By Jef With One F
By Rocks Off
By Chris Lane
By Angelica Leicht
By Corey Deiterman
By Angelica Leicht
By Corey Deiterman
"It was pretty wild, I hadn't really seen anything like it before. Every club that I went into in the Montrose area was jammed every night, it didn't really matter who was playing. A lot of people were going out every night of the week, drinking a lot, you'd find lots of Mandrax or uppers on the floor of the club at the end of the night. People were indulging themselves quite a bit back then. It's funny, the contrast there from then to now is really noticeable. Once people finally sobered up, things got kinda bad, but it was a great time to be playing music down there."
It's not just Cooper who remembers those good times. Most followers of Houston's acoustic scene -- the same folks who lined up around the block in the late 1970s to hear Cooper and Russell and Saunders play two sets a night for three straight nights at the now defunct Steamboat Springs -- remember them as well, if somewhat hazily, and Cooper's niche in the scene was so solidly cemented by his ten-year stay in Houston that even now, after having called Nashville home for the past six years, he's still regarded as a more-or-less native son.
Of course, much happened for Cooper before the Houston boom, and much continues to happen after its demise. Cooper grew up as a singing-songwriting-guitar playing prodigy in Kansas City. When he finally got around to dropping out of college, he headed to Los Angeles, where Elektra Records snapped him up and released a debut solo album, Dana Cooper, in 1973. But what sounds in retrospect like a singer-songwriter's early '70s wet dream turned into a record industry nightmare in short order.
"We were about halfway through the project," Cooper recalls, "and somebody heard some of it and all of a sudden I was like the prodigal son there for awhile, I couldn't do any wrong. But about a year into that deal the whole thing just disintegrated. There was a big turnover and they just dropped the bottom third of their roster, and of course that's where I was, being a new artist and everything. That was one of the roughest times in my career, 'cause I went knocking on doors for about seven or eight months after that happened, looking for a new situation, and I got to the point where I guess the whole thing got me a lot more down than I realized, and I moved away and went back to Kansas and Missouri and just kinda hung out there for about six months and recuperated.
"Pretty soon after that I just quit for all intents and purposes for about two years. I lived in San Francisco and went back to college and worked a job, did an occasional opening for somebody and played down at Fisherman's Wharf sometimes. I still wrote my songs, but I didn't really perform very much. I got to where I just really didn't enjoy it. But after a couple of years of trying to lead a normal lifestyle I realized I'm not really all that normal, and I guess I want to play music."
That's about the same time Cooper's friend Shake Russell, who he'd known since the two met in Kansas City in 1968, started writing letters, telling Cooper about the burgeoning Houston coffeehouse scene and encouraging him to move to town and get in on the action.
"He kept saying, 'You gotta come to Houston, man, it's booming here,' I guess about '75, '76, so I started going there from San Francisco just for a week or two at a time. That's how that whole Songs on the Radio thing (a 1978 album featuring Shake and Dana) came about."
The Shake and Dana pairing proved to have enormous local appeal and led to two recordings, the Shake Russell/Dana Cooper Band album, released by MCA in 1981 and now a hard-to-find collectors' item, and the Comin' Home LP, released by indie Twin Dream in 1982. But by the early 1980s, the Houston leisure-time economy had started to fold, and the duo's divergent business philosophies had begun to clash.
"We made such a good living just playing around the state that nobody in the band wanted to go out on the road. Once we had that MCA album deal coming through, I'd gotten a guy at the William Morris Agency interested in putting us on tour with some acts like the Little River Band and Poco. But nobody wanted to go out and do it because we were going to make as much for the entire band on the road as we were making per man in Texas. It was really a shame because I felt like we could have done a lot with that -- that album got quite a bit of attention. But once that all fell apart, I bowed out of the deal. I decided I didn't really have much say as partners with Shake at that time. I just felt like the things that I wanted to do weren't getting done, and Shake obviously had another idea in mind for the direction of the band, and also we just kind of went our separate ways. That's when I did the DC3 thing, which was another tough time. Here I went from playing acoustic guitar and being one of the front guys in the band to heading up a three-piece rock band, and the people that came to see DC3 just didn't know what to expect. They didn't like it. So I had to start over building a new audience from that point, and that took a couple of years to get leveled out."