Thanks for joining me in KellysCountry today, Dana...
You got a really early start in
this business. You were playing coffee houses in 1967 – a time when folk music
was still going strong. Who were some of your biggest influences leading up to
that time? So many people influenced me early on, Hank Williams, Buffy St.
Marie, Bob Dylan, Leonard Bernstein, Ray Charles.
I first heard your name in
connection with Shake Russel. You were a part of several bands in various
sub-genres of folk/ rock music including your pairing with Shake before moving
to Nashville to work on your solo career. What was in your heart to make the
switch from band mate to solo career? I made the decision to leave the band
with shake russell when I began listening to artists like Elvis Costello,
Laurie Anderson, and the Clash. The songs I started writing just didn’t fit
what we were doing with that band. DC3 was my chance to experiment with
different kinds of songwriting. After a few years I began moving back toward my
beginnings, only this time incorporating lots of the other influences I’d
gathered along the way.
You have a list of awards/
accolades some musicians can only aspire to. What do you feel was the key
ingredient in those career markings? Did each of those awards/ recognitions
build on the next one… ie what did you take from Miracle Mile as you moved into Harry
Truman Built A Road? Awards are gratifying but they’ve never been a driving
force for me. The recognition received is an indicator that one is doing good
work and it helps drive me to improve as an artist and writer. Miracle Mile was
released at a difficult time for me. I was without a booking agent and the
label wasn’t gaining much support for the project. Being nominated for the
Nashville Music Awards was a much needed validation. Harry Truman Built a Road
was in many ways another new beginning. Again, the accolades it received
boosted my morale and did a lot to put me back on the map as a solo singer
songwriter.
With that still in mind… was there
a bridge between those, including Incendiary
Kid in 2017 that moved you forward into I Can Face the Truth? I have always worked with incredibly talented
people on my recordings. Richard McLaurin and Mack Linebaugh were my
co-producers for Harry Truman Built a Road. Richard also co-produced Made of
Mud with me. Thomm Jutz came on board to co-produce Building a Human Being,
Road Show, and Incendiary Kid. Working with the best people has always been my
goal and all these folks helped me create greatest music projects. Meeting Dave
Coleman was yet another big turning point for me. The recording studio can be
an intimidating environment and I’ve never felt more comfortable and free in
the recording process than I was with Dave.
I loved the title track. I felt
the process of that track as shining example of the possibilities within the
industry today. The virtual possibilities of working together really lends to
creating something magical – even when we can’t work together in person. A lot
of artists would (and did) just put the production side of their music on hold.
What was the key to you and Dave Coleman pushing through the shutdown, which
most saw as an obstacle? Dave Coleman and I began with the song I had recently written,
I Can Face the Truth. We finished it in an afternoon and we knew immediately
that we wanted to continue working together. There was this natural musical
affiliation we felt. I was still writing songs for a new CD but hadn’t even
begun making a plan to record yet. So, we worked gradually as my touring
schedule allowed. When the pandemic hit we shut down like everyone else. During
that time I concentrated on writing and once some time had passed and we felt
somewhat comfortable we worked in the studio masked and in separate rooms. Some
of my co-writers shared their vocals long distance and once things opened up
Dave and I returned to work with other players and singers, again masked and at
a distance.
I love good Texas dramas/ sitcoms.
Especially, if they pull in some of my favorite Texas artists. I’m really
dialed in to Walker, Texas Ranger and think a couple of your tracks would be
outstanding for the show music tracks. The title track as well as Laughing and Crying, parallel the
storyline perfectly. Have you thought about getting your music in front of
those folks? I would love to have my music placed in films and television
shows. That’s something my current manager is working toward.
You wrote or co-wrote every piece
on this album with the exception of one cover. What was your thought behind
including I’m So Lonesome I Could Cry?
My dad, George, was a big influence on me musically. His record collection was
eclectic with an emphasis on Country artists like Hank Williams and Ernest
Tubb. Dad took me to bars with him when I was 2 years old. He’d play the
jukebox and I would sing along with Hank and Ernest. Dad took me to see Ernest
Tubb in concert when I was three. I’m so Lonesome I Could Cry has always
reminded me of my father and I included it on the new CD in his honor.
What do you hope your listeners
will take away from this (or any of your previous) albums? My goal has always
been to lift people up out of their struggles, make them laugh and maybe bring
a tear to their eye. That’s what music gives me, a sense that someone else
feels the way I do, that I’m not alone in this world.
You will find out more about Dana Cooper by clicking on the following links:
WEBSITE FACEBOOK TWITTER INSTAGRAM YOUTUBE PATREON
Country
Blessings
~
Kelly
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