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Joan Baez with Mary Chapin Carpenter and Indigo Girls Amy Ray
and i think i took what i think are good things from the church, and the gospel, and applied them to my life in a way that has worked for me. so i spent a lot of time at church, and went to church camp for about five years when i was becoming a teenager. and that’s, if that’s not spiritual, i don’t know what is. like when you read about woody guthrie — and i was talking to a friend out there about this — traveling around for one union, thing, event to another, and migrant workers, and all the things that were happening, and the music just being this thing that fueled all these stops. and i was just thinking yesterday, my — i’m getting married next week.” but it’s not, “this really describes what’s going on in the world,” and that sort of thing, because ….. tippett: and you think about — and i think about how music — you know, vincent harding, who was here, who’s a civil rights leader, talks about how civil rights activists — there was this aspect of singing the way to freedom as much as it was about politics and marching. i was 14 and we spent a year there in collegeville, minnesota.. tippett: so you two definitely are in this lineage of music and social justice, social healing, social activism. well, my dad is a methodist minister and a theologian and he taught at emory and candler school of theology. [laughs] i thought you maybe couldn’t pick between music and religion. with hits like ”passionate kisses” and “he thinks he’ll keep her,” she has won five grammy awards (with 15 nominations), two cma awards, and two academy of country music awards and is a member of the nashville songwriters hall of fame. ray and emily saliers of the indigo girls have been musical partners for 30 years. and did you take in some of that chant, some of that singing of the psalms? is so into the indigo girls, in fact, that he not only booked them alongside the likes of boys noize, the national and doomtree at his inaugural eaux claires music & art festival, but also asked them to perform their 1994 album “swamp ophelia” in its entirety. they’re known for their social activism on-stage and off, but long before they became the indigo girls, they were singing in church choirs. level of excitement and fearless creativity has been a common thread throughout mary chapin carpenter’s two-and-a-half-decade recording career, during which she’s sold more than 13 million records and developed a remarkably loyal and devoted international fan base. album was recorded atlondon’s legendary air studios, with a 63-piece orchestra, and a 15-voice choir. bands got their name: nick cave and the bad seeds.” i just want to ask you how each of you think about how music and music over time has formed your sense of what it means to be human, and maybe even who god is, the image of god.'s 440 gallery prepares to host a 'small works' exhibit, live music, poetry and theater. god bless the pope, who at least came out and said, “i can’t judge gay people.. saliers: i know, but i don’t hook into those songs the same way. “i grew up in a house where film soundtracks and classical music played constantly because my mother loved them so,” carpenter says, as a way to explain how she came to this project.. ray: i have this feeling of openness that lets the hate just go off, and i just feel love in the building. today, a conversation about music and god with amy ray and emily saliers — the musical duo the indigo girls. signed to epic records and emi music, they recorded indigo girls with producer scott litt at ocean way studios inl.. ray: yeah, but it’s not — it’s like, you go to an soa protest, and you’re like, what song should we sing? and i don’t think that any kind of music that is used to objectify or hurt any person or group of people, type of person, is a sacred practice.” those releases were followed by the massive commercial breakthrough of 1992’s come on come on, which was certified quadruple platinum and yielded no less than seven charting singles.
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Indigo summer: Amy Ray talks motherhood and fanboy Justin Vernon
. tippett: and you also spent some time at saint john’s abbey.. ray: well, it was a little bit different from emily, i think, in that it was a more conservative upbringing.. ray: they’re all great and i really felt that way. “in the mid 1970s, amy ray was a georgia tween plucking out partridge family songs on her guitar and dreaming of becoming david cassidy, the ardent teen idol who got all the girls. “and they’re still probably my favorite act of all time. i want to ask you how you start to see that trajectory of your lives, and how important that was when you were teenagers, in this big picture of how the world is shifting now, where we are now in 2013. the way, carpenter has won five grammy awards, was named the country music association’s female vocalist of the year in 1992 and 1993 and in 2012 was inducted into the nashville songwriters hall of fame. "even though it's a pop song," saliers acknowledges, "it's saying you're not gonna win this with a bullwhip or posing with your hands on your hips like mr. stones to release latin america concert tour documentary on dvd and blu-ray. “we go to the bible, we go through the workout, we read up on the revival, we stand up for the lookout. upon accepting the invitation, ray and saliers suggested enlisting carpenter as well. but i think — so i want to ask that question, but also as you reflect on that, i kind of sense for each of you that music was always in there, and maybe even justice and the arts in that way. and on the creative side, it's one they made far outside the confines of their established georgia comfort zone; differences was recorded over a speedy month-and-a-half this spring at veteran producer mitchell froom's home studio in santa monica, california. but what i was really used to was the other thing, which is, like, take what you can get from it, and that’s what you get.. tippett: how do you think about the line now for you between sacred and secular music? baez, mary chapin carpenter, and indigo girls (amy ray & emily saliers). so i think we’ve come a long way, and there’s the conversation. there’s just these moments, and it’s not the personality of the musicians anymore. “we really work hard to not lean on any tried and true path in making our albums,” says ray. and i’ll never forget that day, and then i’ll never forget my own journey of appreciating getting out of the head and getting into the body.. ray: oh, come on that’s a total — one of emily’s songs “hammer and nail.. ray: i mean, it’s hard to envision it, honestly, because there’s still so many areas and places where young people coming out, it’s so hard still. in contrast, the indigo girls stand tall, having earned the lasting respect and devotion of a multi-generational audience which continues to experience their creative evolution in the studio and on stage. i like that part of thought and organization and structure in religion. friendship between these four acclaimed artists began over twenty-five years ago when baez invited ray and saliers to perform at a 1991 benefit at the berkeley community theater for her human rights organization, humanitas. we had the kid first, and then — it doesn’t matter how straight people do it.” and we grew up in a very staid — all the hymns were — you could sort of picture white people sitting straight up. i find it to be all valuable in this really weird way, and i actually feel less judgmental when i’m in there, even if people hate me and are radically different from me. and also, as i read it, still before either of you had come out as lesbian to yourselves, much less to anyone else.. saliers: it’s interesting about that fear of the body, yeah.
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Indigo Girl Emily Saliers Goes Solo For The First Time | WABE 90.1 FM
the course of her distinguished career, mary chapin carpenter has recorded 14 albums and sold over 14 million records. their voices soar and swoop as one, alternately raucous and soothing.. saliers: i mean, i think it’s an excellent, excellent thing to think about and talk about.. ray: i know there’s so many of them, but i know the one that works for me. hear amy ray tell it, justin vernon might be a little off his rocker. so for me, like — i used to draw more of a line between what’s sacred and what’s secular. and so it’s like, how do we elevate those people? collaborating with composer/arranger and producer vince mendoza (sting, diana krall, elvis costello, joni mitchell) and working once again with co-producer matt rollings (keith urban, lyle lovett), carpenter’s new record harkens to her love of classic film and symphonic music. but that’s when language and imagery gets in the way. as much as i’ve been an activist and as much as i’ve been queer my whole adult life.. ray: there is a bit of a line for me, because i’ll write songs that are — i’ll write gospel songs that are more like appalachian mountain gospel songs.. ray: and there’s the web, the internet, which is — the interweb, which is awesome, you know? change is hard, and i feel like, since the beginning of human history until the end of time, we’re probably still all gonna have to be working on accepting those who are different from us, you know? together they write, arrange, record and perform music which over the course of twenty five years has become a vital part of the lives of their legion of devoted fans around the world, informing and rewarding them day to day.. saliers: but the point of it — yeah, it is a movement song. her compositions have also been covered by a diverse assortment of artists including joan baez, wynonna judd, cyndi lauper, trisha yearwood, maura o’connell, mary black and dianne reeves and has also collaborated, on record and/or on stage, with the likes of joan baez, shawn colvin, dolly parton, the indigo girls and tony bennett. into their career, the indigo girls still amaze conventional pundits with their ability to grow and thrive no matter what the state of the music industry is at any given point. and i know the word “spiritual” gets used a lot, and maybe we don’t even know exactly what it means anymore, or i don’t., she said, she learned not to let music take charge when it comes to juggling career and parenthood. addition to multiple tours of the us and abroad, the recent past has included the induction of joan’s 1960 debut vanguard lp by the national recording academy into the grammy® hall of fame and the presentation to her of the inaugural joan baez award for outstanding inspirational service in the global fight for human rights at amnesty international’s 50th anniversary gathering in 2012. so we would go to church and then we’d come home and ask a lot of questions — usually to dad. and there are lines in amy’s songs, like in “shame on you,” talking about immigration, and the line, “i think we were on the same boat back in 1864. these days, amy and emily see music and spiritual life intertwined in a way that can’t be pinned down. because we were classically trained, and we listened to a lot of classical music and jazz and stuff like that, i had an early snobbery about…. success followed with such albums as the platinum stones in the road, a place in the world, time* sex* love* andbetween here and gone. we were at an ecumenical community and i’ve always been — i like ecumenical environments, ‘cause we never had christianity shoved down our throats. she has lent her stunning soprano to the causes of civil and human rights throughout the world and is a recipient of a grammy award for lifetime achievement. they’re known for their social activism on-stage and off, but long before they became the indigo girls, amy ray and emily saliers were singing in church choirs. result reprises ten of carpenter’s songs inmendoza’s distinctively beautiful and cinematic arrangements—thus the album title that gathers them together—to give the listener the continuum of a film soundtrack, albeit an imaginary one. then he focused on church music and hymnals and things like that.