Country music from a fan's point of view since 2008
For most of this decade, the story of Dixie Chicks has been one of separate lives, at least as far as recordings are concerned. Martie & Emily have released two albums as Court Yard Hounds and Natalie Maines released her own solo record, Mother, in 2013.
Maines has said the album came together serendipitously through sessions with Ben Harper. She has gone on to say she had no idea they were even making an album until they had ten recorded songs. In truth, this isn’t the first time Maines ventured outside Dixie Chicks. In 2008 she appeared alongside Neil Diamond for the spellbinding ballad “Another Day (That Time Forgot)” and she also contributed a version of Beach Boys “God Only Knows” for the final season of the HBO drama Big Love.
Mother is a pop-rock album that makes offers no apologies about its lack of anything even remotely resembling country music. Maines even went as far as to distance herself from country music, saying she never really liked the genre at all and said she found Fly unlistenable because she hated her accent on the songs. This all came from Rolling Stone Magazine, which exaggerates everything for personal gain, so her comments have to be taken with a grain of salt.
The album itself isn’t very imaginative at all, with the ten songs consisting mostly of cover tunes with only a couple originals. The selections themselves are great, but one would’ve liked Maines to let loose a bit with her own pen, especially since it had been seven years since she entered a studio to record anything for herself.
Being mostly a country music fan, I’m not overly familiar with most of these songs. Her version of the title track doesn’t deviate too much from Pink Floyd’s original. I do really like her take on Dan Wilson’s “Free Life” and her interpretation of Jeff Buckley’s “Lover, You Should’ve Come Over” is very good.
A highlight for me is the blistering “Silver Bell,” which was the title track of Patty Griffin’s unreleased album where Maines found both “Truth No. 2” and “Top of the World.” The track, while overly loud, is a delight.
Another notable selection, “Come Cryin’ To Me” is an outtake from the writing sessions for Taking The Long Way. The song, which was co-written by the trio with Gary Louris of The Jayhawks, was deemed too rock to appear on the album. Maines had said she wanted to have her bandmates appear on the album, as co-writers, at least once. The lyric is excellent, although I can’t really decipher the meaning of the lyric:
Dragging around
The sins of your father
Handed on down
From one to another
Spinning new wheels
From lover to lover
Afraid to come now
From under the covers
When the world’s on your shoulders
And you just feel like hiding
When there’s nowhere to run to
You can come crying
Come crying to me
You know how to fly
On the wings of disaster
You try to stand still
But you keep going faster
And faster
You thought it’d be easier
In California
The tables will turn
And they won’t even warn you
When the world’s on your shoulders
And you just keep on sliding
When there’s nowhere to run to
You can come crying
Come crying to me
When the night seems colder
But the sun’s gonna shine
I won’t leave you behind
No you won’t stay behind
My issue with Mother isn’t that it’s a pop/rock recording. Maines is excellent vocally throughout and it doesn’t feel like a country artist suppressing their twang to fit into a bigger musical landscape. My problem is the album is sonically horrid. The arrangements are very muddled and extremely loud, with no real way to decipher between instruments. This just doesn’t feel like a cohesive album as much as a collection of songs and I don’t hear much masterful artistry in the recording as a whole.
Mother honestly could’ve been so much more. Dixie Chicks put so much into Taking The Long Way and Martie and Emily put effort into Court Yard Hounds. I just wish it had extended here with Maines. Mother could’ve been great. As it stands, it’s just an odd and very strange missed opportunity.
Grade: C
The storm of protest and counter-protest which followed the incident in London completely derailed the Chicks’ country music stardom. We can only wonder what might have been musically had they remained accepted by genre fans and the industry. As it was, there was a hiatus in recorded music.
The album (produced by Rick Rubin) marked a sea change in their musical style, a deliberate focus on their own compositions and very personal subject matter, and a defiant unwillingness to kowtow to country radio expectations. Every song is credited to the three women together with an assortment of non-Nashville co-writers, most frequently rock songwriter Dan Wilson.
The first shot was actually conciliatory lyrically, with ‘I Hope’, a gospel-infused song written with bluesman Keb’ Mo’ as a charity single to benefit victims of Hurricane Katrina in the South in 2005. It is definitely not a country song, but it is pretty good, and has an optimistic message:
It’s okay for us to disagree
We can work it out lovingly
But this was not the path taken by the Chick’s new album, finally released in 2006.
The lead radio single was explosive, stating their refusal to bow down. ‘Not Ready To Make Nice’ was uncompromising and undoubtedly powerful as it angrily recounts the aftermath:
Forgive – sounds good
Forget – I’m not sure I could
They say time heals everything
But I’m still waiting
I’m through with doubt
There’s nothing left for me to figure out
I’ve paid a price
And I’ll keep payingI’m not ready to make nice
I’m not ready to back down
I’m still mad as hell and I don’t have time
To go round and round and round
It’s too late to make it right
I probably wouldn’t if I could
Cause I’m mad as hell
Can’t bring myself to do
What it is you think I should
I know you said
“Can’t you just get over it?”
It turned my whole world around
And I kinda like itI made my bed and I sleep like a baby
With no regrets and I don’t mind sayin’
It’s a sad, sad story when a mother will teach her
Daughter that she ought to hate a perfect stranger
And how in the world can the words that I said
Send somebody so over the edge
That they’d write me a letter
Saying that I better
Shut up and sing or my life will be over?
The single’s reception reflected the riven nature of contemporary debate, with those who had agreed with Natalie’s original statement acclaiming it, and those offended unimpressed. It received tepid airplay, peaking at #36 on the country chart, but sold exceptionally well, better than any previous single. This was reflected in responses to the album as a whole – decent sales, albeit lower than their previous albums since recruiting Natalie, but losing much of their country fanbase. They would never again make the top 40 on country radio. Going back to the single a decade on, and trying to view it divorced from the controversy it remains a very strong piece of work with the raw emotion still alive.
The next single, ‘Everybody Knows’, written with Gary Louris of alt-country group the Jayhawks, was not a good choice as it was rather dull and forgettable. The semi-title track, ‘The Long Way Around’ is better, again reflecting fiercely and unrepentantly on choice and consequence with nods to some of their past music:
It’s been two long years now
Since the top of the world came crashing down
And I’m gettin’ it back on the road now
But I’m taking the long way
Taking the long way around
…
I fought with a stranger and I met myself
I opened my mouth and I heard [or hurt?] myself
It can get pretty lonely when you show yourself
Guess I could have made it easier on myself
But I – I could never follow
‘Voice Inside My Head’, the album’s last theoretical attempt at a single, was a rock ballad written with Wilson and Linda Perry. I can’t imagine it ever succeeding as a single even in better times for the band, as although not completely explicit the subject matter appears to be the controversial one of a past, and perhaps regretted, abortion:
I was only a kid when I said goodbye to you
Ten summers ago
But it feels like yesterday
Lost, scared and alone
Nothing I could give to you
I tried, I really did
But I couldn’t find another way
And I want – I need somehow to believe
In the choice I made
Am I better off this way?I can hear the voice inside my head
Saying you should be with me instead
Every time I’m feeling down
I wonder what would it be like with you around…
I’m forever changed
By someone I never knew
Now I’ve got a place
I’ve got a husband and a child
But I’ll never forget
What I’ve given up in you
It’s not a subject I’m comfortable with myself and it seems like a deliberate provocation to choose as a single, especially after all the prior issues.
Motherhood is also the subject of ‘So Hard’, which bewails problems trying to conceive and the toll taken on the marital relationship. ‘Lullaby’ is a delicately pretty song cooing love for, I think, a new baby, surely the happiest and least contentious song on the album, with some lovely fiddle.
‘Bitter End’, written with Louris, is about the end of a fair weather friendship and has a pleasant Celtic feel.
‘Lubbock Or Leave It’ is Natalie’s vicious diss of the hypocrisy of her conservative home town, and features some echoey autotune.
‘Silent House’ is about Natalie’s grandmother, suffering from Alzheimer’s disease, and is clearly heartfelt but musically dreary. ‘Favorite Year’, written with Sheryl Crow, is quite mellow but not very memorable. ‘I Like It’ is poorly written and boring, and ‘Baby Hold On’ is pedestrian. ‘Easy Silence’ is a tribute to a husband offering respite from the turmoil outside (perhaps ironic given that all three of the marriages in existence at the time have now ended).
Even a dozen years on, the shadows of The Incident hang heavily over this album. To my ears it doesn’t really stand up on its own merits. With the exception of ‘Lullaby’, the strongest moments (e.g. ‘Not Ready To Make Nice’, ‘The Long Way Around’) are entirely rooted in their time and place. The production and songwriting both mostly fall outside country music, and on the whole only the group’s most devoted fans will truly enjoy this record.
Grade: C+
My Kind of Country 