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Post by Wildrider on Jun 10, 2004 20:18:26 GMT -5
He's coming back to Phoenix! I know it probably wasn't just me, but I feel a certain sense of accomplishment seeing he's booked into my favorite Americana venue.  My good camera's broken, but I'll get pictures somehow. |
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Post by LS on Jun 11, 2004 1:02:14 GMT -5
Oh yeah...Kept forgetting to mention it Roughneck. In case you're interested- Dale's back up this way again...Rodeo Bar on the 21st & 22nd of this month...
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Post by Wildrider on Jun 12, 2004 13:12:16 GMT -5
Yes, and if he's coming anywhere near anyone, they should really make the time to go! Not only will you enjoy yourself, but you'll make the man very happy. He sounded so sad in his last update I feel a moral imperitive to get folks into the seats to perk him up.  |
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Post by Roughneck on Jun 12, 2004 14:47:17 GMT -5
Have to decide which show, but I'll definitely hit one! ;D He was definitely the best show I've ever been to. And hey, my old girlfriend Lila's gonna be at ESU next Saturday, hasn't been around here in a few years! ;D Been a while since I've been to concerts. But I digress. |
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Post by Mr._Shooter on Jun 12, 2004 19:53:48 GMT -5
Old Mr. Shooter just might catch Mr. Watson at the Rodeo Bar. Gotta convince my better half that they serve Chardonnay there. ;D |
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Post by LS on Jun 18, 2004 13:59:03 GMT -5
Dale Watson Lives In Dreamland
By Jon Johnson, June 2004
Current photos of Dale Watson show a much older man than the one who stared out of the cover of his 1995 debut, "Cheatin' Heart Attack."
Hair that was once dark brown is now entirely gray. There are a few more creases in his brow these days, and more than a little sadness in the eyes; more than one might expect from a man who's still only 40. He's still a handsome man - striking, even - and has preserved his wiry physique admirably. But it's clear that years of touring have had an effect.
At this point, it's a bit of a truism that Watson would have stood a very good chance of being a major star had he been around in the '60s or even in the '70s. His good looks, songwriting and singing would have fit right in with that era.
Unfortunately for Dale Watson, his first album came out in 1995 - the peak of the Garth Brooks era - rather than in 1965 or 1975.
Asked if he thinks he might have been more successful had he been born 10 or 20 years earlier, Watson - who has just released a new album, "Dreamland," on the Nashville-based Koch label - replies, "I'm not sure I would have been more successful, though I do think I would have fit in better."
In a lot of ways he's always been on the outside looking in. Born Kenneth Dale Watson in Birmingham, Ala., Watson grew up listening to country music from birth. His late father, Don, was a country singer, trucker and gas station owner, and Dale cut his teeth playing first with his brothers and then in his father's band as a teenager at a time when most other American teenagers were sneaking hits of reefer while listening to Led Zeppelin and Pink Floyd.
Watson says that his father's approach to country music was similar to his own. The A-side of Don Watson's only single, "Poor Baby" - released on a small Chicago label in 1968 - was covered by Watson on his second album.
"That was really his song. I put my name on (the songwriting credits) to make the publishing easier to deal with, but he wrote it. My recording is pretty similar to the one he did," adding that he's considering covering the single's B-side at some point in the future.
In 1984, Watson recorded his first single, "Moments Passed Me By" backed with "I Couldn't Take Her Gone," a very rare record which he'd just as soon see stay that way, including a picture sleeve showing a 20-year-old Watson with moustache and puffy '80s hair.
Moving to Los Angeles in 1988, Watson soon became a fixture in the local country music scene which had catapulted Dwight Yoakam to national prominence just a couple of years earlier.
Befriended by Desert Rose Band guitarist John Jorgenson, Watson recorded scores of demos during this period, many of which were excellent and provide a valuable glimpse of a young man who still wouldn't record his first album (for which a handful of the demo tracks were rerecorded) for another five years or so.
Watson recorded two now-rare singles for Curb Records ("One Tear at a Time" and "You Pour It On and I Pour It Down") in 1990 and 1991, and lived for a short time in Nashville working as a songwriter before returning briefly to L.A.
Watson settled permanently in Austin, Texas in 1993, intending to start repairing motorcycles for a living (Watson is an avid motorcyclist when not on the road) and put music on the back burner for a while.
Watson's west coast efforts attracted the attention of the California-based HighTone label, however, and the label signed him in 1994.
"Cheatin' Heart Attack" put him on the map with fans of traditional honky-tonk. Watson was photogenic and a more-than-capable singer, songwriter and guitarist whose "Nashville Rash" became an anthem for those who felt that the country music industry's successful grab for the brass ring had at the same time caused that industry to forget its roots.
"I'll tell you, I don't even like calling what I do 'country music' anymore," says Watson. "Because people associate 'country music' with (what's) coming out of Nashville now. My ex-wife went to a club a while back where they had a DJ, and she went and asked the guy if he had any Buck Owens. And the DJ said no and asked her if Buck Owens was some new guy. So I don't want to associate myself with that by calling what I do 'country'."
So what does Watson call what he does, if not "country music?"
"If someone hasn't heard me and they ask what I do I just tell them 'original music.' That's all - 'original music.'"
Watson recorded two more albums for HighTone before leaving the label (he has little good to say about the label these days) and released a string of concept albums beginning with 1998's "The Truckin' Sessions," starting a long association with Koch Records and its country imprint Audium which continues to this day; interrupted only by a short stint with Sire Records which resulted in one still-unreleased album before he asked the label to release him from his contract.
Watson's latest album, "Dreamland," is his first non-thematic collection of new material since 1997's "I Hate These Songs." In the intervening years, Watson has released a collection of trucking songs, a Christmas album, a live album, a tribute to his late girlfriend, an album of songs about life on the road and a few other albums which followed one theme or another.
But he's steered clear of straightforward collections of songs like the three albums he recorded for HighTone.
"Exactly. It's not a concept album," agrees Watson. "I write all the time. There's some songs on there - a couple of them, anyway - that date back to '93, '92...something like that. Most of 'em I came up with in the past year, though."
As a straightforward collection of songs, "Dreamland," doesn't really have the high points of his three HighTone albums; nothing quite as rousing as "Truckin' Man" from "Blessed or Damned" or as poignant as the title track from "I Hate These Songs."
And, come to think of it, it's been a while since Watson has recorded a trucking song. But as a Dale Watson album - that is, as an album of Watson playing a mixture of honky-tonk, Bakersfield Sound and Texas shuffles - it's the most representative album of his sound that he's recorded in probably four years.
Interestingly, "Dreamland" is the first Watson album to display any sort of overt bluegrass influence, with the Watson original (and album closer) "Pretty Girls" and a cover of the perennial "Fox On the Run" giving listeners a glimpse into what Watson might sound like as a bluegrass artist.
Asked if he's ever considered making a bluegrass album, Watson replies, "Yeah, it'd be great to do it, but it's not my forte. It wouldn't surprise me if I do an acoustic record. But I've got a lot of respect for (bluegrass). I'd hate to try to jump into that."
The album's cover is a nod to James Dean's iconic reclining pose on the poster of the 1956 film "Giant." It's an interesting image since "Giant" was Dean's last film and one in which his character, Jett Rink, grew to middle age without ever having gotten what he really wanted most in life.
Asked if there's a hidden message, Watson says there isn't. "We just did that to bring some familiarity to (the album). People look at it and go, 'Where have I seen that before...?'"
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Post by LS on Jun 18, 2004 13:59:38 GMT -5
Produced by Asleep at the Wheel leader Ray Benson, "Dreamland" features the cream of Austin's country community, including Benson, Jason Roberts and Redd Volkaert (a longtime friend and collaborator of Watson's) on guitars, High Noon's Kevin Smith on upright bass, pianist Floyd Domino, AATW's David Sanger on drums and - on two songs - famed steel guitarist Ralph Mooney.
"That was Ray. He was able to bring Mooney out from Dallas where he lives. He played on a couple of cuts."
Asked how Benson contributed to the album, Watson responds, "Well, that was the big difference with this whole album. When I was at HighTone, Bruce Bromberg wasn't really producing. He was just the label's overseer. I produced all three of those albums. (Bromberg) really didn't do anything other than make sure we didn't go over time in the studio."
"That was the difference with Ray. It's nice to have that kind of trust in somebody."
When asked what he has in mind for his next album, Watson says that other than possibly recording an acoustic album he probably won't be doing any more concept albums.
"(The next album) will be more of the same, like this album. I think I'll just make straight country albums from here on. An acoustic album would be an idea. I can see doing something like that. But this album is probably going to be the tell-tale album whether I keep trying to beat a dead horse."
How so? "I might need to get music out there through different channels," responds Watson. "This is the best country album I've ever done. If this doesn't do it, I'm toying with the idea of doing something more raw."
Although Watson has appeared in several movies since the early '90s (his appearance in "The Thing Called Love" predated his first album by 2 years), and studied acting a little bit when living in Los Angeles, in September he will begin filming his first starring role in a movie called "Austin Angel." It is a project Watson is clearly looking forward to.
"It's (being financed by) the University of Texas. It's going to make money for the college. This isn't the only one (they're making). They'll be doing three projects per year - some documentaries, some features...they're all going to be different. They're funding it, and they're going to use a lot of the U.T. film department."
"The movie itself is great," continues Watson. "The songs and story are by a fellow named Rod Harris out in California."
The film will be directed by Zalman King, a longtime Hollywood vet who has done a little bit of everything since first appearing on several episodes of "Gunsmoke" in the mid-'50s; actor, screenwriter, director and producer. He is probably best known to modern audiences as the writer/director of a large number of episodes of the '90s TV series "Red Shoe Diaries" and as the co-writer/producer of the 1986 Mickey Rourke/Kim Basinger film "9 1Ž2 Weeks."
Co-starring in "Austin Angel" will be Martin Sheen, the star of classic '70s films like "Badlands" and "Apocalypse Now," and whose career is currently enjoying a new lease on life in the popular TV drama "The West Wing," in which he stars as President Josh Bartlett. No stranger to Mephistophelean roles, though, Sheen will be playing Lucifer in "Austin Angel."
"It's a story about a country singer who sells his soul to the devil, but not to get fame or anything. It's to save his daughter. There's bunches of twists in there. It's really a great story. I'm just glad to be a part of the project."
Given the fact that Watson himself has a daughter, the role seems tailor-made for Watson. Even more interesting, though, is the fact that he included a song called "I'd Deal With the Devil" on an album dedicated to the memory of his girlfriend Terri Herbert, who died in a 2000 auto accident.
Following her death, Watson's personal life entered a brief, but well-publicized tailspin. Fortunately for Watson, he managed to pull himself back together and worked through his grief by recording 2001's "Every Song I Write Is For You," which Watson considers his favorite and will quite possibly be regarded as his career album when all is said and done. At the very least, it's hard to picture Watson baring his soul in quite such a public manner again.
Watson still clearly misses Herbert (the new album's "I Wish You'd Come Around" is about her), but has generally managed to move on with his life. Still, now that some time has passed Watson is trying to clear up the oft reported, but incorrect perception that he and Herbert were engaged at the time of her death.
"That's one thing I'm trying to make clear because her friends and family read a lot of those articles that came out then that said we were engaged, and they wondered why she hadn't told them something like that. So I've been wanting to clear that up."
Watson manages to keep busy when off the road, regularly performing around Austin and doing a little studio work. In addition, Watson recently produced an album for the Austin group the Gospelaires.
A longtime road warrior, Watson - whose current road band features steel guitarist Don Pawlak, bassist Gene Kurtz and drummer Herb Belofsky - has cut back on his live schedule of late. That is partly because of his commitment to "Austin Angel" and partly because the nature of touring has changed in recent years, though Watson is a far better known performer in Europe and in Australia than he is in the U.S.
"The music industry is different (now)," says Watson. "It isn't like it was in '95 or '94. When I hit the road it's a lot harder, mainly because a lot of the clubs aren't there anymore. Also this year, I've had to make myself available for the movie. We were originally going to start shooting around May and June, then that got pushed back to September."
"There are a lot of things that kept me off the road this year. With this new album we'll be hitting it pretty hard this summer, though."
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Post by Roughneck on Jun 23, 2004 16:57:47 GMT -5
OK, now for the show, three beers, two cups of coffee, a Santa Fe Chicken and a CD later. Show began right after ten. Standing room only. There were a few tables, but I didn't get one. Stood in the front row. Did most of his standards, but a few were missed. Definitely a different atmosphere than the show down in Allentown, which I think he vaugely remembered me from. This was much more of a honky tonk feel than PA. Younger crowd too. Did Silver Wings, Caught, Cheatin Heart Attack, Heaven's Gonna Have a Honky Tonk, South of Round Rock, Wine Wine Wine, and others. Oh yeah, also did the transvestite trucker!  Played until 11:30, then a break, at which point I got food. About half way through the second set I was able to get a table. Ended up playing until about 1:30. Bought Dreamland, good stuff. Got Truckin Sessions signed at the intermission, then got Dreamland signed afterwards. A bunch of us stood around afterwards shooting the $hit, waiting on line for the men's room (first line I've ever seen at the men's room! ;D) Discussed the horrible state of country music today, reached the conclusion that it's probably better that New York doesn't have a country station anymore, cause they'll just give us McHill and company. And, I have some good news. He is between possibley and probably coming back to the Northeast in September, and he said there was a VERY good chance that he'd spend New Years Eve in New York, probably for a few nights. Says he likes New York when it's cold, just no snow. ;D Demand was overwhelming. so, we may get a nice New Year's treat. Also suggested a weekend show. Mentioned we were supposed to be a posse, but I was the only one able to make it. And actually, New Year's Eve is a Friday, so this could work out real good! |
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Post by Mr._Shooter on Jun 24, 2004 13:48:11 GMT -5
Thanks for the report, Roughneck. Sorry I couldn't be there...you know why. Glad you had a good time, though. Nice to see standing room only for a stone country act in a city that, ahem, supposedly doesn't dig country music. About NYC's lack of a country station...yep, we're probably better off now than we were during Y107's reign of terror. But, as I've said many times before, someone really ought to take advantage of New York's blank slate and start a radio station that breaks away from the same, tired format. |
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Post by LS on Jun 25, 2004 0:41:09 GMT -5
Sorry I couldn't be there...you know why. Tsk...tsk. Gettin' henpecked already Shooter?? ;D  |
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Post by LS on Jun 25, 2004 0:50:01 GMT -5
And, I have some good news. He is between possibley and probably coming back to the Northeast in September, and he said there was a VERY good chance that he'd spend New Years Eve in New York, probably for a few nights. Says he likes New York when it's cold, just no snow. ;D Demand was overwhelming. so, we may get a nice New Year's treat. Also suggested a weekend show. Mentioned we were supposed to be a posse, but I was the only one able to make it. And actually, New Year's Eve is a Friday, so this could work out real good! Hmmmm...yeah- I've heard that New Year's Eve thing before.  Well...if this year it is for real- hope it's for a few days. New Year's Eve in Manhattan...an elective spleenectomy is more desirable. |
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Post by Mr._Shooter on Jun 25, 2004 7:43:48 GMT -5
Tsk...tsk. Gettin' henpecked already Shooter?? ;D Cute. Real cute. If you MUST know, I had an early meeting the next morning. ;D (Okay, okay...and I'm not allowed to go out on a school night. ;D ) |
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Post by Mr._Shooter on Jun 25, 2004 7:46:53 GMT -5
Hmmmm...yeah- I've heard that New Year's Eve thing before. Well...if this year it is for real- hope it's for a few days. New Year's Eve in Manhattan...an elective spleenectomy is more desirable. Gee, I figured you'd be a Times Square regular, LS.  The wonders never cease. 'Course, if you wore a helmet, you'd have no problem on New Year's Eve. ;D |
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Post by LS on Jul 1, 2004 22:26:51 GMT -5
Cute. Real cute. If you MUST know, I had an early meeting the next morning. ;D (Okay, okay...and I'm not allowed to go out on a school night. ;D ) Yeah...I figured it was probably the 'school night' thing... (But in all honesty...after 10 is a ridiculously late start for a weeknight show.) Gee, I figured you'd be a Times Square regular, LS. The wonders never cease. 'Course, if you wore a helmet, you'd have no problem on New Year's Eve. ;D Nope Shooter...I did that once- when I was young and stupid and didn't know any better. ;D As far as the helmet though...doesn't offer much protection against upchucking morons who can't hold their liquor.  |
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Post by Mr._Shooter on Jul 6, 2004 19:36:34 GMT -5
Now, time to kiss and tell, LS. Aren't your weekday nights just getting started 'round 10? ;D Heck, way back when, on another board, weren't we cookin' around 10? Tequila and what-not. I haven't even done the Times Square thing once. But, I guess that isn't all that shocking, now is it? We choir boys tend not to get too wild. ;D ;D |
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Played until 11:30, then a break, at which point I got food. About half way through the second set I was able to get a table. Ended up playing until about 1:30. Bought Dreamland, good stuff. Got Truckin Sessions signed at the intermission, then got Dreamland signed afterwards. A bunch of us stood around afterwards shooting the $hit, waiting on line for the men's room (first line I've ever seen at the men's room! ;D) Discussed the horrible state of country music today, reached the conclusion that it's probably better that New York doesn't have a country station anymore, cause they'll just give us McHill and company.
