Carrie Underwood's long awaited fifth studio album is finally here. Underwood released a Greatest Hits album last year, celebrating 10 years in the country music industry, but now she's finally entering a new era of her career. Storyteller is a riveting album, where Underwood tells her own life story, as well as many incredible stories about other people. She explores the pop realm, as well as delving deeper into country music. She outdoes herself in some areas, but falls short in others. Nevertheless, this is an album that explains why Underwood has achieved so much success.
One thing that Carrie Underwood does better than any other country artist (besides the fact that she can belt longer, higher and stronger notes than basically everyone in the genre) is telling other people's stories. It all started with "Jesus Take The Wheel," her debut single and first No. 1 hit. This song told the story of a woman finally finding Jesus and Faith again and incorporating it back into her life. From then on, Underwood became the spokeswomen for all women out there, and all people. This reoccurs throughout all of her albums, but in a majority of her singles, from "Wasted," to "Temporary Home," to "Blown Away," and finally to the lead single of this project, "Smoke Break." But this album, although still includes songs with heavy weight stories about other people, also explores Underwood as a person as much as Play On did in 2009. Blown Away was an album about other people, but with this album, Underwood is telling her story again.
Underwood's voice is what has brought her to such stardom — she won American Idol on her vocals alone and has continued to be praised for them throughout her 10+ years in the industry. But although there doesn't seem to be a limit on what she can do, there is a limit on what she should do. The first track and second promotional single on the album is a song called "Renegade Runaway," where Underwood pushes the limit. Her voice sounds strained throughout the chorus, and this seems like a song that should could kill her voice singing live. It's just too much. This occurs again on the lead single "Smoke Break," though not to the extent that it does on "Runaway Runaway."
But when Underwood emphasizes the power of her voice, but doesn't stretch it to uncomfortable limits, she shines. This occurs on the next track "Dirty Laundry." The only flaw with this almost perfect cheater track is the minor detail that one doesn't often use Ajax to do laundry. But even so, that line cuts deep: "All those midnights sneaking in / "I'm late again, oh, I'm so sorry" / All the Ajax in the world ain't gonna clean your dirty laundry."
Underwood's voice is what has brought her to such stardom — she won American Idol on her vocals alone and has continued to be praised for them throughout her 10+ years in the industry. But although there doesn't seem to be a limit on what she can do, there is a limit on what she should do. The first track and second promotional single on the album is a song called "Renegade Runaway," where Underwood pushes the limit. Her voice sounds strained throughout the chorus, and this seems like a song that should could kill her voice singing live. It's just too much. This occurs again on the lead single "Smoke Break," though not to the extent that it does on "Runaway Runaway."
But when Underwood emphasizes the power of her voice, but doesn't stretch it to uncomfortable limits, she shines. This occurs on the next track "Dirty Laundry." The only flaw with this almost perfect cheater track is the minor detail that one doesn't often use Ajax to do laundry. But even so, that line cuts deep: "All those midnights sneaking in / "I'm late again, oh, I'm so sorry" / All the Ajax in the world ain't gonna clean your dirty laundry."
Underwood changes up the game with "Choctaw County Affair." She goes full southern, with an edgy gospel tinged track that is a more country, twangy song than anything Underwood has ever done. Written by Jason White, who wrote Tim McGraw's "Red Ragtop,' this song is an enthralling story, maybe even more so than Underwood's hit "Two Black Cadillacs." This song, more than any other song of this record, is worth a close listen.
Pop comes back in full force on this record. Underwood brought in producer Zach Crowell who has worked with many pop country stars like Sam Hunt, Cole Swindell, and Chase Rice. The first promotional single released from this album was "Heartbeat," a Crowell-produced pop country track about getting out of town with your significant other and features background vocals from who else? Sam Hunt. The song isn't a miss though. It is poppier than I would like to see Underwood go, but Hunt and her singing together is quite amazing. Although Hunt is not a country singer, he does have a very good voice. Producer Crowell also worked on "Relapse," a "Beautiful Drug"-esque pop country track co-written by Song Suffragette Sara Haze. Although this song isn't exactly country, the lyrics are powerful, Underwood sings it beautifully, and the production does match the song.
But even rock/country producer Jay Joyce and longtime country producer Mark Bright brought in pop. "Clock Don't Stop," produced by Bright, is pure pop. It's almost like there was a mix up at 19 records and Underwood accidentally picked up a demo set aside for Kelly Clarkson. It's not a bad song, it's actually quite a good pop song, but it doesn't fit on a record labeled as country.
Pop comes back in full force on this record. Underwood brought in producer Zach Crowell who has worked with many pop country stars like Sam Hunt, Cole Swindell, and Chase Rice. The first promotional single released from this album was "Heartbeat," a Crowell-produced pop country track about getting out of town with your significant other and features background vocals from who else? Sam Hunt. The song isn't a miss though. It is poppier than I would like to see Underwood go, but Hunt and her singing together is quite amazing. Although Hunt is not a country singer, he does have a very good voice. Producer Crowell also worked on "Relapse," a "Beautiful Drug"-esque pop country track co-written by Song Suffragette Sara Haze. Although this song isn't exactly country, the lyrics are powerful, Underwood sings it beautifully, and the production does match the song.
But even rock/country producer Jay Joyce and longtime country producer Mark Bright brought in pop. "Clock Don't Stop," produced by Bright, is pure pop. It's almost like there was a mix up at 19 records and Underwood accidentally picked up a demo set aside for Kelly Clarkson. It's not a bad song, it's actually quite a good pop song, but it doesn't fit on a record labeled as country.
Two highlights of the album are the two songs in which Underwood really draws from her own life for inspiration. Unlike other singer songwriters, Underwood doesn't tend to write about her own life, as much as think up fantastical stories about other people. But in the two most beautiful ballads on this record, "The Girl You Think I Am" and "What I Never Knew I Always Wanted," she sings straight from her heart. Long titles, and deep topics. The former song is a song to Underwood's father. She covered the mother territory in 2010 with "Mama's Song," and now Underwood has written an equally beautiful, if not more beautiful ode to her father.
"What I Never Knew I Always Wanted" is the baby song that Underwood didn't want to put on this record. Written for her baby boy, Isaiah, she was determined not to make a soft mushy album now that she has embraced motherhood. But this was a valuable addition to the record. It shows a different side of Underwood, from the powerhouse vocalsit who sings about girl power and murder. Underwood needs this dimension to her musicality, and this song and the other ballads on this record do that.
There are many songs on this album that cross the line between country and pop. It's inevitable that Underwood would do this, as she has the chops to go full pop. But Underwood emphasizes her commitment to country music with the full on country songs that pop up on this record. It would be hard to declare this Underwood's best record ever, but it's definitely her most personal, and most experimental. Underwood continues to grow as a musician, and its clear with this record that she will continue to grow and change and get better. What kind of album will she make next? Who knows. But Underwood has shown that she is capable of doing anything.
Best tracks: Dirty Laundry, Choctaw Country Affair, The Girl You Think I Am, What I Never Knew I Always Wanted
Throwaway tracks: Renegade Runaway, Clock Don't Stop
Overall rating: 4 crowns
"What I Never Knew I Always Wanted" is the baby song that Underwood didn't want to put on this record. Written for her baby boy, Isaiah, she was determined not to make a soft mushy album now that she has embraced motherhood. But this was a valuable addition to the record. It shows a different side of Underwood, from the powerhouse vocalsit who sings about girl power and murder. Underwood needs this dimension to her musicality, and this song and the other ballads on this record do that.
There are many songs on this album that cross the line between country and pop. It's inevitable that Underwood would do this, as she has the chops to go full pop. But Underwood emphasizes her commitment to country music with the full on country songs that pop up on this record. It would be hard to declare this Underwood's best record ever, but it's definitely her most personal, and most experimental. Underwood continues to grow as a musician, and its clear with this record that she will continue to grow and change and get better. What kind of album will she make next? Who knows. But Underwood has shown that she is capable of doing anything.
Best tracks: Dirty Laundry, Choctaw Country Affair, The Girl You Think I Am, What I Never Knew I Always Wanted
Throwaway tracks: Renegade Runaway, Clock Don't Stop
Overall rating: 4 crowns
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