lifeblood: listlogs: 1999v01n213-news


ig-news-digest       tuesday, november 23 1999       volume 02 : number 213


today's subjects:
-----------------
  [ig-news] boulder daily camera article   [garian <vigil@ucsu.colorado.edu>]
  [ig-news] boulder daily camera review    [garian <vigil@ucsu.colorado.edu>]
  [ig-news] article in the denver post (fwd)  [garian <vigil@ucsu.colorado.e]
  [ig-news] beacon theatre and wfuv interview boot tree  ["donna m schwartz"]
  [ig-news] (fwd) re: album sales           [sherlyn koo <sherlyn@fl.net.au>]
  [ig-news] ig denver fillmore 11/20/99 - 2nd show       [nakedeye10@aol.com]


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


date: mon, 22 nov 1999 16:06:34 -0700
from: garian <vigil@ucsu.colorado.edu>
subject: [ig-news] boulder daily camera article


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


folk duo still sees injustice in music world


by greg glasgow
camera music writer

it's the late 1990s--the era of lilith fair, jewel and britney spears--but
the indigo girls aren't happy about the place of women in music.


"when you look at commercial alternative playlists right now, there are no
women," says emily saliers, half of the outspoken atlanta-based folk duo
that plays denver's fillmore auditorium tonight and saturday.  "it's
completely male-dominated, but it used to be a format where we got
airplay."


when they debuted in the late '80s, saliers and bandmate amy ray received
plenty of airplay, at least in boulder, where songs like "closer to fine"
and "secure yourself" were kbco staples. over the next 10 years and eight
albums, the duo has had the occasional hit ("shame on you," "galileo"),
but has remained primarily a fans' band.


in september, the indigo girls released come on now social, a heavily
produced album that may be the best-sounding of their career.


"it's a little more rocking, overall," saliers says. "it's got more
diversity, but it holds together as well as any record we've made."


despite its festive title, come on now social may also be the most overtly
political indigo girls album yet. on "trouble," for instance, the
out-and-proud saliers sings, "when the clergy take a vote/all the gays
will pay again/'cause there's more than one kind of criminal white
collar."


it's a line that could easily have been inspired by the ministers who held
anti-gay signs at the funeral of hate-crime victim matthew shepherd.


"we're getting ready to play in laramie," saliers says. "it's such a
tragedy. it just highlights the fact there's so much oppression still
happening. people think, 'oh, it's gotten easier for gays, it's gotten
easier for women, it's gotten easier for blacks,' but it still has a long
way to go. i don't write songs to effect change, i write them about what
i'm thinking about. but when they're done, i start to think how can we use
our career for change."


the duo has used its stature to educate fans--the liner notes for come on
now social include a "resources" page that lists contact information for
political groups such as the national gay and lesbian task force and the
national coalition to abolish the death penalty. saliers says the band
also sponsors a resource table at its shows, where people can learn more
about national activist groups as well as groups in their
communities.


but many fans, saliers says, just come to see the indigo girls' legendary
live show, now documented on two different recordings.


"we have great fans," she says. "they buy the records and absorb the music
very quickly. i'm having as much fun as i've ever had in our career
playing these new songs on stage. there's an excitement and a
vulnerability, because you've only got one shot."


the last time boulder and denver fans got to experience the excitement and
vulnerability of an indigo girls show was in august, when the duo came to
fiddler's green as part of the all-female lilith fair. the media
attention given to the tour and its founder, sarah mclachlan, gave rise to
the idea that women in rock was the next big thing.  saliers says it's all
hype.


"there's this perception that women are doing great, and it's just not
true," she says. "women getting signed for a while was a trend, and now
there's a backlash.  it's harder for women who don't fill those roles of
exploiting sexuality like (britney spears). plus we're gay, and people
don't know quite what to make of that."

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


date: mon, 22 nov 1999 16:19:23 -0700
from: garian <vigil@ucsu.colorado.edu>
subject: [ig-news] boulder daily camera review


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


indigo girls give 'feel-good' concert of year


amy ray and emily saliers play mix of new
and old songs at fillmore auditorium


by greg glasgow
glasgowg@boulderpublishing.com
camera popular music writer

denver--the unique thing about folk is that it's a style
of music written specifically to be shared with an audience.
  so while america's most visible folk duo--atlanta-based
  duo the indigo girls--often come off pretentious or corny
  on their albums, when they get in front of an audience it's a
  whole different story.


the girls - amy ray and emily saliers, with full band in tow
  - finished up their recent tour with shows friday night and
  saturday night at the fillmore auditorium.


  "this is a perfect way to end this tour," ray said during
  friday's encore, and the sold-out crowd seemed to agree.
swaying, dancing and singing along at the tops of their
voices, the mostly young, mostly female audience members
   ("happy little sardines," saliers called them at one point)
    made friday's 100-minute show the feel-good concert of
  the year. many artists talk of their "family" of fans, but indigo
   girls' followers really live up to the reputation.


   shortly after a solo acoustic set by their atlanta buddy
    shawn mullins ("lullaby"), the girls took the stage along
    with their band: bass player clare kenny, drummer blair
     cunningham, cellist caroline dale and keyboardist carol
     isaacs, most of whom appear on the girls' latest album,
     come on now social.


   the evening began with a bang, as ray and saliers tore into
  the dual electric guitar intro to "go." the song's "raise your
   hands high" chorus gave the audience an early opportunity
  to show its enthusiasm.


   keeping the energy level just as high, the band moved next
  to "trouble," another song from come on now social.
  propelled by cunningham's rock-solid drumming, both
    songs had the packed house moving.


    from there the show became a nicely sequenced mix of
   new songs and old favorites, of rockin' full-band numbers
   and simple duets that found saliers and ray alone on stage
   with their acoustic guitars. the versatile pair also picked up
   banjo and mandolin for songs like social's "ozilline," a
   song ray said she wrote in honor of her grandmother.


   the girls stuck primarily to those anthemic songs that lend
  themselves well to live performance. "closer to fine"--
  which the duo graciously let the audience sing most of--
  "least complicated" and "get out the map"--all were
    chill-worthy. the night's most obscure pick--
   "chickenman" from 1992's rites of passage--turned out
     to be one of its most dramatic, a seven-minute epic that
      began and ended with a cappella, four-part harmony.


   the bulk of the older material came from rites of passage.
  "airplane" made its way into the set, as did ray's solo
   acoustic version of dire straits' "romeo and juliet," and
   "ghost" and "galileo" were two-thirds of the 15-minute
    encore, along with "gone again" from come on now
   social.


   the ever-polite duo chatted with the audience throughout
    the show, throwing out a pair of "thanks y'alls" after almost
     every song. a "resource table" on the west side of the
     fillmore offered information on organizations like the task
    force against hate, the center to prevent handgun
    violence and women's action for new directions, but the
    talk from the stage was decidedly non-political.


    ray announced that she and saliers would be spending all
   day saturday in denver, and asked for suggestions as to
     the city's best thrift stores. when a note arrived at the front
     of the stage ray bent to retrieve it, then read it silently and
     chuckled.


    "everyone wants to know what it says," saliers urged.


    "it says 'i would be honored to be your tour guide,'" said
    ray, eliciting cheers from the crowd. "but it's those little
   things that get you in the most trouble." she laughed again.
   "i'm going to just shut up and play the song."


  november 21, 1999

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


date: mon, 22 nov 1999 15:50:31 -0700
from: garian <vigil@ucsu.colorado.edu>
subject: [ig-news] article in the denver post (fwd)


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


look for the important reference to amy's solo album at the end of the
article!!!


- -g.
_____________________________________________________________________


indigo girls stay strong
by g. brown
denver post special writer


    nov. 19 - during the prevalence of folky singersongwriters in the
mid-'80s, indigo girls emerged and cultivated a reputation for educated,
politically aware material.


and like few of their contemporaries, amy ray and emily saliers have
shown staying power. the atlanta-based duo, visiting the fillmore
auditorium tonight and saturday, remains revered by fans.


"from the day emily and i started playing 20 years ago, it was all about
having different
experiences with different musicians,'' ray says. "we hoped to carry
that on as we went, no matter what community we were in.''


no wonder the group's new album "come on now social'' had its origin in
the geniality of sarah mclachlan's 1997-99 lilith fair all-female tours,
when ray and saliers jammed with tourmates all three years. with
co-producer john reynolds, a drummer who had backed sinead o'connor,
they set out to create that same vibe in the studio, where acquaintances
could informally drop in and contribute to the music.


"lilith was validation,'' ray says. "it showed that no matter what level
you're on - some big stars, some medium and some small - women can hang
together as peers and hopefully break down some barriers between race,
gender, gay and straight. it was nurturing and inspiring. sarah had
became incredibly articulate and politicized about feminism, which i
found exciting.''


"come on now social'' features several lilith performers - sheryl crow
and joan osborne each sing on two tracks, and drummer kate schellenbach
of luscious jackson and bassist me'shell ndegeocello guest. indigo girls
also get support from garth hudson and rick danko of the band.


as on past releases, ray and saliers wrote their songs separately.
saliers' "peace tonight,'' the first single, frames their lovely
harmonies to pop perfection.


ray's standout is the album opener, "go,'' a passionate call to action
with grinding electric guitars: "don't take a seat/don't stand
aside/this time don't assume anything/just go go go.''


"people in college don't know for sure what their future is going to be.
to get attention, they have to do stupid things, like riot,'' ray, 35,
says of the university of colorado's annual melees in boulder. "on the
face of it, you think, "god, what idiots.' and then you realize, "i
probably shouldn't dismiss that, because there's a reason they're
feeling that way.'


"everything has become so corporate and global - the wealth is held in
the hands of very few people. the economy is doing well, yet so many
people don't have employment, and two people have to work in the
household instead of one, and minimum wage is too low. we're just so
disconnected between what we're being told is going on and what's really
going on. so people don't understand why they're angry.''


ray closes the album with "faye tucker,'' a somber story song laced with
wordless wailing by worldmusic singer natacha atlas. it was inspired by
karla faye tucker, who made headlines last year when she became the
first woman to be executed by the state of texas since the civil war.


"karla faye herself was like, "i'm resigned to whatever happens, i'm at
peace in my life now.' the christian coalition was interested in her
because she was reborn - ironically, they were siding with the radical,
liberal, anti-death penalty contingent to save karla's life,'' ray
explains. "then you had this massive fight going on with the
death-penalty advocates on the other side.''


ray is making plans to record a solo album next year. she'll issue it on
her own indie label, daemon records.


"it's a benefit record for my own label, to keep it going,'' she says
with a laugh. "it's going to be raw - some of the songs are melodic
punk, some of them are rip-roaring appalachian stuff.  and yes, emily
will probably play on it - obviously, indigo girls comes first for me.''


copyright 1999 the denver post. all rights reserved.

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


date: mon, 22 nov 1999 00:38:52 -0500
from: "donna m schwartz" <d6309@prodigy.net>
subject: [ig-news] beacon theatre and wfuv interview boot tree


hi everyone,
sorry it took so long to get this tree up and running, but good things come
to those who wait...
i taped the beacon theatre show in nyc on 10/12/99. sound quality, i think
is very good. here's the setlist:
go
trouble
land of canaan
least complicated
compromise
love will come to you
gone again
cold beer & remote control
scooter boys
get out the map
sister
closer to fine
ozillene
peace tonight
kid fears
power of 2
shame on you
or (w/rose polenzani)
faye tucker
galileo


it was a very good show, the crowd was really into it.


i also taped the wfuv interview on 10/12/99 with rita houston.  i really
think this interview was different than most others because rita asked them
a lot of different questions than in most other interviews.


here's the deal.  send a self-addressed stamped package and a 100 minute
tape for the beacon show and a 60 minute tape for the wfuv tape to the
branch that correspond with your birthday month.  please make sure you put
the proper amount of return postage on your packages. also, i know it's a
bad time to announce this tree because of thanksgiving comin up. so, be
patient if you do not get a reply right away.
here's the branches:


december/january        memememi@aol.com
february                kt14017@cedarnet.org
march                   nokomis07@aol.com
april and may   hunterj1@aol.com
june                    wendell01@earthlink.net
july                    aaogilvie@aol.com
august          arle@hotmail.com
september               susan.brill@yale.edu
october/november        mbpost@ibm.net


europe and asia/australia
                dhalford@pcpro-gb.de
                claudine@ukonline.co.uk


enjoy the tapes,
donna


ps - karen if you are out there, please email me with your new email
address. i
have been trying to contact you regarding the beacon and fuv branches.


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


date: tue, 23 nov 1999 12:12:07 +1100
from: sherlyn koo <sherlyn@fl.net.au>
subject: [ig-news] (fwd) re: album sales


hey folks,


this is an excerpt of a message which was posted to the
newsgroup - thanks to lisa for permission to forward
it on.


- -sherlyn


- ---begin forwarded message---
>from: lisalisaa@aol.com123 (lisalisaa)
>subject: re: album sales
>date: 22 nov 1999 22:46:59 gmt
>
[...]
>
>i interviewed russell carter today for my story. he says the girls are doing
>great -- like one, two or three -- on the national triple a charts (adult
album
>alternative) and they are also doing well on the hot adult contemporary
charts.
>
>he seemed cautiously optomistic, tho conceded this album is not moving up the
>charts as quick as shaming of the sun, nor is peace tonight garnering the
>attention of shame on you. tho he did point out that sos came out in the
spring
>and this one came out in the fourth quarter which is a very difficult time to
>release an album. very compettitive.
>
>still, i think -- speaking as the fan here and not the reporter -- every one
>needs to badger their radio stations. i mean peace tonight ought to be
getting
>air play. no two ways about it.
>
>i must say i was a little sad when carter told me they are holding off
making a
>video because vh1 and mtv only play hits and it is too big a gamble to spend
>250,000.
>
>it shouldnt be that way for two people who are so talented. then again, there
>are a lot of great music makers out there who get even less attention than
the
>girls -- ie nanci griffith, michele schocked, victoria williams. when was the
>last time you saw ani difranco on the charts? the list is never ending.
>be well,
>lisa
>to send email, remove 123 from my address.
>
>"please explain to me the scientific nature of 'the whammy'" - scully
>
>"the daily news asks her for the dope.
>she says, 'man, the dope's that there's still hope.'"- springsteen
>


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


date: mon, 22 nov 1999 00:21:47 est
from: nakedeye10@aol.com
subject: [ig-news] ig denver fillmore 11/20/99 - 2nd show


[sherlyn's note: i have edited this message.]

it's now sunday night, and i'm marginally recovered enough to give you a
quick(er) run-through of the second show.


tonight, as some of you know, was the last night of this leg of the tour,
which, imo, is usually one of the best shows you can catch.  kinda nice that
they picked denver for it.  


and as you may recall from my other review, tonight was video night.  sorry
to say that i don't know what ig/epic intend to do with the footage, but the
entire show was professionally videoed.  (i only wish i'd been healthy enough
to be visually interesting!)


[...]


knowing it was being laid to tape for all eternity, a&e hit the stage with a
vengeance, tearing through a particularly rousing version of "go."  i'd
probably have to say that this was the highlight of the show.  they were on
fire.


"trouble" was enthusiastically rendered in its conventional #2 slot followed
by a great "land of canaan" in the duo acoustic #3 slot.


we then had an upbeat (can there be any other kind?) "peace tonight," before
shifting the mood to elizabeth's new favorite, "sister."


"get out the map" was a crowd pleaser, as always.


a typically rockin' version of "scooter boys" with emily doing some
spectacular electric work during the jam came next.


then, a shift to "cold beer and remote control."  with the right timing and
marketing, this could be a big multi-format hit.  on the one hand, i hope
they do it, but on the other hand, i'd kinda hate for them to become a pop
phenom.


next thing we knew, amy was alone on stage.  from the moment i knew i didn't
recognize the track, i suspected it was "johnny rotten," but i wasn't quite
sure until the end.  passionate rendering, but i'd have to hear it more to
form a complete opinion.


duo acoustic "closer to fine," complete with singalong.


a particularly high voltage "compromise."


a wonderfully, grooving, crowd-pleasing "power of two."


then "ozilene," followed by a pleasant surprise for me of emily's "soon to be
nothing."  i really enjoyed it, but i would have even rather have heard "we
are together."


"shed your skin" rocked the house as always.


"least complicated" was delightful, but not half as good as the night before.
it'll drive me nuts watching it on video, knowing that the night before was
better.  kind of like having the cd boot of the 6/28/94 radio city show,
knowing that the 6/29 show blew it out of the water.


"faye tucker" was next with the odd juxtoposition of being followed by
"airplane," topped off with the set closing "shame on you," which plain works
on stage.


they walked off for a minute or so before emily came back alone and did a
surprising rendering of "philosophy of loss," the hidden bonus track on cons.


the band was back for "gone again."  


they then made my neighbor for the night very happy by covering a neil young
song that i'm not familiar with called "powder fingers," and finally
"galileo."


it was a spirited, enthusiastic show.  not as staggering as some that i've
seen, but really, really good.


and for you crossover deadheads, they promised that they were going to learn
uncle john's band.  i'm kinda psyched, 'cause while i'm not one (a deadhead),
i come from a family full of them, and hearing it reaches a snuggly spot in
my heart.


oh, and fwiw, i had a lovely, albeit short chat with their production manager
who i know from years ago, and he said it was a particularly good show and
that we got four more songs than usual.


acutally, that's my only real bitch about them.  i've always wanted longer
shows.  i'm used to the who, springsteen, and the dead.  with a&e's
incredible depth of talent and catalog to choose from, i want more!!!


thanks to everyone who was in the audience.  thanks to my friends and show
neighbors.  and also, thanks to the fillmore staff who were one of the best
concert staffs i've ever dealt with.  you made it a pleasure.  (and of
course, thanks to a&e and band who always warm the cockles of my heart and
soul.)


thanks for reading.


lauren


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


end of ig-news-digest v2 #213
*****************************


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