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Miranda Lambert - Wildcard Era
- Thread starter Momin
- Start date
Farawayhills
Well-known member
I'll try to give some reaction to the individual tracks later, when I've had time for repeat listens. For now, I'll just give some general details on the album
Photography for the booklet is by Ellen von Unwerth. a German director and photographer, who specializes in a feminist approach to her work. She is a first for Miranda's publicity, but has previously worked with Beyoncè . Britney Spears & Christina Aguillera, among others. Miranda's longstanding style team (Tiffany Gifford, dress design, Moani Lee, make-up, & Johnny Lavoy, hair styling) prepared her for the eight or so shots in the booklet . The booklet gives the full lyrics - but music credits are only given generally at the end (not track by track, as I would have preferred).
The album is released jointly by her Vanner label and RCA (which has been her third Sony group label, and the one that handled her more recent albums). It is produced by Jay Joyce (another first for Miranda), with assistants, and recorded at the Neon Cross studio, in East Nashville, by Jason Hall.
Jay Joyce, of course, also worked with Carrie, on Storyteller - and he again uses the McCrary sisters for some backing vocals and Travis Meadows, on harmonica. The production style, though, strikes me as more Rock influenced on Miranda's album, and less concerned to stay within broadly Mainstream-friendly ground than Carrie would tend to prefer. Substantial parts of this album are certainly innovative - even by Miranda's generally unconventional standards - and I think some fans may find some of these tracks harder to take to. But it's a complex album and will repay repeat listens to appreciate the range of styles involved.
The review in American Songwriter sums it up with this paragraph:
"Still, she is only nominally a country artist these days, something reinforced by the diverse Wildcard. Nobody would confuse Lambert with classic acts of the genre like Loretta Lynne or Lee Ann Womack, let alone Dolly or Emmylou. But with a charming twangy voice and the occasional injection of banjo, pedal steel or mandolin, she nimbly struts a tightrope between pop, rock, folk and Americana with enough hooks to be commercially viable, especially to millions of other women."
https://americansongwriter.com/2019/11/miranda-lamberts-wildcard-is-everything-longtime-fans-want/
To my mind, that is probably going a little far - there are, certainly, some more traditionally sounding Country tracks (albeit probably a minority), and even some that might be radio-friendly (though that does not seem to have been a main focus). Also, I would make a closer comparison with Emmylou, and even Loretta, than that reviewer would allow - the change of direction that Emmylou made in work like her "Wrecking Ball" strikes me as a possible influence on Miranda's work, and Loretta's "Van Lear Rose" album was also remarkably innovative and Rock influenced (though both women were older than Miranda when they made those career progressions).
Grady Smith also made a pointed comment on Twitter, saying he loved the last three tracks - but it was a weird ride getting there! (To be fair, he later said that after repeat listens, it was an impressive album - something I would agree with myself)
Jay Joyce plays a remarkable range of instruments on the album (17, according to the credits!). Dan Dugmore (who was also much in evidence on Carrie's current album) provides most of the traditional instrumentation (pedal Steel, lap steel, dobro, mandolin). Fred Eltringham (who has worked with the Dixie Chicks and Sheryl Crow) provides the drum work that is a prominent, and alternately both powerful and subtle, feature of this album. Joel King plays bass throughout. Natalie Hemby, Ashley Monroe (both long standing friends) and Hillary Lindsey (probably a first for Miranda) are among the backing vocalists - and Hillary is also credited with acoustic guitar (something I don't recall her playing on Carrie's albums - though I'd need to check).
"Settling Down", "Holy Water", "Locomotive", "Bluebird", ""How Dare You Love "Tequila Does", "Track Record" and "Dark Bars" strike me as the most interesting tracks - I'll try to give a fuller assessment in due course.
Photography for the booklet is by Ellen von Unwerth. a German director and photographer, who specializes in a feminist approach to her work. She is a first for Miranda's publicity, but has previously worked with Beyoncè . Britney Spears & Christina Aguillera, among others. Miranda's longstanding style team (Tiffany Gifford, dress design, Moani Lee, make-up, & Johnny Lavoy, hair styling) prepared her for the eight or so shots in the booklet . The booklet gives the full lyrics - but music credits are only given generally at the end (not track by track, as I would have preferred).
The album is released jointly by her Vanner label and RCA (which has been her third Sony group label, and the one that handled her more recent albums). It is produced by Jay Joyce (another first for Miranda), with assistants, and recorded at the Neon Cross studio, in East Nashville, by Jason Hall.
Jay Joyce, of course, also worked with Carrie, on Storyteller - and he again uses the McCrary sisters for some backing vocals and Travis Meadows, on harmonica. The production style, though, strikes me as more Rock influenced on Miranda's album, and less concerned to stay within broadly Mainstream-friendly ground than Carrie would tend to prefer. Substantial parts of this album are certainly innovative - even by Miranda's generally unconventional standards - and I think some fans may find some of these tracks harder to take to. But it's a complex album and will repay repeat listens to appreciate the range of styles involved.
The review in American Songwriter sums it up with this paragraph:
"Still, she is only nominally a country artist these days, something reinforced by the diverse Wildcard. Nobody would confuse Lambert with classic acts of the genre like Loretta Lynne or Lee Ann Womack, let alone Dolly or Emmylou. But with a charming twangy voice and the occasional injection of banjo, pedal steel or mandolin, she nimbly struts a tightrope between pop, rock, folk and Americana with enough hooks to be commercially viable, especially to millions of other women."
https://americansongwriter.com/2019/11/miranda-lamberts-wildcard-is-everything-longtime-fans-want/
To my mind, that is probably going a little far - there are, certainly, some more traditionally sounding Country tracks (albeit probably a minority), and even some that might be radio-friendly (though that does not seem to have been a main focus). Also, I would make a closer comparison with Emmylou, and even Loretta, than that reviewer would allow - the change of direction that Emmylou made in work like her "Wrecking Ball" strikes me as a possible influence on Miranda's work, and Loretta's "Van Lear Rose" album was also remarkably innovative and Rock influenced (though both women were older than Miranda when they made those career progressions).
Grady Smith also made a pointed comment on Twitter, saying he loved the last three tracks - but it was a weird ride getting there! (To be fair, he later said that after repeat listens, it was an impressive album - something I would agree with myself)
Jay Joyce plays a remarkable range of instruments on the album (17, according to the credits!). Dan Dugmore (who was also much in evidence on Carrie's current album) provides most of the traditional instrumentation (pedal Steel, lap steel, dobro, mandolin). Fred Eltringham (who has worked with the Dixie Chicks and Sheryl Crow) provides the drum work that is a prominent, and alternately both powerful and subtle, feature of this album. Joel King plays bass throughout. Natalie Hemby, Ashley Monroe (both long standing friends) and Hillary Lindsey (probably a first for Miranda) are among the backing vocalists - and Hillary is also credited with acoustic guitar (something I don't recall her playing on Carrie's albums - though I'd need to check).
"Settling Down", "Holy Water", "Locomotive", "Bluebird", ""How Dare You Love "Tequila Does", "Track Record" and "Dark Bars" strike me as the most interesting tracks - I'll try to give a fuller assessment in due course.
Farawayhills
Well-known member
(I don't know if this will be available internationally)
CBS screen a Thanksgiving Day Parade, in the USA, on Nov 28th. Miranda will perform "Bluebird" and "Settling Down" for this event:
https://www.cbs.com/shows/holiday_c...rches-across-your-screen-live-on-november-28/
CBS screen a Thanksgiving Day Parade, in the USA, on Nov 28th. Miranda will perform "Bluebird" and "Settling Down" for this event:
https://www.cbs.com/shows/holiday_c...rches-across-your-screen-live-on-november-28/
Farawayhills
Well-known member
A decidedly mixed review on Saving Country Music - basically, reflecting his verdict that it's a decidedly mixed album (which, in his view, is both Miranda's worst, and best, album, in its wandering path through its different parts.) That, of course, also reflects Kyle's musical philosophy. Jay Joyce is one of his particular "villains", and he weighs in against the bombastic production and the Rock/Pop stylistic elements. He's kinder on Miranda's apparent attempt to re-establish her music's wider relevance, which he sees as necessary, after the less commercial path she took with the Weight of these Wings. He acknowledges that a couple of the songs are probably among her very best - but (as several others have also said), going through the album is something of a roller coaster ride of abrupt stylistic changes. He also discusses the "feminine" aspects, which have been a recurring element in her career (also touching on American Songwriter's comment about her overwhelmingly female support - which, even if not that far from the statistical truth, caused a storm in the fan base, and for which they quickly apologized on-line.)
https://www.savingcountrymusic.com/album-review-miranda-lamberts-wildcard/
https://www.savingcountrymusic.com/album-review-miranda-lamberts-wildcard/
Carrieroxmysox2011
Active member
Kinda shocked and sad for Miranda that her album is only projecting to sale 53-57k for the first week. I thought it would be higher. Maybe its cause this album hasn't generated a hit yet?
Farawayhills
Well-known member
It's difficult for me to comment on whether that should be considered disappointing, since I don't keep up with those figures, so without doing past research I don't have a proper point of reference to compare it with. (Going by Twitter fan posts, though it appears it topped the all-genre I-Tunes chart for two or three days at least - though I can't confirm that)
If sales are lower than fan expectations, though, I doubt if many Miranda fans are waiting on a possible radio hit. I should think the two main reasons would be:
a) the fact that she has already released an unusually high number of tracks onto You Tube, and for streaming and individual downloads (this was a deliberate decision, which she's explained by saying she wanted the music itself to get as wide a spread of interest as possible - though this would obviously kill some of the anticipation for, or reason to buy, the album as a whole)
b) the fact that the album is so stylistically mixed - which would tend to encourage "cherry picking" of tracks people relate to, rather than risking a whole album.
Amazon summed up the mixed character by saying 'Wildcard' moves from fraught, taut rock & roll to gentle folk, classic Wurlitzer country and a bit of funky gospel, with Lambert's signature wit and tongue-in-cheek humour permeating throughout.". That might appeal to diehard personal fans, but probably not so much to buyers who favour particular styles or genres.
I would say that the mixed character of the album partly (probably mainly, as she is very much an individualist) reflects Miranda's own musical tastes and vision, and partly reflects a perceived need to widen her potential appeal beyond Mainstream Country - reflecting both her increasing use of New York as a base, and her rocky relationship with Country radio. I feel there are definite signs (as several reviewers have pointed out) that there are parts of the album where she's trying to keep her Mainstream Country audience on board (more so than with Weight of These Wings) - but, even if successful, that is more likely to be true of those parts, than it would be of the album as a whole.
I'm enjoying the album a lot more than I feared I might, from a couple of early releases - and the more I hear the album as a whole, the more I tend to regard it's overall vision as a success. To my mind, that only becomes apparent if you do take it as a whole, rather than cherry-picking particular tracks - but I think their very complexity means that Miranda's albums do tend to be long term stayers, more than instant flavours of the month.
Momin
Well-known member
I finally have the time to give some of my thoughts on the songs and then some on the overall production of album.
White Trash - Definitely a very Miranda song and a fitting opening to the album. I do think, without her intending it so, that the song also speaks for how she will never change no matter how glossy her life might get, especially after shifting to New York. And she has reiterated that in interviews: that she's going back to her roots, where she began from. Speaking of roots, the reference to roots in "I can keep my roots from showing", for me, reminds me of her song 'Roots & Wings'.
Mess With My Head - I've expressed my liking for this song. It's a little un-Miranda but also makes sense for her to record a song like this. Her vocals are pretty plain in this song but I think that's something that the music makes up for. This song includes imagery of a fancy lifestyle as well, so it pretty much connects the first two songs of the album with a theme.
It All Comes Out in the Wash - Probably not something I can listen to on repeat because it would get too repetitive for my liking. But the production is infectious and I really like hearing her letting go and not taking herself that seriously on this song.
Settling Down - The first reference to traveling on the road comes in the first verse in this song. The lyrics are definitely interesting in their self-questioning nature. I personally relate to it a lot. It's hard when one has two opposing qualities/traits/ideologies and you don't know how to define yourself. It makes sense for Miranda to include this song since she got married for the second time and it probably came with a lot of self-doubts along with self-reflection.
Holy Water - I like the swampy feel of the album. Some sounds and vocals on this remind me of 'Baggage Claim'. Not one of my favourites though, most probably because the content is a little unrelatable for my culture (although that's not usually a deciding factor for me to like or not like a song).
Way Too Pretty For Prison - Might have liked this one if it was on another album or maybe released as a standalone single or was on an album by Maren Morris. It sounds to similar to IACOITW. The lyrics are fun though.
Locomotive - More references to movement and being like a vehicle. Especially the last album and beyond, being on the road has started to have symbolic and metaphorical significance for Miranda. This kind of takes on the questions and uncertainty expressed in SD more directly, fiercely and assuredly. Another self-reference is the line "he gives me wings". This track stands out.
Bluebird - Do I even have to express my love for this song? It's one of the highlights for me and one of the my favourite country songs of this year. Bittersweet, hopeful and, to me, encouraging. It's soothing. The bluebird reminds me of the blue-coloured birds on the back of TWOTW.
How Dare You Love - One of the interesting tracks on the album. "Ooh, the nerve" is what I listen to the song for! Haha. She sings it with such expression. For some reason, this song reminds me of older country songs. It has that feel to it. Like Emmylou Harris-esque, even though I have not heard a lot of her material.
Fire Escape - I like the metaphor but not one of my favourites on the album in terms of melody. Perhaps repeated listens will help me get into it.
Pretty B****ing - More references to moving on the road. But just an okay song for me. Not one I would revisit a lot.
Tequila Does - One of my favourites on the album. I love how disjointed it can sound because of the change of pace throughout the song. And the vocals - !
Track Record - Another one of my favourites and one that stuck in my mind after my first listen of the album. I find the production very similar to what a lot of indie-rock/indie-pop/alternative bands are doing with their songs. The consistent pace of the song are a parallel to the references of being on the road, traveling and constantly moving. Some of the themes on this remind me things she expressed on TWOTW. Like on 'Things That Break' and 'To Learn Her'.
Dark Bars - For me, this sits on the same table as 'Ugly Lights' in terms of the narrator spending a lot of time drinking, lurking in bars and indulging in her darker side (although the former is far more "shameful"). Over here, it sounds like she's taking more ownership of the persona she expressed of in UL (in some senses, the recklessness and indulgence remind me of Carrie's DA too). Great songwriting on this one.
The production of all songs is very jarring, eccentric and at times very odd. All in a good way. Songs have unexpected sounds that come out of nowhere and, in that sense, I would characterize the album's sound as being a sister to 'Two Rings Shy' from Platinum. If you expand that song into a whole album, that is Wildcard for me. That in itself makes this album having a character and presence of its very own in the entire country music genre at this time. Nothing sounds like songs on Wildcard right now, and I think only Miranda could have pulled off something like this. After listening to the entire album in one go, the productions on the pre-released tracks like IACOITW make much more sense to me. It's a very cohesive album in all its messiness.
White Trash - Definitely a very Miranda song and a fitting opening to the album. I do think, without her intending it so, that the song also speaks for how she will never change no matter how glossy her life might get, especially after shifting to New York. And she has reiterated that in interviews: that she's going back to her roots, where she began from. Speaking of roots, the reference to roots in "I can keep my roots from showing", for me, reminds me of her song 'Roots & Wings'.
Mess With My Head - I've expressed my liking for this song. It's a little un-Miranda but also makes sense for her to record a song like this. Her vocals are pretty plain in this song but I think that's something that the music makes up for. This song includes imagery of a fancy lifestyle as well, so it pretty much connects the first two songs of the album with a theme.
It All Comes Out in the Wash - Probably not something I can listen to on repeat because it would get too repetitive for my liking. But the production is infectious and I really like hearing her letting go and not taking herself that seriously on this song.
Settling Down - The first reference to traveling on the road comes in the first verse in this song. The lyrics are definitely interesting in their self-questioning nature. I personally relate to it a lot. It's hard when one has two opposing qualities/traits/ideologies and you don't know how to define yourself. It makes sense for Miranda to include this song since she got married for the second time and it probably came with a lot of self-doubts along with self-reflection.
Holy Water - I like the swampy feel of the album. Some sounds and vocals on this remind me of 'Baggage Claim'. Not one of my favourites though, most probably because the content is a little unrelatable for my culture (although that's not usually a deciding factor for me to like or not like a song).
Way Too Pretty For Prison - Might have liked this one if it was on another album or maybe released as a standalone single or was on an album by Maren Morris. It sounds to similar to IACOITW. The lyrics are fun though.
Locomotive - More references to movement and being like a vehicle. Especially the last album and beyond, being on the road has started to have symbolic and metaphorical significance for Miranda. This kind of takes on the questions and uncertainty expressed in SD more directly, fiercely and assuredly. Another self-reference is the line "he gives me wings". This track stands out.
Bluebird - Do I even have to express my love for this song? It's one of the highlights for me and one of the my favourite country songs of this year. Bittersweet, hopeful and, to me, encouraging. It's soothing. The bluebird reminds me of the blue-coloured birds on the back of TWOTW.
How Dare You Love - One of the interesting tracks on the album. "Ooh, the nerve" is what I listen to the song for! Haha. She sings it with such expression. For some reason, this song reminds me of older country songs. It has that feel to it. Like Emmylou Harris-esque, even though I have not heard a lot of her material.
Fire Escape - I like the metaphor but not one of my favourites on the album in terms of melody. Perhaps repeated listens will help me get into it.
Pretty B****ing - More references to moving on the road. But just an okay song for me. Not one I would revisit a lot.
Tequila Does - One of my favourites on the album. I love how disjointed it can sound because of the change of pace throughout the song. And the vocals - !
Track Record - Another one of my favourites and one that stuck in my mind after my first listen of the album. I find the production very similar to what a lot of indie-rock/indie-pop/alternative bands are doing with their songs. The consistent pace of the song are a parallel to the references of being on the road, traveling and constantly moving. Some of the themes on this remind me things she expressed on TWOTW. Like on 'Things That Break' and 'To Learn Her'.
Dark Bars - For me, this sits on the same table as 'Ugly Lights' in terms of the narrator spending a lot of time drinking, lurking in bars and indulging in her darker side (although the former is far more "shameful"). Over here, it sounds like she's taking more ownership of the persona she expressed of in UL (in some senses, the recklessness and indulgence remind me of Carrie's DA too). Great songwriting on this one.
The production of all songs is very jarring, eccentric and at times very odd. All in a good way. Songs have unexpected sounds that come out of nowhere and, in that sense, I would characterize the album's sound as being a sister to 'Two Rings Shy' from Platinum. If you expand that song into a whole album, that is Wildcard for me. That in itself makes this album having a character and presence of its very own in the entire country music genre at this time. Nothing sounds like songs on Wildcard right now, and I think only Miranda could have pulled off something like this. After listening to the entire album in one go, the productions on the pre-released tracks like IACOITW make much more sense to me. It's a very cohesive album in all its messiness.
simonplay
Well-known member
Miranda was selling well because of Blake Shelton, then they divorced and she made a album about that. But now she doesn't have Blake, so people is not interested.
txacar
Well-known member
Her album release party begins at 7 eastern. You can watch/hear it here. https://news.iheart.com/featured/ih...rate-wildcard-during-nyc-album-release-party/
Farawayhills
Well-known member
I don't think that tells the whole story at all. "Kerosene" and "Crazy Ex-Girlfriend" both debuted at number one on Billboard Country Albums, and top ten on Billboard all-genre, and the latter won AOTY at the ACM - none of which can be attributed to her later relationship with Shelton.
The tabloid obsession with Miranda's personal life does reflect the Shelton years (Windmills believed that much of it could be traced to "sources" connected with the Voice TV franchise). It has been predominantly hostile to Miranda, and has not noticeably subsided. Much of it It now centres on a supposed rivalry with another Voice personality, whom Shelton is currently dating, and has led to increasingly bitter attacks by rival fans on social media. It's impossible to say how far personalized negative publicity has impacted on Miranda's radio reception and popularity among more conservative Country fans, but I do believe it's probably been a significant element (though there have undoubtedly been other factors too, connected with her musical styles, and some of her perceived views).
Personally, i think she is, and has been, too interesting a musical artist to need to depend on the demands and concerns of Mainstream Country alone - and while I believe her work enriches that genre, and I hope she retains a definite connection with it - I don't think she should be confined by it.
lizcarlo
Well-known member
Thanks for posting... I really enjoyed it. Miranda is just so awesome.
simonplay
Well-known member
You don't need much to debut at #1 on Billboard Country Album chart or top 10 on Billboard 200.
I'm saying she was popular thanks to be Blake's wife (she sold over 150k with most of her albums while she was with Blake) now she is not as visible for the mainstream world and the sales reflect that.
Zman312
Active member
I have to respectfully disagree with you on that. Blake and Miranda both benefitted when married bc the genre wanted to make them the power couple. Unfortunately, that never came to fruition bc both didn’t have the commercial success expected of them. They were over rewarded but it never paid off. (Blake gained a lot of success due his connection with voice and bc he is a man.)
Momin
Well-known member
Based on this argument, Blake should be selling much more than Miranda since he's the "star". However, his last album debuted with 66k, which is not a lot from Wildcard's projected sales. It's almost the same bracket. Also, if you compare sales of their first albums after the divorce, Miranda sold more than Blake: TWOTW is Platinum while IIH is Gold. Blake's album after that one, released in 2017, hasn't even gone Gold uptil now. I'm sure Wildcard will at least go Gold. So I think it's fair to say that Miranda's low sales (which I think aren't really low because sales are at an all-time low across all genres) are attributed to other factors than her divorce from Blake.