Kanenrá:ke
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she left her briquettes out in typical heaux fashion.
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Post by Kanenrá:ke on Oct 22, 2014 21:32:34 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. I personally never got the critisism of her being a "bleeding heart". What songs in particular do you think of Ten Pound Hammer? I only can count maybe 6 songs of hers that I'd say fit the description that you're saying. Considering I have 162 songs by her I'd say 3.7% of her catalouge is a small amount. Or maybe I'm just too much of a bleeding heart myself lol but seriously I'm curious cause I've seen this argument before but never understood.
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Ten Pound Hammer
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Post by Ten Pound Hammer on Oct 22, 2014 21:55:08 GMT -5
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. I personally never got the critisism of her being a "bleeding heart". What songs in particular do you think of Ten Pound Hammer? I only can count maybe 6 songs of hers that I'd say fit the description that you're saying. Considering I have 162 songs by her I'd say 3.7% of her catalouge is a small amount. Or maybe I'm just too much of a bleeding heart myself lol but seriously I'm curious cause I've seen this argument before but never understood. All of her songs about "issues" because for so long it felt like that was literally ALL she ever did. I'll at least give "Love's the Only House" a pass because it's not overly dramatic and actually has a gritty production style, but for a long time it just felt like she was re-releasing Concrete Angel over and over and over and over and over and over. And the fact that she belted about 90% of the time, and used that same slick, string drenched production 90% of the time, just made it even more monotonous. Anyway, this thread's derailed enough. I still don't like this song at all.
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Zazie
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Post by Zazie on Oct 22, 2014 22:12:59 GMT -5
Martina changed her singing style from the release of I Love You (a ghastly song to me, but we all know it had enormous chart success) on forward. I don't mind belting when it's called for by the lyrics, but Martina was wrong either way, to me -- either she belted incessantly, even if the lyrics didn't call for it, or she chose material that called for a steady diet of belt.
I know she had album tracks that called for (and received) subtlety, and she sang the lyrics on her oldies album with great skill. So she could still do it; no doubt she still can. But pretty much all of her singles were stellar before, and horrible after, I Love You.
Carrie seems to me to have been influenced by the late-career Martina. She overbelts. (Well, it ought to be a word.) I don't expect to find a lot of people here in agreement with me, but I think she interprets a lot of songs poorly. I prefer Pam Tillis and Patty Loveless for their singing style, but opinions vary.
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Markus Meyer
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Post by Markus Meyer on Oct 22, 2014 22:50:43 GMT -5
I have less of an issue when Carrie does it than when Martina does personally.
On a (somewhat) side note, it's their personal opinion if they dislike Carrie's "belting" (for lack of a better word.) I think it's out of place to call someone else's opinion ridiculous personally.
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desertfloods
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Post by desertfloods on Oct 22, 2014 22:51:52 GMT -5
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. I personally never got the critisism of her being a "bleeding heart". What songs in particular do you think of Ten Pound Hammer? I only can count maybe 6 songs of hers that I'd say fit the description that you're saying. Considering I have 162 songs by her I'd say 3.7% of her catalouge is a small amount. Or maybe I'm just too much of a bleeding heart myself lol but seriously I'm curious cause I've seen this argument before but never understood. For non hardcore fans, it's really all about the perception. Especially based on the radio singles. Non fans aren't going to listen to every single song on the album to find other type of songs in the artist's catalog. That's the job of the singles - to attract people to find out more about their albums. I love songs like Concrete Angel from Martina, but I do agree with people who felt that she's singing the same thing and same type of song all the time. It was boring to me. It's like I already know what her songs will sound like before she even starts singing (where the belting will start etc). Another problem I find with her voice is that she doesn't have a versatile voice suited for different type of songs as well. IMO. Taylor has the same problem where non-fans or casual fans think she only sings about ex boyfriends, but her core fans know that she sings about other things too. That is why I am against Carrie's label releasing preditable singles. And I REALLY want them to release a softer, lighter song from her. By now, everyone already knows she can belt, let's show everyone a different side of her vocals.
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jptexas
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Post by jptexas on Oct 22, 2014 22:53:40 GMT -5
I personally never got the critisism of her being a "bleeding heart". What songs in particular do you think of Ten Pound Hammer? I only can count maybe 6 songs of hers that I'd say fit the description that you're saying. Considering I have 162 songs by her I'd say 3.7% of her catalouge is a small amount. Or maybe I'm just too much of a bleeding heart myself lol but seriously I'm curious cause I've seen this argument before but never understood. All of her songs about "issues" because for so long it felt like that was literally ALL she ever did. I'll at least give "Love's the Only House" a pass because it's not overly dramatic and actually has a gritty production style, but for a long time it just felt like she was re-releasing Concrete Angel over and over and over and over and over and over. And the fact that she belted about 90% of the time, and used that same slick, string drenched production 90% of the time, just made it even more monotonous. Anyway, this thread's derailed enough. I still don't like this song at all. So, you don't like the song. Don't like the melody, lyrics, production, vocals, theme, style, etc. you just don't like it at all. Ok then.
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14887fan
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Post by 14887fan on Oct 22, 2014 22:54:14 GMT -5
I have less of an issue when Carrie does it than when Martina does personally. On a (somewhat) side note, it's their personal opinion if they dislike Carrie's "belting" (for lack of a better word.) I think it's out of place to call someone else's opinion ridiculous personally. I didn't say their opinions are ridiculous; I said the conversation was. Let's not paint ourselves a different picture than what's already on the canvas! So, you don't like the song. Don't like the melody, lyrics, production, vocals, theme, style, etc. you just don't like it at all. Ok then. Because you yourself haven't covered this a thousand times over with others in this thread earlier on? This response wasn't necessary. Stop. Anyways, back to this song and how it's falling like a rock on iTunes. The video needs to come out in the next couple of weeks. Hopefully it's coordinated w/ the CMAs so it can kind of just be a heavy dose of publicity to help the song.
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Deleted
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Post by Deleted on Oct 23, 2014 22:23:03 GMT -5
I personally never got the critisism of her being a "bleeding heart". What songs in particular do you think of Ten Pound Hammer? I only can count maybe 6 songs of hers that I'd say fit the description that you're saying. Considering I have 162 songs by her I'd say 3.7% of her catalouge is a small amount. Or maybe I'm just too much of a bleeding heart myself lol but seriously I'm curious cause I've seen this argument before but never understood. For non hardcore fans, it's really all about the perception. Especially based on the radio singles. Non fans aren't going to listen to every single song on the album to find other type of songs in the artist's catalog. That's the job of the singles - to attract people to find out more about their albums. I love songs like Concrete Angel from Martina, but I do agree with people who felt that she's singing the same thing and same type of song all the time. It was boring to me. It's like I already know what her songs will sound like before she even starts singing (where the belting will start etc). Another problem I find with her voice is that she doesn't have a versatile voice suited for different type of songs as well. IMO. Taylor has the same problem where non-fans or casual fans think she only sings about ex boyfriends, but her core fans know that she sings about other things too. That is why I am against Carrie's label releasing preditable singles. And I REALLY want them to release a softer, lighter song from her. By now, everyone already knows she can belt, let's show everyone a different side of her vocals. You basically nailed my thoughts on this. Every artist (kind of), gets painted into a corner with singles eventually. Preception based on singles can bore people eventually, if the label follows a specific pattern. That's why I hope that Carrie doesn't fall victim to the same old same old material, because she IS more versitile than that, and it's never a bad thing to keep surprising people. I hope Carrie never loses the desire to keep moving forward, as opposed to painting herself into a corner like so many others. She's such an asset to Country, and I want to have faith she realizes that. SITW...I still love it, but I needed a live performance, like, yesterday.
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jenglisbe
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Post by jenglisbe on Oct 24, 2014 10:49:14 GMT -5
I keep reading comments that the song is falling fast at iTunes, but when I looked yesterday it was in the 30s. It was also #2 on Country Digital Songs last week. How is it falling like a rock? It downloads are still way ahead of its airplay despite no video or live performances.
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jenglisbe
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Post by jenglisbe on Oct 24, 2014 11:10:48 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,, So, by "these days" you actually just mean the new song? The fact that all of these detractors are suddenly posting in this thread is a testament to how well "SITW" is actually doing. 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'm glad you mention opera, because I don't get why pop singers tend to get criticism that other people do not. You don't hear people complain about opera or Broadway singers belting throughout entire shows (for decades to centuries no less). You don't hear people saying Jimi Hendrix shouldn't have done crazy guitar riffs all of the time or that John Bonham shouldn't have powered his drum parts on LZ songs. So, why is it that female pop singers with great technical gifts are always asked not to use them? To me the question is more about if a particular song calls for a particular kind of vocal. I love the development of Carrie's vocal throughout "SITW." She does the more scaled back "I am changed" during the early parts of the song, which represent more of a serene awakening. Then toward the end when the song is taken to a more grandiose, celebratory place (which includes a gospel choir) Carrie starts to belt. That makes sense in the context of the song. Contrast that to a song like "Do You Think of Me," which is a wispy reminiscence of a song and one that Carrie sings more softly (as appropriate).
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rsmatto
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Post by rsmatto on Oct 24, 2014 11:29:59 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'm glad you mention opera, because I don't get why pop singers tend to get criticism that other people do not. You don't hear people complain about opera or Broadway singers belting throughout entire shows (for decades to centuries no less). You don't hear people saying Jimi Hendrix shouldn't have done crazy guitar riffs all of the time or that John Bonham shouldn't have powered his drum parts on LZ songs. So, why is it that female pop singers with great technical gifts are always asked not to use them? To me the question is more about if a particular song calls for a particular kind of vocal. I love the development of Carrie's vocal throughout "SITW." She does the more scaled back "I am changed" during the early parts of the song, which represent more of a serene awakening. Then toward the end when the song is taken to a more grandiose, celebratory place (which includes a gospel choir) Carrie starts to belt. That makes sense in the context of the song. Contrast that to a song like "Do You Think of Me," which is a wispy reminiscence of a song and one that Carrie sings more softly (as appropriate). Why do powerful pop singers get criticism? Because unlike showtunes, broadway plays or opera, it's a more wide-open format and people prefer nuance to sheer belting. She sounds magnificent and conversational in the verses but I can see where her belting gets grating in the chorus, especially as the song builds to the end. The reason people are tired of it is because of melisma fatigue. They're just tired of people doing it all the time in their songs (even if it's just the radio singles). Everyone knows Carrie, Martina, Christina or Jessie J can power through stuff but we just don't want to hear it all the time. David Nail doesn't belt out note after note all the time (he can). Little Big Town either (though they also can). Neither does Sara Evans. It's somehow become something Carrie is 'forced' or 'expected' to do when her lower register is perhaps her most gorgeous instrument and something we should definitely hear more of (it's also harder to sing in the lower register constantly than the melismatic power notes, something not many people actually understand).
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matty005
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Post by matty005 on Oct 24, 2014 12:09:37 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,, So, by "these days" you actually just mean the new song? The fact that all of these detractors are suddenly posting in this thread is a testament to how well "SITW" is actually doing.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'm glad you mention opera, because I don't get why pop singers tend to get criticism that other people do not. You don't hear people complain about opera or Broadway singers belting throughout entire shows (for decades to centuries no less). You don't hear people saying Jimi Hendrix shouldn't have done crazy guitar riffs all of the time or that John Bonham shouldn't have powered his drum parts on LZ songs. So, why is it that female pop singers with great technical gifts are always asked not to use them? To me the question is more about if a particular song calls for a particular kind of vocal. I love the development of Carrie's vocal throughout "SITW." She does the more scaled back "I am changed" during the early parts of the song, which represent more of a serene awakening. Then toward the end when the song is taken to a more grandiose, celebratory place (which includes a gospel choir) Carrie starts to belt. That makes sense in the context of the song. Contrast that to a song like "Do You Think of Me," which is a wispy reminiscence of a song and one that Carrie sings more softly (as appropriate). By this logic, Jerrod Niemann's, "Donkey" was a masterpiece.
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rjz
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Post by rjz on Oct 24, 2014 12:39:48 GMT -5
I'm glad you mention opera, because I don't get why pop singers tend to get criticism that other people do not. You don't hear people complain about opera or Broadway singers belting throughout entire shows (for decades to centuries no less). You don't hear people saying Jimi Hendrix shouldn't have done crazy guitar riffs all of the time or that John Bonham shouldn't have powered his drum parts on LZ songs. So, why is it that female pop singers with great technical gifts are always asked not to use them? To me the question is more about if a particular song calls for a particular kind of vocal. I love the development of Carrie's vocal throughout "SITW." She does the more scaled back "I am changed" during the early parts of the song, which represent more of a serene awakening. Then toward the end when the song is taken to a more grandiose, celebratory place (which includes a gospel choir) Carrie starts to belt. That makes sense in the context of the song. Contrast that to a song like "Do You Think of Me," which is a wispy reminiscence of a song and one that Carrie sings more softly (as appropriate). Why do powerful pop singers get criticism? Because unlike showtunes, broadway plays or opera, it's a more wide-open format and people prefer nuance to sheer belting. She sounds magnificent and conversational in the verses but I can see where her belting gets grating in the chorus, especially as the song builds to the end. The reason people are tired of it is because of melisma fatigue. They're just tired of people doing it all the time in their songs (even if it's just the radio singles). Everyone knows Carrie, Martina, Christina or Jessie J can power through stuff but we just don't want to hear it all the time. David Nail doesn't belt out note after note all the time (he can). Little Big Town either (though they also can). Neither does Sara Evans. It's somehow become something Carrie is 'forced' or 'expected' to do when her lower register is perhaps her most gorgeous instrument and something we should definitely hear more of (it's also harder to sing in the lower register constantly than the melismatic power notes, something not many people actually understand). I love when other posters know exactly what I'm thinking and post it. Yes, belting gets annoying when overdone and becomes predictable in a singer's repertoire-as far as what we hear on the radio. When I go to Opera/Broadway I expect
belting but I don't enjoy it consistently in my country/pop music, and it can lose its impact. Heard David Nail live recently in Colorado-what a voice/singer and yes-it sure had impact when he belted out "Let It Rain" after quiet verses and understated vocals. And the reason 'detractors' are posting (Not speaking for everyone of course and I certainly don't consider myself one since I happen to like the song-just don't think it is a great song and wouldn't buy it. I loved JTTW -great song-and actually prefer her more vocally subtle songs like Temporary Home. This one should play well on Christian radio) has nothing to do with 'how well the song is doing' -people just get defensive when it is insinuated that they have no musical taste, can't see the light, are just haters etc, etc if they don't think a song is the Cat's Pajamas and dare to voice their opinion/criticism.
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jenglisbe
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Post by jenglisbe on Oct 24, 2014 15:55:53 GMT -5
The reason people are tired of it is because of melisma fatigue. They're just tired of people doing it all the time in their songs (even if it's just the radio singles). Everyone knows Carrie, Martina, Christina or Jessie J can power through stuff but we just don't want to hear it all the time. David Nail doesn't belt out note after note all the time (he can). Little Big Town either (though they also can). Neither does Sara Evans. It's somehow become something Carrie is 'forced' or 'expected' to do when her lower register is perhaps her most gorgeous instrument and something we should definitely hear more of (it's also harder to sing in the lower register constantly than the melismatic power notes, something not many people actually understand). Melisma fatigue from people doing it all the time in their songs? Huh? This isn't the '90s when Mariah, Whitney, and Celine were ruling and even the next level of popular singers like Monica and Brandy could actually sing and would do runs. Most of the popular singers of today - Katy Perry, Rihanna, Taylor Swift etc. and even Miranda Lambert - are fairly weak singers on a technical level. Melisma is certainly not their forte, either. And even someone with a great voice like Carrie doesn't really use melisma much. In fact, I don't think Carrie even uses 'melisma' on "Something in the Water." Please give me an example from this song. She holds out some notes with vibrato ("stroooon-ger"), but she doesn't really do 'runs' of the kind you hear in soul and gospel music (i.e. fitting multiple notes into a single syllable). Even more than "SITW" I am really interested to know where to find all of this melisma I am missing because I am actually a fan of it, and I've been mourning the loss of that kind of singing for years now.
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Post by 43dudleyvillas on Oct 24, 2014 16:05:52 GMT -5
The reason people are tired of it is because of melisma fatigue. Melisma and belting are not the same thing. Melisma is the stretching of a single syllable over a series of different notes, not necessarily at a high volume. Carrie is typically not a very melismatic singer -- her belts tend to concentrate on a single note. [ ETA: Oops, jenglisbe just noted this in the previous post.] The "fatigue" argument doesn't work all that well for me because those who listen to Carrie's albums know quite well that she uses her voice in a variety of ways, and because those who only experience Carrie's singles on the radio aren't exactly being inundated with belting from multiple artists. But if the argument is just for more singles that showcase the most gorgeous aspects of Carrie's voice, then count me in. I do think that Carrie's belting is more emotionally expressive than she's sometimes given credit for, but I prefer her lower-volume singing because it's prettier and often more interesting. I'm still a bit annoyed that songs like "Do You Think About Me" and "Wine After Whiskey" didn't get their time as singles from Blown Away. And I certainly agree with desertfloods and sbp17 when they talk about the importance of avoiding predictability in single releases. That said, something like "Something in the Water," while in some ways a predictable single choice for a Carrie Greatest Hits album, is kind of a curveball to today's country radio, albeit more for its content than its sound. I do think it is the rawest studio vocal we've gotten from Carrie, and that, volume considerations aside, is something that I really appreciate in this era of "treated" vocals. The fact that all of these detractors are suddenly posting in this thread is a testament to how well "SITW" is actually doing. Can I gently suggest that as someone who loves this song, you just enjoy how well it is doing so far instead of focusing on why those who aren't blown away by it are speaking up? The actual best testament to how well "Something in the Water" is doing is...how it's actually doing. Country radio has embraced the song so far, and sales have, as you pointed out, stabilized in the mid-30s at iTunes (and in the top four among country songs there). But no song is going to be universally loved, and conversation generally goes better when we avoid the "sore winner"/"sore loser" dynamic that is bound to occur when we start making baseless assumptions about other posters' motives (which is off-topic, anyway).
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14887fan
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Post by 14887fan on Oct 24, 2014 17:58:07 GMT -5
The fact that all of these detractors are suddenly posting in this thread is a testament to how well "SITW" is actually doing. Can I gently suggest that as someone who loves this song, you just enjoy how well it is doing so far instead of focusing on why those who aren't blown away by it are speaking up? The actual best testament to how well "Something in the Water" is doing is...how it's actually doing. Country radio has embraced the song so far, and sales have, as you pointed out, stabilized in the mid-30s at iTunes (and in the top four among country songs there). But no song is going to be universally loved, and conversation generally goes better when we avoid the "sore winner"/"sore loser" dynamic that is bound to occur when we start making baseless assumptions about other posters' motives (which is off-topic, anyway). THANK YOU.
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jenglisbe
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Post by jenglisbe on Oct 26, 2014 8:24:22 GMT -5
Can I gently suggest that as someone who loves this song, you just enjoy how well it is doing so far instead of focusing on why those who aren't blown away by it are speaking up? The actual best testament to how well "Something in the Water" is doing is...how it's actually doing. Country radio has embraced the song so far, and sales have, as you pointed out, stabilized in the mid-30s at iTunes (and in the top four among country songs there). But no song is going to be universally loved, and conversation generally goes better when we avoid the "sore winner"/"sore loser" dynamic that is bound to occur when we start making baseless assumptions about other posters' motives (which is off-topic, anyway). So because I made one post addressing all the random criticism, it means I am "focusing" on that instead of enjoying the song?
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desertfloods
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Post by desertfloods on Oct 26, 2014 9:18:00 GMT -5
Can I gently suggest that as someone who loves this song, you just enjoy how well it is doing so far instead of focusing on why those who aren't blown away by it are speaking up? The actual best testament to how well "Something in the Water" is doing is...how it's actually doing. Country radio has embraced the song so far, and sales have, as you pointed out, stabilized in the mid-30s at iTunes (and in the top four among country songs there). But no song is going to be universally loved, and conversation generally goes better when we avoid the "sore winner"/"sore loser" dynamic that is bound to occur when we start making baseless assumptions about other posters' motives (which is off-topic, anyway). So because I made one post addressing all the random criticism, it means I am "focusing" on that instead of enjoying the song? No, the post meant that instead of thinking about why criticisms are appearing (and jumping to, imo, rather unnecessary conclusion that people only criticized the song because it is doing well), why not just simply be happy about the song doing well? Personally, I have enjoyed reading the constructive criticisms and different opinions so far.
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jenglisbe
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Post by jenglisbe on Oct 26, 2014 10:40:42 GMT -5
So because I made one post addressing all the random criticism, it means I am "focusing" on that instead of enjoying the song? No, the post meant that instead of thinking about why criticisms are appearing (and jumping to, imo, rather unnecessary conclusion that people only criticized the song because it is doing well), why not just simply be happy about the song doing well? Personally, I have enjoyed reading the constructive criticisms and different opinions so far. Well, you jumped to an unnecessary conclusion as to how much I am enjoying the song, and you gave me advice for which I didn't ask.
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matty005
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Post by matty005 on Oct 26, 2014 11:42:59 GMT -5
Can I gently suggest that as someone who loves this song, you just enjoy how well it is doing so far instead of focusing on why those who aren't blown away by it are speaking up? The actual best testament to how well "Something in the Water" is doing is...how it's actually doing. Country radio has embraced the song so far, and sales have, as you pointed out, stabilized in the mid-30s at iTunes (and in the top four among country songs there). But no song is going to be universally loved, and conversation generally goes better when we avoid the "sore winner"/"sore loser" dynamic that is bound to occur when we start making baseless assumptions about other posters' motives (which is off-topic, anyway). So because I made one post addressing all the random criticism, it means I am "focusing" on that instead of enjoying the song? This thread is littered with your posts defending this song to anybody who doesn't like it. Enjoy the song. It's doing great on all the charts. Not everyone has to like it.
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Post by 43dudleyvillas on Oct 26, 2014 12:20:50 GMT -5
Can I gently suggest that as someone who loves this song, you just enjoy how well it is doing so far instead of focusing on why those who aren't blown away by it are speaking up? The actual best testament to how well "Something in the Water" is doing is...how it's actually doing. Country radio has embraced the song so far, and sales have, as you pointed out, stabilized in the mid-30s at iTunes (and in the top four among country songs there). But no song is going to be universally loved, and conversation generally goes better when we avoid the "sore winner"/"sore loser" dynamic that is bound to occur when we start making baseless assumptions about other posters' motives (which is off-topic, anyway). So because I made one post addressing all the random criticism, it means I am "focusing" on that instead of enjoying the song? If you had stuck simply to debating the merits of "Something in the Water" itself, I probably wouldn't have said anything. But let me give you an analogy. If someone had come in here and said that the fact that there were so many posters gushing about this song was a testament to blind American Idol standom, then it would have been a) unfair and b) unhelpful to discussion. In a similar fashion, for you to post that people who aren't crazy about this song "suddenly" speaking up is a testament to how well the song is doing was both unfair and unhelpful to discussion. My rule of thumb when it comes to discussions here is that we should post about songs and artists, but not about each other. In light of that, I was just trying to give you a friendly nudge to get back on topic. I'll follow up with you via PM.
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desertfloods
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Post by desertfloods on Oct 26, 2014 17:46:28 GMT -5
No, the post meant that instead of thinking about why criticisms are appearing (and jumping to, imo, rather unnecessary conclusion that people only criticized the song because it is doing well), why not just simply be happy about the song doing well? Personally, I have enjoyed reading the constructive criticisms and different opinions so far. Well, you jumped to an unnecessary conclusion as to how much I am enjoying the song, and you gave me advice for which I didn't ask. Actually, I didn't give you any advice. I was just explaining what I understood from 43donkeyvillas' post. And I didn't mention anything about how much you enjoy the song. "Enjoy the song" and "enjoy how well the song is doing" is not exactly the same thing.
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onebuffalo
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Post by onebuffalo on Oct 27, 2014 15:24:19 GMT -5
Christian Airplay *** No. 1 (7 weeks)*** "Greater" MercyMe Greatest Gainer No. 10 "Jesus Loves Me" Chris Tomlin Debut No. 37 "You're Not Alone" Owl City Featuring Britt Nicole Debut No. 42 "Something In The Water" Carrie Underwood Debut No. 48 "In Jesus' Name" Kutless Debut No. 49 "Blameless" Dara Maclean Debut No. 50 "Blameless" Building 429
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Deleted
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Post by Deleted on Oct 27, 2014 21:01:38 GMT -5
"Something in the Water" debuts on the Callout America chart this week at #8 overall, but with a 1.5% "Strongly Dislike" rate (second highest on the whole chart, only less than Hunter Hayes' "Tattoo"). I didn't think this single was really very polarizing...I guess the belting people have discussed in this thread could be a turn-off to some listeners. Other than that, I can't think of an explanation. Regardless of that, there's still a lot of overall passion with both research and digital sales and I expect this single to be a multi-week #1 at the split between the end of 2014 and the beginning of 2015.
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someguy
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Post by someguy on Oct 27, 2014 21:26:24 GMT -5
Possibly the lyrics? I could see people who aren't religious at all not taking to the song.
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jptexas
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Post by jptexas on Oct 27, 2014 21:26:51 GMT -5
*^personally, I don't think the "strong dislike" number has nothing to do with belting, it's the subject matter.
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Deleted
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Post by Deleted on Oct 27, 2014 21:39:06 GMT -5
A 1.5% strongly dislike rating at Callout America is hardly anything noticeable, though. Callout America is a sample of 450 people, so 1.5% of that is only 6.75 people. Radio won't care at all that 7 out of every 450 people don't like this song at all. "Something In The Water" is #1 in Total passion with a 50.5% rating there. Anything over 50% is simply incredible and it doesn't happen that often. The next highest passion scores are 46.8% for "Neon Light", 46% for "People Loving People", 45.1% for Kenny's "Til It's Gone", and 44.1% for The Band Perry's "Gentle On My Mind".
The only songs that I would describe as 'polarizing' (at least according to Callout America) are those that are 15-17% or higher in the dislike column...so, songs like Thomas Rhett's "Make Me Wanna", The Cadillac Three's "Party Like You", Brantley's "Small Town Throwdown", Hunter's "Tattoo", Darius Rucker's "Homegrown Honey", and Kristian Bush's "Trailer Hitch". None of these songs is testing all that poorly, though--I simply mention them because their dislike percentages are slightly higher than most others.
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14887fan
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Post by 14887fan on Oct 28, 2014 10:38:08 GMT -5
Anybody know where this is at sales-wise? I imagine it is at least over the 300k mark.
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onebuffalo
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Post by onebuffalo on Oct 28, 2014 10:43:44 GMT -5
Anybody know where this is at sales-wise? I imagine it is at least over the 300k mark. 214,000 so far.
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jesster
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Post by jesster on Oct 28, 2014 22:09:38 GMT -5
That doesn't seem like a notably high dislike number, but since I dislike it lol - a few reasons as one person's example. Carrie's vocals strike me as shrieky and unpleasant in this with the exception of the Amazing Grace excerpt at the end that I like. I find it confusing and annoying the way the song veers from very slow to aggressive almost randomly throughout. Her faster, "power" vocals sound rather manic, verging on aggressive at times (it almost wanted me to visualize her with her Before He Cheats baseball bat chasing people to baptism None of which has anything to do with the lyric content or message, which is fine for me. Carrie to me is more effective with songs playing to her strengths and that don't strain beyond the more appealing range of her voice, like Temporary Home.
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