Recently in Country Category

20111129-country-chicks-mess-you-up-560x225.jpg The appeal of country music, for a sissified city slicker such as myself, largely lies in glimpsing a universe in which everyone is tougher, stronger, surlier, drunker and more adept with power tools than I am, which is not a terribly high bar, no, but it's nonetheless simultaneously dismaying and thrilling how many women can clear it. Here then we have Miranda, Taylor, Neko, Ashton, Carrie, Those Darlins and many others boozing, seething and raging, to my delight/terror. Yes, even the one named "Sunny."

Listen now: Friday Mixtape: Country Chicks Who Could Beat Me Up

cheat_sheet_top_header_560x62.jpg 20111129-louisiana-hayride-CS-560x225.jpg Louisiana Hayride was a "barn dance"-style radio program on KWKH out of Shreveport, La., that was loosely modeled on its more famous cousin, Nashville's The Grand Ole Opry, along with Chicago's lesser-known WLS Barn Dance. The program, originally called Cradle of the Stars, launched on April 3, 1948, and went on to feature some of the most revered names in country music.

In fact, from the onset, Louisiana Hayride proved to be an invaluable tool for breaking new artists and new singles, as Hank Williams — who first appeared on the show in August 1948 — would attest. (Williams, who eventually had his own sponsored radio program on WSM/Nashville, would often record Hayride shows ahead of time so he could tour.) Performing a new song on a show like Louisiana Hayride was very often just the leg up an artist needed to propel a regional hit. With a firm commitment to exposing new and regional talent to a wider audience, the show became a beloved stop on artists' Southern tours.

Within a year of its debut, the program was so popular that a regional 25-station network was pieced together to broadcast portions of it. The music was certainly a large part of that popularity, but the rotating emcees who kept the show moving with interviews and artist cues provided another kind of magic. Here, the artists were given a chance to connect with the listeners and let their personalities shine.

By 1954, a special 30-minute version of Louisiana Hayride was broadcast overseas on Armed Forces Radio. Another watershed moment came in August 1954, when a teenaged Elvis Presley made his debut, singing "That's Alright Mama." (Incidentally, it was Hayride emcee Horace Logan who coined the iconic phrase, "Ladies and gentlemen, Elvis has left the building.") By the late '50s, however, the growing popularity of rock 'n' roll, in addition to the rise of televisions, cut into the show's popularity. On August 27, 1960, Louisiana Hayride ended its regular run.

In the years since, there have been many attempts to revive the name and what it stood for. Probably the best testament to the program is the volume of quality live music recorded during its tenure. Rhapsody has many of these releases available, so let's take a listen to some of them.

Click here to listen to a playlist: Highlights from the Hayride


Radio: Holiday Hayride

20111122-holiday-hayride-560x225.jpg What holiday has more family traditions than Christmas? And who knows more about "family tradition" than country music lovers? We've spent the past few weeks trimming the tracks on our radio tree and adding plenty of shiny new tunes to make sure it sounds nice for all you folks—even you naughty ones.

On Holiday Hayride, we feature such iconic old-school country artists as Gene Autry, Johnny Cash and Kitty Wells, dropping them in the mix with several decades' worth of more contemporary artists: Alabama, John Denver, George Strait, Kenny and Dolly, and many more favorites. Does anyone sing "Rudolph the Red-Nosed Reindeer" better than Gene Autry? Take a listen to George Strait's and Merle Haggard's versions. Kenny Chesney's reggae-fied version of "Jingle Bells" has to be heard to be believed, mon. And we've also included plenty of brand-new Christmas tunes from Joey and Rory, Toby Keith, Little Big Town, Julie Roberts and a whole lot more.

So dig your spurs into old and new country Christmas classics via Rhapsody's Holiday Hayride radio.


A New Country Christmas

20111122-HOLIDAY-SG-country-xmas-560x225.jpg Feeling like your collection of country-flavored Christmas carols could use an overhaul? The time to do it is now, and it’s definitely best to do a little sprucing up before Auntie Jane and Uncle Charlie land on your doorstep.

This twanging playlist will get you into the swing of the holidays in no time. Each song is, for the most part, a brand-spanking-new tune recorded for the 2011 Christmas season by such well-known stars as Toby Keith, Little Big Town and Sawyer Brown. Of course, we also have some offerings from up-and-comers as well. Whether you like your carols with a touch of holiday humor or prefer something more prayerful, we’ve got all the new sounds for the 2011 holiday season.

Hit play and hear how this year’s crop stacks up against some of country’s best-loved Christmas classics!

Listen now: A New Country Christmas


20111122-HOLIDAY-SG-ultimate-holiday-PL-560x225.jpg You provide the eggnog and mistletoe (or dreidel and menorah); we'll provide the tunes. That's how holidaze work around here. Of course we've got all the eternal carols and trusty standbys about winter wonderlands, sleigh rides, jingle bells, frosty snowmen, drummer boys, feliz navidads, Santa Claus coming to town and/or Mommy kissing him, God resting merry gentlemen, and chestnuts roasting on open fires — many of them harmonized by legendary girl groups or Motowners or recent rock/pop/R&B stars. And we've got all your favorite ubiquitous seasonal standards of less antiquated vintage, too — from John & Yoko and The Beach Boys and The Waitresses and Mariah Carey and Run-D.M.C. Heck, we even have Neil Diamond deadpanning Adam Sandler's timeless Chanukah hymn.

But we've also stuffed your playlist stocking full of yuletide cooltides you definitely don't hear every year: forgotten goodies from folks like Kurtis Blow, Spinal Tap, Slade, SHeDAISY, August Darnell and Ying Yang Twins; holiday hipster bait from The Raveonettes, Vandals, Smashing Pumpkins, James Chance and Sarge (covering Wham!); and vintage historical performances from Clarence Carter, The Moonglows, Solomon Burke, Dean Martin, Mel Torme and two jovial and jumpable guys named Louis (Jordan and Prima.) Not to mention — last but far from least, given an economy that, once again, may not be conducive to heavy gift-giving — plenty of empathetic examples of income-inequity-and/or-dysfunctional-family-spurred seasonal affective disorder, both sociological (Was [Not Was], David Banner, The Fall, Merle Haggard, Ry Cooder, Montgomery Gentry) and psychological (Sparks, Alan Vega, Cristina, a few bleak midwinter goth bands, Aly & AJ). Which might seem kinda depressing, but those are all perfect party songs too, honest!

Scrooges and Grinches who could totally live without December deserve to celebrate too, right? Bah humbug? No, that's too strong. So deck those halls, trim those trees, raise up cups of Christmas cheer, surprise your secret Santa, gobble fruitcake and get down. Just don't spend so much time around the office-party wassail bowl that you wind up doing that sitting-on-the-Xerox-machine thing, OK? Ho ho ho.

Listen now: Ultimate Holiday Party Playlist


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Album of the Day Missouri country-rock charmer David Nail starts his second album at a full Black Crowes gallop: Whoever's playing banjo loses his or her mind during the raucous "Free Bird"-style coda to the soul-singer-studded "Grandpa's Farm." From there we get slower, softer, more romantically melancholy, casting a wistful Jackson Browne sheen over lost-love laments like the tremendous "Desiree" and the devastating "That's How I'll Remember You." His voice isn't that boisterous, but he's got the sad-puppy-dog thing down, and he's on the hunt: "I know one of those sets of taillights just might be you." [Rob Harvilla]

Hear It Now!


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Album of the Day From the trio's close-harmony work to Mother Maybelle's innovative guitar picking, there's no overestimating The Carter Family's influence on country and folk, as well as American popular music in general. Although this installment of the RCA Country Legends series contains a mere 16 tracks, it makes for the perfect introduction to the Carters' music. If you're not careful, this album will spawn an obsession with Appalachian folk that could last a lifetime. Don't say we didn't warn you. [Justin Farrar]

Hear It Now!


20111115-country-for-haters-560x225.jpg Sometimes my hipper-than-thou friends make fun of me for liking country music. To them, it's all just ignorant cowboy jams sung by toothless ol' fellas in a hat. Or, at the other end of the spectrum, it's heartless, slick, countrified pop sung by über-tanned hotties with hair too perfect to even bother with a hat.

And while both of those impressions are somewhat grounded in real-life examples, there's a world of amazing music that falls somewhere in between — if you're not too jaded to hear it. The problem is, you need to be super-enlightened to realize you are a jaded, close-minded mofo. I find trickery and deception are especially helpful in situations like these.

This playlist features songs whose overall reach extends beyond genres. Maybe the lyrics touch on experiences that are so well expressed, they become universal. Or maybe there's a familiar guitar riff or dirty Hammond organ sound that recalls a classic rock great. And others, with their stripped-down sound and sweet harmonies, may recall some great singer-songwriter from the '70s. And yes, all this sonic goodness comes from artists who happily call themselves country.

I tried to restrict the song choices to albums that have been released in the past couple years. Maybe I will do a sequel that features older songs. But in any case, it's all here, if you're willing to let your country freak flag fly.

Click here to enjoy the whole playlist: Friday Mixtape: Country for Country Haters


20111108-country-RU-560x225.jpg Ahhh … welcome to November, country music fans! There has been a cornucopia of exciting new releases of late, and we're going to make it easy as pumpkin pie for you to discover them.

Below are a few releases we're spotlighting, and it seems as though – for them at least – the cooler weather has brought some brisk album sales along with it. But while some of these releases are from well-established/radio-friendly artists (Martina McBride, Miranda Lambert, Toby Keith, Vince Gill), some are from newcomers (Brantley Gilbert, Sonia Leigh), and still others add a touch of rock to their country (Ryan Adams, Jason Boland), so you may not hear them on your local country radio station. But the whole point is discovering new and exciting music, right? So tune in and catch up on country's latest and greatest!

While reading, check out this playlist: Country Roundup, November 2011


1. Miranda Lambert
Four the Record
Loved for her sassy, rabble-rousing songs, Miranda Lambert tones things down a tad on album four. The standout here is slow song "Oklahoma Sky," where Lambert calls to a kindred spirit, her sweet voice cooing over a sparse acoustic guitar and gentle, shuffling beat. In contrast, "Fine Tune" processes her vocals through fuzzy effects that make the double-entendre-laced song sound even dirtier. Other highlights include "Safe"; the insane, finger-wagging "Mama's Broken Heart"; the feisty kiss-off "Baggage Claim"; and the heartbreaking "Better in the Long Run" — sung with hubby Blake Shelton. [Linda Ryan]


20111024-zac-brown-SM-560x250.jpg "I got my toes in the water/ Ass in the sand/ Not a worry in the world/ A cold beer in my hand," begins Zac Brown Band's mega-hit "Toes." That Brown finishes his ode to dropping out with a serene "life is good today" makes it all the more appealing — pure escapism in these tough economic times. And judging by his sales, millions have been willing to buy into that philosophy and escape for a while, even if just for the hour-plus it takes for Brown's second studio album, You Get What You Give, to play from start to finish.

Georgia native Zac Brown was the 11th child in a family of 12. His guitar-playing father exposed the clan to a variety of music, and the young songwriter really hunkered down with his siblings' record collections — especially that of his oldest brother, 21 years Zac's senior. He thus absorbed singer-songwriters, country and bluegrass, pop, and rock without prejudice.

When Brown entered college, he formed a band to help pay his tuition. The band sort of drifted in and out of status, but the events of September 11, 2001, inspired Brown to quit school and concentrate on music full time. Christened The Zac Brown Band, he and his cohorts racked up an amazing 200 gigs their first year, playing anywhere that would have them, be it country clubs or jam festivals. All of these experiences have shaped their somewhat country, singer-songwriter-ish, yacht-rock-meets-slightly-hippie-dippy sound.

And while that sound is difficult to pin down, their influences are a bit easier to spot. So let's peel back some layers and divine the influences of 2010's platinum-selling You Get What You Give. If you want to cut right to the music, this playlist includes both Z.B.B. songs and their direct influences. The rest can read on.

Click here to listen to our accompanying playlist: Source Material: Zac Brown Band, You Get What You Give

With their mix of sweet harmonies, fluid craftsmanship and signature noodly guitar jams, The Grateful Dead are one of the biggest influences on modern-day jam bands — The Zac Brown Band included.

Alan Jackson, 34 Number Ones

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Album of the Day What better way to celebrate Alan Jackson's 20 years in the music business, and his whopping 34 No. 1 hits, than with a career retrospective? Beloved songs such as "Where Were You (When the World Stopped Turning)," "Here in the Real World" and "Remember When" sit alongside upbeat gems like "Who's Cheatin' Who," "Little Bitty" and "It's Five O'Clock Somewhere." Three new songs are included on this masterpiece: "As She's Walking Away" (his hit with The Zac Brown Band), plus "Look at Me" and "Ring of Fire," an updated, swinging version of the Cash classic. Perfection. [Linda Ryan]

Hear It Now!


Ryan Adams, Ashes & Fire

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Album of the Day Ryan Adams has finally mellowed. After a decade of absurd prolificacy and uncouth behavior, alt-country's most volatile son sits pleasantly behind the whisper-quiet shuffle of Ashes & Fire, a soothing blanket of gentle guitars, bright organ, delicate piano. His lyrics are philosophical and apologetic: "Do I want to say the things I say/ When I know they're wrong?" "What am I doing here?" "Am I really who I was?" Perhaps it dips too often into David Gray soft rock, but oh well. Norah Jones guests throughout, tip-toeing and deferential; "Save Me" marks Adams as worthy of redemption. [Rob Harvilla]

Hear It Now!




You Tweeted your questions. We put them in a box. Martina McBride answered them. Watch her talk about party planning and staying inspired for her new album Eleven.

Martina McBride Eleven Nashville's reigning hot mom works both sides of that fence on her 11th pop-country opus, lamenting the perils of parenthood on "Teenage Daughters" and moaning white-soul PG come-ons like "You Can Get Your Lovin' Right Here." She sells an impressive range of emotions here, from the jaunty, horn-jolted lovey-dovey elation of "Broken Umbrella" to the tear-jerking pathos of the expertly crafted living-with-cancer ballad "I'm Gonna Love You Through It." Pat Monahan (aka the dude from Train) duets on "Marry Me" to sweet effect, but it's Martina's show, and she's clearly got it goin' on. [Rob Harvilla]


Pistol Annies, Hell on Heels

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Album of the Day Miranda Lambert always comes out with guns blazing. Here, that's exactly how she and her fellow Pistol Annies -- Ashley Monroe and Angaleena Presley -- roll. Backed by a slow beat and twangin' guitar, "Hell on Heels" is a delightfully sinister song that has the three sirens triumphing over their men. Elsewhere, the girls drink, smoke and take pills; go off the deep end ("Housewife's Prayer"); and lament marriage in various ways ("Trailer for Rent," "The Hunter's Wife"). And while the circumstances are less than ideal, there's plenty of cleverly written one-liners to lighten things up. [Linda Ryan]

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The Jayhawks, Mockingbird Time

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Album of the Day Mockingbird Time is a reunion record for Jayhawks fans, featuring both Mark Olson and Gary Louris, who split after the near-breakthrough of 1995's Tomorrow the Green Grass. The album comes with the trademarks of the Jayhawks' sound: reedy harmonies, aching mid-tempo rockers and gritty Americana imagery. The first time around, this formula kick-started the early '90s alt country movement. Fifteen years later, Mockingbird doesn't have the artistic urgency, but sounds older, wiser and more reserved. The band's strength is displayed in spades on the chiming "She Walks in So Many Ways." [Nate Cavalieri]

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Keith Urban, Be Here

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Album of the Day With so many country musicians still advocating the tear-in-beer formula for the tried-and-true tones of twangy songwriting, it's refreshing to hear this uplifting and inspired celebration of life and love. Even his cover of Sir Elton John's "Country Comfort" is a glass-raising ode to country living. [Eric Shea]

Hear It Now!


20111004-country-RU-560x225.jpg Ahhhh. Fall has arrived, and with it comes some blessed relief from the heat. But don't worry — there are plenty of hot country releases to keep you warm and cozy. In the month or so since we last checked in, there have been a number of excellent releases, many of which could end up on those pesky "best of" lists come year's end. From multiplatinum stars like Lady Antebellum to alt country mainstays like The Jayhawks to heritage artists like Glen Campbell, we've put the spotlight on all sorts of new country releases. Hit play to get caught up!

Click here to listen to an accompanying playlist: Country Roundup, October 2011.


1. Various Artists
The Lost Notebooks of Hank Williams
When Hank Williams died in 1953, he left behind notebooks filled with lyrics to over 60 songs. In 2002, Bob Dylan was approached to finish these songs, and he, in turn, enlisted help. Nearly a decade later, The Lost Notebooks of Hank Williams is released. There are a number of sad waltzes here, including Alan Jackson's wistful "You've Been Lonesome, Too," Levon Helm's forlorn "You'll Never Again Be Mine" and Norah Jones' hushed "How Many Times Have You Broken My Heart." Patty Loveless turns in the most authentic-sounding offering, while Jakob Dylan's "Oh Mama, Come Home" gets contemporary. — Linda Ryan


Dwight Yoakam, Dwight Sings Buck

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Album of the Day Bakersfield's patron saint gets the best homage anyone could have paid. Like the album title says, Dwight Yoakam sings the hell out of these Buck Owens hits, and guess what? Some of them sound better than the originals. Listen to "Love's Gonna Live Here" and hear for yourself. Yoakam also produced this album, making sure it sounded punchy and crisp. The Telecasters burn with warm tones; the guitar parts recall Owens guitarist Don Rich's signature style of call-and-response licks intertwining with the lead vocal. Yoakam didn't have to do honky-tonk homework on this one -- he lives it. [Eric Shea]

Hear It Now!


20110920-fall-songs-mixtape-560x225.jpg People can say what they want about global warming and climate change. Like, for example, "The ice is melting!" Or, "No, it's not. You're a hippie!" Whatever the reason, though, more than half the country sweltered under record temperatures for extended periods this summer. Scratch that: they sweltered under record temperatures for the entire summer. And let's face it: you don't really care about the whys and hows behind the blindly oppressive heat when you're melting in the middle of it. The only real question you want answered is, "Where can we go where there's air conditioning?"

Here in the San Francisco Bay Area, we're still waiting for summer to arrive. Here's a fact: people were still skiing up at Lake Tahoe over the 4th of July holiday weekend! The 4th of July is supposed to be about barbecues and sunny skies, swimming and sinking your toes in warm sand — the exact opposite of skiing. Traditionally, our summer comes in May, teases for a couple of weeks, and then disappears into "June gloom" until sometime in September. The best time to visit San Francisco is the first week of October, but I have a sinking feeling that our beloved Indian summer is going to give us a miss this year.

I'm not super-big into the whole, "If you can't beat 'em, join 'em" adage. To me, that's a defeatist attitude. I'm more of a glass-half-full (make mine a sauvignon blanc) kind of person, with a dash of "not going down without a fight" thrown in for good (feisty) measure. So while I must admit that yes, summer is over and fall is upon us, I don't have to make the transition gracefully. But I will. Which brings us to this mixtape.

Here are a handful of gloriously classy songs that celebrate the fall season. Some sing of rainy days. Others of loneliness. All are perfect when enjoyed by a cozy fire. (OK, sure, a heater will do.) And all sound positively fabulous when heard from your MP3 player while bundled up in a winter coat with the sharp sting of the wind on your face. Hello Kitty rain boots are optional, of course.

Click here to listen to the entire playlist: Friday Mixtape: Autumn Hymnal


The Dirt Drifters, This Is My Blood

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Album of the Day Bon Jovi's working-class grit settles all over this Nashville country-rock band's debut. That's a compliment. These raucous, pedal-steel-and-distortion-pedal anthems highlight both economic and romantic scarcity -- how both your buddy getting a part-time job and your girl sleeping with your best friend are proof that there's "Always a Reason" to drink. Willie Nelson briefly and bizarrely cameos; the title track and the shuffling blue-collar credo "Name on My Shirt" hit hardest, and closest to home: "Punchin' clocks/ Raisin' kids/ It's all there is in all these towns." [Rob Harvilla]

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Album of the Day This comprehensive collection of Kenny Rogers' musical career goes deep. Disc 1 is dubbed "The Vintage Years" and contains Rogers' early works with the Scholars, the Bobby Doyle Three, the Kirby Stone Four and the First Edition. Disc 2 is all of his No. 1 hits. Disc 3 contains classic cuts from the '70s and '80s, and Disc 4 comprises his more current songs. [Eric Shea]

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cheat_sheet_top_header_560x62.jpg 20110913-hank-williams-CS-560x225.jpg Oh, the marvels of modern technology! A handful of long-forgotten Hank Williams masters have been lovingly restored, and now the resulting three-disc set is available digitally. Rhapsody is using the release of Hank Williams: The Legend Begins to shine a spotlight on one of country music's most beloved icons. Here's where to find his best work.

The Legend Begins (2011)
This three-disc set, featuring previously unreleased gems, is a boon for Hank fans. The bulk of the collection consists of live takes from Williams' syndicated radio series, the Health and Happiness Show. The quality of these recordings, which include staples "Lovesick Blues," "Happy Rovin' Cowboy" and "Lost Highway," is impressive. The Rare and Unreleased disc surprises with "Fan It" and "Alexander's Ragtime Band," songs Williams recorded at age 15. Engineers were able to restore the decades-old acetate, and the scratches and pops make you feel like you're listening to a part of history.


Hiram King Williams may be known as the father of country music, but the singer first learned how to play the blues from a man named Rufus Payne, aka Tee Tot. This blues influence is evidenced in recordings throughout Williams' career, but comes to the forefront on the album Low Down Blues.

20110906-FRI-MIX-tennis-elbow-560x225.jpg So anyway: the extremely sore arm came first. Was initially scared it might be carpal tunnel. Googling suggested otherwise. Was relieved to learn that it being on my right side was good news. (Left can be a sign of heart failure!) Doctor prescribed exercises and ointments and ice packs. Very weird, since I don't play tennis, but so be it.

Then, just as that was starting to heal, my stomach started hurting. A lot. After a couple days — longer than heartburn's ever lasted before — it got unbearable, so I got concerned. CAT Scan said acute appendicitis (which, hey, beats kidney stones or an ulcer), so I went to the emergency room and they took it out and I slept at the hospital for a night. And the thing about your appendix is, once it's gone, it's gone — didn't need the thing in the first place! Tummy's fine now; arm's still sore, just not as much.

All of that happened in the past couple months, so naturally I constructed a playlist of music that helped me through. Most of the songs don't relate directly to said medical conditions, though at least two prominently feature pills (and one a hospital bed), and several concern trying to pay bills when there are more than enough of them to go around. But usually they're not too depressing about it. (Well, maybe once or twice.) There are two consecutive, highly boisterous songs about the economic difficulties of being an all-woman band on the road, which may well have nothing to do with the topic at hand, but you never know. There is also a song about assembly lines followed by a song about grocery lines followed by a song about unemployment lines — which happened entirely by accident, I swear! Genres include vocal jazz, country, arena prog, funk, New Wave, didgeridoo soul-rock, gospel, Italo disco, and plenty of hard rock and metal, not necessarily in that order. Hey, whatever works, right? Can't vouch for you, but these worked for me.

Click here to listen to the entire playlist: Songs to Recover from Acute Appendicitis and Tennis Elbow With

September 11, 2001 Scrapbook

20110906-9-11-560x225.jpg We all reacted to the horrible events of September 11, 2001, in our own ways — wherever we were, whatever we were doing, whichever CD or radio station or fizzy pop single we first reached for to help us cope. Here, Rhapsody's editors offer their own musical perspectives, from saber-rattling country to hopeful worship music, from pop-punk bromides to plaintive protest songs, from the momentary tentativeness of comedy to the fieriness of hip-hop to the transcendence of jazz. As Sonny Rollins put it, "Maybe music can help. I don't know, but we have to try something." Here's what we tried.

Sifting Through the Ashes in New York City

I was in Park Slope, Brooklyn, that morning, about to board the subway for work in Lower Manhattan, when my roommate told me I should turn the TV on. After the second plane hit, I went up to the roof of our apartment building and watched the smoke. Cars were dusted with ashes as far south as where I lived. I spent the day switching between staring at TV news and trying to drown out the hell in my head (and the fear that the Army might call me back up) with desolate ambient doomsday metal: Neurosis, My Dying Bride, Amorphis droning about mushroom clouds.

cheat_sheet_top_header_560x62.jpg 20110906-outlaw-country-560x225.jpg In the 1960s, most of the country charts were controlled by a handful of Nashville producers, and their fondness for lush string sections, syrupy background vocals and corny lyrics came to be known as the Nashville sound. At the same time, rock 'n' roll artists — who mostly wrote their own songs, played their own instruments, and had a hand in shaping their own sound while in the recording studio — were showing a growing number of young, blue-collar country lovers a different way of making music.

But back in Nashville, it was business as usual, which meant session musicians played, the singer sang and the producer added all the sonic "extras." Fed up with the way things were, Willie Nelson left Nashville in 1971 and headed back to Texas. Around the same time, Waylon Jennings' manager, Neil Reshen, hounded, badgered and harassed his record label to let the singer have complete creative control and produce his own records. In 1973, RCA released Jennings' Lonesome, On'ry and Mean to commercial and critical success. After that, the floodgates opened.

Here's a playlist with songs from the original players in the outlaw movement, plus some artists who buck the current Nashville norm: Outlaw Country: Old-School Classics and Future Gems.

Continue on to read reviews of key albums in the genre.

20110830-glen-campbell-560x225.jpg Earlier this summer, country music icon Glen Campbell did a candid interview with People magazine, revealing that he'd been diagnosed with Alzheimer's disease. With wife Kimberly by his side, the 75-year-old star was grateful and magnanimous: "I still love making music, and I still love performing for my fans. I'd like to thank them for sticking with me through thick and thin." Now comes a farewell album (Ghost on the Canvas) and one final series of concerts (The Glen Campbell Goodbye Tour) that will take him to most corners of the world.

Although the sad and terrifying circumstances behind Ghost on the Canvas will undoubtedly lead to plenty of sentimental hype, the fact is that Campbell still sounds fantastic, his voice clear and emotive, with a touch of his Arkansas twang still present. Producer Julian Raymond has done an outstanding job walking the fine line between nodding to Campbell's cosmopolitan glory days and making the singer sound contemporary. Jakob Dylan, Bob Pollard and Paul Westerberg contribute songs, but the most provocative tracks were written by Campbell and Raymond themselves, often based on affecting conversations between the two while they were working on 2008's Meet Glen Campbell.

Glen Travis Campbell left Arkansas for Los Angeles in 1960 and swiftly became an in-demand session player as part of the legendary Wrecking Crew — a group of talented musicians whose chops could be heard on an array of projects, from commercial jingles to TV theme songs. In addition, Campbell's guitar handiwork can be heard on classics from some of the biggest names in music: Frank Sinatra, Elvis Presley, The Beach Boys, numerous Phil Spector recordings and more.

During his 50-year career, Campbell has sold a whopping 45 million records, with such enduring classics as "Rhinestone Cowboy," "Wichita Lineman" and "By the Time I Get to Phoenix" to his name. The playlist below highlights both the jewels of that rich catalog and tracks from the new Ghost on the Canvas, while also shining a light on a few songs you might not know, or might not associate with the guitar handiwork of the Rhinestone Cowboy.

Listen to the entire playlist here: Glen Campbell: Gentle on His Mind.


Alabama, Mountain Music

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Album of the Day The third record from this country rock staple was released in 1982 and remains their biggest seller, which is quite a feat since Alabama has sold jillions of albums over the course of their career. As always, the band is more country than rock, but the Southern-fried boogie is never far below the surface. "Close Enough to Perfect" and the titular cut were hits on both the country and pop charts, but it's the dramatic showdown between ticked-off lovers "Words at Twenty Paces" that's the winner, and a clear influence on Garth's "The Thunder Rolls." —Mike McGuirk

Hear It Now!


20110823-country-RU-560x225.jpg Since our last roundup, a handful of articles have ruminated on the country music pendulum's swing away from a pop sound and toward a more traditional one. Certainly, brisk first-week sales from such blue-collar, down-home boys as Eric Church, Blake Shelton and Trace Adkins could indicate a trend, but what's more impressive (in my humble opinion, of course) is the 40-plus weeks on the sales charts racked up by Zac Brown, Jason Aldean and The Band Perry. That, my country-loving friends, is truly indicative of a trend!

With this in mind, it's hard not to notice the more traditional slant to the majority of the new releases from the past three weeks or so. Fresh efforts from the Pistol Annies, Kevin Fowler and Sunny Sweeney (hello, Texas!) have rocked our world. Ditto the new albums from country stalwart Trace Adkins and bluegrass great Guy Clark. And honey, we haven't even gotten to the alt country section yet.

For a playlist running down a dozen new releases (plus some new singles), click here: Country Roundup, Late August 2011. For a more thorough look at new country releases, read on.

1. Pistol Annies
Hell on Heels
Miranda Lambert always comes out with guns blazing. Here, that's exactly how she and her fellow Pistol Annies — Ashley Monroe and Angaleena Presley — roll. Backed by a slow beat and twangin' guitar, "Hell on Heels" is a delightfully sinister song that has the three sirens triumphing over their men. Elsewhere, the girls drink, smoke and take pills; go off the deep end ("Housewife's Prayer"); and lament marriage in various ways ("Trailer for Rent," "The Hunter's Wife"). And while their circumstances are less than ideal, there are plenty of cleverly written one-liners to lighten things up. — Linda Ryan



You Tweeted your questions. We put them in a box. Trace Adkins answered them. Watch the country star discuss badonkadonks, Donald Trump, his status as Country's Sexiest Man, and "Just Fishin'," the lead single off his new album, Proud to Be Here.

Play Proud to Be Here
As with "Hillbilly Bone" cohort Blake Shelton, Trace Adkins' 2011 album largely disregards his wild side. The sweet "Just Fishin'" rhapsodizes quality time with his daughter. The title track thanks his guardian angels, who "worked their wings off." His "Million Dollar View" is of his old lady, in their living room. The only real intoxicant is a "Love Buzz." But his submariner bass abides, cracking wise throughout and lighting up the goofy "It's a Woman Thing." (Discussed: towels, shoes, haircuts, shopping, mood swings.) Look out for the love-conquers-the-recession anthem "Poor Folks," too. [Rob Harvilla]



Chris Young, Neon

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Album of the Day He's a deep-voiced, big-hearted softie, this guy: Even his drinking songs stop to admire pretty sunsets or explain that "Save Water, Drink Beer" is really just a conservation thing. Chris Young's third record is anchored by the monster tainted-love smash "Tomorrow," and the rest of Neon sustains that spell of basso profundo sentimentality: Lovestruck belters like "You" and "When She's On" happily recall Darius Rucker. Best here though is "Flashlight," a legitimately affecting ode to all those formative years with Dad, fixing cars and talking girls. Young's still doing plenty of the latter. —Rob Harvilla

Hear It Now!


20110802-kevin-fowler-560x225.jpg Texas native Kevin Fowler has been happily pitting his rock-infused honky-tonk against Nashville's pop hooks and spray-on tans for more than a decade. For a while, he was one of Texas' best-kept secrets -- and with two failed attempts at aligning himself with major-label muscle, it looked like it might stay that way. Bloodied but unbowed, Fowler is nonetheless back for another round - and Chippin' Away just might be the KO he's been waiting for.

Lyrically, Chippin' Away covers all the requisite bases. Songs about trucks? Check. Songs about pretty girls? You betcha. Songs about drinking? In abundance, my friend. And while the subject matter might not break any new ground, Fowler sings them all with the nervous excitement of a freshman at senior prom.

Fowler's current single, "Hell Yeah, I Like Beer," starts as a bar pick-up song, and quickly morphs into an anthemic affirmation of love for the crisp, golden amber. One listen to this fist-pumping ditty and beer lovers will surely start quoting such lines as "It's good for your heart, it's good for your mind/ It's good for getting through a lonely old night." Or perhaps, "Everybody knows you shouldn't drink too much/ So why's it always seem like there's never enough/ Hell yeah, I like beer." Whether this happens under the influence or not is entirely up to you.

There are plenty of first-rate songs on Chippin' Away, including the heartland rocker "That Girl," the good-time twangin' tune "Girl in a Truck," the heartfelt tearjerker "Daddies and Daughters," and the loud and rockin' "Beer Money." In a year already filled with a bounty of decent country releases, Chippin' Away, is one of the best to date. And it's available a full week early, only on Rhapsody.

Click here to listen to Kevin Fowler's Chippin' Away



Watch Luke Bryan perform Every Time I See You live from Rhapsody Rocks the 2009 CMA's in Nashville.

Play Tailgates & Tanlines
Luke Bryan, Luke Bryan is a one-man auto industry bailout. Scantily clad women dance on his truck (or sometimes tractor) on the peppy smash hit "Country Girl (Shake It for Me)"; later, a truck is Bryan's means of escape in a surprisingly bluesy, growly mini-suite of brooding jams kicked off by "Muckalee Creek." It's pop country with muscle and, as befits a third album, expanded range, sexy but wholesome, adult but almost childlike: "Tangle me up like Grandma's yarn," he tells the shaking ladies. The lovelorn "I Know You're Gonna Be There" is legitimately sad, but he'll always have his four-wheeler.

- Justin Farrar

Eric Church, Chief

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Album of the Day Track list of the year: Two "Jesus" callouts (including the amazing rapture fantasy "Country Music Jesus"), one tribute each for "Springsteen" and "Jack Daniels," and booze/hangover odes (plus "I'm Gettin' Stoned") filling out much of the rest. He's an I-fear-God-and-everyone-else-should-fear-me righteous hellraiser, this guy, louche and unapologetic and blessed with a third album that, as usual, sounds amazing: deft acoustic guitar wending throughout, rapturous power chords striking at odd angles, pulverizing drums ringing clear and pure as church bells. The piano on "Springsteen" kills. —Rob Harvilla

Hear It Now!


20110802-best-of-luke-bryan-560x225.jpg To celebrate our exclusive, one-week-only leak of Luke Bryan's great new album, Tailgates and Tanlines, we thought we'd put together a combination greatest hits/deep cuts sorta deal, combining smash singles ranging from "Do I" to "Country Girl (Shake It for Me)," deep album cuts, and a few live/EP-only tracks from his younger, more frat-oriented days (instructive titles: "Cold Beer Drinker," "Love in a College Town"). Consider it a fairly comprehensive portrait of a rising star adept at getting you to shake it even if you are not, in fact, a country girl. Enjoy.

Luke Bryan's Greatest Hits (So Far)


20110802-luke-bryan-ext-review-560x225.jpg Luke Bryan makes you want to own a truck, and that's the highest praise you can give a country artist in 2011. He's mentioned his preferred mode of transportation in nearly every song he's released (key track on his 2007 debut, I'll Stay Me: "We Rode in Trucks"), a trend that continues on his third album, the appropriately named Tailgates and Tanlines. Scantily clad ladies dance upon a truck (or a tractor, whichever they prefer) on the smash hit "Country Girl (Shake It for Me)"; later, he uses one to flee civilization and trawl for catfish down in the swampy, deserted "Muckalee Creek." Practically every other song finds him attempting to bed some foxy Southern lass in the sort of bed you can't buy at IKEA. The dude is a one-man auto-industry bailout.

He's also bright, cheerful, affable and not at all unsavory in, say, the Toby Keith vein. (See Keith's recent "Get Out of My Car" for a taste of his rapport with the ladies.) Tanlines is tremendously appealing pop-country with surprising muscle, not to mention a tricky combination of sexy and wholesome, adult and almost childlike. "Tangle me up like Grandma's yarn," Bryan drawls to the shaking country girls. Lines in other, equally triumphant choruses include "Girl you make my speakers go 'boom boom'" and "I got a catfish line goin' 'bump bump.'" He reminisces: "In that moonlight/ I saw her tanlines." He woos: "You're lookin' so damn hot." He mourns: on the solemn post-mortem love song "I Knew You That Way," he claims to know his lover "Like teardrops know the words to 'Amazing Grace.'"



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Randy Montana give it up for Tom Petty's Wildflowers.

Play Randy Montana

Randy Montana
Randy Montana

Tom Petty
Wildflowers

20110726-jason-aldean-SM-560x225.png Despite looking suspiciously like Bam Margera, Jason Aldean is the hottest dude in country right now, and has been since the November 2010 unveiling of My Kinda Party, his fourth album of pop country shine expertly crossed with surly hard rock spit. He contains multitudes: fiery guitar-rock anthems, goopy Kelly Clarkson duets, strident hick-hop excursions, and tender AOR odes to various red states and the women he's lusted after while driving through or flying over 'em. Here, a look at the various dirt roads that led him to the brink of country superstardom, and the anthems he absorbed along the way.

For more, listen to my mix_play_18x14.gifSource Material: Jason Aldean's My Kinda Party playlist.

Colt Ford
Ride Through the Country
"Dirt Road Anthem" is far and away Party's most innovative moment, Aldean slipping semi-fly-for-a-white-guy rapped verses ("If it's broke 'round here we fix it" is well turned) between Southern-rock-anthem choruses, but the innovation isn't his. Gargantuan ex-golf pro and fellow Georgian Colt Ford first cut the tune in 2008, a far better emcee than Aldean prone to farming out his sung choruses to far better singers than himself, in this case co-writer Brantley Gilbert. The switch from the original's deft acoustic guitar and digitized drum loop to the Aldean version's power chords and stomping drums makes all the difference — kudos to Jason for recognizing a smash hit when he heard it. And if your appetite's whetted, Ford does this sort of thing for a living, hailing Southern staples both real ("Waffle House") and imaginary (the more recent and way more uncouth "Titty's Beer").


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Album of the Day When a creative drought followed 2003's brilliantly tossed off Soul Journey, Gillian Welch spent eight years returning to the fundamental strengths on which she built a career: imagistic, carefully detailed songwriting rooted in deceptively plain-spoken Americana. The result is loaded with heavy-hearted ballads that wrestle with self-doubt and fatalistic inclinations. (It's written all over the titles: "The Way It Will Be," "The Way It Goes," "The Way the Whole Thing Ends."). Every note and lyric seem placed with great intention; the resulting record is one of her best. —Nate Cavalieri

Hear It Now!


Country Roundup, July 2011

20110719-country-RU-560x225.jpg Blake Shelton, the self-styled Most Interesting Man in Country Music, may be the marquee name amid the last six weeks or so of new releases, but his Red River Blue has plenty of competition, both on the charts and in our hearts. Spare some time also for sassy Ashton Shepherd, mushy Chris Young, the gritty Dirt Drivers, the rebellious Justin Moore and the goddesslike Gillian Welch. Also, don't miss the archival Neil Young live jam A Treasure, revisiting his country-rock prime with some of the loudest, nastiest guitar solos imaginable. Some great stuff here, from traditionalists to wanton experimentalists, so dive in.

Click here to listen to our accompanying playlist: mix_play_18x14.gifCountry Roundup, July 2011


1. Blake Shelton
Red River Blue
Now a TV star (via The Voice) and a tabloid-worthy husband (via Miranda Lambert), Blake Shelton's profile has never been higher than on his sixth full-length, which he fills with an expert mix of goofiness and lovey-doveyness: "Hey" and "Get Some" (great stoner gag) represent the former; sugar-sweet No. 1 smash "Honey Bee" and titanic power ballad "God Gave Me You" the latter. Not much here for fans of his louche, bar-crashing "Kiss My Country *ss" side ("Ready to Roll" is, paradoxically, about snuggling on the couch), but an appealing crassness still shines through all the sweet talk. — Rob Harvilla



Ever wonder what your favorite artists were like in high school? We've got answers for you right here in our new video series, "Senior Year." Watch Alabama native and up-and-coming country star Ashton Shepherd reminisce about Eminem, Third Eye Blind and her secret cheerleader past.. Enjoy.

Ashton Shepherd
Where Country Grows
"The word is 'faithful'/ Look it up" is a pretty fantastic seven-word start to a tart-country-heroine album, delivered by Alabama firebrand Ashton Shepherd in a vicious, infectious twang that kills whether she's singing the praises of "Beer on a Boat," detailing the simple pleasures of a town with "More Cows Than People," or apologizing to God via the swampy shuffle "Tryin' to Go to Church." Of the weepy slow jams, "That All Leads to One Thing" hits hardest, the one thing being D-I-V-O-R-C-E. She oughta start a reverse dating service where she'll tell off your crap dude for $200 a pop. Pay it.

- Rob Harvilla


On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Ashton Shepherd give it up for her favorite album of all time, Alan Jackson's Under the Influence.

Play Where Country Grows

Ashton Shepherd
Where Country
Grows

Alan Jackson
Under the Influence

Neko Case, Middle Cyclone

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Album of the Day Her rich alto has always delivered a visceral gut shot, but with Middle Cyclone Neko Case continues to emerge as a songwriter who truly knows how to wield the commanding instrument. When she sings "My love has never lived indoors/ I had to drag it home by force," on "Vengeance Is Sleeping," it's a nod to this record's salty themes (Mother Nature, a killer whale, and prison girls cameo). As she stomps through the elaborately produced country-inflected rock, the smattering of threats ("I will punch you in your face") disenfranchised come-ons and desperate rage is intoxicating. —Nate Cavalieri

Hear It Now!


20110705-single-phile-560x225.jpg Ah, summer. The season of beaches, bikinis and banging summer singles. A few weeks back, we gifted you with our massive mega-mix of past and present summer jams. But on this edition of single-phile, we take a look at the latest and greatest songs of this summer, and the seasonal trends that followed.

Sure, summer's got some perennial themes: hot girls, sweaty dancefloors, boozing and cruising. But each year also has its own particular pet topics. Sometimes the boys are pimpin', sometimes the girls are kissing girls, and sometimes it's all puppy love and new romance. This summer, the love songs are angsty and sensitive, with everyone from Travie McCoy to Lil Wayne waxing plaintive, poetic and, at times, even a little pathetic. Click through to find out more about this season's biggest trends, and listen to summer's hottest new singles! Also, while you're reading, check out our accompanying playlist: mix_play_18x14.gifsingle-phile: The Sounds of Summer 2011

Cheat Sheet: Girl Power

cheat_sheet_top_header_560x62.jpg 20110628-beyonce-girl-power-560x225.jpg "Run the World (Girls)" may mark the first time Beyoncé has ever assembled an actual army of ladies to stage a pop-culture gender coup, but she's always claimed a powerful position for girls with her music. Bey's been on a girl-power trip for a long time, from Destiny's Child's strong sister anthems (see "Bills, Bills, Bills" and "Independent Women Pt. 1") to the tables-turning "Suga Mama," from the "A Milli" answer song "Diva" to the Fosse-fied kiss-off "Single Ladies." As fiercely original as they are, however, those female-focused cuts are also steeped in a long history of girl-power pop: mainstream-friendly tunes that make you wiggle your booty and maybe think critically about what it means to do so.

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Album of the Day The Nashville neo-traditionalist with the soap opera name is back for another winning collection of classic country rave-ups and ballads. Rockers such as "Cotton Pickin' Time" and the Jimmy Buffett-style "Some Beach" offer up honest fun while the looser anthem "I Drink" shows Shelton's way with a narrative. —Nick Dedina

Hear It Now!




On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Justin Moore talk about his favorite album, Hank William Jr.'s Whiskey Bent and Hell Bound .


Justin Moore
Outlaws
Like Me

Hank Williams, Jr.
Whiskey Bent
& Hellbound

senior_year-banner-560x60.jpg 20110621-4-H-club.jpg If you grew up in the Midwest, you know what the 4-H Club stands for. I mean, what it really stands for — not just the "head, heart, hands and health" motto that makes up the four H's. The idea is simple: teach young people and their families the skills they need to be proactive forces in their communities, and develop ideas for a more innovative economy. The program revolutionized the way science was taught outside the classroom; in 100+ years of active service, more than 60 million youth have used the program, from elementary school kids to high school seniors.

With its emphasis on agriculture, livestock and community, the 4-H is a natural fit for rural youth growing up in small towns and on farms. Naturally, these kids prefer country music, a style with lyrics reflecting both the charm and the claustrophobia of small-town living. If any song understood the need to pick up and run away, it was Sara Evans' "Suds in the Bucket." If any song reflected the joys of simple small-town living, it was Darryl Worley's "Awful Beautiful Life." And certainly, no one tapped into the heartbreak of sending former 4-H participants off to war better than John Michael Montgomery's poignant heartbreaker "Letters from Home."

All of these songs hit the country charts in 2004. If you were a senior in high school and 4-H member back then, chances are this playlist was the soundtrack to your life some seven years ago.

Click here to listen to the entire playlist: Senior Year 2004: Sounds From the 4-H Club


The Best of 2011 (So Far)

summer-best-of-2011-so-far-560x225.jpg One aspect of summer that never fails to surprise is that the year is now nearly half over: we are closer to 2011's year-end critics-poll season than we are to 2010's. You've started drafting your own Top 10 list already, right? No? You haven't? Don't panic: here, Rhapsody's genre editors each pick their five favorite records of the year so far. How many will survive until November? Which ones will be replaced by Lil Wayne, by Beyoncé, by the soundtrack to Spider-Man: Turn Off the Dark? Time will tell, but for now, here are our picks for the year's best, half a year early.

summer-what-your-summer-jam-says-560x225.jpg Summer jams. Everyone's got one. That song that evokes instant images of sun and fun, that makes you smell the barbecue and taste the daiquiri, that just sings summer to you. But what does your summer jam of choice say about you and, more importantly, your summer personality? We've developed this handy-dandy little guide to psychoanalyzing your summer anthem —or at least finding the perfect drink to pair with it.

Your Summer Jam: "Summertime" by DJ Jazzy Jeff and the Fresh Prince
You're a classicist. None of these new-fangled, frenetic dance-floor anthems the kids get all sweaty for these days. You prefer your summers lazy, hazy and chill … and your summer jams slow, smooth and swaggering.
Your Summer Activities: Barbecuing. Riding down the street in a lawn chair on the bed of a truck. Sitting back and unwinding.
Your Summer Drink: Henny and coke. Spiked Kool-aid.
Your Summer Destination: Philly, or anywhere your family and your crew is.
Your Summer Outfit: Anything really, as long as it involves bright colors and a ball cap shoved rakishly to the side.
Your Summer-Romance M.O. You'll dance with whoever, but when the sun goes down, you're in bed with wifey.

Trace Adkins, Cowboy's Back in Town

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Album of the Day The big lug's been on a roll since 2008's X, his eighth and strongest album. And he keeps getting better at big-bam-boom butt-rock, with near-metal riffs to shake honky-tonking badonkadonks: barn-sex stomp "Brown Chicken Brown Cow," Crimson Tide shout-along "Ala-Freakin-Bama," mean fisticuff warning "Whoop a Man's Ass." He also shows perfect comic timing with "Hold My Beer" (about gettin' hitched) and "Hell, I Can Do That" (about bein' a couch potato). And if the album's middle gets a bit bogged down in lovey-dovey slow jams, Trace's soul-and-western baritone keeps things manly regardless. — Chuck Eddy

Hear It Now!


20110531-country-RU-560x225.jpg Whether you're a fan of country pop, traditional fare or something a bit more alt-leaning, we've got something for you in our spring roundup of new country releases. This time around, we're highlighting new albums from superstars (Brad Paisley), legends (Levon Helm) and newcomers (Craig Campbell) alike, along with a bevy of fresh singles from both well-known artists (including Kenny Chesney and Neil Young) and up-and-comers like Hunter Hayes. It's all just a click away.

Brad Paisley
This Is Country Music
As usual, Paisley breaks up emotional numbers ("One of Those Lives," "New Favorite Memory") with lighthearted songs that border on hilarious ("Camouflage," "Don't Drink the Water"). But he also steps outside the box for his eighth album, seamlessly melting Beach Boys harmonies ("Working on a Tan"), mariachi riffs ("Don't Drink the Water") and spaghetti Western flavor ("Eastwood") into his sound. Remarkably, these elements sound quite at home within each song — and that is Paisley's greatest strength. Guests include Alabama, Don Henley, Marty Stuart, Blake Shelton, Carrie Underwood and more. — Linda Ryan


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Album of the Day That's right -- 50 George Strait songs that went straight to the top of charts. The ultimate anthology for country music fans, this awesome collection celebrates his place in history as the artist who's had more No. 1 hits than anyone else. Garth Brooks may be more popular, but Strait invented the New Traditional sound. — Eric Shea

Hear It Now!




You tweeted your questions. We put them in a box. Watch sisters Becky, Emily, and Joanna Robertson of Carter's Chord answer your questions about working with family, growing up with parents in Waylon Jennings' band The Waylors, and of course, all about their new album Wild Together.

Carter's Chord has been holed up for the better part of a year writing and recording the songs on this EP, and it hasn't been time wasted. Sisters Emily, Becky and Joanna pull off drop-dead amazing harmonies, which really make songs like "A Little Less Comfortable" and "We Ain't Making Love" stand out. The highlight here, though, is "Love a Little Bigger," a beautiful song written by Emily, inspired by the sisters' trip to Guatemala. Unlike the other tracks, it tones down the harmonies and showcases gentler arrangements to add drama. - LRYAN
cheat_sheet_top_header_560x62.jpg 20110524-nashville-sound-560x225.jpg When rockabilly stole away much of country music’s younger audience in the mid-1950s, Nashville producers aimed for a more adult market. Producers Chet Atkins and Owen Bradley took their cues from the pop music world, cutting out the sharp edges of fiddle and banjo, and adding smoother, lusher tones with string sections and background choruses. This became known as the Nashville sound, which dominated country from the ’50s through the ’70s.

By the early ’60s, the pop influence in country music was so pronounced it had its own nickname: countrypolitan. Marketed directly to a mainstream audience, the style made stars out of such country legends as Glen Campbell, Lynn Anderson and Charley Pride, and it peaked with the work of producer Billy Sherrill, who created an even fuller, lusher, over-the-top pop sound well suited to Tammy Wynette, honky-tonker Johnny Paycheck and even Mr. Country Music himself, George Jones.

There was a backlash, of course: as the likes of Eddy Arnold, Jim Reeves and Charlie Rich took over the pop charts, a country-centric counterculture arose in Bakersfield, Calif., led by such outlaws as Buck Owens and Merle Haggard. But there’s no denying that the Nashville sound a product of some of country music’s most beloved legends. Below are key albums from some of the key players in the Nashville sound. While you're reading, check out our accompanying playlist: The Nashville Sound.


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Album of the Day Does there really need to be another Rolling Stones tribute album? On the strength of Great Lake Swimmers' "Before They Make Me Run" and Everest's "Sweet Virginia," there obviously is still an untapped niche out there. This particular compilation is light on hits and heavy on album cuts, and, for the most part, succeeds in reinventing those steel wheels. The biggest pleasures come from the "neglected gems," which are scuffed up and fleshed out with twanging guitars and lamenting harmonicas. Other highlights include "Dear Doctor" (by Lee Harvey Osmond), a sublimely gritty version of "Wild Horses" (by Neal McCarthy) and "You Got the Silver" (by Barbara Kessler). — Linda Ryan

Hear It Now!


20110503-upcoming-releases-560x225.jpg We must admit that Tuesday is our favorite day of the week here at Rhapsody: that's when new releases come out. Thankfully, the next three months of Tuesdays look absolutely glorious, full of fresh music from ukulele-brandishing rockers, electronic pioneers, strident country hit makers, unabashed pop divas, unrepentant metalheads, CCM luminaries, contenders for Best Rapper Alive honors, soul superstars and, of course, Lady Gaga. Here's the best of what's to come.


Lady Gaga, Born This Way (May 23) Quite possibly the most anticipated album of 2011, Gaga's second full-length bears a heavy load: there's the dreaded sophomore slump to avoid, and her massive celebrity to justify. Then there's the public's increasingly conflicted position on Gaga to contend with: do we find her hyper-theatricality annoying or endearing? Are the new singles ("Judas" and "Born This Way") brilliant meta-nuggets of pop culture or weak Madonna rip-offs? The whole world waits with bated breath to decide. — Rachel Devitt

Beyoncé, TBD (June) Then again, with just one girl-power-hungry, oh-Sasha-it's-fierce lead single packed with distinctive Diplo-and-Switch beats, Beyoncé made the world sit up and go, "Gaga who?" And when her fourth album drops sometime in early summer, you can bet your granny panties B's gonna knock all those lesser divas down like dominoes. — R.D.

Kanye West and Jay-Z, Watch the Throne (hopefully soon) Keep watching. This long-threatened mega-rapper summit will happen eventually, we swear: manic lead single "H.A.M." emerged way back in January, but it's been mostly radio silence since. Still, whenever these guys get around to it, Throne is sure to be a delightfully extravagant bacchanal of Best Rapper Alive narcissism. Hopefully Nicki Minaj drops by, too. — Rob Harvilla

Clint Black, Killin' Time

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He's got good looks, fondly crafted songs, and a trenchant if anonymous voice, subtle even for Nashville neotraditional. Buoyantly in love on "Straight from the Factory," he quickly follows with as gracious a breakup song as you could hope to hear. Yet though she may have left him "A Better Man," he's not together enough to live without her. So for the rest of the album he spends a lot of time in bars -- every one subtly and trenchantly evoked, of course. — R. Christgau

Hear It Now!


Country Roundup: April

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Is it us, or has there been a serious lack of new country music in recent months? Things are finally moving in the right direction, though, and we've got the lowdown on all the new country releases, be they albums or singles.

This week alone, we have new albums from the graceful Emmylou Harris, the rough-and-tumble Steve Earle and a leak of the new Colt Ford album, Every Chance I Get. In the past few weeks, there has been a handful of really exciting singles that radio has gone crazy for: it's no surprise to us that Luke Bryan, Blake Shelton, Eric Church and Ashton Shepherd currently have the fastest-rising singles of their careers.

Rhapsody makes it easy for you to stay ahead of the game when it comes to discovering new music. Below is the link for the playlist we made spotlighting all these new releases because, well, hearing is believing!


Playlist: Country Roundup: April, 2011


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Josh T. Pearson's debut album is an auspicious one. The troubadour creates, much like Lorca-era Tim Buckley and Fred Neil (see Sessions) before him, an expansive interpretation of American folk music. Steeped in space and silence, every track is a quietly sweeping orchestral ballad. Four of them, including the heartbreaking "Sorry With a Song," break the 10-minute barrier. But for all its atmosphere and introspection, Last Of The Country Gentlemen is ultimately a stormy meditation on devastation, loss and suffering. Seriously, folks will be obsessing over this record for years to come. —Justin Farrar

Hear It Now!

Alison Krauss, Paper Airplane

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Lyrically, Paper Airplane is a somber affair, but there are plenty of tempo variations; songs such as bluegrass-infused kicker "Miles to Go" and the traditional Irish sounding "Bonita and Bill Butler" are plucky enough to pass for happy-go-lucky if you don't listen too closely to the words. But when Krauss and Union Station really start to wallow, it's intoxicating: "Paper Airplane" is a stunning song about a relationship's end, and it serves as the perfect foil for Krauss' delicate voice, while the cover of Richard Thompson's "Dimming of the Day" will break your heart upon the first listen. —Linda Ryan

Hear It Now!
20110419-country-festivals-560x225.jpgAs the sun shyly reintroduces itself, the alluring pull of summer becomes a strong tug at the heart. Visions of warm weather, barbecues at water's edge and a general sense of relaxation pervade mind and body. And with summer comes an insane amount of music festivals. But where are they? Who is playing at them? Which ones, if any, are family-friendly?

We're running down country music's Top 5 summer festivals, giving you the inside scoop on the performers and the highlights each festival has to offer concertgoers. Get ready for summer!


Stagecoach: Indio, Calif., April 30-May 1

The dust will barely have settled (literally) from the alternative music festival Coachella when the boots-and-buckles crowd descends on the same venue, the Empire Polo Club in Indio, for the two-day country event known as Stagecoach.

Stagecoach debuted in 2007 and immediately filled a gap in the West Coast touring circuit. That first year, the festival featured Alan Jackson, Sara Evans, George Strait and newcomers Miranda Lambert and Eric Church. With that home-run lineup, the festival was off and running.

Stagecoach features three pricing tiers: the $149 general admission weekend pass is, without a doubt, the most economical. Additionally, there are two reserved seating areas: at $799 per weekend ticket, the P1 area places you right in front of the mane stage (mane stage. Get it?), while the P2 seating (at $499 per weekend ticket) puts you in the section just beyond the P1 area. Both reserved seating areas have access to an adjacent VIP area that consists of shaded areas, picnic tables, couches, extra restrooms, food & beverage vendors, and a full cash bar. Sounds heavenly after a hot afternoon baking under the desert sun!

20110401-marty-stuart-SM-560x225.jpg RCA's infamous Studio B was the place to record in the '60s, '70s and '80s, hosting a veritable Who's Who of music. Everyone from Elvis Presley to Waylon Jennings to Dolly Parton and the Everly Brothers recorded hits there. In fact, in the 1960s, the studio (and the sessions recorded there) played a large part in developing what's now referred to as the "Nashville sound."

In 1977, the studio was made available to the Country Music Hall of Fame for tours, and in 1992, it was donated to the Hall of Fame outright. Since it's a museum of sorts, Marty Stuart had to obtain special permission to record Ghost Train: The Studio B Sessions in this facility. It was a homecoming for Stuart, who, at the tender age of 13, participated in his first-ever recording session playing mandolin in bluegrass legend Lester Flatt's band.

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20110322-lost-highway-CS-560x225.jpgTen years ago, Luke Lewis, chairman of Universal Nashville, made his dream of a nurturing, singer-songwriter-oriented label into reality with the launch of Lost Highway. The aim was to create a label that, as he says, "might be a haven for artists that make enduring music not driven by hits on the radio," and Lost Highway put that dream to the test with their first release, the soundtrack to the quirky movie, O Brother, Where Art Thou? Five Grammy Awards and 7 million sales later, Lost Highway was up and running in the fast lane. Since then, the label has released gems from pioneers such as Willie Nelson, Elvis Costello and Johnny Cash as well as groundbreakers including Whiskeytown and the Jayhawks. Not to put too much emphasis on the numbers, but since its inception, the label has released 80 albums, sold 18 million units, and earned 53 Grammy nominations resulting in 15 wins.

With its emphasis on quality songwriting (as opposed to radio hits), Lost Highway has emerged as a true testament to artist development — in an era when artist development has gone the way of the cassette. The label will celebrate its rich contribution to music by releasing 20 titles from its diverse catalog in limited-edition clear vinyl throughout 2011. And you thought Johnny Cash's American VI: Ain't No Grave couldn't get any cooler.

We've culled a dozen of our favorite Lost Highway releases from the past 10 years.

Country Roundup

20110315-country-RU-560x225.jpg March. March madness. Twenty-odd days until spring officially starts. St. Patrick's Day. There's something hopeful and expectant about the month of March; it's hard to pin down, exactly, but it's certainly there.

To foster that excitement, we have a slew of brand-new country singles, each its own little celebration of love, loss and hope. Additionally, there has been a spate of killer bluegrass albums released this month as well — maybe others, besides me, like to draw the connection between traditional Irish music and bluegrass and, well, St. Patrick's Day is upon us ... OK, maybe it's a stretch. But the music is all here, just waiting to be discovered.


senior_year-banner-560x60.jpg 20110301-urban-cowboy-CS-560x225.jpg Back in 1980, you saw Urban Cowboy in the theater and it changed your life. You bought the boots. And a hat. Months later, The Dukes of Hazzard debuted on television, and you subsequently tuned in religiously each week. Let's be honest: you tried to do that Bo Duke slide about a thousand times and still couldn't git 'er done, right? Travolta's Bud may not have resonated with the high school crowd the way that Bo and Luke did, but the trendy fashions of the day yielded the same results: boots, prairie blouses/dresses, big ol' belt buckles — and the infamous Daisy Duke shorts and tied shirts, of course.

If you were a senior-year cowboy (or a wannabe) in 1980, you probably sat outside in the sunshine, near the jocks playing football — but not too close. And chances are you made a mixtape that sounded something like this.

Click here to listen to the entire playlist: Senior Year, 1980: Boots, Blouses and Belt Buckles


cheat_sheet_top_header_560x62.jpg 20110301-CS-urban-cowboy-560x225.jpg Although the 1980 movie Urban Cowboy was panned by critics, the general public was attracted to something beyond the thin plot and John Travolta's fine two-step moves — which, let's face it, paled in comparison to his electrifying disco moves in Saturday Night Fever. The soundtrack, which blended classic rock (Bob Seger) with countrified rock (J.D. Souther, the Eagles, etc.) and country-pop (Anne Murray), also saw former honky-tonkers Mickey Gilley and Johnny Lee soften their sound, choosing to record slow songs with lush string arrangements. Its broad appeal helped nudge country music squarely into the mainstream — a trajectory set nearly a decade before, when producers such as Billy Sherrill were actively making records in Nashville.

Inspired by an article in Esquire about Houston oil-riggers who unwound in honky-tonks such as Gilley's (where the film was made), Urban Cowboy spawned a pop-culture revolution. Country music had formerly appealed mainly to blue-collar middle America, but the growing hybridization of country and rock brought young white-collar rockers into the mix. Likewise, the increasingly over-produced, middle-of-the-road sound coming from stalwarts such as Dolly Parton and Kenny Rogers helped open country up to older folks, and those pesky fans of lite rock.

Before the success of Urban Cowboy, country music had never seen consistent platinum sales like it did during the first half of the 1980s. Here are some of the albums that best encompass the urban cowboy subgenre.


Loretta Lynn, Van Lear Rose

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As the producer, Jack White makes Lynn's album sound like countrified White Stripes with better drumming, but that's just fine. This is the first time Lynn has recorded all her own songs on one record, and her music proves to be more haunting than any Nashville producer could have imagined. Oh, and the kids will dig it. — Eric Shea

Hear It Now!

Country Roundup

20110215-country-RU-560x225.jpg As most of the country digs out from under snow and ice, things are heating up here at Rhapsody. New releases on labels big and small are starting to flow with some regularity. Isn't it great that with Rhapsody, you can listen to the latest offerings while ensconced on your own sofa? But where to start?

How 'bout checking out "lost" tracks from country legend George Jones? Or how about something new, like the self-titled debut album from newcomers Thompson Square? Here are a handful of new releases we think country music lovers will appreciate, even while freezing.

George Jones
The Great Lost Hits

Throughout his career, the legendary George Jones has made an indelible mark on country music. These "lost" hits come from Jones' days at Musicor, the label he left for Epic in 1971, and they weren't lost so much as hung up in legal limbo for years. The production quality varies from song to song, and there are some pops and hisses, as though the songs were mastered from vinyl, but that doesn't diminish some of Jones' brightest gems: "Love Bug," "Walk Through This World with Me" and "A Good Year for the Roses" are simply fantastic. And what a thrill to discover original recordings of songs such as "Beneath Still Waters," which Emmylou Harris took to the top of the country charts, or "Your Angel Steps Out of Heaven" which both Elvis Costello and The Flying Burrito Brothers (among others) covered. The Great Lost Hits is a rarity in that it's the perfect bookend to your record collection, and also a fine place for newcomers to start. — Linda Ryan


Black Country History

20110208-black-country-560x225.jpg The past few years have been better than average in terms of African Americans scoring in country music. First there was Cowboy Troy, the six-foot hick-hop rapper who put out a couple albums after first showing up as a sideshow under Big & Rich's big top in the mid-'00s, and Rissi Palmer, whose 2007 hit "Country Girl" was the first country-charting single by a black woman in two decades. A year later, ex-Blowfisher Darius Rucker put out his first country album, which exploded; he's had four No. 1 country singles so far, making him easily country's most commercially successful black artist since the career of ex-Negro League baseball player Charley Pride started falling off in the early '80s. When you've accounted for Ray Charles — who played in a hillbilly band known as the Florida Playboys before he was a star, and whose 1962 Modern Sounds in Country and Western Music topped Billboard's album chart for 14 weeks — you've probably covered the extent of what most music fans knows about black people in country. But actually, the story goes back further than the genre itself. And all along, country and black American music (blues, jazz, gospel, soul) have never stopped interbreeding.

20110201-dolly-parton-560x225.jpg Since the late 1960s, Dolly Parton has been charming people with her sweet Tennessee voice — not to mention her bubbly personality and straight talk. The '70s saw her stand on her own, allowing us the opportunity to get to know her a little bit better. By the time the '80s rolled around, Parton was a music phenomenon, crossing over into charts with such regularity, she made it look downright easy. The '90s saw her retrace her country roots, where she has comfortably spent the first ten years of the new millennium.

With 40-plus years in the music business behind her, Parton has truly become a country and pop music icon. Describe her in three words? How about: Larger. Than. Life. Whether you are talking about her voice, her personality, her success, her recorded output — and yes, her hair and her figure — the words larger than life seem to fit.

January 19 marked Dolly Parton's 65th birthday, so what better time to look back at some of the icon's biggest hits and most endearing songs.

"The Last Thing on My Mind"
This was Porter Wagoner and Dolly Parton's first single, and for many, the song served as their first introduction to Parton. She was hired to replace the recently departed Norma Jean, and it took a while for Wagoner's audience to warm up to Parton. This single was released in late 1967, and by January 1968 had reached the Top 10 in the country music charts. It was an auspicious beginning to what would become one of the most successful duos in country music.

"Mule Skinner Blues"
By the time 1970 rolled around, Parton had a number of hits as part of the Wagoner/Parton duo, but success as a solo artist eluded her. Eventually, she tried her hand at the twanging Jimmie Rodgers classic "Mule Skinner Blues (Blue Yodel No. 8)" and finally broke through. Was it her yodel? Was it the railroad-like chugging rhythms? Was it the wild fiddle? Whatever it was, the song peaked at No. 3 on the charts.

"Joshua"
"Joshua" was Parton's first No. 1 song, and the chart-topping victory was made even sweeter by the fact that Parton penned the ditty herself. With a strong sonic resemblance to Johnny Cash's "A Boy Named Sue," "Joshua" tells the tale of an orphan girl who falls in love with a misunderstood loner named Joshua. The song is colored with vivid imagery of a rundown shack by the railroad tracks, and one can't help but think this backdrop was lifted from Parton's real life, where 12 children were raised in the tiny house her sharecropper father and mother called home in Locust Ridge, Tenn.

cheat_sheet_top_header_560x62.jpg20110125-country-duos-560x225.jpg The idea of singing — harmonizing — as a duo has gone hand in hand with country music since long before labels started recording it in the 1920s. Family acts, who would have been harmonizing with each other at home and in church for years, became a popular attraction in the '30s and '40s, and laid the foundation for duos (related or not) for decades to come.

Over the past few months, there has been a spate of releases by duos trying to make a name for themselves: Steel Magnolia, Thompson Square, the JaneDear Girls, Joey + Rory and Bomshel are among a clutch of new artists hoping to be the next big country music duo. With that in mind, let's take a look at some classic country duos — twosomes who have made an indelible impression in the country music world, and set the bar for all the newcomers.

We've only scratched the surface here. Got a favorite duo we haven't covered? Let us know. And, while you're reading, check out our Twangin' Twosomes extended playlist.

The Stanley Brothers
Ralph and Carter Stanley were Virginia boys who infused their bluegrass music with the mountain traditions they grew up with. By 1947, the two were playing around, mixing it up with peers such as Bill Monroe, whose more commercial sound influenced the brothers' approach to bluegrass. The following year, the Stanleys signed to Columbia Records, and over the next three years they recorded 22 songs, many of which have become classic bluegrass mainstays. The duo left Columbia for Mercury in 1953 and continued to push the boundaries of bluegrass, adding flourishes of gospel and honky-tonk to their original songs.

The Complete Mercury Recordings
Compare this collection to The Complete Columbia Stanley Brothers and you'll quickly notice just how much more forceful the duo sounds here. Where their earlier sides for Columbia highlighted the brothers' high harmony work, these mid-'50s recordings for Mercury saw the Stanleys and their Clinch Mountain Boys morph into a rugged bluegrass juggernaut, one that stressed manic breakdowns over traditional ballads. Still, it wouldn't be the Stanley Brothers without a tearjerker or three. — Justin Farrar



20110125-b4stars-560x225.jpg Before your favorite rock, rap, pop and country stars were famous, they were just … people. Which, chances are, also means they were struggling and striving musicians or singers who probably spent time in bands that never hit big, and that you may have never even heard of. Some of those bands recorded actual albums, or at least singles — many of which just happen to be available on Rhapsody. Here's a pile to check out.

Moving Sidewalks
These sun-fried late '60s blues banditos were best known for the love-in-the-elevator nugget "99th Floor" — a radio chart-topper for over a month in Houston, not so much anywhere else. Guitarist Billy Gibbons later made his name with ZZ Top.

The Vagrants
The Vagrants were soul-garagers who attended the same Forest Hills, Queens, high school as sundry future Ramones; the group featured hefty guitarist Leslie West before he moved on to form '70s hard-rocking boogie bunch Mountain.

The Mynah Birds
This Toronto R&B outfit recorded sundry tracks under different lineups in the mid-'60s — notably "It's My Time" and "Go On and Cry," which Motown didn't release at the time, though they showed up on a box set four decades later, after ex-Mynahs Rick James and Neil Young had become household names.

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I never took Charlie's could-been-Elvis rep very seriously until I heard the passionately confident Jimmy Reed medley that opens side two of this Nashville album. What's missing is Elvis's insolent verve--Rich is sometimes soulful to a fault, veering dangerously toward mere sincerity, a clue to his Nashville success. But there's a payback in maturity and attention to musical detail. No more blues, except for a redefinitive "Since I Met You Baby," and no rock or rockabilly. But he manages to render a piece of countrypolitan mawk like "A Picture of You" at least interesting by sheer belief, and the way he sings his wife Margaret's "Life' Has Its Little Ups and Downs" makes you know what they mean by "'til death do us part." — Robert Christgau

Hear It Now!

Music Wishes for 2011

20110111-wish-list-560x225.jpg Along with resolutions and returned gifts, January brings hope. Some yearn for world peace, others want a viable alternative to fossil fuels that breaks our dependency on Middle East oil. And then there are those who pray for jobs for the unemployed or adequate health care for the elderly and poor. Us, we'd take new albums by Justin Timberlake, OutKast or Pavement — or maybe better (or worse) storylines from Glee. Below, you'll find all of our wishes for music in 2011.

New Music from the Reunited
All you "reunited bands": let's hear some new music already. Poking at our nostalgia buttons is so last decade. We're pointing our fingers at acts like Pavement, Pixies, Blur (we'd even embrace an album made on an iPad, Mr. Albarn) or Soundgarden, who teased fans with the subpar "Black Rain" after getting back together to play Lollapalooza last year. And we'd also like to request something new from Neutral Milk Hotel (okay they haven't officially reunited ... yet) or perhaps some sort of Elephant 6 mega collaboration? If you need some guidance, look to The Cars, who plan to release their first album in 23 years, or even Jane's Addiction,  who, after "reuniting" about 10 times already, just gained some indie cred by nabbing TV on the Radio's Dave Sitek to take on bass duties for their new album. As exciting as all your reunion shows are, over 99 percent of the population cannot partake in such festivities, so how about taking that shiny tour money and heading to the studio? — Stephanie Benson

All I Want for 2011 Is a New Justin Timberlake Album
Oh, please, Santa and Grilled Cheezus and Krishna and Tooth Fairy. Please let Justin Timberlake make a new album in 2011. Look, J.T., we understand that you are very busy being an acTOR and, fine, fine, we'll even admit that you were actually quite good in The Social Network (though that Yogi Bear movie might be unforgivable). And we know you are also very, very busy designing restaurants and opening clothes lines and canoodling with Jessica Biel (or not, depending on the day and the tabloid) — or Andy Samberg. And we even know that his primary partner in crime has fallen a bit out of fashion in these days of synth-pop and Dr. Luke. But for the love of M.J., J.T., we need some of that sweet, sweet, funky, falsetto-voiced dance-pop back in our lives. Five years is too long to wait for you to bring "Sexyback" again (and no, that Jamie Foxx cameo doesn't count). — Rachel Devitt


20110111-anticipated-country-560x225.jpg Happy New Year and welcome to 2011! Have you gotten used to writing 2011 on your checks yet? No? Yeah, we're with you on that. A week into the new year and our heads might not be screwed on right yet, but we do know one thing: there are some killer country music releases on the horizon.

We've combed new release schedules from a number of sources and have come up with a pretty impressive list of albums to anticipate — most of which are due to hit during the first quarter of 2010. Oops. We mean 2011.

Sara Evans, Stronger (March 8)
Sara Evans has had a rough ride the past few years. After a very public divorce while starring in the hit television show Dancing with the Stars, Evans seemed to lose her footing — both literally and figuratively. While she soldiered on with the show, she hasn't put out an album since 2005 (2007's Greatest Hits hardly counts). For someone such as Evans — and those like her — with a traditional slant to her sound, the infiltration of younger, poppier sirens into the halls of country music certainly creates a bind: do they ride the rails to popdom, or do they dig their heels in and stick to their sound? If her new single is any indication, Evans is splitting the difference. "A Little Bit Stronger" tells the tale of a woman dealing with the aftermath of a breakup and seems to reflect the singer's own life. It's a powerful ballad that makes the most of Evans' wondrous vocals, while nudging the singer into modern, mainstream country. Destined to become a classic breakup song, "A Little Bit Stronger" certainly whets the appetite for more from Sara Evans. 


Most Anticipated Albums of 2011

20110111-anticipated-albums-main-560x225.jpg With every new year comes the promise of great new music. Those hopes are nearly always well founded, though inevitably there are also some disappointments. Here we've assembled what we think are the most promising prospective releases for 2011, broken out by genre. In the comments field, let us know your expectations for them, and whether there are some albums that you're looking forward to that aren't on this list.

Pop

Lady Gaga, Born This Way (May)
She may be the (drag) queen of pop, but don't envy Gaga just yet. The good Lady has the weight of the world on her meat-encased shoulders. Yes, her debut was a smash success that charted hit after hit and virtually changed the shape of the pop music landscape (into one that looks more like a gay dance club, apparently). And yes, she's become one of the world's favorite fascinations in these short couple years, enchanting and perplexing us with her breathlessly dramatic performances and her is-she-or-isn't-she intersex baiting and her Kermie couture. But honey. That is a LOT of pressure to put on an album — especially the notoriously tricky sophomore effort! Here is an artist who has made a name for herself by constantly outdoing herself — by constantly shocking and surprising us. She is her own stiffest competition, and the whole world (almost literally) is waiting with bated breath to see if Gaga can keep it up, so to speak. The title bodes well: this is a Lady who knows her audience and has finely honed her (self-appointed) role as queen of the freaks and geeks and monsters and queers. But you gotta wonder if she's sleeping at night, no? Breathe easy, Gaga! We can't wait to see what you come up with next! — Rachel Devitt

Britney Spears, TBD (March)
Brit Brit's really turned it around the past couple years, huh? But while her last two albums have been successful in both a financial and a "return to form" sense, they never really achieved the Brit-geist levels of, say, a …Baby One More Time or In the Zone. And stakes are high for her sixth album: since 2008's Circus, a new sheriff has come to town (that would be Sheriff Gaga, y'all, whose hotly anticipated sophomore effort also drops this year), and the pop princesses of yore — like Britney's colleague, Christina A. — have not fared so well under her rule. But if anyone's got the boom boom to do it again (oops), it's Britney, bitch. — R.D.

Steel Magnolia, Steel Magnolia

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This real-life couple's debut rides the twentysomething romance rollercoaster: meeting cute (bubble-country flirtations "Ooh La La" and "Last Night Again"), getting it on (slow-hand single "Keep On Lovin' You"), breakfast in bed ("Eggs Over Easy"), weathering rough patches (Sugarland-in-Oz reggae "Rainbow"), breakup (wordy ballad "Edge Of Goodbye," with 2 a.m. drunk dialing worthy of Lady Antebellum), recovery ("Bulletproof," where new tattoos counter late Toyota payments). Jam-band soul harmonies add gravity; the closing Nebraska-like folk-blues a sense of self-destructive struggle. — Chuck Eddy

Hear It Now!

Best of 2010 Lists

20101221-list-of-lists-560x225.jpg 'Tis the time for reflection and resolutions. Sometimes thinking about the past can give us big ideas about what we want in the future, and so it goes with the annual "best albums" lists that nearly every major music publication cranks out around the turn of the year. These lists can be great conversation starters, and can also be a great source of music discovery. We've compiled our own lists of best 2010 releases across many genres, and we've also put together some playlists based on the picks of some other heavy hitters. Sit back and enjoy, and let us know which lists you agree or disagree with.

Entertainment Weekly's Best of 2010

Vibe Magazine's Best of 2010

Spin's Top Albums of 2010

Rolling Stone's Top Tracks

The Guardian U.K.'s 2010 Picks

Billboard's Top Tracks of 2010

Pitchfork's Top Tracks of 2010

Jason Aldean x Alabama



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Jason Aldean talk about his favorite album of all time.

Rhapsody subscribers can listen to My Kinda Party and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
Jason Aldean

RECORD:
Alabama
Mountain Music



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Taylor Swift
vs. the Box


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20101214-COUNTRY-best-of-2010-560x225.jpgWhat a year it was for country music! Lady Antebellum didn't just cross over into the Top 40, they ruled the airwaves for the better part of the year, settling in the No. 2 spot in Billboard's Top 100 Songs for 2010, while the album Need You Now lands in the No. 3 spot for overall sales for the year. And Taylor Swift, who continues to be an ambassador for the genre, ends the year with two albums in Billboard's year-end Top 200 chart; Fearless at No. 7 and Speak Now at No. 9. Pretty impressive!

While those are two extremely potent examples of America's current love affair with country, they certainly don't tell the whole story. Country music had its fair share of down-and-out moments, drinking and ruined relationships, all put to song. Small-town civic pride, unemployment struggles and wistful looks back at the simpler days also permeated the world of country music. Rhapsody's list of the best country albums of 2010 is not based on radio or Internet play, sales numbers, concert attendance or any number-crunching criteria. Rather, this list is compiled from the heart of Rhapsody's country editor, Linda Ryan.

While reading, take a listen to a playlist of our picks for Best Songs of 2010: Country.


20.
Kenny Chesney
Hemingway's Whiskey
It's no surprise that Kenny Chesney, the unabashed king of chill, takes a relaxed approach to Hemingway's Whiskey. His decision to cut his last tour short in favor of recording has spilled over into his grooves. Many of the album's songs are about escaping and unwinding — spiritually ("Live a Little [Love a Lot]," "Coastal"), mentally ("Reality") and chemically ("You and Tequila"). Highlights abound, from the feel-good rocker "Live a Little" to the George Jones remake/duet "Small Y'all" and the nostalgic "Where I Grew Up." — Linda Ryan


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This album boasts what is perhaps the only photograph of the Man in Black dressed in white. The music here is gritty, but Cash sings these carols in a gentle, loving voice. Also featured is "Christmas As I Knew It," a previously unreleased bonus narrative in the spirit of "The Night Before Christmas." Sort of. — Eric Shea

Hear It Now!
20101214-taylor-kesha-560x225.jpg The two best new albums I heard in 2010 came from young women born in 1987 and 1989. They both debuted at No. 1 in Billboard, though the one that came out in January sold just 152,000 copies in its first week (but has racked up a couple million since). The one that came out in October finished its first week around the 1,047,000 mark. Each singer put more or less five singles in the Top 10 of the pop chart this year, but only the less respectable singer topped that chart for 10 weeks. The artist considered "country" grew up as part of a nuclear family in the southeastern Pennsylvania exurbs with a grandma who sang opera, and almost every soccer mom across the land thinks she's a perfect role model for kids. The artist not considered country moved from L.A. to Nashville when she was four and grew up fatherless there with a mother who wrote country songs, and almost every soccer mom across the land hopes her kids never meet anybody like her. So, on the surface, Taylor Swift and Ke$ha are exact opposites, right? Wrong. To me, they're two sides of the same coin, with a whole lot in common. Such as:

  • They both do vicious revenge songs, aimed at people of both genders. But Taylor does more. On Speak Now, I count the title track (the most compelling parts of which are directed at a bride's "snotty little family," not the groom Taylor's trying to steal away), "Dear John," "Mean," and (most explicitly, since it's where she claims retaliation is her specialty) "Better Than Revenge." On Ke$ha's Animal, there's "Kiss N Tell" ("I hope you cry!") and "Backstabber," though maybe you could also count the swipes she takes elsewhere at dirty old men and rich people and guys' ugly girlfriends. Not to mention maybe at least three songs on her late-year 10-song add-on mini-album Cannibal (title cut, "Grow a Pear," Fannypack tribute "C U Next Tuesday"), where she chews up and spits out clingy males who outwear their welcome. (Taylor dumps a guy in "Back to December," too, but regrets it.)

Keith Urban vs. the Box

Shelby Lynne, Merry Christmas

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Shelby Lynne is one of modern music's most neglected talents. Here, she gets to the heart of nine holiday favorites and offers up two fine new additions to the Christmas canon. Lynne's approach is natural and laid-back yet she goes directly into the emotional core of each track. "Rudolph" is all innocent fun, while her original "Xmas" plays out like a neo-realist movie full of darker memories ("Holiday cocktails make me forget the gifts that daddy never opened"). The backings mix in country, blues, jazz and soul, making this one to pull out every December. — Nick Dedina

Hear It Now!
20101207-country-xmas-560x225.jpg The Christmas season is here, so what better time than now to dust off some holiday albums? If you are looking to add a touch of twang to your Yuletide, then look no further; we've got ten classic country Christmas albums to suggest.


Alan Jackson
Honky Tonk Christmas
On Honky Tonk Christmas, Alan Jackson eschews the traditional, lush orchestrations so closely associated with holiday music, and instead offers a true country album of country-sounding Christmas music. The reason he gets away with it is because Honky Tonk Christmas only boasts one Christmas standard ("Holly Jolly Christmas"); the rest are newer songs written specifically for a country audience. His touching duet with Alison Krauss on "The Angels Cried" and the heartbreaking "Merry Christmas to Me" are two of many highlights. Others include the Merle Haggard song "If We Make It Through December," "A New Kid in Town" and "Santa's Gonna Come in a Pickup Truck," which is sung with the Chipmunks. — Linda Ryan

The Best Albums of 2010

20101206-best-albums-2010-560x225.jpg It was as if nobody wanted to admit it was 2010. MGMT released a paean to '60s psyche, Ariel Pink looked back at the '70s and '80s through rose-colored, lo-fi glasses and Broken Bells and Cee-Lo dipped their buckets in the ever-deepening well of '70s soul. LCD Soundsystem plundered '80s avant disco, while Robyn revisited the halcyon days of Swedish pop. On the other end, Janelle Monae peered into the future and saw messianic robots, while Flying Lotus crafted an album that mined the sublime amidst fractured electro future shock. The albums that strained for the zeitgeist -- Kanye West's angry, self-obsessed Fantasy and Arcade Fire's meditation on the mundane crunch of suburban life -- were the most emotionally desperate and revealing. There was more great music, as always, and we've compiled our top 50 albums right here.

Also, be sure to check out our list of the top tracks of the year here.


50.
School of Seven Bells
Disconnect from Desire
Disconnect From Desire sounds like it was recorded in either a church filled with synths or a goth club haunted by the ghost of Siouxsie and the Banshees. The band's sophomore album is not a great departure from its first, though the tracks here are slightly more polished. "Heart Is Strange" has the flirty fun of a Goldfrapp song, while tracks like "I L U" and "Camarilla" have all the elements of a Cocteau Twin dream. The hypnotic coos of identical twins Alejandra and Claudia Deheza are nothing but transfixing, as cool to the touch as Benjamin Curtis' dark, jittery guitar and synths. — Stephanie Benson

The Best Albums of 2010, 30-11

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Albums:   50-31 |   30-11 |   10-1


30.
Matthew Dear
Black City
After his left turn with 2007's Asa Breed, there are no great surprises on Matthew Dear's Black City. Once again, it sounds like he's spent many a long, dark night holed up in his studio, channeling David Bowie and Ian Curtis through the mic while he fiddles with wine-soaked synthesizers. There's more of a full-band feel here, with ropy electric bass lines and daubs of electric guitar, but it's typically broken into off-kilter electronic rhythms. Even in its moments of disco abandon, Dear's Black City is a claustrophobic place to live. — P.S.


29.
M.I.A.
MAYA
Much has been made of M.I.A.'s "terrorist" tendencies, a reputation she exacerbates on album three. MAYA* is an aural assault, battering the listener with a barrage of repetitive lyrics and sometimes grating waves of sound. This is an album that is designed to alienate. Yet "Born Free"'s high-octane dissonance is, if not likable, then energizing. And fascinating (once your ears stop ringing) pockets of sweetness and quiet exist: the electro-dancehall "It Takes a Muscle" (a cover of '80s Dutch group Spectral Display), the Bollywood-meets-sacred-harp "Tell Me Why." — Rachel Devitt

The Best Albums of 2010, 10-1

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Albums:   50-31 |   30-11 |   10-1


10.
Mumford & Sons
Sigh No More
Standing in the front row of an electrified crowd for the opening of Mumford & Sons' set this year at Lollapalooza, I watched a practically hyperventilating girl toss a frayed John Steinbeck paperback at the feet of frontman Marcus Mumford, as if it were a bouquet of roses. As he sang the first lines of "Sigh No More," the titular lead track off the band's debut, Mumford looked down at the book and smiled, as if to say, "How fitting." It's no secret that Mumford borrows lyrical imagery from the Great Depression-era novelist (not to mention fashion tips: he and his band resemble a 1920s traveling revue), but what was a secret, at least around February of 2010, was just how earnest and ebullient an effort he makes doing it. But that secret got out quick. Mumford & Sons spent practically the entire year on the road, moving from small clubs to main stages in a hurry as word of their impassioned sound -- the seeming lovechild of Neutral Milk Hotel and Billy Bragg --got around. Perhaps their success has something to do with context: in these cynical times, Mumford's frightfully earnest messages of love conquering all provide a welcome comfort; the band's somewhat antiquarian sound -- a mishmash of acoustic guitars, mandolins, double-bass, etc. -- is at once a throwback and a reminder that there's still plenty of life to wring from the past, not to mention assorted literary heroes. — G.K.

The Best Tracks of 2010

20101206-best-2010.jpgMaybe it says something about 2010 that the year's most ubiquitous and demographic-defying song was a chirpy '70s soul retread entitled "F*ck You," or that Kanye West's "Power," the most ambitious pop single of the year, paraphrased a quote from Malcom X in an effort to deify hip-hop's reigning enfant terrible. It was that type of year, people, and the songs that we selected as our top 50 tracks are strange, funky, heartfelt and confrontational slices of magnificent pop music. Whether you agree or not, leave us a comment, and don't forget that you can listen to a playlist of all these tracks right here.

Also, be sure to check out our list of the top albums of the year right here.


50. Far*East Movement feat. The Cataracs and Dev, "Like A G6"
49. The Sword, "(The Night the Sky Cried) Tears of Fire"
48. Vybz Kartel ft. Popcaan and Gaza Slim, "Clarks"
47. Ciara, "Ride"
46. M.I.A. , "Born Free"
45. Miranda Lambert, "The House That Built Me"

Tim McGraw, Number One Hits

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Tim McGraw's earlier hits collections have been an uneven affair, but this effort hits the bull's-eye. Everything you'd expect to find is here, including early hits such as "Don't Take the Girl" and "I Like It, I Love It," big ballads like "Watch the Wind Blow By" and the Faith Hill duet "It's Your Love." Tim McGraw has had at least one No. 1 song every year since 1994. Sometimes it takes a hits collection like this to remind us exactly how potent his music is. — Linda Ryan

Hear It Now!
20101122-daniel-lanois-560x225.jpg Since the mid-1980s, few producers have exerted as much influence on modern rock as Daniel Lanois. He most high-profile credits has come with three artists: U2 (The Joshua Tree, Achtung Baby, All That You Can't Leave Behind), Bob Dylan (Time Out of Mind, Oh Mercy) and Peter Gabriel (So, Us). Lanois has also worked on records by Emmylou Harris, Willie Nelson and Killers frontman Brandon Flowers.

As with any producer whose sound is as uniquely identifiable as a fingerprint, Lanois has garnered his fair share of supporters and detractors. From the artist's point of view, he can be slow, distant and meticulous to a fault; he cares little for spontaneity. In the "Oh Mercy" chapter of Chronicles: Volume One (Simon & Schuster, 2004), Dylan sums up the producer's time-consuming methods in just two sentences: "Jesus, I thought, this is only the first song. It should be easier than this." Despite his exasperation, Dylan worked with Lanois again; in the process, he created what is considered one of the best records of his storied career, 1997's Time Out of Mind. In fact, a lot of the artists who've worked with Lanois have come back for more.

Exactly why Lanois' production style is so laborious has to do with his roots in ambient and New Age electronics. In the early 1980s, he worked closely with "non musician" Brian Eno. During this time, he learned much about the studio-as-instrument approach to production. This revolves around the process of re-imagining the music-making process as painting — with sound, space and texture for colors. The studio isn't merely a lifeless room in which a bunch of musicians record their tunes; it’s a kind of alchemical chamber in which live music is deconstructed and rebuilt from the ground up into something new and totally hermetic.

Country Roundup

20101122-country-RU-560x225.jpg Along with a smattering of new releases by high-profile country artists, the past few months have seen an abundance of greatest-hits packages whose releases were timed with the holidays in mind. Confused? We'll sort out the wheat from the chaff and get you caught up on all the country releases!

New Releases

Reba McEntire
All the Women I Am
On the heels of 2009's raucous Keep On Loving You, Reba's first Dann Huff-produced album carries on the revitalization she's shown in her mid-50s. Again, hard rock has a lot to do with it — the brassy Jill-of-all-trades title track, the roll-up-your-sleeves "A Little Want To" and the speaker-blowing and Twitter-spurning single "Turn On the Radio" are all propelled by tough, funky guitar riffs. Add in gender-and-genre-crossing Beyonce cover "If I Were a Boy" and the gloomy courtroom and home-life details of "The Day She Got Divorced," and you'll forgive any mere professionalism elsewhere. — Chuck Eddy




You gave us your questions. We put them in a box. Watch Reba McEntire tackle your questions about getting through tough days, picking a favorite decade in music and of course, ye olde bucket list. Be sure to listen to her new album All The Women I Am on Rhapsody.


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Watch The Box vs.
The Band Perry


Watch The Box vs.
Taylor Swift


Watch The Box vs.
Lady Gaga


Watch The Box vs.
Zac Brown


You gave us your questions. We put them in a box. Watch three-man comedy troupe commonly known as Rascal Flatts talk nerves, moms, growing up in church, pet peeves, spandex, Abe Lincoln, Jimi Hendrix and Jesus. Be sure to listen to her their new album Nothing Like This on Rhapsody.


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Watch The Box vs.
The Band Perry


Watch The Box vs.
Taylor Swift


Watch The Box vs.
Lady Gaga


Watch The Box vs.
Zac Brown

CMA 2010 Highlights

20101109-CMA-highlights-560x225.jpg The 44th annual CMA awards has come and gone, and all that's left are the hangovers. Here's a rundown of the highlights and winners.

The show started off on a high note with co-host Carrie Underwood giving an impressive performance of "Songs Like This." Dressed in skintight black pants and a black leather jacket, Underwood looked something like the "bad" Sandy from Grease as she was joined onstage by cohost Brad Paisley and Keith Urban -- both of whom are serious shredders when it comes to the guitar. Thankfully, the night provided another opportunity for Underwood to sing something more poignant with "Mama's Song."

With a record-breaking nine nominations, Miranda Lambert took home an armload of trophies, including ones for Song of the Year ("The House That Built Me") and Album of the Year (Revolution). The birthday girl got an unforgettable present when the legendary Loretta Lynn presented her with the statue for Female Vocalist of the Year. Fittingly enough, Lambert's fiancé Blake Shelton won Male Vocalist of the Year. Nashville's newest power couple? You betcha.

20101102-live-country CS-560x225.jpg Brad Paisley's new Hits Alive album has whetted our appetite for live country albums. At their best, live albums connect listeners to their heroes in an electric, visceral way, offering fans a glimpse into the songwriting process and/or the inspiration for, or story behind, some of their favorite songs. We've compiled a list of a dozen of the very best live country albums. Here's what we think* — tell us what your favorites are!

12.
Kenny Chesney
Live Those Songs Again

There's a reason Kenny Chesney won country music's coveted Entertainer of the Year Award four years in a row, and Live Those Songs Again is testament to the singer's prowess in front of a live audience — just listen to the way the crowd responds to "Beer in Mexico" or the way they sing along to "Anything But Mine." With these 14 career-spanning songs, Chesney gets the balance just right — although you'd certainly be forgiven if you complained about a favorite not being included (he certainly has had more than 14 hits, after all). On this recording, and in his career, Chesney successfully morphs his country roots into a more obvious, heartland rock/arena rock sound, and the crowd willingly follows. Live These Songs Again is one of the most dynamic live country albums going. — Linda Ryan


cheat_sheet_top_header_560x62.jpg 20101026-political-albums-560x225.jpg There's something in the air these days. Could it be the changing leaves of fall? The excitement of October baseball? No wait, we've got it -- widespread global freakout! With the election around the corner and international markets in the dumps, change is coming whether we're ready or not. Music has always had something to say about times like these, so we figured we'd round up 20 classic political albums in the hopes of stimulating debate. Because it's not like you've got anything else to worry about, right?


Play!While reading the list below you should listen to Rhapsody's classic political albums playlist.


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After angering pony-tailed people all over by going electric, Dylan diverged from his rock path to release this stark and mystical album which has closer ties to country than anything else. "The Ballad of Frankie Lee and Judas Priest" is sadly beautiful, and it's obvious that the combination of reefer cigarettes and "All Along the Watchtower" really blew Jimi's mind. — Mike McGuirk

Hear It Now!

Taylor Swift: Speak Now

ts_extended_review_560x225.jpg Ladies and gentlemen, may we introduce you to the new, improved, grown-up Taylor Swift. The country ingenue's third album, Speak Now, is steeped in references to maturity — and more specifically, country maturity. Which doesn't necessarily mean she isn't writing songs about being a kid: it just means that instead of making herself the protagonist of a teen angst narrative, she takes on the role of a disillusioned, slightly older big sister who advises from a distance about not taking mom and pop for granted and the struggle of making it in the big, bad world ("Never Grow Up").

Same goes for her fixation on romantic struggle (seriously, who did this girl so wrong?! Was it that werewolf kid?): the focus hasn't changed so much as the perspective and the tone. The love songs are darker and more tortured (see the Evanescene-lite of "Haunted"), but the heartbreak is also more balanced (see "Dear John," featuring Swift as jilter, albeit a sorrowful one). Most significantly, Swift portrays herself as a stronger character this time around. This Taylor Swift doesn't just sit on the bleachers while her guy goes after the girl in the short skirts. She trash-talks her rival and even stops the wedding on the title track, essentially a "Love Story" sequel.

Speak Now: Taylor's Confessions

20101026-taylor-SG-main-560x225.jpg Taylor Swift may be America's Sweetheart, but her music's anything but candy-coated. From the poise with which she dissects the past two years of romantic encounters (including John Mayer) to the confident-yet-vulnerable songwriting present throughout, the self-written Speak Now speaks to Swift's maturity as an artist, musician, and generational voice. Listen to Swift's new album, and enjoy Rhapsody's exclusive material such as The Box vs. Taylor Swift, a playlist of her greatest duets and more.





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Discover the ingredients that made Taylor Swift a superstar.
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Hear Taylor duet with today's biggest pop and country superstars.
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Read Rhapsody's extended review of Speak Now.
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Listen to Taylor's entire discography on Rhapsody.
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Watch Taylor Swift answer fan questions in this exclusive video interview.
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From Taylor to Sugarland, listen to all of today's biggest jams on our Country Hits station.
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