The genesis of the artist Allen Shadow is something like the birth of a star that forms when the original entity finally collapses into itself.

When Allen Shadow began working on his new release — "King Kong Serenade" — he had come full circle as an artist — from poet to songwriter to rock poet.

Shadow (a.k.a. Allen Kovler) began his career as a poet and performance poet who pushed the language like a race car driver in the far turn. Library Journal called his imagery "startling," as thewidely-published idealist showcased his vision in readings and performances at noted clubs, halls and colleges across the country during the 1980’s.

But the accomplished poet was also a budding songwriter who longed to make his mark. So the Bronx bard packed up his stuff and pointed his beat-up Ford to Nashville. Alternative radio hadn’t been invented yet — and with country music reinventing itself with folk and rock influences — it was a draw for songwriters from diverse genres.

Might as well put my head in the mouth of the lion," says Shadow. "It’s the crucible thing. If you want to be a second story man, go to Attica. If you want be a songwriter, it was ‘Music City or bust’. At least it was in those days."

Armed with a progressive country EP, Shadow hit the record labels in the miniature palaces along music row in 1988. While they loved the music, the songs were too progressive and dark.

I used to sit in this guy Bob Doyle’s office. He loved my writing but would say the lyrics were cool but just too dark. He was managing this artist named Garth Brooks whose first album was just hitting the air waves at the time."

So Shadow started writing more to the market and one of his songs — "Is It Love Yet?" — found a champion with publisher/producer Russ Zavitson, one of the town’s top hitmakers, who signed the song to PolyGram. Zavitson spent years pitching the song to female artists — including several times to Trisha Yearwood who was perfect for it. There was one catch: Yearwood was the singer on the demo of "Is It Love Yet?," and the diva hated listening to anything that reminded her of her pre-star life. Zavitson swears by the tune and still pitches it to her.

But, while he ended up publishing many songs with companies like PolyGram, SONY and Mel Tillis’ Tillistunes, and had veterans like Zavitson and Tom Collins telling him he was ‘that close’, Shadow became frustrated with Music City and its stifling, formulaic ways. He was tiring of commercial songwriting, tired of being the outsider, tired of getting nowhere,