an early glimpse of Kim Richey's next stage.
A songwriter from the start, Richey gravitated toward Nashville in the late 1980s and kept company with the ancestors of what's now called alt-country Radney Foster and Bill Lloyd, among others. She turned into a wicked tunesmith and hit it big in 1995 with an eponymous album that caught the best of the insouciant girl power that helped propel country to unprecedented sales. Upbeat and packed with hooks, her songs drew comparisons to those of John Hiatt, another rocker who suffers when his connections to Nashville get stretched too thin, and she approaches his considerable craft. Richey drew plenty of non-country fans, but the country instrumentation that pervaded her first CD set off the dryness of her voice to best advantage.
Then Richey fell into an odd sort of creative disunity. Her second album, Bitter Sweet, moved more to the pop side, and by the time of 1999's Glitter she was headed straight down the middle of the road toward Sheryl Crow-style pop-rock. The album lacked any country dimension, and while it wasn't bad, others did the same thing better; Richey didn't link up with the adult-pop audience she was courting. Meanwhile, the country-pop tunesmith in Richey reasserted herself with a series of songs recorded by others Trisha Yearwood, Terri Clark, Mary Chapin Carpenter, and even heroines of the halter-top set like Mindy McCready.