Editing Rounder Records (section)

=== 1980s: Heartbeat, Philo, Alison Krauss ===
Although they were approached by less traditional roots artists following Thorogood's success, the founders signed artists that reflected the label's original mission. Among others, they signed [[Johnny Copeland]] and [[Clarence "Gatemouth" Brown]]. [[Scott Billington]], a musician and Rounder staff member, was recruited to produce Brown's debut for Rounder with [[Jim Bateman]], and together they pushed Brown to record classic blues songs.<ref name="Himes" /> The resulting album, ''Alright Again!'', won the 1982 [[Grammy Award for Best Traditional Blues Album]]. It was Rounder's first Grammy.<ref>{{Cite web|url=https://www.wbur.org/artery/2015/05/06/scott-billington|title=Scott Billington Produced The Greats—While Learning The Business From All Sides|website=www.wbur.org|language=en|access-date=2019-04-25}}</ref>

In the early 80s, Rounder once again broadened its focus, establishing a reggae imprint, [[Heartbeat Records|Heartbeat]] and adding [[Klezmer]], Cajun, [[Zydeco]] and Tex-Mex [[Conjunto]] musicians to its roster.<ref name="Himes" /> Throughout the decade, the label released records by esoteric artists who were unlikely to garner mainstream recognition, including [[Ted Hawkins]], [[Jonathan Richman]], and [[Sleepy LaBeef]].<ref>{{Cite web|url=https://www.bostonglobe.com/opinion/editorials/2013/10/21/rounder-records-loss-for-massachusetts/gijfSkattY72oF7nww1QFM/story.html|title=Rounder Records: A loss for Massachusetts |work=The Boston Globe|access-date=2019-04-25}}</ref>

In 1984, Rounder acquired the traditional and folk music label [[Philo Records (folk)|Philo Records]]. Among others, the acquisition brought [[Utah Phillips]], [[Dave Van Ronk]], [[Christine Lavin]], and singer-songwriter [[Nanci Griffith]] to the label.<ref>{{Cite book|title=Folk Music: The Basics|last=Cohen|first=Ronald|publisher=Routledge|year=2012|isbn=978-1136088988|pages=187}}</ref> Griffith's Rounder debut, ''[[Once in a Very Blue Moon]]'', marked the "emergence of a major talent."<ref>{{Cite web|url=https://www.allmusic.com/album/once-in-a-very-blue-moon-mw0000650216|title=Once in a Very Blue Moon - Nanci Griffith {{!}} Songs, Reviews, Credits|website=AllMusic|language=en-us|access-date=2019-04-26}}</ref> Critically acclaimed, the album was the foundation for Griffith's 1993 success with the Grammy Award-winning ''[[Other Voices, Other Rooms (Nanci Griffith album)|Other Voices, Other Rooms]]'' (released by Elektra).<ref>{{Cite news|url=https://www.latimes.com/archives/la-xpm-1993-03-28-ca-16094-story.html|title=A Die-Hard Folkie--and Proud of It|date=1993-03-28|work=Los Angeles Times|access-date=2019-04-26|language=en-US|issn=0458-3035}}</ref>

Largely responsible for Rounder's A&R, Irwin listened to every demo tape that the label was sent. He first heard Alison Krauss in 1984 on a demo of the band Classical Grass, later known as [[Union Station (band)|Union Station]], and Krauss—who mainly played fiddle and contributed vocal harmonies—sang lead on a gospel song. Irwin, taken with her voice, was interested in Krauss as a solo artist, and signed her to Rounder at 14. Once on the roster, Irwin brought Krauss (and her parents) to Nashville to find a producer for her Rounder debut. The album, ''[[Too Late to Cry (Alison Krauss album)|Too Late to Cry]]'', was released in 1987, when Krauss was 16. It was followed by the Union Station album ''[[Two Highways]]'' in 1989.<ref>{{Cite web|url=http://bluegrassmusic.com/content/2011/feature/alison-krauss-union-station/|title=Alison Krauss + Union Station Flight Plan: Paper Airplane Lands AKUS Back On The Bus|date=2011-10-02|website=Bluegrass Unlimited|language=en-US|access-date=2019-04-25}}</ref><ref>{{Cite news|url=https://www.nytimes.com/1994/04/24/archives/pop-music-once-a-fiddlin-teen-shes-now-in-demand.html|title=POP MUSIC; Once a 'Fiddlin' Teen,' She's Now in Demand|last=Scherman|first=Tony|date=1994-04-24|work=The New York Times|access-date=2019-04-25|language=en-US|issn=0362-4331}}</ref>