1200 CURFEWS

Indigo Girls: Emily Saliers (vocals, acoustic & electric guitars, dobro); Amy Ray (vocals, acoustic & electric guitars, mandolin, melodica). Additional personnel: Gail Ann Dorsey (vocals); Jerry Marotta (vocals, saxophone, drums); Jimmy Descant (electric guitar, background vocals); Michelle Malone (mandolin, background vocals); Scarlet Rivera, Sheila Doyle (violin); Jane Scarpantoni (cello, pennywhistle); Sara Lee (pennywhistle, bass, background vocals); Sandy Garfinkel (harmonica); Michael Lorant (tambourine, background vocals); Gerard McHugh, Dede Vogt, Russell Carter (background vocals). Producers: Indigo Girls, Russell Carter, Jerry Marotta, Richard Winn, David Kehrer. Engineers include: Don McCollister, Fred Derby, Tchad Blake. Recorded between 1982 and 1995. Includes liner notes by Indigo Girls, Steve Morse and Russell Carter. The idea started off simple enough--record a couple of the Indigo Girls' better shows, and release a live album. Well, 1200 CURFEWS later, this celebrated acoustic duo has released a double album, chock full of exceptional live performances from a wide variety of settings. And they're not all from the stage either. "Thin Line," a modest little gem of a song, was recorded in the dressing room of the Santa Monica Civic Center. The majority of tunes on this formidable set were, however, recorded on stage, and the Girls deliver on all fronts. We get raw emotion, shimmering acoustic hooks and plenty of straight-up, honest music. The Indigo Girls rarely use any percussion, and are happy to present their songs with bare-bones arrangements. The aforementioned "Thin Line" is a perfect example. As Amy Ray starts off with her powerful, deep voice and deliberate phrasing, Emily Saliers joins in with her trademark harmonies. She expertly rides a few notes above, or sometimes right alongside, her partner. The effect is mesmerizing. The band also gives Buffy Saint Marie's "Bury My Heart At Wounded Knee" a go, and they achieve a haunting rendition of a timeless protest song. Another highlight is "Jonas And Ezekial," a bluesy, tightly-wound exploration of heaven and hell. "Every devil I meet is an angel in disguise," sings Ray. As they often do, these two fine musicians build to a harrowing climax, where they are wailing in a mesh of layered harmony and perfect vocal counterpoint. This is a great live act that has recorded an immaculately-mixed two-disc set. Loyal fans as well as newcomers should be more than satisfied.