Review:
Doug Stevens
By John Frame 21st February 2002
For Queensland Pride’s "Sound Out" column
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Doug Stevens "I don’t give a hoot - I’m from the sticks, and I’m queer to boot". So sings Doug Stevens, Mississippi-born, San Francisco based founder of the Lesbian & Gay Country Music Association www.lgcma.com (which also includes New Zealand’s sweethearts – the Topp Twins). Doug points out that since Country music is the most popular genre in the USA (and probably here too), and since we are just a percentage across the population, it follows that Country Music must be the most popular music for gay men and lesbians. Doug Stevens & The Outband have produced 3 superb CD’s since 1994. The Outband members have significant input both lyrically and musically, but Doug is their very capable star player. His story closes the excellent new book "Gay Men, Straight Jobs" by Dan Woog (www.danwoog.com). Doug was born in ’57 and raised in a poor, but determinedly musical family. He says that when he came out, at the age of 16, he immediately lost all of his friends, but at least no one tormented him. Recently a (now openly gay) high-school friend suggested that Doug was just so "out" that they didn’t really know what to do. Doug moved to Missouri and graduated with a very practical degree in Computer Science, but instead followed his heart and intensively trained his countertenor voice for professional performance, including the Cleveland Opera. He also had time enough for love, but until late 1990 had not taken an HIV test. He was devastated that his lover could not deal with Doug’s positive result. Recovery from depression coincided with Doug's realisation that Country Music was his natural vehicle for expression. The most recent CD "From Christopher To Castro" is a vibrant collection of songs celebrating the variety of attractive men, Doug’s particular penchant for Latino guys, the looming reality of same-sex marriage and warning of the perils of long-distance love. Doug’s favourite song is "Moth To A Flame" - about his recurring romantic encounters with a hopelessly closeted lover. The album closes with a rousing version of Patsy Montana’s yodelling classic "Cowboy’s Sweetheart" and just like Doug, you can practice and practice until you get it right. The neighbours will love it.
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