lifeblood: listlogs: 2000v03n122-news


ig-news-digest          friday, july 14 2000          volume 03 : number 122


today's subjects:
-----------------
  [ig-news] emily interview                               [stevem712@aol.com]
  [ig-news] frontiersweb article            [sherlyn koo <sherlyn@fl.net.au>]
  [ig-news] webcast later today..    [phillip soloweszyk <psolowes@home.com>]
  [ig-news] ig in seattle post-intelligencer  [melissa gordon <gordonm@lvcm.]


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date: thu, 13 jul 2000 14:46:00 edt
from: stevem712@aol.com
subject: [ig-news] emily interview


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.  i'll forward the article
along in a minute....]


emily is interviewed in the current issue of frontiers (g/l news magazine):
http://www.frontiersweb.com/v19iss06/feat5.htm

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date: fri, 14 jul 2000 08:46:00 +1000 (est)
from: sherlyn koo <sherlyn@fl.net.au>
subject: [ig-news] frontiersweb article


hi folks,


here is the emily interview which was previously mentioned.
it's on the web at
http://www.frontiersweb.com/v19iss06/feat5.htm...


- -sherlyn

- ---begin article---
"social" call


indigo girl emily saliers talks about politics, the future,
and lesbians with acoustic guitars


by lawrence ferber


consider the indigo girls' emily saliers a fearless soul.
she and musical partner amy ray are both out and political
within an industry that frowns on such things. on their
latest album, "come on now social" (epic), they've
surprised fans and critics with a radical departure in
sound. but most of all, consider saliers fearless for her
willingness to stand up for the goosebump-inducing,
horrific (gasp!) lesbian with an acoustic guitar!


"you know, women get such shit for picking up an acoustic
guitar!" she laughs. "i don't know what that's all about."


well, actually, she does. because while the indigo girls
have perfected the musical amalgamation of emotional
sincerity, political activism, poetry and melody over the
past two decades, this wasn't always so. indeed, saliers
admits her earliest politic-tinged songs were "real
clunkers," and acknowledges that "it's very difficult to
write a political song that is clever or well-written that
doesn't hit you over the head."


regardless, she affirms the right for all lesbiankind--and
womankind in general--to strap up, strum, and sing about
whatever issue they want, whether it be at womyn's music
festivals, around campfires, or simply at home, as saliers
is today in georgia. "i'd rather have a festival where
people are really trying to support each other," she says,
"where a dollar from every ticket sale is given to a
women's shelter, than a festival where a bunch of people
get together and beat each other's heads in. i get a little
sick of people criticizing music that comes from the heart,
and women especially have a hard time with it. you could
get any number of these commercial alternative bands now,
even the harder bands, and a lot of their content is about
searching for self-esteem or dealing with heavy issues like
suicide. but they never get criticized for the content of
their songs! it's only women, and particularly women with
acoustic guitars, who get criticized with that. so you
know, when i see a woman picking up an acoustic guitar,
i'm like, 'more power to you.' "


their seventh full-length album, "come on now social" is a
powerful, possibly perfect album, and represents a pivotal
turning point for the multiplatinum-selling,
grammy-nominated duo. famous for their acoustic, swooning,
harmony-laced ballads, saliers and ray decided to get
plugged-in, richer in instrumentation and more diverse this
time around, enlisting producer john reynolds, sinéad
o'connor's backing band ghostland (of which reynolds is
drummer), and an impressive roster of guest stars, including
sheryl crow, meshell ndegéocello, and kate schellenbach
of luscious jackson. "we're fans of all those people who are
on the record," saliers gushes, "and to have legends from
the band like garth hudson and rick danko--to be able to
work with rick before he passed away, i just can't put that
into words. or sitting in the control room and seeing joan
osborne coming up with her own vocal parts on your
songs--it's pretty awesome."


while the shift in musical direction has been likened to a
stylistic gamble in some critics' estimations--a successful
gamble that could rope in fans heretofore wary of lesbians
with acoustic guitars, it should be noted--saliers prefers
to look at it as a natural progression. "i don't think it
was a gamble," she explains.  "we were sort of going that
way. i was really enjoying playing electric guitar and amy
had written some prototype electric songs. the biggest shift
actually was working with a different producer and new
players. that was big, but it was great and the right time
to make a change."


"i think the songs are really different from each other,"
she adds of the album's content. "you have a couple of
appalachian-type songs, pop songs, ballads, [and] rock
songs, so i think there's a lot of variety within the
record."


there's also, as one would expect, a fair share of politics,
although they've never been this sublimely and expertly
honed. and that's saying a lot, considering how the indigos
were already deities of their genre.


"i think when you're trying to craft a song, make a song a
good song, you start out with your emotional reaction to
something, which is always how amy and i write," saliers
explains. "we write about things that have been plaguing us,
or we've been thinking about. then you try to make the song
as powerful as possible in terms of craft, and when you do
that, a lot of times you might end up making something more
sublime or poetic or think of a way to make the words rhyme
that just has a greater impact. it depends on the song,
though, because other times the best way to say it is just
to say it out simply and say it straight. but amy and i are
very political people; we're activists, and these are just
things that concern us, so when we go to write songs we
just can't get around wanting to write about material that
often ends up being serious."


saliers admits that the celtic/country-tinged "faye
tucker," a rumination on the first woman executed in texas
since civil war days and the opportunistic media fracas
that surrounded the affair "obviously brings a lot of
attention to itself because it's a very intense subject,"
she says. "amy and i are staunch anti-death penalty
activists. we get a lot of discussion about it." and songs
like the kickin' album kickoff, "go," the ultra-contagious
bruce cockburn-meets-u2 nugget "trouble," and beautiful
hidden track, "philosophy of loss," mix potent messages
into their shimmering streams of sound.


saliers reports they've never encountered pressure from
their record label to tone down or eradicate the
political/queer edge from their music (or beyond: the liner
notes for "social" include a list of resources related to
women, the environment and queers), although you never know
what gets whispered behind closed doors. "i think maybe that
stuff gets said behind our backs in the boardroom," she
admits, "but nobody's ever come to us and blatantly said,
'you need to do this or do that.' and, quite frankly, i
think we made it clear from the start that we just are who
we are and take it or leave it. we never tried to shape our
music or career in any way to make it more accessible or
make us more famous or more money. we're pretty much coming
from the same place that we did 15 years ago when we were
just a bar band."


saliers and ray first met as kids in a decatur, ga.,
elementary school. by 1981, they laid down their first
tracks, and experimentally dubbed themselves "the b-band,"
and, more austerely, "saliers and ray." the indigo girls
officially came into being in 1985, following a brief
separation and reconvening at emory college. their
eponymous major label debut hit the racks in 1989, and has
since approached double-platinum status. not bad for a
couple of lesbians with acoustic guitars.


an admitted groove addict, "come on now social" finally
allowed saliers to get her own on. "having meshell in the
studio was so funky and so great," she beams. "i have a lot
of soul inside me i'm not allowed to express the way i'd
like to. but i grew up on jackson 5, and my coming-out
songs were chaka khan songs, you know? 'ain't nobody' and
'i feel for you,' stuff like that, so i love that kind of
music and anybody who can help me get closer to that, i
invite into the studio."


as for whom saliers invites into bed, she's shacked up in a
"committed relationship," while ray has her own girlfriend.
so no, the two aren't a couple. "we never have been and
never will be," saliers assures without even a modicum of
dubiety. "it's just we're so different. but we're really,
really good friends; we're like sisters. i admire amy so
much and think she does such good work," she effuses. "we
have a kind of relationship where i'll call her up and ask
how that's going even though i really have nothing to do
with it. and if i've got big things going on in my life she
calls and checks in with me. it's a very strong friendship,
and then usually when we go home we just go our separate
ways and then we'll miss each other and then when we see
each other again it's great."


saliers will be seeing plenty of ray throughout this summer
as their exhaustive tour takes them from atlanta to
hollywood. beyond that, it's all a big unknown, but saliers
is willing to ponder. "it's such a mysterious continuum,
you know?" she says. "i think, musically speaking, playing
with new band members has been a really good decision. as
far as personally, we have two records left in our contract
and it remains to be seen what happens after that. we may
go independent. amy's much more leaning that way, so we'll
have those discussions when the time arises, and that might
be a pivotal point. this is sort of like a fickle business
and i feel grateful we've been able to have a career for as
long as we have, and i have to say that we're probably
approaching somewhere near the twilight of our career. but
i just take one day at a time."


the indigo girls are currently on tour and will play at the
house of blues in west hollywood july 27 and 28. for ticket
information, call 323/848-5100 or see www.hob.com or
www.indigogirls.com .


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


date: fri, 14 jul 2000 01:17:18 -0400
from: phillip soloweszyk <psolowes@home.com>
subject: [ig-news] webcast later today..


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

hey y'all!

i just wanted to drop a note and remind everyone that the official site
has a webcast listed for today, the 14th of july.  i don't know what,
when, where, or any of those details, so hit the site,
www.indigogirls.com for more info as i am sure it will be available later
today!

happy webcasting?lol

love,
phillip

"..here is my secret, a very simple secret:  it is only with the heart
that one can see rightly; what is essential is invisible to the eye."
the fox, the little prince - antoine de saint exupery

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


date: thu, 13 jul 2000 20:29:50 -0700
from: melissa gordon <gordonm@lvcm.com>
subject: [ig-news] ig in seattle post-intelligencer


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

indigo girls plan lively show; solo albums may be in future for both
friday, july 14, 2000


by gene stout
seattle post-intelligencer pop music critic


after years of thinking about it, indigo girl amy ray has finally decided to
record her first solo album.
"it's kind of punk in sentiment," ray said in a phone interview. "it's very
low-budget, and it's mostly electric."
though ray and emily saliers formed indigo girls in the early '80s, neither
has ever stepped away from the super-popular folk-rock duo long enough to
record a solo album. ray will return to the studio this summer and fall to
finish work on the untitled record produced by david barbie of sugar.
"i've wanted to do it for a long time. it's amazing how long it takes to get
things done," she said.
saliers also wants to record a solo album.
"we both like the idea of doing things individually because it helps us as a
duo. it just brings in new information, new ways of looking at things," ray
said.
the duo's sold-out concerts tonight and tomorrow at pier 62/63 won't include
any of ray's new songs, but ray and saliers plan to perform about half the
songs on their current album, "come on now social," as well as such fan
favorites as the anthemic "closer to fine," the duo's breakthrough hit of
the late '80s.
"we come out and do the song alone now, without the band, and everyone in
the audience sings along," ray said.
the show includes a complete version of the song "go," which for years has
been little more than a spirited chorus added to other tunes in concert.
ray finally finished the song earlier this year.
"i just couldn't finish it for some reason," ray said.
"and then we did this high school tour and a few shows were canceled because
the parents found out we're gay and didn't want us to be at the schools.
there was a huge uproar and the kids protested and staged these walkouts. it
was very inspiring to me. so i finally finished the song on the heels of
that."
backing the duo in concert are blair cunningham on drums, carol isaacs on
keyboards and accordion, clare kenny on bass and matt brubeck on cello.
ray and saliers also plan to jam with their opening acts -- r&b, hip-hop and
reggae band spearhead and singer-songwriter rose polemzani, an artist on
ray's 10-year-old daemon label.
"she's an incredible, unbelievable songwriter," ray said. "her music is very
dark, almost leonard cohen-esque."


the indigo girls set includes a version of "midnight train to georgia"
featuring the singers from spearhead.
"they're incredible vocalists, so it's really a killer song," ray said. "and
they're a great band to go on before us. they get everyone up and totally
dancing."
ray will return to seattle in the fall to deliver a keynote speech at the
rockrgrl music conference 2000 nov. 2 to 4 at the renaissance madison hotel.
the women's music conference will be presented by rockrgrl magazine, based
on mercer island.
it "seemed like a great thing," ray said, "because we're in the midst of
this lilith fair backlash; women have suffered a lot in the last year
radiowise and industrywise.
"when women start suffering a backlash, it means that we have to build a
community and help each other out. because if we don't, no one else is going
to."

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


end of ig-news-digest v3 #122
*****************************


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