Written by Rodney Clawson, Tyler Hubbard, Brian Kelley, and Chris Tompkins
Country music isn’t historically prudish. It covers the topical gambit of love, drinking, cheating, murder and, yes, even passion. Conway Twitty, Alabama, Charlie Rich, even Alan Jackson ,as well as many others, haven’t shied away from memorably singing about sexual intimacy. But their songs maintained a respect for the intimacy, which Jason Aldean’s “Burnin” it Down” grossly fails to do. Instead, the song is high octane graphic with no sense of real intimacy and nothing left up to the imagination.
A surprisingly philosophical take on the “drinking in the country with a girl” theme that is apparently the only thing that new male artists are allowed to sing about.
I’m seriously thinking that it’s a contractual obligation now, along with the radio tours and the publishing partnerships. Frankie Ballard’s “Helluva Life” is most interesting when he’s singing about what he’s thinking about while he’s doing the only things that guys his age are singing about. There’s a potentially compelling voice that’s trying to shine through, one that is wondering more about tomorrow than where the party is tonight.
The conversational vocal style and tasteful arrangement create a nice groove, a sound that I could really get into if Ballard applies it to more mature material.
Written by Rodney Clawson, Josh Kear, and Chris Tompkins
It’s hard for me to not like a song that uses “Funky Cold Medina” and “Strawberry Wine” as adjectives.
But mission accomplished, thanks to a plodding mid-tempo groove that never gets out of first gear, and a grating vocoder effect that should’ve been left behind with “Felt Good on My Lips.”
Come on, Tim McGraw. You’re Tim McGraw. You took Bruce Robison and Rodney Crowell songs to number one. Can’t you find some other should’ve been hits from days gone by, instead of recording weak sauce like this?
Tim McGraw used to be the gold standard. I’m looking for that guy, that guy, that guy.
Written by Mark Irwin, Jimmy Slater, and Chris Tompkins
t/uploads/2012/07/Carrie-Underwood-Blown-Away-Single-150×150.png” alt=”” width=”150″ height=”150″ />Four albums into her career, Carrie Underwood’s career growth has been fairly stunning.
It’s hard to imagine that the talent-show winner who sang “Jesus Take the Wheel” would morph into a fully fledged pop superstar with speaker-rattling pop-rock songs like “Good Girl” and “Blown Away.”
While the evolution has been fascinating to watch, the problem is that someone who was thought of as the next female country superstar has effectively left country music behind and moved on to bigger things, and it’s a loss for the genre.
“Blown Away,” Underwood’s new single, has some of the most interesting lyrics she’s had to work with in some time, courtesy of writers Josh Kear and Chris Tompkins. It borrows a little from the Miranda Lambert songbook, where an abusive father is made to account for his sins with death by tornado. While it’s a bit more passive than a Lambert song (she would have shot the SOB a few times before letting the twister carry him away), there is a satisfying sense of Old Testament-style vengeance to it.
Many of the main story elements are absent – the age of the narrator, exactly what the father did that was so awful – but there’s still plenty create some vivid imagery. Much like Martina McBride’s “Independence Day” never reveals the actual fate of the mother, “Blown Away” lets listeners fill in their own details.
As noted though, this is not being sung by Carrie Underwood, Country Singer. Instead, this is Carrie Underwood, International Pop Diva, and the song is glitzed up and glossed over to make it pop radio-ready. It’s been so thoroughly produced and sanitized that there isn’t a trace of a country song left in “Blown Away.” There have been “country” remixes of Kelly Clarkson singles that sound more traditional than this one.
The frustrating thing is that the gloss is so uncalled for. The altered vocals, the bombastic instrumentation, those things just take away from the vocals. It’s all well and good if the singer is Katy Perry or Ke$ha, as they need all the help they can get. But Carrie Underwood? Aside from a few impressive and effortless high notes that serve as a reminder of her capabilities, her vocal abilities are effectively buried.
Pop music today is very restrictive – possibly more so than country music – and a certain type of sound is needed to get significant airplay. So if the idea behind the song was to make Underwood sound like every other pop singer out there, then it’s a success. The downside, though, is that everything that made her special in the first place is getting lost in the process.