lifeblood: listlogs: 1998v01n182-news

ig-news-digest      saturday, september 12 1998      volume 01 : number 182

today's subjects:
  [ig-news] sst review in the village voice  [dozy 411 <>]
  [ig-news] from           [deb <>]
  [ig-news] suff review in ny times           [andi <>]


date: fri, 11 sep 1998 16:37:53 pdt
from: dozy 411 <>
subject: [ig-news] sst review in the village voice

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

i don't know if anyone posted about this, and i would type up the whole
thing, but i ripped out the page and i'm not sure where i put it
in my packing mess. but from the page that is still there partially
intact i know it was page 132 in this weeks voice.  check it out...
maybe someone who has a copy wants to type it up....

aim: stgnyc

get your private, free email at

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date: fri, 11 sep 1998 10:52:37 -0400
from: deb <>
subject: [ig-news] from

><<the suffragette sessions
>irving plaza, new york, sept. 3, 1998
>on paper, the suffragette sessions tour was an ambitious idea from the start.
>as a sort of art-house, how-much-more-alternative-can-you-get alternative to
>the commercial monster that is lilith, suffragette was the brainchild of
>lilith veterans emily saliers and amy ray of the indigo girls. the idea was
>for a communal affair in which everyone involved -- no matter how obscure
>their name or inaccessible their music -- got equal stage time. and the
>girls, to their credit, walk a delicate line between running the show and
>pretending to be only a small part of it. but no matter how utopian the idea,
>the result is sort of like being forced to take your medicine. you know it's
>meant to be good for you, but it's not always easy to swallow.
>the entire cast, if you will, consisted of about twelve musicians from
>musical backgrounds. the indigo girls, known for their breakthrough style of
>folk & roll, were the most famous. kate shellenbach represented luscious
>jackson's brand of punk meets funk. lisa germano added a heavy dose of the
>singer-songwriter vibe, marked by a vulnerable sincerity that seemed to say,
>"if you hurt me, it's your loss." lourdes perez, a latin-american singer,
>performed songs in spanish and gene smith performed (gasp) spoken-word
>smith, in a nutshell, sort of represented everything that could and did go
>wrong with the equal-opportunity format of the evening. why is it that no one
>can parody spoken-word artists as well as the artists themselves? smith's
>rants, accompanied by thalia zadek's screeching guitar feedback, were flimsy
>chronicles of (what else?) dysfunctional families treated with a disingenuous
>touch that probably had virginia woolf rolling in her grave. one audience
>member asked out loud, "now what? interpretive dance?"
>if smith represented the evening's nadir, perez provided the most refreshing
>diversity. her deep voice and dramatic phrasing reminds one that even opera
>was once a folk art. one of the show's highlights was a swift, upbeat version
>of the indigo girls' normally staid "power of two" during which perez traded
>spanish lines with saliers' english. gail ann dorsey, a sometime back-up
>singer for the indigo girls on tour, also wowed the crowd with a voice that
>was equal parts soul, folk and gospel, similar to tuck and patti but without
>the schmaltz. and when she broke into the unmistakable opening bars of david
>bowie's "ziggy stardust," she revealed herself as a bona fide hipster to
>in the also-ran category, tracy bonham failed to leave much of an impression
>with her solo violin improvisation, while jane siberry was more notable for
>her stage presence and enthusiasm than for her music, content to contribute
>her talents on piano, accordian and vocal harmonies to the works of others.
>come's zadek added an alt-rock flavor to the night with her straight-forward
>strumming and rough-hewn voice. other musicians, including indigo girls and
>b-52s bassist sara lee and josephine wiggs of the breeders, seemed content to
>play supporting roles.
>given the range of eclectic styles covered in such a relatively short time,
>suffragette sessions packs a lot of artistic bang for your buck. it's a heady
>mixture to take in all at once, but it's ultimately a risky musical
>essentially gone right -- albeit a little sloppy and self-indulgent in
>jamie cowperthwait

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date: fri, 11 sep 1998 17:38:03 -0500
from: andi <>
subject: [ig-news] suff review in ny times

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

i haven't seen this article posted's from the ny times.  there was
also a picture of amy, emily, gail, & lisa.  i'm sure the article is
copyrighted or something like that.  i got it from


september 5, 1998, saturday
section: arts & ideas/cultural desk

pop review; when all you need is love, for starters

by jon pareles

the suffragette sessions tour, which wound up its itinerary at irving plaza
on thursday night, can't avoid comparisons to the lilith fair. it was
organized by the indigo girls, amy ray and emily saliers, who were part of
lilith this year; it was also a package tour of female musicians. but
unlike lilith, a day of performances by headliners and their bands, the
suffragette sessions was one cooperative set in which all the women shared
the stage, playing backup and singing harmony for one another. and the
performers generally had the spotlight for two songs each, regardless of
commercial status.

for diversity, the suffragette sessions outstripped lilith, though that
wasn't difficult; the music dared to be raucous as well as tender. along
with a plurality of guitar-strumming pop-folk songwriters, the irving plaza
show also included rockers (thalia zedek of come, josephine wiggs of the
breeders, and jill cunniff and kate schellenbach of luscious jackson); a
mexican-american singer performing in spanish (lourdes perez), and
alternative-rock's version of a beat poet, jean smith of mecca normal,
whose screeching guitar and spoken words, about strange journeys and
dysfunctional families, drew the show's only hostile response.

the two-hour set was a symposium on love: longing for it, accepting it,
abusing it, letting it go, wishing it could return. ''lie down in the fire
with me,'' urged the first song, luscious jackson's ''under your skin.''
the set moved between the simplicity of a lone guitar or keyboard to
steady-strumming folk-rock to the exuberant punk-pop of the breeders'
''cannonball'' and a song by the ko-stars, ''roll the dice.''

the indigo girls' songs, like ''power of two,'' were pep talks for lovers
on the verge, urging them to seize the moment and trust their hearts; fans
sang along as if they were anthems. gail ann dorsey, one of the tour's
utility musicians -- she sang and played bass, guitar and drums -- unveiled
amiable tunes about love's fluctuations, with daring melodic leaps and
metric shifts akin to burt bacharach. ''i love the drama,'' one song

ms. perez brought the ardent, near-sobbing tones of latin american ballads
to her songs, using her gutsy declamation to reminisce over lost love and
to praise women's power to nurture life.

ms. zedek's songs were more hard-nosed, vowing, ''you can't deceive me
she delivered them in a raspy voice that backed by the band's folk-rock,
surprisingly like bob dylan's.

rose polenzani sang a fragile, elusive waltz, ''or,'' about a woman
contemplating suicide, singing, ''i'll be the powerful one/ i'm ready to
leave all this wreckage behind me.'' lisa germano, with her voice low and
breathy and depressive, sang about loneliness and withdrawal from the
world, backed by modest piano parts that sounded like a little girl's
practice sessions. she also backed up other singers on fiddle, mandolin and

among all the thoughtful and exuberant voices, there was one sublime song:
siberry's ''love is everything,'' a hymn to love's power to heal and wound,
harmonized by the other women on stage. ms. siberry's other song was more
whimsical and visionary; the singer was a fisherman who had the whole ocean
as a lover. more than the individual songs, however, the suffragette
sessions was a tribute to teamwork and mutual appreciation.

it's hard to imagine an equal number of recognized male musicians sharing a
stage the same way.

buffalo daughter, from tokyo, provided a salutary jolt as the opening act.
two women on keyboards and guitar, backed by a male drummer, romped through
all sorts of propulsion, calmly ignoring categories and format divisions to
seize the power of repetition. they moved easily from rock marches to
frenzied punk-rock strumming to no-wave guitar noise, and they built
looping dance-music keyboard riffs into extended, kinetic grooves, although
the indigo girls' fans resisted dancing. now and then, the women sang in
sweetly deadpan voices; their version of a rockers' road song is about
laundry and vitamins, called ''socks, drugs and rock 'n' roll.''

smart, funny and unstoppable, buffalo daughter even had a love song,
blues,'' that carried beatles-style melody into a serene, electronic world
of its own.

                                  andrea lipman

                       "and when somebody knows you well
                      well, there's no comfort like that
                          and when somebody needs you
                well, there's no drug like that"-heather nova

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end of ig-news-digest v1 #182

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