Lancaster New Era (May 30th 2002)
Mellow-voiced Blake Shelton worked hard for sudden success
It took Blake Shelton seven years to become an overnight success.
When the country singer released his debut album last summer, the single "Austin" skyrocketed to the top of the charts and remained there five weeks -- tying Billy Ray Cyrus' 1992 record for "Achy Breaky Heart."
"You can never foresee something like that," says Shelton, who will open the Reinholds Fire Company's Country Music Series this weekend.
"That thing kind of took on a life of its own. Nobody expected it to happen that fast."
Least of all Shelton, a 25-year-old Oklahoma boy with a smooth Southern drawl that mellows out when he sings, like a hammock swing on a moonlit summer night.
But the monumental success of "Austin," a ballad-style song about love lost and regained, would change the singer's life forever.
Shelton first got on stage as a frightened 8-year-old kid whose mom thought it'd be cute to see him sing in a talent show.
After that experience, Shelton says, "I was convinced I didn't want to sing anymore."
But at age 14 he picked up a guitar. And that bad memory became, well, just a bad memory.
Three years later, with the tune of "Pomp and Circumstance" still ringing in his ears, Shelton packed his bags and headed to Nashville.
He stayed there, taking painting jobs, pounding the pavement, looking for gigs, just getting close to the folks who make music. Until opportunity knocked.
Shelton met producer/songwriter Bobby Braddock through a mutual songwriting friend, who (unknown to Shelton) had been playing recordings of the Oklahoman's voice to Braddock.
He was impressed.
Shelton's voice and style are hailed as pure country. His rich baritone can soar to an angelic falsetto effortlessly. And he emotes like a tough guy who's really gentle deep down. His seasoned voice belies his years.
"My heroes growing up were always the older guys," he says, citing Hank Williams Jr. and Earl Thomas Conley as examples. "I grew up trying to sound like that."
Conley was, and still is, Shelton's biggest hero and influence. "I just can't get over his vocal ability," he says. "He sings with more emotion than anybody, in my mind. He really gets to me. I've always wanted to be able to capture that kind of emotion."
To reach that goal, Shelton says he keys in on the song.
"With me, I try to make the song stand up," he says. "I never thought country music was as much about the singers as the song. I guess that's where I pull my emotions from."
Still, jumping from nightclubs to Number 1 can tend to mess up one's perspective.
And for a while, Shelton was starting to think that success WAS about the singer.
"I've waited so long for this opportunity and when it came to me I thought, "well, here I am. I'm here forever'," he says. "You learn real quick it's not that at all; it's a song-by-song business.
"You can either grow up really fast or be stupid about this opportunity and blow it. I've done my share of both things."
But ultimately, his initial feelings about country music were confirmed.
"It isn't about me. It's about putting out good songs that people can respond to. It's all about the song."
People responded to "Austin." They responded -- but not quite as enthusiastically -- to his second release "All Over Me" (co-written by Shelton, Conley and Mike Pyle) and now they're starting to buzz about "Ol Red," a bluesy romp through a prison escape, and a tail- wagging tribute to canine cops everywhere.
"The video went to Number 1," says Shelton. "And the single is still climbing the charts."
Early success has had its benefits.
As he tours with his band (including Strasburg drummer David Spak), the guys don't have to struggle with broken-down busses and divey gigs.
Still, the travel is tough. "I've been in the middle of a tour since last June," Shelton says with a chuckle. "But the good thing is, I'm doing what I love. And for an hour and a half every night, it's the greatest thing in the world."