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is turning her attention to the UK. Her first release here combines her
current US album and tracks from the others, tracing her progression
from sentimental country balladeer (Jesus, Take the Wheel) to glossy country-pop star (the opening Good Girl
starts with a blast of rock guitar and Vocoder, asserting that the line
between country and pop is fine indeed nowadays). However predictable
the package, there's fun to be had in these tales of bad dads, cheating husbands
and cold, cold hearts, and Underwood delivers them with sweet
purposefulness. Generally, the more traditional songs, such as Thank God
for Hometowns, coax out a characterfulness lacking in the pop
crossovers – and the less said about One Way Ticket's stab at reggae the
better. The modest incursions into the British charts made by fellow
travellers Lady Antebellum and Taylor Swift mean the time is as right
for Underwood as it will ever be, yet Blown Away may be too formulaic to
give her much of a foothold.
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