My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Richard Gere

Album Review: Dixie Chicks — ‘Fly’

NOTE: This is the second time we’ve done a feature on Fly. Check out Chris’ take on the album from March 2009, which was formed as a discussion around whether or not the album deserved to be legendary, by clicking HERE. Also, his post promoted a 27 comment discussion well worth reading. 

Dixie Chicks built on the phenomenal success of Wide Open Spaces with Fly, their second album for Monument Records. It was released in late August 1999 and established them as the foremost superstars of the era, on par with Shania Twain.

The ambitious set redefined how a country album could sound both melodically and lyrically. This is when they began courting controversy, painting outside the lines, and rewriting the rules of Nashville. There wasn’t a single artist at the time or since that has perfected or improved upon the formula they perfected with Fly — a solid foundation of traditional country mixed with a pop sensibility with a collection, and this is the key, of intelligent well-written songs. Fly is an album of talent and substance absent of fluff or filler.

A sign that the Dixie Chicks were heading places came in June 1999 when the album’s lead single “Ready To Run” was subsequently featured as a single from the soundtrack to the Julia Roberts/Richard Gere RomCom Runaway Bride. The Celtic flavored tune, co-written by Martie Seidel and Marcus Hummon, hit #2.

They shot back to the top of the charts with the album’s instantly iconic second single “Cowboy Take Me Away,” also co-written by the pair. The title was inspired by the slogan used in commercials for Calgon and the lyric was in tribute to Emily’s marriage to Charlie Robison. It’s a brilliant record from start to finish, with Sediel’s gorgeous fiddle riffs and Robison’s banjo licks proving the perfect backdrop for Natalie Maines’ passionate vocal. It’s one of the band’s signature songs and rightfully so.

What followed was a black comedy detailing the saga of Marianne and Wanda, the latter of who met and married a man named Earl, who physically abused her. The song, written by Dennis Linde, brings the women’s fight for justice to the forefront as they murder Earl and bury him in a shallow grave. The subject matter of “Goodbye Earl” proved a tough pill for country radio to swallow and the track stalled at #13.

They rebounded with their version of Richard Leigh’s “Cold Day In July,” which was originally recorded (separately) by Suzy Bogguss and Joy Lynne White in 1992. Commenters on country blogs have favored the other women’s versions more, but since I’m only intimately familiar with the trio’s take on the song, which hit #4, and it’s the version I heard first, it’s the one I’ll always prefer.

“Without You,” the album’s second #1, is purely pop with country instrumentation. Maines co-wrote it about the demise of her first marriage, and while it isn’t as sharp as “You Were Mine,” it still soars with heartache. Maines’ vocal, which allows her stretch and use her lower register, is a revelation.

You’re forgiven if you’ve forgotten any of the remaining singles released from the album. Although it hit #3, their take on Matraca Berg’s “If I Fall You’re Going Down With Me” isn’t terribly memorable. The album’s eighth and final single, “Some Days You Gotta Dance,” has a nice groove and works well live, but falls into the same territory. It hit #7.

Sandwiched between them is arguably one of the strongest songs they ever sent to country radio. “Heartbreak Town” is Darrell Scott’s take on making it in music city and tells the story of a couple and their baby heading to Nashville and getting rejected by the industry. The record, which hit #23, is a masterpiece:

Hugged your friends

Kissed your mama goodbye

Baby in your arms and a tear in your eye

Twelve hundred miles and you never asked why

From me

 

Me and the baby and you side by side

We all knew we was in for a long hard ride

Nowhere to run and nowhere to hide it seemed

We honked the horn when we crossed the

State line

Woke up the baby and she started to cry

She must’ve known

What we were going to find

 

This ain’t nothin’ but a heartbreak town

Square people in a world that’s round

And they watch you dancin’ without the sound

It ain’t nothin’ no nothin’

You take your number and you stand in line

And they watch to see how high you’re gonna climb

Pat on the back and better luck next time

It ain’t nothin’ no it ain’t nothin’ but a heartbreak town

 

Stardust well it’s a funny thing

It can make you cuss

It can make you sing

And the need to touch it gets hard to explain some days

 

I’ve seen ’em rise

I’ve seen ’em fall

Some get nothin’

And lord some get it all

Some just run

While others crawled away

 

Hold my hand baby don’t let go

I’ve got some front money

And I’ve got a next show

And I’m, I’m gonna need you

Down this yellow brick road

The album tracks are almost as iconic as the singles, especially “Sin Wagon,” which got its origins from the movie Grease. The film is one of Maines’ favorites, and she co-wrote the bluegrass barnburner with Emily Erwin and Stephony Smith. The lyric caught the attention of the trio’s record label, who objected their use of the term ‘mattress dacin’ in the second verse. Maines doubled down and repeated the line for emphasis, a sign that as far back as 1999 she wasn’t going to make nice with anyone.

“Hello Mr. Heartache” is the album’s most traditional number and another masterful record. “Let Him Fly” is their first association with Patty Griffin, Maines’ favorite singer-songwriter of all time. “Hole In My Head” was written by Jim Lauderdale and Buddy Miller and showed off their Americana leanings.

Fly is simply one of the greatest contemporary commercial country records ever made. It rightfully won them both the Grammy for Best Country Album and the CMA for Album of the Year. It’s gone on to sell more than ten million copies and inspired their first headlining trek in 2000, the year they were crowned CMA Entertainer of the Year. They richly deserved every accolade that came their way.

Grade: A+ 

 

Album Review – Martina McBride – ‘Emotion’

220px-Martina_McBride_Emotion_album_coverFollowing the triple platinum success of Evolution, Martina McBride’s most consistent project to date singles-wise, didn’t prove an easy task. By the time “Whatever You Say” finished its chart run, the climate of mainstream country had changed. The traditional sounds of Patty Loveless and Vince Gill were gone, replaced by pop fare championed by Tim McGraw, Faith Hill, and Shania Twain. And to keep up with the times McBride followed suit, releasing her sixth album Emotion, easily her slickest to date, in September 1999.

The changes worked. Lead single “I Love You,” an uptempo rocker by Keith Follesé (who also co-wrote McGraw’s “Something Like That”), Adrienne Follesé, and Tammy Hyle, not only topped the country charts for five weeks, but became a top 20 pop and adult contemporary hit as well. The popularity of the song, one of my favorites of her uptempo numbers, was only helped by its inclusion on the Soundtrack to the Julia Roberts and Richard Gere film Runaway Bride.

Second single “Love’s The Only House” brought McBride back to the “issue” songs she’s made her trademark. A top 5 hit, the song (written by Tom Douglas and Buzz Cason) touches upon the common denominator of love in various situations. Drenched in harmonica and electric guitars, it’s good but weird enough to turn some people off. I’ve never really loved it, although I’ve let it grow on me over the years.

Third single “There You Are,” a piano-laced pop ballad, wasn’t much better in quality, taking zero chances both vocally and thematically. The track, a  #10 peaking hit, was featured on the Where The Heart Is Soundtrack in mid-2000. Much better is the now largely forgotten fourth single, “It’s My Time.” Composed by Tammy Hyler, Billy Crain, and Kim Tribble, the up-tempo number is a throwback to the Way That I Am and Wild Angles days. It’s catchy, has a well-constructed story, and deserved better than its #11 peak at country radio.

I can see where people strongly dislike this album. In one release McBride went from a strong intellectual songstress to a purveyor of two-bit candy coated pop. The majority of the album tracks simply have nothing substantial to say, and this effort feels like a calculated move to reach Hill’s adult contemporary heights. Tracks like “Do What You Do,” “Make Me Believe” and “Anything and Everything” are dreck, empty filler. Thankfully “I Ain’t Going Nowhere” is catchy so it rises above the pack, but her less than engaged vocal fails to draw the audience in.

Luckily for the audience McBride hadn’t completely lost her sensibilities, and broke up the pop monotony with some well-chosen covers. Matraca Berg co-wrote “Anything’s Better Than Feeling The Blues,” a very good ticked off revenge number. Gretchen Peters wrote the album’s highlight “This Uncivil War,” a stunning play-on-theme relationship song comparing a couple’s battle to that of an actual war. Also strong is Patty Griffin’s “Goodbye,” although the recording would’ve been a knockout had McBride recorded a country vocal on it, opposed to imitating the sweet and breathy high notes favored by female pop singers.

Emotion is a very mixed bag; an album that feels like it was designed for soccer mom types who prefer their music light, airy, and void of substance. It’s by no means McBride’s worst recording, that would still be coming down the line in the decade to come. A good majority of the tracks are very, very strong and she deservedly won the 1999 CMA Female Vocalist of the Year award based on the success of “I Love You.”

But I wish McBride had tried just a little harder to find stronger material that she could’ve sung with more energy. Even she sounds a little bored at times.

Grade: B