While they came into prominence as part of the late-'80s folky
singer/songwriter revival,
the Indigo Girls had staying power where other artists from the same era quickly faded. Their two-women-with-guitars formula may not seem very revolutionary on paper, but the combination of two distinct personalities and songwriting styles provided tension and an interesting balance. Emily Saliers, hailing from the more traditional
Joni Mitchell school, had a gentler sound, was more complex musically, and leaned toward the abstract and spiritual. Meanwhile,
Amy Ray drew heavily from the
singer/songwriter aspects of punk rock, citing influences such as
the Jam,
the Pretenders, and
Hüsker Dü for her more abrasive and direct approach.
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While they came into prominence as part of the late-'80s folky
singer/songwriter revival,
the Indigo Girls had staying power where other artists from the same era quickly faded. Their two-women-with-guitars formula may not seem very revolutionary on paper, but the combination of two distinct personalities and songwriting styles provided tension and an interesting balance. Emily Saliers, hailing from the more traditional
Joni Mitchell school, had a gentler sound, was more complex musically, and leaned toward the abstract and spiritual.
Meanwhile,
Amy Ray drew heavily from the
singer/songwriter aspects of punk rock, citing influences such as
the Jam,
the Pretenders, and
Hüsker Dü for her more abrasive and direct approach. In a decade-plus of recording, they managed to garner respectable mainstream success and keep their rabid core following.
Amy Ray and Emily Saliers first took the name
Indigo Girls while living in Atlanta in 1985, although they had been performing together since the early '80s, at times under the name the B-Band. In 1986, they recorded an independent self-titled EP and followed in 1987 with the full-length Strange Fire -- only 7,000 copies were pressed and very little interest was generated. Things changed quickly in 1988 when, in the wake of the success of
Suzanne Vega,
Tracy Chapman, and
10,000 Maniacs, they seemed to fit nicely into "the next big thing." Epic Records was quick to sign them.
Indigo Girls, released in 1989, was an excellent national debut. A guest vocal by
R.E.M.'s
Michael Stipe ("Kid Fears") gave them initial college radio credibility and the single "Closer to Fine" was a hit -- the album eventually broke the Top 30 and earned a Grammy for Best Folk Recording that year. By the end of 1991, it achieved platinum sales. Strange Fire was reissued in the fall with a cover of "Get Together," replacing one of the original tracks.
The follow-up, 1990's Nomads Indians Saints, didn't fare quite as well. It was nominated for a Grammy and eventually reached gold status, but the material wasn't nearly as strong. A live EP, Back on the Bus, Y'All, was released in 1991 while they regrouped. It was also certified gold and was nominated for a Grammy.
In spring of 1992, they made a comeback with Rites of Passage, which debuted at number 22 and went platinum by the year's end. The album showed an increasing diversity and some of their strongest songs to date. Almost exactly two years later,
Swamp Ophelia was released and entered the charts at number nine; it went gold by the end of the year. A double live album, 1200 Curfews, was released in 1995 and the much awaited follow-up to
Swamp Ophelia, Shaming of the Sun, followed in 1997. The duo's next effort,
Come on Now Social, appeared two years later.
2002's
Become You was stripped down in comparison to the orchestration of
the Girls' more recent work, and 2004's
All That We Let In was generally regarded as their strongest album in years. A rarities set appeared the following year, marking Saliers and
Ray's two decades together as
Indigo Girls, and their last for Epic. Shortly thereafter, Saliers and
Ray signed a five-album deal with Hollywood. The Mitchell Froom-produced
Despite Our Differences followed in September 2006. ~ Chris Woodstra, All Music Guide
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