And that makes all the difference.
“It’s not dancing by yourself; it’s couple dancing,”
Caffery pointed out. With a chuckle, he added, “That’s a
more intimate form of community development. You’re
holding someone face-to-face. You’re not in a trance state
under a strobe light.”
“And it’s all ages,” said Billeaudeaux. “Last night I
danced with a woman in her 50s and an 18-year-old girl.”
The evening’s highlight, though, was “La Chanson de
Mardi Gras,” the theme song of Cajun culture’s major
holiday, a tune best known from the Balfa Brothers’ clas-
sic 1965 version.
46 Sing Out! • Vol. 53 #1
Feufollet.P65 46
Feufollet at the 2007 Festivals
Acadiens, in Lafayette, LA, with
Chris Stafford (fiddle), Taylor
Guarisco (bass) and Chris
Segura (fiddle) performing in the
foreground.
In Louisiana, Mardi Gras is not
just a day, it’s a whole season, and
the anticipation that had been
building for weeks was nearing its
peak on Sunday night. The danc-
ers, still wearing the plastic beads
from Lafayette’s weekend parades,
started whooping and dancing as
soon as Segura sounded the tune’s
haunting, minor-key theme on the
fiddle. To hear drunken partyers in
the crowd singing along with the fiddler as he cried,
“Capitaine, Capitaine, voyage ton flag,” was to understand
that this is very much a living culture.
When Stafford sang “Madame Bosso,” the band was
joined by two friends from the Red Stick Ramblers: Chas
Justus on guitar and Glenn Fields on triangle. This was not
unusual; the young Cajun and Creole bands around Lafayette
– Feufollet, the Red Stick Ramblers, the Pine Leaf Boys,
Cedric Watson & Bijou Creole, the Lost Bayou Ramblers,
the Figs – are often playing together on stage when they aren’t
playing together at private parties.
“Traditional music tends to encourage community,” argued
Caffery, “because there’s a shared repertoire. Whenever we
have a party, a wedding or a Mardi Gras run, the music is part
of that. It’s not just a professional performance, it’s also a
social music. The tunes are pretty straightforward, like a lot
of folk music. They’re designed that way, so they’re easy to
pick up and play with someone else. It’s an older way of learn-
ing music; you can learn at a party rather than at a lesson.”
“It’s great ear training,” Stafford agreed. “When some-
one calls a tune and you know it, you can join right in. If
you don’t know it, you can usually pick it up pretty
quickly, because if you know this music you can almost
predict where the melody is going to go.”
“That’s the thing about traditional music; everyone
knows the tunes so everyone can play along,” added
Justus. “We may all like the Beatles’ ‘Help’ as much as
we like the Balfa Brothers’ ‘Les Flammes d’Enfer,’ but
we only know the tune for ‘Flammes’ – you go back and
forth in G and D and jam. With ‘Help,’ you know the song,
but you don’t know where the A-minor comes in.”
“It’s funny what old-time musicians listen to,” said Eric
Frey, the Red Stick Ramblers’ bassist. “One of my friends
will get off a Cajun gig and go listen to heavy metal in his
truck. Joel Savoy and Lindsay Young had a Cajun band and
a punk band at the same time in high school.”
continued on Page 49 ...
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 ... continued from Page 46
“I like to compartmentalize,” Justus admitted. “I don’t
want to hear a loud, distorted guitar on a Balfa tune. When I
play old-time music, I want to hear fiddle and banjo; I don’t
want to hear a funk beat. When I play rock ’n’ roll, I want to
play rock ’n’ roll. Sometimes Chris [Stafford] and I get to-
gether to play rock ’n’ roll with all those ninth chords. That’s
why we started Hungry Hungry.”
Hungry Hungry is a rock ’n’ roll band that includes
Justus, Stafford, Frey and Fields. The quartet played at
the Blue Moon Saloon just before Feufollet came on. And
despite the effort to compartmentalize, one band inevita-
bly influences the other.
On their new album, for example, Feufollet set out to record
Dennis McGee’s classic Cajun number, “Chere Bebe Creole,”
in a straightforward fashion. But the band kept hearing addi-
tional harmonies and, before they knew it, the fiddle tune had
turned into a multi-layered pop song. The session’s engineer/
co-producer, Ivan Klisanin, had some mellotron samples of
strings and flutes that the Beatles had used. When he added
them to McGee’s fiddle tune, the song leapt across the decades.
“People think technology is at odds with traditional mu-
sic,” Caffery mused, “but that’s not true. There’s a romantic
view of folk music as a rustic thing that is spoiled by tech-
nology, but in reality traditional musicians have always used
whatever tools they could. Today the internet makes it so
much easier to track down music and to share it. We found
that song ‘Femme l’a Dit’ only because the original field
recording had been digitalized by the Archives of Cajun and
Creole Folklore at the University
of Louisiana-Lafayette.”
“Josh used to work at the ar-
chives, and I still do,” added
Segura. “I had burned a bunch of
mp3s for my iPod, and as I was lis-
tening to them, ‘Femme L’a Dit’
jumped out because it had a catch
melody, and it lent itself to differ-
ent harmonies than the usual I-IV-
V. I made copies and sent them
around to everybody. Josh did an
arrangement on his computer and
sent that around by e-mail.”
I t has been, as the Beatles
might have said, a “Long and
Winding Road” for these young mu-
sicians. They started practicing
their instruments in elementary
school so they could play along at
Cajun jam sessions. When the two
Chrises were 12 and 10 years old,
they were already prodigies – the
older Segura on fiddle and Stafford
on accordion. The woman who ran
the children’s jam in Breaux Bridge
suggested they play together.
Feufollet.P65 49
“Just being around so many good musicians was in-
spiring,” Segura recalled. “My parents would drive me
to Marc Savoy’s Saturday-morning jam session at least
twice a month. After the jam, we’d go to people’s houses
for more playing and then we’d wind up at Mulate’s in
Breaux Bridge to eat dinner and hear Steve Riley & the
Mamou Playboys. They were so good that there’d always
be a song that I’d want to learn off the CD back home.
“I lived an hour away from Lafayette in Berwick. If my
parents hadn’t been willing to drive me to rehearsals and gigs,
this whole music thing would never have happened. I don’t
know if I could have been as patient as they were. They were
supportive but never pushy. We’d say we wanted to hold a
rehearsal, so our parents would set it up and bring us. And
then a lot of the time we’d run around without practicing.”
“That hasn’t changed all that much,” joked Stafford.
“When I first heard them while I was in college, I thought,
‘These brats are pretty good,’” remembered Caffery. “They
always had a deeper understanding of the music because they
actually spoke French. They were always doing older songs
and trying to come up with beautiful arrangements. They
had learned how to play and sing the notes, because their
parents did everything else. But as they’ve gotten older,
they’ve taken over more and more of the responsibilities.”
The Feufollet members and their peers are the children
of the generation that led the Cajun revival movement of the
’70s. Chris Stafford is the son of Lisa Stafford, the program-
mer for Lafayette’s annual francophone event, the Festival
Internationale. Matt Doucet, who plays with Horace Trahan,
is the son of Beausoleil’s Michael Doucet. Joel Savoy, a
former Red Stick Rambler, is the
son of Marc and Ann Savoy. So is
Wilson Savoy, the leader of the
Pine Leaf Boys.
These parents were part of the
Cajun civil rights movement of the
’70s. Local schools had long pun-
ished Cajun children for speaking
French and had long ignored the
music, cooking and culture that
surrounded the language. These
activists pressured the schools and
local towns to not only stop deni-
grating Cajun French and culture
but to actually promote it. The re-
sult was a sudden eruption of
classes that taught Cajun French
and culture and of festivals that
celebrated both. The biggest ben-
eficiaries of these changes were
the activists’ children.
“My grandparents were ridi-
culed for speaking French,”
© David Simpson
Feufollet’s Anna Laura Edmiston
at the Grant Street Dance Hall,
in Lafayette, LA, in May 2008.
Vol. 53 #1 • Sing Out! 49
6/15/2009, 3:38 PM
 Caffery noted. “In their day
Cajun music was ‘basse classe,’
or low class. But that kind of
prejudice is a thing of the past
now. Now you hear Cajun mu-
sic everywhere, from car com-
mercials to restaurants. Even if
you don’t seek it out, it’s part
of everyday life.”
representing the tradition? If
DISCOGRAPHY we play in a small town in
La Bande Feufollet, 1999, Swallow #6154 Louisiana and they’re bored
Belle Louisiane, 2002, Louisiana Red Hot #1154 because they don’t speak
Tout un Beau Soir, 2004, Feufollet French, are they wrong? In
Cow Island Hop, 2008, Valcour #0005 the end it’s a personal deci-
sion: I don’t sing Cajun mu-
C ONTACTS sic in English because it
M ANAGEMENT : Lisa Stafford, 104 Candlelight Drive, doesn’t sound right to me.”
Lafayette, LA 70506; Ph: 337-288-8087; E-mail:

© Debbie Fleming Caffery

“ M y m o m ’s g e n e r a t i o n “One sad reality is that
<bookingfeufollet@gmail.com>.
d i d n ’t g e t t o s p e a k C a j u n even around here most people
French,” Stafford pointed out. B OOKING : (Louisiana and Texas) Lisa Stafford (see don’t understand French well
“My grandparents spoke above). (All Other) Visit <www.eyefortalent.com>. enough to understand the lyr-
French, but they never taught O N THE WEB : <www.feufollet.net> ics,” says Caffery. “As a re-
my parents. But my mother sult the instrumental side of
made sure I was part of the Cajun music is developing,
French immersion program in Lafayette’s schools. Philippe but the lyrical side is stagnating. Nonetheless, singing in
was in the program’s first class,” he said, nodding towards French makes a statement even if lots of people don’t
his bassist, “and I was in the third. Even our math and understand every word. The sound itself has an effect.”
science courses were taught in French. Unlike, say, Beausoleil, the Pine Leaf Boys or Steve Riley
“I’m so glad I did it, because now I have another lan- & the Mamou Playboys, Feufollet doesn’t tour outside Loui-
guage, which is the coolest gift. Being able to understand siana very much except during the summer. That’s because
the lyrics to the songs I was singing and to identify with most of the band members are still in school. In fact, that’s
the feelings in those lyrics made me much more inter- why Caffery left the Red Stick Ramblers to join Feufollet.
ested in Cajun music than I might have been. Now I can He wanted to pursue a PhD in English literature and folk-
actually write songs in French. When Cedric [Watson] lore at the University of Louisiana-Lafayette, so he could
calls me up about a gig now, our whole phone conversa- only join a band that stuck close to campus during the school
tion will be in French.” year. The guitarist hopes to have his doctorate by next year.
“Once a month – and sometimes once a week – we’ll Chris Stafford has just finished his third year as an
have a party where we only speak French,” said Segura. undergraduate at the same school and hopes to have his
“It’s a big help for those who want to learn French but B.A. in Francophone studies next year. Anna graduated
didn’t go through the immersion program. There’s food this May with a degree in French education. Michael
and music, so we always get a good turnout. We don’t Stafford has just finished his freshman year. Segura just
always make it to the end of the night without someone graduated last December with a B.A. in marketing.
speaking English, but sometimes we do.” They may not travel, but the members of Feufollet stay
The fact remains, however, that most people in South busy just the same. In addition to Hungry Hungry, Chris
Louisiana today don’t understand much French at all. For a Stafford also plays with Steve Riley’s traditional band
band like Feufollet, which sings only in French, language Racine, the honky-tonk band Divine Jones, and Bijou
can become a barrier between Cajun musi-
cians and a Cajun audience. If they refuse
to sing in English, they can lose their con-
nection to many local listeners, a connec-
tion that is an essential part of the culture.
But if they switch to English, they hasten
the decline of Cajun French, just as funda-
mental to the culture.
“It’s a dilemma,” admitted Stafford. “If
you speak English on a daily basis and you
sing in French, does that accurately rep-
resent who you are? On the other hand, if
you sing in English, are you accurately
© David Simpson

Chris Stafford and Chris Segura on twin

fiddles at the 2008 Festival International
de Louisiane.

50 Sing Out! • Vol. 53 #1

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© David Simpson
Creole, the new band headed up by ex-Pine Leaf Boy
Cedric Watson. Chris Segura also plays with the Lafayette
Rhythm Devils featuring Blake Miller, Randy Vidrine and
Yvette Landry. Philippe Billeaudeaux plays with the rock
’n’ roll band the Amazing Nuns, while Edmiston collabo-
rates with traditional ballad singer Marce LaCouture.
The sheer number and variety of these projects is a
reflection of the musicians’ wide-ranging interests. In-
evitably those experiences seep back into Feufollet it-
self, adding the modernist touches that make Cow Island
Hop such a Janus-faced project: looking toward the fu-
ture even as it looks back at the past.
“It’s only logical that we develop Cajun music the same way
that D.L. Menard and the Hackberry Ramblers did,” Stafford
declared. “When they took country songs and translated them
into French, they were doing something that hadn’t been done
before. It was all about listening to the music around you and
making it a part of what you already do. It’s the same thing
when we take an old song like ‘Prends Courage’ and add a
garage-rock Vox organ to it and all those ‘la la la’s’ at the end.”
“A lot of people can’t accept that Cajun music is not,
and never has been, a defined sound,” argued Joel Savoy.
“People take a snapshot of the culture at some point in
its history and use that to define it. Like everything else,
as the music gets older, it changes. It develops and takes
on the personality of its circumstances. Feufollet is bridg-
ing the gap between our culture and the enigmatic Ameri-
can youth scene and they’re doing it well, with good taste
and foresight. They’re leading instead of following, and
I think that should be applauded.”
F or all their futuristic tendencies, the members of
Feufollet remain firmly tethered to the past.
That was obvious on Fat Tuesday itself, less than
48 hours after the Blue Moon Saloon show, when
several of the band members showed up for a pri-
vate Courir de Mardi Gras. Several hundred people
Feufollet.P65 51
Feufollet at the 2008 Festival
International de Louisiane.
materialized at breakfast time on a lonely stretch of high-
way between Eunice and Savoy, Louisiana. Most of them
were wearing traditional Cajun Mardi Gras costumes: the
tall, cloth-wrapped conical hats, the painted window-screen
masks with the funny noses, the brightly colored shirts and
pants, and the sewn-on cloth fringe that fluttered in the morn-
ing breeze.
Chris Stafford, his mother, Joel Savoy, his mother and
Philippe Billeaudeaux all found seats in one of the tractor-
pulled wagons, where a shifting roster of musicians played
non-stop, unamplified Cajun music for the next five hours.
Some of the paraders rode horses; some rode wagons, and
most walked. The long line of brightly costumed revelers
began on a two-lane blacktop, traveled through sugar-cane
fields onto a gravel road and finally followed tractor tracks
through a farmer’s meadows, far from the nearest conve-
nience store.
This led to a small cemetery, where one of the grave-
stones read: “Dennis McGee / Jan 26, 1893 / Oct 3, 1989.”
McGee, of course, was one of the founding fathers of Cajun
music. His 1929-1934 recordings with Amede Ardoin and
Sady Courville not only supplied the genre with its core
repertoire but also defined the essential sound.
On this late afternoon, with a chilly breeze ruffling the
red fringe on Chris Stafford’s black costume and the yellow
fringe on Joel Savoy’s red costume, the two fiddlers stood
beside the grave and played McGee’s “Chere Bebe Creole.”
It was the same tune Feufollet had reinvented with Beatlesque
touches on their new album, but now the musicians played
it slowly, simply and elegantly. As the large circle of silent
celebrants looked on, the musicians pressed their bows
into the strings to summon those ghostly overtones,
the echoes that still connect the past to the present
in South Louisiana.
(T URN THE PAGE FOR A F EUFOLLET SONG ☞)
Vol. 53 #1 • Sing Out! 51
6/15/2009, 3:38 PM
 Sur le Bord de LL’eau
Bord ’eau
Traditional, arranged by Feufollet
© Tasso Loop Music

B ased in Lafayette, Louisiana, the

contemporary center of Cajun cul-
ture, Feufollet here offers up their
version of a traditional maritime bal-
lad. Enticed on board a ship by a
seemingly magical song, the ballad’s
heroine loses something unrecover-
able to the charming, but deceptive,
young sailor, leaving her wiser to the
ways of the world by story’s end. You
can hear this recording of “Sur le
Bord de L’eau” on Cow Island Hop,
Feufollet’s 2008 release from Valcour
Records (#0005; available from 872
Highway 758, Eunice, LA 70535;
Web: <www.valcourrecords.com>).

52 Sing Out! • Vol. 53 #1

SurLeBordDeL'eau.p65 52 6/12/2009, 4:18 PM

 TRACK 11

Un jour la belle se promenait, tout le long de son jardin (2x)

Tout le long de son jardin sur le bord de l’ile TRANSLATION:
Tout le long de son jardin sur le bord de l’eau
Sur le bord d’un vaisseau One day the girl was walking all along her garden (2x)
All along her garden on the edge of the island
Elle s’aperçoit une barque de trente matelots (2x)
All along her garden on the edge of the water
De trente matelots sur le bord de l’ile On the edge of a ship
De trente matelots sur le bord de l’eau
Sur le bord d’un vaisseau She noticed a ship of thirty sailors (2x)
Of thirty sailors on the edge of the island
Le plus jeune des trente chantait une chanson (2x)
Of thirty sailors on the edge of the water
Chantait une chanson sur le bord de l’ile On the edge of a ship
Chantait une chanson sur le bord de l’eau
The youngest of the thirty was singing a song (2x)
Sur le bord d’un vaisseau
Was singing a song ...
La belle chanson que tu chantes, j’aimerais la savoir (2x)
J’aimerais la savoir sur le bord de l’ile The beautiful song you are singing, I would like to
J’aimerais la savoir sur le bord de l’eau know it (2x)
Sur le bord d’un vaisseau I would like to know it ...

Ma belle, montez dans ma barque, je vous la montrerai (2x)

My pretty one, come aboard my ship, and I will show it
Je vous la montrerai sur le bord de l’ile to you (2x)
Je vous la montrerai sur le bord de l’eau I will show it to you ...
Sur le bord d’un vaisseau
When the girl was aboard the ship, she began to cry
(2x)
Quand la belle fut montée dans la barque, elle s’est mise
à pleurer (2x) Why are you crying ...
Qu’avez-vous à pleurer sur le bord de l’ile
I cry for my virginity that you stole from me (2x)
Qu’avez-vous à pleurer sur le bord de l’eau
Sur le bord d’un vaisseau That you stole from me ...

Do not cry pretty one, I will give it back to you (2x)

Je pleure mon avantage que vous m’avez vole (2x)
Que vous m’avez vole sur le bord de l’ile I will give it back to you ...
Que vous m’avez vole sur le bord de l’eau
Sur le bord d’un vaisseau That would be of no use to me, like borrowed money
(2x)

Ne pleurez pas ma belle, je vous la rendrai (2x) Like borrowed money ...
Je vous la rendrai sur le bord de l’ile
Je vous la rendrai sur le bord de l’eau
Sur le bord d’un vaisseau

Ca sera point utile, comme de l’argent prêté (2x)

Comme de l’argent prêté sur le bord de l’ile
Comme de l’argent prêté sur le bord de l’eau
Sur le bord d’un vaisseau

Vol. 53 #1 • Sing Out! 53

SurLeBordDeL'eau.p65 53 6/12/2009, 4:18 PM