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Thread: Miranda Lambert - The Weight Of These Wings

  1. #741
    Insane Carrie Fan Farawayhills's Avatar
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    Quote Originally Posted by Momin View Post
    Didn't know "Oklahoma Sky" was a wedding present to Miranda. That's a really touching gesture!

    While we're on the Miranda and Steve song, I came across this song while listening to the duet. This is Miranda covering "Hillbilly Highway" by Steve Earle. I went back and listened to the original track as well but still found Miranda's version better, especially her elongated "Hiiiiiiiiiiillbilly Highway". Reminds me of Carrie's "ooooooooooooooooh" in "Last Name" towards the very end. I always love when artists do that. Seems very country.
    I agree about the elongated vowels - by coincidence, I also mentioned a similar point when I was discussing vocal style in relation to Carrie and Emmylou in the Rolling Stone thread today.

    That video is from Season 31 of Austin City Limits (the Texas State Capitol in the backdrop is the long-running show's trademark). It was screened in 2006, when Miranda was about 22. She and Scotty are performing there with a band line up that is not the same as the one she assembled later and has now worked with for a number of years.

    I love Miranda's present album, and am fascinated with her current approach, however it works out - but there's no denying that those early days had an energy and musical style that touches a real chord for me. Pure nostalgia - but great stuff!
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  • #742
    Junior Carrie Follower Momin's Avatar
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    Really glad to see Tin Man move up the chart a little from 40 to 36! It's starting to get more airplay. I think they might promote this more and more now.
    lolita55 and lizcarlo like this.

  • #743
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    Quote Originally Posted by Momin View Post
    Really glad to see Tin Man move up the chart a little from 40 to 36! It's starting to get more airplay. I think they might promote this more and more now.
    Glad that it is moving up, but I just don't see them promoting it, she doesn't do that well on the radio. The only way for this album to not be a failure on the radio, is to release for radio friendly songs.

  • #744
    Insane Carrie Fan lizcarlo's Avatar
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    Quote Originally Posted by Momin View Post
    Really glad to see Tin Man move up the chart a little from 40 to 36! It's starting to get more airplay. I think they might promote this more and more now.
    Good. Tin Man is such impeccable song. I hope this song goes steady and does well. It deserves to be heard and to have more recognition.

  • #745
    Junior Carrie Follower Momin's Avatar
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  • #746
    Junior Carrie Follower Momin's Avatar
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  • #747
    Carrie Guru pklongbeach's Avatar
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    Poor Carrie is hard pressed to even get her name mentioned in a RS magazine article that is entirely about women. But they sure to like to focus on Miranda..........hmph.......
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  • #748
    Insane Carrie Fan Farawayhills's Avatar
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    Well, even in the context of the fan resentment that is often a feature of the Board, I have to say that that comment seems rather misplaced. The article is making the point that there is currently a significant disparity between radio airtime, and what is happening on the wider Country Music scene. A number of artists on the Progressive wing (and it mentions Lambert, Stapleton, Price and Morris) have been racking up significant sales, and attention from Country fans in streaming channels, as well as critical praise for their creative work - but have received notably less radio attention, with their releases often stalling on the airtime charts. This doesn't apply at all to "poor Carrie" (as you call her), as her radio presence is second to none, and fully consistent with her success in other areas - hence she would not be a valid example for the point Jon Freeman's article is trying to explore.

    In fact, Freeman focuses on three main aspects of the current situation - all of them, in my view, important - and, I would say, amounting to a serious indictment of the service Mainstream radio is currently providing for the genre - even if none of them may seem to specifically affect Carrie herself.

    1. The disparity between airtime and the attention paid to current work on the wider music scene (mentioned above). One point that I hadn't particularly been aware of is that, to a degree (but not as severely as in the case of the other artists discussed), radio reception has been relatively limited for Maren Morris. This seems surprising - both because of the attention she has received in the wider media, and because - at least to my ears - she seems the most General Music influenced artist in that group (and, for example, significantly less concerned than Carrie usually has been, to include specifically Country references in most of her break-out album). On the face of it, you might expect Morris to be more of an exception for Mainstream programmers - but it seems that she, too, has had releases that could be said to have stalled (relatively speaking) on radio.

    2. The unchallenging, predictable, musically and lyrically generic character of many of the current male offerings that gain high positions on the airtime charts. Here the article is particularly scathing - and (rather than Carrie fans) it is probably the fans of the named male chart toppers who might have most reason to be resentful about the article.

    3. The striking imbalance between male and female airtime - often, of course, discussed recently, but, according to the article, still getting worse. Here, again, one has to say, Carrie is a rare exception (the article suggests that Kelsea Ballerini is the only other beneficiary that radio seems prepared to alternate in top two chart position.) But the favour shown to just two women (however individually deserving) comes close to being tokenism - and does virtually nothing for other women, who are currently producing strong work in a variety of styles across the spectrum.

    As an additional side issue, Freeman refers to the controversy over Bobby Bones (which I briefly mentioned a few days ago, in relation to Aubrie Sellers.) Bones has launched a "Female Friday" feature, in which he will encourage downloads and fan responses for female artists - but the effort, albeit probably well-intentioned, proved controversial, with some fans of female artists seeing it as patronizing, and further tokenism, that appeared wiling to let the "male Saturday through male Thursday" culture remain. Margo Price was one artist who criticized his approach on Twitter. (Unfortunately, Bones' rather abrasive and confrontational posting style - which resorted to random insults - tended to antagonize the female music fan bases he was apparently hoping to champion, with some Ran Fans, for example, comparing his Twitter style to that of a certain politician!)

    Taken as a whole, Freeman's analysis in that article, in a major music journal, is a significant contribution to the debate. It's one of several addressing the broad problem - this is another, for example, by a young Scottish writer posted recently:

    https://highwayqueens.com/2017/07/16...xism-in-music/

    Whether many would agree with Jon Freeman's conclusion:
    "Radio hits used to be the way to [rally an audience]. But the recent work – and success – of Lambert, Morris and Price might be a sign that they needn't bother with the medium at all."
    possibly depends on whether we are thinking primarily of Mainstream artists (Music Row is still very - though even there, decreasingly- radio hit focused), or of more innovative, Roots focused artists. As one young Country fan I saw posting put it "It's radio that's driving us to Pandora and Spotify" - and that can increasingly be a problem for the labels still hoping to rely on radio to push the album sales of their artists.

  • #749
    Carrie Guru pklongbeach's Avatar
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    I do agree with the article.

    I just also see the disparity between Miranda and Carrie in RS magazine........ I just found some irony there as a carrie fan.

  • #750
    Insane Carrie Fan Farawayhills's Avatar
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    Quote Originally Posted by pklongbeach View Post
    I do agree with the article.

    I just also see the disparity between Miranda and Carrie in RS magazine........ I just found some irony there as a carrie fan.
    Yes, I think you can distinguish between this particular article, and RS's general coverage.

    That article was a critique of the current system - and as Carrie is a major beneficiary (in effect the main female beneficiary) of the system, she wouldn't really be relevant to the argument the article is making.

    In general, it probably is true that a magazine like Rolling Stone is unlikely to concentrate on heavy coverage of her career. I think this is partly due to the magazine's musical leanings, and partly to the way Carrie herself has pitched her career. I see RS (like several other specialist music magazines) as aiming its coverage (in most genres) more to what it sees as the deep genre, cutting edge, or alternative wings of the music spectrum. Where it does cover high profile mega-acts (mainly from the Rock wing) it tends to concentrate on arena blockbuster acts, of an "album oriented" type - rather than on the general popular entertainment world of shorter period radio smash hits. Carrie is more likely to get major, and regular coverage in magazines more focused on the general entertainment scene.

    As far as Carrie's own apparent choice is concerned, I'd refer back to a post Kizmet made a few days ago (in response to my suggestion that she might try to position her later albums more in line with critical preference than with radio hits). Kizmet said that, based on comments Carrie herself has made to the Fan Club, she would doubt this. Being out of the country, and not really a fan club follower, I would tend to miss this - but, on reflection, I think Kizmet may well be right. (I probably have a dreamy vision of Carrie blossoming into a successor of Emmylou or Patty Loveless, as her career matures - but that's probably wishful thinking, as we are probably all a bit prone to cast our favourite artists in our own preferred light!) But Kizmet says that Carrie is likely to prefer high energy "performance" songs, with appropriate production values, which she can sing as a "role playing" character, at one step removed from full immersion in the lyrics (faith songs being the main exception). If so, that is likely to appeal to many fans (and probably to radio), rather more than it might appeal to RS writers.

    I'd also say that the dichotomy of emphasis in magazine styles and coverage is probably stronger in the US than it would be in the UK. Of our two main genre magazines, Country Music People pitches its coverage more at what it calls "new fans", whereas Maverick is definitely more "deep genre", with numerous reviews of acts who are only likely to sell in the low ten thousands. Yet both magazines, I feel, would be prepared to cover both Carrie and Miranda. The divisions in the genre do exist, but are generally less entrenched than they have become in the US
    Kizmet311 and Momin like this.

  • #751
    Junior Carrie Follower Momin's Avatar
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