Alan Jackson

 

There is an easy going confidence about Alan Jackson. It is the humble demeanor of a blue-collar gentleman raised in the rural South that reveals itself in his mannerisms as well as in his baritone drawl. In an age when people buy flashy cars to impress total strangers on the 
highways of life, Jackson bears the sensibilities of his Newnan, Georgia hometown that say the only opinions that matter are those of the folks who know you best. There is no trace of the swagger one would expect 
from a recording artist who has sold over 21-million albums, won several dozen awards and performed at countless standing-room-only shows. So how did Alan Jackson make traditional country music and values 
translate to a decidedly 90s audience? The answer is in the songs. Since "Here In The Real World" shot to the top of the charts in April of 1990, all but three of Jackson's singles have reached No. 1. That's 20 No. 1 
hits in six years and he wrote or co-wrote all but four of them. More than the incredible concentration of hits, Alan Jackson's singles are significant for their content and composition. Country to the core, Jackson's songs reflect the plain-spoken wisdom of his small-town upbringing. More than any other one factor it is the honesty of simple 
truths and time-worn tradition that draws listeners to Alan's music. 

Everything I Love, Alan Jackson's seventh album, is a perfect illustration of the singer-songwriter's success. Put the album on and the first song, "Little Bitty," strikes you as an instant hit. In fact, Jackson's infectious take on the Tom T. Hall cut is the album's first single. The title track has the sweeping power of many of Jackson's 
ballads. "Buicks To The Moon," the third cut, is built on a small-town colloquialism that is bound to ring true with country music fans and "Between The Devil And Me" is the album's emotional pinnacle. "There Goes" has the easy-going, upbeat swing of many of Jackson's previous self-penned hits. 

The next five songs ("A House With No Curtains," "Who's Cheatin' Who," 
"Walk On The Rocks," "Must've Had A Ball" and "It's Time You Learned About Good-Bye") also serve to make his first all-new album in nearly three years a fitting follow-up to 1995's The Greatest Hits Collection, which sold over 3 million units and spawned three No. 1 singles. In fact, all of Jackson's five previous non-holiday albums are multi-platinum and even the Christmas collection, Honky Tonk Christmas is approaching platinum. That kind of success is heady stuff, but it is important not to read too much into his super-stardom. After all, Alan 
Jackson is, as he is quick to point out, just a guy who sings. 

A Conversation With Alan Jackson... 

There's a lot of excitement building about Everything I Love. USA Today 
has even suggested it may single-handedly boost country music's market share this year. It's your first offering of all new material in nearly three years-how do you feel about the album and how was making it different from your first album, Here In The Real World? Well, I like it. It's more relaxed, of course, because I have more experience in the studio and I have more confidence as an artist. Also, because I've been lucky to have success, it takes the pressure off performing. I just try 
to have fun with it and pick songs and write songs that I like. I don't really worry about what's going to happen to it commercially. 

Are you more relaxed in the studio or on stage and why? 

Probably more in the studio because there aren't ten thousand people staring at you.(laughs) I'm better now. I used to be more apprehensive about going on stage, but since I've done it night after night for several years, it's easier. I've never been real outgoing in front of a lot of people unless I'm around people I'm close to familiar with... 
I've always been a little awkward around strangers or at big functions. The studio is a close knit thing and I'm working with people I've worked with for several years. 

Talk about the chemistry between you and producer Keith Stegall. 

We go way back. He's the guy that recorded the first material on me that helped me get my record deal. Prior to that I had actually worked with a couple of guys who always wanted to take me in a different direction or make me sound one way. It never worked and for some reason I just had this feeling about Keith. I'd met him earlier and knew his credentials-I'm a fan of his-and I kept beating him up to record me. 
That went on and on and finally one day he agreed to do it. I hadn't worked with that many different producers but he's so easy because he gets what he needs on tape without intimidating you or wearing you out. He lets you be yourself. I don't know, I think it'd be hard to work with anyone else. 

It's been nearly three years since Who I Am. In that time you've had a 
chance to look back over your career as you released The Greatest Hits 
Collection. What did you notice in retrospect and how did the extra time 
between albums affect Everything I Love? 

Well, I did like I always do- wait until the last minute and try to write a bunch of songs. It was interesting, though, with my first greatest hits collection... what was overwhelming to me is that even though I sing most of those songs every night on stage, sometimes you just forget how many singles can be put on an album like that. Then when you see them all on an album, written down like that... I just really had to back up and think about it. It's pretty amazing. Pretty dang lucky. 

You signed with Arista Records in 1989. The day you signed that contract, what did you imagine your career might be like? 

I hoped it would be just huge, you know, but I also was very realistic about what happens in this business. I'd observed it for several years and watched a lot of artists come and go so I knew when I got my record ideal that it was a huge step for me. But I also realized that I may have one or two hits and disappear. Or I may not hit at all and get dropped from the label in six months. I knew what the realities were which made 
it a lot more comfortable for me. 

If you could go back to that day, knowing what you know now, and give yourself some advice what would you say? 

I don't have a lot of regrets. Everything that we did at the time; the albums, the videos, the career, it always worked. Every now and then I wish I'd released a different song. It's difficult to pick only four or five singles. 

You've often said that the people you looked up to as you were getting started in this business were people like George Jones, Merle Haggard and Hank Williams. How do you think your career and music will impact the next generation of country artists? 

I don't know that I'll ever impact people the way George Jones or Hank Williams has. I've already heard that kind of stuff from people about the younger guys that are just getting record deals. It makes me feel weird because they kind of treat me like I first looked at George Strait when I moved to Nashville. Now I realize he's a guy that sings- and that's all I am. I guess if anything I hope I'm keeping a little bit of 
traditional country music alive for the next generation so they'll know 
what it is. 

What is it about fishing? 

I'm not really as serious a fisherman as people make me out to be, I just love the water. That's why I got into fishing, but I do enjoy the thrill of catching a fish. I've kind of laid off the fresh water stuff. Now it's deep sea fishing and sport fishing that I've gotten into. It's just a different twist on fishing. You go out 50 miles in the Gulf of Mexico and there's not a soul in sight, cellular phone won't work, it's just calm and beautiful. 

You have a wonderful family and a successful career. What are your goals? 

I don't know, I've really had a turn-around on materialistic values. Once you have everything you want-it's corny saying it, "that's not what makes you happy," but it's the truth. It's my family and love that's real important to me. I guess probably the toughest goal to set now is just being a good husband and a father."

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