Published on Oct 4, 1999
The back photo of the booklet to the new Indigo Girls CD
Come On Now Social says it all. It’s a simple photo of Amy
Ray and Emily Saliers, standing in a cornfield — but for the first
time, they don’t look like twentysomethings with guitars. There are
lines around their eyes, honest lines, and something in their eyes
you might call wisdom. Welcome to middle age. But if you think
they’ve lost a step because of it, you have another think
coming.
For
Come On Now Social, the Indigos recorded with new studio
musicians including two members of Ghostland, Sinead O’Connor’s
Celtic-tinged backing band. The album was also produced by one of
those two, drummer John Reynolds, and his influence shows in the
punch of the percussion felt throughout the album. The past
muddiness that occasionally plagued the Indigos is gone; the sound
is crisp, clear, and complex, almost bracing in its diversity. The
Celtic sound of Reynolds and cellist Caroline Dale merges
seamlessly with the Indigos’ Southern and Appalachian melodies.
Politically, there are no apologies on this CD. It is
unabashedly activist and unswervingly opinionated; stands that in
the past have been veiled are fully out, if you’ll pardon the pun.
The CD booklet even includes a list of causes to support, and the
music demands action: “Go” is an anthem to the current generation,
a musical incitement to get off your ass and
do something. That hard edge continues in the martial
“Trouble”, the rich harmonies of “We Are Together”, the grunge
grind of “Compromise” with Me’Shell Ngedocello’s growling bass and
Kate Schellenbach’s (of Luscious Jackson) fierce drum line, and the
funny and sad “Cold Beer And Remote Control”, the kind of song
Bruce Springsteen could still write if he wasn’t so busy trying to
be Bob Dylan.
Come On Now Social also has a softer side, and it’s a
pleasure to listen to. “Soon To Be Nothing”; the rollicking
mandolin of “Gone Again”; “Ozilline”, a tribute to Amy’s
grandmother guest-starring Garth Hudson and Rick Danko of The Band;
and the dark, unsettling “Sister”.
A special nod has to go to “Peace Tonight”, with its swinging
horn section (yes, I said horns), a funny, touching love song in
the middle of this monolith of social consciousness. It’s a
desperately needed contrast, and it works.
Come On Now Social closes with the eerie, almost disturbing
“Faye Tucker”, the story in song of the first woman executed in
Texas since the Civil War. The haunting, wailing background vocals
of Arabic guest vocalist Natacha Atlas play up the bitter twist of
the lyrics (“If you live they’re gonna make you a campaigner / If
you die they’re gonna make you a grave…”), bringing a brilliant
piece of musical work to its end, the final coda and reprise of
“Sister” a shadowy punctuation and climax. (And yes, there’s a
hidden track. It’s nice, but nothing to write home about, and was
frankly anticlimactic. One small flaw in what is otherwise
perfection.)
This review has presented some difficulties in rating. I gave
Shaming Of The Sun an A- this summer, but
Come On Now Social is a marked improvement. Then again, if
the Indigos can get better, I’m not sure my heart could take it
anyway.