Jimmy Buffett pulled in some country-music ringers for the horribly titled License To Chill

In We’re No. 1, Steven Hyden examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the years. In this installment, he covers Jimmy Buffett’s License To Chill, which went to No. 1 on July 25, 2004, where it stayed for one week.
One of the strangest, most dubious ideas for an album in 2012—and, given the sales, also one of the best—had to be Lionel Richie’s head-scratching smash Tuskegee. A collection of Richie hits re-recorded country-style with stars like Shania Twain, Billy Currington, and Little Big Town, Tuskegee casts the Alabama-born and Motown-bred Richie in the unlikely role of down-home crooner. It starts with the cracker-barrel cornpone of the cover, which depicts the singer leaning back on an old chair in front of what’s presumably a palatial Southern home stocked with pitchers of lemonade and apple pies cooling on the windowsill. Before its March release, Tuskegee might’ve seemed like a last-ditch attempt to remake Richie’s moribund recording career, though if it was, it was a quite successful bit of desperation. Tuskegee debuted at No. 2 on the Billboard album chart—thanks in part to an aggressive push on the Home Shopping Network—and a few weeks later moved up to No. 1, eventually going platinum.
Richie wasn’t the first (and won’t be the last) artist to inject new life into his career by recording a country duets record. Eight years earlier, a journeyman singer-songwriter whose recording career peaked in the ’70s scored his first No. 1 album, thanks to the assistance of Music Row superstars such as Kenny Chesney, Toby Keith, Alan Jackson, and George Strait. Not that Jimmy Buffett’s appeal has ever truly been represented by his record sales. Like The Grateful Dead or Kiss, Buffett is a man best appreciated live, and preferably under the influence of a wicked cocktail of various chemicals. At least that’s what his fans say; personally, I’ve never understood what makes Parrotheads so obsessive about this otherwise unexceptional man with the bank president’s hairline and the impossibly generous assortment of DayGlo shirts and cargo shorts.
It’s not like I haven’t been exposed to Buffett’s music. Like most American men born in the late 1940s or early ’50s, my dad loves Jimmy Buffett, and he played his tapes constantly when I was kid. So I have heard more than my fair share of songs about fantastical cheeseburgers and latitude/attitude adjustments and, sorry, I remain unmoved. I get that Buffett presents a fantasy of a carefree life in a beach paradise that’s common among aging white men who wish they could untuck their golf shirts and de-pleat their khakis. I just don’t see how you can’t get that sort of escapism at a Senor Frog’s, or whatever the equivalent of Senor Frog’s is in your town.
Anyway, you don’t have to be a Buffett fan to recognize that the success of his 2004 duets album License To Chill confirmed the sizeable influence he’s had on contemporary country music, nor do you have to be a Parrothead to appreciate the roundabout way he took to get there. Before License To Chill—and the No. 1 hit single “It’s Five O’Clock Somewhere,” a 2003 collaboration with Jackson that won a CMA award and paved the way for Chill—it’s possible that even many of Buffett’s fans weren’t fully aware of his background in country. Buffett has long been associated more with steel drums than steel guitars, but his country roots run deep. A Mississippi native raised in Alabama, Buffett arrived in Nashville in the late ’60s as an upstart songwriter in the outlaw mold of Kris Kristofferson and Jerry Jeff Walker. He released his first album, Down To Earth, in 1970, and seemed to be pursuing a career as a post-hippie, socially conscious country-folkie. But Buffett changed course after re-locating to Key West, Florida, developing a new persona as a wandering, party-hearty beach bum with a melancholy streak.