It was 1999. The country music world was shifting. Hard. Shania Twain was crossing over to pop, Faith Hill was "Breathe"-ing her way into the mainstream, and Garth Brooks was… well, being Chris Gaines. Amidst all that gloss and glitter, Alan Jackson decided to do something that felt almost rebellious at the time. He looked backward.
Under the Influence wasn't just another record for Alan Jackson. It was a statement. Honestly, it’s basically the moment he doubled down on being the keeper of the traditional country flame. While everyone else was chasing the "new country" sound that would eventually lead us to the snap-track era, Alan went into the studio to record a set of songs that had already lived a full life in the smoke-filled jukeboxes of the 1970s and 80s.
The Risky Business of a Covers Album
Most artists wait until their career is fading to release a covers project. You've seen it a million times. It's usually a last-ditch effort to fulfill a contract or a sign that the "creative well" has run dry. But in 1999, Alan Jackson was at the absolute top of his game. He’d just come off the massive success of High Mileage and "Right on the Money." He didn't need to record other people's songs.
He wanted to.
Working with his longtime producer Keith Stegall, Jackson selected twelve tracks that shaped his musical DNA. These weren't just the obvious hits, either. Sure, you had Jimmy Buffett's "Margaritaville," but the rest of the tracklist was a deep dive into the hearts of honky-tonk heroes like Merle Haggard, George Jones, and Gene Watson.
The Tracklist That Defined an Era
- "Pop a Top" (Originally by Jim Ed Brown) – That sound of the pull-tab opening? Iconic. It set the tone for the whole record.
- "Farewell Party" (Originally by Gene Watson) – Many singers are terrified of this song because the high notes are legendary. Alan nailed it.
- "Kiss an Angel Good Mornin'" (Originally by Charley Pride) – A sweet, simple nod to one of the greats.
- "The Blues Man" (Originally by Hank Williams Jr.) – This is easily one of the most emotional moments on the album. It’s a seven-minute epic about the toll of the road.
- "It Must Be Love" (Originally by Don Williams) – This one actually went to #1 for Alan in 2000, proving that great songs are timeless.
Under the Influence Alan Jackson: The 1999 CMA Protest
You can't talk about this album without talking about what happened at the 1999 CMA Awards. This is the stuff of country music legend. George Jones, one of Alan's biggest idols, had a hit at the time called "Choices." The CMAs wanted George to perform it, but only an abridged version.
George, being the "Possum," said no. He wouldn't cut his art down for a time slot.
Alan was scheduled to sing "Pop a Top" to promote the new album. Halfway through his performance, he stopped the band. Without warning the producers or the TV crew, he launched into "Choices." He sang the song George wasn't allowed to finish, then he simply walked off the stage and out of the building. No speech. No explanation needed. That act of defiance perfectly encapsulated the spirit of Under the Influence Alan Jackson—it was about respect for the roots, no matter what the industry bigwigs wanted.
Why the Production Still Sounds Fresh
If you listen to Under the Influence today, it doesn't sound dated. Why? Because Keith Stegall and Alan didn't try to "modernize" these songs. They used real instruments. Steel guitar, fiddle, piano, and a rhythm section that knew how to swing. They stayed remarkably close to the original arrangements.
It was a bold move in an era of gated reverb and drum machines.
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The album eventually peaked at #2 on the Billboard Top Country Albums chart and cracked the top 10 on the all-genre Billboard 200. It went Platinum by December 1999. People were hungry for that "real" sound, even if radio was starting to lean elsewhere.
The "Margaritaville" Outlier
If there’s one song that feels a little "extra" on the record, it’s the closer. "Margaritaville" is a classic, obviously, and having Jimmy Buffett himself hop on the track was a massive get. It definitely felt more like a "radio play" than the soul-crushing ballads that make up the rest of the album. Still, it showed Alan's versatility. He could do the "island life" vibe just as well as the "heartbreak at the bar" vibe.
The Legacy of the Influence
Looking back from 2026, we can see how this album served as a bridge. It connected the legends of the 70s to the neo-traditionalists of the 90s and beyond. It gave songs like "The Way I Am" and "Once You've Had the Best" a second life for a younger generation who might never have dug through their parents' vinyl collection.
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It wasn't just a covers album. It was a curriculum.
Alan Jackson proved that you don't have to reinvent the wheel to make a masterpiece. Sometimes, you just have to remind people why the wheel was so great in the first place. His voice, which is like a warm blanket for the soul, was the perfect vessel for these stories of cheating, drinking, and enduring love.
What to do next if you want to experience this album properly:
- Listen to the originals first. Find the Gene Watson version of "Farewell Party" and the Don Williams version of "It Must Be Love." It makes you appreciate the nuance Alan brought to his versions.
- Watch the 1999 CMA performance. It’s on YouTube. The look on the faces in the crowd when he switches songs is priceless.
- Check out the liner notes. Alan listed every track on the front cover in an old-school font. It’s a beautiful piece of design that tells you exactly what you’re getting before you even hit play.
The album serves as a masterclass in country music history. If you've only ever heard "Chattahoochee," do yourself a favor and spend some time with this record. It’s where the heart of Alan Jackson truly lives.