Favorite Females’ Covers of Females’ Songs

August 30, 2015 Tara Seetharam 27

We can thank the shortsighted radio consultant Keith Hill for one thing: drawing attention to the women of country music in a year where so many of them are making outstanding music. As their mainstream counterparts cycle through a series of one-note styles and themes, female country artists are putting out diverse and decidedly more progressive music, even as they draw influence from previous generations. That they do so while supporting each other makes it all the more impressive.

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Top 40 Singles of 2011, Part Three: #20-#11

January 4, 2012 Kevin John Coyne 6

The countdown continues to continue. Scroll down to the bottom to hear samples of each song and to share your comments!

Top 40 Singles of 2011, Part Three: #20-#11

Joey + Rory

Individual Rankings: #6 – Sam; #15 – Leeann; #17 – Ben

Joey Feek is not a woman to be trifled with. Blow off a day with her to go fishing with your buddies, and be prepared for a holdout that would make the recent NBA lockout look like a bathroom break. Along with a steel guitar-centric, pure country sound, the song’s humor doesn’t wear thin after repeated listenings. (Are you paying attention, Brad “Camouflage” Paisley?) – Sam Gazdziak

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Top Twenty Albums of 2011, Part One: #20-#11

December 29, 2011 Kevin John Coyne 7

The country music umbrella stretched wider than ever this year, regardless of the fact that radio playlists seem shorter than ever.

Of course, it’s not just the Americana acts that can’t get radio play these days. Even top-selling albums by Scotty McCreery and Alison Krauss & Union Station weren’t embraced.

Country Universe editors and contributors each submitted a list of their ten favorite albums of 2011. 31 different albums were included on our lists, and over the next two days, we’ll share with you our collective top twenty.

Top Twenty Albums of 2011, Part One: #20-#11

Beat the Devil and Carry a Rail
Noam Pikelny

His tenure with the Punch Brothers and his winning of the first annual “Steve Martin Prize for Excellence in Banjo and Bluegrass” in 2010 both earned Noam Pikelny the clout to release Beat the Devil and Carry a Rail, his second solo album and first since 2004. Joined by an all-star roster of fellow pickers, Pikelny’s mostly instrumental set is a showcase both for its lead artist’s extraordinary technical skills and for the banjo’s wide-ranging potential. – Jonathan Keefe

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Album Review: Sunny Sweeney, Concrete

August 30, 2011 Ben Foster 14

Sunny Sweeney


Sunny Sweeney’s 2007 debut album was fantastic, but too raw and twangy for country radio to touch it with a ten-foot pole. Thus, Heartbreaker’s Hall of Fame produced no charting singles. Sweeney re-emerged in 2010 with “From a Table Away,” a single that took on a glossier finish so as to be more radio-friendly. Still, the core country elements were uncompromised. The strategy worked, netting Sunny Sweeney the first Top 10 hit of her career. Likewise, the remainder of her sophomore album has enough polish to be palatable to country radio, but Sweeney’s traditionalist bent remains intact, as the album retains an identifiably country sound throughout (such that the “pop-country” label would be a misnomer). Concrete sounds poised to build on Sunny Sweeney’s newfound career momentum, yet it also finds an artist able to make reasonable commercial concessions without sacrificing her own identity in the process.

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Single Review: Sunny Sweeney, “Staying’s Worse Than Leaving”

April 15, 2011 Kevin John Coyne 19

This is going to be an unfair criticism, but here it goes.

“Staying’s Worse Than Leaving” is an awesome song. As good as anything I’ve heard lately in terms of lyrics. Mature, realistic, insightful. It’s good stuff.

The production is effective in that “stay out of the way of the song” kind of way, as it is on so many great country records.

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Nashville Scene: 11th Annual Country Music Critics’ Poll

January 27, 2011 Leeann Ward 14

The 11th Annual Country Music Critics’ Poll has just been published by Nashville Scene. It covers the 2010 year of country music. The participants of the poll consists of country music critics who spend their time listening to and analyzing stacks of music throughout the year in order to knowledgeably write about it for the purpose of either promoting excellent music or warning against the not so good stuff. Kevin, Dan and Tara are among these prestigious critics.

Each year, invited critics submit their ballots with their favorite music and artists in the appropriate categories. The poll includes the best albums, singles, male and female artists, reissues, live acts, duos and groups, songwriters, new acts, and the over all artists of the year. While the results include the usual suspects, they are mixed with some surprises or names that aren’t commonly associated with mainstream country.

Some of my favorite results include Raul Malo tied at #8 with Gary Allan for top males and Elizabeth Cook at #2 for top females, not to mention Sunny Sweeney’s “From A Table Away” landing at the #3 spot for singles. The most amusing result, however, is Jamey Johnson and Taylor Swift in the top two spots for songwriters.

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The Best Singles of 2010, Part 1: #40-#31

December 20, 2010 Kevin John Coyne 15

Greatness comes in twos this year, as ten different artists make dual appearances on this list. Perhaps this demonstrates a greater truth about 2010. Sure, there was some good music, but greatness was concentrated among a smaller group of artists than usual.

As is the annual tradition, we’ll reveal this year’s forty best singles, ten at a time. Check back tomorrow for Part 2.

The Best Singles of 2010, Part 1: #40-#31


Why Wait
Rascal Flatts

The Flatts boys return to their roots with this bright, infectious slice of country-pop. Bonus points for keeping both Gary LeVox’s voice and Dann Huff’s production in check. – Tara Seetharam


That’s Important to Me
Joey + Rory

So far, Joey+Rory’s calling card has been their ability to exude authenticity through their songs with a naturalness and warmth as convincingly as a certain mother-daughter duo of the eighties, The Judds. Only, unlike the Judds, this partnership’s perceived connection isn’t marred by real accounts of strife and familial discord. Instead, by all accounts, Joey and Rory’s love is as sweet as their musical harmonies suggest. And this song is a nice encapsulation of what makes them who they are as a duo, both in a personal and professional sense. – Leeann Ward

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