Like the Bay Area’s Arhoolie Records, the beauty of Ville Platte’s Swallow Records lies not in which upshot they’ll unveil next but in the treasures that lie dormant inside their vaults.

Though this re-release is long overdue, nevertheless the music of Adam Hebert rightfully belongs in Swallow’s Cajun Pioneer Series alongside volumes from the Balfa Brothers, Nathan Abshire, D.L. Menard and Belton Richard. In recent years, Hebert’s radio play may have quieted down due to 45 and LP-only offerings, yet his contributions have remained vital though soulful interpretations rendered by Steve Riley, Kevin Naquin, Ray Landry, Charivari, Jambalaya and others.

But now is certainly better than never as these bountiful 27 tracks of all original material represent Hebert’s entire discography. Interestingly, his late ’50s-’60s popularity coincided when Cajun music was at its lowest ebb. Thankfully, Hebert’s contributions kept things moving along, beginning with his first hit “Blues de Dix Ans” in 1958 through his last sides waxed in ’67. During that nine-year run, Hebert was responsible for such cherished tunes as “Pour la Dernière Fois,” “Cette-là moi j’aime,” “J’aimerais Connaitre” and the exhilarating “La Pointe Aux Pins.”

Other big hits include the tuneful “Madeleine” and “Ouvre Cette Porte” where the song’s last verse issues a subtle innuendo as the protagonist raps on a locked door. Though most selections experienced jukebox success in Cajun country, one in particular, “La Valse De Ma Chérie,” experienced a revival 13 years later as a part of Charles Bronson’s Hard Times flick. Three songs make their debut including Hebert’s only English recording—“Tomorrow I’ll Be Gone.”

From beginning to end, it’s all killer stuff provided you crave Cajun music’s unvarnished, rough-hewn edges. While Hebert possessed one of the most piercing high lonesome voices ever heard in all of roots music, he never failed to surround himself with quality musicians. Clabby Richard, father of popular icon Belton Richard, pumped authoritative tones on accordion while Hebert’s swirling steel guitarist was multi-instrumentalist Dick Richard. While these proceedings benefit from recent re-mastering, never for a second do they sacrifice their rustic dancehall ambience.

Last year Swallow’s Touchet Brothers reissue ignited interest in that band’s repertoire, so expect Hebert to take a similar ride. Truthfully, the man deserves it.