He feels they were all strong songs that made the records live longer. He doesn’t regret having used outside tunes on those early recordings. “I wanted to record the best material possible so I went after other people’s songs.” “I didn’t have any confidence in my writing when I started recording in 1979,” he says. Though that was a tremendous encouragement at a time when the novice writer needed affirmation of his talents, Watson admits he still lacked confidence. The 37-year old tunesmith says his first acknowledgment as a songwriter came in the late 70s when he entered a contest called the American Song Festival and received two certificates for his efforts, coming in first in one category and second in another. Watson admits his development as a songwriter was a much slower, more gradual process. Soon after, “Touch of the Master’s Hand” ascended the charts, garnering the number one position. ![]() He soon found himself recording for Milk&Honey Records and affiliated with their publishing company, Singspiration. His first reaction to that call from Music City was not unlike the response to his American Songwriter accolade. The men who filmed Wayne’s performance took the tape back to Nashville and played it for record executives who immediately called the fledging singer/songwriter. Looking back, Wayne says all he did was sit there and sing, but the impact that song had on those who heard it was powerful. “I performed “Touch of the Master’s Hand” (written by John Cramp)and they videotaped my performance.” “Two men were producing a program for churches as a teaching tool,” Wayne recalls in a phone interview from Houston, where he no makes his home with his wife and two sons. Oddly enough, it was a song he didn’t write. One performance at a youth conference in Mississippi changed his life, and he feels it all happened because of one great song. There he worked in churches and enjoyed playing music, but n ever really thought about it as a career. He got married, started a family and moved to Baton Rouge. Once he started college at Lousiana Tech University and came up against stiff competition, Wayne decided he probably was not going to win the pennant and opted to get a degree in voice education. Though he says she was an inspiration and he always loved music, he admits at first he resisted a career in music because of his desire to play baseball. His mother was active in church music and played organ for services. ![]() Watson grew up the small northeast Lousiana town of Wisner. “And I’ve always believed in the power of good songs.” “My whole career and ministry began on the strength of one song,” he says. Watson’s modest reaction to his award was probably a combinationg of his humble personality and his refusal to ever be complacent about the craft of songwriting. His songwriting talent dominated the charts last year with tunes such as “When god’s People Pray,” “Home Free,” and “Almighty,” each of which spent multiple weeks at the top of the charts. When informed that the honor was based on chart activity. “Did you do this? You’re pulling my leg, aren’t you?” “Did you do this? You’re pulling my leg, aren’t you?” When notified by his manager that he was the top Christian music writer in American Songwriter‘s annual awards issue, Wayne Watson’s fist reaction was disbelief. When notified by his manager that he was the top Christian music writer in American Songwriter‘s annual awards issue, Wayne Watson’s fist reaction was disbelief.
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