Carrie Underwood Fans
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Review of two singles
- Thread starter Smokyiiis
- Start date
Well....WOW!!!
Can’t say I disagree with their criticism.........or their choices of songs that should/should have been released.
Last edited:
FanSince04
Well-known member
Hmmm... well considering they are criticizing production that means it’s towards Carrie, not UMG. Did they not do their HW before writing this critique of her second and third singles? I will say I’m about burnt out on explaining I don’t think Carrie really was too concerned with radio play when releasing LW... it was more of a song from the heart, and don’t even get me started on the comment of it being too loud? That’s all.
Farawayhills
Well-known member
It's probably worth remembering that Country Universe have generally been one of Carrie's most supportive review sites. Kevin John Coyne, the site's owner, who wrote that piece, has often advocated her for awards (and does call her the greatest vocalist of her generation in that review). Hence, I would ascribe the review to disappointment rather than to hostility.
I would never have put it as bluntly, but I do share that disappointment. In my view, LW and SoBo are indeed the weakest songs on the album - the main reason being that they are bland and derivative, and show very little of the wide ranging combination of deep genre references and forward looking innovation that characterize many of the other songs. I can only think that the unchallenging and generic feel of these two songs may have been the reason they were picked as singles. The promotional team may have been shaken by the relatively low (by Carrie's standards) chart performance of CP (which had a much stronger theme, and which did blend tradition and bold innovation in a way that reflected where I think Carrie was aiming with much of this album). Faced with (probably unexpected) rather tepid radio reception, they may have decided to push two songs seen as potentially "safer" options. If so, that may have been largely the label's decision - but if an artist does include songs which seem generally unrepresentative of the overall direction and quality of the album, I feel she, or he, is giving "a hostage to fortune" that may play a considerable part in how casual listeners evaluate the era as a whole.
LW begins with an interesting and challenging verse - but, for me, that makes the let-down all the greater when the bulk of the song evolves into a repetitive, chorus-heavy main section, sung in what I consider a backward-looking style more typical of Carrie's earlier career. It is positive, up-beat and inspirational - and Carrie never gives a weak performance - but it is the lack of any real innovation that fails to lift it above the prevailing sense of dejá vu. I can only think that, in this song, Carrie wanted to deliver a message which was important to her - but wanted to give it in as general a way as possible, to give allow it to reach the widest possible audience.
In the case of SoBo, I can't dispute Coyne's opinion that the theme is very generic. But I do also agree that she's taken care to include some interesting imagery in the song writing. And (while Coyne does not mention this aspect), I think she has also taken some care with the music. For me, it includes a slight Louisiana feel, and, as I mentioned in an earlier post, I think this may be an extension of the Hank Williams theme seen in other parts of the album, in giving a brief nod to "Jambalaya" (and perhaps even the earlier On the Banks of the Old Ponchartrain"). This reference to the underlying musical line is admittedly slight, and is more noticeable in some of the other album songs - but, I think it does tie this song a little more into Carrie's album, and I'd regard it as the more successfully planned of the two reviewed singles.
SpBo and TB are both, in my view, strong songs, and, like Coyne, I'd much prefer the album era to be judged on material like that. I'm probably not the best person to judge radio single potential (most of what they do play doesn't appeal to me) - but I would make the general point that, sooner or later, like other great artists, Carrie is not going to breplayed intensively, or even regularly, on Mainstream radio. That point has not been reached yet, and I don't begrudge Capitol seeking to prolong her radio success. But I also hope they pay increasing attention to her long term legacy.
I would never have put it as bluntly, but I do share that disappointment. In my view, LW and SoBo are indeed the weakest songs on the album - the main reason being that they are bland and derivative, and show very little of the wide ranging combination of deep genre references and forward looking innovation that characterize many of the other songs. I can only think that the unchallenging and generic feel of these two songs may have been the reason they were picked as singles. The promotional team may have been shaken by the relatively low (by Carrie's standards) chart performance of CP (which had a much stronger theme, and which did blend tradition and bold innovation in a way that reflected where I think Carrie was aiming with much of this album). Faced with (probably unexpected) rather tepid radio reception, they may have decided to push two songs seen as potentially "safer" options. If so, that may have been largely the label's decision - but if an artist does include songs which seem generally unrepresentative of the overall direction and quality of the album, I feel she, or he, is giving "a hostage to fortune" that may play a considerable part in how casual listeners evaluate the era as a whole.
LW begins with an interesting and challenging verse - but, for me, that makes the let-down all the greater when the bulk of the song evolves into a repetitive, chorus-heavy main section, sung in what I consider a backward-looking style more typical of Carrie's earlier career. It is positive, up-beat and inspirational - and Carrie never gives a weak performance - but it is the lack of any real innovation that fails to lift it above the prevailing sense of dejá vu. I can only think that, in this song, Carrie wanted to deliver a message which was important to her - but wanted to give it in as general a way as possible, to give allow it to reach the widest possible audience.
In the case of SoBo, I can't dispute Coyne's opinion that the theme is very generic. But I do also agree that she's taken care to include some interesting imagery in the song writing. And (while Coyne does not mention this aspect), I think she has also taken some care with the music. For me, it includes a slight Louisiana feel, and, as I mentioned in an earlier post, I think this may be an extension of the Hank Williams theme seen in other parts of the album, in giving a brief nod to "Jambalaya" (and perhaps even the earlier On the Banks of the Old Ponchartrain"). This reference to the underlying musical line is admittedly slight, and is more noticeable in some of the other album songs - but, I think it does tie this song a little more into Carrie's album, and I'd regard it as the more successfully planned of the two reviewed singles.
SpBo and TB are both, in my view, strong songs, and, like Coyne, I'd much prefer the album era to be judged on material like that. I'm probably not the best person to judge radio single potential (most of what they do play doesn't appeal to me) - but I would make the general point that, sooner or later, like other great artists, Carrie is not going to breplayed intensively, or even regularly, on Mainstream radio. That point has not been reached yet, and I don't begrudge Capitol seeking to prolong her radio success. But I also hope they pay increasing attention to her long term legacy.
sweetsugarcandyman
Member
I agree completely with this.
I like Love Wins but the lyrics have always been the biggest stumbling block of mine. I like the overall idea but it needed much better execution.
I think southbound suffers from LW. If we had a stronger second single I'm sure SB would be more loved. It's actually one of my favourites from the album as it's different from all the others and she rarely releases a fun/ frivolous single.
I wish her label were braver. I think CP did exceptionally well as a lead single. She can't make number 1 forever and it was always going to be a huge challenge with a label change.
They need to stick to their guns and release the better tracks from the album. At this stage I hope it isn't DA. I know it's hugely popular here but I don't see it as anything special and it's so Sony era "Carrie Underwood". I think we may be in for backsliding as a single. It seems to be a big favourite of hers (also a big mistake IMO).
PRGuy79
Well-known member
Agree with your confusion over the timing of this post. It has been nearly a full year since the release of Love Wins and Southbound has been out for months. It seems like a very odd time to weigh in - and the pairing of two songs rather than a full review of one is also odd.