We’ve been beefing up our activity on Twitter of late– for those of you not following us yet, you’ll never in a million years believe that our name is @CountryUniverse— and have been enjoying the opportunity to engage with our readers– and, on occasion, with the artists we’ve written about– using that platform.
So, for this Daily Top Five, we’ve listed some of our most essential, “Must Follow” Twitter accounts!
Country Music News, Culture, & Humor:
1). Windmills Country (@WindmillsMusic)
You want opinions that are driven by real data and thoughtful, incisive analysis? No one does it better.
2). Grady Smith (@gradywsmith)
The in-house country music columnist for The Guardian has truly stepped up in a post-Chris Neal, post-Chet Flippo world.
3). Americana Music Association (@AmericanaFest)
Essential coverage of the artists we love who reside on the fringes of the country universe.
4). Jessica Northey (@JessicaNorthey)
No one works harder to create an active social network– in the true sense of the term– that includes both country music fans and artists.
5). Former Hank Williams (@HanksGhost)
Because you’re wondering which of the latest abominations has the late hillbilly poet spinning in his grave.
1). Gretchen Peters (@gretchenpeters)
It should come as no great surprise what this masterful songwriter can say in a scant 140 characters.
2). Wynonna (@WynonnaMusic)
Whatever you’re imagining the one-of-a-kind Wynonna’s Twitter feed would look like is probably accurate.
3). Sunny Sweeney (@GettinSweenered)
Her background in improv comedy consistently shines: she’s witty and clever in a world that favors snark.
4). Jason Isbell (@JasonIsbell)
As in his songwriting, he doesn’t pull punches here, either.
5). Rosanne Cash (@rosannecash)
She could likely cull a spectacular album from the observations on marriage, aging, and legacy she’s collected.
So, who else would you recommend as an essential addition to the Country Universe followers list?
Sunny Sweeney with Will Hoge
Written By Ashley Monroe, Angaleena Presley, and Sunny Sweeney
Both Sunny Sweeney and Will Hoge have flirted briefly with mainstream success: Sweeney cracked the top 10 at radio with “From a Table Away,” while Eli Young Band scored a major hit with their cover of Hoge’s “Even If It Breaks Your Heart.” A slow-burning ballad that chronicles the dissolution of a relationship between actual adults, “My Bed” is, unfortunately, too far out-of-step with the culture at country radio for the pair of singer-songwriters to make any new inroads there. But it’s a measured, mature single that deserves a wider audience.
“Hot Corn, Cold Corn”
Robert Earl Keen
Written By Lester Flatt and Earl Scruggs
Robert Earl Keen has spent the past three decades as one of the most venerated singer-songwriters in country music, particularly within the Texas Country community. His latest album, Happy Prisoner, is a departure from Keen not because of his decision to dabble in Bluegrass music— his material has always skewed in a folk-leaning, acoustic direction— but because it’s an entire album of cover songs, and he’s known for his sharply-observed originals. Fortunately, there’s no faulting Keen’s taste in material, and the album’s first single is a cover of “Hot Corn, Cold Corn,” a Flatt & Scruggs tune that has become a Bluegrass standard.
“Doin’ Country Right”
Written by Heather Morgan, Josh Osborne, and Jimmy Robbins
Seems safe to bet that the irony of this single’s title is lost on everyone involved in inflicting it upon a genre that keeps finding ever-more horrifying ways to embarrass itself.
The narrative surrounding Aaron Watson’s The Underdog makes it an album that is easy to root for: Buoyed by more than a decade of goodwill and fan support and a deft pre-release promotional push, the album surprised many with its #1 bow atop Billboard’s Top Country Albums chart, surreptitiously around the same time that erstwhile Sony Nashville CEO Gary Overton made his controversial remark about how artists who don’t get played on country radio “don’t exist.” The Underdog, the twelfth album from a traditional-leaning Texas singer-songwriter known as much for his humility as for his music, provided a perfectly timed counterexample to Overton’s short-sighted arrogance.
For all of their commercial successes and industry recognition, The Mavericks were never a band that bowed to popular trends in country music. On Mono, the second album of their full-fledged revival, they play even faster and looser with genre conventions than ever before. The result is an album that, if not necessarily their best—What a Crying Shame and 2013’s In Time set particularly high standards— may be the most purely fun album of The Mavericks’ career.
More so than her artfully-turned phrases and her novel, evocative imagery, perhaps Gretchen Peters’ greatest gift as a songwriter is her mastery of perspective. Peters’ ability to shift her narrative voice to create fully realized, authentic characters whose emotions and experiences drive her songs has very few peers, and that particular skill serves her well on Blackbirds. A meditation on mortality, Blackbirds highlights a variety of experiences and points-of-view on matters of death and loss, and it’s that multifaceted perspective that gives the album such remarkable depth.
“Send It On Down”
Lee Ann Womack
Written by Chris Knight and David Leone
The centerpiece of the excellent The Way I’m Livin’, Lee Ann Womack’s “Send It On Down” is an understated but brilliantly drawn character sketch that is a testament both to Chris Knight’s masterful songwriting and to Womack’s interpretive skill. It’s perhaps the finest single of Womack’s career.
“It Feels Good”
Written by: Derek George, Philip Pence, and Drake White
Its content— what with its talk of layin’ by a riverbank, dippin’ toes in the water, and picking up a carton of smokes— may be all too familiar at this point, but what elevates Drake White’s “It Feels Good” above so many other purely escapist singles it its attention to craft and its casual wit. The lyrical hook is perhaps too simple to stand on its own—and, it’s worth mentioning, resorts to the increasingly common trope of repeating words without adding more meaning— so White and his co-writers make sure that the melody in the chorus is catchy and singalong ready.
Though she’s recorded steadily since the late 80s, Texas singer-songwriter Kimmie Rhodes hasn’t enjoyed either the commercial or critical cachet of many of the other alt-country and Americana acts. Both Wynonna and Trisha Yearwood have recorded her songs, but she hasn’t been a steady go-to songwriter like, say, Gretchen Peters or Kim Richey. That’s largely the result of how unassuming Rhodes’ work routinely is: Her songs are never less than well-constructed and are always observed in plainspoken but effective lines, while her singing hinges on her gentle, wispy voice.