record reviews

Carrie Underwood

Album: “Blown Away” (19/Arista)

Grade: C

The cover of Carrie Underwood’s fourth album illustrates her evolution since introducing herself as a young Oklahoma woman with a powerful voice.

Initially, she came across as the friendly girl next door. The cover of “Blown Away” depicts the modern Underwood as an airbrushed, supermodel heroine.

Her opening hit, “Good Girl” — slamming along to a sneering rock arrangement — chastises a naive girl for not realizing she’s being fooled by a conniving lover. The title song tells of an abused daughter hoping a tornado destroys her house — and her father with it.

Those songs, delivered forcefully with cool distance rather than heated passion, set the tone for “Blown Away.”

Unlike her peers Miranda Lambert and Taylor Swift, Underwood hasn’t opened herself to fans through songs that reveal her personality. One of the album’s gentler songs, “Nobody Ever Told You,” advises a woman she’s a jewel without all the glitz and vanity she hides behind. Underwood co-wrote the song — and would benefit from taking it’s advice.

—Michael McCall, Associated Press

Norah Jones

Album: “Little Broken Hearts” (Blue Note)

Grade: B

Norah Jones is rich, beautiful and has one of the most gorgeous voices in popular music. None of that makes her immune to a broken heart.

Sad for her, good for us. Jones channeled her hurt into a collaboration with Brian “Danger Mouse” Burton with 12 reflections on love gone wrong.

It’s no pick-me-up, obviously. But Jones does more than wallow. She’s angry, defiant, wounded, all-too-willing to slip back into a bad thing and even entertains a murder fantasy — in short, the full range of emotions that anyone feels when a serious relationship ends.

In the catchy “She’s 22,” Jones imagines her ex’s life with a new lover, ending with “I’d like to see you happy.” Falser words were never spoken. On “Out On the Road,” she steps out with determination and a half tank of gas, only to hear a ghostly voice remind her that she’s got “nowhere to go.” Jones, sweet little Norah, tells the subject in “Miriam” that “I’m gonna smile when I take your life.”

Burton proves an excellent collaborator, the music sometimes spooky and bass-heavy but also surprisingly sunny.

—David Bauder, Associated Press