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Post by sthdvs2012 on Jul 21, 2020 9:43:53 GMT -8
I thought it would be interesting to create a thread where we can all post our review of the new album along with a rating. 1-5
And it would be interesting to see where this album ranks with everyone....among the other 4 Chicks albums.
Overall, I think it is a decent album with good songwriting. However, the lack of solos and diminished harmony on some songs take away from the album, for me. There are plenty of spaces in several songs where you are left waiting for Martie or Emily to take a solo, but instead.... we just hear 4-8 bars of repetitive rhythm notes from an organ, synth or monotonous percussion. Several songs could have been much more. Hope it’s something good, For Her, and Texas Man, Set me free....to name a few.
Of all the songs, Texas Man is my least favorite. It’s all over the place. Too much distortion on the guitar and the playing from St. Vincent and Jack Antonoff just isn’t really that great on this track. I liked the version from the snippet video a lot better I think. Considering all of that, half the songs on the album have banjo which is a redeeming quality. But there is no standout solo from Emily that we usually get. Also, Martie’s fiddle is relegated to a novelty instrument which is sad.
Basically, this album is filled with blatant missed opportunities for me and I hate to say it but it just doesn’t live up to what I had hoped for... for the past 14 years.
Rating: 3/5
Best to Worst:
Fly Home Taking the Long Way Wide Open Spaces Gaslighter
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Post by Bingo on Jul 21, 2020 18:59:12 GMT -8
Overall, I think it is a decent album with good songwriting. However, the lack of solos and diminished harmony on some songs take away from the album, for me. There are plenty of spaces in several songs where you are left waiting for Martie or Emily to take a solo, but instead.... we just hear 4-8 bars of repetitive rhythm notes from an organ, synth or monotonous percussion. Several songs could have been much more. Hope it’s something good, For Her, and Texas Man, Set me free....to name a few. Considering all of that, half the songs on the album have banjo which is a redeeming quality. But there is no standout solo from Emily that we usually get. Also, Martie’s fiddle is relegated to a novelty instrument which is sad. Basically, this album is filled with blatant missed opportunities for me and I hate to say it but it just doesn’t live up to what I had hoped for... for the past 14 years. We're on pretty much the same wavelength here - I agree strongly with the points you make in the sentences I've quoted. Over the years, I've felt there has been quite a bit of evidence (much of it discussed at various times on this board) that Martie and Emily held out against making the type of record that I think might have tempted Natalie back into the full scale recording studio - and, now, I think "Gaslighter" (in musical terms, in target audience, and in general production "feel") ticks many of the boxes that I think Natalie might have wanted. And it's hard to deny that Natalie dominates this album to a greater extent than I feel she did she did on any of the previous albums. Her marital break up dominates the theme; her vocal (along with Antonoff's musical style) becomes, more than ever, I feel, the vehicle used to define and carry most of the songs; and her postings in the social media snippets leading up to the album spoke strongly of her liking for the new direction and for the Antonoff production style. What I'm saying there may sound like an unreasonable attack on Natalie - but I don't mean it as such, and I would qualify it in two ways. Firstly, the marital break up did more than provide the album with a theme. It may well have been the catalyst that made the recording reunion possible, giving it the impetus that transcended previous musical doubts and difficulties. Much of the resulting album is personal, yes - but it also has the potential to reach well beyond its personal genesis, to speak of themes that tie in with the heartbreak, self doubt, and search for recovery from abusive, belittling and manipulative relationships that strike a chord with very many listeners, and can have wider application in sexual, social and political contexts that are both perennial and currently topical. For those reasons, I think, looking beyond what may be its flaws, it's a record that needed to be heard. That may well have played an important part in attracting all three Chicks to the concept. And that brings me to the second qualification I want to emphasize. If, as indeed it does, this album strikes me as primarily putting Natalie front and foremost in the musical vision, it's important to remember that all three Chicks not only accepted, but actually jointly created, that result. They all co-wrote eleven of the songs, they all took a co-production role with Antonoff, and they all seem happy with the resulting musical direction. Hence, if, for a long term fan such as myself, there are points of genuine disappointment (which, in all honesty, I don't deny, or downplay), it is, nevertheless, an album for which all three must take responsibility. I won't attempt to go through a track-by-track review, but I'll point to some of the areas that particularly appealed to me. "Everybody Loves You" is the only track on the album that the Chicks didn't co-write (it's a cover of a recent recording by Charlotte Lawrence). Paradoxically though, it's a standout, for me, for two reasons - firstly it's the song that I think gives Natalie her best vocal on the album, measured, heartfelt, and thoroughly believable. And secondly, I think it is the most successful, lyrically, in expressing the relentless, destructive manipulation of a heartless lover, with the survivor clinging to the truth that, through it all, she is still her own person. "March, March" is a song of the type I wanted to be included on the album. I wouldn't have wanted political themes to dominate - but I was pleased to see them make this sort of statement. (One of the paradoxes of the never-to-be-laid-to-rest "Incident" is that the Chicks were stigmatized for something they never really were - they were never a "political" band, in the sense that, for example, John Prine, Eliza Gilkyson, or the Drive-By Truckers have sometimes been. The anti-Mainstream radio, anti-nostalgia for an imagined past "Long Time Gone" (with its video showing undocumented immigrants wading into the Rio Grande) was really their only prominent "statement" song. Yet they were saddled (by both sides) with a reputation that in that sense, they'd done little to earn. I'm glad they have now grasped the nettle and delivered a pretty uncompromising statement song of their own. But "March, March" is, for me, 'a song of two halves'. It makes ample use of monotonous percussion, and the rather soporific, laid-back voice that Natalie often adopts when she's delivering short, repetitive chorus lines (two features that I feel are overused throughout much of this album.) But the second half makes up for that with a more Rootsy instrumental (something I would have liked to have seen used more widely). Martie's string part is allowed to sound more like a traditional fiddle at some points here, and Emily is shown playing both banjo and lap steel in the video. (The latter is a little misleading though, in that the album credits give Lloyd the steel part) The mention of Lloyd Maines and steel guitar brings me to another point of encouragement. He plays on several tracks, and this provides, from my point of view, both a welcome link with the enduring past, and a hint that future recordings might still be open to moving in a somewhat more Roots direction.(It should also be remembered that Lloyd - both an accomplished side man and a noted record producer - is no stranger to the demands of Pop influenced "Countrypolitan" work, as well as the Texas Alternative scene). He also plays the steel drums that give a Caribbean feel to parts of the second track I mentioned in the other poll thread that I felt the album moved to its climax, and seemed on more successful ground, in its final three tracks. If their general "feel" had been more apparent through the the earlier tracks, I think I would have been more appreciative of the album as a whole. "Young Man" is an interesting track, in that it explores the effect of the break-up on the sons - adding to the overall complexity of the album. It also underlines Natalie's willingness not to let her own viewpoint dominate how they find their own way through life. (This is, incidentally, the only track featuring Emily's dobro- a signature instrument for the Chicks, that is sadly lacking elsewhere.) When it comes to rating the album, I'm afraid I'm going to sound harsh. But I'm a life-long Country fan, and mainly Alt-Country at that. What I look for is sometimes there in Mainstream work, even if you have to dig below the surface - but I find rather too little of it in much of this album. But that's a personal reaction. I know I don't own the Chicks, and I know they don't have to make music for me. They deserve to follow their musical vision where it leads them, and I wish them well with it. But taste is bound to colour personal reactions. No artist can expect a work to carry every listener with it in equal appreciation. I'm torn between 2/5 and 3/5 for the music - but I feel it deserves the 3 for the strength of the concept and its wider relevance. My ranking of the post-Nashville albums: 1 Fly 2 Home (though 1 ad 2 are virtually tied, and tend to change places according to mood) 3 Wide Open Spaces 4 Taking the Long Way 5 Gaslighter
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Post by sthdvs2012 on Jul 21, 2020 20:23:55 GMT -8
We seem to share similar opinions, Bingo. On one hand, I wish there was more instrumentals. On the other hand, the album is literally littered with banjo and is used heavily in a few tracks. It’s the driving force behind sleep at night. And the solos Martie does have are wonderful. There are just few too moments where they sound like the “chicks” we all love. Everybody Loves You sounds like it could have been a cut from FLY. I just wish there was more of that :/
However, the album has received Universal acclaim from critics and casual listeners. It will most likely take the country Grammy categories quite easily. I wouldn’t be surprised if it walked away with album of the year. That’s how much praise it is getting. So. I’m happy for them, nonetheless.
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viv
Baby Chick
Posts: 40
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Post by viv on Jul 21, 2020 20:34:56 GMT -8
Rating 3/5
On my first listen the album came across as flat; less of a work molded from the experience and perspectives of 3 women, a group, and more of one voice delivered by three people ( 4 if you count Antonoff. ) Maybe im not familiar enough with the Chicks group dynamic, maybe the assumption that Martie and Emilys influence wasn't fully embraced is inherently an understatement of their autonomy, but i was left with the overwhelming feeling that this album belonged primarily to Natalie.
With most of the tracks centered around her divorce, its a given that i'd crave a bit of variety. Maybe the lack of variety when it came to subject matter is what's getting in the way.
History, and the placement of this album within it, ended up being an important factor in the overall enjoyment. Something with 14 years of history being founded on a singular, isolated, incident doesnt sit well with me. it would be different if their last album had been relased 2 years ago and there was little doubt that another would come along within the next 2 years, but this album doesn't really exceed the expectations that its context gave it.
Maybe it shouldnt have to live up to those expectations at all. As its own moment, this album isn't bad. As a pop album its good.
The Chicks emotional depth and intent, i feel, comes cross stronger and with more clarity when they lean less towards the pop end of the spectrum. Pop can be poignant and gripping, so i dont think its the fault of the genre that some of the songs didn't resonate as well as they could've, Im thinking that it was about the execution.
All of this is NOT to say that i didnt have a great time with this album. Overall its good, i appreciate it as its own moment and im content with that. It functions well as a physical CD that i pull out every once in a while, experience as a complete body of work, and then put away.
FAVOURITE TRACKS:
- Young Man - Hope its Something Good - My Best Friends Wedding - Set Me Free
BEST TO WORST:
-Home -Fly -Taking the Long Way -Wide Open Spaces -Gaslighter
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Ross
Teen Chick
Posts: 699
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Post by Ross on Jul 22, 2020 6:59:22 GMT -8
I love the album, i am curious if those that have given the album mixed views also thought the smae about Natalie's solo album as i have a hunch that the more you liked that album the more you will like Gaslighter.
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Post by Bingo on Jul 22, 2020 8:52:10 GMT -8
I love the album, i am curious if those that have given the album mixed views also thought the smae about Natalie's solo album as i have a hunch that the more you liked that album the more you will like Gaslighter. Actually, I preferred Natalie's solo album. "Mother". One reason for that may well have been that it was easier to approach it as fresh work, without any preconceptions about style, or concerns about how much it played to the instrumental strengths of the other two Chicks. But I think a main reason was also that, overall, I got a more Alternative, off-Mainstream feel from that solo album. That probably owed a lot to Ben Harper's production, and the contribution of his Austin-based musicians, Jason Mozersky and Jesse Ingalls. For me, the result seemed more raw and organic, and I'm drawn more to that general approach. By contrast, "Gaslighter" seems more polished and synthetic in production, more commercial, and more preoccupied with currently fashionable Mainstream styles. I can understand the desire, and perhaps the need, to go more in that direction - but it's not a type of music that I particularly relate to. Of course, I wish them every success and fulfilment from the new project - but as Viv suggested, I'd be happier if this could be seen as one stage in a succession of future albums, more varied in style (rather than as either a bowing out "swan song", or a precursor to the adoption of a new characteristic style.) For general comparison, I would like a few more songs like the Chicks' "Lubbock or Leave It", the Hounds' "Ain't No Son" , or Natalie's "Vein in Vain". In the meantime, I'll look forward to more live performances (as I often find these more vibrant and interesting than the album tracks)
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Post by sthdvs2012 on Jul 22, 2020 9:02:55 GMT -8
I prefer Gaslighter to Mother. I don’t think they are similar though. However, they’ve somewhat hinted about other albums. I wonder if they will be a continuation of this style or something different, like every other album before it.
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Post by nedcfan on Jul 22, 2020 18:54:25 GMT -8
I gave the Album 4 stars. I think it is an excellent album but since it came out I went back and listened to Home and Taking the Long way in their entirety and they both were fives for me. Who knows a few months or years from now I may very well give Gaslighter 5 stars.
Especially with Home I was thinking I LOVE a few songs then listening back the whole album is incredible.
But let's be honest a 4 star Chicks album is better than a lot of music out there.
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Post by DCXMMXVI on Jul 22, 2020 20:20:45 GMT -8
Gaslighter - After the snippet videos started coming out, I heard a lot of comparisons to Fly. For me, this is the only song that reminds me of Fly. It could easily be grouped together with Goodbye Earl, Sin Wagon and Ready to Run. Heavy subjects with an almost playful attitude. For me, Gaslighter is the most classic DCX sounding song on the album.
Sleep at Night - I was underwhelmed by this one at first, but it quickly grew on me. A nice, long Martie solo and a little less production would have made it perfect. But damn, I love the fiery, yet vulnerable lyrics. It's a great anthem for those with similar stories. And that music video!! 😍 All in one take too. Bravo, ladies!
Texas Man - What an absolute atrocity. Worst DCX song EVER. I hated what I heard in the snippet but thought it might be better as a whole. Nope! I actually hate Natalie's voice in this song. Lyrics suck too. If they want to release a deluxe CD edition, but instead of having a bonus track, it's minus a track, this track, I'd buy it. Awful awful.
Everybody Loves You - I am fully prepared to learn to love this song. But it isn't happening. The lyrics are too repetitive in some spots for my liking. It comes close to being a deeply emotional beauty like TOTW or Let Him Fly, but it's rather lackluster and dull.
For Her - I commented before that this song reminds me of TTLW. It's got that spunk and fearlessness to it that we heard on their comeback album. I was particularly curious about this song prior to the album release because it's the longest song on the album. In my opinion, it's the strongest song on the album based on instrumentals alone. It's catchy and empowering.
March March - This is the closest the Chicks will ever get to bro-country. The beat, accompanied by Natalie's voice at its finest, makes this one hard to resist. I'm not fond of the attempt to shove as many social justice/hot topics-type issues into one song as possible, but it's a fun song, and the long instrumental in the 2nd half is so hauntingly beautiful. More of that style and the style from For Her would have made the album greater as a whole.
Okay I'm halfway through and it's getting late. I didn't think it would take this long lol. I'll post the other half tomorrow. 😂 Good night!
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Post by Kent67b on Jul 23, 2020 14:34:10 GMT -8
Every time I listen to it I like it more. I do my driving in the car test out to Point Reyes so I am completely focused on it. I can't listen to "Everybody Loves You" without tearing up.
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Post by DCXMMXVI on Jul 23, 2020 16:18:14 GMT -8
My Best Friend's Weddings - The beat during Martie's solo is so unnecessary! Really the beats throughout were unnecessary. Would have been near perfect without them. But I love the lyrics and it's a great song to drive to. It gives me positive vibes. Honestly this whole album does. Weird, considering it's a divorce record lol.
Tights on My Boat - I'm surprised this one isn't more popular on here. It starts out kind of weird. The guitar is a little clunky when it's the main focus. And I feel like Nat speaking "just kidding" and the inhale/exhale part threw everything off because there wasn't a more upbeat, poppy sound until around the 35 second mark. It worked better when she sighed and spoke later on when there was more music. I wish they started the song off with more music, but most of the song is really fun and honestly, it just gets better and better as it goes. Nat sounds extra fantastic the last minute or so.
Julianna Calm Down - This song replaced Some Days You Gotta Dance as my least favorite DCX song when it came out. But Texas Man is the new winner 🙃. The only saving grace for Julianna is the line "strut the **** around like you got nothing to lose." I respect what the song is about and represents, but that alone can't make me like it. The instrumentals are boring, the constant beat is headache-inducing, not a catchy melody at all. Even when the banjo came in and it got more upbeat, it was still bad. Everyone that I made listen to it hated it, too. I couldn't even do my thing where I pretend to be offended by them not liking it lol.
Young Man - Definitely not a favorite of mine on the album, but I do enjoy it. Some people bring up Lullaby, but I think about Godspeed more. I know the Chicks didn't write that one, but I get the same vibe from both. It's a song I would add to my DCX playlist, but not something I would choose to listen to randomly. I will say, I absolutely love how much these ladies live their families.
Hope It's Something Good - By far my favorite song on the album. Nat's voice sounds so vulnerable, so heartbroken. She really knows how to put her emotions into her singing voice. The lyrics are so beautiful and sad. I don't see this song as overproduced like some of the others. The melody is perfect. The harmonies are the best of the album. The pedal steel guitar is so pretty and soothing. It's hypnotic! In an alternate universe where the Chicks are played on the radio, it could easily be a #1 country hit.
Set Me Free - Someone mentioned the album sounding like Mother. This song reminds me of Mother. Nice melody and instrumentals, but Nat's voice is the standout. Very passionate! Very well written.
I cannot possibly rank Gaslighter with the other 4 albums. Maybe at some point in time, but definitely not now. So instead I'll rank my favorite songs on the album from best to worst.
Hope It's Something Good🔥🔥🔥🔥🔥 Gaslighter🔥🔥🔥🔥 Sleep At Night🔥🔥🔥🔥 For Her🔥🔥🔥🔥 March March🔥🔥🔥🔥 Set Me Free🔥🔥🔥 Tights On My Boat🔥🔥🔥 My Best Friend's Weddings🔥🔥🔥 Young Man🔥🔥🔥 Everybody Loves You🔥🔥 Julianna Calm Down🔥 Texas Man🔥
Gaslighter (album) 🔥🔥🔥🔥
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Post by erik on Jul 25, 2020 18:34:31 GMT -8
Absent making too many comparisons with the trio's previous albums (apart from Taking The Long Way), here's my take on Gaslighter, which gets four out of five stars from me.
GASLIGHTER--The (Dixie) Chicks
There is no real middle ground when it comes to that feisty trio of Texas women once known as the Dixie Chicks. After lead singer Natalie Maines went off on Bush 43 in London just nine days before the Iraq war started, the group became pariahs in the country music community, whose uber-conservative politics supported a president’s rush for a war that later turned out to have been based on an endless amount of fabrications. Their comeback in 2006 with both the album TAKING THE LONG WAY and the Barbara Kopple/Celia Peck documentary film SHUT UP AND SING bought them back to a certain amount of prominence, with a U-Haul truck full of Grammys for the former in early 2007. In the intervening thirteen years, however, the threesome of Natalie and sisters Emily Strayer and Martie Maguire saw a lot of big changes in their own lives (notably Natalie’s ultra-bitter divorce from Adrian Pasdar), plus, on the national scene, the ascendancy of both the first African-American president being followed eight years later by….Donald Trump (!!).
All of this figures into their 2020 release GASLIGHTER, their first studio album since 2006, and one where they drop “Dixie” from their name to become just “The Chicks” (although the group’s original name derived from the song “Dixie Chicken” by the cult 1970s Los Angeles roots-rock band Little Feat). And whereas TAKING THE LONG WAY was done under the aegis of Rick Rubin, the trio gave the reins over to Jack Antanoff, who had worked with Lana Del Rey, Lorde, and Taylor Swift. The difference, apart from merely fourteen years having gone by, is obvious in the way that there is far more electronic programming and synth work than the organic L.A. country-rock approach of TAKING THE LONG WAY. It doesn’t always work to the advantage of the trio, who were always Nashville outsiders anyway with their left-of-center mix of contemporary country, Eagles-style rock, and bluegrass, to slap so much of that on, as it occasionally overwhelms the listener, and even the trio themselves.
That said, however, the Chicks’ three-part harmonies, augmented by Emily’s rootsy banjo and dobro and Martie’s fiddle, are still largely on display. Many of the songs, like the title track, “Tights On My Boat”, and “Everybody Loves You” were inspired by Natalie’s divorce. And at such an opportune time in America’s history, they came up with an incendiary political anthem to match their 2006 missive “Not Ready To Make Nice”, in the form of “March March”. This one almost certainly festered for a fairly long time (perhaps from January 20, 2017 onward?), and then just erupted outward with the police killings of George Floyd and Breonna Taylor. And whole some of Antonoff’s electronic production sometimes endangers its impact, the song is bolstered by the banjo and fiddle at the end. Finally, on “Young Man”, whose lyrics sometimes mirror Neil Young’s 1972 classic “Old Man”, Natalie’s vocals are aided by Emily’s fingerstyle acoustic guitar and Dobro picking.
In this time of COVID-19, police malfeasance, and a president who clearly has no soul or conscience, the Chicks felt they had nothing to lose by releasing GASLIGHTER. And while it may be a somewhat lesser album than its nearly decade-and-a-half predecessor, it is still a lot better than most of what unfortunately passes for “country” these days (or what Linda Ronstadt calls “mall crawler music”), or even Top 40 pop music these days. They are beyond giving a damn what Nashville or Red State America thinks, and that’s how it should be.
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Bert
Baby Chick
Posts: 21
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Post by Bert on Jul 28, 2020 4:50:04 GMT -8
Nat had said she had a lot to say. But did they have enough to fill out an entire album? With the addition of March March, they most certainly did. GASLIGHTER did not blow me away as TTLW did, but it gets better with every listen.
I absolutely don't get the idea that Martie and Emily are being marginalized; or their talents are being wasted. Maybe because I became a Fan in 2006, I see it a little differently. I have watched the Chicks just as much as I have listened to them. Matter of fact, I mostly watch Martie and Emily, while listening to Nat. Of course I have read, listened to, and watched most of the stuff on this site. And I am completely awed by them. But the band has changed: I recently revisited the 2006 MUSICARE concert, and counted 10 additional players. The 2016 tour had only 5. Martie and Emily are doing a lot more. And on this album, with much fewer instrument, they are even more involved. Incidentally, anyone who looks at "Nothing compares to you" or "Daddy's Lesson"(their version) and think their musical talent is wasted, shoul think again.
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Post by nedcfan on Jul 28, 2020 19:53:39 GMT -8
Nat had said she had a lot to say. But did they have enough to fill out an entire album? With the addition of March March, they most certainly did. GASLIGHTER did not blow me away as TTLW did, but it gets better with every listen. I absolutely don't get the idea that Martie and Emily are being marginalized; or their talents are being wasted. Maybe because I became a Fan in 2006, I see it a little differently. I have watched the Chicks just as much as I have listened to them. Matter of fact, I mostly watch Martie and Emily, while listening to Nat. Of course I have read, listened to, and watched most of the stuff on this site. And I am completely awed by them. But the band has changed: I recently revisited the 2006 MUSICARE concert, and counted 10 additional players. The 2016 tour had only 5. Martie and Emily are doing a lot more. And on this album, with much fewer instrument, they are even more involved. Incidentally, anyone who looks at "Nothing compares to you" or "Daddy's Lesson"(their version) and think their musical talent is wasted, shoul think again. I do wish there was a song such as White Trash Wedding or Lil' Jack Slade to really showcase Marti and Emily bur yeah you can still hear their influence on this album.
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Post by Bingo on Jul 29, 2020 6:05:05 GMT -8
I certainly don't think Martie and Emily will be marginalized in live performance - their instrumental skills have always been the core of the group's performances, and I'm pretty confident they'll be playing with people like Keith Sewell on acoustic lead (and possibly again as musical director) and Glen Fukinaga on bass - who've played with the Chicks for years. (In this video, Keith is seated between Emily and Natalie, and Glen is to Martie's right)
(Introducing new instruments, and new musical tropes into the performance certainly need not diminish the group's organic and Roots-based overall feel - it can enrich the performance and give it more progression. I'm looking forward to more live performances, because that is where I expect the Chicks' sound to be heard at its strongest.)
When it comes to the album's recorded tracks, though, things are a little different for me. I think "marginalized" would be too strong a term - partly because, as people have said, Emily's banjo and Martie's fiddle are frequently in evidence, and Lloyd Maines (who earlier co-produced Home) plays steel on several tracks - and partly, too, because Emily and Martie accepted a co-production role on the album, so they are partly responsible for the artistic work as a whole. But, without using that term, I do think there is something missing in the overall feel of the recording, for me. As I've said before, it's a personal reaction, and I don't want to diminish what others feel. But I can perhaps best explain my own reaction by saying that I feel much of the production deems too contrived and synthetic. I feel that, too often, the Chicks' instrumental passages seem to be tacked on, almost as speciality additions, rather than being the starting point and driving force in the production - the result being that it risks losing much of the organic feel I associate with group performances.
I understand that tastes differ - and I'm genuinely pleased that overall reaction has been so positive. I'll always wish them well - but I think some long term fans would be happier if future albums continued to be varied in style and appeal, rather than taking this direction as a new characteristic style.
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viv
Baby Chick
Posts: 40
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Post by viv on Jul 29, 2020 21:41:05 GMT -8
Rating 3/5 maybe the assumption that Martie and Emilys influence wasn't fully embraced is inherently an understatement of their autonomy, but i was left with the overwhelming feeling that this album belonged primarily to Natalie. Coming back to this a week later, i think this was definately an understatement of their autonomy on my part. Natalies hold over the narrative aspects of the album doesnt negate Martie and Emilys impact at all and my assumption that a pop leaning album meant that their influence wasnt as strong as any other album was misguided. I was definately caught up on my expectations when i first listened and i enjoy the album more now that ive read/listened to more interviews.
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piano
Baby Chick
Posts: 177
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Post by piano on Jul 30, 2020 13:36:51 GMT -8
To me it sounds more like a Natalie Maines solo album. Somehow they lost their style. It's not bad music but it has nothing to do with the Chicks I used to know.
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Post by drizzletown on Jul 30, 2020 15:55:00 GMT -8
Wow! This place still exists. I tried to get in many times & couldn't get to the page. LOL Was wondering if there was chatter about the new album. Guess I should buy it. Howdy all.
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Post by nedcfan on Jul 30, 2020 17:04:19 GMT -8
Hope It's Something Good is starting to take over my favorite song spot over My Best Friend's Weddings
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Post by oregonchickfan on Jul 30, 2020 17:24:48 GMT -8
Wow! This place still exists. I tried to get in many times & couldn't get to the page. LOL Was wondering if there was chatter about the new album. Guess I should buy it. Howdy all. Hey, Drizz! Welcome back! Tony is supposed to be working on a fix for the main page. The forum has been fairly active, as you can see.
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Post by chicksfan on Jul 30, 2020 20:03:01 GMT -8
Wow! This place still exists. I tried to get in many times & couldn't get to the page. LOL Was wondering if there was chatter about the new album. Guess I should buy it. Howdy all. Hi drizz! Glad to see ya around again. 😊
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Post by DCXMMXVI on Jul 31, 2020 7:10:04 GMT -8
Hope It's Something Good is starting to take over my favorite song spot over My Best Friend's Weddings YASSSSSS! I'm addicted. I listen to it on repeat every day 😍
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Post by Kent67b on Jul 31, 2020 17:01:37 GMT -8
I have a question for everybody about "Everybody Loves You". This is currently one of my favorites on the album. At the 2 minute 30 second point in the song, the music sounds very familiar to me. It sounds almost identical to an older song which I just can't put my finger on. Does anybody see what I'm referring yo? It might even be a CYH song.
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Post by nedcfan on Aug 1, 2020 16:54:17 GMT -8
I do not know Kent but it is the only cover on the album
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Post by Bingo on Aug 1, 2020 18:35:03 GMT -8
Everybody Knows was originally recorded by Charlotte Lawrence (who co-wrote the song). You can hear the original version here:
However, it's not an old song - she released the single only a couple of years ago. It would probably be best known on the Los Angeles indie live music scene
One of her co-writers was Joe Spargur, who has been involved in many songs, )and it's possible that one of those used snatches of a similar melody, but I'm afraid I don't know them well enough to say whether that is the case here. (He's also written extensively for Thomas Rhett, and one of his best known songs was the Tim McGraw - Faith Hill duet, 'Speak to a Girl', if that's any help.
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