Nothing changes folks like babies and war, and since the release of their last album, 2002's Home, the Dixie Chicks have been forever altered by both. If that album showcased the trio as precocious young adults, Taking the Long Way finds them sobered and matured, and in a grown-up state of mind. Produced by the celebrated Rick Rubin (Johnny Cash, Red Hot Chili Peppers), who saw the Chicks as "a great rock act making a country album, not a country act making a rock album," their new record impresses both as beautiful sonic tapestry (peppered with myriad Beatlesque hallmarks) and forthright yet vulnerable portrait of three women shaken by the personal and political events of the past few years. As they make clear in the defiant "Not Ready to Make Nice," they still smart over the backlash from their 2003 Bushwhacking. But as they assert on the equally autobiographical "The Long Way Around," they could never "kiss all the asses that they told me to" and just follow others aimlessly--and silently--through life. This means that the Chicks are simultaneously prideful and scornful of celebrity ("Everybody Knows"), and that as new mothers they increasingly treasure the refuge they find in life with their families, out of the spotlight ("Easy Silence," "Lullaby," "Baby Hold On"). The push and pull of both passions drive this record, which also touches on the personal issues of infertility (with which sisters Martie Maguire and Emily Robison both dealt) and Alzheimer's (from which Natalie Maines's grandmother suffers). The trio crafted all 14 cuts with the help of such writers as Sheryl Crow, Gary Louris, Mike Campbell, and Keb' Mo', laying out their lives as honestly and intimately as they might in their diaries. For that reason, on first listen, Taking the Long Way seems too somber--in need of a bit of levity and more than a couple of uptempo songs (like the sexy, '60s-flavored "I Like It") to resonate for the long haul. It also seems to lack the writing quality that Darrell Scott, Patty Griffin, and Bruce Robison brought to Home. But on repeated plays, those concerns dissipate. By the last cut, the R&B/gospel offering "I Hope," the Chicks have chronicled their journey with as much spirituality as spunk, their pain deeply ingrained in their protests. --Alanna Nash
The Dixie Chicks aren't old enough to remember when radio programmed pop records next to country, rock, folk, and beyond, but their Texas DNA tells them that's the way music was meant to be heard. On Home, which they coproduced in Austin with Lloyd Maines, the father of lead singer Natalie Maines, they strip off the star-making gloss of Nashville and get down to the meat of the matter, turning out an acoustic record that gives a big Texas howdy to bluegrass. But that's only the framework they use to salute all their influences, from the raggedy rock of Little Feat (on Darrell Scott's irresistible "Long Time Gone") to the pained ballads of Stevie Nicks (covering her melancholy "Landslide") to the confessional Texas singer-songwriters who straddle the country-folk line (Patty Griffin, Bruce Robison). Maines's raw, irrepressible soprano remains a thing of wonder, as do the threesome's exquisite harmonies, which seem tighter and more organic than ever before. Still, the jaw-dropping thrills come from the passionate and masterful picking of Emily Robison on banjo, bluegrass guitarist Bryan Sutton, and Adam Steffey, whose fluid mandolin does Bill Monroe proud. Home, the Chicks' first release on their own record label, puts the front porch back into mainstream music, whatever the genre. And not a minute too soon. --Alanna Nash
The major-label debut from this Texas trio proves their instrumental abilities, blending more traditional twang with slow melodic blues, foot-tapping rockabilly, and bluegrass-inspired pop harmonies. From the opener, "I Can Love You Better," the Chicks let their love of music and genuine joy shine through while the energy on this album reminds one of Carlene Carter. Solid musicianship, topnotch vocal performances, and infectious pop hooks make this a stellar project. --Paula Ghergia
