Gothic Theatre

Dale Watson

You wouldn’t think that a stone-cold traditional Country artist like Dale Watson would offer a quote from John Lennon to describe his music would you. But after thinking about it, it really makes perfect sense. Watson’s new album Dreamland, his 4th for Koch Records Nashville, embodies snippets of inspiration from a wide variety of great artists that encompass that big musical soul of his. This is timeless music that’s as original as a brand new morning, yet from the very first notes bending off his Telecaster, has a warm sense of familiarity.

Truly authentic artists have a degree of respect to the tradition that came before them, while feeling their way into the future to create something new. Watson, like only a few artists in any genre, has his feet planted firmly between the past and the future. Just about all of the material on Dreamland is original, written or co-written by Watson. As you listen from track to track you will feel him tip his cap to greats who came before like Haggard, Conway, Cash, Wills and others.

Dreamland, produced by Ray Benson, is a self proclaimed, flat out, honky-tonk album. “It’s the best damn honky-tonk album I’ve ever made,” says Watson. And this Texan, by way of Alabama and California, doesn’t boast. He merely states the truth. Listening to Dreamland is probably as close as we will come to driving our rig through Bakersfield in 1962. On the spirited album opener, “Honky Tonkers Don’t Cry,” and “I Don’t Rock No Cradle,” you can almost see Buck Owens standing outside the studio door grinning from ear to ear.

Watson shows us his crooning skills and nods to the great Ray Price on the waltzy, “I Wish You’d Come Around,” a song he wrote on a night that he was missing his late fiancé Terri a bit more than usual.

“I think the reason why it’s so hard to relate to today’s country artists is that most of them haven’t lived it,” explains Watson. And sadly, Watson has done more than his share of “living it.” Watson’s fans already know the tragic story from September 15, 2000 when his girlfriend, Terri Herbert, was killed in an accident after falling asleep at the wheel of her vehicle while she was driving to meet Dale in Houston. The album he released in July of 2001, Every Song I Write Is For You, was dedicated to Terri and was part of his mourning process. “It will probably always be my favorite album,” says Watson.

While Watson is moving on with his life and now able to deal with Terri’s death, he still misses her dearly and on some days more than others. On the powerful and haunting title track we get a glimpse of his dreams about her. “Sometimes I’ll actually write songs on stage,” Watson says. “I’ll carry a little recorder up there with me and on that night I was missing Terri a bit more than usual. I came up with the title song.” When Watson and company perfected the song in the studio the result was completed with an infectious intro, reminiscent of “Stand By Your Man.” Watson passes credit to his producer for this one.

“Working with Ray was a lot of fun,” reflects Dale. “We wanted to work together for a long time and we finally were able to make it happen. I was out to make a great honky-tonk record and there’s no one better to have right next to you than Ray Benson.”

Watson also credits Benson with the bluegrass-swing feel to the album’s rousing closer, “Pretty Girls.” It’s another song that Watson wrote onstage composing it while playing at one of his familiar Austin haunts, Ginny’s Little Longhorn Saloon. He and Benson later perfected it during the recording. “I always wanted to write a bluegrass song and Ray gave it that great swing-bluegrass feel, plus he sang that great low part,” remembers Watson.

Dale Watson may have had a lot of sadness to deal with in his past but it sure does look like 2004 is shaping up to be a great year for him. He’ll be out on tour in the spring and summer, including some dates in Europe where he has quite a following. “They’re just real respectful of country music over there and unlike here in the states they really love traditional country music,” Watson admits honestly. Dale will be playing venues in Europe ranging from pubs that seat 100 fans to concert halls that can hold 5,000 fans. He’ll be making concert stops in Holland, England, and will have plenty of tour dates stateside.

Watson also has another exciting opportunity happening, as he landed the starring role in a feature film. The movie, “Austin Angel”, to be directed by Hollywood veteran Zalman King (9 ½ Weeks, Red Shoe Diaries), will be the story of a Country singer who sells his soul to the devil to save his daughter. Martin Sheen is set to play the devil with shooting set to begin in September. Watson describes the film as, “a great story set to great Country songs.” Although Watson normally writes most of the music that he performs Rod Harris wrote the music for Austin Angel. “The songs are excellent and in context with the rest of the story the music is really important,” says Watson.

However, Watson is not a stranger to acting having been in several other films, including 1993’s “The Thing Called Love,” with Sandra Bullock and River Phoenix, and “On The Borderline”.

A movie, an album, and a tour. Not bad for a traditional country artist who feels more at home playing in front of punk rock audiences at a place like CBGB’s in New York City rather than most mainstream venues. “What can I say,” says Watson. ” The rock audiences have more of an appreciation to real country music than people who listen to that stuff coming out of Nashville. Honestly, they’re likely to be paying more attention to their line dancing steps rather than listening to you singing, so yeah I’d actually rather play in a punk club.”

It’s funny. By returning to country music’s tradition, the likes of Merle, Johnny, Conway and Buck, Dale Watson’s music is labeled as Alt-Country, a label that he’s no longer uncomfortable with. “It just means you make real country music as opposed to the mechanical, pop stuff that the Nashville scene comes up with,” explains Watson.

For now, you’re more likely to hear artists such as Watson on Triple-A, Alternative, or Satellite radio stations. “It’s just a fact of life,” continues Watson. “Most of the music coming out of Nashville is not country. It’s mechanical pop music.”

One of Dale’s wishes for a great 2004 is for country fans to be able to hear real country music on the radio. After you listen to this album, we may all be wishing for that very same thing.