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By James L. Dickerson

DIXIE CHICKS

Down-Home and Backstage

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.

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From Library Journal

With an amazing amount of pluck, the Dixie Chicks made it to the top in ten years with their major-label debut, Wide Open Spaces (1998). Over the past two years, they have received a blitz of awards (including “Top Duet or Group” from the Academy of Country Music and two Grammys for “Best Country Album”) and are showing signs of crossover success a la Garth Brooks and Shania Twain. Dickerson, a music journalist and author of two books nominated for the Ralph J. Gleason Award (Goin’ Back to Memphis; That’s Alright, Elvis), follows the career of the Dixie Chicks from buskers on the streets of Dallas to nursing-home giggers to A-list performers at Radio City Music Hall. Interestingly, the trio’s former lead singer, Laura Lynch, who was kicked out when fiddler Martie Seidel and guitarist Emily Robison wanted to change musical direction, offered commentary, but not the Chicks themselves. This doesn’t, however, result in bad-mouthing. Dickerson also interviewed many fans whose web sites greatly fostered the Chicks’s popularity. With sensitivity, Dickerson writes about a group of singers earnest in their love of music. Recommended for all public library collections.

– Kathleen Sparkman, Baylor Univ., Waco, TX

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From Booklist

The Dixie Chicks didn’t hatch fully formed from the forehead of country music’s god of marketing. It just seems that way. They, too, paid their dues, as a quartet whose quirky takes on tunes fit right into the alt-country movement, but who, first performing in 1989, labored in obscurity for years. Dickerson serves up their story with gusto, if not in any depth, from the opening effusion comparing them to Elvis Presley to the finale consisting of heartfelt fans’ pledges of fidelity. To give the Chicks their due, they play their own instruments and sing their own songs. But the slick packaging of their career suggests that these gals may be more interested in tasting good than in good taste. Until the Chicks phenomenon blows over–and by the way, does anybody remember Billy Ray Cyrus?–responsive pop music collections will want this book on their shelves.

– Mike Tribby

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