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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (music and lyrics not included). Pages: 29. Chapters: Bring It On Home to Me, Cold Day in July, Cowboy Take Me Away, Everybody Knows (Dixie Chicks song), Goodbye Earl, If I Fall You're Going Down with Me, I Can Love You Better, I Hope, I Want to Be a Cowboy's Sweetheart, Landslide (song), Long Time Gone, Lullaby of Broadway (song), Merry Christmas from the Family, Mississippi (Bob Dylan song), Not Ready to Make Nice, Ready to Run (song), Roly Poly (song), Sing (Joe Raposo song), Some Days You Gotta Dance, Stand by Your Man, Strong Enough (Sheryl Crow song), There's Your Trouble, The Long Way Around, Tonight the Heartache's on Me, Top of the World (Dixie Chicks song), Travelin' Soldier, Wide Open Spaces (song), Without You (Dixie Chicks song), You Can't Hurry Love, You Were Mine. Excerpt: "Not Ready to Make Nice" is a country pop song co-written and performed by the American all-female band Dixie Chicks for their seventh studio album Taking the Long Way (2006). The song was released as the first physical single from the album in June 2006. It remains the Chicks's biggest hit in the US to date. On February 11, 2007, it won three Grammy Awards in the categories of Record of the Year, Song of the Year, and Best Country Performance by a Duo or Group with Vocal. In 2009, Rolling Stone named "Not Ready to Make Nice" the 77th best song of the decade. Controversy erupted over the Dixie Chicks in 2003 following a critical comment vocalist Natalie Maines made of the American President George W. Bush while performing in a concert in London, United Kingdom. Taking the Long Way was the first studio album released by the Dixie Chicks after that. The controversy, and the band's reaction to it, is the major theme of some of the songs in the album, including "Not Ready to Make Nice." The song, which was written by all three band members...
This look at the Dixie Chicks, who have almost single-handedly reinvented a classic country sound, covers their career and evolution of the group, including their professional struggles to get Nashville to take them seriously, and their personal struggles. Color and bandw photos.
Willman looks at the way country music's increasing popularity and conservative drift parallel the transformation of the Democratic South into the heart of the Republican mainstream.
When lead singer Nathalie Maines criticized President George W. the music group became country radio pariahs overnight. Enduring lost airtime, plummeting album sales, record burning rallies, and death threats, the Dixie Chicks Soldiered on, without apology or regrets. Gradually and with great determination, they built a new fan base and climbed back up to the top, triumphing at the 2006 Grammy Awards and starring in a documentary about their struggles. This is their story, with all of its exhilarating, poignant, and inspiring ups, downs, and ultimate vindication.
In Dixie Chicks: Down-Home and Backstage, James L. Dickerson tells the behind-the-scenes story of the band, drawing from interviews with former band members, scores of insiders, and the band's enormous Internet fan base. This book recounts the early struggles to make it in the male-dominated country music world, the sometimes-fun and sometimes-wild adventures of life on the road, and the intimate details of the Chicks' evolution from bluegrass purists to country-pop divas.
Chronicles the rise to fame of the girl group whose music combines the traditional sounds of country with a mixture of modern country, Texas swing, bluegrass, and a touch of rockabilly.
Just two short years ago, The Dixie Chicks were practically unheard-of outside of Texas, but today, they're the hottest act in country music. The explosive popularity of their album Wide Open Spaces has rocketed the Chicks to the top of the charts, and in the last year alone, they have won three Grammys (Best Country Album, Best New Artist and Best Country performance by a duo or group with vocal), two Country Music Association awards and an American Music Award. Their new album is expected to do even better. Now, veteran country music writer Ace Collins has captured their whole inspiring story, from their early days playing to loyal fans in Dallas, right up to their current success and thrilling future!
Women have been important players in the recording industry from the very beginning, but not until 1996 did they out-chart their male competitors and pull ahead in the race for hits. Go, Girl, Go! provides a nearly 100-year history of women in music, beginning with Lil Hardin Armstrong and Billie Holiday, and continuing up to present-day artists such as Britney Spears and Norah Jones. The book features a thoughtful analysis of the 1996 revolution, along with interviews with artists such as Shania Twain, Pat Benatar, Brenda Lee, Bonnie Raitt, Melissa Etheridge, Ann and Nancy Wilson, Tiffany, and Tammy Wynette, and executives such as Garth Brooks' ex-manager Pam Lewis, BMI head Frances Preston, Stax Records co-founder Estelle Axton, and Tracey Edmonds of Yab Yum Entertainment. The only definitive history of the women who have made popular music during the past 100 years, with details and stories from over 185 different women musicians and industry executives.
The first book devoted entirely to women in bluegrass, Pretty Good for a Girl documents the lives of more than seventy women whose vibrant contributions to the development of bluegrass have been, for the most part, overlooked. Accessibly written and organized by decade, the book begins with Sally Ann Forrester, who played accordion and sang with Bill Monroe's Blue Grass Boys from 1943 to 1946, and continues into the present with artists such as Alison Krauss, Rhonda Vincent, and the Dixie Chicks. Drawing from extensive interviews, well-known banjoist Murphy Hicks Henry gives voice to women performers and innovators throughout bluegrass's history, including such pioneers as Bessie Lee Mauldin, Wilma Lee Cooper, and Roni and Donna Stoneman; family bands including the Lewises, Whites, and McLains; and later pathbreaking performers such as the Buffalo Gals and other all-girl bands, Laurie Lewis, Lynn Morris, Missy Raines, and many others.
As an industry insider and pioneering post-punk musician, Vivien Goldman’s perspective on music journalism is unusually well-rounded. In Revenge of the She-Punks, she probes four themes—identity, money, love, and protest—to explore what makes punk such a liberating art form for women. With her visceral style, Goldman blends interviews, history, and her personal experience as one of Britain’s first female music writers in a book that reads like a vivid documentary of a genre defined by dismantling boundaries. A discussion of the Patti Smith song “Free Money,” for example, opens with Goldman on a shopping spree with Smith. Tamar-Kali, whose name pays homage to a Hindu goddess, describes the influence of her Gullah ancestors on her music, while the late Poly Styrene's daughter reflects on why her Somali-Scots-Irish mother wrote the 1978 punk anthem “Identity,” with the refrain “Identity is the crisis you can't see.” Other strands feature artists from farther afield (including in Colombia and Indonesia) and genre-busting revolutionaries such as Grace Jones, who wasn't exclusively punk but clearly influenced the movement while absorbing its liberating audacity. From punk's Euro origins to its international reach, this is an exhilarating world tour.