The Groundswell Grows Brooks was clearly a fore-
runner in the movement when hisNo Fencesalbum
not only topped the country charts upon its release
in 1990 but also landed at number three on theBill-
boardpop charts (a feat that was repeated in the
number one position four more times this decade),
helping to transform the singer into an interna-
tional icon. McEntire also forged forward with the
attention she garnered throughout the prior de-
cade, becoming the first female artist to have a dou-
ble platinum album with 1991’sFor My Broken Heart
(inspired by several band members who died in a
plane crash). The following year, the duo Brooks
and Dunn released “Boot Scootin’ Boogie” as a sin-
gle, which also helped fuel the country line-dancing
movement and a subsequent increase of clubs cater-
ing to that audience.
Billy Ray Cyrus also blended country, pop, and
rock with a danceable element on 1992’s country
and pop chart-topperSome Gave All, which spawned
the single “Achy Breaky Heart.” Aside from his suc-
cess at radio, Cyrus was also regarded for his hand-
some looks, which garnered additional mainstream
attention but also stirred up some controversy
among country purists and critics opposed to the
idea of selling the style with sex appeal. For the fe-
male faction, Canadian superstar Shania Twain was
also regarded for her model-worthy attraction, help-
ing 1995’sThe Woman in Meto reach number five on
the mainstream charts and 1997’sCome on Overto be-
come the best-selling country album of all time and
the best-selling album by a female artist of any associ-
ation (moving over 20 million copies). However,
even with Twain’s tremendous appeal, Brooks still226 Country music The Nineties in America
Shania Twain performs at the 1996 Country Music Association Awards show in Nashville.(AP/Wide World Photos)