Dale Watson

Unwanted

Forty Below Records

Dale Watson was born in Birmingham, Alabama, and moved to the Wilmington, North Carolina area before he was a year old. In 1977, his family relocated to Pasadena, Texas. One of four boys, Watson grew up in a musical household, with both his father and his brother Jim showing strong musical inclinations. Watson began writing songs at the age of twelve. As a teenager, he became an emancipated minor, attending school during the day while performing at local Houston clubs and honky-tonks at night with his brother.

In 1988, on the advice of Rosie Flores, Watson moved to Los Angeles, where he joined the house band at North Hollywood’s legendary Palomino Club. He later relocated to Nashville, writing songs for the Gary Morris publishing company, before eventually settling in Austin, Texas, where he formed his backing band, The Lone Stars. Watson signed with Hightone Records and released his debut album “Cheatin’ Heart Attack” in 1995. He followed that with several releases, including 1998’s “The Truckin’ Sessions,” a tribute to the truck-driving song tradition.

In 2004, Watson moved to Baltimore to be closer to his children, but later returned to Austin, where he became a fixture at the Continental Club’s Monday night shows. In 2012, he starred in Stephen King and John Mellencamp’s musical “Ghost Brothers of Darkland County.” He later released “The Sun Sessions,” and in 2013, “El Rancho Azul,” which featured the now-signature track “I Lie When I Drink.” He performed that song on “Late Show with David Letterman,” “Jimmy Kimmel Live,” and “Austin City Limits.” Watson also purchased a second honky-tonk in St. Hedwig, Texas. His latest release, “Unwanted,” is his fortieth recording overall.

This abbreviated biography only begins to capture Watson’s legacy. He is a living legend of American roots music, having spent over four decades championing his unique blend of honky-tonk, outlaw country, western swing, and rockabilly. He calls his sound “Ameripolitan,” a term he coined himself. Watson is not just a singer-songwriter and guitarist, but also a producer, actor, and cultural architect—someone dedicated to preserving traditional country music while pushing back against the homogenized mainstream. Over the years, he has shared stages with icons like Merle Haggard, Johnny Cash, Willie Nelson, Kris Kristofferson, and Dwight Yoakam.

With “Unwanted,” Watson delivers another high-powered collection of country twang and honky-tonk grit, fueled by heartache, hard-earned wisdom, and life on the road. His booming voice cuts through like a seasoned dancehall ringleader, guiding the band with confidence and authority.

The album opens with the galloping “Willie, Waylon and Whiskey,” where Watson salutes his influences and vices, singing “Willie, Waylon & whiskey, gonna have a real good time, gonna be one hell of a night…thinking about that red-headed stranger, his blue eyes crying in the rain, on the road again, the parties over, all about the same old thing again,” while his guitar nods to the familiar “On the Road Again” melody.

On “She Was My Baby,” Watson reflects on a captivating relationship, singing “She could make a man or hit him, she could make a man go blind, she could make a man go to a different drum without even trying, she was my baby, I fell under her spell, she was my baby.”

“If You Really Love Me (Outlive Me)” is a standout ballad featuring pedal steel from Don Pawlak. Watson delivers a deeply emotional performance as he sings, “If you really love me (outlive me), don’t make me go through life without you, its the least that someone who loves me can do, I’ve had my share of love, how much grief can one heart take, don’t make me go through life without you.”

On “Gotta Try Harder,” Watson tells a playful yet relatable story, singing “She was born in New York City, she was sittin’ pretty, tiny little thing, I figured in my heart, I pulled out all the stops, impressed her I did not, asked her what have I got to do…she replied gotta’ try harder.”

“What The Hell Happened To The Cadillac” blends nostalgia with social commentary as Watson moans, “learned to turn into a compact, it used to stand up to the rest of the pack, but what the hell happened to the Cadillac. What the hell happened to the radio, it used to have so much soul, what happened to the radio…”

“You’ve Got My Heart,” featuring piano from Danny Levin, is a heartfelt duet with his wife Celine Lee. Watson sings, “I’ve searched my whole life through, we’ve loved and lost along the way, you’ve got my heart and I got yours…we treat them better than our own, you’ve got my heart and I got yours.”

On “Don’t Let The Honky-Tonks Go,” Watson delivers a mission statement for traditional country music, howling “well don’t let the honky-tonks go, hell make the honky-tonks grow, keep dancin’, keep dancin’…put money in the jukebox…keep dancin’…at the end of the week you’ll sure need a cold Lone-Star beer, keep dancin’.”

“Just Yesterday” offers a reflective take on love and time, as Watson sings, “I’m grateful for the lips I’ve tasted, the only lips I’ll kiss til my dying day, I’m thankful for the comfort that takes my cares away, I admit I loved you less just yesterday…today my love for you is beyond compare, tomorrow whose to say…I admit I loved you less, just yesterday.”

“Life Is Like A Song,” featuring fiddle from Katie Shore, finds Watson in a contemplative mood, singing “Life is like a song, just sing along…melody is love, the lyrics are reason, life is like a song it knows no season, so it goes my friend, we may not always get along, but it’s good, life is like a song.”

On “Never Mend The Broken Spoke,” backed by The Memphians, Watson leans into Western swing tradition, shouting “back where the rustic building is the place you want to see…Bob Wills and Willie Nelson, and walkin’ the floor, never mind a broken spoke.”

“If I Can” is a deeply personal reflection, with Watson singing “one of these days you’ll wake up and you’ll find I didn’t wake up, but I moved on…if I can I stay beside you, if I can I’ll climb inside you, so you can feel me , If I can, but I hope you do find love like you found me…if I can I’ll climb inside you so you can feel me.”

The album closes with the title track, “Unwanted,” where Watson looks back on his life, singing “I’ve been on my own since I was fourteen years old, I wish I knew then what I know now,” a song that echoes the spirit of Waylon Jennings. Additional musicians on the album include pianists Matt Hubbard and Danny Walton, bassists Phil Spencer and Zack Sapunar, and drummer Manny Pagan.

“Unwanted” captures the sound of an Ameripolitan diehard with plenty of fuel left in the tank, racing toward a horizon of his own making. Watson’s dedication to traditional country music recalls the legacy of Hank Williams and Lefty Frizzell, while still sounding alive and relevant today. As Rolling Stone has noted, Dale Watson is an Austin honky-tonk hero—and without question, an American treasure.

Richard Ludmerer

BUY NOW

Buy Us a Cup of Coffee!

Join the movement in supporting Making a Scene, the premier independent resource for both emerging musicians and the dedicated fans who champion them.

We showcase this vibrant community that celebrates the raw talent and creative spirit driving the music industry forward. From insightful articles and in-depth interviews to exclusive content and insider tips, Making a Scene empowers artists to thrive and fans to discover their next favorite sound.

Together, let’s amplify the voices of independent musicians and forge unforgettable connections through the power of music

You can donate directly through Paypal!

Subscribe to Our Newsletter

Order the New Book From Making a Scene

Breaking Chains – Navigating the Decentralized Music Industry

Breaking Chains is a groundbreaking guide for independent musicians ready to take control of their careers in the rapidly evolving world of decentralized music. From blockchain-powered royalties to NFTs, DAOs, and smart contracts, this book breaks down complex Web3 concepts into practical strategies that help artists earn more, connect directly with fans, and retain creative freedom. With real-world examples, platform recommendations, and step-by-step guidance, it empowers musicians to bypass traditional gatekeepers and build sustainable careers on their own terms.

More than just a tech manual, Breaking Chains explores the bigger picture—how decentralization can rebuild the music industry’s middle class, strengthen local economies, and transform fans into stakeholders in an artist’s journey. Whether you’re an emerging musician, a veteran indie artist, or a curious fan of the next music revolution, this book is your roadmap to the future of fair, transparent, and community-driven music.

Get your Limited Edition Signed and Numbered (Only 50 copies Available)  Free Shipping Included