Hit records are usually determined less by the music-buying public than by the whims of a few executives. It is they who decide what is to be recorded, released, backed with cash, and played on the radio. These executives purport to know what we want to hear and when we want to hear it, but sometimes they are mistaken. With rare exception it has always been so. One such exception was Tommy McLain’s “Sweet Dreams”......
There are so many country music hits coming out of Houston that it has become the Nashville of Texas that Austin always promised to be. While Willie Nelson, Asleep At The Wheel, and Jerry Jeff Walker, and Alvin Crow all may be excellent recognised stars, they can’t compete with the frequent visits paid to the top of the country charts by Freddy Fender, Roy Head, Mickey Gilley, Randy Cornor, and Johnny Lee, among others. What makes the Houston signature so delectable is its stripped down soul; most of these hits have welded a modern country arrangement on to an old South Louisiana swamp blues standard, often with the gritty saxophone solo breaks left in.
Tommy McLain and his Muletrain Band is the finest example of a band hooked on swamp blues, refried country style, that I’ve heard live. They haven’t reached the degree of popularity of a Freddy Fender yet, they are headed in that direction. They’re the real thing - a bayou bred group that works live dates all along the Gulf. Country with a little bit of soul, Tommy McLain and the Muletrain Band all tip their hats to their home state, the secret weapon of Texas’ Nashville. C’est bon.
Joe Nick Patoski
THE CAJUN ROD STEWART:
VOICES OF AMERICANA:
Notes on the Recordings
This album begins with three tunes of undetermined provenance, which sound as if they pre-date the other recordings by quite some time. McLain’s voice is not quite as raspy as it was to become, and the playing still rooted in 1950’s conventions.
From these mysterious early sessions we move through a lovely cover of George Jones’ classic tearjerker “Tender Years” and the Mule Train’s rollicking instrumental showstopper “Honky Tonk” to a succession of McLain’s most famous Swamp Pop. Though both “Wasted Days And Wasted Nights” and “Before the Next Teardrop Falls” are now more associated with McLain’s Crazy Cajun labelmate Freddy Fender, we can hear on this disc that McLain’s versions too have well stood the test of time.
“Sweet Dreams” follows, and though this was not the version with which he scored the big hit, it showcases a more mature artist recorded with more sophisticated gadgetry. Of the next five songs, three (“No Tomorrows Now”, “If You Don’t Love Me”, and “When It Rains It Pours”) are McLain’s own compositions, which display well his underrated songwriting ability. Listen closely for the nearly infrasonic baritone sax underpinnings. The remaining two are a double-dip of selections from the incomparable Bobby Charles’ catalog: the delightful “Before I Grow Too Old” and the mournful “Tennessee Blues”.
The wail of the steel guitar heralds the honky-tonk set that follows, beginning with “Let Me Be The Singer” and concluding with “Where You Been Baby”. “Catfish John” invokes the ghost of Bob Wills, and the aforementioned “Where You Been Baby” is to me one of McLain’s very finest compositions and vocal performances. The harmony vocalist, believed to be his long-time collaborator Pat Strazza, doubles up McLain’s voice perfectly.
The honky-tonk chestnut “Dim Lights, Thick Smoke”, here presented in a country-rock style, kicks off the final section of the disc. The song was a top ten country hit for Joe and Rose Lee Maphis in 1952 and later recorded by Gram Parsons’ Flying Burrito Brothers. The Burrito Bros.’ version is the title track of their Edsel release, and forms the model from which this one was drawn. “I Can’t Go On” hearkens back to McLain’s Swamp Pop days, while a funky wah-wah guitar percolates throughout his cover of the Cates Brothers “Stuck in New Orleans”.
Three well-chosen covers close out the disc. Merle Haggard’s timeless “Today I Started Loving You Again” weds well Swamp Pop and Honky-Tonk, while a tasteful string section and classy B-3 touches make for a lovely, elegiac rendering of Bobby Charles’ achingly poignant “I Hope”. McLain and Strazza’s vocals here are outshone on this disc by only “Where You Been Baby”. The “what me worry?” lyrics of “Good Morning Louisiana” provide a well-earned catharsis after “I Hope”.
Tommy McLain has been one of the steadiest performers in the Swamp Pop field for over thirty years. He has entertained tens of thousands of fans in venues ranging from tough shrimper bars and roughneck taverns to European festival grounds and on American Bandstand. This winsome collection finds McLain at both his ascent and at his peak as an artist. In it you will see plainly just how this erstwhile sideman stepped from the wings and became both one of Swamp Pop’s most enduring performers, as well as one of its most soulful. When you’re hitched up to Tommy McLain’s Mule Train, you’re riding in style.
~John Nova Lomax, January 1999