Im pretty excited about the fact that I'm posting on here, it's been so long that I haven't even had any words to write. I'm picking up patterns and feel way more observant than usual. Everything that's truly important to me is back East anyway. I'm a bit more trustworthy now for some reason and I think that's the sign that I should take the leap. I am ready to start a new life with my new self and see what life has in store for me. The next relationships, places, and events will push me forward and enable me to continue this journey of transformation. I believe moving to NYC is the next step on my path.
I'm so thankful for the things I've experienced here, and I think with my newly evolved mentality it would be poisonous and a mistake to stay here. Luckily, i think my growth here outweighs any of the setbacks. It's set me back and ahead in so many ways it's unreal. I think for me, living in LA was a blessing. No relationship (friend or otherwise) is an accident, no situation is ever without reason, and every place is the home to a certain amount of growth and then it lets you go so you can do the same. People, places and events serve mainly as lessons. “It got my attention - but it didn’t get me,” the singer said with pluck.I've said it before, and I'll say it again. Oh, and he also had a massive heart attack, requiring a double bypass operation that many believed he wouldn’t survive. “If I’d been in there, I’d be up in smoke,” he said. “No air-conditioners working - and in that heat!” While creating the album over the last five years, McLain endured a Job-like string of disasters, including three Louisiana hurricanes that “tore up everything,” he said. Unfortunately, things went deeply south from there. Adcock recorded parts of those songs on his phone, played them for his publishing company and, in 2019, helped secure a fresh contract for McLain with Decca Records. A longtime swamp-pop fan, he befriended the older singer in the Louisiana music scene and was thrilled to discover that McLain had been writing new songs in secret for years. It’s Adcock who made McLain’s comeback possible. “They’re both for working class people, not art school kids.” “There’s a commonality in the lightheartedness,” Adcock said. Adcock, a successful Louisiana musician who produced McLain’s new album, there’s a connection between the down-to-earth ethos of Southern swamp-pop and British pub-rock, the rootsy scene that spawned stars like Lowe in the ’70s. The soul and immediacy of the music made it a cult favorite in Britain, earning ardor from the then young stars Costello and Lowe, as well as Robert Plant. and label owner Charlie Gillett created a compilation album of swamp-pop titled “Another Saturday Night,” which included work by McLain. Nearly a decade later, McLain’s music made an improbable, but indelible, connection in Britain when the London-based D.J.
For a brief while, starting in 1966, McLain earned national acclaim by scoring a Top 20 hit with “Sweet Dreams,” which Patsy Cline had also successfully recorded. But, mainly, it spawned regional legends like McLain, Bobby Charles, Johnnie Allan and Warren Storm. Elements of that rolling sound can be heard in songs recorded by pivotal stars, including Elvis Presley (his version of “Lawdy Miss Clawdy” by Lloyd Price) and the Beatles (“Oh, Darling”). Nurtured in McLain’s south Louisiana, in key part by Cajun artists, swamp-pop has as many roots as a bayou cypress tree, twisting together New Orleans R&B, country, soul, pop and rock, along with various Louisianian styles.