Top Five: Leaving Home

September 4, 2015 Leeann Ward 14

September is upon us, which means that young adults have excitedly headed off to college while parents have sent their babies off to join the world. What are some of your favorite songs about children

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Daily Top Five: Favorite Title Tracks

May 20, 2015 Kevin John Coyne 16

Suggested by longtime reader Hoggy From Oz: What are your favorite title tracks? Here’s my list: Trisha Yearwood, “The Song Remembers When” Carrie Underwood, “Blown Away” David Nail, “The Sound of a Million Dreams” Suzy

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The Twenty Best Albums of 1994

December 26, 2014 Kevin John Coyne 5

As 2014 comes to a close, the Country Universe staff has been collectively impressed by the number of quality albums that were released this year.  How many of those albums, however, will we still be

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Retro Single Review: Tim McGraw, "Something Like That"

April 18, 2012 Ben Foster 18

1999 | #1

You know what’s one of the best ways for a contemporary country song to worm its way into my heart? To display a mature and insightful perspective, or to tap into some universal truth, while dressing itself up with the catchiest of melodies and hooks.

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Top Twenty Albums of 2011, Part Two: #10-#1

December 31, 2011 Kevin John Coyne 4

Our annual list concludes with a look at our ten favorite albums of 2011.

Check out Part One to see #11-#20, and look for our countdown of the year’s best singles tomorrow.

Top Twenty Albums of 2011, Part One: #10-#1

#10
Lady & Gentlemen
LeAnn Rimes

On the surface, Lady & Gentleman is a concept album, flying in the face of a genre whose gender bias sometimes feels like the elephant in the room. But as with the best concept albums, it’s not the concept that carries it. With her most thoughtful, vocally mature performances to date, Rimes herself is the heartbeat of the set, deftly navigating the songs with a blend of reverence and fearlessness.

And she has plenty of room to shine: rather than trying to rebirth a collection of classics, Rimes and her team tastefully reinvigorate the songs with production risks (“Swingin’”), lyrical twists (“Good Hearted Women”) and the occasional overhaul (“When I Call Your Name”). The result is an album that stands neither as a tribute nor as a statement, but as a unique body of work that earns its merits all on its own. – Tara Seetharam

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