Carrie does say that she's not committed to choosing her own songs over others, but will evaluate songs according to how she thinks they will fit the album - but I think she's proud of her songwriting, and I think the emphasis on that aspect of her work comes from Carrie herself. She often refers to herself as a songwriter, and these days, nearly always refers to the preparation of a new album by saying that she's "writing" for it. Particularly in the early album eras, she often attended songwriter commemorative events, and said she learnt a lot from working with songwriters. I think she enjoyed taking part in the CMA songwriters' event - and chose to use the same format for her contribution to the Country radio seminar - an unusual step, which I think confirms the importance she attaches to it.
On a quick count, I think that she's cut 30 of her own songs (27 on main studio albums, 2 new tracks on her career retrospective, and 1 offered on a store bonus promotion). I would call that a high proportion - certainly higher than most leading women of the previous Mainstream era. What strikes me is the variety of themes and musical styles that she covers in her own songs - and they mostly reflect ideas that show a particular side of her personality.
Understandably, when she wants to express a personal, or autobiographical, element, she uses a co-write - and although these aren't usually the songs she's best known for, I find some of them among her most successful. IAICA - her first known venture into co-writing - certainly holds its place among the strong songs on SW - and I'd give special credit to CD, which uses mountain inspired music to back a thankful and encouraging anthem for daydream believers. TGYTIA is also relatively under-rated - but I find it one of the deepest songs on her last album (anyone who wants vulnerability and authenticity should give that song a listen!)
In fact some of her typically rather under-rated songs are ones that I find bear more credit than they sometimes receive. NETY never remotely became a fan favourite - but I find it one of the most sincere and needed songs she's yet recorded. This, I feel, was something she particularly wanted to say - and that is what a songwriter should give rein to.
OWT is sometimes seen as a mis-step - but if you hear it as a parody of the mainly male obsession with good-time songs - which was certainly how I interpreted it - it fits neatly into the contemporary issues of the genre, and the "stick it to the man" line even gives a hint of Red Dirt attitude.
Q is an interesting co-write - others have sat down with Martin and Shellback - but haven't come out with insistent inserts of Country touches - picket fences and porch swings, backed up by steel guitar - and even the "girl leaves boy" theme hints at New Wave assertiveness
Some of Carrie's co-writes seem specifically developed to suit styles that she's particularly well-suited to. This includes the "power vocals" that some fans particularly love (but I feel can be over-used, to the extent of risking stereotyping). Probably this aspect - which I think will always feature strongly in her work - is best used today when it's varied with other elements. An excellent example is SITW, where the steady, traditionally phrased narration passages contrast effectively with the soaring release in the choruses. RR illustrates the use of the characteristically strong vocals that she is celebrated for on the present album - but this song is also written to show homage to traditional Western elements. The blend broadens its interest, but, overall, I think care needs to be used in steering too close to stylistically familiar ground.
As well as power vocals, songs that Carrie ties in to performance areas that particularly suit her include Country Rock. CGASG was a particularly good example (that, again, didn't get a great deal of attention) - but I'd also mention UI (a song that provokes division - but which is a very good concert number, that Carrie presumably saw as a crowd ice breaker)
Although she - in my view, regrettably - makes less use of it - Nashville neo-traditionalism is also an area that Carrie can excel at. WAW is the best example of a co-write that really brings out that side of her repertoire.
Two of the most interesting stylistic developments on Storyteller were also co-writes. SB is in my view, one of the most important songs she's yet recorded - it shows a strongly philosophical outlook, with sympathy for people's struggles - and tackling it shows a growing maturity in songwriting. Given the musical elements she included - not least taking up her own guitar again - and this song is an example of what I'd want to see more of.
The same applies to C - again, a mature and well developed concept, mixing a dreamy, swaying lilt, with outbursts of frustration. The lyrical transition from the drink meaning of chaser, to the man's behaviour - and particularly the metaphor of hunting only to discard the trophy, makes for a cleverly written song.
Finally, I'd mention a couple of what I consider the best-ever Carrie co-writes - GG, and TBC . Everyone will have their favourites - but these are examples of what I consider her best writing to date - they've been discussed pretty fully in the past - but if she can build on that foundation, the new album should be worth waiting for.
