November 18, 2012
I say thankfully because a good “Best Singles of the Year” list needs some variety. Underwood’s been stacking the deck this year, putting out one outstanding single after another, and it’s really bad form to leave no room at the top for the rest of the competition.
“Two Black Cadillacs” revives the Southern Gothic murder ballad subgenre that was once far more prominent in country music. This is not to be confused with the wrongfully abused variety of murder ballad, which has only surfaced in the past twenty years.
No, “Two Black Cadillacs” has a lot more in common with “The Cold Hard Facts of Life” than “Independence Day.” There’s nothing righteous about this tale of two women getting even with the man who wronged them both. It’s pure revenge.
A pure revenge fantasy mind you, as unbelievable and fantastical as anything Porter Wagoner ever dreamed up. Underwood’s the perfect narrator for the tale, her pithy descriptions punctuated by melancholy strings that would sound just as comfortable on American Horror Story as they do accompanying our favorite American Idol.
She lets her bias slip with a giddy “bye bye,” revealing she’s fully on board with the just desserts being served. It works because the scenario is simply implausible, which allows the listener to indulge in the darkness that would horrify us if it was actually reality.
It’s a testament to Underwood’s versatility as a singer and her credibility as a public persona that she can pull off something so wicked and not get an ounce of dirt on her squeaky clean image. But most of all, it’s a credit to her ambition as an artist. For someone so frequently accused of getting to the top without having to
earn it, she continues to work harder than the rest of her peers just to stay there.
Written by Josh Kear, Hillary Lindsey, and Carrie Underwood