The Whistlestop

Bio:

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Whistlestop Bio. 2008

It was a cold sunny day in early January 2006 when Mike Roy met Rob Watson. Mike had just started a job at company called Design Dimension where Rob had been holding it down for almost 9 years. The two were warned of each other’s music-making before actually meeting, causing their first exchange to go something like:

“Hey, I hear you write songs” “Yeah, I hear you do too.”

That’s where similarities began, but hardly where they ended. Rob and Mike’s wives turned out to be old friends from high school. Each couple had a baby girl, with baby boys on the way (one for Mike & Eileen, twins for Rob and Joanna!) They both also lived in Apex, NC allowing them to share the 30 min. commute into Raleigh. This was a great arrangement, as it not only saved gas money and the environment, but the time also proved to be very fertile creatively. There was much prayer and reading of Scripture in those 30 min. rides to work. As iron sharpens iron, the Good Book says, so one man sharpens another. Sharpening sparks flew, and The Whistlestop was born.

Rob and Mike each had solo albums they were still reluctantly performing from. Mike moved down from Baltimore to marry his Apex-based beauty, left his band behind in 2004. Rob was playing with a conglomerate of Raleigh rock-specialists to support his solo effort. Leaving the past behind was freedom, and the beginning of finding a new (old) sound to dig into in collaboration. The common ground arrived at was something very familiar and welcoming to both. The melodies and song structures that were popping up were comfortable like an old blanket, and reminiscent of good things gone by.

The carpool era didn’t last long. Rob got a new job in May of 2006. While collaborative song-writing time became harder to come by, the parameters of this new project had been set, and the material kept trickling in. By the middle of 2006 there were about 7 – 10 solid Whistlestop songs, and the first few performances had been given.

Rob had been asked to play a solo set at Raleigh’s (now defunct) Bickett Gallery. He had asked upright bass playing pal (and Raleigh Rock Royalty) Peewee Watson to join in on a few tunes. At the last minute Rob asked Mike to come along as well and do a few of the Whistlestop songs that they had finished. It was that fateful night, in front of a rapt audience of approximately 12 – 16 people, when the project was taken to the next level.

Peewee dug it, he wanted in! Along with then drummer Joshua Snyder, the quartet played several more shows. Now with sweet three-part harmonies and Peewee’s expert song tweaking, the idea of recording became preeminent.

Mike Roy had long been a fan of artist Daniel Smith (of the Danielson Famile). Dan had his own recording studio, so Mike contacted him to see if he’d be interested in recording the Whistlestop. Dan said he liked what he heard, and would indeed be interested. The tentative dates were set for late summer, early fall of 2007. Everyone was excited. New songs were written; a few more shows were played. Piano player Lonnie Coultier joined for a few memorable performances (solidifying the need for piano on most of the material.)

As summer wore on, it became more and more apparent that a trip to Daniel Smith’s studio in New Jersey was not going to be financially or logistically possible. The plan was reluctantly called off. The Whistlestop record was back at square one.

Peewee Watson, being the very connected music man he is, said, “Hey, I know who should produce this record, he’s perfect for the job… Me!”

Mike’s main request was to record as live and as quickly as possible. So Peewee set to work, right away calling John Plymale at Overdub Lane in Durham. Then Peewee nailed down the amazing Jim Crew to handle all of the keyed instruments. Scott Miller was the hired-gun on guitar, with deadly accuracy. Kevin Boxell signed on for drumming duties, and rehearsals began. By now it was already late Fall of 2007, so the recording studio was booked for Feb. 1– 4 of 2008.

That weekend would prove to be a magical one. A dozen tunes laid themselves down in just four days. The bulk of each song was tracked live; with drums and amplifiers, isolated in separate rooms, and the rest of the players and acoustic instruments in a larger tracking room. Overdubs were reserved mostly for background vocals, organ parts, and a guitar part or two.

The band excitedly awaits the album’s release now. They hope it marks the beginning of a long string of albums worth listening to, and live performances worth remembering.

Member Since:

March 21, 2006

Members:

Rob Watson, Mike Roy, PeeWee Watson, Kevin Boxell and Jim Crew and Scotty Miller as often as possible.

Influences:

The Originator, Sam Cooke, Roger Miller, Soul Junk, Danielson Smith, J Roddy Walston, Little Richard, Buddy Holly, Bob Dylan, Ray Charles, Chuck Berry, Mungo Jerry, Doc Watson, Townes Van Zandt

Sounds Like:

***The Year in Music 2008 - Independent Weekly http://www.indyweek.com/gyrobase/Content?oid=oid%3A272231

Preaching The Word is tricky business. You want to save some souls—that's the whole point— but if you browbeat or belittle, your flock will likely head elsewhere. For a blueprint of how to do it the right way, follow the lead of Mike Roy, Rob Watson and company. "If you're gonna sing, sing for your room and board/ If you're gonna play, you got to get yourself a chord," Roy testifies. "If you're gonna dance, you got to get up on the floor/ But if you're gonna praise, you better praise the Lord." And if you're gonna preach, he might have added, preach with a gradual-burn approach culminating in a grand bonfire. Preach with the spontaneity of a first-take recording. Preach with sweat-flying intensity. And preach with a mountain of country, blues, gospel and rock 'n' roll built behind you.
—Rick Cornell

http://www.indyweek.com/gyrobase/Content?oid=oid%3A272231



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RICK CORNELL - Independent Weekly

Purity of faith is a holy aspiration that's celebrated at various points throughout the self-titled debut from Apex quartet The Whistlestop. On the other hand, music that's willing to mix things up—not to dilute, but to expand—has divine power all its own. That, more than anything, defines The Whistlestop's roll call.

"Will Henry," for instance, rolls out a genuine bar-band crunch, big Stonesy guitars and Ian McLagan piano staring down last call with bloodshot eyes. But this isn't a rock 'n' roll record. The rangy voice of co-leader Rob Watson (who's joined by fellow founder and songwriter Mike Roy, veteran guitarist PeeWee Watson and drummer Kevin Boxell) can convey ache at either end of the spectrum. Just check "Come Home Baby Now," a lament for an old metal-body National guitar and a trombone. But this isn't the blues.

The pedal steel of guest Allyn Love haunts a couple songs, while the autobiographical "Fifty Fingers" sounds visited by the ghost of Roger Miller. But this isn't country. Several songs—most notably "The Money's Tight," which could have been written in the Great Depression's shadow—are the aural equivalents of the sepia-toned packaging and the vintage postcard included with the record. Though you could call it old-fashioned—say, in the spirit of Levon Helm's Dirt Farmer—it's certainly not an old-time record. The spiritual messages on this album are presented directly ("We're doing the best we can when we call on the Son of Man," the jaunty opener "Originator" declares repeatedly). Occasional Sunday morning harmonies gather in sweet refrains. But the ever-present piano, courtesy of Jim Crew, is often more saloon style than Methodist pew-side. Although it's mighty close, this isn't a gospel record.

At the core is "You Better Praise," a five-minute sermon on a mount of sincerity, not an ironic wink in sight, just swirling organ suitable for the church or Stax. It rides a gradual build, stopping short of too-high drama and instead hitting just the right note of hallelujah: It's old-time rock 'n' roll and blues and country and gospel, but none of those entirely. Pure blessed impurity, if you will.

http://www.indyweek.com/gyrobase/Content?oid=oid%3A261739

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BY DAVID MENCONI, Staff Writer - News & Observer

So much music sounds so tortured, but not "The Whistlestop" (Apex Records), self-titled debut from the local country-rock supergroup featuring Rob Watson, Scott Miller and PKM bassist Peewee Watson. The album's 12 songs glide along as smoothly as a well-tuned locomotive humming on down the track, with sweet harmonies and an overall amiability to go with virtuoso execution. It sounds like that perfect beer-drinking moment of good-cheer equilibrium, before sloppiness sets in. Even the Old Testament fervor of "You Better Praise" and the cutting "Hobo Love Song" ("I hope you're broke and drunk and lonely, too") sound more good-natured than nasty. Whistlestop marks the album's release with a Saturday night show at Raleigh's Pour House.

http://www.newsobserver.com/105/story/1161390.html

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Fri Sept 12, 2008 - Slim's—At first blush, the pairing of the rather hyper J. Roddy Waltson & the Business from out of Baltimore with the comparatively tame Triangle outfit The Whistlestop seems a little off. But scratch below the surface and you'll find kindred spirits with no interest in easy categorization, two bands that would have been much happier making a run at the radio in the anything-goes '70s. The piano-pounding Waltson is from the Leon Russell/ Harry Nilsson mode, while The Whistlestop relocates Rob Watson's Stevie Wonderish soul-pop skills to a rustic setting. The bonding begins at 10 p.m.
—Rick Cornell

Record Label:

Southren Brethren