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Reviews

Song Review: Carrie Underwood’s “The Champion” (featuring Ludacris)

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Super bowl Anthem Rating: 5/10
Overall Rating as a Song: 2/10

So let’s assume this song stays a sports thing. Carrie Underwood and Ludacris are a terrible pair on paper, but maybe I can see appealing to a wider audience with this collaboration. The lyrics are generic, but maybe this is also what you need, just something to hype people up for the Super Bowl. I could take it or leave it I guess, but it serves its purpose and isn’t really hurting anyone at all with is existence.

But let’s now view this as a Carrie Underwood song, and actually, let’s not even take into account that it might be sent to country radio. Obviously it’s pop and has no shred of country in it whatsoever, and if it gets serviced to the country airwaves, this will be another problem altogether, but for a moment, let’s ignore this because of the artist in question. Carrie Underwood has never claimed to be strictly country, has always released pop singles, and has even sent songs to pop radio. She’s never been holding the torch for traditional country, even if she’s been a beacon of talent in the mainstream, so it shouldn’t be a surprise to anyone that this single favors electronic beats over fiddle and steel.

What should be a surprise, however, and should be met with disgust by all Carrie Underwood fans everywhere, is the absolute butchering of a world-class voice by one, distorting and transforming her to sound almost robotic, and two, by forcing her to sing something so lacking in any measurable melody. This song relies on rhythm, except for one or two spots before the chorus where you hear Carrie break free and subsequently weep for the fact that her voice is kept constrained to these four or five notes and choppy rhythms. Carrie Underwood is better, and indeed, this song could have been better even for what it is had her voice been allowed to shine. This is Underwood’s best quality, and it’s being utterly ignored here. And let’s hope this is a standalone single and not some horrifying glimpse into the sound of her next album; country pop is one thing, straight pop is another, but singing pop infused with hip-hop phrasing and beats is on quite a different level and does not suit the particular vocal quality and talents of Carrie Underwood. The voice that gave us the stunning tribute to country’s fallen greats and the Las Vegas victims on live television should not be forced into these boxes in some sort of misguided effort to stay relevant.

And what about the part of Ludacris in all this? Well, admittedly, the spelling out of “champion” is a bit irritating, but his part actually comes off better than Carrie’s, and well it should, because Ludacris is at least in his lane here. Carrie Underwood doesn’t even sound comfortable singing this–which almost makes too much sense since she doesn’t ever sing stuff like this…but I digress.

But I don’t want to focus too much on Ludacris, for if this does stay a sports anthem, or even if it goes to pop radio, there won’t really be an issue with him. If this comes to country radio, again, obviously it’s a different story, but for now, Ludacris is not the problem with this song. The problem is it doesn’t fit Carrie Underwood in the slightest. So let’s hope it stays a harmless NFL hype song, and that her subsequent singles and album won’t carry this influence–because this, friends, is not Carrie Underwood, and it shows.

Reviews

Album Review: Teea Goans – Swing, Shuffle And Sway

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Rating: 7.5/10

I always get excited when I discover a new traditional country singer, particularly if that vocalist also happens to be female. Therefore, when I saw Trigger from Saving Country Music talking about Teea Goans in those terms, I knew I had to check her out.

It was love at first listen when I heard the opening notes of “Go Down Swinging’”. It’s a shuffle featuring fiddle and steel, all about how much she loves swing and country music. With her high, clear voice, I admired Teea Goans’ singing as well. The next song slows things down. “I’d Be a Legend in my Time” is all about how if heartache and sadness brought fame, she’d be a legend. It’s a good cover, for sure. She is able to deliver the song in such a way that you really feel the emotion.

“Heart Over Mind” tells of a woman who knows she should leave her partner, but then, he makes the woman think he loves her, and her heart won’t let her end things. This is yet another shuffle, and I have to say that this is very welcome since a lot of albums are filled with more slow songs. “That’s the Thing About Love” has lyrics that revolve around the myriad of feelings one can get while infatuated with someone. While not an especially memorable song, the melody and Teea Goans’ pleasant voice make it listenable.

Next is my favorite song off of this album. “Just Because She Always Has” tells the tale of a man who took his partner for granted. She always cleaned up for him and did the cooking. She had always loved him despite everything, but just because she had always done and felt those things before didn’t mean that she always would. This is an amazing country song, and I highly recommend that if you don’t listen to the whole album, you should check out this individual song, at least. “It Ain’t Nothin’” is a cover sung with Mark Wills. I confess, I keep hearing Randy Travis singing this, but I found it an good cover. It’s upbeat and fun.

“Tell Me I’m Crazy” is another sad country song, with some awesome steel guitar. The woman wants to be convinced that she’s crazy and her relationship isn’t ending. This is probably my second favorite track off of this album. “Steel Guitar Rag” is fun and upbeat, and it’s all about how great the steel guitar sounds. Since I’m all for more steel guitar, I found this song fun. I haven’t heard the original, but I do like this version.

“I Know the Lord Will Stand By Me” is one of two gospel songs on this project. It’s upbeat with some really well-done piano, all about how she knows that Jesus will keep her safe and happy. “You Don’t Know Me” is a song about unrequited love. The woman in the song says that even though she’s been friends with a man for years, he doesn’t really know her. This is because she has dreams of him and wants to be with him. I find this song pretty forgettable, but it’s not bad.

“A Way To Survive” features some more awesome fiddle. It’s a song wherein the protagonist keeps her former lover’s picture and letters. Reliving her memories is what kept her going and helped her survive. The last song is the other gospel track on the album. “Mercy Walked In” is about a person who was guilty of something unspecified, but then was let go due to mercy. For me, this song gives way too few details. I know logically that it’s all about God and his mercy, but the vagueness keeps me from really getting emotionally into the song.

Overall, I quite like this album. I think Teea Goans is a singer to watch if you like more traditional country music. I even like that she was willing to include some gospel on this album, since there are some gospel influences in country. The instrumentation on here is stellar, too. There is a pretty even number of fast and slow songs, which makes a refreshing change from all of the slower albums. In short, if you are looking for a female singer who does traditional country right, look no further than Teea Goans.

Buy The Album On Amazon

https://www.youtube.com/watch?v=gBwdGVd4A8Q

Reviews

Album Review: Emily Herring–Gliding

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Rating: 7/10

How often on these endless reality shows and talent competitions do we see judges and vocal coaches stress the importance of individuality? They are not only looking for raw talent, but something unique and fresh and different. And why not, when so much of popular music continues to pump out more of the same ideas from different voices? Any music class will tell you that music cannot expand further, that at this point, it’s just rehashing old ways and modes of doing the same things–this is one of the biggest criticisms of contemporary music by those who study classical and believe modern music to be somehow inferior to that discipline. So it’s up to those makers of modern music to work within the confines of their craft to continue to stand out and present us with new ideas. And country music is often regarded as one of the most restrictive genres in which to create things, so it’s even more impressive when you see a country artist proving all of these theories wrong.

That is what we see with Emily Herring’s latest album, Gliding, as she presents a traditional approach heavily blended with influences of Western swing. So many country artists today in the independent realms are doing this east Nashville/Americana sound that by now has been absolutely done to death to the point it’s about the least original and most clichéd thing you can possibly do outside the mainstream, or they’re mixing in the raw rock influences of Red dirt, or they’re making West Coast country with a modern take on the polished Nashville sound. This isn’t any of that, it’s something all its own, and yet it’s more traditional than many records released this year. Herring’s influence comes closer to that of Bob Wills than anything else, but this record is not trapped in that time period either, as she’s got a voice reminiscent of Robyn Ludwick or perhaps Tanya Tucker, which lends itself to harder mixes of country and rock and gives this album yet another unique quality.

But neither Ludwick nor Tucker possess the falsetto of Emily Herring, an addition which renders her able to pull off softer, more vulnerable songs like “Midnight” and “Yellow Mailbox” right along with some of the harder stuff like the title track and the painfully honest “Right Behind Her.” This one is the highlight of the record, as she lays out the truth that she literally doesn’t know if she can go on living without her mother being there for her. “If my mother were to die, I fear that I’d be right behind her,” cuts even more when you know that her mother did die in the final stages of this album’s making. That bluntness in her writing comes out on the closer, “Getting By,” also, as she describes her days as a mechanic and only being responsible for herself, trying to stretch a dime in order to survive.

This album needed some moments of levity to brighten the mood, and they come in the form of two covers, “All the Millers in Milwaukee” and “Semi Truck.” The former especially suits Emily and her voice and allows more of the fun side of her personality to stand out. It also fits more on the record as a whole than the latter because although light, it’s still a breakup song like much of the more serious material. There’s another lighter moment in the Western swing-infused “Best Thing I’ve Seen Yet,” and although it’s not a personal favorite, it adds balance to the album and shows another, more tender side of Emily Herring.

This album is not without its flaws, and it could have used perhaps another jolt of energy and maybe some sharper songwriting in places, but it’s still a good, promising record from Herring and one that is worth checking out, if only for its unique nature. Its propensity to draw from the influences of Western swing, combined with a voice like Emily’s, suited more for classic rock or harder country but somehow lending itself to these songs very well, makes this album intriguing and certainly memorable in the country space. It might not be a record you love on first listen; rather, it’s more an acquired thing, a potential you see in a song or two that unveils itself after a few listens to the whole album. In the end, it’s that potential which shines brightest about this release, and Emily Herring becomes another cool discovery of 2017, even if the year is nearly over. Not an album, and certainly not an artist, to be overlooked.

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Reviews

Single Review: Sugarland’s “Still the Same”

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Rating: 4/10

So I guess we’re never going to get back the Sugarland of old, the group that produced the singles “Baby Girl” and “Want to” and gave us hidden gems on their early albums like “Hello” and “Fly Away.”

I guess we’re stuck with the new and (supposedly) improved Sugarland, the one that gave us the incredibly obnoxious pair of songs “Stuck Like Glue” and “All I Want to Do.”

But actually, that’s not even entirely accurate either because at least those songs made you feel a certain degree of something, even if the emotion varied from annoyance to hatred. All this new “Still the Same” single is is filler at best and an insomnia cure at worst. It’s an absolutely weak and whimpering way to make a comeback…and what an ironic title because the sameness and nothingness in this song is ultimately its defining point and even makes other criticisms seem trivial in comparison. Sure, it’s got electronic beats, it’s overly processed, and Jennifer Nettles’ twang is overdone–but you don’t even notice any of that by the end of the song because it’s already faded into the background and forgotten. Four listens in, and I can’t quote a single lyric. The idea is that their love is still the same after all this time, but it’s a thinly veiled metaphor for their career. The whole thing is poorly written, overproduced, and basically just a shallow piece of nothing. It’s not even that I would turn my radio dial when this came on; I wouldn’t have to because it is so easily tuned out.

Sugarland can be much better than this, as can each of its members separately. Here’s to hoping that whatever comes next for them will be better because this single is lazy and disappointing.

Reviews

Song Review: “Bored if I Don’t” by Kaitlin Butts

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Rating: 7.5/10

Thanks to reader Wes for inadvertently making me aware of a recorded version of this song; I first heard this live in September at Medicine Stone and sought to review it then but could not find a recorded version. This isn’t a studio version per se, it’s a live acoustic recording of the song.

Sometimes, the best songwriting is marked by lyrical poetry and unique turns of phrase, things said in a way that we’ve never heard before or that paint the same sentiments in a new and clever light. Sometimes the best songwriting is simple, marked only by its ability to relate to us on a personal level and make us feel something. And it doesn’t have to be something we’ve experienced–Saving Country Music’s 2017 Song of the Year is a good example of this, as you don’t have to be childless to understand Sunny Sweeney’s longing for a baby in “Bottle by my Bed.” In fact, good songwriters can make us understand and feel things for characters we might not otherwise empathize for in real life.

The woman in the new song by Oklahoma songwriter Kaitlin Butts might not be a character for which we’d all readily have compassion, as she describes sneaking around repeatedly to cheat on her husband, whom she calls “honest as the day is long.” It’s the details, though, that paint a better picture of this narrator–she was married too young and too soon and from a small town, not really even understanding what she was promising. She doesn’t say why she got married under these circumstances, but it’s not hard to imagine–maybe she was just naive, or maybe she married with hopes of security, a better life, or of leaving the town. Maybe this was what she wanted, but now she has grown up and realized it isn’t, something many of us can understand. We can only speculate on that part. We do know that she doesn’t want to hurt the man she married, yet now she understands that this isn’t really what she wants for the rest of her life. She doesn’t see a way around that, so she tries to find herself and what she’s looking for with other men. She knows she should stay home, but that doesn’t make her happy, and in the end, she’s losing either way. It’s all summed up in the line, “I’m damned if I do, and I’m bored if I don’t.”

It’s the frank honesty with which she delivers this song that’s missing from so much of today’s country music. The production is incredibly simple as well, with just her guitar supporting her and allowing the lyrics to be the focus, although I expect there to be more to it if there is a version recorded for a future album. Hopefully, we’ll be getting a full album from her in 2018. For now, this is a fine song, and Kaitlin Butts is a name you should keep your eye on.