Country pop: Difference between revisions

Country Pop
Country Pop
Stylistic origins	country and western (especially Countrypolitan), pop music, soft rock
Cultural origins	1960s Nashville
Typical instruments	vocals - Guitar - Bass - drums - occasional use of other instruments
Derivative forms	adult contemporary
Other topics
	Nashville sound-Urban cowboy-country soul

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Country Pop, with roots in both the countrypolitan sound and in soft rock, is a subgenre of country music that first emerged in the 1970s.^{[citation needed]} Although the term first referred to country music songs and artists that crossed over to top 40 radio^{[citation needed]}, country pop acts are now more likely to cross over to adult contemporary^{[citation needed]}.

History

Beginnings: Nashville sound

Country music first showed its potential to cross over into the pop charts in the early 1960s with a new creation by producers Owen Bradley and Chet Atkins that was called the Nashville Sound^{[citation needed]}. This was intended to have country singers gain more success in pop music and sell more records^{[citation needed]}. The first male artists to come out of this new genre were Jim Reeves and Eddy Arnold, who both grew to have widespread acceptance in both country and pop music^{[citation needed]}. The first female country singer to emerge from this new genre was Patsy Cline in the early 60s^{[citation needed]}. She created a whole new breed of female country artists^{[citation needed]}, such as Crystal Gayle and Shania Twain, who gained prominence in later years. Even though Cline also gained widespread acceptance from country and pop audiences alike, the Nashville Sound did not maintain its popularity for long^{[citation needed]}, receiving competition first from the Bakersfield Sound and later the outlaw movement^{[citation needed]}.

Country-pop in the late 70s and 80s

Country pop found its first widespread acceptance during the 1970s^{[citation needed]}. It started with pop music singers, like Glen Campbell, John Denver, Olivia Newton-John, and Anne Murray began having hits on the country charts. Songs like Campbell's "Rhinestone Cowboy" were among one of the biggest crossover hits in country music history^{[citation needed]}. These pop-oriented singers thought that they could gain higher record sales and a larger audience if they crossed over into the country world^{[citation needed]}. Among one of the most unappreciated artists who did this was Olivia Newton-John in 1974, who emerged from Australia in the mid-70s, hoping to make it big in the United States. When her single "Let Me Be There" became a big pop-country crossover hit in 1974, it became quite controversial^{[citation needed]}, especially after Newton-John won a Grammy award for "Best Female Country Vocal Performance" for the song, and also won the CMA's most coveted award for females, "Female Vocalist of the Year".

A group of artists, troubled by this trend, formed the Association of Country Entertainers in 1974^{[citation needed]}. The debate raged into 1975, and reached its apex at that year's Country Music Association Awards when reigning Entertainer of the Year Charlie Rich (who himself had a series of crossover hits) presented the award to his successor, John Denver. As he read Denver's name, Rich set fire to the envelope with a cigarette lighter. The action was taken as a protest against the increasing pop style in country music. However, the ACE would not last all that long^{[citation needed]}.

In 1977 Kenny Rogers burst onto the country charts with "Lucille" and would go on to become the most successful of the country pop performers^{[citation needed]}, topping charts all over the world and taking the genre to the zenith internationally^{[citation needed]}. After "Lucille," Rogers had a string of songs that did well on both the country and pop charts around the world, including "Daytime Friends", "The Gambler" and "Coward of the County", all of which were produced by Larry Butler. Rogers would go on to push the boundaries of pop influence in Country music^{[citation needed]}, having records produced by the likes of The Bee Gees, Lionel Richie, David Foster and George Martin, all of which did well in both the pop and country markets.

Country pop reached an early peak immediately following the movie Urban Cowboy in the early 1980s^{[citation needed]}. Some older artists from the 1960s and 1970s converted their sound to country pop or 'countrypolitan,'^{[citation needed]} such as Faron Young, Dolly Parton, Willie Nelson and Dottie West. Dolly Parton, who had already achieved considerable success as a mainstream country artist, wanted to expand her audience and go in new directions, so she decided to make a change in 1977^{[citation needed]}, crossing over into the Pop music world with No. 1 country and No. 3 Pop hit that year called "Here You Come Again." She followed it up with a number of additional crossover pop hits, including "Two Doors Down" and "Heartbreaker" (both 1978), "Baby, I'm Burning" (1979), "Starting Over Again" (1980), and "9 to 5," which topped both the country and pop singles charts in early 1981. (Ironically, despite her being one of the most successful practitioners of country-pop crossover during the late 1970s and 1980s, Parton, because of her upbringing and mountain roots, is regarded by most critics as one of country's most authentic performers.^{[citation needed]}) Dottie West, who had been around since the '60s, completely changed her image into a more sexy and risky profile in the early '80s^{[citation needed]}, following a series of hit duets with Kenny Rogers. (Rogers also had an enormous duet hit with Parton, the Bee-Gees-penned "Islands in the Stream", which topped the country and pop singles charts in late 1983.) After the success with Rogers, West wanted to remain on top of her game, so in order to keep up with current country music, she continued to record more pop-sounding material^{[citation needed]}. Because of this, Dottie West achieved her biggest success as a Country singer during this time, acquiring her first No. 1 hit as a solo artist thanks to her music in 1980 titled, "A Lesson in Leaving".

Alabama, Eddie Rabbitt and Ronnie Milsap also began experiencing crossover success during the early 1980s^{[citation needed]}. Four of Alabama's most successful songs of the early 1980s — "Feels So Right," "Love in the First Degree," Take Me Down" and "The Closer You Get" — all reached the Top 40 of the Billboard Hot 100, while four of Ronnie Milsap's No. 1 songs between 1980-1982 reached the Hot 100's Top 20, the most successful of which was the No. 5 hit "(There's) No Gettin' Over Me." Rabbitt had three Top 5 pop songs in 1980-1981, and "I Love a Rainy Night" reached No. 1 on both the Hot 100 and Billboard Hot Country Singles chart.

By the mid-80s, however, fans of more traditional country music were growing restless^{[citation needed]}. For the next several years, country radio was dominated by neotraditional artists^{[citation needed]}, although some country pop artists continued to have hits, most notably Alabama, Parton, Rabbitt and Milsap.^{[citation needed]}

Country-pop returns in the 1990s, Dominates the 2000s

Country pop enjoyed a resurgence in the 1990s, primarily because of Garth Brooks^{[citation needed]}. Shania Twain would later have success. In the last few years, country singer LeAnn Rimes has proved her ability to sing country pop songs such as the record-setting "How Do I Live", which spent 69 weeks on the Billboard Hot 100, the second longest single in the record history. this achievement came in spite of the fact that a nearly identical version of the same song by Trisha Yearwood was released at the same time and was also a hit. Rimes also had a hit with the pop song "Can't Fight the Moonlight."

While supporters of country pop contend the style has brought many new fans to the genre^{[citation needed]}, others, particularly older country music artists and fans that embrace the more traditional styles, have criticized country pop music^{[citation needed]}. Their main argument is that commercial country music, especially that which has been produced since the late 1990s, already sounds too much like mainstream pop music even without an even more pop-sounding sub-genre. Kenny Rogers responded to both sides of the debate by stating "For country music, I'm not country enough. Everywhere else I'm too country".^{[citation needed]}

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 *[[Bermuda Triangle Band]]
 *[[Debby Ryan]]
-*[[Bon Jovi]]
 *[[Brooks and Dunn]]
 *[[Chips (band)|Chips]]

v t e Country music genres
Genres	Bluegrass Progressive Traditional Christian country music Country en Español Country and Irish Country pop Bro-country Cowboy pop Country rap Country rock Alternative country Americana Cowpunk Gothic country Gothic Western Rockabilly Gothabilly Psychobilly Roots rock Heartland rock Southern rock Swamp rock Honky-tonk Neotraditional country Norteño Outlaw country Progressive country Sertanejo music Southern soul Talking blues Traditional country music Truck-driving country Western music New Mexico music Red dirt Tejano Texas country music Western swing
Regional scenes	Atlantan Australian Bush band Bakersfield sound Canadian Canadian fiddle Cape Breton fiddle Métis fiddle Quebec fiddle Newfoundland & Labrador Lubbock sound Nashville sound Nigerian UK West Country / Scrumpy and Western
Related	Appalachian music Cajun music Classic country Country radio Rock and roll