Dale Fisher is the kind of artist that never fades away. Why is that? His natural character and potent good energy won't let him.
Already conquering the local music scene within Los Angeles, as well as recording and performing across the world, Dale Fisher now seeks further clarity with his sound.
His current music is densely packed with warmth and spirit. He brings a certain kind of thrill along with his music, which is what makes Dale Fisher feel almost eccentric. With quite a long track record, Dale Fisher continues with his musical enthusiasm with the release of "I Want You".
Dale Fisher has his listener's energy skyrocketed right off the bat with "I Want You". The fast-paced energy doesn't compromise itself at all throughout the track's entirety, and the feel-good mood is as bright as ever. Only seconds into the song and it's already quite obvious that Dale Fisher knows exactly how to craft his genre of music.
His delivery is flavourful and we don't doubt for a second that Dale Fisher gave his utmost passion for the creation of "I Want You". He really reels in his audience further with the snazzy storyline the song embodies, as well as its natural charisma that almost influences you to appreciate its magnitude. One thing "I Want You" reminded us about is that Dale Fisher is always releasing beams of positivity within his sound, and we appreciate the emotions Dale Fisher is able to make us feel. "I Want You" fell exquisitely in line with the musical history of Dale Fisher, and only leaves us anticipating the next single.
Considering the magnitude of spirit and zest put into your music, how would you describe the initial inspiration you had to create songs such as "I Want You", that have such authentic vigor?
This particular song was exciting to write because it was Mellencamp who said to me: "Shit Dale, this could be a hit song with you singing it. I need you to write me a chorus". I was in his Belmont Mall studio, listening to what I thought was a new Mellencamp song when there is a break in the vocal track, and John says"Chorus!" and then the music kept playing. It stopped, the engineer gave a copy to John, and John turned to me (in front of his band, management, and Label people who were all crammed in the control room), and said this. My mouth dropped, and I gathered it together, and we went out on his back porch (Myself, Mellencamp, and Joey Karsten), and began the process of writing him a chorus. My first words were, "Well, let’s write down all the verse words to see where we are". I thought this was an awesome response, because it bought me time, and allowed me to quiz him on what he was talking about. He is a trip to work with. Every other word is a cuss word, yet it flows from him in such a natural way during a conversation. Him being from Indiana, and I being from Iowa was a good fit. That day, from the arrival, to the end of the sessions, would take a whole book to describe. To answer your question more directly, the vigor came from working with an icon, and his unique challenge for me to write him a chorus.
"I Want You" feels incredibly natural with all of the properties it emulates, similar to the vast majority of your tracks. Would you say the authentic components of your music come with ease, or is the natural feel of your music routinely crafted?
My music comes from solo performances, so whether it is a piano song or a guitar song, it all starts with one instrument, one theme, and then I try to put melody and rhythmic sentences together that tell the story. Hopefully, these lyrics end up shorter than the previous sentence! John taught me it's a numbers game. You have to write a lot of songs. "...and you have to write good songs, 'cause you're up against motherfuckers like me", were his exact words. He also said "do you think Elton thought Crocodile Rock was going to be a hit? Hell no. It’s all about the numbers.”
Would you say there were any aspects of "I Want You" during the writing and recording phases that made you feel as if you were stepping out of your comfort zone artistically?
I would say being under pressure to produce a chorus that titled the song too, was very out of my comfort zone. Although, Mellencamp's style of the music aligns with mine in some areas, so it was a lot of fun to record this record.
With the various experiences you've already gained as an artist, are there any moments you've had that you feel helped propel your career in the right direction? Contrastingly, the wrong direction?
There are many many things that propel, or slow you down on this journey, for sure.
It is a lifetime of up and down, win and lose, gain, and loss. When I first moved to L.A. from Iowa, I wound up in Westminister, because that was part of the “yellow” Los Angeles on my Atlas map. Moving up to Hollywood I became the main pianist for Mary Parks. She was the caterer to the stars. I did intimate performances for numerous famous or affluent Angelenos. Quincy Jones, Lionel Richie, Carol Burnette, Tim Conway, Harry Winston, Jim Neighbors, Steve Lawrence, and Eydie Gourmet, Gregory Peck, Alex Hailey, Sidney Poitier, to name a few. It was a way for me to make money on the side, and continue with my band making records. Bad band managers come by the dozens, people who want to “get you there”, but really don’t have the juice, are all over L.A. too. Making songs and making records. That’s the key. It’s a numbers game…hahaha, sound familiar? We had a saying when I was just starting out. “Nothing is final until it’s vinyl”. The same holds true today. Finish the record. All of it. Don’t let people tell you what to do. Finish what you started.
What can fans anticipate to hear next Dale?
My next project is going to be piano oriented. I just bought a grand piano (I have wanted one my whole life), so my plan is to write an Ep of piano songs. Trying to bring back the songwriter, without the painful “folk singer” vibe. A lot of shitty music gave writers a bad name, and also gave the world a lot of bad songs. I am trying to correct that. One song at a time.