Written by Chris DeStefano, Brett James, and Carrie Underwood
If anybody’s going to sing a song about the power of the water to cleanse your soul, it should be Carrie Underwood. Her voice and her presence on record are enough to wash country listeners’ ears clean from all the dreck we’re being assaulted with these days.
Underwood previews her upcoming hits collection by revisiting a theme that she’s explored before, but with a wisdom and maturity that can only come from life experience. “Something in the Water” shifts the transformative experience of “Jesus, Take the Wheel” into the first person, a sign, along with her co-writing credit, of how much more personal ownership she now takes over her work. So as great as that first hit was, it’s the new release that throbs with urgency and intensity, moving the spiritual experience from something philosophical into something viscerally real.
This year’s CMA nominees are the best in years, with multiple nominations for Miranda Lambert, Kacey Musgraves, and Brandy Clark. Country radio may still be shunning women, but their embrace by CMA voters suggests that the industry knows who is really leading the way in the genre these days.
Entertainer of the Year
Who’s In: Miranda Lambert, Keith Urban
Who’s Out: Jason Aldean, Taylor Swift
George Strait, a surprise winner last year, is nominated again in a year that includes his record-shattering final concert. Miranda Lambert’s domination of this year’s nominations extends to the big category, where she competes for the first time since 2010.
Miranda Lambert’s tempting fate with her titles, calling her upcoming album Platinum and her high-profile collaboration with Carrie Underwood, “Somethin’ Bad.”
No word for a while yet on whether the album will sell a million copies, but as far as the single goes, it lives up to the promise of the two singers more than it does to its title.
It does so by trying not to be as ambitious as the caliber of the collaborators would make you expect it to be. This was a trap both ladies fell into when collaborating with other A-listers, making Lambert’s duet with Keith Urban and Underwood’s with Brad Paisley not as successful as they could’ve been.
This is just a plain ol’ good girls on their baddest behavior ditty. Well, not their baddest behavior. Underwood doesn’t key up anyone’s car and Lambert doesn’t kill anybody. But it’s all in good fun, and both ladies can perform the thing solo just fine when the other isn’t around.
And kudos to the production, I feel I should mention. There were a few moments I thought it was gonna go all eighties glam rock, but the record pulls back before it goes over the edge, and we get just the ladies and a rhythm track, which actually supports the lyric better. Somethin’ bad’s gonna happen, but….not yet. Good stuff.
Written by Chris DeStefano, Brett James, and Priscilla Renea
Dierks Bentley has done a lot of growing up since his young man’s anthem, “What Was I Thinkin'”, launched him to stardom.
“I Hold On” has the energetic groove that Bentley always does so well, but there’s a refreshing lyrical depth that makes this song stand out among its lesser peers on the radio today. His sentimental attachment to his old pickup truck because he worked on it with his departed father is reminiscent of Alan Jackson’s now-classic “Drive (For Daddy Gene)”, and there’s a nice mix of nostalgia and pride in him hanging on to the beat up guitar that he strapped on during all those rowdy club dates early in his career.
The song is so personal that even the patriotic clinging to the flag seems more genuine than cloying, though it does slow the song down a bit, at least until he pivots to promising to hold on to the love he’s found with his one true flame.
It’s not perfect, but it’s better than most. I’m always on board with country music for grownups.