Indigo Girls Album: “Come on Now Social”

At first listen, "Come on Now Social" is quite different from previous albums, but consistent with the progression of the Indigo Girls. Ten years have passed since the release of their debut, but their music remains true to the core. Amy and Emily bring different elements to each album, but the end result is always new and different. Clearly, they are not afraid to experiment.

Their latest album showcases their ability to alternate between the driving guitars of "Go" and "Compromise", the sweet harmony of "Soon to be Nothing" and the classic acoustic "Ozilline."

While the sound is a bit different, their abilty to rock has never been doubted - whether on an acoustic or an amped-up electric guitar.

Musically, they expand their horizons with each new album. "Come on Now Social" finds Amy and Emily experimenting with the banjo, the mandolin, the bazouki, electric guitars, electric slide guitars, and the classic acoustic guitar.

Those of you lucky enough to hear their live performance on NPR's "World Cafe" know that they still have the ability to perform stripped-down, acoustic versions of their newest songs. I hope to catch a live show if they ever return to Alaska.

P.S. "Go" isn't that new. Check out the hidden track on 1200 Curfews - disc 2. I thought the chorus sounded familiar...

The fifteen-year career of the Indigo Girls is like a math theorem. From clear and stripped-down acoustic guitar beginnings, their seven full-length releases present a logical progression of musical growth, culminating in the realm of Come On Now Social. But just as a calculus proof might stump a student who skips the middle steps, jumping into Social from the campfire days of "Closer to Fine," one would hardly recognize this band as the inspiration for broken-twig marshmallow roasting sessions. Depending on the audience's ability to grow, tolerate, and adapt to the duo's organic experiments, some older fans may sense the threshhold of alienation on their latest. Amy Ray and Emily Saliers continue their evolutionary path on Social, all but abandoning their former band in favor of Sinead O'Connor's former British tourmates. The results are initially intriguing, like the Girls' previous Swamp Ophelia effort with subtle world-beat additives for a smoother ride. Amy Ray's punkish "Go" opens, an unusually aggressive move for a band that just two albums ago seemed headed for the fading void of adult contemporary rock. Following is Emily Salier's most poignant and crafted acoustic offering to the project, "Soon Be To Nothing." With a natural lyrical flair, Saliers touches hearts in the face of inevitable heartache: "You tell me it's temporary it's just a matter of time/By God don't you think I know what's in my mind/It's right over left and healing and then/I'll soon be to nothing but I don't know when."

After just three songs, Ray throws an alt.country loop, twanging away on "Gone Again" like so many former Uncle Tupelo vocalists. While irresitably charming with her southern twang, the songwriter surprisingly uses Australia's Kakadu National Park and various big-city landmarks down under as the backdrop to amorous adventures (for anyone familiar with Kakadu, it fails to rank among the word's most romantic locations). The song also marks longtime prolific drummer Jerry Marotta's only appearance. Other significant numbers are Saliers' feel-good "Peace Tonight," simultaneously appealing and forgettable (and the first single), and the punk rock-fest feel of "Compromise," where Ray musically exposes her lifelong love for Husker Du. In fact, if not for Ray balancing Saliers' contemporary adult tendencies, Social would hardly leave an impression to first-time fans.

A few differences from previous efforts: the Girls' characteristic harmonizing vocals take a backseat to the new collaborative band sound, as does Saliers' masterful guitar solo, which on past efforts substantiates some of the more profound moments of her work. Social also features a rotating panel of guest vocalists, including Sheryl Crow, Joan Osborne, and Me'Shell Ndegeocello, among others, though none leave a significant impression with their presence.

The Atlanta-based group has unquestionably evolved artistically over their decade in the spotlight, and while Social logically follows the evolution from previous studio release Swamp Ophelia, those left off the loop for a couple of years may be surprised at the manifestation of Amy Ray's punk influences. These are not your camp counselor's Indigo Girls, but a fine effort for longtime fans. ...

I never thought Shaming The Sun was as bad as everyone else made it out to be. So it stands that I didn't think 'Come On Now Social' was the redemption everyone else thought it was. That said, however, this effort has some GREAT stuff! And it may be Amy Ray's best outing...'cept maybe 'Become You', which is even better than this disk!

Much has been made of Amy's opening track, 'Go'. It rocks, it kicks ...and it starts the CD off with a bang. But 'Gone Again' is the most infectious song of the lot. Great melody easy and fun to sing. 'Ozilline' is probably one of Amy's finest songs. Great accessible lyrics that are universal yet not cliched (or if they are, they're used in unique ways).

'Sister' is haunting and 'Compromise' blows the foam off your speakers. Its a dry run for her stint with the Butchies a year later, which culminated in her raw solo album. Many have ballyhooed the vocal coda of 'Faye Tucker', but I think it is every bit as haunting as the guitar effects on 'Sister' and fits the dark mood of the song well.

So there you have it, great stuff from Amy...one of her most consistent efforts. This LP, and its follow-up 'Become You', plus her solo disk, Stag represent a highpoint of Amy's career.

For Emily, whose lyrical dexterity usually carries the duo's CDs, this effort has some hits and misses. 'Trouble' is grating to listen to. Its yet another yep-I'm-gay-whatcha-gonna-do-about-it song. I respect the subject matter but its been addressed on other outings and more successfully (try 'Its Alright' on Shaming the Sun). 'Soon to be Nothing' is standard Emily, nothing more. Same with 'Peace Tonight'. Then she hits two homers with 'We Are Together' and the superb 'Cold Beer and Remote Control'. Just as 'Virginia Wolfe' was a revealing look into a young woman's soul, CB&RC is a to-the-bone analysis of a thirty-something couch potato (like myself)...her best of the disk. Andy is a wallow on a back Georgia road...necessary after the pounding fury of Amy's 'Compromise'.

Contentwise, the disk is a pleasure overall. And I play it quite frequently. Ranks in the upper 2/3s of the IG discography.

Two gimicks, though, detract. I thought the over abundance of guest appearances was unnecessary. Or at least the overbearing advertisement of em were. I don't know how much influence the Grrls had on that marketing decision, but it didn't sit well. The other gimmick was the ubiquitous 'bonus track' tacked on to the end of Faye Tucker. I won't go into too much detail, as they are supposed to be a surprise. One is a Saliers toss-off that was probably written 15 years ago (its very cute, though), the other is a reprise of another song on the album - that I don't think should be a bonus, but a legitimate part of the album. I'm glad they're there, but the advertisement of '2 bonus tracks' was unnecessary.

Bottomline: Great work. Get Rites of Passage and Nomads Indians and Saints first...then I'd say you'd do well to make this one of your next purchases.

I've been a fan for six years now. Shaming of the Sun is easily their strongest, most dynamic album. Swamp Ophelia is their least accessible. But they are all fine. I interviewed Amy for my university newspaper a week and a half ago. She was all one might expect - intelligent, intense, focused, fun. The show was last night - the first I've ever seen them live. I've never danced so much in my life. Nor have I ever shouted and sang so loudly. I was just about bursting out of my skin and vocal chords during Shame on You. They didn't play my two absolute favorites, though - Nashville and Hey Kind Friend. But the show was a raging party, as is the new album.

Come On Now Social is sometimes incredibly somber, sometimes seething, sometimes jubilant. It's similar to Swamp Ophelia in that it takes a little getting used to, but why shouldn't good music take a little time for itself? Go and Trouble and Sister are the highlights. I was and am, like my brother, disheartened to see all of the new musicians populating the record and the live show. I want Sara Lee back. But I understand the desire to mix things up. This album marks a pronounced reinvention of the Girls. And nothing less than stellar. Enjoy...

I've liked every album the Indigos have ever done. I have a hard time deciding which one is my favorite, so i guess I consider them all put together as one big box set. This one impresses me so much for one very big reason: Amy really shines on this one. It was getting to the point where a lot of people were noticing a widening margin of talent between Emily and Amy (Emily being the superior musician and songwriter). But here we witness an improvement in Amy's ability to write and perform, and her songs on this album have closed that gap a bit. I hate to make it out like it's a competition, but these two make it a point not to co-write songs, and so the comparisons are bound to surface. Because of the parity in the song quality, the continuity from song to song is very smooth, and it never has me reaching for the "skip track" button. One of the very best albums of '99....and maybe their best effort yet, all things considered.