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Thread: Carrie Underwood 6 - Cry Pretty Era

  1. #1961
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    Quote Originally Posted by liz278 View Post
    "Burn Out", the most recent co-write with Hillary Lindsey and Zach Crowell, was taken down from the ASCAP repertory. Her new team is really committed to keeping us in the dark about this album. Kind of exciting, kind of infuriating."

    This is from Typo on Pulse over a week ago. If Typo can't find anything then they really are keeping a tight lid on anything related to Carrie right now.
    Heís usually able to find new cowrites and new registered songs,so the fact that he canít find anything related to her new album also tells me that they really are keeping a tight lid on anything related to new Carrie music this time around.It really does seem like her new team is committed to keeping us in the dark this time around.Its exciting that new music will be coming eventually,but infuriating that we have absolutely no idea of what the songs are going to sound like,what the singles will be,what the cover photo & inside photos will look like & what the overall arching theme of the album is going to be.Iím completely speculating here,but Iím guessing being with UMG and Capitol her marketing strategy has completely changed with a new label,new record company,new era and things will probably be a lot different this time than with other eras.This next era is going to be quite interesting&exciting!!
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  • #1962
    Ultimate Carrie Fan txacar's Avatar
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    Kismet311 initiated this thread on May 4, 2017. Ten months, 99 pages later...............................lol.
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  • #1963
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    Quote Originally Posted by txacar View Post
    Kismet311 initiated this thread on May 4, 2017. Ten months, 99 pages later...............................lol.
    And no mention of "soon" yet ...... I never thought I'd think of that as a mixed blessing, lol
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  • #1964
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    Although Carrie is not mentioned in this article, I think some of the points in it may be relevant to the Album 6 era - since we're told that Carrie's move to UMG was inspired - at least in part - by a desire to increase her international exposure.
    https://www.billboard.com/articles/b...-europe-labels

    The article concentrates on the reception of Country artists in the UK - the conclusions are mixed, and even Mike Dungan sounds a note of caution in his assessment of the chances - but I think there is enough on the positive side to be guardedly optimistic.
    These are some of the main points
    --following a Blake Shelton / Luke Bryan path is unlikely to pay dividends. They are perceived as too locked into an American-centric, thematically stereotyped image (I agree)
    --Kip Moore and Midland are cited as acts who have steadily built up success here - these evoke a more classic Country image, a more critically "rebel" attitude, and lean to Country Rock (this has more appeal to the Country demographic here - Carrie certainly incorporates elements of this approach in her own work - but her fan base is both more female and more stylistically mixed)
    --Thomas Rhett is also cited as having wide appeal (he strikes me as stylistically less Country than Carrie is likely to want most of her songs to go, but the thoughtful, accessible songs that form part of his work may be a pointer to ones that can draw in a less Country audience)
    --Kacey Musgraves is the big current success story, playing the Royal Variety Show, and recently having three of the top four albums on the Country chart (!). Dungan calls her the only Country artist really moving units in Europe (she undoubtedly has a big head start here - but it should also be remembered that her appeal is pretty unique - a quirky, sometimes mildly controversial, musically rather gentle, style - I see potential for a different sort of act to have considerable success alongside her, without competing for the same ground.)

    I think most, If not all, of the named artists fall within the Universal label group. Group chairman Mike Dungan is certainly keen on the market (even if a little ambivalent about the potential). These are quotes from him: "I'm at the forefront of pushing an effort to make it happen,"
    "What I say to every artist is if your game is to max your big window right now and make as much money as you can and retire, keep doing what you're doing [in the States], but if you want to play for a long time, you have to increase your footprint, no matter how weird it feels."


    The key to long term success here is definitely touring (and I can't stress this point enough). To tour here, and in Europe generally, it's usually necessary to spread your net beyond the capital, and beyond special events, and probably include somewhat smaller venues. Naturally, there is a downside to this. Trisha Walker-Cunningham who pioneered the festival at Gstaad, Switzerland (probably the oldest regular Country festival on the Continent) puts it thus: "It's an investment in their future and they must keep going back, but it's expensive when an artist has to give up lucrative shows in the US, as well as allowing two days or more just for travel and jet lag."

    It is possible - but it takes more than a change of label. It needs a strategy, an identifiable image, and regular reinforcement.
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  • #1965
    Ultimate Carrie Fan Smokyiiis's Avatar
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    Quote Originally Posted by Farawayhills View Post
    Although Carrie is not mentioned in this article, I think some of the points in it may be relevant to the Album 6 era - since we're told that Carrie's move to UMG was inspired - at least in part - by a desire to increase her international exposure.
    https://www.billboard.com/articles/b...-europe-labels

    The article concentrates on the reception of Country artists in the UK - the conclusions are mixed, and even Mike Dungan sounds a note of caution in his assessment of the chances - but I think there is enough on the positive side to be guardedly optimistic.
    These are some of the main points
    --following a Blake Shelton / Luke Bryan path is unlikely to pay dividends. They are perceived as too locked into an American-centric, thematically stereotyped image (I agree)
    --Kip Moore and Midland are cited as acts who have steadily built up success here - these evoke a more classic Country image, a more critically "rebel" attitude, and lean to Country Rock (this has more appeal to the Country demographic here - Carrie certainly incorporates elements of this approach in her own work - but her fan base is both more female and more stylistically mixed)
    --Thomas Rhett is also cited as having wide appeal (he strikes me as stylistically less Country than Carrie is likely to want most of her songs to go, but the thoughtful, accessible songs that form part of his work may be a pointer to ones that can draw in a less Country audience)
    --Kacey Musgraves is the big current success story, playing the Royal Variety Show, and recently having three of the top four albums on the Country chart (!). Dungan calls her the only Country artist really moving units in Europe (she undoubtedly has a big head start here - but it should also be remembered that her appeal is pretty unique - a quirky, sometimes mildly controversial, musically rather gentle, style - I see potential for a different sort of act to have considerable success alongside her, without competing for the same ground.)

    I think most, If not all, of the named artists fall within the Universal label group. Group chairman Mike Dungan is certainly keen on the market (even if a little ambivalent about the potential). These are quotes from him: "I'm at the forefront of pushing an effort to make it happen,"
    "What I say to every artist is if your game is to max your big window right now and make as much money as you can and retire, keep doing what you're doing [in the States], but if you want to play for a long time, you have to increase your footprint, no matter how weird it feels."


    The key to long term success here is definitely touring (and I can't stress this point enough). To tour here, and in Europe generally, it's usually necessary to spread your net beyond the capital, and beyond special events, and probably include somewhat smaller venues. Naturally, there is a downside to this. Trisha Walker-Cunningham who pioneered the festival at Gstaad, Switzerland (probably the oldest regular Country festival on the Continent) puts it thus: "It's an investment in their future and they must keep going back, but it's expensive when an artist has to give up lucrative shows in the US, as well as allowing two days or more just for travel and jet lag."

    It is possible - but it takes more than a change of label. It needs a strategy, an identifiable image, and regular reinforcement.

    WOW! Makes it seem like a very difficult venture then! I guess each individual artist must weigh the pros and cons and determine for themselves if thatís the road they want to follow because if that is correct it doesnít appear to be very lucrative.
    txacar and oldyfan like this.

  • #1966
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    Quote Originally Posted by Smokyiiis View Post
    WOW! Makes it seem like a very difficult venture then! I guess each individual artist must weigh the pros and cons and determine for themselves if thatís the road they want to follow because if that is correct it doesnít appear to be very lucrative.
    I think that's true. Both Kip Moore and Kacey Musgraves (and possibly Midland) seem less likely to enjoy anything approaching Carrie's level of genre market success in the USA - so it makes more sense for them to diversify overseas, where the market is much less dependent on radio, and more receptive to their type of Country Music. On the other hand, artists like Blake Shelton and Luke Bryan do fine commercially in the US market, and have much less incentive to diversify.

    The market here is unlikely to have immediate attraction either for Mainstream artists during the steady career-building stage in the US format. Miranda, for example, played Gstaad years ago, when she was fresh from breaking out from Texas - but it's taken her a long time to come back to Europe as an established artist. Similarly, I think Carrie was wise to concentrate on maximizing her fan appeal and touring / live performance reputation in the North American markets, before making a major push overseas.
    But artists like Dolly Parton and Don Williams prove the concluding point in the article - if you're aiming for longevity, touring overseas becomes increasingly important. If Carrie's happy with "ruling" the female airtime charts for as long as the US format allows any artist to sustain that opportunity, and using that as a basis for occasional high profile outside star events, she probably has limited need for an overseas push. But if she wants a long term "legend" career (on the lines of Dolly's, for example), more regular world exposure becomes increasingly important.
    txacar and oldyfan like this.

  • #1967
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    Quote Originally Posted by Farawayhills View Post
    I think that's true. Both Kip Moore and Kacey Musgraves (and possibly Midland) seem less likely to enjoy anything approaching Carrie's level of genre market success in the USA - so it makes more sense for them to diversify overseas, where the market is much less dependent on radio, and more receptive to their type of Country Music. On the other hand, artists like Blake Shelton and Luke Bryan do fine commercially in the US market, and have much less incentive to diversify.

    The market here is unlikely to have immediate attraction either for Mainstream artists during the steady career-building stage in the US format. Miranda, for example, played Gstaad years ago, when she was fresh from breaking out from Texas - but it's taken her a long time to come back to Europe as an established artist. Similarly, I think Carrie was wise to concentrate on maximizing her fan appeal and touring / live performance reputation in the North American markets, before making a major push overseas.
    But artists like Dolly Parton and Don Williams prove the concluding point in the article - if you're aiming for longevity, touring overseas becomes increasingly important. If Carrie's happy with "ruling" the female airtime charts for as long as the US format allows any artist to sustain that opportunity, and using that as a basis for occasional high profile outside star events, she probably has limited need for an overseas push. But if she wants a long term "legend" career (on the lines of Dolly's, for example), more regular world exposure becomes increasingly important.
    Man, I wish he would get the love in the USA. I really dig his music....... Great to see him getting exposure there.......

  • #1968
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    Complete side note but I believe that Kip Moore's style of music would have been a perfect fit as an opening act for the Storyteller tour. Not everyone's cup of tea and not for the masses but I loved his last album.

  • #1969
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    Hope we hear something from Carrie soon! And Happy Birthday Carrie!
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  • #1970
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    Happy birthday, Carrie.
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  • #1971
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    Happy Birthday Carrie!!! ������
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  • #1972
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    Happy Birthday Carrie
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  • #1973
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    Carrie's tweet today was promising. She said she cannot wait to share with us what she has been working on the past year!

  • #1974
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    Quote Originally Posted by teesharky View Post
    Carrie's tweet today was promising. She said she cannot wait to share with us what she has been working on the past year!
    The best part is that she didn't say "soon" hahaha, I don't like "soon". We're closer.

  • #1975
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    Carrie Underwood
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    @carrieunderwood
    1h1 hour ago More



    Carrie Underwood Retweeted mary morgan ❤️ ❤️ ❤️
    Thanks so much, everyone, for the sweet birthday wishes! Can’t wait to share with you all the things I’ve been working on this past year!


  • #1976
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    She said all the things! There's more other than the album! Can't wait!

  • #1977
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    'all the things'...that's definitely more then a new cd. Wonder what she's been up to this time. #excited

    this plays hand in hand with that quote from Lindsey El about what Carrie told her...
    "you have to bring what you can to keep fans never knowing what to expect"

    [SIGPIC][/SIGPIC]

  • #1978
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    I just get a feeling that we won't get a new album from Carrie until summer. With new music comes promotion and she still doesn't seem ready to make public appearances yet. With Mike back on the Preds, she will want to be available to see him chase the Cup. We might get a new single in May, but as far as an album goes, I don't see it happening before summer now.
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  • #1979
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    Quote Originally Posted by xboom28x View Post
    I just get a feeling that we won't get a new album from Carrie until summer. With new music comes promotion and she still doesn't seem ready to make public appearances yet. With Mike back on the Preds, she will want to be available to see him chase the Cup. We might get a new single in May, but as far as an album goes, I don't see it happening before summer now.
    Summer though, isn't that far away really. June is just 3 months and it's less than 6 months until summer ends. Not too long.

    I kind of thought a June release was most likely, but I could see an August release as well, possibly September.
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  • #1980
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    For some reason, I feel like the ACMs will paint a clearer picture. If she performs a new single the album might be late June\July. If not probably around September so early fall. (I still think Paint is a new single if you couldn't tell

    I also don't see early June because if they are so into winning the Stanley Cup one more time, she wouldn't miss that. I think that probably went into his decision to unretire. The next few months will be important to both of them surrounding that. She has even stated years ago she would reschedule events if his team made it to the finals. Also, it will depend on how comfortable in front if the camera she is.

    (Who on UMG has an album coming out I the next few months...Urban?
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