MUSIC REVIEWS
Dixie Chicks - Taking the Long Way
David Allun Jones
No matter how expected the reaction to Natalie Maines’ Dubya diss was, it was still a little shocking to see the Dixie Chicks, one of the biggest forces in country music, take such a enormous dive from the top of the heap due to extreme radio blacklisting and fan backlash. In the four years since the incident, the Chicks remained quiet, either from trying to wait out for the hoopla to subside, or taking the time to find a fresh new angle that wouldn’t have them relying so much on their general fan base. Fortunately, Taking The Long Way drops during a time when most of America’s feelings towards the Prez falls along the same lines as the way Maines announced that fateful night overseas: We’re all embarrassed by him. But that doesn’t mean the trio are regressing to a former style to appease an old crowd. It wouldn’t correlate with the ladies’ signature independent-minded unapologetic-ness. So, Long Way finds the ladies evolving from the quaint bluegrass-charms of their last studio effort, 2002’s Home, to an equally rewarding LA pop/ rock sheen, no doubt thanks to the effective aid of the ubiqutious producer Rick Rubin and a few other high profile friends.
Though it takes a while for the album to find it’s footing, Taking The Long Way carefully plots out the trio’s newfound career path as they reflect on the drama of the past few years. It’s an unavoidable topic to which Natalie confronts head-on on the self-explanatory “Not Ready To Make Nice”. Further digging the group into the hole they made for themselves, Maines pointedly remarks “Forgive sounds good/ Forget I’m not sure I could/ They say time heals everything/ But I’m still waiting” against a stark backdrop. Her emotional recollection of all the hate mail and vicious threats leads to a powerful explosion in the middle of the song, making for a memorable real-life-as-art concept that perfectly encapsulates their current perspective on the controversy. Unfortunately, the consistent focus on the subject, powers the first handful of tracks, initially dulling the album into somber ruminations. “Monkeys on the barricades/ Are warning us to back away” offers a glimpse of life as a Chick in ‘06 on the gently chugging “Easy Silence” while the unrepentant streak continues on through “Everybody Knows” (“You say I’ll pay the price/ That’s the chance I’ll take/ Though you may think I’m telling lies/ But I just call it getting by”). On the swaying back porch sing-a-long “Bitter End”, a tribute to passed loved ones acts as an poorly conceived ambiguous tribute to old fans (“Farewell to old friends/ We’ll still be here when you come round again”).
Frustratingly, if not for the need to instill reality, this would be a fine project. When it comes to their crystalline harmonies and top-notch musicianship, the chemistry is undeniable. Maines flawless vocals never fail to amaze, especially through the twists and turns that “Bitter End” calls for or when re-imagining the beloved youthful exuberance and sass of the past when they up the tempo on “Lubbock or Leave It” and “I Like It”. Elsewhere, “Lullaby” plods along on a dreamy acoustic instrumental filled with ethereal harmonies and a plea for eternal love like a soothing massage to the eardrums, and “Voices Inside My Head” enlists the aid of Linda Perry (Pink) for a sure-shot wailer that Sheryl Crow would give ex Lance Armstrong’s sole nut for.
Featuring credits from the likes of the aforementioned Crow, Keb’ Mo and John Mayer, it’s immediately clear that we’re not in Nashville anymore. The familiar banjo/ fiddle element retains the twang on the fringes of the album but the sounds of James Taylor, Fleetwood Mac and The Eagles dominate, making for an integrated sample of how modern country could sound. Ultimately, Taking The Long Way lives up to it’s name, since the album won’t grab you on first listen as their previous releases have. It also won’t make them a favorite of George Bush or the rest of their detractors either, but it continues their trend of following their own defining path in a genre when so few aim to break away and do their own thing.
