lifeblood: listlogs: 2000v03n018-news

ig-news-digest wednesday, february 9 2000 volume 03 : number 018

today's subjects:
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[ig-news] igc - aussie article [madonna maynes <m.maynes@student.qut.edu.]
[ig-news] franklin and marshall show ["<carla bunner>" <ndgogrls@aol.com>]

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date: tue, 8 feb 2000 20:54:00 -0500
from: madonna maynes <m.maynes@student.qut.edu.au>
subject: [ig-news] igc - aussie article

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

hey everyone!
finally some aussie coverage of the upcoming tour! this was in the
courier mail sat feb 5...

indigo mix a bright palette by noel mengel

easy-rolling bass, plunking mandolin, a wistul and familiar organ
undertow:
despite amy ray's spakling vocals and the act that gone again is a song
set in australia, you just know the influence of the band has to be in
there somewhere.
by the time a tell-tale wurlitzer organ lifts up a notch for a solo that
has woodstock and big pink written all over it, it is obvious that the
band is more than just an influence on this song from the indigo girls'
latest album, come on now social (epic).
and so it proves. that is garth hudson on the organ and, sadly it must
have been one of his last recordings with his long-time band-mate rick
danko, who passed away in december.
although hudson plays on only one other track, the spirit of the band and
that great trail of music which passed down tot hem from european folk
through the american backroads has clearly been an inspiration.
the indigo girls, emily saliers and amy ray, followed their muse to
woodstock, the arty community in the catskills mountains of new york,
where they spent a week jamming with hudson and danko and planting the
seeds for these songs.
despite making some fine albums in the '90's, the indigo girls are one of
those acts that people love more in concert than they do on record.  see
them live and you can see why, as they pour heart and sould into a show
packed with favourites, surprise covers, soaring harmonies and spirited
playing.  it is a tough task to capture that in the confines of the studio
but they have come as close as they ever have to bottling the genie on
come on now social.
it is a varied collection, confidently swinging from the hardest rock
songs they have ever recorded to rootsy items like gone again, celtic
inspired folk and the finger-clicking soul-pop of peace tonight.
as well as danko and hudson, the album contains guest appearances from the
likes of sheryl cros, joan osborne, me'shell ndegeocello and luscious
jackson's kate schellenbach, but it remains firmly the indigo girl's show.
"we have always played with different people," saliers says.  "when we
first started playing we would get somebody local to get up with us and on
the lilith fair tour we met all these talented women who we had looked up
to for a long time.  we still love making music with people, it's just
that now they are more famous."
but the key to the album's seamless mix of styles is the producer and
drummer john reynolds, one of a core of english players they met when they
were backing sinead o'connor on the lilith fair tour in 1998.
saliers says: "that celtic element came from ireland and scotland and
filtered into the appalachian mountains where it took on it's own american
vibe.  it all feels the same to us."
you can detect reynold's passion for world music on faye tucker, a
haunting folk ballad about karla faye tucker who, in 1998, became the
first woman executed in texas since the civil war.
"there was a big uproar about the case," saliers says. "she was white, she
was pretty and she was a born-again christian, so there was this mi of all
these groups around the issue.  but the song is saying, in the end,
couldn't we have had some compassion? why did we have to be so cruel?"
the song builds with a hypnotic celtic accordion jig and table percussion
before exploding into an arabic chant from guest vocalist natacha atlas.
the missing link between sinead and the indigo girls?  you just found it.
reynolds, a long time collaborator with o'connor, played a strong role in
this mix of ethnic syles, but it was also his influence which brought the
strong al green/memphis feel to peace tonight.
these songs contrast with the electric guitar grooves of go and
comprimise.
"my voice is softer than amy's and even if i feel all the rage in the
world i may not be able to emote it," saliers says. "electric guitar is a
good avenue for me to get out some of that aggression.
"amy and i are often at oppoosite ends of the spectrum.  she will want to
do a stripped-down acoustic album when i might want all electric.  that's
what's so great aobut working iwth her, that we find our way around these
differences in such a natural way."

wow didn't think it would take me that long to type! my poor fingers!
lol

maddie

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date: tue, 8 feb 2000 13:57:56 -0500
from: "<carla bunner>" <ndgogrls@aol.com>
subject: [ig-news] franklin and marshall show

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

hey ya'll i just wanted to let everyone know that the tickets for the
franklin and marshall show in lancaster pa, went on sale today at
1:00....the venue was giving out information that tickets didnt go on sale
until the 14th..but i just got mine from ticket master. i got general
admission which i think they all are...but i just got mine..so go get em...k

bye

carla :o�

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