These are the original members. I quote wikipedia:

The Dixie Chicks are a country/rock music trio from the United States comprising Emily Robison, Martie Maguire and Natalie Maines. They are the highest-selling female band in any musical genre, having sold 36 million albums as of June 2006.

The group formed in 1989 in Dallas, Texas. After years of struggle and personal tribulations, the Dixie Chicks achieved massive country and pop success starting in the late 1990s with hit songs such as "Wide Open Spaces", "Cowboy Take Me Away", and "Long Time Gone". The women became well-known for their lively persona, instrumental virtuosity, soaring ballads, fashion sense and outspoken political comments. As of 2007, they have won 13 Grammy Awards.

As far as Meg's drumming, I'm in agreement that it's all been said.

Here's a quote from Bamdrew in another White Stripes sift that I feel should be read by anyone who comes into a WS sift and complains about Meg's drumming:

"i'm tired of people raggin on her sucking at drumming. she had no musical training before she started banging the beat out for jack; its not like she's pretending to be a virtuoso, she's backing up the lead with simple, primal, 1-2 beats.

i think it would be distracting if there were some fucking danny carrey going nuts on all their bluesy, roots-rock songs. they've been around for a while now, they have a grammy award, its time to understand she's playing the drums exactly how jack wants them played." -Bamdrew

Couldn't have said it better myself.


@Hex, That's awesome. I would've loved to have seen that. Jack White once said that his favorite shows are when things go wrong and he's forced to improv. He feels that some of this generation of concert-goers are somewhat 'spoiled' in the sense that they come to a show, giving nothing to the energy/atmosphere and expect to be entertained. He says that's why they never have a specific set-list, plays with instruments that he's played with for years, and never has anything specific in mind as to how the show will go. Any disasterous event (IE- a broken string) would be the saving grace, and leave the audience with something that they'd remember.

Upvote! I love a well-crafted pop song.

"MMMBop" was a number-one hit worldwide. It was also one of the biggest debut singles of all time; in Australia it became only the second debut single to enter the ARIA charts at the number one position. It was voted the best single of the year in The Village Voice Pazz & Jop critics poll, while also topping critics' polls from such media as Rolling Stone, Spin, and VH1. "MMMBop" was nominated for two Grammys at the 40th Annual Grammy Awards in February 1998."

http://en.wikipedia.org/wiki/MMMBop

ZOMG! I have to tell you, that makes it even funnier. Someone ought to make a mockumentary: Metallica Plays Tull: An Evening of Tribute to the First Hard Rock Grammy Award Winners!

Just remember the flute really is a heavy, metal instrument.

i'm tired of people raggin on her sucking at drumming. she had no musical training before she started banging the beat out for jack; its not like she's pretending to be a virtuoso, she's backing up the lead with simple, primal, 1-2 beats.

i think it would be distracting if there were some fucking danny carrey going nuts on all their bluesy, roots-rock songs. they've been around for a while now, they have a grammy award, its time to understand she's playing the drums exactly how jack wants them played.

http://www.sting.com/news/news.php?uid=4764

SANTA MONICA, Calif. (Jan. 30, 2007) -- In an historic GRAMMY® moment, the Police (Sting, Stewart Copeland, and Andy Summers) will reunite and perform together for the first time on the GRAMMYs when they open the 49th Annual GRAMMY® Awards telecast on Feb. 11, it was announced today by The Recording Academy®. With five GRAMMY Awards to their slate of accolades, the Police, one of the most famous bands in the world, create a purely original sound by infusing reggae with pop and rock -- a sound that will be heard 'round the world from the GRAMMY stage.

One (Hetfield/Ulrich)

The song "One" was the third single release of the "... And Justice For All" album. The song was Metallica first nomination for a Grammy award.

Album:
... And Justice For All

The song live:
Before Metallica's live performance of "One" there's always a lot of firework on stage. There's one more big explosion right after James is singing 'landmine'. Since its release it has always been a fixed part of Metallica's live show.

The Best Solos Ever Reader's Choice:
The solo of "One" reached the 7th place in the "100 Best Solos Ever Reader's Choice" in the September 1998 issue of Guitar World.

The "One" demo:
The original demo of "One" was recorded on Jaymz's 4-track right after they wrote the song in the second week of November '87. The demo is just played with guitars, drums, vocals and Kirk setting in with the same last solo is it appears on "...And Justice For All" after he'd only heard the song on the day before. The refrain is occasionally just hummed. On the demo is no bass.

The "One" video:
"One" is Metallica's first video ever. It has been shot on December 6th 1988 in a Los Angeles warehouse.

The movie clips in the "One" video:
They are from the movie "Johnny Got His Gun" which is based upon the book by Dalton Trumbo who also directed the movie in 1971. The movie is about a soldier who's arms and legs were blown away by a grenade during World War I. Metallica purchased the rights to this film to use it for the music video.

The three "One" videos:
1. Normal version:
- shows the band playing the song and the clips from the movie.
2. The shorten version:
- It shows the same like the normal version, but the video is shorter.
3. Band version:
- Shows only the band playing the song without the clips of the movie.

The single:
The single release of "One" peaked at #35 on the U.S. charts on April 9th in 1989 and on August 18 the "One" single was even certified platinum.

Metallica's first Grammy performance:
Metallica performed "One" at the Grammy Awards in 1989. They were nominated for a Grammy for the "...And Justice For All" album and the "One" single, but lost to Jethro Tull.

The intro:
In the intro there can be heard machine gun fire, explosions and a yelling soldier which all represents a war scene. In the end of the intro there can be heard a fading sound of a helicopter. The sound of the machine gun fire seems to arise again in the instrumental parts - replaced by the drums and guitars.

The inspiration:
James has been inspired by Dalton Trumbo's book/movie "Johnny Got His Gun". The idea for the song's opening riff originates from a Venom song called "Buried Alive".

The subject matter:
James' reason for writing the lyrics was the thought of beeing cut off from the outside world just like the main character of Dalton Trumbo's book/movie "Johnny Got His Gun".

Metallica about "One"
Kirk Hammett: I used a Mesa-Boogie power-amp, an '88 preamp and an Aphex paramatric EQ on this album. We wanted a clean guitar sound fo "One". The first solo went fine, but I had trouble with the second; I just couldn't nail it. I only had eight days to record all my leads because we were heading out on the "Monsters of Rock" tour. As a result, I was never happy with what was on record, and I flew to the Hit factory in New York between gigs to patch up the solos. I did the third solo in a couple of hours. I worked out the first right-hand tapping thing and from there it flowed very well. I think it worked because I was so pissed off that the second solo wasn't working out. When I had to play that live, it didn't feel right because it was so clean. So I started playing it in full volume with full distortion on my neck pick-up, and like it better. In retrospect, I think I should have played it that way on the album.

James Hetfield: I had been fiddling around with that A-G modulation for a long time. The idea for the opening came from a Venom song called "Buried Alive". The kick drum machine-gun part near the end wasn't written with the war lyrics in mind, it just came out that way. We started that album with Mike Clink as producer. He didn't work out so well, so we got Flemming [Rassmussen] to come over and save our asses. (source: GuitarWorld issue of '91) [encycmet.com]