A tender love ballad is always nice, but it’s sometimes those weird love songs that make you laugh or even creep you out a little (I’m looking at you Sara Watkins and Fiona Apple!) that are most memorable. What are some of your favorite quirky love songs? Mac Davis, “Most of All” Kasey Chambers, “The Stupid Things I Do” Sara Watkins & Fiona Apple, “You’re the One I Love” Vince Gill & Dolly Parton, “Pretty Flowers” John Prine & Iris Dement, “In Spite of Ourselves”
We’ve all heard of the Sophomore Slump. It’s the phenomenon where an artist’s second album isn’t as good as their first album. This presumably happens because they’ve had more time to choose or write songs for their first album than they do after their careers have taken off and/or because there was so much hype surrounding their first album that their second album had no chance of living up to anyone’s expectations. Many artists, however, are able to avoid that slump and their second album ends up turning out to be better or at least as good as their first album. What are some of your favorite sophomore successes? Here’s my list: Miranda Lambert, Crazy Ex-Girlfriend Martina McBride, The Way that I am Tracy Lawrence, Alibis Shania Twain, The Woman in Me Sara Watkins, Sun Midnight Sun
2014 was a banner year for country music albums. In addition to the predictably solid entries from the Americana, folk, and bluegrass scenes, some excellent albums also surfaced from the unlikeliest of sources: mainstream, radio-friendly contemporary country artists! Here are our twenty favorite albums from 2014. Fingers crossed that 2015 is as good or better than this year has been. #20 Jennifer Nettles That Girl KJC #8 | LW #16 A confident, intelligent solo project that washes away all of the bitter taste left by Sugarland’s preceding studio album, The Incredible Machine. Nettles manages to remind us what was so appealing about the trio-turned-duo in the first place, while also staking out her own musical territory that has room for independence anthems alongside wry, humorous commentary on society and, of course, palpably vulnerable heartbreak numbers. – Kevin John Coyne Recommended Tracks: “Me Without You”, “Know You Wanna Know”, “Jealousy”
The countdown concludes with our top twenty singles of 2014. Check out the first twenty entries here, and look for our countdown of the year’s twenty best albums tomorrow. #20 “The Devil is All Around” Shovels & Rope LW #5 | JK #13 The soulful husband-wife duo that comprises Shovels and Rope delivers a no holes barred analysis of trials and temptations, which boils down to the idea that the devil is all around, which means that one must do what he can to push against such a devastating force. – Leeann Ward
As reflected by the title of our web site, our choices for Top 40 Albums of 2012 span the farthest reaches of the country music universe. In previous years, the Country Universe staff has counted down twenty albums and forty singles, but this year our album picks included such a wide variety that we were able to stretch our Top Albums countdown to a full forty slots. What did we miss? That’s where you, our readers, come in. Please join in the discussion, and share which albums you had in heavy rotation over the past year.
The Garden of Love – Songs of William Blake
Martha Redbone Roots Project
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.
Round 2 – FIGHT!
World: meet Underwood. She’s fiercely compassionate and endearingly idealistic (the riveting “Change”). She holds her beliefs with a firm but quiet conviction (“Temporary Home”). She’s as comfortable and convincing at tearing down a wrong-doer (the Dixie Chicks-esque “Songs Like This”) as she is nursing an irreparable heartache, whether it’s in the form of a haunting country standard (“Someday When I Stop Loving You”) or a rich pop ballad (“What Can I Say?”). And she’s one of the most gifted vocalists of this generation, possessing an instrument that, when colored and layered with emotion as she’s aptly learned to do on Play On, can have bone-chilling effects.
Like it or leave it, Play On is the most authentic encapsulation of Underwood’s artistry and persona to date, and serves as an exciting glimpse at how far a little growth can carry her. The best is yet to come, but in the meantime, the “good” is pretty damn good. – Tara Seetharam
As most people know by now, Sara Watkins is the female member of the now-disbanded (hopefully temporarily) New Grass trio, Nickel Creek. While Nickel Creek was difficult to classify in a certain genre (not bluegrass, not country), they were embraced by bluegrass and country music fans alike. Each member of the popular trio has released intriguing projects outside of Nickel Creek, but Watkins’ album has assumed the most decidedly country direction of them all. As a result, we are treated to a sublime album thanks to Watkins’ sweet voice and a set of impressively solid songs. – Leeann Ward
The 100 Greatest Albums of the Decade, Part 4
Pam Tillis, It’s All Relative: Tillis Sings Tillis
By the time she released a tribute to her father Mel, she’d become something of a legend in her own right. So it’s no surprise that she approached Mel’s stellar songwriting catalog as if she was recording any other studio album, taking the best of the bunch and making them her own. Bonus points for preserving the original fiddle breakdown from “Heart Over Mind” while making that classic shuffle a forlorn ballad, and a few more for hitting the archives of the Country Music Hall of Fame until she found a forgotten gem that should’ve been a hit back in the day (“Not Like it Was With You.”) – Kevin Coyne
Recommended Tracks: “Mental Revenge”, “Detroit City”
Dwight Yoakam, dwightyoakamacoustic.net
Yoakam takes a new, inspired spin on the greatest hits album concept, presenting us with a hearty sampling (over 20 songs) of his catalog served acoustic style. It simply works for the country legend. He introduces some delightful new twists and turns to his old classics, and as it should go with acoustic music, the album is driven by unadulterated, raw vocals, coupled with honest storytelling – the purest form of country music. – Tara Seetharam
Since the “indefinite hiatus” of progressive acoustic darlings Nickel Creek, despite a history of diverging solo work, releases from Chris Thile and Sean Watkins have been shackled by expectations of a Creek-like sound. Much like releases from her former band mates, Sara Watkins self-titled debut is not a surrogate Nickel creek album. Instead, it is an album that is purely individual, combining the talent that we have already witnessed with more than a few surprises.
Alex Woodard and Sara Watkins continue the recent trend of rock/pop leaning artists dueting with country artists. For those who don’t know, Watkins was a member of the stellar Southern California-bred progressive bluegrass/acoustic trio, Nickel Creek. And Woodard, a Southern California surfer boy, is an independent roots rocker who released his self-titled album in August 2008. This cut, which is found on Woodard’s album, showcases beautiful vocals by both artists – Woodard’s smooth voice is imbued with depth and confidence, and Watkins lovely voice is tinged with the right amount of wistful emotion. Unfortunately, neither the song – a ballad contemplating the end of a relationship – nor the production, do the artists justice. It is a surprise because Woodard is an excellent songwriter and Watkins an accomplished fiddler/violinist. However, in this instance, the lyrics are rather forgettable, and instead of coloring the song with genuine emotion, the violin-backed production comes off as slightly Read More