Rucker Proves That Sometimes, The Best Marketing Is No Marketing At All

Matt Clark | August 13th, 2008

Darius Rucker Don’t look now, but Darius Rucker, lead singer of 90s rock group Hootie & The Blowfish, has a country hit on his hands. “Don’t Think I Don’t Think About It” currently sits at number 14 on Billboard’s country singles chart and continues to pick up spins. What you probably haven’t heard is that Rucker is the first black artist to chart a single in the country top 20 since Charley Pride last did it in 1988. That’s a noteworthy accomplishment, but Rucker’s management deserves great credit for downplaying the milestone. In fact, that much of the country audience remains oblivious to this historical tidbit goes a long way toward explaining Rucker’s success.

Critics sometimes become too accustomed to viewing mainstream country stars as pre-packaged commercial confectioneries ripe for consumption by the radio audience. This conception, questions of its accuracy aside, misses a more important point: it’s not the packaging that appeals to country radio listeners, it’s what’s inside the package, and these days that’s mostly a homogeneous crop of artists who conform to a narrow commercial ideal. Different, non-traditional artists may stand a chance to gain a foothold even in this environment, but it’s a mistake to believe that one can package a non-traditional artist into the radio playlist, especially when the packaging itself is constructed from an artist’s non-conformity. Great music, even when made by non-traditional artists, still works on country radio, but even great music becomes considerably less appealing when wrapped in a backstory that does little except argue that the music should not, in fact, be played on country radio.

Contrast Rucker with struggling newcomer Rissi Palmer. When Palmer’s “Country Girl” became the first country single from a black female Rissi Palmer artist to chart since 1987, the feat was greeted with a ballyhoo of press, including an article in The Houston Chronicle ambitiously titled “Black Woman Singer Rissi Palmer Breaks Color Lines” in which Palmer spoke extensively of obstacles associated with being a black aspiring country artist. Palmer’s race isn’t important only to her press: her historic charting single, “Country Girl,” is a direct reference to Palmer’s race in which she extols her country virtues while reminding listeners that “you don’t have to be a Georgia Peach from Savannah Beach” to be a country girl.

But image doesn’t mark the only point where the paths of Rucker and Palmer diverge. While Rucker’s single continues to rise, Palmer’s debut peaked at number 54 on Billboard, follow-up single “Hold On to Me” just cracked the Top 60 and debut album Rissi Palmer moved only a handful of units. Country music fans could hardly have been less impressed by 1720 Entertainment’s new and unique artist, and I blame much of Palmer’s failure on her race-based promotion.

The failure of these kinds of marketing campaigns isn’t limited to independent labels. RCA Nashville’s Crystal Shawanda has produced a remarkable debut album in Dawn of a New Day, but it’s impossible to read any Shawanda publicity that does not make significant mention of her Ojibwe heritage and the fact that the title of her debut album is the English translation of her Native American name. Shawanda’s “You Can Let Go” has fared better than Palmer’s debut single, but she’s still sitting on the wrong side of the top 20 without significant upward mobility.

It’s ironic that RCA should make such a mistake, for they wrote the book on launching a non-traditional artist when they signed eventual superstar (and black American) Charley Pride in 1965. Paul W. Dennis explained the circumstances well in a recent installment in the Forgotten Artists series:

The (race) situation in America was so tense in 1965 that RCA issued [Pride’s] first few singles without the customary picture sleeves and promotional information, hoping to get Country audiences hooked before they realized his race. To get the disk jockeys to play the records, they made them as hard-core country as was possible for the time, and listed the label’s four big name producers (Chet Atkins, Jack Clement, Bob Ferguson and Felton Jarvis) as the co-producers on the singles. DJs of the ’60s might not have known who Charley Pride was, but Atkins, Clement, Ferguson and Jarvis were the Ruth, Gehrig, Mantle and Mays of producers, so the records were destined to get played.

Eventually country audiences tumbled onto Charley’s “permanent suntan” (as he put it), but it was too late. They simply loved his singing and would demonstrate this love by purchasing millions of his albums over the next 30 years, pushing four albums to gold status, a rarity for country albums with no cross-over appeal.

History should’ve preempted the failed promotions of both Palmer and Shawanda, but let it not be said that the promotional giants can’t learn a lesson. When our own Jim Malec attempted to schedule an interview with Palmer, he was granted access only after he agreed not to ask about Palmer’s race, which Palmer’s representative Hot Schatz Public Relations described as having been “beaten to death.” Malec cancelled the interview after deciding that prohibition made it impossible to interview an artist who had worked so hard to craft a race-based image.

Lest the independent observer conclude that country radio audiences are simply racist, it’s important to note that the recent failure of new artists who are wrapped in a coat of a different color hasn’t been limited to non-white artists. The recent flurry of high profile pop-country crossovers has produced a significant number of new artists with promotional baggage independent of their current management: Jessica Simpson’s former life as a pop-princess is inseparable from her re-vamped country persona, Jewel can’t make a radio appearance without playing “You Were Meant For Me” or “Foolish Games” alongside cuts from country album Perfectly Clear, and Bon Jovi and The Eagles are such historic figures in rock music that, even sans marketing, it’s impossible for them to unassumingly drop a single on country radio.

By and large, these entanglements haven’t served the stars well, even if some of them possess stronger country credentials than several country radio mainstays. Simpson’s “Come On Over” looks headed for hit status, but EaglesSimpson has endured an embarrassing did-they-or-didn’t-they controversy concerning booing at her debut country performance and handlers have to fear downright audience hostility when Simpson plays the Grand Ole Opry on September 6th. Jewel scored only a modest hit with the excellent “Stronger Woman” while The Eagles and Bon Jovi look to be one-and-done on country radio.

This trend faces its most significant test to date with new Nashville Star Melissa Lawson, who has staked her career on hopes that the country music audience will be able to identify with an overweight mother of five. Lawson’s situation is unique in that the “every woman” demographic is well-represented within the country audience, while Palmer and Shawanda represent populations that are only a negligible portion of the fanbase, but her fate rests on the unproven assumption that audience empathy will translate into record sales.

The situation of Nashville Star runner-up Gabe Garcia is much less ambiguous. Past and present suggest that if he is to stand a chance, he’ll resist John Rich’s attempts to make him into a “Hispanic country star” and drop a strong honky-tonk single on country radio without racial pretense.

Gabe GarciaNonetheless, the most important lesson for Garcia, Lawson, Palmer and all of the others is not about marketing but about artistry. Artists with non-traditional images have generally succeeded on county radio by making staunchly traditional country music, and Darius Rucker has not neglected this portion of his craft. Word is that during Rucker’s recent visit to the Country Music Hall of Fame, he was especially impressed by one artist, Kitty Wells, and left with an armful of her records. “Don’t Think I Don’t Think About It” may not qualify as traditional country, but it does represent near-flawless execution of contemporary country and excellent songcraft consistent with traditional country themes. Rucker sounds like a country singer, and he hasn’t made the mistake of using his marketing machine to attempt to convince fans that, as a black rock star, he really shouldn’t be one. A lot of aspiring country stars could learn something from that.

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  1. [...] Rucker Proves That Sometimes The Best Marketing Is No Marketing At All: "Great music may not always do well at radio, but it always speaks for itself; marketing that [...]
  1. Chris N.
    August 13, 2008 at 9:39 am

    … on the other hand, Rucker had the advantage of having been a rock star (at one level or another) and therefore a known quantity for a decade and a half. Meanwhile, Palmer was an unknown on an independent label. Don’t those factors matter?

  2. Stormy
    August 13, 2008 at 9:45 am

    Not to mention that paying the fees to “promote” a single to radio makes it in and of itself an expensive form of marketing.

  3. Brady Vercher
    August 13, 2008 at 9:46 am

    Chris, I had the same thought, but I think it’s more about the packaged marketing more than race. Actually, I think the only factor race plays is as far as marketing is concerned. Matt offered up Bon Jovi, Eagles, Jewel, and Jessica Simpson as examples of the “rock stars” who have had limited success because their marketing doesn’t or can’t separate them from their former careers.

  4. Brady Vercher
    August 13, 2008 at 9:53 am

    I wrote that too fast and didn’t mean to imply that Chris said anything about race if that’s the way it comes off. Anyways, continue on…

  5. Matt B.
    August 13, 2008 at 9:59 am


    Are you saying they ‘payed for play?’ Given that the practice is illegal, how exactly would one do that? Do you have a vendetta against any and all things that you don’t like (current country radio, men, etc?)

    As for Darius, I believe the fact that his single is as good as it is for what it is has something to do with why it’s ‘doing well’ as much as the fact that programmers do know who he is. I think Chris is right in that radio didn’t know who Rissi Palmer was.

  6. Jim Malec
    August 13, 2008 at 10:09 am

    Jewel broke at the same time, in the same format, and has sold almost the same number of records (as Hootie).

    But I doubt she will be as successful in country music as Rucker will. “I Do” has already all but stalled. She sold something like 7,000 copies last week. Perfectly Clear is not doing particularly well, inspite of her being on national TV every week.

  7. Jim Malec
    August 13, 2008 at 10:11 am

    Oh, Radio knew who Rissi was–that’s the point. They knew her as the black female singer, and she was never able to get past that point. Sure, it made a difference that she was on the Starbucks label and moved 2,600 units her first week. But she also did an extensive radio tour. Radio knew her, for sure.

  8. Matt B.
    August 13, 2008 at 10:14 am


    They may have known of Rissi but if you ask most people on those radio tours they’ll tell you the folks at radio act as if they’re forced to see the artists who come in. They could actually care less.

  9. Jim Malec
    August 13, 2008 at 10:19 am

    Of course they could care less. But that has nothing to do with whether or not they knew her.

    What’s really interesting about all of this is that the Palmer camp abandoned “Hold On The Me,” which was compared in style to Underwood, and instead started plugging Palmer’s cover of “No Air”–an Rhythm song by two black singers.

    They defined race as an issue. And there are a lot of reasons why that hurt Palmer, but I agree with Matt here that it would have been smarter to just focus on the music. They should have led with a Mayo/Lindsey song.

  10. Matt B.
    August 13, 2008 at 10:29 am


    I do agree that the music should’ve done the talking.

  11. Chris N.
    August 13, 2008 at 10:30 am

    I just think Rucker was already so well known that there was no need to market him one way or another.

  12. Jim Malec
    August 13, 2008 at 10:31 am

    Don’t get me wrong, Chris, I think you’re right to an extent–but my question would be why that same rule didn’t hold true for Jewel, given their career similarities.

  13. Stephen H.
    August 13, 2008 at 10:39 am

    I don’t know if the “I Do” reference is necessarily relevant at this time. After “Don’t Think …” peaks and they release a second single, THEN it will be interesting to see if he gets anywhere close to the same result, or if he joins the group of artists, including Jewel, who can get their first single to go top 15, then release a series of singles from the same album that barely make top 40, if at all. Many artists are going through this right now, no matter their heritage (i.e., Steve Holy, Big & Rich, Chris Cagle, Billy Currington, etc.).

  14. Jim Malec
    August 13, 2008 at 10:43 am

    Yes, that will certainly be interesting to see, won’t it?

  15. Rick
    August 13, 2008 at 11:26 am

    Besides race there is also the gender bias at Airhead Country Radio that prefers male artists as they typically occupy 75% or more of the Top 20 slots at any given point in time. A guy like Darius will have it easier than Jewel just because well he’s a guy even with their similar musical backgrounds.

    As for Jewel, mainstream country radio is so enamored of Carrie Underwood and Taylor Swift these days that all the other female country artists are just afterthoughts in comparison.

    Rissi Palmer’s debut “Country Girl” song had a funk and jive groove to it that let you know Rissi was black and her new single was a pop hit by a duet of black artists. Crystal Shawanda’s single is non-race specific and the fact she is Native American is irrelevant. If Crystal’s name was Jane Doe and people hadn’t seen pictures of her they wouldn’t know she was Native American (First Nation in Canada). If a non-white country artist focuses on their race as an issue, then the primarily white country audience will not take kindly to it. If instead they put out great music and ignore the “race card” the country music fans are far more likely to embrace them…..

  16. Stormy
    August 13, 2008 at 11:40 am

    Matt B.
    August 13, 2008 at 9:59 am Permalink Stormy,

    Are you saying they ‘payed for play?’ Given that the practice is illegal, how exactly would one do that? Do you have a vendetta against any and all things that you don’t like (current country radio, men, etc?)

    I don’t have a “vendetta” against mainstream country radio. I just don’t think it helps anyone to pretend that payola wasn’t pretty much proven to be the industry standard half a decade ago.

  17. Matt B.
    August 13, 2008 at 12:16 pm


    Perhaps “vendetta” was too harsh of a word. And no matter how much we ‘disagree’ I still enjoy the conversation. As for “payola” There was a sort of scheme I will concede but it wasn’t like it is now.

  18. Stormy
    August 13, 2008 at 12:18 pm

    How was radio different in 2004 than 2008?

  19. Matt B.
    August 13, 2008 at 12:21 pm

    Radio and labels got ‘caught’ when the Reba incident happened. Now there are more independent artists and labels getting chances to show their wares at radio.

  20. Chris N.
    August 13, 2008 at 12:23 pm

    So you really don’t think Jewel has been accepted at country radio? “Stronger Woman” did about as well as the Rucker single has done so far.

    And, as Rick rightfully points out, you also have to factor in gender. A man has a two-to-one advantage right out of the gate.

  21. Stormy
    August 13, 2008 at 12:37 pm

    Matt: Where?

  22. Chris N.
    August 13, 2008 at 12:53 pm

    I’d say independents have had a better chance in the last few years, but that’s mostly due to the mergers and/or implosions among the majors.

  23. Dan M.
    August 13, 2008 at 1:15 pm

    The gender consideration Rick brought up certainly must be factored in, but I do agree with the underlying point of the post. Great music may not always do well at radio, but it always speaks for itself; marketing that pigeonholes an artist may provide a “quick fix” hit or two, but ultimately limits one’s artistic and commercial potential. As far as I could tell (and I may be wrong, so feel free to point it out if I am), Taylor Swift wasn’t really sold to the general public as “the seventeen year-old MySpace-loving girl-next-door” until “Tim McGraw” – one of the most unjuvenile songs in her repertoire – had already made a significant impact and people had become naturally curious about her. Sure, now she’s over-marketed like hell, but it all started with a solid song (and its accompanying no-BS video).

  24. Matt C
    August 13, 2008 at 1:32 pm

    Taylor Swift wasn’t really sold to the general public as “the seventeen year-old MySpace-loving girl-next-door” until “Tim McGraw” – one of the most unjuvenile songs in her repertoire – had already made a significant impact and people had become naturally curious about her. Sure, now she’s over-marketed like hell, but it all started with a solid song (and its accompanying no-BS video).


  25. Hollerin' Ben
    August 13, 2008 at 1:42 pm

    “Not to mention that paying the fees to “promote” a single to radio makes it in and of itself an expensive form of marketing.”

    Stormy is absolutely right. Radio promotion on a level necessary to compete with top 40 mainstream country artists is extremely expensive.

    Also, as far as “payola” goes, I’m not involved in super big time radio promotion so I can’t say if there is actual old school style payola going on, but stations often expect cds for “giveaways”. Promotion is expensive to begin with, figure in the cost of 5 cd’s for every country radio station and the cost begins to skyrocket.

    that’s part of why I don’t view radio airplay as demonstrative of a song’s wide appeal, or it’s success in “the free market”. Radio is a closed door. You need a promoter with entrenched relationships to open it on a big level. The reason you don’t see a lot of “out of nowhere” hits, is that at this point it takes massive promotional machines including six figure radio campaigns, expensive music video (and lets not forget video promotion), press campaigns, and whatever back door dealing is involved it getting an artist to host something on CMT. You can see those hits coming a mile away. The reason? The whole campaign is designed to increase visibility.

    I don’t think that the majority of radio programmers all over the country are looking for the “best” new music (otherwise there’d be a lot more variety, since tastes vary, and also they’d want to program it themselves rather than have their station programmed by a “consultant”), they are looking for the most “popular”, the most visible.

    Visibility is something that can be bought. What’s wrong with the system as it stands is that visibility is something which must be bought if an artist hopes to be programmed onto radio stations.

    I don’t blame Rissi Palmer for playing up the “black” thing. I won’t blame Star De Azlan for playing up the “Mexican” thing. Darius Rucker has huge visibility already, but for Rissi and Star, playing up their race probably saves them tens of thousands of dollars they would have had to spend to become as visible as they are now if they didn’t have a gimmick.

    In Rissi’s case, I think she got a pretty fair shot at the country audience, and her music didn’t catch on because it wasn’t interesting enough. If they spent more money, they could probably make up for how boring the music is and chart better, but at the end of the day its about making money selling records, and every dollar spent on promotion needs to be weighed against how many record sales that promotion will result in.

    Gimmicks do part of that work for you, that’s why people use them.

    Rucker doesn’t need a gimmick to become visible. Neither does Simpson or Jewel. All they need to do is convince the audience that they belong and are not carpet baggers, that’s why all of them are stressing “well really I’ve been country all along, so don’t mind me, I’m just doing what comes natural”.

    For up and comers, money saved on promotion via gimmicks, is money earned in record sales.

  26. Pierce
    August 13, 2008 at 1:42 pm

    When it comes to Gabe vs. Darius, I think (according to Rich) Gabe is being marketed as “the bridge between hispanics and country music”. The thought there is that Gabe will help bring in hispanic listeners. I don’t think Capitol is trying to market Darius as “the bridge between the African American population and country music”, because like Matt mentioned, they are leaving race out of it, and its working!

    Also, I don’t think AS many people are familiar with the name Darius Rucker as they are with Jewel. I must admit, I’m in the general population that before his venture into country, I would have said that Hootie and the Blowfish’s frontman’s name was Hootie… so I don’t think it’s as much of a “rock star” connection there.

    Either way, great article! Can’t wait to hear Rucker’s other stuff.

  27. Craig R.
    August 13, 2008 at 2:20 pm

    First off I am sick and tired of country music being a depot for failed pop stars: Jewel, Rucker, and Simpson can’t make it on the pop charts so they make a record with a country twang and suddenly the Garth Brooks generation welcomes them with open arms. Real,well-wriiten country music can come from anyone, but music pretending to be country-well that is just fraud. Also radio wouldn’t push this pop-country crap if it didn’t fill the same bucket as Rascal Flatts, Keith Urban or Sugarland. That is why Jamey Johnson is becoming a hit. There is an audience out there that really knows the difference between country and pop. So what if Rucker likes Kitty Wells. It doesn’t mean he knows how to craft a country song like her. He is just looking for a market. And country music -these days takes any leftovers.

    As to the issue of color. I am a man of color and I often wonder why there aren’t other people of color in country. Deep down I don’t think the average country music listener is racist-I hope. But he/she might not know the history of country music- how Mexico,Memphis,and New Orleans stirred the pot of country music. I also think that producers and radio stations can separate images of white people and people of color so that they appear to like different music. You rarely see a person of color in a country video. Even Rucker’s video has a background story about two white lovers. I know there are plenty of people of color living in the areas where country music is played. But if I just came to the US country music videos, radio, and television would make me think that the South was all white people. Country needs to court it’s diversity. That is why I agree that it is the quality of the music that matters. When that is goal lots of different people will take interest. Emmylou Harris never thought she would be a country singer, but the quality of the music- and Grams Parsons- hypnotized her.
    As for gender it is always harder for a woman of any color to make it in country music. That is a shame because in my humble opinion they make better, if not greater, music than the old boys’ club.

  28. Peter
    August 13, 2008 at 2:49 pm

    When is the album due out? or did I miss it somewhere in the article?

  29. Jim Malec
    August 13, 2008 at 2:56 pm

    Release date for Rucker is 9/16

  30. Peter
    August 13, 2008 at 2:58 pm

    tks Jim – great read, BTW

  31. Drew
    August 13, 2008 at 3:51 pm

    Please, no more using the race card. I don’t care if Rucker is black and I don’t want to hear about it. Just make good music and I’ll listen to it no matter who is singing. But when you start preaching about your black feats, I just don’t want to listen.

  32. Chris N.
    August 13, 2008 at 4:09 pm

    “Black feats”? Huh?

  33. Jim Malec
    August 13, 2008 at 4:12 pm

    I don’t know either, Chris, but if I ever start an R&B group, I’m calling it Black Feats.

  34. leeann
    August 13, 2008 at 4:12 pm

    I have to echo Chris N: huh? What exactly are “black feats”?

  35. Drew
    August 13, 2008 at 6:08 pm

    I mean when you see things like “the first African” to do such and such… who cares?!

  36. Chris N.
    August 13, 2008 at 6:17 pm

    Yep, I’m still lost.

  37. leeann
    August 13, 2008 at 6:38 pm

    But isn’t the point of this piece that Rucker hasn’t been “playing the race card”, as they say? So, why are you frustrated that he’s playing it, if he’s, in fact, not?

  38. Paul W Dennis
    August 13, 2008 at 7:14 pm

    Ultimately , good music will ensure Rucker’s success (or lack thereof). I’m not terribly bothered by artists crossing over from the pop side – Conway Twitty did it, Brenda Lee did it, Billy Joe Royal did it, Ronnie Milsap did it and Doug Sahm (Texas Tornadoes) did it. It’s happened before and will happen agsin – at least I hope it will.

  39. Matt B.
    August 13, 2008 at 7:42 pm

    Y’know, I get sick of people who call Jewel, Darius Rucker or even Jessica Simpson “failed” pop acts. Neither of them failed. They all had remarkable success at radio, sales, etc. They’re not failures.

    Carly Hennessey (Smithson) was a massive failure when her label MCA spent over 2 million dollars to market her and her pop album (around the turn of the century). You can hardly tell me that Simpson was a falure as a recording artist. She’s sold 6-8 million records. that’s hardly a failure.

  40. Peter Kohan
    August 13, 2008 at 8:46 pm

    … and if you think the guys running RCA in 1965 are still running RCA now, then you are sorely mistaken. Either way – what label launches an artist has little to do with how they “play” the racial issue on a non-caucasian country artist. If the tactic is relevant and creates attention for the artist in a jaded press, then that’s what will win out.

  41. Stormy
    August 13, 2008 at 8:57 pm

    Matt: Jess’ last cd tanked and her last movie was out a week before it went to DVD.

  42. ACG
    August 13, 2008 at 9:33 pm

    All three acts were DOA prior in terms of sales and really, that is all that matters. If any of them released a cd in their current genre today they’d be happy to break 100k after 6 months. Country is the next/last stop. Btw, all three blow. Huge.

    There are so many more interesting people than this glop.

    Rissi Palmer has a good voice, the material-crap. She probably has a lot to say. Just not through Rascal Flatts third discards.

  43. Tad
    August 14, 2008 at 3:45 am

    First off, the country crossover for, let’s call them “past their prime” pop artists is nothing even close to being new. It’s why we had Dan Seals, Paul Davis, Lionel Richie, The Bellamy Brothers, Exile, Billy Joe Royal, Marie Osmond, Michael Johnson, etc… writing and recording material for country radio in the eighties (in most cases releasing excellent singles). I really don’t see a problem with trying to adapt an artist’s sound to country.

    Second, I think that Rucker’s hit is a pretty huge deal for exactly the same reason mentioned in the article. I was listening to NPR a few weeks ago and they had a story on Bon Jovi’s transition to country (which those of us in the know realize was a big deal before all of those flop singles were released). The reporter mentioned the artists involved in the country-pop transition as “Jewel, Jessica Simpson, The Eagles…even that guy from Hootie and the Blowfish.” It was amazing how he trivialized what I think has been the biggest country story this year so far. I probably should’ve written a letter or something.

    Anyway, just based on how classy he’s gone about it, I would imagine Rucker’s not going to be a flash in the pan in country. I’m also hoping Rissi Palmer gets a second chance with better material and smarter marketing.

  44. Courtney
    August 14, 2008 at 2:56 pm

    I really don’t have a huge problem with “past their prime popstars” coming to country if they actually plan on making country music. Jessica Simpson just isn’t country. There’s probably nothing she and her six figure marketing scheme could do to convince me otherwise. Darius Rucker on the other hand is country enough for me to take him seriously. I really don’t give a hoot about weather he’s black, white, hispanic, alien, whatever. Jewel can occasionally make me believe she might be country. As for Rissi Palmer, I think her music is fine, and I love her version of “No Air.” Crystal Shawanda has a good song (I almost cried when I heard it one time) and again, I don’t really care what race she is.

  45. jake
    September 26, 2008 at 1:12 am

    you can say what you want ….the rucker album is damn good music…that song about the daughter had me crying a little bit…lol

  46. Robert Thompson
    June 15, 2011 at 7:05 am

    I listen to all types of music. I’m from the era when radio stations played all types of music. It was not segregated as it is now and at the beginning. I am black and i can listen to music from Britney Spears all the way to Louis Armstrong. A lot of people are limited in their choice of music listening. Variety is the spice of life. Some of the best music is that which is under the radar. I love listening to new music artist. I will definitely give Rissi Palmer a listen.

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