2013 turned out to be a banner year for new music, full of powerful songwriting, inspired collaborations, and truly cohesive albums that would rank among the best releases in any given year. Many of this year’s top twenty would’ve ranked much higher in other years, and many of us writers couldn’t even include all the works we deeply enjoyed this year on our personal lists, making our collective list worthy of the heartiest endorsement we could ever give.
Here’s to a great 2013, and a greedy wish that 2014 will be just as wonderful on the music front. As always, share your thoughts and personal favorites in the comments.
Individual rankings: #7 – Tara; #12 – Leeann
Like Chris Young two years ago, Worsham’s voice is a commodity that instantly elevates the new artist to an orbit above the male radio regulars. His is warm and cleanly expressive, lending itself best to songs that nurture his upper register, like the jaunty “Want Me Too,” haunting “Someone Like You” or those invigorating opening bars of “Could It Be.” If only life imitated “Nashville” and its fictional stars’ uncomplicated brand of pop country, Worsham might just be the next Luke Bryan and “Rubberband” –the album’s finely produced, genre-bending title track– his next big hit. – Tara Seetharam
Recommended Tracks: “Rubberband,” “Someone Like You,” “Young to See,” “Could it Be”
As a general rule, you can scan the credits of any new country album and assume that if Brandy Clark is a writer on one of the songs, it’s the best song on the album. As Clark readies the release of 12 Stories, her debut album as an artist, it’s a great time for fans of that remarkable set to get caught up on Clark’s work to date.
Believe the hype. Clark really is as good as everyone is saying she is. Possibly even better, as these twenty tracks suggest. Scroll down to the bottom, and you can listen to snippets from all of them as you read along.
The debut single from The Voice Season 4 winner Danielle Bradbery has one of best productions you’re likely to hear on terrestrial country radio, heavy on the sweet sounds of fiddle and mandolin. “The Heart of Dixie” also boasts an effective melody which rises and dips in a manner most fitting for a story about a woman leaving an unsatisfying life and finding newfound freedom on the open road. And while the interpretive abilities of an artist still in her teens are often limited (see early LeAnn Rimes as an example), Bradbery at least sounds genuinely engaged in the story she’s telling.
As you may have noticed, the Country Universe staff loves to find ways to participate in joint writing projects. So, while it won’t be the exclusive way that we review albums, we thought we would give a new, more collaborative album review format a try. As an offshoot of our Round Table Single Reviews, which could become repetitive when we all agreed on a particular track, we are test-driving Round Table Album Reviews, which will give us all a chance to weigh in on different tracks and aspects of a single album. With this format, even if we all generally positively (or negatively) agree on an album, as happens to be the case here, we still have room for a variety of perspectives.
Something you probably already know about us here at Country Universe: We love country music. A lot. While truly great country music has become scarce on country radio, we are fortunate to live in an age in which modern technology has made great music more accessible than ever, regardless of whether Top 40 radio dares touch it.
At the close of each year we separate the grain from the chaff, and share the music we discovered over the past year that made us glad that we stuck with our genre of choice. We at Country Universe have put our heads together to create the following lists of favorite singles and albums of 2012.
Long lost in the torrent of tabloids, lost in the fickle four-lady shuffle of country radio, is the truth that LeAnn Rimes – whatever her choices, relevance – is an exceptional country artist. An artist who hit her commercial peak early, but whose creative peak is still sloping up with each passing year, as her natural talent imbibes the wisdom and weather of age. The chipper tween who Patsy-parroted through “Blue” was charming, but nowhere near as compelling as the guarded optimist of “What I Cannot Change.” And even she, in turn, sounds a little simplistic compared to the woman we now encounter in “What Have I Done.”