At the same time, they switched from folk instruments like the accordion, fiddle, and iron triangle to modern ones such as the electric guitar and bass, upright piano, saxophone, and drumming trap set. By the late 1950s, swamp pop musicians had developed their own distinct sound and repertoires. They performed to receptive crowds in local dancehalls like the Southern Club in Opelousas, Landry's Palladium in Lafayette, the OST Club in Rayne, and the Green Lantern in Lawtell. In addition, they released recordings on local record labels, such as Floyd Soileau's Jin label of Ville Platte, Eddie Shuler's Goldband of Lake Charles, Carol Rachou's La Louisianne of Lafayette, Huey Meaux's Crazy Cajun label of Houston, and a number of labels owned by J. D. Miller of Crowley, Louisiana (who also recorded swamp pop tunes for larger national labels, such as Ernie Young's Excello Records label of Nashville). Swamp pop musicians often adopted Anglo-American stage names that masked their Cajun surnames. John Allen Guillot, for example, became Johnnie Allan, Robert Charles Guidry became Bobby Charles, Joe Barrios became Joe Barry, Elwood Dugas became Bobby Page, and Terry Gene DeRouen became Gene Terry. Some of these musicians changed their names because they were ashamed of their rural French heritage—a feeling shared at the time by a segment of the Cajun population. But economics motivated most swamp pop musicians: They wanted to sell records not only in southern Louisiana and southeast Texas, but beyond, where the pronunciation of ethnic surnames like Guillot, Barrios, and DeRouen eluded record promoters, disc jockeys, and consumers. Despite its obvious rock and roll and rhythm & blues influences, swamp pop was not devoid of folk characteristics. For example, Bobby Page and the Riff Raffs recorded "Hippy-Ti-Yo", a bilingual rock and roll version of the traditional Cajun French song "Hip et Taiaut" and Rod Bernard did the same with "Allons danser Colinda", another important folk composition. Joe Barry re-recorded his swamp pop hit "I'm A Fool To Care" in French under the title "Je suis bête pour t'aimer". And Randy and the Rockets issued "Let's Do The Cajun Twist", an English remake of the Cajun French favorite "Allons a Lafayette". Legacy From 1950s to 1960s, swamp pop songs have appeared in the Billboard TOP 40. While swamp pop drew heavily on New Orleans rhythm and blues, it reciprocated by making a detectable impact on songs like Lloyd Price's "Stagger Lee"(#1,