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Cry Pretty Album Reviews
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Kizmet311
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https://www.independent.ie/entertai...rom-paul-weller-also-impressing-37308206.html
CARRIE UNDERWOOD – CRY PRETTY
Carrie Underwood won American Idol in 2005 and unlike other reality TV music stars often do, she has not faded into the background. In fact, she’s cemented herself a place as one of the industry’s top female vocalists. And her latest album, Cry Pretty, is likely to blaze her music trail further.
It’s her first album since her accident last year that saw her having to have more than 40 stitches in her face after she fell at home. The title track has already been released and topped iTunes charts in no less than 12 countries.
The rest of the album is filled with everything from wistful longing to upbeat, tap your feet rhythms. Tracks like Backsliding remind you that Carrie knows her way well around a big, powerful ballad. One thing’s for sure: Carrie won’t be crying about this one, rather she’ll be laughing her way up all the music charts.
8/10
CARRIE UNDERWOOD – CRY PRETTY
Carrie Underwood won American Idol in 2005 and unlike other reality TV music stars often do, she has not faded into the background. In fact, she’s cemented herself a place as one of the industry’s top female vocalists. And her latest album, Cry Pretty, is likely to blaze her music trail further.
It’s her first album since her accident last year that saw her having to have more than 40 stitches in her face after she fell at home. The title track has already been released and topped iTunes charts in no less than 12 countries.
The rest of the album is filled with everything from wistful longing to upbeat, tap your feet rhythms. Tracks like Backsliding remind you that Carrie knows her way well around a big, powerful ballad. One thing’s for sure: Carrie won’t be crying about this one, rather she’ll be laughing her way up all the music charts.
8/10
Kizmet311
Active member
https://www.newsday.com/entertainment/music/cry-pretty-review-1.20949157
By Glenn Gamboaglenn.gamboa@newsday.com @ndmusicUpdated September 12, 2018 11:08 AM
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CARRIE UNDERWOOD
"Cry Pretty"
BOTTOM LINE Taking control to deliver her first world-class artistic effort.
Carrie Underwood has always been a great singer, from the moment we met the Checotah, Oklahoma, native on “American Idol” in 2005.
But she hasn’t always had great songs to sing. For every “Jesus, Take the Wheel” or “So Small” on her albums, there was plenty of pleasant country filler. But not on “Cry Pretty” (Capitol Music Nashville).
Start to finish, Underwood’s sixth album is easily her best, filled with songs that make the most of her voice, both physical and lyrical. The title track may be more poignant following Underwood’s fall last year that resulted in 50 stitches in her face and an uncomfortable focus on how she looks. But when she belts out the song’s final third, she is undeniable.
Maybe the biggest surprise on “Cry Pretty” are the numerous risks Underwood takes that all pay off. Musically, she offers her poppiest song in years with “That Song That We Used to Make Love To,” which leans more toward Aaliyah-era R&B instead of anything currently on country radio. Lyrically, Underwood takes on issues that she has previously sidestepped.
“The Bullet” is a wrenching ballad about those left behind by violence that Underwood included in part because of the shooting deaths at the Route 91 Harvest Festival in Las Vegas. “You can blame it on hate or blame it on guns,” she sings with increasing intensity. “But mamas ain’t supposed to bury their sons.”
On “Love Wins,” one of the nine songs she co-wrote on the album, Underwood creates a soaring anthem of inclusion after pointing out pitfalls like “politics and prejudice.”
Of course, Underwood shines brightest with a string of future country smashes, including the celebration of classic country heroes on “Ghosts on the Stereo” and her fiery defense of home life on “Kingdom.”
“Cry Pretty” finds Underwood at the peak of her powers and she’s determined to use them for good.
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By Glenn Gamboaglenn.gamboa@newsday.com @ndmusic
Glenn Gamboa is Newsday's music critic, covering entertainment news and events since 2000.
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[h=3]Comments[/h]Comments section is temporarily on hold. Here’s why.
By Glenn Gamboaglenn.gamboa@newsday.com @ndmusicUpdated September 12, 2018 11:08 AM
PRINT SHARE
CARRIE UNDERWOOD
"Cry Pretty"
BOTTOM LINE Taking control to deliver her first world-class artistic effort.
Carrie Underwood has always been a great singer, from the moment we met the Checotah, Oklahoma, native on “American Idol” in 2005.
But she hasn’t always had great songs to sing. For every “Jesus, Take the Wheel” or “So Small” on her albums, there was plenty of pleasant country filler. But not on “Cry Pretty” (Capitol Music Nashville).
Start to finish, Underwood’s sixth album is easily her best, filled with songs that make the most of her voice, both physical and lyrical. The title track may be more poignant following Underwood’s fall last year that resulted in 50 stitches in her face and an uncomfortable focus on how she looks. But when she belts out the song’s final third, she is undeniable.
Maybe the biggest surprise on “Cry Pretty” are the numerous risks Underwood takes that all pay off. Musically, she offers her poppiest song in years with “That Song That We Used to Make Love To,” which leans more toward Aaliyah-era R&B instead of anything currently on country radio. Lyrically, Underwood takes on issues that she has previously sidestepped.
“The Bullet” is a wrenching ballad about those left behind by violence that Underwood included in part because of the shooting deaths at the Route 91 Harvest Festival in Las Vegas. “You can blame it on hate or blame it on guns,” she sings with increasing intensity. “But mamas ain’t supposed to bury their sons.”
On “Love Wins,” one of the nine songs she co-wrote on the album, Underwood creates a soaring anthem of inclusion after pointing out pitfalls like “politics and prejudice.”
Of course, Underwood shines brightest with a string of future country smashes, including the celebration of classic country heroes on “Ghosts on the Stereo” and her fiery defense of home life on “Kingdom.”
“Cry Pretty” finds Underwood at the peak of her powers and she’s determined to use them for good.
[h=3]Subscribe to the Entertainment newsletter[/h]
Sign upBy clicking Sign up, you agree to our privacy policy.
Glenn Gamboa is Newsday's music critic, covering entertainment news and events since 2000.
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[h=3]Comments[/h]Comments section is temporarily on hold. Here’s why.
Louisa
Well-known member
Louisa
Well-known member
https://www.countrymusicnews.de/cd-besprechungen/9505-carrie-underwood-cry-pretty
Translated from German.
Translated from German.
thaifood
Active member
TOPDOG1001
Active member
https://www.theringer.com/music/2018/9/13/17851774/carrie-underwood-cry-pretty
This critic wasn’t a fan, they enjoyed Storyteller more.
This critic wasn’t a fan, they enjoyed Storyteller more.
Smokyiiis
Well-known member
I least he had a few nice things to say. And he included that gorgeous performance of Softly & Tenderly. Loved revisiting that.
TOPDOG1001
Active member
lilangel
Well-known member
www.google.com/amp/www.latimes.com/...way-review-20180913-story.html?outputType=amp
The singer, no surprise, sets off all kinds of vocal fireworks. But as the painfully familiar images in “Southbound” demonstrate — another pontoon boat? — the songs on “Cry Pretty” (most of which Underwood co-wrote) cast these emotions and experiences in such generalized terms that it’s hard to come away with a clear sense of a human in the world.
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Why did they promote this album with 'her most personal yet'? Even on here there was some discussion. People were expecting something different. And because of the word 'personal' people find it laking...
Such a shame that's the only thing they write about and nothing about materpieces like Low or SB. I mean did they listen to those songs?? I mean come on!
The singer, no surprise, sets off all kinds of vocal fireworks. But as the painfully familiar images in “Southbound” demonstrate — another pontoon boat? — the songs on “Cry Pretty” (most of which Underwood co-wrote) cast these emotions and experiences in such generalized terms that it’s hard to come away with a clear sense of a human in the world.
-------
Why did they promote this album with 'her most personal yet'? Even on here there was some discussion. People were expecting something different. And because of the word 'personal' people find it laking...
Such a shame that's the only thing they write about and nothing about materpieces like Low or SB. I mean did they listen to those songs?? I mean come on!
Kizmet311
Active member
Well, the headline of this one is off-putting from the second you read it. Why the heck do they have to compare Carrie to Willie? They are in COMPLETELY different lanes in country music. For the most part, they do not have the same audience. So why should her album be anything like his? Now that you have my gut reaction from a headline, I'll actually read the review and see what else they have to say, lol.
Ok, the STUPID review didn't get any better. Seriously, reviews like this infuriate me. Why would Carrie mention Willie in Ghosts on the Stereo - he's alive, not dead! I seriously want to scream after reading this review. Yes, they both have albums coming out tomorrow, but why why why must they juxtapose the two in a review to make Carrie's look bad? Why couldn't they be considered independently?
lilangel
Well-known member
teesharky
Well-known member
LA Times and NY Times have hated Carrie for years. I am not even going to read them. Let’s hope the other sites give her the credit she deserves.
Its Infuriating though. The bash her for not being personal enough when it’s her most personal album yet. They just do t like her and never will.
Its Infuriating though. The bash her for not being personal enough when it’s her most personal album yet. They just do t like her and never will.
