Carrie Underwood Fans
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Miranda Lambert - Wildcard Era
- Thread starter Momin
- Start date
pklongbeach
Active member
Sounds like Kellie Pickler!
abbeyjones18
Well-known member
Well, if Miranda wants to try for another radio hit, she is going to have to play it safe, imo. Locomotive certainly didn't sound very safe.
Momin
Well-known member
I read what she said about Locomotive after she performed and she only said that it was a good song to showcase the kind of music that's coming up, not that it was the first single. So I think it was just meant to be a teaser, not the first single.
Also, she has posted a reminder on Instagram that her new single is coming out. She teased that she might have something else up her sleeve that same day. So I'm assuming a music video is on its way too.
Also, she has posted a reminder on Instagram that her new single is coming out. She teased that she might have something else up her sleeve that same day. So I'm assuming a music video is on its way too.
Farawayhills
Well-known member
The woman with blonde hair who appears in the clip with Miranda and her glam team is Ellen von Unwerth, a photographer and video director from Germany. Her Wikipedia article explains her approach to feminism and eroticism in much of her work
https://en.wikipedia.org/wiki/Ellen_von_Unwerth
As well as the teaser clip, journalist Marissa R Moss has posted about them, with this photo
https://twitter.com/MarissaRMoss/status/1149691706595352576
The implication is that Miranda will have some visual material to announce, along with the new song. This may indeed be a music video, or at least a photo shoot - but it could also possibly be something longer. Ellen von Unwerth earlier directed a documentary for Beyoncé's Year of 4, celebrating her activity in the year one of her albums was produced. (Beyoncé and Miranda are friends who share views on some topics, and it's possible that she is planning something along similar lines)
https://en.wikipedia.org/wiki/Ellen_von_Unwerth
As well as the teaser clip, journalist Marissa R Moss has posted about them, with this photo
https://twitter.com/MarissaRMoss/status/1149691706595352576
The implication is that Miranda will have some visual material to announce, along with the new song. This may indeed be a music video, or at least a photo shoot - but it could also possibly be something longer. Ellen von Unwerth earlier directed a documentary for Beyoncé's Year of 4, celebrating her activity in the year one of her albums was produced. (Beyoncé and Miranda are friends who share views on some topics, and it's possible that she is planning something along similar lines)
FanSince04
Well-known member
I didn’t want to like the song, because Miranda is overrated and annoys me... BUT this song is super catchy. Yes, it reminds me of her older days (which I did like her then).
I stopped liking and showing interest in her after her “White Liar” era. I do like some of her songs... just don’t like her particularly.
I stopped liking and showing interest in her after her “White Liar” era. I do like some of her songs... just don’t like her particularly.
FanSince04
Well-known member
“Pirate Flag” by Kenny Chesney. It does what Miranda sings vocally just with instrumentation.
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simonplay
Well-known member
I don't know if it's the same song you are talking about but it reminds me a lot to Sam Hunt's Body like a back Road in that parts.
https://youtu.be/Mdh2p03cRfw
The song is fine, still waiting the day that Miranda take some risks and come out with a really new sound.
it's Sugarlands All I want to Do, it's almost like it used the same track of the uwhos
https://youtu.be/npbiMJzNJII?t=170
https://youtu.be/npbiMJzNJII?t=170
FanSince04
Well-known member
Not necessarily. Sure that’s what seems like happens, but she gets it without releasing anything new. If Carrie doesn’t get it, then I’m sure people will be in an uproar. This year they can’t hide how rigged they are if they don’t reward Carrie lol
simonplay
Well-known member
Oh wow, that is identical!
Farawayhills
Well-known member
Well, to begin with - for my part, it was always going to be hard to follow "The Weight of These Wings" (an album that could almost have been made for me, and which I still regard as one of the best to be released in this decade), and the Pistol Annies (a project I adore, and would defend to the last) - but those two albums together may have virtually buried Miranda's Mainstream career. and it's only to be expected that her label, her management, her supporters, and Miranda herself would be likely to try to restore some balance. (To give them credit, the label have always honored John Grady's "do whatever you want" deal, and show no signs of backing away from that - the price being often patchy or hard to discern promotion - and Shopkeeper have always fully supported Miranda - including seemingly undertaking much of the Pistol Annies promotion themselves - but I think all concerned would be relieved if Miranda tried to aim a little more middle of the road.)
But, personally, I do have rather mixed feelings in anticipating the new album - and these two advance songs do rather reinforce that impression.
Of the two, I much prefer "Locomotive" - it seems by far the braver choice, and the most individual (one reason, incidentally, why I can't understand the view that people are waiting for her to try something different - to my ears, no two songs on TWOTW were at all alike, stylistically, musically, or in the range of concepts they explored.) "Locomotive" may have been a no-go as a radio single - but '80s Cowpunk was important in my musical story, and I love hearing Miranda updating that vibe for today.
By contrast, "It All Comes Out In The Wash" strikes me as far closer to Country Pop - which is not really my thing, unless it's very well done. It may grow on me more (as, for example, "Something Bad" did) - but at the moment, for me, it seems a long way off Miranda at her best. The theme - that your mistakes and false steps don't matter in the end, as they all "come out in the wash" - can be thought of as reflecting her up-and-down progress to her seemingly now very happy second marriage; a shrug directed to her endless tabloid tormentors; and the theological view that she's expressed on earlier occasions (it may be not entirely coincidental that she cut this record at the Neon Cross in East Nashville). It begins with a typical Jay Joyce riff, but the Pop effect is reinforced by the repetitive chirpy wordless passages (for which we may have to thank Hillary Lindsey, who included similar effects in "See You Again")
"Fire Escape" and "Too Pretty for Prison" are also recently registered co-writes with the Love Junkies (though not yet confirmed as being on the album), as is "Dark Bars", by Miranda with Liz Rose alone (Liz has been described affectionately as the "mother hen" of Country female song writers today - and she also contributed to TWOTW, notably with the moody and uncompromising "Ugly Lights"). Miranda's choice of the Love Junkies as co-writers was probably influenced by her liking for "Girl Crush", a song she's performed, both solo and as a collaboration with Little Big Town. The latter was a big radio hit - but I can't say that I find "It All Comes Out In the Wash" to be as good as that song was.
For me, the biggest unknown factor is whether I'm going to find Jay Joyce as good a production fit for Miranda's work as Frank Liddell has been hitherto. Frank produced or co-produced all of her other major-label albums, and his free, eclectic combinations of styles and sounds suited her so well. Jay certainly has the credibility and critical acclaim, and his work with Eric Church has been particularly good. But it's a more open question whether his contemporary Rock influenced style will embrace the very wide understanding of the Country sonic tapestry that Frank has shown
But, personally, I do have rather mixed feelings in anticipating the new album - and these two advance songs do rather reinforce that impression.
Of the two, I much prefer "Locomotive" - it seems by far the braver choice, and the most individual (one reason, incidentally, why I can't understand the view that people are waiting for her to try something different - to my ears, no two songs on TWOTW were at all alike, stylistically, musically, or in the range of concepts they explored.) "Locomotive" may have been a no-go as a radio single - but '80s Cowpunk was important in my musical story, and I love hearing Miranda updating that vibe for today.
By contrast, "It All Comes Out In The Wash" strikes me as far closer to Country Pop - which is not really my thing, unless it's very well done. It may grow on me more (as, for example, "Something Bad" did) - but at the moment, for me, it seems a long way off Miranda at her best. The theme - that your mistakes and false steps don't matter in the end, as they all "come out in the wash" - can be thought of as reflecting her up-and-down progress to her seemingly now very happy second marriage; a shrug directed to her endless tabloid tormentors; and the theological view that she's expressed on earlier occasions (it may be not entirely coincidental that she cut this record at the Neon Cross in East Nashville). It begins with a typical Jay Joyce riff, but the Pop effect is reinforced by the repetitive chirpy wordless passages (for which we may have to thank Hillary Lindsey, who included similar effects in "See You Again")
"Fire Escape" and "Too Pretty for Prison" are also recently registered co-writes with the Love Junkies (though not yet confirmed as being on the album), as is "Dark Bars", by Miranda with Liz Rose alone (Liz has been described affectionately as the "mother hen" of Country female song writers today - and she also contributed to TWOTW, notably with the moody and uncompromising "Ugly Lights"). Miranda's choice of the Love Junkies as co-writers was probably influenced by her liking for "Girl Crush", a song she's performed, both solo and as a collaboration with Little Big Town. The latter was a big radio hit - but I can't say that I find "It All Comes Out In the Wash" to be as good as that song was.
For me, the biggest unknown factor is whether I'm going to find Jay Joyce as good a production fit for Miranda's work as Frank Liddell has been hitherto. Frank produced or co-produced all of her other major-label albums, and his free, eclectic combinations of styles and sounds suited her so well. Jay certainly has the credibility and critical acclaim, and his work with Eric Church has been particularly good. But it's a more open question whether his contemporary Rock influenced style will embrace the very wide understanding of the Country sonic tapestry that Frank has shown
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