Due to this, I would suspect her label is going to release a new single sooner than expected, and she may have something new by mid-summer. The single received airplay before its offical release, and is already a top ten on the charts, despite being on the radio for a less than a month. Although she doesnвЂ™t show maturity or growth as a writer on this track, I think she deserves credit for at least TRYING to show who she is by contributing her own hand to her music. She shows versatility with the vocal, and itвЂ™s seems to be a tough one to pull off. I think the saving grace is CarrieвЂ™s connection with the song you can almost feel her anger throughout the entire song.

I even think the song is sparse in production (around the 2:22 mark) with just the clear drumbeat and CarrieвЂ™s vocal. I thought вЂњCowboy Casanova,вЂќ вЂњLast Name,вЂќ and even вЂњBefore He CheatsвЂќ fared much worse in terms of production than this song. I think many artists have gotten away with similar offenses of vacuous lyrics, so I tend to overlook that factor a bit more than others.Д«ut I think the production is fresh and viabrant, which we havenвЂ™t really seen in many of UnderwoodвЂ™s singles. The lyrics of вЂњUndo ItвЂќ leave much to be desired (the вЂњYou stole my happy bit grates on my nerves a little). I enjoy вЂњUndo ItвЂќ as a lighthearted piece of ear-candy, but am surprised to see this song got a pass, especially because youвЂ™ve been particularly vocal about your wish for Carrie to record better material to match her enormous talent and status in the country music genere. Written by Kara DioGuardi, Martin Federiksen, Luke Laird, and Carrie UnderwoodДЇirst off, IвЂ™m a bit shocked you gave such a generous review, Kevin. But sheвЂ™s really only a tighter production away from inducing Twain-level euphoria, and I canвЂ™t wait until she gets there. This is as catchy a piece of ear candy as sheвЂ™s produced to date, and itвЂ™s made me hit repeat the way her best singles tend to do. Now, Carrie Underwood is never in any danger of being drowned out, and she is able to avoid being overpowered without overpowering in return.

ItвЂ™s a problem that plagues even great records like PinkвЂ™s most recent hits, which are pure sonic pleasure until the last time through the chorus, when Pink is drowned out by all the bells and whistles. You can clearly hear every instrument because thereвЂ™s so few of them, and the lead vocal doesnвЂ™t get drowned out by too many backup singers. Go back and study any classic pop hit of Madonna or Shania Twain, and pay attention to how deceptively simple they are. It even has a chorus of вЂњNa Na NaвЂ™sвЂќ so infectious that somewhere in the world, Steam is reflexively adding, вЂњHey Hey, Goodbye.вЂќДЄnd though sheвЂ™s such a skilled vocalist that itвЂ™s hardly worth noting at this point, Underwood sings the dickens out of the song.Д«ut thereвЂ™s still one lesson that needs to be learned, one that plagues pure pop and pop-flavored country alike: the way too busy production. вЂњUndo ItвЂќ features both вЂњWe Will Rock YouвЂќ drum riffs and twangy fiddle, as if those two things together are as natural as peanut butter and chocolate. вЂњUndo ItвЂќ is short, sweet, and undeniably catchy. Much like no pop star has ever been able to learn all of the right lessons from Madonna, no country star has yet to learn all of the right lessons from Shania Twain.Д«ut darn if Carrie Underwood isnвЂ™t getting close.

Carrie underwood undo it