I hope “Someday When I Stop Loving You” or “What Can I Say” are released if a new single is released in the fall, but for a mid-summer single I’d perfer “This Time.”įirst off, I’m a bit shocked you gave such a generous review, Kevin. Due to this, I would suspect her label is going to release a new single sooner than expected, and she may have something new by mid-summer. The single received airplay before its offical release, and is already a top ten on the charts, despite being on the radio for a less than a month. Although she doesn’t show maturity or growth as a writer on this track, I think she deserves credit for at least TRYING to show who she is by contributing her own hand to her music.
She shows versatility with the vocal, and it’s seems to be a tough one to pull off. I think the saving grace is Carrie’s connection with the song you can almost feel her anger throughout the entire song. I even think the song is sparse in production (around the 2:22 mark) with just the clear drumbeat and Carrie’s vocal. I thought “Cowboy Casanova,” “Last Name,” and even “Before He Cheats” fared much worse in terms of production than this song. I think many artists have gotten away with similar offenses of vacuous lyrics, so I tend to overlook that factor a bit more than others.īut I think the production is fresh and viabrant, which we haven’t really seen in many of Underwood’s singles. The lyrics of “Undo It” leave much to be desired (the “You stole my happy bit grates on my nerves a little).
I enjoy “Undo It” as a lighthearted piece of ear-candy, but am surprised to see this song got a pass, especially because you’ve been particularly vocal about your wish for Carrie to record better material to match her enormous talent and status in the country music genere. Written by Kara DioGuardi, Martin Federiksen, Luke Laird, and Carrie Underwoodįirst off, I’m a bit shocked you gave such a generous review, Kevin. But she’s really only a tighter production away from inducing Twain-level euphoria, and I can’t wait until she gets there. This is as catchy a piece of ear candy as she’s produced to date, and it’s made me hit repeat the way her best singles tend to do. Now, Carrie Underwood is never in any danger of being drowned out, and she is able to avoid being overpowered without overpowering in return. It’s a problem that plagues even great records like Pink’s most recent hits, which are pure sonic pleasure until the last time through the chorus, when Pink is drowned out by all the bells and whistles. You can clearly hear every instrument because there’s so few of them, and the lead vocal doesn’t get drowned out by too many backup singers. Go back and study any classic pop hit of Madonna or Shania Twain, and pay attention to how deceptively simple they are.
It even has a chorus of “Na Na Na’s” so infectious that somewhere in the world, Steam is reflexively adding, “Hey Hey, Goodbye.”Īnd though she’s such a skilled vocalist that it’s hardly worth noting at this point, Underwood sings the dickens out of the song.īut there’s still one lesson that needs to be learned, one that plagues pure pop and pop-flavored country alike: the way too busy production. “Undo It” features both “We Will Rock You” drum riffs and twangy fiddle, as if those two things together are as natural as peanut butter and chocolate. “Undo It” is short, sweet, and undeniably catchy. Much like no pop star has ever been able to learn all of the right lessons from Madonna, no country star has yet to learn all of the right lessons from Shania Twain.īut darn if Carrie Underwood isn’t getting close.
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