I’ve always liked the Dixie Chicks—if not for their music then for their outspokenness and refusal to play by Nashville’s rules. So it was heartening to see them vindicated at the Grammy Awards last night after being vilified and unfairly maligned simply because their opinions were different from those of most country music fans and radio programmers. But while I find nothing particularly offensive or fantastic about Taking The Long Way, you’d be kidding yourself if you thought their wins, particularly in the general field categories, was anything other than political. As I said in our Grammy winner predictions: “Now that America has come to its senses perhaps [the Academy] should re-title [the Album of the Year] category We’re Sorry, You Were Right All Along And Now Here’s A Grammy.” Hell, I would have voted for them.
Not Ready To Make Nice (#1–10 of 2)
RECORD OF THE YEAR
“Be Without You,” Mary J. Blige
“You’re Beautiful,” James Blunt
“Not Ready To Make Nice,” Dixie Chicks
“Crazy,” Gnarls Barkley (Will Win)
“Put Your Records On,” Corinne Bailey Rae
Sal Cinquemani: Is there a general consensus in the industry that Mary J. Blige is owed something?
Jonathan Keefe: As though performing on the American Idol finale with that kid People profiled for getting dental veneers (Elliott, lest any of the “Yaminions” send me hate-mail) isn’t its own reward.
Eric Henderson: It plays out like so many other music stories: she starts getting props just for hanging around long enough for her music to be vapid and middlebrow.
Sal: “Crazy” is getting lots of AC attention, which means it’s reached critical mass-acceptance in the heartland. It’s crossed over in a big way.
Eric: Yeah, with the Closet Freak himself singing falsetto and Danger Mouse producing, “Crazy” is simultaneously as cutting edge and as Downy soft as you want it to be. Demographically speaking, it’s practically schizo in its appeal. Dixie Chicks are the only potential spoilers, if momentum snowballs their way.
Jonathan: “Crazy” does what “Hey Ya!,” “Crazy In Love,” and “Work It” before it couldn’t, becoming the first crossover pop single that owes a substantial debt to hip-hop to win Record of the Year. Had anything Timbaland produced been nominated, there would’ve been another one of the vote-splits that have allowed “Clocks,” “Boulevard Of Broken Dreams,” and that comatose Ray Charles/Norah Jones duet to win the last three years. This time, it’s the limp AC tracks—which fully covers both Blige and Dixie Chicks, conveniently enough—that split the votes, to the benefit of what happens to be the best “record” of the lot.
Eric: Did they nominate this instantly forgettable Corinne Bailey Rae tune because it validates the category’s title, when it would make more sense today to switch it to “Single of the Year” or “Track of the Year”?