If you’re at all Cajun curious, it’s fascinating to hear a song evolve from its early incarnation to today’s version.

As part of Festivals Acadiens et Créoles’ tribute to folklorist Alan Lomax, Brand New Old Songs: Recycling the Lomax Recordings does just that—juxtaposing 1934 field recordings with its modern counterparts as performed live at Festivals.

Since many Lomax selections were either done a cappella or with voice and limited accompaniment, there’s usually a dramatic transformation in store when chord progressions and arrangements are applied decades later.

On some songs, certain attributes are brought to the forefront, such as on “Joe Ferraille” where T-Sale emphasizes fiddler Joe Segura’s sense of swing. BeauSoleil’s Michael Doucet heard Fenelus Sonnier’s jaunty rhythm on “La chanson de Théogène Dubois” and implemented it as a full blown calypso.

Others assume new life when sung by the other gender, such as the Magnolia Sisters’ surreal rendition of Hippolyte Dupont’s “Cher Willie.” Similarly, Les Bassettes incorporates resounding high harmonies to Sam and Jesse Stafford’s rendition of “Trois jolis tambours.”

A few are done a cappella by Les Bassettes, Helen Boudreaux and the short-lived vocal group Veillée. Interestingly, Veillée performs Jimmy Peters’ frenetic, squalor-driven juré “Zydecos sont pas Salés” with gospel overtones.

Granted, field recordings may not be for the uninitiated, but hearing the similarities and differences amongst these tunes show how far Cajun music has progressed in 80 years.