<i>By Randy Lewis / <a class="taxInlineTagLink" id="ORCRP00305312828" title="Los Angeles Times" href="/topic/arts-culture/mass-media/newspapers/los-angeles-times-ORCRP00305312828.topic">Los Angeles Times</a> Staff Writer</i><br>
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The year in country music brought some noteworthy breakthroughs (Jamey Johnson, Randy Houser) and some negligible ones (the overhyped <a class="taxInlineTagLink" id="PECLB004085474682" title="Zac Brown Band (music group)" href="/topic/entertainment/music/zac-brown-band-%28music-group%29-PECLB004085474682.topic">Zac Brown Band</a>, the inconsistent yet promising Lady Antebellum), while country-pop queen <a class="taxInlineTagLink" id="PECLB004401" title="Taylor Swift" href="/topic/entertainment/music/taylor-swift-PECLB004401.topic">Taylor Swift</a>, pictured, posted another stellar performance.<br>
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More than ever, the most deeply touching music generally came from acts relegated to the commercial sidelines known as Americana or alt-country.
lat-country_t_kswyb2nc20091217160205

( Barbara Davidson / Los Angeles Times )

By Randy Lewis / Los Angeles Times Staff Writer

The year in country music brought some noteworthy breakthroughs (Jamey Johnson, Randy Houser) and some negligible ones (the overhyped Zac Brown Band, the inconsistent yet promising Lady Antebellum), while country-pop queen Taylor Swift, pictured, posted another stellar performance.

More than ever, the most deeply touching music generally came from acts relegated to the commercial sidelines known as Americana or alt-country.

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2013 YEAR IN REVIEW
Look for this special section in your
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