lifeblood: songs: backgrounds: compromise
amy ray quote from 1999-10-01: indigo girl, the duke chronicle:
you were in cuba in march and worked on "compromise" there, didn't you?
"we did it as a musical exchange. someone asked us to go down there, and it was the best opportunity to go to cuba legally, basically, and have free rein of all these musicians and art. [then] we did a kind of a latin version [of "compromise"] with a band down there. i recorded it on a dat player. you're not allowed to use any of the recordings you get down there because of the embargo. you can release them on computer."
how about putting that on mp3?
"i have to go listen to it because i don't know how [good it is]."
amy ray quote from 1999-12-17: transcription, yahoo chat:
"oh, boy, that's a really complicated song for me to explain. so... i took the relationship between two people where their sort of paths in life are not politically opposed to each other, but the way they achieved their goals sometimes are in conflict with each other. and i used that as a metaphor for what i consider to be some of the bigger issues of the world, with references to sweat shops, patriarchy, anthropology and environmental devastation. but in all those things, saying to the person that i'm talking to, that i understand that the way we're going about these things is different, but i need that person."
emily saliers quote from 2012-08-27: q&a: emily saliers, theater jones performing arts news:
you have used symphonic instruments in a number of recordings, such as the intro to the song "virginia woolf." how did you decide which songs to arrange for orchestra?
there were a couple of amy's songs that she wanted to do that she changed her mind about. there's a song, "compromise," a short rock song, it was really going out on a limb with the arrangement, which was awesome, but didn't work out.
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