Amy Ray - Biography
Amy Ray has been a transformative presence in the American music scene since the 1980s. In 1984, she co-founded the Indigo Girls with Emily Saliers; together, they redefined the genre of folk. Ray, in particular, spiked the punch with a particular brew of post-punk brio, and there wouldn’t be an Ani Difranco – or for that matter, a Sheryl Crow – without her. The Indigo Girls’ debut album was Strange Fire (1989 Epic), which was recorded in 1987 and self-released, then re-released in 1989 once the group got signed to a major label. Saliers handled the more introspective songs, with clear debt to the delicately contorted, askance work of Joni Mitchell; however, Ray was the scrappier of the two, and had an obvious indie-rock influence, often attacking the acoustic guitar in a decidedly aggressive manner. Their second album, the eponymous Indigo Girls (1989 Epic), was a wonderfully vibrant and remarkably mature effort; it refined the dynamic between Ray and Saliers and was a runaway hit. It went to #22 on the US album charts and won a Grammy. The next two albums were Nomads Indians Saints (1990 Epic) and Rites of Passage (1992 Epic). These had a heightened sense of the sacred, as Ray and Saliers scrutinized and dissected topics of spirituality and faith, strength and resilience, loss and hope. Rites of Passage was remarkable for its expanded instrumentation and sophisticated production, but the pair never lost sight of the warm, organic flow that made their work so immediately compelling. With Swamp Ophelia (1994 Epic), the duo reached new levels of emotional complexity songwriting. Ray and Saliers teamed seamlessly to project lush visions of heartbreak, faith, strength, decay, and, ultimately, regeneration, especially on the tracks “Least Complicated” and “This Train Revised.”
Any doubts that Amy Ray was the rock ‘n’ roll backbone of the Indigo Girls were promptly dispersed with the release of her first solo album. Stag (2001 Daemon) was a bracing jolt of punk inspired whiplash, with an unlikely, nitro-injected oomph of Dixie-bred Southern rock. She teamed with longtime punker pals the Butchies on several tracks; there were also appearances by 1945 and the Rock-a-Teens. In a especially effective collaboration, Joan Jett was all over the virulent rocker, “Hey Castrator,” alongside Josephine Wiggs from the Breeders and Kate Schellenbach from the Beastie Boys and Luscious Jackson. Stag careened effortlessly through genres, and it sounded like a liberating blast for Ray. She followed it with Prom (2005 Daemon), which took an even deeper plunge into Southern Americana and clear-eyed nostalgia. That was quickly followed by the ace concert recording, Live from Knoxville (2006 Daemon), in which she was backed by the Butchies and Tara Jane O’Niell; her fourth solo effort, Didn't It Feel Kinder (2008 Daemon) was another roots-based barnburner.
After a three-year hiatus following Swamp Ophelia, Ray returned to the Indigo Girls and released Shaming of the Sun (1997 Epic), in which she and Saliers adopted a more subdued approach, allowing stark melodies to stand unadorned. Wary of repeating themselves, they decided to experiment on their next release, with invigorating results. Guest artists on Come On Now Social (1999 Epic) included Sheryl Crow, Joan Osborne, Me'Shell Ndegeocello, Kate Schellenbach, Garth Hudson from The Band, Natacha Atlas, and members of Sinéad O'Connor's backing group, Ghostland. In 2003 the duo returned to producer Peter Collins in order to better capture the introspective mise en scène of their earlier work. While Come On Now Social was a guest-filled romp through a variety of genres, Become You (2003 Epic) was a simpler and more harrowing view of failed relationships, lost love, social injustice and various recriminations. Ray contributed some remarkable tracks, most notably “Moment of Forgiveness” and “Bitterroot.” Several more decisive albums continued in a similar vein, including All That We Let In (2004 Epic) and Our Differences (2006 Epic). The latter was a critical triumph, hailed by the press for its resolute craft, exquisite songsmithing, gorgeous instrumentation, and fearless creativity. As usual, Saliers and Ray perfectly compliment each other’s strengths, as they put forth vivid, detailed imagery. Unusual guest appearances by artists including Pink are a testimony to the strength and coherence of Amy Ray’s prescient vision.
