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Still, the lack of mellow moments on the album does not entirely sour the affair, as Dashboard also chooses to indulge their newfound penchant for power ballads. Without the false urgency of the faster numbers, the ballads still retain the melodic prowess of Carrabba’s songwriting...

Author: By Zachary N. Bernstein, CONTRIBUTING WRITER | Title: Dashboard Confessional | 11/13/2009 | See Source »

...Alter the Ending” ultimately proves to be sufficiently satisfying, but on most of the album, Carrabba seems somewhat lazy. “Belle of the Boulevard” and “Hell on the Throat” prove that Dashboard Confessional is clearly capable of greatness, but unfortunately, they failed to harness their skill in order to make “Alter the Ending” a more compelling listen...

Author: By Zachary N. Bernstein, CONTRIBUTING WRITER | Title: Dashboard Confessional | 11/13/2009 | See Source »

...connections are created between music and plot. It is clear that “Pirate Radio” is a love letter to rock ’n’ roll’s golden era and its sweeping influence, complete with an end credit sequence displaying every major album of the last 40 years...

Author: By Brian A. Feldman, CONTRIBUTING WRITER | Title: Pirate Radio | 11/13/2009 | See Source »

...undeniable hooks, felt lyrics and incandescent enthusiasm have propelled her to a level of national stardom far above Underwood. It is no coincidence, then, that in the same week that Swift has a Springsteen-esque seven singles simultaneously in the Top 50 (pop, not country), Carrie Underwood released an album that from outset to coda is a unified attempt to move from the mainstream of Nashville to the mainstream of global pop. Unfortunately, “Play On” is a stilted, forced effort that will fail to satisfy either her country base or the pop fans she aims...

Author: By Keshava D. Guha, CRIMSON STAFF WRITER | Title: Carrie Underwood | 11/13/2009 | See Source »

...pattern that “Cowboy Casanova” establishes becomes depressingly familiar as the album goes on. This is surely one of the least melodic albums ever released by a conventional candidate for pop superstardom. With the sole exception of “Quitter”—a light, playful track firmly in the traditions of Nashville—the entire record consists of overwrought, impeccably produced, tuneless and indeed lifeless numbers as utterly forgettable as the “coronation songs” that “American Idol” winners sing in each year?...

Author: By Keshava D. Guha, CRIMSON STAFF WRITER | Title: Carrie Underwood | 11/13/2009 | See Source »

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