This live recording presents retro-country singer-songwriter Dale Watson in his ideal element: a rowdy little honky-tonk, albeit one in England rather than Texas. Watson performs his fine originals (such as the tender "You... more » Are My Friend") as well as classic country covers by Merle Haggard, Webb Pierce, Wynn Stewart, Ray Price, and Johnny Cash, in a boozy croon. Meanwhile, his Lonestars lay down a relaxed groove that cranks the twang. Predictably, nearly a quarter of the night's set list is devoted to praising country music's past ("Legends") or, more often, pummeling its present ("Country My Ass," "Nashville Rash," "Real Country Song"). Some listeners may find this a little off-putting, but the crowd at London's Borderline roars and sings its approval--the album was originally titled Preachin' to the Choir--as Watson repeatedly builds then topples his favorite straw man. And no wonder: Watson may be a musical reactionary, but he still rocks--oops, make that twangs--the house from beginning to end. --David Cantwell« less
This live recording presents retro-country singer-songwriter Dale Watson in his ideal element: a rowdy little honky-tonk, albeit one in England rather than Texas. Watson performs his fine originals (such as the tender "You Are My Friend") as well as classic country covers by Merle Haggard, Webb Pierce, Wynn Stewart, Ray Price, and Johnny Cash, in a boozy croon. Meanwhile, his Lonestars lay down a relaxed groove that cranks the twang. Predictably, nearly a quarter of the night's set list is devoted to praising country music's past ("Legends") or, more often, pummeling its present ("Country My Ass," "Nashville Rash," "Real Country Song"). Some listeners may find this a little off-putting, but the crowd at London's Borderline roars and sings its approval--the album was originally titled Preachin' to the Choir--as Watson repeatedly builds then topples his favorite straw man. And no wonder: Watson may be a musical reactionary, but he still rocks--oops, make that twangs--the house from beginning to end. --David Cantwell
K. Coleman | Phoenix, AZ United States | 08/17/2002
(5 out of 5 stars)
"That's how Dale describes his own music. He further goes on to state, "The music in this show contains lyrics about honky tonks, truck driving men, drink', cheatin', and other topics considered to be too provocative for today's candy-... Country Music." He's right. This is REAL country music. This is the way country music is supposed to sound. Dale Watson isn't retro, he's not a throwback -- he's simply carrying on the fiery torch of pure country music as it was carried by Johnny Cash, Waylon Jennings, Willie Nelson, and Merle Haggard. Dale is, of course, far too country for "country" radio; his first single release from this album, "Country My @$$," has been unilaterally turned down by them (wonder why?). But Dale is more than just a banner for the survival of real country music -- Dale is a powerhouse of talent, a thundering voice, a phenominal writer, and a heck of a great guitar player. His small frame packs country music skill so gigantic it absolutely dwarfs the "big names" doing their fireworks at arena shows, selling their teenybopper bubblegum with their pecks and abs. Dale doesn't need fireworks -- he entertains with TALENT. This album is a marvelous recording of two live nights in London (where, sadly, he's FAR more popular than he is here in the States). If you love real country music, buy this. You'll order all the rest of his albums before the final track finishes spinning."
Solid, kickass country music!
Joe Sixpack -- Slipcue.com | ...in Middle America | 09/05/2002
(5 out of 5 stars)
"I once had the good fortune to see Dale Watson play a show in Glasgow, Scotland, and the intensity and devotion of that UK crowd is ably reflected in this concert album, where the London fans hoot, holler and sing along to a brace of oldies and a slew of new originals. This is Watson in fine form, stripped down and honkytonk as all hell. He takes advantage of the concert album tradition to get a little dirty and cuss some, but mostly this is about Dale and his high-test ... band, who don't mess around for even a note or two. Authenticity is Watson's watchword: he opens the set up with his hick music anthem, "A Real Country Song," reprises his version of the Jimmie Rodgers classic "In The Jailhouse Now" (which was also a highlight of a recent Webb Pierce tribute album), and thumbs his nose at Nashville with "Country My Ass..." He might not be subtle, but he sure is good. You can't hear solid country playing like this anywhere else but on a Dale Watson album. Highly recommended!"
(real) country fan
outlawguy | 02/02/2005
(5 out of 5 stars)
"this is my favorite cd of dales.this is not for tim mcgraw or kenny chessney fans.this is too country for those people.all of dales cds are great.my second favorite is "i hate these songs".i hope this review can help more people discover how awsome dale is.
"
Country's is Back!
Michel Angelo | USA | 02/02/2007
(5 out of 5 stars)
"I only recently discovered Dale Watson when he played locally. What a pleasure to know there is still someone out there who is performing real country music! The music coming from Nashville these days just isn't my cup of tea any more. I quit listening to "country" stations about ten years ago, but my love for the sound of traditional country never died. When I discovered Dale Watson, I came alive again. This is my favorite of all his albums....I bought one of everything he had at the show. Every fan of traditional country needs to hear three songs: "C-M-A," "Nashville Rash," and "Mr. Deejay Please Play a Real Country Song." The good stuff is not coming from Nashville any more, it's coming from the Lonestar State!"
Domestic issue of barbwire-sharp UK live set
hyperbolium | Earth, USA | 07/26/2002
(4 out of 5 stars)
"Recorded live in London in 2000, and originally released in Europe as a double CD, Audium's single disc is remastered from the original 24-track tapes, providing a half-dozen titles not present on the earlier issue. Particularly noticeable are the addition of "A Real Country Song" and "Nashville Rash," adding extra gravitas to the show's critique of mainstream country music.Having been recorded two years ago, these tracks presents a snapshot of Watson before the death of his finacèe, his subsequent depression, and the musical exposition of his "Every Song I Write For You" CD. Recent interviews find Watson letting go of the stridency and anger that dominated songs like "Country My Ass" (as well as some of the stage patter), suggesting that explicit railing at the music industry may not be Watson's future.The nineteen selections (nearly 70 minutes) include new titles, highlights from Watson's catalog, and cornerstone covers of Merle Haggard, Johnny Cash, Wynn Stewart and Jimmie Rodgers (by way of Webb Pierce). Welcomed by an enthusiastic crowd, Watson and the band are in fine form as they move from Ray Price's jazzy steel guitar showcase, "Bright Lights and Blonde Haired Women" to the loping tempo of "Can't Be Satisfied" and two-step rhythms of "Turn Off the Jukebox" and "Break Your Own Heart."The barbwire criticisms of contemporary country are certainly entertaining, and the homages to influences are heartfelt, but it's Watson's own twangy, Texas-bred songs that drive his point all the way home."