I just don't want her to start make music on her family.
It'd be career damaging to go that route, one good example is Martina McBride.
Carrie Underwood Fans
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Carrie Underwood 7- Denim and Rhinestones
- Thread starter MSCarriefan
- Start date
I just don't want her to start make music on her family.
It'd be career damaging to go that route, one good example is Martina McBride.
pacarriefan
Member
I don't think Carrie is going to go full on singing about her family, but a song here and there such as Kingdom are sweet. I watched an interview from whenever Blown Away came out that Carrie does not want to gloat about her happy marriage, and how she does not think people want to really listen to her sing about that either. I don't think she will change that mentality now.
jaymiee
Member
Am I the only one that would love just a fun country/rock/pop album filled with song like Church Bells, Good Girl, TBC, BA etc? And then obviously have some meaningful slower songs. For me I love when Carrie's songs tell a twisted story
I feel like she purposely stayed away from these 'made up murder songs' for Cry Pretty to show she has a deeper side to her but I love these type of songs. And clearly awards won't recognize her so might as well have fun
I feel like she purposely stayed away from these 'made up murder songs' for Cry Pretty to show she has a deeper side to her but I love these type of songs. And clearly awards won't recognize her so might as well have fun
Oh yes, i do like it when she do country/rock/pop. But I'm not sure if it is still relevant in today's climate. Cry pretty single only hit #9 on BB and I'm still feeling so bitter over it.
pacarriefan
Member
I somewhat feel like Sony had her in this box as well...same thing with the boy-bashing.
I wonder how would you guys define the theme of her past albums. What theme and sound you would like to see in CU7?
Some Hearts was on a farm girl leaving hometown to live in a city
Carnival Ride on life being like a roller coaster ride
BA discussed on abusive, cheating and revenge
Storyteller was about telling stories from someone's pov
Cry Pretty touched on her experience and perspective
Some Hearts was on a farm girl leaving hometown to live in a city
Carnival Ride on life being like a roller coaster ride
BA discussed on abusive, cheating and revenge
Storyteller was about telling stories from someone's pov
Cry Pretty touched on her experience and perspective
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pacarriefan
Member
I like the story songs too (Church Bells, Blown Away, etc) and stuff along the lines of Relapse and Chaser also, so in the future I would like songs like those ones as well. I think the entire Cry Pretty album served its purpose in helping to get rid of a popular complaint of critics that her music isn’t personal and that she only does story songs.
Zach1998
Well-known member
Just hoping CU7 is more light. Cry Pretty was alright, but didn't like revisiting it on a daily basis because the majority of the songs are deep and will put you in a somber mood. It was filled with stellar songs, but nobody wants to be in their feels 24/7. Would love another album in the vein of Storyteller or Blown Away.
Given the current situation, there’s no way we will get CU7 anytime this year. She will need to have writing, recording and mixing sessions. Therefore, it is likely new album will release earliest in 2021 or 2022. The single should drop anytime before any major country award ceremony.
I wonder when EYWY will peak if it is released after DA.
I wonder when EYWY will peak if it is released after DA.
pacarriefan
Member
I don’t think there was any ever proof that they had intentions of making EUWY an actual single.
Also, did anyone ever hear anything else about that one reddit post where the person was claiming that the person in the gold dress was Carrie?
Farawayhills
Well-known member
A personal opinion on the two latest albums (which I consider her two best, so far):
I think, with "Storyteller", Carrie was already moving in some of the directions she brought to fruition in "Cry Pretty". H, TGYTIA, & WINKIAW were all personal songs, and all were Carrie co-writes, Three may not seem a particularly high number, but I don't think they are ever likely to predominate on one of her albums, and I think this was a side of her inspiration that she wanted to demonstrate. TGYTIA was the one that showed the most vulnerability and introspection (and the strongest song of the three, in my opinion). I see it as the one closest to the direction she explored more fully in "Cry Pretty".
There were four "picks" (not co-writes) that I think showed aspects of contemporary Country that Carrie may have wanted to support. In two of those, Carrie picked young women who had appeared on Song Suffragettes: Sarah Haze (Relapse) and Kat Higgins (Mexico). These were both musically Progressive songs, which drew on General Music influences - and I think Carrie probably wanted to support both "emerging" female artists, and the modern crossover blending in the genre's sounds.
The other two, I feel, balanced that, with a timeless appeal, echoing Country roots - and the search for that balance is a characteristic I find in Carrie's music through much of her career. CCA was built on a premise that stylistically & thematically gave clear nods to Bobbie Gentry - an artist whose career in the 1960s had parallels with Carrie's own, in her use of tradition within a contemporary context, her storytelling and her international appeal. LINLYA was written by the Love Junkies - arguably one of the most respected songwriting combinations in the genre today, all of whom combine tradition with contemporary relevance successfully. This song was a bold choice by Carrie, in which she gave what I see as one of her best performances - aimed more at exploring the emotional potential of a lyric, rather than at transient radio appeal.
Add to those "Smoke Break" - which I see as one of Carrie's best co-writes - and we have what I consider another forerunner of parts of "Cry Pretty", an "issue" song that uses character to express social awareness.
Coming to "Cry Pretty" itself, I see Carrie making an album of a type which I believe she probably wanted to make, but was probably not able to quite achieve earlier, when she had to rely on other producers. In that sense, I see her co-production role as a particularly important artistic development in her career. That is not to say that I expect future albums to be like "Cry Pretty" - they are likely to vary, according to changing moods and circumstances. But I do see that album as having a liberating effect in encouraging new avenues of expression. Partly, I see the album as rooted in a particularly traumatic time of Carrie's life - we have heard of the miscarriages, but we cannot know the full depth of her feelings (and rightly so), but it seems that the title song, "Low" and "Ghosts" drew on the experiences of that time (and those songs are ones that I see as among the strongest of her career.) That aspect stemmed from a particular time - but there are other themes in the album that strike me as more general in Carrie's musical approach, One is the interplay between tradition and progression that I've mentioned before - and which I see as more evident in Carrie's work than in many of the other chart artists of today. "Ghosts" specifically names some of her forerunners - and is unusual in the fact that family members or associates of those legends chose to play on it in backing her. But the link to Hank Williams is particularly apparent in "Low" (and also seems to occur, more obliquely, elsewhere).
Other examples of the tradition-progression interplay, which I find particularly striking, is the use of a timeless Country Waltz rhythm in the album's title track, and the heavy use of resophonic instruments (dobro and pedal steel) in the more "Pop" influenced songs. This incorporation of tradition is, again, something I notice more in Carrie than in many other chart artists today.
Finally, the "issue" songs, especially "The Bullet" and "Spinning Bottles", come across as more developed on this album, and this is something that may continue in future (though probably only in one or two songs on albums that will continue to be mixed in theme)
I think, with "Storyteller", Carrie was already moving in some of the directions she brought to fruition in "Cry Pretty". H, TGYTIA, & WINKIAW were all personal songs, and all were Carrie co-writes, Three may not seem a particularly high number, but I don't think they are ever likely to predominate on one of her albums, and I think this was a side of her inspiration that she wanted to demonstrate. TGYTIA was the one that showed the most vulnerability and introspection (and the strongest song of the three, in my opinion). I see it as the one closest to the direction she explored more fully in "Cry Pretty".
There were four "picks" (not co-writes) that I think showed aspects of contemporary Country that Carrie may have wanted to support. In two of those, Carrie picked young women who had appeared on Song Suffragettes: Sarah Haze (Relapse) and Kat Higgins (Mexico). These were both musically Progressive songs, which drew on General Music influences - and I think Carrie probably wanted to support both "emerging" female artists, and the modern crossover blending in the genre's sounds.
The other two, I feel, balanced that, with a timeless appeal, echoing Country roots - and the search for that balance is a characteristic I find in Carrie's music through much of her career. CCA was built on a premise that stylistically & thematically gave clear nods to Bobbie Gentry - an artist whose career in the 1960s had parallels with Carrie's own, in her use of tradition within a contemporary context, her storytelling and her international appeal. LINLYA was written by the Love Junkies - arguably one of the most respected songwriting combinations in the genre today, all of whom combine tradition with contemporary relevance successfully. This song was a bold choice by Carrie, in which she gave what I see as one of her best performances - aimed more at exploring the emotional potential of a lyric, rather than at transient radio appeal.
Add to those "Smoke Break" - which I see as one of Carrie's best co-writes - and we have what I consider another forerunner of parts of "Cry Pretty", an "issue" song that uses character to express social awareness.
Coming to "Cry Pretty" itself, I see Carrie making an album of a type which I believe she probably wanted to make, but was probably not able to quite achieve earlier, when she had to rely on other producers. In that sense, I see her co-production role as a particularly important artistic development in her career. That is not to say that I expect future albums to be like "Cry Pretty" - they are likely to vary, according to changing moods and circumstances. But I do see that album as having a liberating effect in encouraging new avenues of expression. Partly, I see the album as rooted in a particularly traumatic time of Carrie's life - we have heard of the miscarriages, but we cannot know the full depth of her feelings (and rightly so), but it seems that the title song, "Low" and "Ghosts" drew on the experiences of that time (and those songs are ones that I see as among the strongest of her career.) That aspect stemmed from a particular time - but there are other themes in the album that strike me as more general in Carrie's musical approach, One is the interplay between tradition and progression that I've mentioned before - and which I see as more evident in Carrie's work than in many of the other chart artists of today. "Ghosts" specifically names some of her forerunners - and is unusual in the fact that family members or associates of those legends chose to play on it in backing her. But the link to Hank Williams is particularly apparent in "Low" (and also seems to occur, more obliquely, elsewhere).
Other examples of the tradition-progression interplay, which I find particularly striking, is the use of a timeless Country Waltz rhythm in the album's title track, and the heavy use of resophonic instruments (dobro and pedal steel) in the more "Pop" influenced songs. This incorporation of tradition is, again, something I notice more in Carrie than in many other chart artists today.
Finally, the "issue" songs, especially "The Bullet" and "Spinning Bottles", come across as more developed on this album, and this is something that may continue in future (though probably only in one or two songs on albums that will continue to be mixed in theme)
Good point..... Reason why I have always felt that Carrie's career emulated Reba's more so, because there was no one like Reba that picked great story songs.... And we see how the torch was transcended from Reba to Carrie......
I still to this day listen to Reba's #1's CD collection..... Some of the best music back then......Reba sang it like no other......
twaintrain
Well-known member
I echo Faraway's sentiments (and I think TGYTIA may be Carrie's most underrated song to date).
I think "Cry Pretty" came out of a time of great pain and heartache. Speaking of Reba, it is much like Reba's "For My Broken Heart" album. An album recorded after she lost her band in a plane crash. It is the saddest album I've ever heard and my favorite Reba album, like "Cry Pretty" is my favorite Carrie album. But Reba didn't continue to make the same album again and again and neither will Carrie.
I think "Cry Pretty" came out of a time of great pain and heartache. Speaking of Reba, it is much like Reba's "For My Broken Heart" album. An album recorded after she lost her band in a plane crash. It is the saddest album I've ever heard and my favorite Reba album, like "Cry Pretty" is my favorite Carrie album. But Reba didn't continue to make the same album again and again and neither will Carrie.
FanSince04
Well-known member
Incorrect, I happen to love sad songs. I enjoy songs that are deep and meaningful over feel good, happy songs. I really appreciate the Cry Pretty album since it gave so many great options (CP, GOTS, Low, TB, and SpB).
FanSince04
Well-known member
Reba is such a great artist! I have many of her songs on my playlists. Her songs aren’t trapped in any decade, but they transcend time. I listen to “Fancy, “Is There Life Out There”, “The Greatest Man I Never Knew”, “If You See Him, If You See Her”, “Does He Love You”, and her new songs are good too; however, I prefer her album cuts over the singles released.
pacarriefan
Member
Country music is in such a weird place I feel like in terms of the content. It is a weird mix between bro-country, boyfriend country, and just party crap. I typically like the stuff with more substance so to speak like Low and Spinning Bottles, but the lighter stuff is important too. A great thing about Carrie is her extremely diverse fan base, many of which aren't even typically country fans, so I think it is nice that people enjoy her more serious songs as well as her more light and uplifting songs.
On a side note, I agree with earlier sentiments about TGYTIA. Not everyone may be able to connect to that song, but I sent that to my dad who isn't a "crier" whenever it first came out and he got choked up. Such a good song!
On a side note, I agree with earlier sentiments about TGYTIA. Not everyone may be able to connect to that song, but I sent that to my dad who isn't a "crier" whenever it first came out and he got choked up. Such a good song!
BlownAway14
Member
I agree with you. Carrie will never do the same album twice. Cry Pretty is very dark and maybe she will make a record that's darker if something happens to her. I don't know Reba but Miranda made The Weight Of These Wings because of her divorce and she will never do this again (as of now). Maybe we won't hear that much sad songs from Carrie in a long time or she will go deeper for at least one more album.
jaymiee
Member
I love Cry Pretty and I think it was a good choice for her to show a deeper side of her. But I miss rocking sassy Carrie and really hoping for another dark era like BA. Twisted murder songs are my favorite and I feel like do better on the charts/streaming and thats what she needs to stay relevant these days