> > Looking at the matter in terms of the country music industry and the way
> > that it works, Twain's career, at least through The Woman In Me, bears a
> > considerable resemblance to that of some of the 70s Outlaws - that is to
> > say, a struggle with "conservative" producers and label execs over her
> > desire to pursue a new sound that could appeal beyond the
> >"normal" country audience by bringing in pop/rock elements.
> >
> > Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
> > http://home.fuse.net/jonweisberger/
> >
> >
> Jon, you keep making this point, but I'd argue that you're overstating the
> resemblance between Twain's career (and, by necessity, her music, since
> that's her career) and that of the 70s outlaws.
Let's see. Artist A has essentially mediocre success using
producer-determined/arranged material, fights with his label in order to
record the stuff that *he* wants to, rather than what the label has stuck
him with in the past, wins fight, hits it big with crossover appeal.
Artist B has essentially mediocre success using producer-determined/arranged
material, fights with her label in order to record the stuff that *she*
wants to, rather than what the label has stuck her with in the past, wins
fight, hits it big with crossover appeal.
Looks like a pretty close resemblance to me on a pretty important level.
>As I said before, there's rock influences and then there's rock
>influences, and they're not all floating around on the same, precise
>relativist plain.
So you say, but I think it depends a lot on your degree of interest in rock.
If you're not interested in classical music, and you think that
incorporating classical music influences into rock makes the result less
enjoyable, are you really going to care whether it's Beethoven's influence
or Holst's? Are you going to find a Beethoven-influenced rock song better
than a Holst-influenced one?
Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/
