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Gene Watson has been singing professionally since the late 1950s and has been a country music (album) recording artist since the late 1960s.
Gene Watson steps into a recording studio, takes his place behind the microphone and magic happens.
Gene Watson's contribution to the country music genre is immeasurable and it is here that you have an opportunity to read reviews of Gene Watson's albums, as published in Country Music People.
Country Music People is the United Kingdom's No. 1 Award Winning Country Music Magazine, and was the recipient of the Country Music Association's 2003 Wesley Rose International Achievement Award.
Country Music People was first published in 1970 and protects its integrity fiercely. The magazine has always brought its readers detailed, honest record reviews untainted by advertising considerations, as well as genuine interviews with country stars that are not faked from interview discs sent out by publicists and record labels.
Country Music People have long ago nailed its colours to the mast where Gene Watson is concerned. The magazine has rigorously championed Gene's cause down through the years and have published a number of reviews of his album releases.
All reviews have been reproduced with the kind permission of Country Music People.
This CMP review by Craig Baguley, which was published in the January 1993 issue of Country Music People, is reproduced here with the kind permission of the publishers.
Album Review by Craig Baguley
(••••••• out of 10)
'A new release from one of my very favourite singers. Although Gene Watson attempted a major label comeback on Warner Bros. two or three years ago (thanks to signing with Lib Hatcher for management), it was not to be, and the star's relationship with his then benefactor got caught up in icy words and law suits.
Now, Canadian Gary Buck takes Watson on board and produces an album that, while better than his Warner Brothers releases, still falls short of Gene Watson at his best. There are some good tracks, notably the delectable Buddy Cannon/John Northrup ballad 'One And One And One', but the fact that I prefer the former cut on this song by Shane Barmby (even though Barmby isn't half the singer Watson is) may be a pointer to my slight dissatisfaction with this release.
Where Barmby enjoyed a zestful production, Buck's is workmanlike rather than spirited; similarly, with the musical backup, which has a limited budget feel despite the presence of great session players like Rob Hajacos, Buddy Emmons, Weldon Wyrick and Pig Robbins. As for Watson's voice, it's still marvellous even if it's lost a little of the old edge, and he remains one of the finest honky tonk balladeers around.
Other prime cuts are Doodle Owens and Dennis Knutson's mid-stepper 'I Don't Think She'd Really Mind At All' (with its oh-so-country opening line, 'I've got her right where I don't want her'), and 'Winds Of Change', an effective song on the old wife-finds-better-love-outside-home theme. So, a must for Gene Watson fans, though some-ways from his classic cuts of old'.
Country Music People