Published on Apr 20, 1999
“You can’t judge a book by its cover.” How many times have you
heard that old chestnut? Well, there’s a reason — there’s a kernel
of truth in it that bears repeating.
The packaging for the breakthrough album by this
Nashville-by-way-of-Texas trio practically shouts “slick trendy
lightweight Nashville girl-group!” One flip through the
photo-laden, mostly lyric-less booklet and the editor at
People magazine would be titling my review “Spice Chicks or
Dixie Divas?”
I mean, exactly how many glamour shots do we really need of this
alarmingly well-scrubbed, plucked, dyed and coiffed trio? Eight,
you say, plus two individual portrait shots of each Chick? Yes,
they are blond and effervescent, long-legged and not the least bit
hard to look at, but even a red-blooded American male like me has
limits. Are they musicians or Revlon models?
Guess what — they’re musicians, and damn fine ones. (Whew!)
Sisters and founding members Emily Erwin (vocals, dobro, banjo,
guitar) and Martie Seidel (vocals, fiddle, mandolin) are both
outstanding players, providing a rich range of backing to more
recent addition and lead vocalist Natalie Maines, who has got a
major league set of pipes that she isn’t afraid to let loose with.
The heart and soul of this group, though, are the rich, sweet
three-part harmonies that are featured on nearly every song
here.
Nowhere is that more true than on the #1 hit “Wide Open Spaces.”
Despite its done-a-thousand-times leaving-home-and-busting-loose
story-line, the Chicks’ soaring harmonies make it sound fresh and
warm, and the chorus is as radio-friendly as they come.
What may be most impressive about this album from a creative
standpoint, though, is that the Chicks (misogyny disclaimer: they
chose the name) challenge you with a terrific range of musical
styles rather than sticking to the solid-but-safe approach of the
title tune.
Standouts include the smartly-written bluegrass ballad “Never
Say Die”; the twangy, banjo-driven, Grammy-winning, relentlessly
catchy “There’s Your Trouble”; and the anything but pro forma
honky-tonk hoot “Let ‘Er Rip.” The latter is one of the wittiest
and most convincingly delivered tunes of the well-worn kiss-off
genre I’ve heard in a long time.
Most of the songs here are penned by outside pros ranging from
new country mastermind Kostas to veteran folk-rocker Maria McKee.
One of the very best, though, is composed by Erwin and Seidel: the
heartfelt ballad “You Were Mine,” whose classy, understated strings
and knockout vocal arrangement are brilliantly executed. The other
two principal ballads, “Loving Arms” and the J.D. Souther tune
“I’ll Take Care Of You,” also feature arrangements that highlight
the raw power and beauty of the trio’s voices, whether blended and
juxtaposed.
Not content to leave on anything but a high note, the Chicks
close out this album of tightly constructed three-point-five minute
tracks with the five-minute rowdy instrumental and vocal rave-up
“Give It Up Or Let Me Go” (written by none other than Bonnie
Raitt). Maines’ lead vocal growls right up to the edge of a nasty
blues-boogie, Erwin and Seidel knock off a pair of whooping,
jitterbugging solos on banjo and fiddle, and it’s party time beyond
a shadow of a doubt.
The Chicks click on all cylinders here: the song choices are
diverse and excellent, the playing is smart and confident, and the
three-part harmonies are simply gorgeous. This album is rich with
the kind of life and sass and creativity and integrity that far too
many of the Chicks’ competitors at the top of the country charts
never even bother to reach for.
Back on the “image” front, the best news of all may be that the
Chicks have achieved so much success with
Wide Open Spaces (quadruple platinum, three #1 hits, two
Grammys) that they shouldn’t have any trouble bucking the label
next time around when it comes to the packaging. A group with this
much raw talent at its disposal should never leave itself open to
being labeled “Spice Chicks.”
I mean, they even have better
hair.