Genres and labels can be a help—or a hindrance. For a prime example, look no further than singer/songwriter Scott Krippayne, tagged "adult contemporary" with his Wild Imagination CD debut a decade ago. The tag still applied through the late '90s and early '00s, with hints of the "inspirational" label as well. So, what to do with Krippayne's new CD Gentle Revolution? Piano man Krippayne has evidently left those old labels behind, making an album that melds the explosive pop of Maroon 5 and Gavin DeGraw with famed ivory players Billy Joel and Elton John. After a recent concert (he's touring with Point of Grace and Charity Von), Krippayne talked about what it's like to break free from old preconceived notions—and the challenges that come along with the journey.

What was the musical climate like a decade ago when you first entered Christian music?

Scott Krippayne: Point of Grace was out then, Cindy Morgan was doing a lot of stuff and Amy Grant's House of Love was big. My Utmost For His Highest also came out with Steven Curtis Chapman's "Sometimes He Comes in the Clouds," which was often confused with my first single "Sometimes He Calms the Storm."

What was it like to be a newcomer in the midst of such a surge of talent?

Krippayne: I was very wide-eyed, and things moved very quickly for me early on. I moved to Nashville in 1993 and started delivering airline tickets, then writing songs and scoring a publishing deal. I was making $2,000 a year writing songs, which wasn't enough to live on, but at least they were paying me for what I loved. My deal with Word happened quickly from there and I remember talking with [producer] Charlie Peacock about getting in the studio to work on my debut. He had a very limited time frame, so we either had to do it right then, or nine months down the line. We wound up doing Wild Imagination right then—and that was before I even officially signed my deal. We actually inked it after the record was in stores and I didn't really know what to expect.

Any regrets about moving ahead so quickly?

Krippayne: I listen to my vocal performances on that record and think, I'm so sorry, Mr. Peacock! I love a song like "Storm," but vocally I kind of sound dead singing it! I was a songwriter and I think I moved into the artist thing too quickly. I had done music ministry in Washington and Oregon in college, then moved to Nashville to be a better songwriter—and then I had a record out! In those early days I didn't know how to communicate with an audience effectively, especially at a venue. Back then, I would get out in front of in front of 2,000 people opening for Point of Grace, and I would close my eyes and sing three songs to tracks—and it didn't translate well.

What went wrong with your Word deal, and what led to your current deal with Spring Hill?

Krippayne: The official term is that we fulfilled the contract. I had a record deal with options and signed a very fortunate deal, but unfortunately it didn't make financial sense for them to keep me. If I was a label, I wouldn't have done a third record on me! Who knows why nothing off my second record [More] didn't connect to the level that "Storm" did. But it got me to a point when I parted where I asked God if I should still do this. Maybe I should've gone back to more writing, maybe took on a church position or may reevaluate going to seminary. But with Spring Hill, I found a label that had the same vision as me.

How would you trace your musical evolution throughout those two tenures?

Krippayne: Wild Imagination came together with us trying to find ten songs everyone could agree on, two of which I didn't write. More is still one of my favorites and was therapeutic even though it sold worse—and you can now find it on eBay for 99 cents. Bright Star, Blue Sky was when I got another shot on Spring Hill, and every song got me teary, being made up of a real emotional connection. I don't like the cover of All of Me—the overexposed photo look—and I look back now and don't feel like I took the chances I could. "I'm Not Cool" did well at radio and it was a fun song to give teens—really a reminder to be cool with who God made them to be. On the last record It Goes Like This …, I wanted to do more of a piano-driven record, but still have a pop/rock edge. Where it actually ends up in hand sometimes takes a turn in vision and that didn't go as I hoped it would. But I'm still very proud of "The Least I Can Do" and "Live to Worship."

In what ways did you hope to improve all those missteps on Gentle Revolution?

Krippayne: One review of my last record included the comment "phone it in," and I'd never purposely do that on a record. In making this record, I made sure not to "phone it in." I cared less about the radio playing it or what the industry might say. I wanted to reflect stuff I was listening to and what I've been digging lately. I'm not trying to make the next Maroon 5 or Switchfoot records, but I'm really liking what I've heard from those bands. On a song like "Gentle Revolution," there's some funky bass riffs, messing around on piano and a doubled guitar line. The guitars go into overdrive on "I Am Jesus" and we cut "In the Name of God" at one or two in the morning with the lights out and got a spontaneous feel.

Tell me about the song "Renée."

Krippayne: The song was inspired by an encounter with Renée Zellweger at a Starbucks, though it's actually more about just seeing her there. It's about how people are always drawn in so magnetically to celebrities, TV shows and magazines because they feel like their lives are not interesting enough. So many people ask if she's heard the song or if I'm going to give it to her and that always makes me laugh. That's not my job and I didn't write it because of that, but if she gets it, cool.

What inspired more of the socially conscious themes on the record?

Krippayne: Jesus was incredibly socially conscious, and I admit it's very easy for me not to be since I live a very comfortable life. To have a conversation alone with somebody homeless and asking for money is a risk, but then again, it's still a person. It's not that I do well in that situation all the time, but the record seeks to convict me and pose questions to others and forces them to think a little bit.

What has the reaction been at radio to the new material?

Krippayne: We're still trying to figure out what songs will work at the best places on radio; we're testing to see what connects. I'm not a core artist on AC [adult contemporary] or CHR [Christian Hit Radio] formats. Inspirational radio has been wonderful to embrace the last two or three albums, but this material is too heavy for that, though we may try a different mix. I'm a 34-year-old guy on my sixth record, so the cool factor is gone too. It puts radio programmers in a confusing position when they get my CD on their desk because of all the natural perceptions. Maybe they'll wind up listening to it and maybe not. Maybe I'll get lucky and the buzz created from the tour will send in requests.

For more about Scott Krippayne and his music, visit our artist page, where you'll find reviews of his albums, including his latest, Gentle Revolution. To listen to sound clips and buy the music, visit Christianbook.com.

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