Tuesday brought some outstanding streams from Split Single, Deerhoof, Leapling, Low Leaf, Doby Watson, Hellrazor, and Girl Tears. In addition to those titles, there were exceptional music videos that arrived via Shugo Tokumaro, Lisa Prank, Toy Cars, Quin Galavis, Safe To Say, and Johnny Foreigner while Pet Grief held down the fort for the full stream category. The Proper Ornaments snagged the…
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Another day, another dollar. Or nickel in this case. Check out Volume 19 of our virtual jukebox with another ten tunes of all shapes and sizes taken from our bulging in-box.  The Van T’s – 35mm [RIYL: Surf-rock, Hinds, The B-52s] [soundcloud url="https://api.soundcloud.com/tracks/259194478"…
It's an expertly crafted track that brings to mind the storytelling Americana of Mark Kozelek but ultimately a confessional that is uniquely Doby Watson alone.
Dover is located on the east side of Ohio.  We soon found out that though it was close to Pennsylvania, it was certainly no where near our next destination.  So we began our journey across Pennsylvania.  Somehow we lost a lot of time and I still haven't figured out how.  We got to the show pretty much right as it started and it was in the top floor of an old church.  It was one of the coolest spaces I've ever played in.  Our friend Greg from These Elk Forever really hooked us up.  When he told us how much work had gone into the show I actually felt a little bad about it.  You really need to listen to his material!  The show that night had an insanely stacked bill.  On top of Greg being awesome we also played with a project called Wicca Phase Springs Eternal.  The moment he started playing the three of us look at each other and mouthed something like "Spooky Black!"  We've spent multiple hours of drives listening to Spooky Black in the last couple of weeks and  after the set we found out he'd actually been featured in the latest Spooky Black recordings.  Though Greg put together an awesome show the venue took most of the money and left us living on the charity of Wilkes-Barre.  Hearing the practices of the space left me questioning the ethical choices of the venue.  After the show, Greg took us back to his place and we all hung out talking about music and the different scenes we are from and have been involved in.  Greg is absolutely one of the best people I've met on tour.  I couldn't believe some of the stories he had.  They were amazing and we had a great time.  The next morning we went to a diner on a mission to find Doby some Perogies.  I had never had them before and totally understood his love for them.  Luckily due to the geographical location of Wilkes-Barre we were only a couple of hours from NYC and we hit the road.Â
Day five of 6 of tour started with us having the day off. Â This short stretch on the way up to NYC has unfortunately ended up providing us with a few of those. Â In order to not outwear our welcome with Drew we moved our sleeping bags to Hope Arthurs house. Â We spent most of the time admiring her talent and listening to stories of cool things she's doing in Fort Wayne. Â It's really impressive to see a town embrace a local musician like Hope. Â It's something I don't feel like there's much of where we come from. Â The night we arrived at Hope's she was practicing with a bandmate for a live performance of a score she had put together for a silent film showing. Â Ryan and I went on a beer run for everyone and got to the store right before they closed. Â We were approached with an incredible amount of aggression and were told to, "hurry the fuck up." The store owner then apologized for his behavior and said it wasn't us causing his anger but that it was in fact one of his employees. Â He then told us he planned to shoot the man in the stomach and send photos to his wife before he started on the rest of the family. Â There's something about Fort Wayne.... Â Even with all these strange things happening we did have a good time in Fort Wayne. Â We practiced our set and rearranged an old song of Doby's. Â We stopped by Sweetwater Music, as Fort Wayne is the national headquarters and headed to a ballet rehearsal Hope was playing piano for. Â Hope was a fantastic host, but we decided to leave for Dover so we would have the entire day to relax. Â
 Dover, Ohio was a true statement to the power of the internet.  We ended up in Dover because of a man named Atom Lax.  Doby originally found Atom on youtube covering a song called "Monster" that he originally wrote as Boo Hiss.  Atom was more than willing to help us set up a show in his town and spent the day with us after our arrival.  I'm unable to form words for the level in which Atom can play the guitar.  He's one of the craziest guitarists I've ever seen live.  It became really obvious when he took us to his favorite local music store and started playing all the guitars.  Atom requested Doby play "Monster" at the show and actually ended up reteaching it to him because it was so old.  Our hosts put together a big halloween kegger to get people out to the show and we had a great time.  It's hard for quiet music to compete with the level of intoxication reached with a keg but we turned up louder than normal and went for it.  Atom and Doby played the song together at the show and it was actually really touching.  Atom closed out the night with what had to have been over an hour of music.    I was exhausted and accidentally passed out in my sleeping bag before the party was over.  Everybody had a great time.  It was really obvious the next morning. Â
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He’s a ways from home, but Doby Watson may find that to be a good thing.
The Kansas City singer-songwriter will be releasing his new record Live-In Son through Urbana label Error Records this Friday night. The album—a nine-track memory of a dark time in Watson’s life , having moved back in with his parents and dealing with the effects of substance abuse—is currently streaming on readbuzz.com. Buzz caught up with Watson before Friday’s release show to talk about the new record and the musician’s long DIY career.
»buzz: How long did it take to write Live-In Son?
»Doby Watson: Honestly, I don’t remember writing the songs. Most days I sit down with a guitar, make some sounds, sometimes I remember those sounds and overtime they become songs, sometimes I forget them forever. Once I have a batch of songs that fit a particular theme, I reach out to people I think would play well on the songs. On this record, as with most, I try to record it as simply.
»buzz: Listening to this record and thinking back to your last EP, Watson & May, your last few releases have sounded really full compared to older stuff where the quality was more lo-fi. What’s the difference between now and then?
»DW: I used to record and mostly play everything myself. Starting with Twenty Two—when I switched from going by Boo Hiss to my own name—I started having other folks record me, and other folks play with me. I try to be very intentional and thoughtful about who I have recording and playing on a particular batch of songs.Â
»buzz: Were some of these songs tracks that you didn’t use for Watson & May or all new stuff?
»DW: Definitely separate. The two albums were recorded within weeks of each other, but due to the nature of how Live-In Son was recorded, it took longer. I have a bit of a stockpile of songs I’ve written, so I try to simplify it by grouping songs into themes and going from there. Although with a split—like Watson & May—the theme is that there is no theme, and I use songs that I haven’t yet grouped into a theme.Â
»buzz: The record seems to have a lot of nostalgia laced in the lyrics at times, and with titles like Live-in Son and “Family Mattress,” it seems like there’s a lot about family. Did you set out to write about a few certain topics or do you often find yourself falling back to certain topics when writing lyrics?
»DW: I didn’t set out to write about it, but there were a few pretty rough years where I moved back in with my parents, was drinking a lot, wasn’t playing or writing much music and really, not doing much of anything with my life except wallowing and being very self destructive. Naturally, when I felt motivated to write again, a handful of the songs were about that time and thus the album Live-In Son was made. And honestly, if I didn’t feel that what I came up with offered some kind of possible motivation either to avoid that kind of life, or better themselves, I would not have taken the time to document and share the songs. No point in trying to sell folks a counterproductive pity party, right?
»buzz: You’ve been making music for a long time now, since you were a teenager. Do you see yourself continuing to make music throughout your life?
»DW: You’re speaking to why most of my relationships have failed, why I’m nearing 30 and sleeping on friends’ couches most nights, why I will probably never have a retirement fund, a credit card, sign a lease, get a degree or have health insurance, etc. Conforming is hard for folks like me. I’ve tried it before, and I became a miserable, bitter mess, which is precisely what lead to the years Live-In Son is attempting to document. I have no plans to ever stop making music, not until I die—even if it means I’ll always be poor and have to live like some hybrid-hobo teenager. Some folks just aren’t able to or meant to function in that way, and I’m one of those folks.
»buzz: How did you get in contact with Nathan and Error Records?
»DW: I don’t remember how I met Nathan. I just knew him. But I don’t usually remember how I’ve met anyone, I just know that I know them. I had always found Nathan to be a really nice, down-to-Earth guy who works hard and does an amazing job at everything I’ve ever seen him do. When I had decided to go ahead and attempt to release these songs, I immediately sent him an email asking if he’d like to do a tape for me, and he said yes. It’s been a great partnership. Seriously, the man is a dream to work with and has an awesome attitude about just about everything.
»buzz: Is it hard to release a record/tape through a label that’s located a bit away from your location?
»DW: Not at all. When you’re working with great people, it doesn’t matter where they are.Â
»buzz: A lot of your older stuff was just you and a guitar, but this newer stuff has pianos and electric guitars in the background. What made you want to start including this stuff?Â
»DW: Mark Sarich once suggested to me after a show at Lemp Neighborhood Arts (in St. Louis) that while he was a fan of what I was doing, he suggested letting the uniqueness of other talented people’s perspectives on my songs might be even more interesting, so I gave it a try, and he was right. It was very interesting and has been a wonderful tool to create variety and broaden the palate of my songs.
You can catch Doby Watson this Friday at Error Records in Urbana. The show starts at 8 p.m. and costs $5.