001-2018-034

49:31 Master Camera files on Hard Drive, Mp4 on Server Cloud

2018-05-06

Interviewer - Scott Jordan

ABSTRACT: 01:21 McLain and Adcock attempt to define swamp-pop. 03:24 Riley explains what he sees to constitute swamp-pop; Adcock chimes in. 04:45 McLain explains the origins of the term ‘swamp-pop.’ 06:06 Demonstration, “Before I Grow Too old” 08:47 McLain explains how he and Adcock took pieces from ‘everybody’ – citing Fats Domino and Little Richard – and made it their own. 09:45 Adcock describes the scene in Lafayette when he was a teenager, and how he made it his business to befriend McLain, who he was always listening to, and solicited for his debut album. 12:18 Riley explains how Adcock got him into swamp-pop. 13:04 Adcock describes how Warren Storm and Tommy McLain came to the Band of Gold, and announces the smaller band’s plans to make a McLain album. 14:27 Adcock introduces what McLain wrote intending to be a hit for him, “Remember Us.” 15:06 Demonstration, “Remember Us” 18:09 McLain, Adcock and Riley each pick a song as a must-have on a swamp-pop jukebox. 18:37 McLain describes his songwriting process, which varies. 19:45 Adcock and McLain testify to the fact that McLain is still very much in it with music, not jaded or bored, and tremendously grateful. 21:20 Demonstration, “The Greatest Show on Hurt” 24:45 McLain speaks to the connection between his music and his preaching. 29:20 McLain explains his nickname ‘The Cajun Rod Stewart.’ 32:14 Demonstration, gospel 35:14 McLain explains how he had to go into his car to listen to the radio growing up, and how hearing Little Richard steered him away from country toward R&B. 37:33 McLain speaks to the primacy of the audience, and how he always knew appeal would either make or break him. 38:54 McLain describes seeing boys play in the Pentecostal church his grandmother took him to, and how deeply they inspired him, despite his terror of the preacher. 40:01 Riley testifies to McLain’s songwriting, describing being struck by a song he heard in Mamou that he later discovered was McLain’s and had been translated into French by Belton Richard. 41:14 Demonstration 44:30 Demonstration, “Sweet Dreams” 46:50 Demonstration

video recording

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New Orleans Jazz & Heritage Foundation Archive