Carrie Underwood Fans

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Miranda Lambert, Palomino era

lizcarlo

Well-known member
miranda-lambert-time-100.png
 

rcramer

Well-known member
I don't know, I personally don't think she has any song on this album that I could see being a bit hit. For me, Miranda has gotten boring.

Tin Man and the HTBM will always be my two favorites of hers....
 

Momin

Well-known member
I'm the opposite - I think Miranda is one of the most interesting artists of our time, reinventing herself with each era. I always look forward to what she is doing.
 

lizcarlo

Well-known member
In my opinion Miranda is one of the most constant artists in quality music throughout her career. I have been listening to her since beginning and have never been disappointed in her music. She has always released music that was never immature for her age. What I mean is a lot of artists I have listen to as teen got so boring to me as I got older. Miranda has always had my interest musically. She takes risks that pays off in my opinion. Love how she shows different layers with country music with her studio albums and Pistol Annie albums. In my opinion she is one of the most talented artists in music industry.
 

Alydg13

New member
When the album was out I was in Nashville the day it come out and I want to her restaurant for lunch to have a Margarita, chips to celebrate her new album and I love this album one of my favorites.
 

FanSince04

Well-known member
Miranda Lambert’s residency has kicked off. Prepare for the critics to compare. I wish nothing but the best.
 

Farawayhills

Well-known member
"Every show must end
Every circus leaves town
You don't know the magic's gone
Until the lights go down"


That refrain from "Carousel" seems to have come true in the case of Miranda's time with Sony! But such departures are seldom fully explained, and we may never know the whole story.

So far (to the best of my knowledge), neither Miranda herself, nor Marion Kraft at Shopkeeper, has given any indication of how music releases will be handled in future - independently, niche label, or other major signing, must all remain possibilities. (The Pistol Annies, incidentally, are also signed to Sony, and may still have a contract to fulfill, so it is possible that Miranda may still do some work there!)

This article, from Whiskey Riff
https://www.whiskeyriff.com/2023/03...ways-with-longtime-label-sony-after-20-years/
makes two points of possible interest in explaining the break
--that Miranda may have preferred to release Carousel or Waxahatchie, rather than Strange, as a single
--and that a comment she posted on social media - "knowing your worth is everything" - could carry the implication that she was feeling undervalued by the label

Personally, though, I would take those points with some caution
--firstly "Strange" was written by the same trio (Miranda, Luke Dick & Natalie Hemby) as most of the album, and it includes some similarly innovative music, and some enthusiastic "attitude" in the presentation. (It contains the line "Country don't twang, rock 'n' roll ain't loud" - but contradicts both with a steel guitar intro and some great Rock guitar work). It strikes me as a characteristic Miranda "statement" - and one that was potentially more catchy, and more general in appeal as a single, than the more reflective songs (that made excellent album cuts). I don't really see the choice of song as being one that she would have have strongly objected to.
--secondly, the social media comment was in reply to a man who said he admired strong women who knew their worth, so Miranda may have meant the reply in terms of personal attitude (at least as much as it being a sly dig at Sony).

That said, though, I think both points may well have some connection with the story, as parts of a wider picture.

In her Instagram post, Miranda made this comment (which I believe is likely to be the main key to the break): "I wouldn’t be true to myself if I wasn’t constantly looking for the next challenge and a new way to stretch my creativity." Although at first glance that could seem a cliché, which any artist might use to cover a career change, I feel that it does tie in with what Miranda has been doing in the last few years. "The Weight of These Wings" and "Marfa Tapes" were albums that definitely put creativity ahead of commercial or promotional constraints (and must have pushed the limits of the "creative freedom" deal she negotiated with John Grady in 2004 to near breaking point in the minds of some Sony staff!) Recent work also marked a break from her long standing production work with Frank Liddell (She produced the current album herself, together with Luke Dick and Jon Randall - both frequent recent collaborators, with a leaning to the more Alternative Country wing). She may have felt that if she wants to continue experimenting, a break with Sony is the natural conclusion.

Why I do see "Strange" as also likely to be relevant has more to do with its promotional fate, than with its choice as a single. It stalled on radio, barely reacing the 40s. But I think Sony would have got it higher a few years ago (as they did with other "outlier" songs that must have had promotional challenges, such as Little Red Wagon, or All Kinds of Kinds. Obviously, I have no proof - but they may have given the impression that they weren't giving it the extra pushes that it probably needed - given the combination of sexism and ageism that has been widely discussed in relation to Country radio in general. Some commentators have made the points that the record label "climate" has shifted to promotion of newer artists like Luke Combs and Maren Morris - and that several established artists, including Carrie, Brad Paisly and Kenny Chesney have also left Sony in recent years. For Miranda, the trade-off between creative experimentation and the practical help she might get from the label in future might have seemed increasingly weighted against the latter!

All told though, I think fans can continue to look forward to exciting work in future, wherever it's done!
 

Momin

Well-known member
^
"Every show must end
Every circus leaves town
You don't know the magic's gone
Until the lights go down"


That refrain from "Carousel" seems to have come true in the case of Miranda's time with Sony! But such departures are seldom fully explained, and we may never know the whole story.

So far (to the best of my knowledge), neither Miranda herself, nor Marion Kraft at Shopkeeper, has given any indication of how music releases will be handled in future - independently, niche label, or other major signing, must all remain possibilities. (The Pistol Annies, incidentally, are also signed to Sony, and may still have a contract to fulfill, so it is possible that Miranda may still do some work there!)

This article, from Whiskey Riff
https://www.whiskeyriff.com/2023/03...ways-with-longtime-label-sony-after-20-years/
makes two points of possible interest in explaining the break
--that Miranda may have preferred to release Carousel or Waxahatchie, rather than Strange, as a single
--and that a comment she posted on social media - "knowing your worth is everything" - could carry the implication that she was feeling undervalued by the label

Personally, though, I would take those points with some caution
--firstly "Strange" was written by the same trio (Miranda, Luke Dick & Natalie Hemby) as most of the album, and it includes some similarly innovative music, and some enthusiastic "attitude" in the presentation. (It contains the line "Country don't twang, rock 'n' roll ain't loud" - but contradicts both with a steel guitar intro and some great Rock guitar work). It strikes me as a characteristic Miranda "statement" - and one that was potentially more catchy, and more general in appeal as a single, than the more reflective songs (that made excellent album cuts). I don't really see the choice of song as being one that she would have have strongly objected to.
--secondly, the social media comment was in reply to a man who said he admired strong women who knew their worth, so Miranda may have meant the reply in terms of personal attitude (at least as much as it being a sly dig at Sony).

That said, though, I think both points may well have some connection with the story, as parts of a wider picture.

In her Instagram post, Miranda made this comment (which I believe is likely to be the main key to the break): "I wouldn’t be true to myself if I wasn’t constantly looking for the next challenge and a new way to stretch my creativity." Although at first glance that could seem a cliché, which any artist might use to cover a career change, I feel that it does tie in with what Miranda has been doing in the last few years. "The Weight of These Wings" and "Marfa Tapes" were albums that definitely put creativity ahead of commercial or promotional constraints (and must have pushed the limits of the "creative freedom" deal she negotiated with John Grady in 2004 to near breaking point in the minds of some Sony staff!) Recent work also marked a break from her long standing production work with Frank Liddell (She produced the current album herself, together with Luke Dick and Jon Randall - both frequent recent collaborators, with a leaning to the more Alternative Country wing). She may have felt that if she wants to continue experimenting, a break with Sony is the natural conclusion.

Why I do see "Strange" as also likely to be relevant has more to do with its promotional fate, than with its choice as a single. It stalled on radio, barely reacing the 40s. But I think Sony would have got it higher a few years ago (as they did with other "outlier" songs that must have had promotional challenges, such as Little Red Wagon, or All Kinds of Kinds. Obviously, I have no proof - but they may have given the impression that they weren't giving it the extra pushes that it probably needed - given the combination of sexism and ageism that has been widely discussed in relation to Country radio in general. Some commentators have made the points that the record label "climate" has shifted to promotion of newer artists like Luke Combs and Maren Morris - and that several established artists, including Carrie, Brad Paisly and Kenny Chesney have also left Sony in recent years. For Miranda, the trade-off between creative experimentation and the practical help she might get from the label in future might have seemed increasingly weighted against the latter!

All told though, I think fans can continue to look forward to exciting work in future, wherever it's done!
Great analysis of the situation - I do think she felt undervalued at the label especially now that she has time and again proven her worth, legacy and successful creative risks.

Always great to have you here Faraway! We need more of your posts again.
 

rcramer

Well-known member
I agree, Farawayhills, love to read your well thoughtful posts. Like the insight you make.

I think Miranda did well with Sony…. See where she goes now…
 

Farawayhills

Well-known member
Miranda's current single is a duet with fellow Texan, Leon Bridges.. She wrote the song, "If You Were Mine", with Ashley Monroe and Jesse Frasure. (Jesse Frasure,also known as DJ Telemetry, also collaborted with Miranda last year on If I Was a Cowboy)


I love the style they get on this song - but it may also be possible that it gives a clue to her future plans. She's releasing it on her own Vanner label (which she earlier confirmed she was taking with her as part of her farewell deal with Sony). However she is relying on Imperial to handle the distribution of the record. Imperial are an old EMI label, with a somewhat checkered history of lapses and revivals. They now belong to the Universal Music Group - I don't know whether that implies she might use Universal for a future album, but the association is intriguing!

Some of you might also be interested to hear that Miranda is appearing tonight at Gstaad in Switzerland. It's one of Europe's oldest and best loved Country Music Festivals, often with an Alt Country feel in its line-up. Miranda last appeared there in 2010.
 

Farawayhills

Well-known member
There has been another interesting development in Miranda's career. Last week, she announced that she will partnering with Jon Randall in setting up a new record label, Big Loud Texas. Details so far are fairly sparse, but the idea seems to be promoting and recording artists from their home state - but it is not clear whether that will be artists aspiring to break into the Nashville Mainstream, or artists concentrating on the alternative Texas Regional scene, which has it's own radio network and chart, and a distinctive musical feel , which merges traditional Country with Country Rock and Oklahoma-inspired Red Dirt Music (I would suspect the latter is more likely, as otherwise, there would seem less reason to set up a separate imprint)

Although the new label will appear to have its own identity and separate management, it will be a subsidiary of Big Loud. which is one of the few independents on the Nashville scene, The parent company was set up by veteran songwriter Craig Wiseman and Canadian producer Joey Moi. (Two of Carrie's best songs. BHC and BA came from their publishing division)

Jon Randall is a long-time friend and musical collaborator of Miranda's. He hails from Dallas, and, as a child, performed with Martie of the (Dixie) Chicks. He became guitarist in Emmylou's Nash Ramblers, and played on their '90s Grammy winning "Live at the Ryman" (one of my all-time favourite albums). Some Carrie fans will probably remember him for writing "Oklahoma Wind" with Carrie, a haunting elegy of nostalgia for lost love, - which was sadly shelved after being leaked prematurely,

I would stress that, at the moment, this seems to be a business venture for Miranda, and she has not said whether or not she will be releasing her own music through the new venture. She still has her own Vanner label, but she will probably need a distributor. What she chooses for that is still an open question - but it is still more evidence of her diversification, and (probably) her intention to further develop her links with the Alt Country. scene. (To my mind, both would make sense at this stage of her career)

This has been her 40th birthday week, and the pictures she's posted suggest that she is pretty happy, so wherever this goes, career changes don't seem to be anything to faze her!
 

Farawayhills

Well-known member
(I suppose The "Palomino" era isn't really the place to post this song, which comes from Enrique's own album, but I'll post it here to avoid proliferating threads!)

Miranda is the featured duet partner with Spanish artist Enrique Iglesias (The original song was written in Spanish, as a solo, some years ago, and both versions appear on the album, but it is the duet that has been released worldwide as a single)


To my mind, an interesting aspect of this collaboration is the contrast that can be drawn with Carrie's "Tears of Gold" duet a few years ago. Carrie and David's duet was highly dramatic, both in the music and the visual presentation - whereas the Miranda-Enrique duet takes a more intimate and sensual approach. Miranda's romantic ballads have always been a highlight of her work for me (though they were often kept as deep album cuts).

I'm no chart expert, but I think this aspect is worth a mention. Miranda's old label, RCA, are involved here, because Enrique records for their partner, Sony Latin - and they seem to making quite a push for some US radio exposure. In its second week, the single has reached 26 (after debuting at 30) on Billboard's Adult Pop Airtime chart. This seems to be Enrique's highest placing on that US chart since 2011 - and perhaps Miranda's first ever (?)
 
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