Wide Open Spaces (Remaster) Dixie Chicks
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- 1I Can Love You Better03:53
- 2Wide Open Spaces03:43
- 3Loving Arms03:37
- 4There's Your Trouble03:10
- 5You Were Mine03:37
- 6Never Say Die03:56
- 7Tonight the Heartache's on Me03:25
- 8Let 'Er Rip02:49
- 9Once You've Loved Somebody03:28
- 10I'll Take Care of You03:40
- 11Am I the Only One (Who's Ever Felt This Way)03:25
- 12Give It Up or Let Me Go04:55
Info for Wide Open Spaces (Remaster)
„Wide Open Spaces“ won the 1999 Grammy for Best Country Album. Dixie Chicks were nominated for the 1999 Grammy Award for Best New Artist. 'There's Your Trouble' won the 1999 Grammy Award for Best Country Performance By A Duo Or Group With Vocal.
The Dixie Chicks' „Wide Open Spaces“ is flavored with tight-knit harmonies and acoustic instrumentation within the center of very tastefully understated arrangements. Their own acoustic underpinnings of fiddle, guitar, banjo and dobro are complimented and raised up by Paul Worley and Blake Chancey's respectful and organic production. This music is decorated with antique store furnishings, not the usual gaudy, regurgitated guitar licks and cheap generic production tricks. The trio is propelled by their delightful vocals and the very natural and easy country sway that the producer and the fine accompanying musicians have created.
„The Dixie Chicks spent the first half of the '90s toiling away on the independent bluegrass circuit, releasing three albums on small labels, before sisters Martie Seidel and Emily Robison decided to revamp their sound in 1995, adding Natalie Maines as their lead singer and, in the process, moving the group away from bluegrass and toward a major label with Sony/Columbia's revived Monument Records imprint. All of this seems like the blueprint for a big pop crossover move and, to be sure, their 1998 major-label debut Wide Open Spaces was a monumental success, selling over ten million copies and turning the group into superstars, but the remarkable thing about the album is that it's most decidedly not a sell-out, or even a consciously country-pop record. To be sure, there are pop melodies here, but this isn't a country-pop album in the vein of Shania Twain, a record that's big on style and glitz, designed for a mass audience. Instead, Wide Open Spaces pulls from several different sources -- the Chicks' Americana roots, to be sure, but also bits of the alt country from kd lang and Lyle Lovett, '70s soft rock (any album that features versions of songs by J.D. Souther and Bonnie Raitt surely fits this bill), even the female neo-folkies emerging on the adult alternative rock stations at the end of the decade. In other words, it hit a sweet spot, appealing to many different audiences because it was eclectic without being elitist but they also had a true star in Natalie Maines, whose powerful, bluesy voice gave these songs a compelling center. Maines was versatile, too, negotiating the twists and turns of these songs without a hitch, easily moving from the vulnerability of 'You Were Mine' to the snarl of 'Give It Up or Let Me Go.' The same goes for the Dixie Chicks and Wide Open Spaces as a whole: they are as convincing on the sprightly opener 'I Can Love You Better' or the bright, optimistic title song as they are on the breezy 'There's Your Trouble' as they are on the honky tonk shuffle of 'Tonight the Heartache's on Me' and the rocking swagger of 'Let 'Er Rip.' It's a remarkably wide range and it's effortlessly eclectic, with the Dixie Chicks bringing it all together with their attitude and understated musicality -- as debuts go (and this does count as a debut), they rarely get better than this.“ (Stephen Thomas Erlewine, AMG)
Natalie Maines, vocals
Emily Robison, acoustic guitar, banjo, Dobro, vocals
Martie Seidel, fiddle, mandolin, vocals
Mark Casstevens, acoustic guitar
Bobby Charles, Jr., bass
Joe Chemay, bass
Billy Crain, acoustic guitar
Lloyd Maines, steel guitar
George Marinelli, electric guitar
Greg Morrow, drums
Tommy Nash, electric guitar on 'Give It Up or Let Me Go'
Tony Paoletta, steel guitar on 'Give It Up or Let Me Go'
Michael Rhodes, bass
Tom Roady, shaker, congas, tambourine
Matt Rollings, piano, Hammond organ
Billy Joe Walker, Jr., acoustic guitar, electric guitar
Paul Worley, acoustic guitar, electric guitar
Recorded March – August 1997 at Westwood Studio
Engineered by Eric Legg
Produced by Blake Chancey, Paul Worley
Please Note: We offer this album in its native sampling rate of 44.1 kHz, 24-bit. The provided 96 kHz version was up-sampled and offers no audible value!
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This album contains no booklet.