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Ambient/New Age - Released September 24, 2021 | Capitol Nashville

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Carrie Underwood's first Christmas album is a stately, sober affair. Part of this is due to the pomp and circumstance Greg Wells -- a Grammy winner for his work on The Greatest Showman: Original Motion Picture Soundtrack -- lends to the production. Everything on My Gift proceeds at a steady pace, adorned with very few bells and whistles, a sparse choice that helps highlight how Underwood chooses to sing primarily religious-themed material. The exceptions to this rule are the John Stephens/Toby Gad number "Hallelujah," sung as a duet with John Legend, and the secular standard "Have Yourself a Merry Little Christmas," selections that highlight how the other nine songs are more somber celebrations, including her new original "Let There Be Peace." Not all of it is tasteful -- having her young son Isaiah Fisher sing a bit of "The Little Drummer Boy" conjures memories of Clint Holmes' "Playground in My Mind" -- but enough of it is to make this a soundtrack for an understated, rather elegant holiday gathering. © Stephen Thomas Erlewine /TiVo
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Ambient/New Age - Released September 24, 2021 | Capitol Nashville

Carrie Underwood's first Christmas album is a stately, sober affair. Part of this is due to the pomp and circumstance Greg Wells -- a Grammy winner for his work on The Greatest Showman: Original Motion Picture Soundtrack -- lends to the production. Everything on My Gift proceeds at a steady pace, adorned with very few bells and whistles, a sparse choice that helps highlight how Underwood chooses to sing primarily religious-themed material. The exceptions to this rule are the John Stephens/Toby Gad number "Hallelujah," sung as a duet with John Legend, and the secular standard "Have Yourself a Merry Little Christmas," selections that highlight how the other nine songs are more somber celebrations, including her new original "Let There Be Peace." Not all of it is tasteful -- having her young son Isaiah Fisher sing a bit of "The Little Drummer Boy" conjures memories of Clint Holmes' "Playground in My Mind" -- but enough of it is to make this a soundtrack for an understated, rather elegant holiday gathering. © Stephen Thomas Erlewine /TiVo
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Country - Released April 16, 2021 | Capitol Nashville

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Country - Released April 16, 2021 | Capitol Nashville

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Country - Released March 26, 2021 | Capitol Nashville

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Faith never was far away from Carrie Underwood's performing persona but she never recorded gospel until My Savior, an album released in the early months of 2021. The title My Savior echoes that of My Gift, her 2020 Christmas album, but where that seasonal set was a stiff affair, this religious record is warm-blooded: gentle at all times but with a discernible beating heart. The light touch extends to Underwood's performance, too. Singing with restraint tempered with urgency, Underwood seems invested in this collection of contemporary gospel classics and standards, an understated passion that gives My Savior a tangible depth of feeling. © Stephen Thomas Erlewine /TiVo
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Country - Released March 26, 2021 | Capitol Nashville

Faith never was far away from Carrie Underwood's performing persona but she never recorded gospel until My Savior, an album released in the early months of 2021. The title My Savior echoes that of My Gift, her 2020 Christmas album, but where that seasonal set was a stiff affair, this religious record is warm-blooded: gentle at all times but with a discernible beating heart. The light touch extends to Underwood's performance, too. Singing with restraint tempered with urgency, Underwood seems invested in this collection of contemporary gospel classics and standards, an understated passion that gives My Savior a tangible depth of feeling. © Stephen Thomas Erlewine /TiVo
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Ambient/New Age - Released November 13, 2020 | Capitol Nashville

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Ambient/New Age - Released October 23, 2020 | Capitol Nashville

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Ambient/New Age - Released October 23, 2020 | Capitol Nashville

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Ambient/New Age - Released September 25, 2020 | Capitol Nashville

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Carrie Underwood's first holiday album is a stately, rather elegant affair. © TiVo
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Ambient/New Age - Released September 25, 2020 | Capitol Nashville

Carrie Underwood's first holiday album is a stately, rather elegant affair. © TiVo
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Country - Released September 18, 2020 | Capitol Nashville

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Country - Released September 18, 2020 | Capitol Nashville

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Rock - Released November 1, 2019 | Capitol Nashville

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A lot happened to Hootie & the Blowfish between 2005's Looking for Lucky and 2019, but most of it can be boiled down to this: Darius Rucker became a country star in 2008. He had his first Country Airplay that year with "Don't Think I Don't Think About It," then five years later, he had a crossover smash with a cover of Old Crow Medicine Show's "Wagon Wheel," thereby cementing his commercial viability outside of the confines of Hootie & the Blowfish. The separation wasn't acrimonious. The group got together occasionally to play charity shows or to bid adieu to David Letterman, but they didn't officially reunite until their debut album, Cracked Rear View, reached its 25th anniversary in 2019. To celebrate, they launched a tour and recorded a brand-new album called Imperfect Circle. Working with producers Jeff Trott and Frank Rogers (the latter penned and helmed some early solo hits for Rucker), Hootie manage to strike a nice blend between the group's signature college rock singalongs and Rucker's slick, cheerful solo work. The surface of Imperfect Circle is every bit as slick as a big-budget project coming out of the Music City -- not for nothing is this released on Capitol Nashville -- but the band doesn't take any left turns into honky tonks, not even when they record "Hold On," a song co-written by Chris Stapleton. Instead, they ease into the sunny slipstream that lies between country and roots rock, relying on happy and comfortable hooks that make the 13 songs on Imperfect Circle feel instantly familiar. Such coziness was latent on Cracked Rear View and turned into Darius Rucker's calling card as he carved out a career in Nashville, so it suits the middle-aged Hootie & the Blowfish quite well; they prefer to laugh about the good old days instead of trying to re-live them. This friendliness lends itself to a collection of songs that are resolutely sturdy, designed to sound more charming over time, and the inherent warmth of Imperfect Circle is reason enough to give the tunes a chance to grow. After all, it offers a mighty good time: it's a reunion that conjures the spirit of the past without succumbing to nostalgia. © Stephen Thomas Erlewine /TiVo
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Rock - Released November 1, 2019 | Capitol Nashville

A lot happened to Hootie & the Blowfish between 2005's Looking for Lucky and 2019, but most of it can be boiled down to this: Darius Rucker became a country star in 2008. He had his first Country Airplay that year with "Don't Think I Don't Think About It," then five years later, he had a crossover smash with a cover of Old Crow Medicine Show's "Wagon Wheel," thereby cementing his commercial viability outside of the confines of Hootie & the Blowfish. The separation wasn't acrimonious. The group got together occasionally to play charity shows or to bid adieu to David Letterman, but they didn't officially reunite until their debut album, Cracked Rear View, reached its 25th anniversary in 2019. To celebrate, they launched a tour and recorded a brand-new album called Imperfect Circle. Working with producers Jeff Trott and Frank Rogers (the latter penned and helmed some early solo hits for Rucker), Hootie manage to strike a nice blend between the group's signature college rock singalongs and Rucker's slick, cheerful solo work. The surface of Imperfect Circle is every bit as slick as a big-budget project coming out of the Music City -- not for nothing is this released on Capitol Nashville -- but the band doesn't take any left turns into honky tonks, not even when they record "Hold On," a song co-written by Chris Stapleton. Instead, they ease into the sunny slipstream that lies between country and roots rock, relying on happy and comfortable hooks that make the 13 songs on Imperfect Circle feel instantly familiar. Such coziness was latent on Cracked Rear View and turned into Darius Rucker's calling card as he carved out a career in Nashville, so it suits the middle-aged Hootie & the Blowfish quite well; they prefer to laugh about the good old days instead of trying to re-live them. This friendliness lends itself to a collection of songs that are resolutely sturdy, designed to sound more charming over time, and the inherent warmth of Imperfect Circle is reason enough to give the tunes a chance to grow. After all, it offers a mighty good time: it's a reunion that conjures the spirit of the past without succumbing to nostalgia. © Stephen Thomas Erlewine /TiVo
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Country - Released August 14, 2020 | Capitol Nashville

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Caylee Hammack's skill is how she undercuts bravado with humility, a quality that's evident throughout her 2020 debut album If It Wasn't for You. Splashy and slick on the surface, the kind of contemporary country album designed to sneak its way onto genre-ambivalent playlists, If It Wasn't for You cycles through heartbreak, love, and swagger in its 13 tracks. Hammack is drawn to time-honored country tropes -- the titular "Redhead" is fiery and defiant, and she's drawn to small towns and kin -- but her approach is quintessentially modern, finding a sweet spot between Miranda Lambert's flintiness and Maren Morris' omnivorous genre-hopping. Much of the pleasure of the album lies in hearing Hammack effortlessly slide between elastic reggae beats, barebone acoustic numbers, disco-fied honky tonk, and breezy pop; no matter the surroundings, she sounds like herself, a singer who relies equally on passion and playfulness. If It Wasn't for You dazzles with its style and color, so much so that it takes a moment to realize that the hooks don't always sink in fully. When the tunes do catch hold, it's just as likely to be for a cornball reason (the absurd "Preciatcha") as it is for craft ("Family Tree"), a tendency that does mean If It Wasn't for You is a bit uneven underneath its confident veneer. Nevertheless, there are enough pleasures on that surface to make this worth a listen. © Stephen Thomas Erlewine /TiVo
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Country - Released August 14, 2020 | Capitol Nashville

Caylee Hammack's skill is how she undercuts bravado with humility, a quality that's evident throughout her 2020 debut album If It Wasn't for You. Splashy and slick on the surface, the kind of contemporary country album designed to sneak its way onto genre-ambivalent playlists, If It Wasn't for You cycles through heartbreak, love, and swagger in its 13 tracks. Hammack is drawn to time-honored country tropes -- the titular "Redhead" is fiery and defiant, and she's drawn to small towns and kin -- but her approach is quintessentially modern, finding a sweet spot between Miranda Lambert's flintiness and Maren Morris' omnivorous genre-hopping. Much of the pleasure of the album lies in hearing Hammack effortlessly slide between elastic reggae beats, barebone acoustic numbers, disco-fied honky tonk, and breezy pop; no matter the surroundings, she sounds like herself, a singer who relies equally on passion and playfulness. If It Wasn't for You dazzles with its style and color, so much so that it takes a moment to realize that the hooks don't always sink in fully. When the tunes do catch hold, it's just as likely to be for a cornball reason (the absurd "Preciatcha") as it is for craft ("Family Tree"), a tendency that does mean If It Wasn't for You is a bit uneven underneath its confident veneer. Nevertheless, there are enough pleasures on that surface to make this worth a listen. © Stephen Thomas Erlewine /TiVo
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Country - Released July 24, 2020 | Capitol Nashville

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Country - Released July 24, 2020 | Capitol Nashville

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Country - Released May 1, 2020 | Capitol Nashville

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