Posted on 05/26/2006 7:28:02 PM PDT by dangus
Long, Long ago, in a pickup truck far, far away, Molly Seidel and Emily Erwin were just two rather talented, Southern musicians. Then, like the Little Rascals' remake of "Faust," (or, "Damned Yankees,") Natalie Maines was plunked in their midst.
Ms. Maines is a short, stubby woman of no obvious talent or beauty. But her rock-and-roll attitude was just the twist that the Dixie Chicks needed to differentiate themselves from the kind of passable bluegrass music that is most useful for the background music of a Ken Burns documentary. Up through 2002, with the exception of "Landslide," the Dixie Chicks' style remained solidly bluegrass.
If ever there was a song that highlighted Natalie's shortcomings, it was the remake of Fleetwood Mac's "Landslide." Molly and Emily did a fine job performing "Landslide" as a bluegrass song, but the song's innate musicality belongs more to Berkeley than Birmingham.
Emily's pregnancy would've fit into a true Dixie video just fine; but Berkley women don't reproduce; they just worship Gaia, so there was no reconciling the imagery. The result was a four-minute long eau-de-Toilette commercial. Emily's very pregnant appearance made her look like something out of an Anne Gedes photoshoot, and made Natalie look like something out of "Bride of Chucky." And Natalie's singing made Stevie Nicks sound good, which is pretty bad since Stevie sounds a lot like Katherine Hepburn accepting her lifetime achievement Oscar.
Nonetheless, songs like "Long Time Gone" were radio-friendly enough to make a huge hit out of the album. Her anti-war comments came as the country audience was just about wearing thin, but brought in a whole new audience: the DailyKOS / Democratic Underground / Move On crowd, who didn't know what good bluegrass sounded like.
As much as they'd like to claim victimhood, the country crowd always knew the Dixie Chicks were liberals. And they didn't care until the Dixie Chicks slammed their commander-in-chief on foreign soil during a time of war. Rather than apologize, the Dixie Chicks proclaimed their freedom of speech and bitterly denounced how horrible it was that people exercise their freedom of speech to criticize the Dixie Chicks.
Quite unjustly, Natalie became the center of attention, but the Chicks caught on among an audience which is otherwise shocked and offended by the use of the word "chick," and whose only previous exposure to country music was K.D. Lang.
But what Hell Molly and Emily must be in now! Trying desperately to pump up album sales so as to get Natalie's "message" heard, the record company has thrown an incredibly lavish production behind Natalie: a gospel choir for backup, a full symphony orchestra for accompaniment, and a slew of songwriters and producers to give her something to sing. All of which leaves Molly and Emily about as useful as Stevie Nicks during a Lindsay Buckingham song. Even the video comes off looking like the pretty (Ok, passable) girls defending the ugly girl from schoolyard taunts.
If there was any question of the recording industry's leftism, would someone please explain the fortune invested into spreading Ms. Maines' new gospel? After all, that's left of the Chicks is Maines' weak voice, almost drowned out by over-production. Granted, there have been Pop acts that don't display any more talent, but then Brittney Spears doesn't look like Murphy Brown's 63-year-old face superimposed onto Uncle Fester's body. Yet.
Poor Molly and Emily. Other people are now telling them what to sing, what to wear, what (not) to play. But at least they have their artistic freedom.
With the nude magazine cover, they've sunk to Madonna's level...cheap flesh stunts to get attention. What's next, natalie...gonna put yourself up on a cross?
>> I don't prescribe to the theory that in order to disagree with someone you have to minimize their talent. <<
I do agree with you, and I did try to respect the talent possessed by "Molly" (oops) and Emily. I am very unimpressed with Natalie's voice. Part of the shock which inspired the article is the "injustice" of seeing Natalie made into the superstar while the others' talents rot.
By the way, I didn't think it a necessary part of the article to state so, but I certainly wouldn't want to denigrate the artistic talent of "studio" performers, either... It's just that they are so misused.
The Dixie Chicks were nothing until Maines came along..they were lucky to play County Fairs. Natalie was the star. Period. Unimpresses with her voice? Give me a break. You might be unimpressed, but I think the majority would disagree with you.
You related to Natalie? Just asking.
One has to be related to the girl to think she has great voice? I think she's a pig, but she sure can sing.
Try polling us here at FR Hildy....
..I dare say MOST are unimpressed with Natalie's voice......OK.
I'm not saying Natalie's voice sucks or anything, but Paula Abdul informed her William Hung needed some backup singers. Not Simon, but Paula...
That's gotta hoit.
>> Supposedly 2 if not all 3 just had some expensive plastic recontruction. <<
Sad. Self-expression comes down to self-mutilation so you can pose in some gay misogynist's clothing line while a hired orchestra and choir performs songs you didn't write.
I thought that it was Mardy, not Molly.
I used to have the biggest crush on Emily.
Mark
Sorry to disagree, but if Natalie went to the Berkeley School of Music, she's got talent. It's one of the premiere music schools in the nation, and it's VERY tough to get in.
Mark
Ooops. The reference to Berkley was to the West Coast hippy center of anti-Americanism. Real writers learn to avoid ambiguous references.
And yes, I've known several people who have attended Berklee (that's how the Boston school is spelled, isn't it?), given that I was a (meagerly talent) musician living in Boston for three years.
And yes, it is "Martie," not Molly. I caught that too late to fix it. I already fired my editor over that one. (see post 7)
Because if there is injustice anywhere in the world, they have been brainwashed to believe that it is somehow their fault for not suffering along with the victims. Unearned guilt, and the impotent rage that comes with it, twists and distorts their features over time.
Unfortunately, those who believe in the doctrine of Original Sin end up looking the same way...for the same reason.
Thanks for sending this to me. I happen to loathe these "twisted sisters"- as much for their politics as for their lack of true talent, a lack shared by most of the newer chick singers. They all seem to feel they must be Britney Spears.
I also turn my nose up at groups formed by record companies. If they didn't start out in their parents' garage, basement or barn- I ain't interested! ;)
Well, I always thought she was the best looking of the group before they all butched up, at least in those air brushed pictures the put on magazines-- she has striking eyes while the others look too bland.
But great voice? Good, sure-- good enough to power a medicore group that impressed alterna-country "roots" fans who think Hank Williams, Jr. sucks becuase he rocks too much. Maines did have some vocal power, true. But her voice is syrupy, without distinctiveness and has only gotten more so-- just compare her and Stevie Nicks singing the same song. Singing harmonies with fiddle accompaniments doesn't make a group talented, it just makes it more likely for Garrison Keillor to think they're talented. Remember, they need to be compare to others who are in their field and have had their success, not to so and so who never had a music lesson.
dumb broads.....
Actually, in a way you highlighted your point that the other two Dixie Chicks (the ones with looks and talent) have been rendered forgettable in light of Maines' behavior.
In truth, I didn't even realize you got their names wrong until I read this post.
I can't think of a better description than this one. Yeah, I still love Stevie Nicks though.
They were the top selling country record of 2003 and had the top grossing tour. But all those people weren't as smart as you. OK.
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