lifeblood: listlogs: 1999v01n199-news


ig-news-digest        sunday, november 7 1999        volume 02 : number 199


today's subjects:
-----------------
  [ig-news] cons review on illinois entertainer           [shedyskin@aol.com]
  [ig-news] fw: illinois tickets            [sherlyn koo <sherlyn@fl.net.au>]
  [ig-news] l.a. times review of 11/4 show  [rhiannon silverflame <indigrrl@]
  [ig-news] l.a. night one           [april haitsuka <grimmy7@earthlink.net>]
  [ig-news] l.a. setlist/mini-review  [rhiannon silverflame <indigrrl@mail.g]
  [ig-news] transcript of world cafe -really long  [diane wong <arle@hotmail]


----------------------------------------------------------------------


date: sat, 6 nov 1999 18:25:47 est
from: shedyskin@aol.com
subject: [ig-news] cons review on illinois entertainer


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


below is the cons review on the 11/99 issue of illinois entertainer, one of
the most widely circulated monthly free publication on music in chicago. the
review gave cons a "7", which means "kicks my ass!" on their rating system,
even they got the title of the album wrong, and mixed up lyrics w/songs.
(makes me mad!!)  the same issue also review anybody by rose polenzani, also
gave it a "7", in which the names "indigo girls" and "amy ray" popped up.


indigo girls
come on social
(epic)
~jean iverson


come on social finds the socially conscious roots/folk act putting a fresh
spin on their already multi-textural sound. all the basic ingredients of an
indigo girls album lay the foundation for come on social. the harder-edged,
busier, darker songs penned and played by amy ray, like the twin-guitar
attack of "go, sister," (note: this is how the punctuation goes in the
article)  a stirring ballad in which a banjo somehow manages to provide a
haunting melody, are sometimes in stark contrast of partner emily saliers' gen
tler, softer style, as in "soon to be nothing" and "we are together." the two
styles meld together on "gone again," "ozilline," "cold beer and remote
control." and the first single "peace tonight."


friends from liltih fair (joan osborne, sheryl crow, sinead o'connor's band)
and other musicians ( kate schellenbach form luscious jackson, me'shell
ndegeocellom, the bands' rick danko and garth hudson, and arabic singer
natacha atlas) inject an endless stream of musical influences into come on
social. though ray and saliers are as political as hell, the issues they
attack are at times veiled beneath their obviously easy-going nature. it's
difficult to tell, for instance, if the girls are espousing or denouncing the
virtues - or lack thereof? of living in anytown, u.s.a. in "cold beer and
remote control." (note: i thought the lyric came from we are together??) but
there's no room for interpretation on "trouble," a driving rock tune with
energized percussion and swirls of background vocals that slams the religious
right:"and when the clergy takes a vote.all the gays will pay again/'cause
there's more than one/kind of criminal white collar."


come on social is a fresh work of art that succeeds as a politically
inspiring and musically daring work, while at the same time proving that
collaborative events such as lilith fair work in more ways than one.

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------------------------------


date: sun, 07 nov 1999 10:27:31 +1100
from: sherlyn koo <sherlyn@fl.net.au>
subject: [ig-news] fw: illinois tickets


hi folks,


please direct any replies to this to the original poster
at jindigo2@aol.com, not to me.


- -sherlyn


- ---begin forwarded message---
>from: jindigo2@aol.com
>date: thu, 4 nov 1999 22:01:15 est
>subject: illinois tickets
>
>hi all,
>i dunno if this will work or not but here goes:
>i've got 2 extra tickets for the indigo girls show on dec. 5th in chicago.
>the seats are like 30th row and are $35 each. if you're interested email me
>at jindigo2@aol.com
>thanks.
>


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------------------------------


date: sat, 6 nov 1999 13:28:08 -0800
from: rhiannon silverflame <indigrrl@mail.gn1.net>
subject: [ig-news] l.a. times review of 11/4 show


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


here's the short review from the l.a. times.  it strikes me as vaguely
ambiguous in tone, but i can't restrain this urge i've got to go and bite
the writer.  i mean really . . . i want to bite this guy.  he's kind of
condescending.


new songs gain richness as indigo girls turn up the power
los angeles times calendar section, 6 november 1999


pop music review


you might associate the indigo girls with heavy-handed lyrics, but it was
the heavy power chords played by emily saliers and amy ray to open their
first of two nights at the wiltern theatre on thursday that sent the
strongest message.  "go," which also opens the georgia duo's new "come on
now social" album, could well have been neil young with crazy horse, the
way the pair and their four-piece band churned.  and they hardly let up for
two hours.


of course, rockin' out can cover a multitude of sins.  but even the most
facile of the duo's character portraits gained richness from the energy,
with the new album's "ozilline," a tale of a rural female survivor,
particularly effective.  and isolating the older i'm-ok-you're-ok anthems
"least complicated," "closer to fine," and "the power of two" in three
separate acoustic slots watered down the daily-affirmation platitudes.


still, it was those literally least complicated songs that drew the most
enthusiasm from the loyalists, who sat during the dynamic new material but
stood to sing along on the folkie favorites.  fortunately, saliers and ray
were undaunted in their drive.


opener vonda shepard was in a rocking mood too, opting for what she called
her "non-'ally mcbeal' set" and investing her sometimes seductive textures
with more power than usually allowed on that tv gig.


- -- steve hochman


battle on,
shanie
(taking up the gabwhacker in defense of the bard, in all lifetimes)
~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~
http://silverflame.simplenet.com -- icq:25908009, aim: folkiebard
"god, if i could find the person who did that, i'd take a cocktail fork and
poke them so full of holes!"  -- kerry stuart in "tropical storm," by
melissa good

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------------------------------


date: fri, 5 nov 1999 05:22:09 -0800
from: april haitsuka <grimmy7@earthlink.net>
subject: [ig-news] l.a. night one


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


unfortunately for me, there will be no night two. those going to the show
tomorrow ... have fun!


these are all the songs, but i'm not too sure about the order ...


go
trouble
get out the map
three hits
peace tonight
least complicated
cold beer and remote control
closer to fine
scooter boys
this train revised
ozilline
faye tucker
compromise
prince of darkness
kid fears
power of two
shame on you


(encore)
baby don't you break my heart slow (emily and vonda shepard)
gone again
galileo


some observations ... they changed the setlist to include "prince of
darkness" and "kid fears." the audience did not get into the first couple of
songs, which i think they were expecting. once they fell back on the
older songs, things picked up. (when i was walking to my car, i heard this
lady telling someone on her cell phone in disbelief, "they knew the words to
every song!" she must not hang around any diehard fans.) at one point, emily
said, "you're the friendliest audience we've had!" they seemed surprised by
the
enthusiasm. the floor of the balcony was shaking when everyone got up to
dance and sing along.


songs i would have liked to have heard ... "sister," "shed your skin" (that
song rocks live!), "johnny rotten," "neuvo senorita," "chiapas bound"...
i've never been to the wiltern theatre before, but the architecture is
amazing! it's a gorgeous wood-and-stone art deco design in greens and earth
tones. it looked like most of the loge and mezzanine seats were occupied.


haven't heard "this train revised" in a long time. it's definitely one of
amy's best. "scooter boys" isn't a favorite, but it's a kick to see live.
it's amy, fast and furious. "trouble" seemed better live too.


banter ... when they introduced the band, emily said claire (bass player)
slept through _blair witch project_ the night before ... some chick in the
orchestra section had a real loud, high-pitched scream. vonda pointed her
out during her set and asked her if the scream was spontaneous or if she had
to practice. later towards the end of the show, she screamed again, though
the crowd was kind of feisty by that time too. emily said it sounded like a
university of florida frat party ... when they were figuring out how to
change the setlist, amy said, "we sit down for dinner and make a setlist. it
takes me about an hour. emily could do it in five minutes ... i guess that
makes us a perfect democracy." i think it was amy who said that made the
band the house of representatives. that's actually a scary thought (...
imagine dana rorabacher on the stage singing, "and a girl could get a wife
... ")

vonda shepard was a good choice for an opening act. i'm not familiar with
her non-ally mcbeal original songs, but when she introduced one of her
songs, she stood up from her keyboard and did this funky dance. the last
l.a. show i went to, which was '94, i remember the audience being really
mean to the opening acts. big fish ensemble and kristin hersh each played
half-hour sets. the audience cheered rudely before the end of their sets to
encourage them to get off the stage. i was impressed with vonda. i loved
that glittery gold guitar she had too.


it was a rockin' show. i'm always ambivalent as to whether i like the
plugged-in shows with a band or the stripped-down duo shows better. i've
been to four shows now ... two band shows and two duo shows.  with the
exception that there were no unreleased songs/covers in the lineup, i think
this
is the best one.


april

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------------------------------


date: sat, 6 nov 1999 01:39:46 -0800
from: rhiannon silverflame <indigrrl@mail.gn1.net>
subject: [ig-news] l.a. setlist/mini-review


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


well guys, here it is, the official setlist from tonight's show, since i
was lucky enough to get a photocopy of the list (in amy's handwriting!!!!!).


go
trouble
reunion (more on this in a bit)
least complicated
ozilline
andy
chickenman
cold beer and remote control (listed on the sheet as "cold beer and rude
waiters")
shed your skin
closer to fine
sister
peace tonight
tried to be true
power of two
faye tucker
virginia woolf
shame on you
or (with rose polenzani)
gone again
galileo


(amusing note: under blair cunningham's name in the instrument column of
the setlist, it says: "blair wich [sic] project percussion concept.")


random comments on songs that really stuck out:
amy goofed during "reunion."  i'm not sure exactly what happened--at first
i thought she'd broken a string--but she just started laughing and said, "i
am so, so sorry!" and they stopped the song.  she and emily stood around
laughing for a few seconds, composed themselves, and started over again
from the second verse.  we all cheered her on anyway.  ;)  emily did stop
laughing long enough to announce, "it's so liberating to fuck up!"  (that's
gonna go in a signature quote of mine somewhere or other.)


"andy."  i'm so glad she did this song, and it's the first time i've gotten
to see emily play the bouzouki live.  it sounded fantastic, and the
harmonies really fleshed out in live performance.


"chickenman."  no soc, but a killer solo from emily, and just one hell of a
rocker all around.


"shed your skin" was absolutely amazing.  i plead guilty to headbanging in
the aisle, until the staff made me go back to my seat, anyway.  emily's got
this great rocker groove going on when she gets into her solos.  very,
very, very cute.  *sigh*


"sister."  oh.  my.  gods.  'nuff said.


"faye tucker" was even more awesome tonight than last night.  i love the
way amy rasps out the last verse a second time, and caroline was just
jamming on that (really funky) cello!


perhaps the one greatest moment of "shame on you" was the audience
bellowing along with "i keep fucking up!"  gotta love venting.  took a load
off me.  ;)


"or" was great, except for the people cheering during the quiet parts.  no
screaming requests or anything, just cheering.


"gone again."  one big happy dancing audience.  same goes for "galileo."
a&e and the gang are en route to sf as we speak . . . safe journey to them
all.


i feel so profoundly moved by these last two nights.  just . . . i can't
even describe it coherently.  i'm working on a short reaction essay . . .
depending on how on-topic i remain, i may post it here.  if not, it'll go
up on my website and i'll put up the url.  ;)


and if anyone booted this, and/or last night . . . please let me know!!!


battle on,
shanie
(taking up the gabwhacker in defense of the bard, in all lifetimes)
~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~
http://silverflame.simplenet.com -- icq:25908009, aim: folkiebard
"god, if i could find the person who did that, i'd take a cocktail fork and
poke them so full of holes!"  -- kerry stuart in "tropical storm," by
melissa good

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------------------------------


date: sat, 6 nov 1999 14:36:54 pst
from: diane wong <arle@hotmail.com>
subject: [ig-news] transcript of world cafe -really long


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


world cafe - inderay studios - recorded tuesday, 10/5/99, broadcast 11/5/99


host: <missing first part intro> "...and i am really happy to see her or my
son, uh, grow up to have such a really good sense of themselves; and more
importantly, a sense of where they fit into the world as these people do.
and, uh, it's really great to have them here and i just wanna than everybody
for coming.  let's get to it, and help me really warmly welcome the indigo
girls to the world cafe."
<applause>
["gone again" starts] emily saliers: "thank you."


[gone again]


(amy ray one-syllable laugh.)
e: "thanks y'all."
a&e: amy--"thank y'all--"  emily--"thank you."
a: thank you, still warming up.


h: let's ask the important questions first: is kakadu a place or a club?"
a: it's a place, it's australia, it's, it was where i was on tour down there
and having some  existentialist questions or something, i don't know,
walking around a lot, and meeting alot of different people, thinking about
whether or not i wanted to go home, back to the states or not, and so i
kinda wrote a song in the middle of the night.


h: that's a great song. you know, i sometimes i stereotype your songs, and
emily writes the sweeter songs and stuff, but that--uh--
<emily laughs.>
h: --a big mistake.  there's a lot that i can't tell on this album--it's so
great, y'all are really mixing it up, it's really wonderful.  now, if i
hadn't even read about it, i would have figured out that lilith fair had a
lot to do with this album, i mean, everybody who is on here you all met at
the lilith fair last year, but more importantly, i didn't know about, um,
you hung out with john reynolds who ended up producing this. now who is he
and how does this band, ghostland, all fit in here?


e: well, ghostland and other musicians were backing up sinead o'connor
at--at lilith last year, and of course, amy and i are huge sinead fans,  so,
initially we just went out to the side of the stage and were checking them
out and the band, they just was like, blew our minds--their  musicianship
and john has a studio in london in his flat and he said, you know, why don't
we'll just get together sometime and start working on some songs, so amy and
i made plans to do that and we did preproduction back in january for a week,
and the idea was to have john coproduce, like a few of the songs, and we
would bring in another producer in  to finish the record.  and when john
sent us the cd's of the stuff that he'd done in london with us, it was just
amazing, sonically. first of all, the impression, sonically, that it was
deep and rich and the rhythms were really in your face, and just really cool
stuff and great players.  and then, uh, when the other producer didn't work
out, so we just brought john back with us to finish the record, and he
brought his band.


h:  and there's all these, uh, neat grooves and loops that i guess he brings
to it, too--
a&e: yeah.
e: and he doesn't overdo it, though, which is a great thing--very tasteful.
a: yeah, he's a really, reallyl great producer.
h: now, there's one of the songs that you ended up doing in the states,
that's the one with the memphis feel to it, "peace tonight" is the one i'm
thinking of with the great memphis feel to it--
a&e: oh yeah.
h: it's a memphis feel, but the horn section is from new orleans?


e: yeah, well, that song, it started out the way i wrote it was really
jangly, and amy and i learned it together, and it was very acousticy and
really jangly, and it just, we got into the studio, and we recorded it live
that way, and we couldn't get the right feel for it, so um.  someone
suggested that we slow it down, and  then, but when john took over the helm
for that song, he suggested that we put the al green kind of straight
backbeat, straight up backbeat throughout the song.  and then,um,  three
guys from new orleans came, they are kinda like street musicians in a way, i
mean, they're professional and all that, they've just got that vibe that is
really down home new orleans.  and they got in the studio, and we just
tossed some ideas around and that's how peace tonight came to be the way it
is now.
h: great song, can you do the hornless version for us?
a: we're gonna do the jangly version.
e:  yeah it's, we're gonna do the jangly version. huh. alright.
a:  the rejected version.
e:  1, 2, 3, and--


[peace tonight--jangly/rejected version]


<applause> amy hoot.
e: thank you. a: thanks y'all.
e: thanks.
h:  great song from come on now social, the new indigo girls' album.  when
you named this, i understand it's from a song of yours, amy, you must have
expected folks to try to--you're gonna get questions about it.  <emily
laugh.> what is come on now soc--you know i've had people call me up and
tell me, it's a-uh toast, come on now social.
<amy laughs> --what is it about?
a:  it's a toast. um, it's kind of like finding your place in the world, and
how does the world find you, and how you find the world, and the
pressure--it's got two sides, 'cause i think the song that i wrote was
speaking more to the feeling um, unacceptable at a certain point in my life,
when i was becoming, going from a tomboy, into supposedly trying to become a
woman, and i couldn't figure  out how to do it.  and, uh, <laughs> never did
really, i guess-- <host laughs.>  and so, i was speaking of that a little
bit, and then, and then, in the broader sense of the word, the positive side
of it, of like, the activism in the world, and i think me and emily meant
more of trying to evoke our place in the world, sort of, didn't we?
e: yup.
a: yeah.
e:  i agree with everything you said.
h:  there's a lot of that on here, it opens with go which is such a strong
call to people, some great line about people, you know, you're not too
young, you're not too old, in this song.  this is really wonderful. i mean,
you guys are really a kind of lightning rod for a lot of people, you bring a
lot of issues to people's minds.  are people approaching you all the time
to, uh, take on new causes or things?
e: yeah. <audience member laugh> they do, but that's okay, actually, it's
hard to find a lot of bands who go out there and are social activists. i
don't know why exactly, i mean it just seems like the marriage of music and
activism is just a beautiful marriage, um, so the bands and the people who
have been doing it forever and ever, people like bonnie raitt, and jackson
browne, and steve earle and a bunch of people.  i mean, we always call on
those guys, too, because we know that they'll say yes when we're doing a
benefit for a cause.  but for us, it just things we feel strongly about, and
believe in, and we just would like to provide information and as well as
educate ourselves with mentors and,  other people who are up on certain
issues and just, make it an arena, not only for music, but for a way for us
to heal the broken world.
h:  well, this song, go, seems more like, you know like, something about
you're not going to just sit back and listen to this, you're really gonna
get involved.
a&e: yeah.
e: everybody counts.
h: yeah. it's a great song, and it's a great opener. can you do that one?
e:  the acoustic version.
a: yeah.  <softer echo> acoustic version.


[go--acoustic version]
<applause>
e: thanks.
<audience member talking, inaudible>
a: thanks, y'all.
h:  indigo girls are live today on the world cafe.that's pretty good
considering you're both playing electrics on the track <a&e laugh> in the
album.
e:  yeah, i know, you want that sustained, come on--come on.
a:  well, it's an electric on that track, 12,000 million electric tracks,
feedback.
h:  if you head over to your website, you see an amazing tour that you guys
are on for the next few months.  this will play on the radio before a lot of
people will get a chance to see you.  tell people what your band is looking
like.
a:  they're looking great. they sound great, they look great, everything.
they're a beautiful band.
e(chiming in):  they're everything.
<host laughs.>
a: um, they're all new.  we have have this, we have this great  new bass
player named clare kenny, who um, was playing with sinead at the time. she
was with shakespeare's sister,  and tons--
e: and aztec's camera--
a: aztec's camera, she's played with tons of people--they're all british,
our whole band right now.  she is fantastic.  we have a woman who plays
keyboards, accordions, and percussion, carol isaacs.  and then a cello
player, who we're using currently is caroline lavell, who, um, i know of
from the early eighties when she played with siouxie and the banshees, but i
know she's done a lot of other stuff.  but if she's not there, then we have
another cellist, caroline dale, who um, is amazing.  she did the music for
hilary & jackie, if anybody saw that movie.


our drummer was john, but he's back home now, and so we 're using this guy,
who is from memphis but lives in england, and his name is blair cunningham
and he is just remarkable. i mean, he never even knew who we were three
weeks ago, and then, we had uh, like a week of rehearsals, and he had to
learn everything, you know, like in one week, all the stops--
h: he played with the pretenders for a while, didn't he? i think he did.


a: i think he might of.  he played with paul mccartney for a long time. for
the last few years, he was his main man.  so, it's a pretty full band, and
everybody sings which is cool, which is different for us. we have a lot of
background vocals, they all have really good voices, except blair <laugh>.
he won't sing for us yet.  so we have a lot-it's very rich.  we do a lot of
rock songs, and then we do some acoustic stuff, and bluegrassy kind of
stuff,  and  thenwe strip it down and play alone a few times, so it's a
variety show.
h: you've got this song called cold beer and remote control.  i want to know
about the person in this song, is the person is trying to escape from this
life,i think?  you're not celebrating this, are you?
e: no, it's about someone who is kind of despondent and just kind of given
up hope, and you just picture them just sitting in front of the t.v. just
wafting off into nothingness---the bad kind of nothingness, not the buddhist
kind.  it's got an electric kind of chorus, sort of a.k.a. tom petty-ish.
and uh. so it's kind of confusing, as soon as you hear the words "cold
beer", people laugh.  i don't know. it's just--it's mentally jerk your
string a little bit.
a: it's kind of like "born in the u.s.a.", you know.
e: yeah, yeah.
h: that's what i was thinking. people are gonna get this wrong, yeah, "hey,
cold beer--"
e: yeah, right.
a:  in that jackson browne song that used to do cocaine, "yeah, cocaine!"
and i was like, you guys don't get it.
e: another acoustic version.
a: oh yes.


[cold beer and remote control--acoustic version]


<applause>


e: thanks.
h: think of the merchandising opportunities.  cold beer and remote control.
a: <laugh> alright. if only.
h:  there's some wonderful musicians that you guys i guess got to know on
lilith fair on this: me'shell ndegeocello like really rocks out.
e: we love her.
h: she's such a great rock bassist, her new album is really like, this
really nice mellow and beautiful record.
a:  yeah, it is a beautiful record.
h:  did y'all take note while on lilith when you made the record, or did you
call folks up..
a: we've always--well, on lilith, we met, we did get to be friends with
me'shell through that,  and probably, kate schellenbach. and um, sheryl,
sheryl crow we knew before, and, uh, but, and joan osborne we had met  on
lilith, and then got to know her in cuba on a musicians' exchange program,
so...  they were all kind of lilith--the lilith set.  but me'shell and kate,
i just--i've always wanted to play with me'shell.  we are such big fans of
hers, and kate and kate, i had been jamming with anyway on some songs, and
that was one of them, compromise, and then the other one, emily's, we just
threw them in there.
h:  we've been hearing all things from come on now social, do you maybe want
to do something older to finish up with?
e: per your request.
h: oh, per my request, maybe.
a: we're gonna try this kind of ratty old song here.  you can turn this down
a little bit more, michelle.


[land of canaan]


<applause>
e:  thanks.
a: thanks y'all.
e: thank you.
a: thank you.
h:  thanks so much--
amy:  thanks again, you're such a great audience.
e:   yeah, we enjoyed it.
host: --to amy and emily. thanks to the indigo girls, thanks to our audience
down here at inderay studios. we shall return on the world cafe.
emily:  thank you.


~~end transcription~~


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