Miranda Lambert "Four the Record" Era

[pklongbeach]

Spring???

Well, I guess everyone figured she needed something out in order to get her on those ballots for CMA 2014.

I was just checking in to see how things were going.
Is AKoK done??

HEr perfomance at the CMA's was pretty good with Keith. I still just don't like the song at all. But that is the songs fault not anyone elses.

Some online commenting about her stylist again. ha ha ha.... I guess I just don't understand silver boots.

And I think the thing for me at this point is, now I watch her as a perfomer on level with Reba McEntire with a voice like Martina McBrides. And since she is nowhere even close to this, I have a very tainted feeling about watching her.

I remember back 5 years ago, I felt she was growing and becoming a real standard recording artist. By the time we were at White Liar I was actually on board.

But the accolades came so furiously and so seemingly artifically, that it started to feel like something wasn't right.
So now we hear commentary about "Joe Gallante held her back" or "Overton over-publicizes her" adn either way, it doesnt feel like a natural progression. It feels like they put alot of pink paint on her and turned her into something she wasn't before. and so now, I am just not sure what she is.

I think Carrie is the type of person that you can shine different images on (and maybe to er detrement) it looks right. She can be the beauty queen one day, and the girl in sweats the next day, and the professional the next. And it all feels rather authentic.

But Ran made very clear statements about not being that person. And I think there were times where she was pointing those comments directly at Carrie and her image.
So when Ran picked up that glossy image I called fowl!! Cause it seemed hypocritical. No, it "was" hypocritical.

But whatever, she is what she is today, which is not clear to me anymore.

But my biggest confusion at this point is now living up to what you allowed those around you to turn you into.

There are very few that can stand and deliever an entertaining song the way that Reba has been doing for 40 years.
And even suggesting singng like Martina McBride, not even Reba can touch that......

So now we have it.

Miranda Lambert on par with the legends.

And it just doesn't suit her......thats my problem at the moment.

So the performance was good enough to be expected. But as a 4-time Vocalist of the Year???

I must be the crazy one!

 

[Gator]

Keith and Miranda's "We Were Us".

I guess Miranda wasn't around that time so he performed this with Karen (of Little Big Town).

Okay, after seeing ML's live performance compared to this one; I choose this one. Karen's vocals are strong and clear. As, on the radio cut, it's hard to hear/understand ML at times.

 

[Farawayhills]

I feel this song should probably be discussed in the thread about "Fuse" (if only as a courtesy to Keith Urban, who's album cut it is, after all). However that thread has sunk, through lack of recent posts (no doubt reflecting the board's focus on female artists), so I'll add my views here.

Ran performed her first major national tour as opening act for Keith Urban, and frequently joined him on stage during that. He rarely includes duets on his own albums, but says he was waiting for the right song to feature one with Miranda. In fact, it was a lengthy wait - but he seems to have given Ran a major part in this particular cut. She opens the singing, making it more than a usual featured role, and one of the writers, Nicolle Galyon, is one of the young women that Ran has tried to offer encouragement in the business.

These are the lyrics, if they're not always easy to catch:

"Rearview crosses
Railroad ties
Oh, Hail Marys
Friday nights
Heartbeat baby
Low-beam lights
God, I miss when you were mine

Chorus:
Back when that song was a song
I could sing along without thinkin bout you every time it came on
Every beat, every line, every word, every time
When a road was a road
I could roll on through without wishin that empty seat was you
Money was gas, dreams were dust
Love was fast and we were us

Shotgun sunset
A cool mint kiss
Backseat promise
Breaking it
Floorboard feeling
County lines
God, I miss when you were mine

Chorus:
Back when that song was a song
I could sing along without thinkin bout you every time it came on
Every beat, every line, every word, every time
When a road was a road
I could roll on through without wishin that empty seat was you
Money was gas, dreams were dust
Love was fast and we were us

In a sleepy town, just jumping in
Far too young to know that summers end
We were us, we can't go back
It's what it is, but God I miss

Chorus:
Back when that song was a song
I could sing along without thinkin bout you every time it came on
Every beat, every line, every word, every time
When a road was a road
I could roll on through without wishin that empty seat was you
Money was gas, dreams were dust
Love was fast and we were us

Every beat, every line, every word, every single time
I just close my eyes and you're ridin shotgun
You and me, baby, on the run i miss baby
I can feel your heartbeat, baby"

Nicolle says that some of the lyrics reflect her experience of growing up in a small town - and overall the writing does reflect a trend in Country Music (especially in female songs) to combine a nostalgia for lost youth with reflection on an early love. Carrie also explores this theme (e.g in DYTAM) - though Nicolle seems younger, and Carrie also varies hers with some more mature love themes (e.g her own WAW and her duet with Brad). In any case, I'll take songs of this type any time in preference to the "good time party" songs favoured on the male wing in the Mainstream. In that respect, I find Urban - although often too smooth for my taste - preferable to many of his chart contemporaries.

Musically the song has a fusion feel, including elements of Country and Rock - and it's interesting that it's co-produced by Nathan Chapman, who has played a big part in the career of Taylor Swift. Chapman's comment on this song, in fact, reminds me of the unconcerned genre free musical approach he adopts with Swift's work "I've been really fortunate to sit in a room with people like Keith and Taylor [Swift] and Lionel Richie, people who aren't really thinking about anything except making the best music they can make that day. There's no discussion of why we're doing something. It's just, ‘We're doing it.'

I admire Karen Fairchild's work in LBT, but on this song, I much prefer Ran's voice. I think it suits her pace and style (and it may, in fact, at least partially, have been written with her in mind - that is not uncommon with duet songs, as, for example with "Remind Me".) Ran has never been a "Traditional" singer (a point also mentioned in the Roughstock review of this song) and her eclectic musical mix fits easily into Urban's approach. (Carrie, in fact, has gone closer into "Traditional" Country on some of the later songs on BA - though this will probably go unnoticed by those who prefer to stereotype her). I would describe Ran's prevailing musical style as modern Progressive Roots. I think it's a great shame (even if inevitable) that the award situation looms so large in the minds of many Carrie fans in their approach to Miranda. Despite that feeling, I do see many similarities in the two artists' approach to genre loyalty, their willingness to combine musical influences, and their support for more assertive and lyric-driven songs.

 

[DaisyTweets]

I think it'll be very interesting to see what she sells in the spring without the benefit of the fall/holiday sales season. I mean she's such a superstar so one would guess that she would open with outstanding sales right??? She's the 4 time vocalist of the year so everyone should be clamoring for new music?

I thought most artist like to have a break so the audience misses the artist? Doesn't seem like she'll be having much of a break between singles. But maybe being a 4 time vocalist of the year and half of the shoved-down-our throats golden couple they don't have to go the conventional ways of other artists.

 

[clh_hilary]

I feel this song should probably be discussed in the thread about "Fuse" (if only as a courtesy to Keith Urban, who's album cut it is, after all). However that thread has sunk, through lack of recent posts (no doubt reflecting the board's focus on female artists), so I'll add my views here.

Ran performed her first major national tour as opening act for Keith Urban, and frequently joined him on stage during that. He rarely includes duets on his own albums, but says he was waiting for the right song to feature one with Miranda. In fact, it was a lengthy wait - but he seems to have given Ran a major part in this particular cut. She opens the singing, making it more than a usual featured role, and one of the writers, Nicolle Galyon, is one of the young women that Ran has tried to offer encouragement in the business.

These are the lyrics, if they're not always easy to catch:

"Rearview crosses
Railroad ties
Oh, Hail Marys
Friday nights
Heartbeat baby
Low-beam lights
God, I miss when you were mine

Chorus:
Back when that song was a song
I could sing along without thinkin bout you every time it came on
Every beat, every line, every word, every time
When a road was a road
I could roll on through without wishin that empty seat was you
Money was gas, dreams were dust
Love was fast and we were us

Shotgun sunset
A cool mint kiss
Backseat promise
Breaking it
Floorboard feeling
County lines
God, I miss when you were mine

Chorus:
Back when that song was a song
I could sing along without thinkin bout you every time it came on
Every beat, every line, every word, every time
When a road was a road
I could roll on through without wishin that empty seat was you
Money was gas, dreams were dust
Love was fast and we were us

In a sleepy town, just jumping in
Far too young to know that summers end
We were us, we can't go back
It's what it is, but God I miss

Chorus:
Back when that song was a song
I could sing along without thinkin bout you every time it came on
Every beat, every line, every word, every time
When a road was a road
I could roll on through without wishin that empty seat was you
Money was gas, dreams were dust
Love was fast and we were us

Every beat, every line, every word, every single time
I just close my eyes and you're ridin shotgun
You and me, baby, on the run i miss baby
I can feel your heartbeat, baby"

Nicolle says that some of the lyrics reflect her experience of growing up in a small town - and overall the writing does reflect a trend in Country Music (especially in female songs) to combine a nostalgia for lost youth with reflection on an early love. Carrie also explores this theme (e.g in DYTAM) - though Nicolle seems younger, and Carrie also varies hers with some more mature love themes (e.g her own WAW and her duet with Brad). In any case, I'll take songs of this type any time in preference to the "good time party" songs favoured on the male wing in the Mainstream. In that respect, I find Urban - although often too smooth for my taste - preferable to many of his chart contemporaries.

Musically the song has a fusion feel, including elements of Country and Rock - and it's interesting that it's co-produced by Nathan Chapman, who has played a big part in the career of Taylor Swift. Chapman's comment on this song, in fact, reminds me of the unconcerned genre free musical approach he adopts with Swift's work "I've been really fortunate to sit in a room with people like Keith and Taylor [Swift] and Lionel Richie, people who aren't really thinking about anything except making the best music they can make that day. There's no discussion of why we're doing something. It's just, ‘We're doing it.'

I admire Karen Fairchild's work in LBT, but on this song, I much prefer Ran's voice. I think it suits her pace and style (and it may, in fact, at least partially, have been written with her in mind - that is not uncommon with duet songs, as, for example with "Remind Me".) Ran has never been a "Traditional" singer (a point also mentioned in the Roughstock review of this song) and her eclectic musical mix fits easily into Urban's approach. (Carrie, in fact, has gone closer into "Traditional" Country on some of the later songs on BA - though this will probably go unnoticed by those who prefer to stereotype her). I would describe Ran's prevailing musical style as modern Progressive Roots. I think it's a great shame (even if inevitable) that the award situation looms so large in the minds of many Carrie fans in their approach to Miranda. Despite that feeling, I do see many similarities in the two artists' approach to genre loyalty, their willingness to combine musical influences, and their support for more assertive and lyric-driven songs.

'We Were Us' is not a 'feature', it is indeed a 'duet', so obviously Miranda Lambert's role would be more prominent.

 

[Farawayhills]

I don't watch sales - there are several posters here who could discuss that aspect better than I could - but I would expect sales generally to be lower for artists who go deeper in a core Country direction, and higher for artists who go more broadly in a General Music direction. For example, I would expect Taylor Swift, who is very genre-free, and actively cultivates General Music support, to have higher sales than Carrie, who is a genre loyalist. I would expect Carrie, in turn, to have higher sales than Miranda, since, although both are genre loyalists, Carrie has wider fan support from people who are non-Country or barely-Country, whereas Miranda probably has few fans outside Country. Finally, I would expect Miranda to have higher sales than Kacey, since her appeal is more Mainstream, whereas Kacey's appeal is mainly to people who want to shake up the Mainstream.

On the over-exposure point, I think "Four the Record" effectively finished earlier than it might appear. It doesn't seem to have been within the current eligibility period for Album of the Year. "All Kinds of Kinds" seems to have been a "labour of love" - a release well outside the usual Mainstream fare, and released because Miranda badly wanted it for its own sake. It stood little chance of being a major radio hit, and I think Miranda and her team are experienced enough to know that. It did her good in my estimation - but I'm pretty sure that release had no impact on awards.
(Maybe, in any case, there are other reasons for wanting a new album quickly - women of Miranda's age may, for example, be thinking of starting a family at some near future date, which, if so, might involve a touring hiatus before long).

On the general over-exposure implication, I think the impression can be heavily influenced by fan annoyance over the award issue. Carrie actually seems to have considerably more exposure. For example, she seems to be on far more magazine covers, and to have more media opportunities. I don't think anyone here would call that "being shoved down our throats". I agree, the award situation has become unbalanced (something she admits herself) - but in other entertainment contexts, I don't see her as particularly widely visible.

 

[pklongbeach]

So is AKOK done?

I assume since she did not promote it at CMA that it is done?

I won't bother asking about the Keith song, cause i already know where thats headed.

The inks already dry in the books for #1. We can predict that like predicting the sun coming up.

 

[simonplay]

17 MIRANDA LAMBERT All Kinds Of Kinds -27spins and -0.227 million airplay.

 

[pklongbeach]

Called it at the start.....

(stop gloating patrick!!)

 

[Farawayhills]

Called it at the start.....

(stop gloating patrick!!)

If "gloating" is what you visit this thread for, be my guest, lol.

I'd remind you though, that gloating is usually in the eyes and ears of the gloater, and perspectives vary. Billy Dukes began his review of "Four the Record" with these words:
"One thought comes to mind after listening to Miranda Lambert‘s new ‘Four the Record’ album: The 27-year-old now has two of the century’s top country albums."

While I wouldn't go that far - many of the century's top Country albums never come within the scope of Mainstream reviews - I do agree it was one of the most wide ranging and interesting offerings attempted by a current chart artist. Despite a couple of disappointingly ordinary radio offerings that kept the label happy, my generally verdict would go along with the AllMusic review:
""with Four the Record, she’s digging deeper than ever before and finding considerable riches."

As for AKOK, the song that opens the album, I've explained above that I think most people could have "called it". Miranda knows her market pretty well, and knows how far she can take things, and wouldn't have expected it to be the radio "hit" of the era. I think the album had already served its purpose, and Sony let her have this last release as a "pet project". I'm pretty sure some wouldn't have wanted it - anymore than some would want the Pistol Annies to be complicating the promotion of the next album - but Miranda is a valuable asset for a Country label - and strong willed - and the sometimes off-centre projects she backs are part of the package (at least as long as she's in the ascendant.)

I think Miranda backed AKOK, partly because she wanted to get sentiments like this reinforced in a Mainstream fan base:
"Now some point a finger and let ignorance linger
If they'd look in the mirror they'd find.
That ever since the beginning to keep the world spinning
It takes all kinds of kinds."
- and partly because she wanted Mainstream radio to play a type of song by writers who wouldn't normally get closer than Station Inn.

And in both, she succeeded. Of course she wants hits (and will continue to get them) - but people who see that as all Miranda is don't understand the background she comes from. She has never lost her connection with her roots in Texas music, or her interest in the Alternative sector (which is stronger than ever on this album - and perhaps more so than it may be on her next album). It's a mixture that works, for many Country fans (including Carrie, who seems to genuinely like and admire her, more than some of her own fans do)

 

[pklongbeach]

I was really just half kidding.

As much of me expected it not to hit, I was equally sure it would. ha ha ha...

I appreciate that Miranda feels like she can stretch and release material in an authentic artistic fashion and have it be understood and accepted as such.

I wish Carrie were precieved the same way, and she is not.

Part of my biggest frustration!

Carrie is damned if she does and damned if she doesn't.

Staying solid in mainstream pop/country is almost demanded of her (even though I think she authentically relates to that style as well).

But releasing music as unusual and "spicy" as BA and TBC were, and still being viewed as a "commerical product that releases commerical product for the purpose of feeding the machine" just seems a bit unfair when it is compared to a song as lopesided as AKOK is, and still seen as commericial compromizes.

TBC might be one of Carries most provocative cowrites ever! But AKOK sits so well in the frame work of a typical "can't we all get along" song.

So to suggest that AKOK was some progressive liberating song choice, and TBC was a continued walk with commericalism is in fact that complete opposite.

But because of Mirandas image that has been designed, and because of Carries image that has been cemented.
No one can see just how provocative TBC is compared to something as Midrange as AKOK.

 

[Carrieflattsfan]

If "gloating" is what you visit this thread for, be my guest, lol.

I'd remind you though, that gloating is usually in the eyes and ears of the gloater, and perspectives vary. Billy Dukes began his review of "Four the Record" with these words:
"One thought comes to mind after listening to Miranda Lambert‘s new ‘Four the Record’ album: The 27-year-old now has two of the century’s top country albums."

While I wouldn't go that far - many of the century's top Country albums never come within the scope of Mainstream reviews - I do agree it was one of the most wide ranging and interesting offerings attempted by a current chart artist. Despite a couple of disappointingly ordinary radio offerings that kept the label happy, my generally verdict would go along with the AllMusic review:
""with Four the Record, she’s digging deeper than ever before and finding considerable riches."

As for AKOK, the song that opens the album, I've explained above that I think most people could have "called it". Miranda knows her market pretty well, and knows how far she can take things, and wouldn't have expected it to be the radio "hit" of the era. I think the album had already served its purpose, and Sony let her have this last release as a "pet project". I'm pretty sure some wouldn't have wanted it - anymore than some would want the Pistol Annies to be complicating the promotion of the next album - but Miranda is a valuable asset for a Country label - and strong willed - and the sometimes off-centre projects she backs are part of the package (at least as long as she's in the ascendant.)

I think Miranda backed AKOK, partly because she wanted to get sentiments like this reinforced in a Mainstream fan base:
"Now some point a finger and let ignorance linger
If they'd look in the mirror they'd find.
That ever since the beginning to keep the world spinning
It takes all kinds of kinds."
- and partly because she wanted Mainstream radio to play a type of song by writers who wouldn't normally get closer than Station Inn.

And in both, she succeeded. Of course she wants hits (and will continue to get them) - but people who see that as all Miranda is don't understand the background she comes from. She has never lost her connection with her roots in Texas music, or her interest in the Alternative sector (which is stronger than ever on this album - and perhaps more so than it may be on her next album). It's a mixture that works, for many Country fans (including Carrie, who seems to genuinely like and admire her, more than some of her own fans do)

Wonderfully said, as usual, Faraway.

Although it's obvious Miranda has become more mainstream over the years, I do respect that she still takes risks, some of which she may have had to fight for. She's got a good balance, and I think it allows her to keep her own prospective. It allows Miranda to be Miranda, and shows that she still wants to explore and pay homage to her roots, no matter how successful she may become. I suspect it's harder for artists to do things 'their way' once they're considered a superstar, and if Miranda did have to fight to keep those songs on her album that were unique to her, that shows a lot of artistic integrity on her part.

Although I had an initial feeling AKOK wasn't going to fare too well at radio, I'm glad Sony Nashville was willing to release it. There are so many country songs that try to preach love and acceptance, but come across as cliche and unmemorable. I think Miranda's biggest victory was that she released a song that is unique, still true to Miranda's style and delivered a tired message in a way that actually made the listener pay attention. It's all too easy to fall into a trap with songs that preach a message of individuality and acceptance, so I give Miranda tons of credit for releasing it, and more importantly, managing to turn a tired topic into something that's incredibly unique and charming.

Miranda herself comes across an a unique, interesting, person who doesn't care what other people think of her. I think the choice to release AKOK as a single speaks as much to her character (I want to release this because I want to send a message),, as much as it does about the message itself.

I suspect Miranda has never cared much about sales or the impact of singles, and the push comes from Sony Nashville.

 

[Farawayhills]

Staying solid in mainstream pop/country is almost demanded of her (even though I think she authentically relates to that style as well).

Increasingly, in the last few weeks, I've come to realize on this board, that I've been seeing Carrie in a rather different way from the way many of you do. I think this difference of image must always have been there - but it's only lately that it's struck me.
I came to Carrie through "Flat On The Floor", a song written by an artist I supported, who was also talking about Carrie. Checking back on Carrie I was struck by the bold variety of earlier songs like BHC, JTTW, and the remarkably Roots-sympathetic feel of DFTRM. I could see immediately what Ashley was talking about. I saw Carrie as a song-driven artist, with innovative music who was a breath of fresh air in what I'd sometimes seen as a rather dated and statuesque "Diva" dominated female Mainstream. All along, I've tended to see Carrie as a leading part of a New Wave of Country singers, taking the music in new directions, and putting the story line lyrics ahead of the vocal showcases.
Increasingly, though, I've come to realize that many of you see her more as a voice-first singer, and more of a continuation of the "Diva" era than as a challenge to it. (As it happens, that's not how I think Carrie primarily sees herself - I think her heart is more in pushing forward, and I think she's more interested in her own and others' songwriting than she is in finding showcases for a particular vocal style. BA, for me, was definitely a New Wave, song-driven record).
However, it's all good - Carrie is lucky in having such a broad fan base, who can see her in so many different ways.

Incidentally, I think Patrick has hit a significant point with the comment "Staying solid in mainstream pop/country is almost demanded of her". I think Sony do see her that way, and seem reluctant to release her more core Country album songs as singles. I also think it can be relevant to the awards fiasco. The industry has to award people it may lose (if it wants to keep them). It has less reason to award people it's sure it's got. Taylor could go to General Music in a wink. Carrie says she doesn't want to. Miranda could always go Alternative, like so many other women before her. Carrie has said she couldn't think of a non-major label career. If Carrie does seem so firmly linked to Music Row, it may not seem a priority for some of them to keep "courting" her.

 

[pklongbeach]

True true.

And yes, I do see Carrie attempting to stretch herself. She has been given an amazing gift in the opprotunity to "become" anything she wants. The money is there, the fan support is there, the label success is there. Everything is in place for carrie to make any music she wants.

And I do see part of her personality in that "Diva" personna. Songs like So Small being sung in a yellow chiffon prom dress under a wash of golden light, is clear eveidence that she wants to have those moments where the voice is the only determining factor.
Also, songs like SYA and Chronicales of Narnia and IKYW are abvious displays of "voice" over theatrics.
Carrie sees herself as a vocalist first. She has made that clear. And I think it is the best choice. She "is a singer" first.

Like few others can be.

Also, CMA performance was pure "Diva". Start to finish. She made no effort to tell a story. She was there to deliver a vocal performance. And she did, like no one else there could.

I just think she is very diverse. And I wish she was viewed that way by more in the industry.
I believe we are going to see a vocalist for SOM that is so convincing in her vocal style that people are going to be shocked by her ability to "sound like a braodway singer". And maybe even further confuse the public into believeing she is one!!

Point is, Carries talent allows her to be convincing in many areas. And in this way, there may be confusion believing she really is a country singer. But Miranda, there is no question.

So as for the Diva, Yes, I think she grew up in the era of Faith and Martina belting out these big songs. And because she is the kind of singer who can match them, she grew up emulating them.

She grew up listening to a lot of 80's hair bands a big voiced divas.
Her "influneces" were voice dominated groups; Heart / Journey / George MIchael / Faith Hill / Martina McBride.

I think from an early age when she tried to sing like those amazing singers, she could match them note for note. And I think that had a huge impact on the way the views her ability.

I don't think she sees herself anything like a Loretta Lynn. She sees herself as a Patsy Cline!

 

[allamericangirl8]

Increasingly, in the last few weeks, I've come to realize on this board, that I've been seeing Carrie in a rather different way from the way many of you do. I think this difference of image must always have been there - but it's only lately that it's struck me.
I came to Carrie through "Flat On The Floor", a song written by an artist I supported, who was also talking about Carrie. Checking back on Carrie I was struck by the bold variety of earlier songs like BHC, JTTW, and the remarkably Roots-sympathetic feel of DFTRM. I could see immediately what Ashley was talking about. I saw Carrie as a song-driven artist, with innovative music who was a breath of fresh air in what I'd sometimes seen as a rather dated and statuesque "Diva" dominated female Mainstream. All along, I've tended to see Carrie as a leading part of a New Wave of Country singers, taking the music in new directions, and putting the story line lyrics ahead of the vocal showcases.
Increasingly, though, I've come to realize that many of you see her more as a voice-first singer, and more of a continuation of the "Diva" era than as a challenge to it. (As it happens, that's not how I think Carrie primarily sees herself - I think her heart is more in pushing forward, and I think she's more interested in her own and others' songwriting than she is in finding showcases for a particular vocal style. BA, for me, was definitely a New Wave, song-driven record).

[obvious]Carrie was on American Idol, a vocalist competition.[/obvious] It's partly because of this that I think people will always place her voice before her music. In album reviews, critics always say how her voice is so much better than her material. When people talk about Carrie, the first thing they talk about is how the gurl can SANG. While I actually find her music a little more interesting than her voice, I do think that's why the GP and a great deal of her fans think her voice > her music.

 

[Farawayhills]

So as for the Diva, Yes, I think she grew up in the era of Faith and Martina belting out these big songs. And because she is the kind of singer who can match them, she grew up emulating them.

Actually, if you look at the evidence, it doesn't really seem to point that way.

On her teenage albums, the most covers she performed were from the Dixie Chicks (four songs in all)
Three artists share second place (with two songs each). One of those, indeed was Martina McBride - but Martina shares that number with Patty Loveless and Jo Dee Messina, also with two each. They strike me as pretty different artists, and it seems a stretch to deduce from that she was particularly emulating Martina McBride.
I can only find one song by Faith Hill (and even that surprised me, as I wouldn't have thought of linking Carrie to Faith stylistically). Other artists with one cover song each each include Creedence Clearwater Revival (yay!), Pat Benatar, Deana Carter, Patsy Cline, Terri Clark, Amanda Stott, Kathy Mattea, Reba McEntire, Lee Ann Womack, Mindy McCready, Otis Redding, Todd Duncan, and Maria McKie.
I find it very hard to see in that diverse group of artists any convincing sign that Carrie was emulating a particular style, or settling for being stereotyped as a particular type of artist.

Carrie's always been Carrie - and this Dottie West song was a marvellous reminder that her musical influences were as wide and deep as any of the women singing in the format today:

But anyway, we'll no doubt continue to see Carrie in whatever light we prefer - and she's probably lucky to have fans who can come from different perspectives. I'd only ask that people don't try to pigeonhole her into one style - something that I think she's always shown determination to avoid

 

[Gator]

^^ Farawayhills~ Thanks for this informative post. Totally agree. Love her take on this song. Carrie will not be pigeonholed, that is for sure. I see her constantly evolving. Look forward to watching her continue through her journey.

 

[rainbow1]

Thanks Faraway, I love to listen to her old albums....and do it often!!

 

[bluetb4]

^^ Farawayhills~ Thanks for this informative post. Totally agree. Love her take on this song. Carrie will not be pigeonholed, that is for sure. I see her constantly evolving. Look forward to watching her continue through her journey.

This is one of the reasons I love Carrie so much!! She is so diverse and keeps us guessing as to what she will do next. Very rarely do we have a performer with sooo much talent!!

 

[hjj]

I think this is one reason Carrie has been criticize for her albums not bein cohesive. She is either trying to please her diverse fanbase or her music interest or creativity just takes her there. I think it may be more the later. I belive it is her musical diversity that make her different and.why I enjoy her albums more and longer than most other albums.