It was the beginning of a few albums of abberrations for the Indigo Girls - most resulting in some winning, very good songs, and some less winning, not so good songs. That doesn't all add up on Shaming of the Sun, famous for being the first "mostly electric" album the girls had made - Amy's rock number "Scooter Boys" scatters her "blood of the Indians" chest-thumping a little too liberally, and "Cut it Out" strains at the sensuality of hard rock. But certain new attempts are outstanding - "Leeds" is packed with Emily Sailers' poetic dissections as usual, but set up as a piano ballad, it's strikingly original. "Caramia" may be the most theatrical ballad the band's created, but it's also amongst the most striking and heartfelt. And the single "Shame on You" is the sort of fun, pop-radio single the girls had seemed to be striving for ever since "Closer to Fine," but it's actually much better - it's nimble, sexy, and even a little politically furious. It's everything the Girls strive for - and sometimes succeed at.

The Indigo Girls, I think, hit their pinnacle with Rites of Passage. It would seem that the craft of the song has some to do with the meter and control of the introspection. I don't feel I learn anything new from listening to the recent CDs of the Indigo Girls, but they still have a remarkable and unique sound that puts them high on the music food chain. Even if their whining about not being taken seriously as artists is a little annoying considering the huge following they have and will continue to have in the future.

Well, if you are new to the Indigo Girls, check out any of their albums. You might like what you hear.

Amy Ray's affection for three-chord songs (usually in a I-IV-V pattern) unfortunately culminates on this album with "Shame on You". The fact that the song exhibits electric guitar isn't so much of a surprise; "Touch Me Fall" from the album "Swamp Ophelia" demonstrated a willingness to break from the limitations of acoustic sound (as does "Ophelia's" album sleeve, showing a smashed acoustic). While one could argue that Ray's songwriting skills have always been more raw, emotion-laden, and simple, it appears to me that the long-term effect this has had on their albums has been a gradual separation in the quality of the songwriting between Ray and Emily Saliers. Saliers maintains reasonably well here, with contributions such as "Leeds", "Burn All the Letters", and "Everything in Its Own Time". As a result, there is a schism between the two's compositions. Without a doubt, their diverse approaches were obvious from the outset, but Saliers' superior instrumental skill and thoughtful lyrical talent simply outstrips the considerable emotion Ray brings to the album. (A telling detail is chronicled on "1200 Curfews" where Amy insists that guitar lessons are not necessary -- a true statement, but sadly, reflecting an approach that has given her less longevity as a quality songwriter.) All in all, "Shaming of the Sun" is a decent album, but mainly because Saliers shoulders the load.

This album has often been referred to as one of the weaker Indigo Girls albums, and I have to admit that I tend to agree on this; but since there are no really weak albums by the duo, maybe it doesn't really matter that much.

The problem may be that many tracks, though seperately fine songs, do not seem to have the quality that make you remember them and want to hear them again. And generally this is probably the least melodic Indigo Girls album; it is also among the most electric, with electric guitars and drums on most tracks.

The albums starts off greatly, though, with one of their coolest rockers, "Shame on You", written by Ray. The opener is followed by another highlight, Emily Saliers' melodic "Get Out the Map".

There are obviously other solid tracks, but apart from the two first none really stand out.

On second thoughts, "Don't Give That Girl a Gun" and "Everything in its Own Time" also deserve to be brought out.

Though not their best album, still an important and appreciated release.

This is one of the best IG CD's I have heard in some time - the last few were good, but weak overall. This one seems to combine a lot of elements that got the IG to where they are today with more modern sensibilities. They are never afraid to approach an issue or 2, however this CD does not get bogged down with a lot of 'emotion wrenching' stuff (sorry, fans) - they seemed to have focused on making more 'publicly appealing' stuff, however sticking to their guns (no sell out here at all!). Overall, a great CD to add to your IG collection, empty or not!