The Dixie Chicks have always been one of the more polarizing country groups out there. Ever since their debut in 1998, they never really fit in with the status quo, whether it be through their quirky, dark humor or the fact that they weren't willing to shut up and sing. Through the incident in 2004, they continued to remain true to themselves, culminating in a triumphant Grammy night and a new place in the pop music scene.
But alas, the Dixie Chicks are still on a bit of a hiatus, thanks to the wishes of lead singer and controversy lightning rod Natalie Maines. However, Martie McGuire and Emily Robison were desperate to get back in the studio, writing songs together and ultimately forging the Court Yard Hounds in the absence of their main musical gig. Debuting in the SXSW music festival in Texas and ultimately releasing their album in early May to positive reviews, the Hounds take a little bit of Dixie Chicks, a little bit of Sheryl Crow, and a little bit of bluegrass to create a decidedly different brand than the Chicks.
It Didn't Make a Sound is a very sunny, summery midtempo with a slight bluesy edge (there's a kind of barroom-ish piano in the background). With lots of claps and a very singable lyric, it's one of the more single-friendly tracks on the record, despite the slightly downbeat subject matter. There may be a handful of uptempo tracks on the record, but this is one of the more fun to listen to, thanks to the very polished production and a pretty solid vocal. The only track to feature lead vocals from Martie, Gracefully is somber and a soft cry for help (I, I just want to smile again), a track that almost serves as a warning against a toxic relationship. McGuire has a more "country" voice than Robison, a positive trait on the more traditional leaning track. Her presence as a lead vocalist is about the same as Robison, so there's no awkward transition or anything, though the track is one of the more reserved that you'll find here. Very rootsy and tormented, it works well.
April's Love works best when it's just Robison and a single acoustic guitar; though the rest of the track is by no mean's a slouch (the fiddle is a nice complementary instrument and makes the track a touch more elegant), you just feel it so much more when you get an unfettered glimpse at a pensive ballad. Others may think that the track needs a bit more body and there's not enough going on (both valid criticisms), but I get more out of a track when it's aching and honest rather than instantly catchy and hummable. This is a track to put on when you're feeling thoughtful or need a quiet moment to yourself. See You in the Spring finds the ladies collaborating with Jakob Dylan, who just released his first alt-country album earlier this year. Though a little lyrically formulaic, the emotion and vocal chemistry are palpable; Robison and Dylan have so much desperation and longing that each note feels like it's going to be their last, that type of vulnerable rawness being used on one of the best melodies on the record (it's limber and whimsical). Dylan's presence brings a much needed third voice to the record, as Spring balances organic musicianship and pop sensibilities well.
Fear of Wasted Time plays to the duos strengths; while the record as a whole sounds like Sheryl Crow circa 2002 (and that's not a diss), they shine on the slower, more contemplative listens that emphasize emotion and musicianship. Though the increased production presence may help to make this a catchier set of songs, the sisters are top notch at interpreting a song. One may think this song is a bit too simple/stripped (its lots of acoustic guitar with a little banjo), but you get to hear the whispery, wounded vocal in all its glory. I Miss You has moments of being lyrically stale (that hook is straight out of elementary school poetry class), but the sentiment behind it keeps this unexpected track (it doesn't sound like a typical "miss you" track) as a positive listen. Combining some twangy acoustic guitars and supple fiddle (I know I'll say it a lot, but the musicianship on this record is nothing short of gorgeous), it's a bit of a road song, fitting in with the vibe of the record quite well.
Delight (Something New Under the Sun) is all about newness and beginning again, emphasized by the doe eyed vocals and hook that feels like a true release of emotion (it's a bit jarring at first, though, as the hook's a bit overdone). It's one of the more coquette-ish listens on the record, though this isn't a bunch of grown women acting like girls; it's a track about taking chances, which is best exemplified by the random change of song structure toward the end. Ain't No Son feels like a bluegrass track on steroids; it had the makings of a solid fiddle-heavy track (the intro sounds like some of the Dixie Chicks' bluegrass listens), but with production that gets amped up the longer the track goes on, it's kind of like a bluegrass melody with a heck of a lot of guitars behind it.
It would make no sense to compare/contrast the quality of the Court Yard Hounds with the Dixie Chicks as they're two groups who make completely different music. The most refreshing thing about the Hounds, though, is the chance to see the structure of the Dixie Chicks getting to step out of the shadows and show what they can do. Both are obviously strong instrumentalists, but vocally, both Marie and Emily have pleasant, capable voices that suit the toned down quality of the record quite well. It may not be the sexiest listen ever (it took me a couple of listens to truly "get it"), but the debut album from the Court Yard Hounds is polished, catchy, and overall quite enjoyable.
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