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Post by Deleted on Oct 11, 2014 17:02:23 GMT -5
If Something In The Water marches up the chart fairly quickly and Something Bad continues to climb, is it possible for Carrie Underwood to have concurrent top tens? I would be quite surprised if this happened. The quickest any single has made the top 10 since "That's My Kind of Night" is six weeks (unless you count the Mediabase-only 5-week run to the top 10 of "American Kids"). "Something in the Water" will be in its second week on Monday's chart. "Somethin' Bad" will be 21 weeks old Monday. Even if this Carrie Underwood single makes the top 10 as quickly as the likes of Kenny Chesney, Florida Georgia Line, Jason Aldean, and Blake Shelton, "Somethin' Bad" will be in its 25th week by then. I'd say that by the time Carrie's solo single starts to get power conversions "Somethin' Bad" will have reached its peak level of airplay. (The single already looks like it's nearing a peak position in my opinion, probably around #5 or #6.)
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Ten Pound Hammer
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Post by Ten Pound Hammer on Oct 12, 2014 17:29:27 GMT -5
Bleah. This is not grabbing me at all. It's just an overproduced Céline Dion beltfest with cliché "spiritual" lyrics. "See You Again" Part II.
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jptexas
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Post by jptexas on Oct 12, 2014 23:16:05 GMT -5
^^you literally hit that song with a ten pound hammer.
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onebuffalo
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Post by onebuffalo on Oct 14, 2014 9:26:55 GMT -5
Interesting in terms of positions on two charts: MediaBase has Carrie Underwood up one to #24 while Billboard has her down one to #18. Unless airplay and streaming pick up, Underwood may be looking at a #2 peak on the mongrel chart.
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carrieidol1
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Post by carrieidol1 on Oct 14, 2014 9:53:48 GMT -5
Interesting in terms of positions on two charts: MediaBase has Carrie Underwood up one to #24 while Billboard has her down one to #18. Unless airplay and streaming pick up, Underwood may be looking at a #2 peak on the mongrel chart. If they release the music video during CMA week, where she will most likely perform SITW, she could still have a chance. Downloads will increase exponentially, streams will increase due to the music video and performance, and by then she'll have more airplay on both country radio and Christian radio. If then she doesn't hit #1, it'll be tough, but she definitely has a good chance.
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dm2081
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Post by dm2081 on Oct 14, 2014 19:14:00 GMT -5
Don't forget how big of an impact the music video release can have. That's how "Somethin' Bad" was able to steal a weak at #1 on the Mongrel chart.
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Deleted
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Post by Deleted on Oct 14, 2014 20:56:14 GMT -5
Interesting in terms of positions on two charts: MediaBase has Carrie Underwood up one to #24 while Billboard has her down one to #18. Unless airplay and streaming pick up, Underwood may be looking at a #2 peak on the mongrel chart. The Hot Country Songs chart is unpredictable. This song will only continue to grow in airplay, sales, and streaming from here on out. The initial sales for big artists like Carrie (or Jason, Luke, Taylor, etc) are always very strong, and then their songs drop back a bit on iTunes for a while, but as the airplay grows, so will the sales and streaming numbers. So yeah, she hit #2 on HCS already and now she'll definitely slide back a ways, but that's only because the first week numbers (both airplay and sales) are so front-loaded. For those that care about the Hot Country Songs chart, you could still see SITW get to #1 there. Carrie will still have a great chance to top that chart when this song gets closer to peak airplay. By then songs like "Burnin' It Down" and "Dirt" will be long done at radio and thus they will be sliding down the HCS chart. We still have all of November and most of December to go here.
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onebuffalo
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Post by onebuffalo on Oct 15, 2014 8:17:21 GMT -5
How many weeks until Carrie (SITW) passes Garth Brooks (PLP) on the charts? :o Carrie has passed up Garth. Thank you for answering your own question. Actually, it happened during the first week Carrie Underwood was on the chart. She debuted at #17 while Garth Brooks was at #21.
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onebuffalo
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Post by onebuffalo on Oct 15, 2014 8:29:44 GMT -5
I was looking at this morning's MB chart. I just happened to be on AllAccess and see that Carrie Underwood is at #21 while Garth Brooks is at #24.
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jughead
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Post by jughead on Oct 15, 2014 20:49:23 GMT -5
Bleah. This is not grabbing me at all. It's just an overproduced Céline Dion beltfest with cliché "spiritual" lyrics. "See You Again" Part II. JTTW + SS + TH + WAY (Who Are You)+ SYA.
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ILLUSION
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Post by ILLUSION on Oct 16, 2014 18:39:31 GMT -5
Crazy that the bullet for this is still over +1,000
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countryqueen
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Post by countryqueen on Oct 17, 2014 12:45:06 GMT -5
This song is growing on me...I still think its overproduced and it's not perfect, but its so much better than most of the smut that's currently at radio.
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dajross6
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Post by dajross6 on Oct 17, 2014 23:40:50 GMT -5
I actually feel the opposite on this one. Carrie's voice is impressive in a similar way I think an opera singer's voice is impressive, but it's not my thing. We understand you can sing Carrie...I guess I'm kind of sick of songs where she belts out note after note when it is semi-unnecessary, but on the same token I can understand why people like to hear it, the same way they like opera. I don't like either, but that's just me, and the excuse of "well it's better than anything else on the radio" is not a good enough excuse for me to accept. I really don't agree with the message of the song either, but other things (melody, catchy, rhythm) can make up for it. It just doesn't do it for me and is an instant channel changer.
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austin
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Post by austin on Oct 19, 2014 11:38:38 GMT -5
The lyrics for this are some of the worst lyrics in a Carrie song to date. Cheese city.
I wish we could consistently get that beautiful voice paired with amazing, game-changing material. She did an amazing job with Cadillacs, but mostly she is just knocking notes out of the park on songs that you change the radio dial when they come on. It's unfortunate for all involved. This one may be the worst, though.
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carrieidol1
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Post by carrieidol1 on Oct 19, 2014 12:11:10 GMT -5
I heard it for the first time on radio... Well since it premiered. It's such a refreshing song! It came on right after Jason Aldean... I was ready to switch the station, but Carrie saved the day! The DJ, at the end said "wow, if I could play that on repeat, I would"... It makes me so happy to hear such positive things about this song. Even after a few weeks, people are still loving it! I can't wait to hear it live on the CMAs!
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Deleted
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Post by Deleted on Oct 19, 2014 20:23:25 GMT -5
The lyrics for this are some of the worst lyrics in a Carrie song to date. Cheese city. I wish we could consistently get that beautiful voice paired with amazing, game-changing material. She did an amazing job with Cadillacs, but mostly she is just knocking notes out of the park on songs that you change the radio dial when they come on. It's unfortunate for all involved. This one may be the worst, though. Undo It and Mama's Song would like to have a word with you. Carrie is an artist who does have some stellar material, but the single choices (understanbly) leave some people scratching their heads. Wine Aftter Whiskey will forever remain the biggest "what if" of Carrie's career, and it's a shame. I do think Carrie is slowly finding her way as an artist, and I think signs point to her increasing to choose/write stronger material as time goes on. SITW was likely chosen due to the religious sentiments, and to tie-in with the theme she started her career with (JTTW). Honestly, I completely understand and respect that choice, and knowing how much Carrie's faith means to her, this really speaks volumes to me. These ARE the kinds of messages that resonate with Carrie's target audience, but it's also extremely poloarizing to those who may see it as cheesy, preachy, etc.
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Post by 43dudleyvillas on Oct 19, 2014 21:04:35 GMT -5
SITW was likely chosen due to the religious sentiments, and to tie-in with the theme she started her career with (JTTW). While I agree with you on the full-circle nature of this release, Tom Roland's feature on "Something in the Water" in this week's Billboard Mid-Week Country Update seems to make the opposite point, or at the very least, it acknowledges the polarizing possibilities of such an overtly religious song as a concern that Arista Nashville considered:The beginning of the feature speaks directly to what @carrieflattsfan said about how much it means to Carrie to speak publicly about her faith. The whole feature does a good job of placing the song in the country context and in the context of Carrie's career. Here is a section in which Carrie talks about attempting to broaden the reach of the song, and then Roland balances that with consideration of the song's gospel roots:For those interested in this song's journey from "birth" to demo to recording to single, the full article is on page two of the Billboard Mid-Week Country Update linked above. In any event, I had earlier noted that I thought the third week of airplay for this song would be an early hint as to the song's true radio reception. So far, so good -- well, at least "Something In The Water" looks to be having a considerably stronger third week than Garth's "People Loving People," and should be able to pass its first week airplay peak on Billboard in its fourth week (or maybe this week, depending on how audience translation from Mediabase to Billboard. I'm no jhomes87 when it comes to airplay projection). Now, we'll see how "Something in the Water" works its way through top-20 rotation.
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Post by echocountry on Oct 19, 2014 21:11:29 GMT -5
I can't get into Carrie's music these days....I really just turn off the radio. I have to say her first couple albums were good, and I really liked Blown Away, because the song is so haunting and her vocals are amazing and with that one, she doesn't try too hard like other singles.Sorry,,
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Deleted
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Post by Deleted on Oct 20, 2014 10:50:54 GMT -5
SITW was likely chosen due to the religious sentiments, and to tie-in with the theme she started her career with (JTTW). While I agree with you on the full-circle nature of this release, Tom Roland's feature on "Something in the Water" in this week's Billboard Mid-Week Country Update seems to make the opposite point, or at the very least, it acknowledges the polarizing possibilities of such an overtly religious song as a concern that Arista Nashville considered:The beginning of the feature speaks directly to what @carrieflattsfan said about how much it means to Carrie to speak publicly about her faith. The whole feature does a good job of placing the song in the country context and in the context of Carrie's career. Here is a section in which Carrie talks about attempting to broaden the reach of the song, and then Roland balances that with consideration of the song's gospel roots:For those interested in this song's journey from "birth" to demo to recording to single, the full article is on page two of the Billboard Mid-Week Country Update linked above. In any event, I had earlier noted that I thought the third week of airplay for this song would be an early hint as to the song's true radio reception. So far, so good -- well, at least "Something In The Water" looks to be having a considerably stronger third week than Garth's "People Loving People," and should be able to pass its first week airplay peak on Billboard in its fourth week (or maybe this week, depending on how audience translation from Mediabase to Billboard. I'm no jhomes87 when it comes to airplay projection). Now, we'll see how "Something in the Water" works its way through top-20 rotation. This is an interesting read, thanks for posting. I always like reading about Carrie's prospective on the "business" side of things vs. the personal, just because it gives a little bit of insight into where she and Artista (possibly) find a happy medium. Although it doesn't surprise me that her label may have had reservations, I'm glad they decided to go with SITW. The message is something that I feel has been lacking in Country music these days, and I miss that. Any artist who is willing to take a stand, whether it be personal or professional, is respected in my book. I'm actually impressed with how well SITW has held up so far, and it sounds great on the radio. It'd be foolish to think Carrie or Miranda could turn the format around entirely, but I think it speaks volumes that radio, fans and industry insiders still make it known they love Carrie and that they know she's a very valuable asset to the format.
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Ten Pound Hammer
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Post by Ten Pound Hammer on Oct 20, 2014 14:07:15 GMT -5
I actually feel the opposite on this one. Carrie's voice is impressive in a similar way I think an opera singer's voice is impressive, but it's not my thing. We understand you can sing Carrie...I guess I'm kind of sick of songs where she belts out note after note when it is semi-unnecessary, but on the same token I can understand why people like to hear it, the same way they like opera. I don't like either, but that's just me, and the excuse of "well it's better than anything else on the radio" is not a good enough excuse for me to accept. I really don't agree with the message of the song either, but other things (melody, catchy, rhythm) can make up for it. It just doesn't do it for me and is an instant channel changer. I think I said the exact same thing about Martina McBride 10 years ago.
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Post by Deleted on Oct 20, 2014 14:11:37 GMT -5
I actually feel the opposite on this one. Carrie's voice is impressive in a similar way I think an opera singer's voice is impressive, but it's not my thing. We understand you can sing Carrie...I guess I'm kind of sick of songs where she belts out note after note when it is semi-unnecessary, but on the same token I can understand why people like to hear it, the same way they like opera. I don't like either, but that's just me, and the excuse of "well it's better than anything else on the radio" is not a good enough excuse for me to accept. I really don't agree with the message of the song either, but other things (melody, catchy, rhythm) can make up for it. It just doesn't do it for me and is an instant channel changer. I think I said the exact same thing about Martina McBride 10 years ago. Part of me worries that Carrie will emulate Martina in the sense that she belts/oversings too much. I love me some divas, but I like a balance and using emotion and control when its needed. Carrie can have cheesy taste at times (to me, anyway), but as long as she balances it with great material and varied vocal styles, I can live with that.
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dajross6
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Post by dajross6 on Oct 20, 2014 21:43:48 GMT -5
Yeah Martina went through a phase as well like on Where Would You BEEEEEEEEEEEEEEEEEEEEEEEEEEEEE :)
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Ten Pound Hammer
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Post by Ten Pound Hammer on Oct 20, 2014 21:50:01 GMT -5
^That one at least gets a thumbs up from me, since it's not about puppies and rainbows and abused children who go to heaven and OKAY WE GET IT YOU'RE A BLEEDING HEART MARTINA NOW SING ABOUT SOMETHING ELSE AEKL:KFASL:FDJSFSDJFKLDSGKJKssjd
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sabre14
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Post by sabre14 on Oct 20, 2014 22:34:13 GMT -5
Yeah Martina went through a phase as well like on Where Would You BEEEEEEEEEEEEEEEEEEEEEEEEEEEEE :) That song really got under my skin when I was a kid. Even as a 12 year old I knew about Martina's belting. I still think she's had more hits than misses though ("Cry On The Shoulder Of The Road", "Whatever You Say", "Anyway", etc.) I still enjoy "Something In The Water" though. Sonically is very pleasing to me along with the vocals which don't bother me like some others.
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sbp17
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Post by sbp17 on Oct 21, 2014 4:59:58 GMT -5
I think the comparisons to Martina are appropriate. In my mind, there are risks with belting on singles. It sets an expectation for listeners that are drawn into that. When you release a few back to back, any subsequent softer release might seem boring or underwhelming by comparison. So the artist becomes pigeon-holed into over-the-top powerhouse singles. Also, it is generally not sustainable physically.
But I like belting when it supports the intent of the lyrics. Whatever You Say by Martina McBride is a good example. "I know you can hear me but I'm not sure you're listening." Loud, strong vocals reinforce the "I know you can hear me". Happy Girl is another example. The verses without the belting are about the "bottled up" person while she gets very strong on the chorus when she sings about now being a happy girl. But the belting seems more gratuitous on other tracks like Where Would You Be. With Carrie, it works with the overall theme of Blown Away and, in my opinion, even the "stronger" part of Something In The Water. But she has had a string of them so I do think that's why it would have been good to mix in singles like Do You Think About Me and Someday When I Stop Loving You.
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onebuffalo
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Post by onebuffalo on Oct 22, 2014 7:49:47 GMT -5
If Something In The Water marches up the chart fairly quickly and Something Bad continues to climb, is it possible for Carrie Underwood to have concurrent top tens? Not now. Somethin' Bad was sent recurrent. I was hoping Carrie Underwood would have occupied 20% of the top ten.
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Ten Pound Hammer
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Post by Ten Pound Hammer on Oct 22, 2014 8:19:49 GMT -5
I think the comparisons to Martina are appropriate. In my mind, there are risks with belting on singles. It sets an expectation for listeners that are drawn into that. When you release a few back to back, any subsequent softer release might seem boring or underwhelming by comparison. So the artist becomes pigeon-holed into over-the-top powerhouse singles. Also, it is generally not sustainable physically. But I like belting when it supports the intent of the lyrics. Whatever You Say by Martina McBride is a good example. "I know you can hear me but I'm not sure you're listening." Loud, strong vocals reinforce the "I know you can hear me". Happy Girl is another example. The verses without the belting are about the "bottled up" person while she gets very strong on the chorus when she sings about now being a happy girl. But the belting seems more gratuitous on other tracks like Where Would You Be. With Carrie, it works with the overall theme of Blown Away and, in my opinion, even the "stronger" part of Something In The Water. But she has had a string of them so I do think that's why it would have been good to mix in singles like Do You Think About Me and Someday When I Stop Loving You. Another Martina song that I'm fine with her belting is "A Broken Wing". It makes sense to belt out a line about flying. I thought Carrie's belting was way out of place on "So Small", especially when she belts out "It sure makes everything else seem SO SMAAAAAAAALL!!!!!!!!" Yes, when you belt that line at 140,000 dB, then yes, nearly everything else will seem so small in comparison.
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jptexas
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Post by jptexas on Oct 22, 2014 17:12:29 GMT -5
140,000 db, that's like 140 jet engines When she sings that part, I believe that's the only part that she belts.
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14887fan
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Post by 14887fan on Oct 22, 2014 17:17:04 GMT -5
So basically, Carrie should never belt because then she's ruining the effect of the song. Got it.
Not to step into "defensive stan mode" here because I truly can't stand that (or the people that do it), but this conversation is laughably ridiculous.
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.indulgecountry
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Post by .indulgecountry on Oct 22, 2014 18:37:13 GMT -5
^That one at least gets a thumbs up from me, since it's not about puppies and rainbows and abused children who go to heaven and OKAY WE GET IT YOU'RE A BLEEDING HEART MARTINA NOW SING ABOUT SOMETHING ELSE AEKL:KFASL:FDJSFSDJFKLDSGKJKssjd How is different than what anyone else does? Everyone has certain types of songs they sing about a little more than others, but Martina's topics are at least interesting because hardly anyone else covers the stuff she does. And I don't have a problem with her belting at all. It's what gives color to her voice, because imo, she has a fairly 'vanilla' voice, but that incredible range she has is what sets her apart and makes her so great.
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