Country Music Going In A Different Direction
Something wonderful has happened to the country-music industry: Sales have slipped.
Record-company bean counters aren’t happy, but music fans could end up big winners when they hear the exciting new music coming their way this year. Talent executives who’ve been playing it safe for years with young clones of George Strait, Garth Brooks and Reba McEntire are taking some chances.
Jim Lauderdale, a talented and veteran songwriter, recorded “Planet of Love” for Reprise in 1991. It was an influential failure, with eight of its 10 songs subsequently recorded by others. A hard-country album he recorded for Sony was shelved, and a pop deal with Atlantic didn’t work out either.
The industry verdict: Lauderdale was too left-of-center. He moved to minor-league Upstart Records for “Persimmons” last year. That album was embraced in the alternative country market, a niche of country-rock bands finding an audience without Nashville’s help.
“I do think there’s a really strong, solid dislike for most of the mainstream stuff coming out of Nashville these days,” said Peter Blackstock, editor of No Depression magazine, which covers alternative country music.
“Most of the acts that are on the top of the charts are not artists who most of our readership considers very creative musically.”
Of course, millions of mainstream country fans disagree. Country music quadrupled its sales from 1988-95, in the wake of Garth Brooks’ rise to superstar. But sales slipped by 10 percent to 12 percent in 1996, according to the Recording Industry Association of America.
That’s enough of a dip for executives such as Joe Galante at RCA Nashville to take stock. Galante is betting on break-the-mold artists like Lauderdale, Sara Evans, Ray Vega and the reinvigorated Kentucky Headhunters to spark some enthusiasm in listeners, and maybe even win over some of those No Depression readers.
Country music deejays were cautiously supportive of alternative country at a recent Nashville convention. If they follow through, any of the RCA acts could break through this year. Other labels are also trying to launch unique artists on the airwaves, such as gritty singers Jack Ingram (Rising Tide), Bob Woodruff (Imprint), and Neal Coty (Mercury). Any of the three could become the John Mellencamp of country music if they start scoring hits.
The group Big House (MCA) puts an insistent R&B backbeat on most of its songs, and has flirted with the label “funktry.” Sara Evans, a former prodigy from Missouri, has a stunning debut ready. “Three Chords and the Truth,” heavily influenced by Patsy Cline and Loretta Lynn, will be released in May.
The Kentucky Headhunters are trying to get airplay for their remake of Marty Robbins “Singin’ the Blues.” Ray Vega has had a fine CD in the dramatic Roy Orbison-Gene Pitney tradition out since last year, but has yet to score a hit.
Kim Richey, who co-wrote the Trisha Yearwood hit “Believe Me Baby (I Lied)” has just released a great second CD out on Mercury. Lauderdale promises a Bakersfield-Buck Owens sound for his upcoming RCA CD.