Center for Louisiana Studies Archival Catalog
This searchable database provides information on images, documents, and audio and video recordings, made between 1934 and the present.
Interview with Floyd Soileau (Part 3)
Floyd Soileau:
00:00 - Nathan Abshire - recording, playing with the Balfa Brothers, drinking problems, "Pine Grove Blues"
02:45 - Pop and R&B releases - Rockin' Sidney; Margo White "Don't Mess with my Man" and "I'm not Ashamed"
08:00 - Outside musical influences
09:00 - "Swamp Pop"
10:50 - Benny Greaff (Rufus Jagneaux) - "Opelousas Sosthaine." Popularity of the song
16:45 - Cajun Hits - D.L. Menard "The Back Door" and "Les traces de mon bogée"
18:30 - Belton Richard's songs "Un autre soir ennuient" and "The Cajun Streak;" - Impact on local scene
22:20 - How Floyd got into pressing records - Building his pressing plant
23:35 - Camey Doucet - "Hold My False Teeth" How they got the idea for the song - La Poussière
25:45 - "Mom, I'm Still Your Little Boy"
26:25 - Pressing what he claims was the first 12 inch album of Cajun Music
(Chamo Records Aldus Roger release is actually the 1st full length - See interview with Bill Rutledge)
28:45 - Plans and current state of Jin and Swallow Records
-Johnny Allan, Rod Bernard, Belton Richard, Dewey Balfa, Camey Doucet, Jambalaya
Interview with Floyd Soileau (part 4)
Floyd Soileau:
00:00 - George Khorey's music store and recordings of Nathan Abshire and Lawrence Walker
01:35 - Cookie and the Cupcakes "Mathilda" recorded at a local radio station (KAOK)
03:15 - Information about other record labels - Drew-Blan, Montel
06:30 - Floyd re-releasing older albums like Dale and Grace and compilations
10:00 - Floyd's supplying music to jukeboxes in South Louisiana
11:45 - Music charts
13:50 - T.K. Hulin, Eddy Raven, John Fred, Bobby Charles
17:00 - Apple Records buying one of Floyd's records - Lesa Cormier and the Sundown Playboys
20:45 - Johnnie Allan - "Promised Land" - Becoming a hit in England
23:35 - La Louisianne Records
25:40 - Bud Fletcher and Cajun humor
26:45 - Revon Reed - Comedy record
27:40 - The word "coonass"
28:45 - Cajun's personality and hospitality
Interview with Floyd Soileau (part 5)
Floyd Soileau:
00:00 - Fais do-do's and the old dance halls
03:00 - Hunting, fresh and saltwater fishing
Interview with Helen Falcon Guillot and Marie Falcon (Part 1)
Helen Falcon Guillot and Marie Falcon (with Johnnie Allan):
00:00 - Family names - Joe Falcon was their mother's brother
01:30 - Joe Falcon learning to play the accordion, his dad (Ulysse) played fiddle
02:30 - Songs that Ulysse played and how he learned to play
03:00 - Fais do-do's and old dancehalls
06:15 - How they would dance in the old days, no drinking at dances
08:00 - List of names and locations of old dancehalls
10:10 - Cleoma Breaux playing with Joe
10:55 - The Breaux Brothers
11:40 - Joe and Cleoma's first record - Playing the record on a portable gramophone
13:30 - Record stores and sales of Cajun records
15:50 - Planting crops - not selling any of it
16:45 - Cleoma starting to play with Joe before they got married
18:30 - Leo Clement
19:40 - Talking about Cleoma's father and what he would have been playing around 1900
20:00 - Instrumental Cajun music around the turn of the century
21:50 - Marie starting to sing and play Cajun music with Joe and the Breaux's
23:15 - 'Tit Maurice Dancehall - Had a bar, better dancehall
25:45 - Format of playing dances - playing requests, Joe's originals
26:35 - Joe's originals were the most requested songs at dances
27:30 - Dance times - always finished at midnight. Band made $12 per night, attendance
29:10 - Stage setups in danchalls - chicken wire around the stage
31:00 - Selling of moonshine and homemade beer at dances during Prohibition - Fights in dancehalls
32:30 - Helen playing guitar in the band
35:00 - Playing copyrighted songs at dances - clubowners being fined $500 - "Why Can't We Get Along"
38:25 - Paying fees to BMI and ASCAP
39:10 - Amount of records sold by Joe - royalties
40:00 - Amount of money Joe would make at a dance and the amount he would pay his band
-People taking advantage of Joe and his money
43:12 - How Joe came to make his first record
44:30 - Stringbands - Hackberry Ramblers, Leo Soileau, Happy Fats, etc.
46:00 - Other Cajun musicians - Mayeus Lafleur
47:00 - Marie making a record with the Louisiana Aces
Interview with Helen Falcon Guillot and Marie Falcon (Part 2)
Interview with Helen Falcon Guillot and Marie Falcon:
00:00 - Songs that Marie used to sing with the band
01:00 - Playing with Chute Richard and the breakup of the band
02:40 - Playing with Doug and Rusty Kershaw
04:50 - Quitting Chute Richard's band
05:50 - George Khorey's pay for a record
06:40 - More on Rusty, Doug, Pee Wee Kershaw
08:30 - Other bands active in Lake Charles, Popularity of French Music
09:15 - Joe switching between record companies
11:00 - Speaking French and teaching the language to their children
15:40 - Cleoma and Joe traveling to New York, Atlanta, Chicago, and New Orleans to make records
14:30 - Cleoma's accident and death
16:00 - Joe stopping recording after Cleoma's death
18:00 - Marie and Helen's grandmother singing and teaching Cajun ballads
21:00 - Practicing songs for gigs - Coming in from the fields to practice
23:00 - Stories their grandmother would tell them
24:30 - Joe adopting one of his daughters
26:30 - Johnny Allen - Starting music and getting his first guitar by selling seeds and learning to play
29:40 - Johnny starting with Walter Mouton, playing with Lawrence Walker
30:40 - Reputations of older musicians
32:00 - Effect of old-style Cajun music after the stringbands came along
33:00 - Bob Will's influence on the stringbands
33:40 - Harry Choates' popularity - Origin of Jolie Blonde
35:40 - Mayus Lafleur - "Chère Mom"
37:55 - Joe made his living totally from playing music
41:00 - Cleoma and Ulysse playing Accordion
42:50 - Joe's Accordion - A black Monarch "D"
44:30 - The Babineaux Brothers - a black family band who influenced Clifton Chenier
47:00 - Amedé Ardoin - his music, popularity, and showmanship
Interview with Helen Falcon Guillot and Marie Falcon (part 3)
Interview with Helen Falcon Guillot and Marie Falcon:
00:00 - Story of a little boy at a Babineaux Brothers dance
01:00 - Babineaux Brothers sound
01:15 - Comparison between old Creole music and Cajun music
04:00 - Kids at the fais do do's
05:00 - Story about their family travelling to Crowley in a wagon
06:40 - Cajun food - cooking, meat preserving methods, Cochon de lait, Boucherie
15:00 - The family's first radio
18:45 - The first jukeboxes in the area. They were only in bars and women didn't go to bars
19:30 - Barhopping on Main Street in Church Point
22:00 - Dress codes at church; Community's views on divorce
Interview with Roy Brown
Roy Brown:
00:40 - Early life and musical influences - Born in New Orleans, Moving to Eunice
02:30 - His first time performing "rhythmic" music
04:40 - Roy's mother's death
5:00 - Moving to LA and becoming a boxer
06:00 - Singing amateur contests in his younger days (1946)
07:15 - Working in the cane fields - Spiritual songs that were sung
09:40 - Being rejected by the service due to flat feet, starting to sing in clubs
11:15 - Learning his first blues songs
12:00 - Roy's backing group
13:45 - Moving from Shreveport to Galveston - Playing with Joe Coleman's group - Club Grenada
15:15 - Good Rockin' Tonight
17:00 - Other Members - Clarence Ward, Rip Sewall, Joel Harrison, A.D. Adams, Joe Woods
18:20 - Wynonna Harris, Cecil Gant - Writing "Good Rockin' Tonight"
21:15 - Jules Brawn - Owner of Deluxe Records coming to hear the song, recording it for Savoy Records
23:30 - Writing and recording "Ms. Fanny Brown," "Long About Midnight," "Lollipop Mama"
23:55 - Recording issues - Microphone placement. Singing into the piano microphone
26:20 - Being bootlegged by Goldstar Records
27:45 - Watching Cecil Gant perform
30:00 - Dave Bartholemew "Let the Four Winds Blow"
31:00 - Going on the road
32:50 - Leroy Rankings
34:30 - Buying a limo and a station wagon for his band to travel in
36:00 - Performance Royalties - Not owning any rights to his songs
40:45 - Leaving music and working as a salesman
44:30 - Recording at J&M and Cosimo's
Interview with Roy Brown (Part 2)
Roy Brown:
00:25 - Palace Park (Shreveport) - Roy's first professional gig
02:00 - Major records that he recorded for Deluxe and Cincinnati Records
03:35 - Choosing songs for recording sessions
05:30 - Roy's approach to song writing
06:50 - Conversation about B.B. King and Elvis Presley
09:10 - Royalty issues
09:50 - Roy's time with Imperial Records
11:15 - Recording two records for Home of the Blues Records in Memphis
13:40 - Taking a break from music and becoming a salesman
-Using his name and reputation to help sell items
16:30 - Returning to singing with Bluesway Records
19:00 - "Love for Sale" - Friendship Records, Recording in Los Angeles, Artists he worked with
19:40 - Using Miles Davis' band for recordings
22:15 - Playing a show at The Armory in Flint, Michigan in the early 1950's
25:00 - Recording "Hard Luck Blues"
25:40 - Playing shows with Fats Domino in 1948
27:30 - Musicians who impressed Roy - Annie Laurie, Jackie Wilson
31:40 - King Records beginnings
32:00 - Compensation for making records
-Artists getting ripped off by record companies, segregation within the music industry
37:00 - Looking back on his career - timeline of events
39:10 - Present recording projects and label possibilities
43:10 - Feeling obsolete
43:40 - Henry Glover
44:20 - Poor management hurting artists
Interview with Roy Brown (Part 3)
Roy Brown:
00:30 - Playing self-booked shows
02:30 - Package show with Mick and Sylvia, Ray Charles, Etta James, Annie Laurie, etc
03:30 - Finding the road manager's briefcase - Looking at contracts and realizing he was being cheated
07:00- "Love For Sale"
08:20 - Competition amongst discjockeys
10:00 - record promotion
10:30 - Crossover of music - White kids buying black records, Elvis Presley and Pat Boone's influence
11:00 - White artists copying music of black artists from years earlier
14:30 - Talking about B.B. King
17:00 - Playing shows with Roy Milton. Stories from the tour
25:45 - San Jacinto Club in New Orleans - selling his own liquor at shows
29:30 - Bootlegged records under Goldstar Records
33:50 - Roy's first time smoking pot
39:20 - Covering songs
Interview with Roy Brown (Part 4)
Roy Brown:
00:00 - Clubs he played in L.A. - Savoy Room, Elks Club, Downbeat
02:30 - Promoters trying to pass off Roy Brown imitators - Clarence Samuels
06:30 - Singing 20-30 songs per show
07:55 - More on Clarence Samuels
09:10 - Downbeat Club in New Orleans
12:45 - Signing a deal to play at a club for $50/night
Interview with Lawrence Cotton
Lawrence Cotton:
Live music performance:
11:15 - Lawrence's start in music, influences, and who he played music with
12:45 - Lloyd Lambert's band - touring the country; Original band members
-John Gerard, Gus Fontenot, Lloyd Lambert, Oscar Meaux
17:15 - People across the country writing arrangements for Lloyd
18:10 - Recording his song "King Cotton"
21:45 - Starting with the Gondoliers after Slim's death and other bands he's playing with
25:00 - Thoughts on recording again
26:15 - Recording sessions he has been on
27:15 - Future of music in New Orleans - the evolution of music
30:30 - New Orleans music scene in the late 60's
32:00 - Live Music starts again
Interview with Deacon John (part 1)
Deacon John:
00:15 - Birthdate, family info, learning to sing
02:20 - First professional gig
02:30 - Learning to play the guitar - early influences - Neville Family
04:30 - First recording session with Allen Toussaint
04:50 - First recording as a solo artist - other musicians, studio info; Other bands that he played with
06:25 - First band, Training his band - Replacing band members, getting more popular
11:20 - Effect on Louisiana music and rock music in general during the British Invasion
12:00 - Band begins
13:00 - Gaining a new fan base (younger college age people)
15:30 - "Many Rivers to Cross"
Interview with Deacon John (part 2)
Deacon John:
00:50 - Club scene during this time
02:30 - Personnel of the band - Richard Knox, John Lorie, Eddie Smith
04:00 - How his name "Deacon John" came about
04:40 - Rip Records (Rip Robinson) Bringing Ray Charles down to New Orleans
06:00 - Recording with a full band - overdubs, feel of the takes
07:30 - Making money in the music business
08:38 - The future of New Orleans R&B
08:45 - British bands being influenced by New Orleans music
11:00 - New recordings
Teddy Edwards, Sam Lee, Duke Burrell
New Orleans artists - Fats Domino, Professor Longhair ***[mostly inaudible]***
Teddy Edwards, Sam Lee, Duke Burrell
***Recording mostly inaudible - Left channel is more clear***
00:00 - Dancehalls
01:40 - Change of sound between r&b and rock
07:00 - Fats Domino when he first started out - musicianship and songs he played
09:45 - Getting their start at the Robin Hood Club - Annie Laurie, Paul Gayten
11:40 - Roy Brown - "Good Rockin' Tonight"
13:10 - Cosimo's Studio - Talking about the sessions he took part in
14:05 - Effect of Rhythm and Blues music on people - mostly young people who were playing it
15:30 - Leaving New Orleans for California in 1962. Was in New Orleans during the early Fats Domino era
17:10 - Playing with Joe Higgins, Joe Turner
19:30 - Race issues in New Orleans - segregation
27:30 - Musicians living on the West Coast
Interview with Frank Fields
Frank Fields:
00:00 - Starting with music - Learning guitar, banjo, drums; Joseph Butler
01:15 - Playing with bands around Baton Rouge, going into the Navy
02:30 - Playing with Dave Bartholomew - Fats Domino, Ray Charles, Little Richard
03:10 - Playing with Paul Gayten at the Brass Rail on Canal Street - Lee Allan, Frankie Parker, Paul Gayten
04:20 - Other musicians and bands that Frank worked with - Sugarboy and the Canecutters
05:15 - Edgar Blanchard, taking a year off
07:20 - Touring Europe with Papa French
09:40 - Playing different repertoires with Dave Bartholomew
10:25 - Touring Europe
11:20 - Playing with Edgar Blanchard's band
Interview with Gerri Hall
Gerri Hall:
00:30 - Singing background
02:00 - Musicians who Gerri worked with
03:30 - Joining a band with Huey Smith (The Clowns)
07:00 - Life on the road with the band - places they played while on tour
13:00 - Info about Huey Smith and the band, Gerri's role in the band
13:25 - Popularity outside of New Orleans
14:30 - Other members of the band - Lee Allen
16:10 - Earl King and Allen Toussaint
20:00 - Recordings Huey and Gerri made together
22:20 - Older recordings of hers that haven't been released
23:30 - "Poor Jenny" "Broken Heart's Question" George Davis and Porgy Jones
26:40 - Background vocals done with Dave Bartholomew from '62-'64
28:40 - Justin Adams
30:45 - Politics in the New Orleans music scene
32:30 - Gerri's musical life after the Clowns - Performing with Lee Allen - tour stops
37:50 - David "Fathead" Newman
39:10 - Working with Ray Charles as a backup singer - Difficulty working with him
43:30 - Big Bands - Singing with Wallace Davenport
Interview with Gerri Hall (Part 2)
Gerri Hall:
00:15 - Playing Jazz after playing Rock n' Roll
00:55 - Recording of "Who Can I Run To"
02:00 - Talking about a bass player named Chuck Badie, Roger Dickerson, Ellis Marcalis
05:20 - Gerri's last recording called "Who Can I Run To?" and the restrained recording process
09:00 - Gerri's future in music and performing
Interview with Clarence "Frogman" Henry on Fats Domino
Clarence "Frogman" Henry:
00:45 - Radio coverage of Rock 'n Roll and Fats Domino
02:25 - Other popular musicians who were on the same radio stations - Elvis Presley, Joe Turner
02:45 - Elvis Presley's popularity amongst black population
03:00 - Music coming out of New Orleans in the '50s
03:40 - Clarence's first time seeing Fats perform
06:00 - Fats playing with Billy Diamond's band
06:10 - Fats' records on the jukeboxes around New Orleans
06:40 - Fats built his house in the 9th Ward where he grew up
07:45 - Fats' influence on Clarence's style - triplets, Mentioning Professor Longhair's style
09:15 - Fats' popularity with white people in New Orleans
10:20 - Fats' overall influence on New Orleans music
11:40 - Fats and Dave Bartholomew working together
12:40 - High School Hops
14:00 - Fats' personality
16:30 - Asking if Fats has any idea of the effect that he's had on music and on people around the world
17:15 - Overview of what New Orleans was like in the '40s and '50s
21:00 - New developments in the city, mentioning the city being below sea level, above ground gravesites
23:00 - Things that New Orleans is known for - food, music, traditions
24:00 - French Quarter - Bourbon Street, tourists
Interview with Al Johnson
Al Johnson:
00:00 - Birth, childhood, learning trumpet and piano, first tunes he learned
01:55 - Musicians who influenced him - Louis Armstrong
03:00 - Clubs he used to play at
04:30 - Description of his band (The Twilighters) - 4 piece - members, instruments
06:00 - First recording session with Aladin Records and how it came about - 1958
09:45 - Cutting of his second recording - "Nina"
10:45 - Never signing a recording contract and never getting paid for his music
11:30 - "Carnival Time" - Al's song about playing in New Orleans on Claiborne Street - recording session
17:00 - Leaving music because of being taken advantage of
18:35 - Joining the Army band and playing trumpet
19:00 - After leaving the service, working as a welder, a cab driver, and starting music again
21:00 - Plans for recording again
22:45 - Final comments - State of the music scene in New Orleans
Interview with Joseph "Smokey" Johnson
Joseph "Smokey" Johnson:
00:00 - Birth and family info
01:30 - Tremé
03:30 - Marching bands, Jazz funerals
04:40 - Learning to play the drums / influences
08:50 - Smokey's first paying gig
10:00 - Playing with Bill Senegal
11:30 - Playing with James "Sugarboy" Crawford
13:45 - Joining Dave Bartholomew's band
14:15 - Frank Williams - Blues records he made
15:20 - Roy Brown
17:38 - Working for Imperial Records and working in Motown - Earl King, Robert Parker, Fats Domino
18:10 - Recording with Fats Domino
20:00 - Recording solo projects / Band members / record labels
23:00 - Leasing his record to VeeJay, killed sales
25:00 - Other NOLA records that Smokey recorded
33:30 - Fats Domino's band - members, shows
34:35 - Fats' management of his band
36:30 - Working for Fats and fighting for raises
38:15 - Young people playing New Orleans Jazz music
39:45 - Refusing to play New Orleans Jazz as a young boy
41:20 - Playing with Lillian Boutte
44:20 - Touring Europe
44:45 - Future plans with music
-Walter Kimble's Death
Interview with Joe Jones
***The tape is originally recorded at a slightly faster speed***
Joe Jones:
00:25 - Introduction - From the 7th Ward in New Orleans, In U.S. Navy Band
01:25 - Schooling - studying harmony in college
03:00 - First band that he played with in high school - Joe Jones and His Atomic Rebops
03:20 - Teaching harmony to musicians in New Orleans - John "Picket" Brunious
06:15 - Deluxe and Chess Records renting a place "The Pentagon" in New Orleans to record bands
-musicians being taken advantage of
07:00 - Roy Brown and other Influential musicians and booking agents in New Orleans
08:00 - Recording session for "Good Rockin'Tonight"
08:30 - John Fernandes playing trumpet with Joe's band, music director at Xavier University
09:15 - Joe teaching music, becoming a booking agent and running his band
10:40 - Musicians union in New Orleans - developing the club, objectives
13:00 - Attending college on a music scholarship and joining the Navy
-developing the first Navy All Black Band
15:45 - Destruction of the musicians' club in New Orleans
18:50 - Playing with B.B. King - playing piano, assistant band leader, tuning his guitars
20:30 - Touring with his band
22:30 - Shirley Lee - signing to a booking agency
23:45 - Pay per show
Interview with Warren Miles
Warren Miles:
01:00 - People who Warren worked with during his early years
-Willie T, Ernie Cato, Eddie Bo, Dave Bartholomew, Fats Domino
01:55 - Recording with "Frogman," Willie T, Eddie Bo
02:45 - Going to London with Professor Longhair
03:00 - Frank talking about his father's career in music
05:00 - Main instrument is bass, working well with the drummer
06:00 - Willie T getting into Jazz music Playing with Fats Domino
08:00 - Other records he has played on
09:55 - Warren's children - two of them play music
11:20 - "Papouse" Nelson
11:45 - Earnest McClain
12:10 - Guitar Slim
Interview with Erving Charles
Erving Charles:
00:00 - Live Music
06:45 - Playing music professionally; Influences
08:00 - "Chipaqua Chouies" (??) Band name for his first band in high school
09:00 - Recordings Erving made - studio musician
-hit records he on which he played piano
-used an alias for many recordings
-Little Richard, John Adams, Fats Domino, Sam Cooke
11:20 - Edgar Miles
15:00 - Groups he played live with - most were local groups - Smiley Louis, Guitar Slim, "Frogman" Henry
Interview with Art Neville (part 1)
Art Neville:
00:30 - Biographical Info
00:50 - First Band - The Hawkettes - "Mardi Gras Mambo"
01:30 - Band Members - George Davis, Calvin Joseph, August Floury, John Boudreaux
02:20 - Mardi Gras Mambo recording session - Produced by Ken Elliot (D.J. at WWEZ)
07:00 - Aaron Neville playing with the band and first recordings
09:15 - Recordings he made after leaving Chess, backup work as a session musician
10:00 - Playing piano with Jerry Burns - record released in England
12:00 - "All These Things" on Instant Records - relationship with Instant Records
17:00 - Traveling and playing music with his brother, Aaron; Musicians he worked with
19:00 - Clarence Brown, Leo Morris
21:00 - First recordings of The Meters
24:00 - Sissy Strut
27:20 - Current plans with music
30:45 - Other Neville brothers
Interview with Art Neville (part 2)
Art Neville:
00:00 - "Cabbage Alley;" - Influences of Professor Longhair
04:00 - Rerecording older songs
06:30 - Commentary on Allen Toussaint and other musicians
08:15 - The Meters - recordings for a new album
09:40 - Plans for live appearances
12:00 - Other kinds of music he listens to - how that affects the Meters' sound
17:00 - New material they are working on releasing
19:00 - Building a new studio in New Orleans
19:50 - Earl King
20:25 - George Porter enters the interview - Talks about his playing style
26:30 - Art talking about replacing Freddie Domino
28:00 - Porter's musical background - started playing music when he was 10
Interview with Earl Palmer (part 1)
Earl Palmer
00:00 - Family and birth Info - tap dancing
01:00 - Performing with family Vaudeville act
03:00 - Beginning of his career as a drummer
03:30 - Funeral bands
05:00 - Early Influences
07:30 - Going to music school - background on the school, Grunewald School of Music
09:00 - Playing with Earl Williams
10:30 - Playing with Dave Batholomew's band - venues - Tony's Tavern, kinds of music
16:40 - Al's Starlight Inn - Fats Domino sitting in during Dave Bartholomew's breaks
19:15 - Going on tour with Dave, Fats, and Professor Longhair
23:30 - Story about being in Los Vegas with Fats
24:45 - Artists on Imperial Records
27:00 - Playing with Earl Williams
28:00 - Other bands and clubs Earl played with - Brass Rail, Safari
32:45 - The New Orleans Rhythm and Blues Sound - Discussing various musicians
38:15 - Recording sessions from the 50's that stand out in Earl's mind
39:50 - Cosimo's studio - recording methods, microphone placement
Interview with Earl Palmer (Part 2)
Earl Palmer
00:40 - Earl's bandmate (Frank) having a stroke - effects on family and band
02:40 - Working for Eddie Mesner - Session work with artists like Little Richard
05:00 - Recording studios where Earl did session work; Other New Orleans musicians
15:20 - New Orleans has always been known for having great trumpet players
16:00 - R&B Sound drying out in the late 1950s - Rock music absorbed rhythm and blues
17:00 - Young people discovering other kinds of music and being more musically educated
19:00 - Hit records that he recorded on in the 60's - Sam Cooke, Frank Sinatra, Lou Rawls, Lightnin' Hopkins, etc
21:30 - Playing different genres of music - ie. Doris Day
24:00 - Interactions with famous producers and musicians in the studio
28:20 - More studio experiences - musicians who needed cues constantly
30:00 - Rock groups in the studio - using studio musicians
31:45 - Other work - movies and jingles
33:40 - Upcoming sessions and tours
36:00 - Recollections, Memorable experiences
38:20 - Describing his own drum style
41:20 - People who helped him along the way - Dave Bartholomew
Interview with Mac "Dr. John" Rebennack and Mike Leadbitter
Mac "Dr. John" Rebennack and Mike Leadbitter
00:30 - Paul Gayten's influence on Dr. John; Paul's start in the record business
04:20 - Playing at the Texas Lounge in New Orleans in 1955-1956 - Earl Baptiste, Teddy Riley, Charlie Brown
05:40 - The Dewdrop - a restaurant where many of the musicians would play and hang out
11:00 - Al Young - The Bop Shop (record store)
15:00 - Entering the musicians union in 1957
18:25 - Dave Bartholemew - how they met
22:40 - Walter "Papoose" Nelson, Jr. and his brother Lawrence "Prince La La" Nelson
25:15 - Smiley Lewis; Fats Domino
Interview with Mac "Dr. John" Rebennack (Part 1)
Mac "Dr. John" Rebennack
00:00 - "Guitar Slim" and his showmanship on stage and his first record "Feelin' Sad"
02:40 - Guitar Slim's vocal inflections - using church style singing
04:30 - Joe Corona's record label; The Clowns - members and albums recorded
07:45 - Working with Eddie Shuler and Elton Anderson
08:30 - Jerry Raines
09:40 - Jimmy Beasley and other New Orleans studio musicians
10:30 - Nicknames
11:10 - Walter "Papouse" Nelson's guitar playing style
13:30 - Musicians being arrested for drug possession
18:00 - Story about Dr. John having a song stolen by Lloyd Price - Song was meant for Willie West
22:00 - Talking about the Wild Magnolias and Chipaqua Chaouis
24:00 - J.D. Miller
27:30 - Experiences with Joe Barry
32:00 - Talking about Cosimo's Studio, Cosimo's start in record business
-Mac talking about how he started working there
37:00 - Walter "Papouse" Nelson's sound - Doubled guitar and bass parts
38:15 - Record companies using New Orleans music for their benefit
43:10 - Frank Fields
43:50 - Charlie Williams
45:00 - Lee Allan - types of solos, "king of the funky saxophone"
56:15 - Radio exposure for local New Orleans artists
Interview with Mac "Dr. John" Rebennack (Part 2)
Mac "Dr. John" Rebennack
00:00 - Local clubs in New Orleans and artists traveling to other regions of LA
01:00 - Differences between Fats' and Earl King's bands
06:30 - New Orleans Musicians union and recording session issues
08:30 - Artists being concerned about live and studio performances both being high-quality
09:00 - Little Richard - Being discovered and recording in New Orleans
12:00 - Dave Bartholomew's sessions with Fats Domino
13:20 - Imperial recording sessions that Dr. John was at, Dave Bartholomew chasing him out of the studio
23:35 - Allan Toussaint's songwriting contract with Danny Kessler
15:15 - "Lonely, Lonely Night"
24:30 - Danny Kessler's management job
26:30 - Joe Ruffino
27:45 - Joe Smith and Allan Toussaint - Instant Records, Allan's songwriting, jingles
29:50 - Toussaint keeping the New Orleans music scene alive
31:10 - Dr. John recording with Bobby Charles
32:00 - Cosimo's Studio
36:30 - Cosimo's sound characteristics - Guitar/Bass doubling lines
39:30 - Hit songs coming out of New Orleans
40:00 - Dr. John's first sessions and songs for Aladdin records
-Other artists playing Dr. John's songs; Lil Croaker
43:00 - New Orleans session drummers
49:45 - James Booker - touring, training in music
57:00 - Radio exposure of local artists (WYRB, WBOK, WJMR, WWEZ, WNOE, WGIN)
Interview with Tommy Ridgley
Tommy Ridgley:
00:00 - Beginnings in music - going to music school after finishing the service
02:45 - Singing with Earl Anderson's band - Starlight club
03:00 - First recording with Dave Bartholomew
05:00 - Legal issues with Tommy's recording "Tra La La; Conversations about royalties
12:50 - Records made with Imperial Records and Atlantic Records
13:00 - Signing to Atlantic Records
15:00 - Band members over the years and Dave Batholomew's influence on his band
19:00 - Clubs he plays in New Orleans
22:40 - Musicians he's played concerts with
23:45 - Playing concerts with James Brown and Bobby Darin
26:00 - Esquerita - Eskew Reeder, Jr.
29:00 - "Let's Try and Talk it Over," "In the Same Old Way," "Should I Ever Love Again"
34:30 - Recording a song for Phil Santo - recording was leased to an English label
28:45 - His latest recording in 1970, "Live While you Can"
40:50 - White Cliff Records - Cosimo Matasa
39:55 - Edward Frank - organ player
44:00 - Tommy's brother's music
45:00 - Future of the New Orleans music scene, Other talented younger musicians in the New Orleans area
48:15 - Most popular local artists in the 1950s - Paul Geyton, Larry Darnell, Roy Brown, Lloyd Price
50:00 - Traveling out of state
51:30 - Playing at Jazz Fest in New Orleans
Interviews with Tommy Ridgley and Justin Adams
Tommy Ridgley:
00:00 - Other Band Members - Delton Russo, Allen Dejean, Walter Harris, Leroy Joseph, James Jackson
02:40 - Recording before Fats Domino - recorded November 1949
03:20 - Working with Irma Thomas
04:45 - The Dewdrop and group member names
08:40 - Other musicians - Lawrence Cotton, Alonzo Stewart, "Dimes"
10:20 - "Lonely Man Blues"
13:00 - "Boogie Woogie Mama"
Justin Adams:
15:30 - Music in Justin's family - his beginnings
16:45 - Playing with Tommy Ridgley
17:15 - recording sessions he took part in - Fat's Domino, Little Richard, Charles Brown
19:18 - Justin's family history with music; - Manuel Manetta, Dollie Adams, Placide Adams, Gerald Adams
21:30 - Joe Jones recording - Delton Russo, "Honeyboy," James Prevost
23:30 - Dixie Cups
25:46 - Fats Domino's band members
27:00 - Big Bands he started out playing with
32:30 - New Orleans' current music scene
Interview with Marshall Sehorn (Part 1)
Marshall Sehorn:
01:00 - Marshall's history in the music business and working as a disc jockey - 1958
06:20 - Working as a record promotion rep
10:45 - Making records with Lightnin' Hopkins - "Mojo Hand"
12:15 - Discovering Lee Dorsey and signing him to a contract with ABC Paramount
15:55 - Legal problems with the Bobby Marchan record "Kansas City." Lawsuit with Johnny Vincent
26:00 - Sehorn records
36:45 - Downfall of Cosimo's studio - Forming a partnership with Allen Toussaint and discussion about Allen's records
39:15 - Building and running a studio with Allen (Sea-Saint Studio)
40:00 - Different artists that Marshall and Allen worked with - Browning Bryant
Interview with Marshall Sehorn (Part 2)
Marshall Sehorn:
01:20 - Marshall talking about actually making New Orleans his true home
06:00 - Dealing with major labels for Dr. John and The Meters
10:00 - Major labels not pushing New Orleans music
18:30 - Some record producers don't take an active role in the recordings
20:00 - Marshall's recent lack of hit records
24:00 - Continued discussion about hit records - Why some records are hits and others aren't
28:00 - The new Lee Dorsey album which includes five Dr. John songs
33:38 - Future of New Orleans music
35:30 - Texas oil money coming into New Orleans
37:00 - Trying to keep local musicians in New Orleans for recording
42:00 - Upcoming albums
Interview with Norris Melancon
country boucheries; boucherie organizations; amount of meat member families received; lottery system for selecting order in which families contributed calves for boucheries
Interview with Norris Melancon
chaperones; Iry LeJeune; instrumentation of early 20th century Cajun bands; Tee Maurice and Pecaniere dancehalls (dance halls); string bands; popularity of the accordion in the prairie Cajun community, ca. 1928-ca. 1950; Joseph MelanconÕs band
Interview with Irma Lavergne Quirk
south Louisiana music, ca. 1930 - ca. 1955; phonographs; phonograph records
Interview with Kenny Lavergne, Edward Sibille, Irma Lavergne Quirk, Libby Lavergne Soileau
Cajun cuisine; diet, ca. 1930-ca. 1950; music; Hank Williams; influence of Country and Western music of Cajun life; Food taboos