Ah, artistic license... This release was originally going to be titled
Songs From a Goat Path and then
In the Mean Time - so if you already have preordered either of those titles, this is the same recording!
We are more than thrilled that this is finally a reality - we've been waiting for an all-new recording from one of Women's Music's Most Talented for oh, about a decade now!
'I don't know what it's like for you but here's what it's like for me... I wanted to turn beautiful and serve Eternity and never follow money or love with greasy hands, or move the earth and waters just to make it fit my plans.'
Those lyrics are from a long-ago Ferron song on a different album... she has done it with her new release!
What you may be most struck with, as you listen, is the underlying sense of arrival, resolution, reconciliation and peace, from which her poetry now springs, perhaps summed up in the following lines from this new recording:
Hello my friends, I feel so happy to be back
To feel so clear and on the track, but it's more than that..
It's so much more than that.
____________________________________________________________________________________
Too Long In Exile
Reprinted from Penguin Eggs
After making Still Riot in Los Angeles for Warner Bros, Ferron figured she would never record again. Well, she finally made a superb new disc in a Bed & Breakfast on tiny Saturna Island that brings her music full circle - a welcome return to its acoustic roots that once held North American critics enthralled. Ferron has a tale or two to tell, for sure. Roddy Campbell is all ears.
The stereo speakers stir gradually. An acoustic guitar settles on a gentle pattern. A brushed snare-drum sets an easy tempo. Somewhere in the mix a banjo announces its presence. And then that unmistakable voice comes waltzing through - timeless and triumphant: Hello my friends I feel so happy to be back.
Oh, how utterly appropriate. Ferron is that singer and she has just recorded Songs From A Goatpath (name has been changed to Turning Into Beautiful), her first disc of original songs in almost eight years.
Mentor to the likes of Tracy Chapman and Ani DiFranco, Ferron's past records feature the likes of Tori Amos and Scarlet Rivera. Sweet Honey On The Rock and Indigo Girls have covered her songs. Yet this complicated, fiercely independent free spirit has always played by her own set of rules, even if occasionally to the determent of her career.
Gay and proud, she conquered a past of sexual and physical abuse to blaze a trail for North American feminist singer-songwriters. She made records for a major label. She made records for herself. And in 1984 she made one of the greatest records ever to come out of Canada, Shadows On A Dime. Classic.
From A Goatpath (name has been changed to Turning Into Beautiful) retains much of the magical acoustic, folk spirit of her early triumphs after what seems like an eternity experimenting with jazz and synthesizers and other such alien life forms. Recorded in an old converted farmhouse that is now a bed and breakfast on tiny Saturna Island on B.C.'s Strait of Georgia, the studio setting was deliberately the antithesis of recording Still Riot in a Los Angeles for Warner Brothers in 1996 for $1200 a day, in-between marketing meetings. On Never Your Own on the new disc, she sums up that experience succinctly: Me, I've run with the big boys and I've lain in their dirt/It's the same sorry story and we all have been hurt. It hurt so much she actually thought she could never record again.
I was embarrassed. I was brokenhearted because it failed, says Ferron. Not only did they own [my records], but they stopped manufacturing them. So it felt like I was being erased. I felt very ashamed of falling for the lure. I was a fiercely independent person going out with a corporation. It's not a good idea. They wooed my independence. I fell for it.
In the end it's all about distribution. Nobody can distribute, not even Warner Brothers. We made this record, I'm out on tour and I get pack to L.A. and there's no records in the store. It's like 'Yeah, darn, that happens when you are a first time artist.' When we were going through the negotiations it was like somebody blowing in your ear. I had an earache for a couple of years, let me tell you.
It shut me up for quite a while. I couldn't trust myself any more. I think there is a Springsteen line: 'Pray for the man that nobody knows.' That's just how it felt and it took a long time to get over it. That's why we structured the new recording on the island - to erase the taste of the last experience. We just made it as simple and as true as we could. And now everyone is very proud and happy.
Indeed, the overall sense on the highly personal From A Goatpath (name has been changed to Turning Into Beautiful) is one of overall contentment. The most obvious example being Turning Into Beautiful. It comes, she says, from finally finding a community she feels at home in after years of living in various cities around the United States. And yet she first lived on Saturna as an 18-year-old.
The times have changed so much, says Ferron. When I was younger I was working so hard to change myself I almost changed into someone else. So I thought, 'Well, I don't think I'm going to do that. Because that's just as lost as anything.' I'm looking in the mirror now and saying, 'Well, you're not perfect but you are you'.
I'm 52 now and I'm home. I didn't know where my home was. You can't go anywhere if you don't know where your home is. Now I do. I live on a small island of 285 people and it's as close to a community as I can get. It's a great feeling.
Ferron was born Debbie Foisy June 2, 1952, the eldest of seven children, and raised in and around Richmond, BC, in both foster homes and with her mother and an abusive stepfather. She never met her real dad but daydreams about it on the new disc. In The Meantime features one of the most heart-wrenching verses she has ever committed to song:
Oh my father how I missed you, having never touched your face
And just like you I feel the sorrow that time does not erase
When I cross over will will you meet me?
Will you walk me to the bright?
Will you lead me on the dance floor of that everlasting light.
What a beautiful image. When that came to me I couldn't believe it. My father wouldn't be there if I ever got married, to lead that first dance. But will he be there when I go into eternity? It's a choker isn't it? We all cried making some of these songs.
What family life she had consisted largely of a strict, French-Canadian, working class, Catholic upbringing. Both her mother and stepfather she lambasted on White Wing Mercy -� a truly chilling track on her second LP, Backed Up: I left my father as only daughters can/I chose to see him as a monster of a man. Such sores have now healed. She has learnt to forgive.
At some point you are shaped, whether it is crooked or straight. The person next to me that that didn't happen to, they don't make CDs either. Everybody is going through a soul journey, or something that is shaping there character.
Still, despite her harsh childhood, she recalls fondly of French-Canadian relatives visiting with guitars. Their harmony singing clearly struck a chord with the youngster.
It just seemed that was what your soul did. Your soul sang after all the work was done. I just wanted to do that. I tried to write my own songs from the time I was 10.
A year later, she had her first guitar. For all that, self-preservation forced young Debbie to ran away at 15. She worked at a variety of menial jobs in order to survive on her own. Of course, she brought her guitar and continued to polish her songs. And in 1971, she made her performing debut. Prior to the gig one of her friends had a dream. In it Debbie Foisy was called Ferron.
We went, 'Ferron! What is that?' They just started calling me Ferron. A few months later I went to my first gig to sing and the guy said, 'What am I going to put down for your name?' And I said, 'Ferron'. So that's how it came about and it's been that way since 1971.
It took Ferron another six years before she recorded her self-titled debut LP in a basement on a two-track tape recorder. It simply featured her acoustic guitar and songs. The most amazing thing about this album was the fact she released it on her own label, Lucy Records - an almost unheard of undertaking at the time. But within twelve months, she had also made Backed Up. As the title suggest it featured a band that included Steve Nikleva who would go on to play guitar for the likes of Sarah MacLachlan.
I think [Backed Up] was awful. You know we weren't very good. At least the first one was just honestly me and a guitar.
Apparently, these two LPs now sell for up to a $1000 on e-bay.
1978, would prove a watershed of sorts. That year American photographer and film maker Gayle Scott became Ferron's mentor and manager. She would have a profound influence on the songwriter. They met in Vancouver and worked together until 1992.
I can remember her sitting with me after she heard me sing. Nobody had ever asked me what I thought about anything and she said, 'There is a price for any life that you live are you able and willing to do that?' I remember my heart pounding. And she wanted to know what was in the fiber of my being and I heard it. And it was no less serious than if I had decided to become a nun.
Next came Testimony in 1980. While half the tracks appeared on her two previous records, it would deservedly garner significant acclaim both in the media and amongst her peers. Sweet Honey in The Rock, led by the indomitable Bernice Reagon, recorded the title track and performed it live all over the world.
Bernice came up to me and said, 'That's my song.' 'Okay, Bernice'.
With Scott in her corner, Ferron's career flourished. Her guidance, however, extended beyond business. While Ferron had confessed a love for women as a teenager, she had kept it largely a secret. Scott convinced her otherwise - again,, before so many others.
Two things: why would I want to be a calculated liar? That would be the first. The second thing is a sentence Gail said to me, she said if you can't tell the truth when you have nothing to lose what do you think is going to happen when you have everything to lose? That just seemed totally right on. 'Yeah. What I've got to lose now.' I haven't had anything to lose all along. I feel it was my job as a gay person to give people an opportunity to be better, to be greater than they thought they were.
Feminist circles soon embraced her openness. And along with such Canadian singer-songwriters as Heather Bishop, Connie Kaldor and Lucie Blue Tremblay, Ferron would pioneer a concert circuit that would enjoy active support from women all across North America. Later, it helped open doors for the likes of Michelle Shocked, Suzzane Vega and, more importantly, Ani DiFranco.
Meanwhile, it took Ferron another four years before she made Shadows On A Dime. Released in 1984, acclaim was both instantaneous and universal. The once prestigious Rolling Stone magazine called it 'A thing of beauty.' And in a moment of euphoria, the Boston Globe critic remarked: 'Someday, they will call Dylan the Ferron of the '60s.' Yes, well, it's the sentiment that counts. Still, like all great records, it retains all its distinguished qualities twenty years on. Tracks like Snowin' In Brooklyn, I Never Was To Africa, The Return, Shadows On A Dime -� epics all flush with lavish, lyrical depth. It would be six years before she would record again.
There were endless tours, though. And she still chuckles about the talent that opened for her in the succeeding years.
Suzanne Vega, Tracy Chapman - it's hilarious all these women who have warmed up for me have become quite famous. Ani DiFranco, I remember she was very young in military fatigues and we did a show in Philadelphia together. We were back stage, she asked me if there was anything I wanted to say about the business. And I said, 'Don't ever go with a record company.' Well, hello! A few years later I do and look what happened, She never has. She's smart.
Tracy Chapman: we were at a festival and a whole bunch of us went to her room after she did her set I said to everybody, 'She's it.' This would be about 1986. People said, 'No.' I said, 'Yeah.' She was just an upstart at that point.
About a year later a friend who was trying to help Tracy Chapman comes to meet me in Northhampton and says, 'I have a tape I want you to hear.' And so she plays me these songs and I don't remember that it's the same [Tracy]. She asks me, 'What do you think I should do with that?' I said, 'I think a small, tight band is what this gal needs.' I remember really liking it but I hadn't made a connection. Then the next year I had to pick up friends in Vancouver. We were driving through town and a friend said, 'Stop at a record store because I've got to get this LP.' We go home and put on Fast Car and it starts to dawn on me. I'm looking at this and I'm thinking I know this person. I think she's great.
The constant strain of perpetual touring finally took its toll and Ferron retired to a rented house on a cove on Saturna, complete with rubber boots, canoe and dog. As she says, she reconnected with her working class roots and wrote much of Phantom Center. Released on Chameleon Records, a subsidiary of A&M Records, it featured a new version of White Wing Mercy and dabbled with acoustic jazz. Spartan and as lyrically elegant as ever, it featured, among others, Tori Amos on harmony vocals. Amos was brought to the studio by the producer Joe Chiccarelli, whose diverse credits include Elton John and Frank Zappa.
The live, Not A Still Life, followed two years later. And in 1994, Ferron made Driver. While no real departure from its predecessor, Shawn Colvin certainly approved. 'Ferron has what moves me most,' she said at the time. Indigo Girls, Amy Ray and Emily Saliers - provided exquisite harmonies. They frequently toured with Ferron between 1990 and 1996. Whatsmore, their band featured violinist Scarlet Rivera, who had made an enormous impact on Bob Dylan's album Desire.
When I first heard Desire, I fell in love with whoever that was playing the violin. I read the name Scarlet Rivera and I said to myself, 'You have to have a dream. Some day I'm going to play with Scarlet Rivera.' In the early '90s I ended up touring with the Indigo Girls. We're chums. And they had Scarlet Rivera out touring with them . I couldn't believe it. And we're all hanging out in the back room and I'm like, 'Oh my God.' I Played It Won't Take Long on stage and I asked her to come out and play it with me. And she did and she loved it. So then after that I had enough connections to ask her to play on Still Riot.
Ah yes, Still Riot. Isn't this where we came in? Lavishly produced and a million miles from Shadows On A Dime, Still Riot is Joni Mitchell's The Hissing Of Summer Lawns as compared to Blue. Whatever, From A Goatpath (name has been changed to Turning Into Beautiful) is a welcome return to basics. While it took years of soul searching to complete, the final result she says she can comfortably live with.
I'm very hard on myself. I don't know why it is but all of a sudden I give myself permission that these songs are good enough to reflect me. They are strong enough to survive in the world. All of a sudden it is okay what we are doing. But there'll be other times I'll think, 'This is poop. It 's not finished yet.' It's very hard.
Stay tuned.
Penguin Eggs
10942 80 Ave.
Edmonton, AB
Canada
T6G 0R1
www.penguineggs.ab.ca
Ph: 780-433-8287
Fx: 780-437-4603
Ah, artistic license... This release was originally going to be titled Songs From a Goat Path and then In the Mean Time - so if you already have preordered either of those titles, this is the same recording!
We are more than thrilled that this is finally a reality - we've been waiting for an all-new recording from one of Women's Music's Most Talented for oh, about a decade now!
'I don't know what it's like for you but here's what it's like for me... I wanted to turn beautiful and serve Eternity and never follow money or love with greasy hands, or move the earth and waters just to make it fit my plans.'
Those lyrics are from a long-ago Ferron song on a different album... she has done it with her new release!
What you may be most struck with, as you listen, is the underlying sense of arrival, resolution, reconciliation and peace, from which her poetry now springs, perhaps summed up in the following lines from this new recording:
Hello my friends, I feel so happy to be back
To feel so clear and on the track, but it's more than that..
It's so much more than that.
____________________________________________________________________________________
Too Long In Exile
Reprinted from Penguin Eggs
After making Still Riot in Los Angeles for Warner Bros, Ferron figured she would never record again. Well, she finally made a superb new disc in a Bed & Breakfast on tiny Saturna Island that brings her music full circle - a welcome return to its acoustic roots that once held North American critics enthralled. Ferron has a tale or two to tell, for sure. Roddy Campbell is all ears.
The stereo speakers stir gradually. An acoustic guitar settles on a gentle pattern. A brushed snare-drum sets an easy tempo. Somewhere in the mix a banjo announces its presence. And then that unmistakable voice comes waltzing through - timeless and triumphant: Hello my friends I feel so happy to be back.
Oh, how utterly appropriate. Ferron is that singer and she has just recorded Songs From A Goatpath (name has been changed to Turning Into Beautiful), her first disc of original songs in almost eight years.
Mentor to the likes of Tracy Chapman and Ani DiFranco, Ferron's past records feature the likes of Tori Amos and Scarlet Rivera. Sweet Honey On The Rock and Indigo Girls have covered her songs. Yet this complicated, fiercely independent free spirit has always played by her own set of rules, even if occasionally to the determent of her career.
Gay and proud, she conquered a past of sexual and physical abuse to blaze a trail for North American feminist singer-songwriters. She made records for a major label. She made records for herself. And in 1984 she made one of the greatest records ever to come out of Canada, Shadows On A Dime. Classic.
From A Goatpath (name has been changed to Turning Into Beautiful) retains much of the magical acoustic, folk spirit of her early triumphs after what seems like an eternity experimenting with jazz and synthesizers and other such alien life forms. Recorded in an old converted farmhouse that is now a bed and breakfast on tiny Saturna Island on B.C.'s Strait of Georgia, the studio setting was deliberately the antithesis of recording Still Riot in a Los Angeles for Warner Brothers in 1996 for $1200 a day, in-between marketing meetings. On Never Your Own on the new disc, she sums up that experience succinctly: Me, I've run with the big boys and I've lain in their dirt/It's the same sorry story and we all have been hurt. It hurt so much she actually thought she could never record again.
I was embarrassed. I was brokenhearted because it failed, says Ferron. Not only did they own [my records], but they stopped manufacturing them. So it felt like I was being erased. I felt very ashamed of falling for the lure. I was a fiercely independent person going out with a corporation. It's not a good idea. They wooed my independence. I fell for it.
In the end it's all about distribution. Nobody can distribute, not even Warner Brothers. We made this record, I'm out on tour and I get pack to L.A. and there's no records in the store. It's like 'Yeah, darn, that happens when you are a first time artist.' When we were going through the negotiations it was like somebody blowing in your ear. I had an earache for a couple of years, let me tell you.
It shut me up for quite a while. I couldn't trust myself any more. I think there is a Springsteen line: 'Pray for the man that nobody knows.' That's just how it felt and it took a long time to get over it. That's why we structured the new recording on the island - to erase the taste of the last experience. We just made it as simple and as true as we could. And now everyone is very proud and happy.
Indeed, the overall sense on the highly personal From A Goatpath (name has been changed to Turning Into Beautiful) is one of overall contentment. The most obvious example being Turning Into Beautiful. It comes, she says, from finally finding a community she feels at home in after years of living in various cities around the United States. And yet she first lived on Saturna as an 18-year-old.
The times have changed so much, says Ferron. When I was younger I was working so hard to change myself I almost changed into someone else. So I thought, 'Well, I don't think I'm going to do that. Because that's just as lost as anything.' I'm looking in the mirror now and saying, 'Well, you're not perfect but you are you'.
I'm 52 now and I'm home. I didn't know where my home was. You can't go anywhere if you don't know where your home is. Now I do. I live on a small island of 285 people and it's as close to a community as I can get. It's a great feeling.
Ferron was born Debbie Foisy June 2, 1952, the eldest of seven children, and raised in and around Richmond, BC, in both foster homes and with her mother and an abusive stepfather. She never met her real dad but daydreams about it on the new disc. In The Meantime features one of the most heart-wrenching verses she has ever committed to song:
Oh my father how I missed you, having never touched your face
And just like you I feel the sorrow that time does not erase
When I cross over will will you meet me?
Will you walk me to the bright?
Will you lead me on the dance floor of that everlasting light.
What a beautiful image. When that came to me I couldn't believe it. My father wouldn't be there if I ever got married, to lead that first dance. But will he be there when I go into eternity? It's a choker isn't it? We all cried making some of these songs.
What family life she had consisted largely of a strict, French-Canadian, working class, Catholic upbringing. Both her mother and stepfather she lambasted on White Wing Mercy - a truly chilling track on her second LP, Backed Up: I left my father as only daughters can/I chose to see him as a monster of a man. Such sores have now healed. She has learnt to forgive.
At some point you are shaped, whether it is crooked or straight. The person next to me that that didn't happen to, they don't make CDs either. Everybody is going through a soul journey, or something that is shaping there character.
Still, despite her harsh childhood, she recalls fondly of French-Canadian relatives visiting with guitars. Their harmony singing clearly struck a chord with the youngster.
It just seemed that was what your soul did. Your soul sang after all the work was done. I just wanted to do that. I tried to write my own songs from the time I was 10.
A year later, she had her first guitar. For all that, self-preservation forced young Debbie to ran away at 15. She worked at a variety of menial jobs in order to survive on her own. Of course, she brought her guitar and continued to polish her songs. And in 1971, she made her performing debut. Prior to the gig one of her friends had a dream. In it Debbie Foisy was called Ferron.
We went, 'Ferron! What is that?' They just started calling me Ferron. A few months later I went to my first gig to sing and the guy said, 'What am I going to put down for your name?' And I said, 'Ferron'. So that's how it came about and it's been that way since 1971.
It took Ferron another six years before she recorded her self-titled debut LP in a basement on a two-track tape recorder. It simply featured her acoustic guitar and songs. The most amazing thing about this album was the fact she released it on her own label, Lucy Records - an almost unheard of undertaking at the time. But within twelve months, she had also made Backed Up. As the title suggest it featured a band that included Steve Nikleva who would go on to play guitar for the likes of Sarah MacLachlan.
I think [Backed Up] was awful. You know we weren't very good. At least the first one was just honestly me and a guitar.
Apparently, these two LPs now sell for up to a $1000 on e-bay.
1978, would prove a watershed of sorts. That year American photographer and film maker Gayle Scott became Ferron's mentor and manager. She would have a profound influence on the songwriter. They met in Vancouver and worked together until 1992.
I can remember her sitting with me after she heard me sing. Nobody had ever asked me what I thought about anything and she said, 'There is a price for any life that you live are you able and willing to do that?' I remember my heart pounding. And she wanted to know what was in the fiber of my being and I heard it. And it was no less serious than if I had decided to become a nun.
Next came Testimony in 1980. While half the tracks appeared on her two previous records, it would deservedly garner significant acclaim both in the media and amongst her peers. Sweet Honey in The Rock, led by the indomitable Bernice Reagon, recorded the title track and performed it live all over the world.
Bernice came up to me and said, 'That's my song.' 'Okay, Bernice'.
With Scott in her corner, Ferron's career flourished. Her guidance, however, extended beyond business. While Ferron had confessed a love for women as a teenager, she had kept it largely a secret. Scott convinced her otherwise - again,, before so many others.
Two things: why would I want to be a calculated liar? That would be the first. The second thing is a sentence Gail said to me, she said if you can't tell the truth when you have nothing to lose what do you think is going to happen when you have everything to lose? That just seemed totally right on. 'Yeah. What I've got to lose now.' I haven't had anything to lose all along. I feel it was my job as a gay person to give people an opportunity to be better, to be greater than they thought they were.
Feminist circles soon embraced her openness. And along with such Canadian singer-songwriters as Heather Bishop, Connie Kaldor and Lucie Blue Tremblay, Ferron would pioneer a concert circuit that would enjoy active support from women all across North America. Later, it helped open doors for the likes of Michelle Shocked, Suzzane Vega and, more importantly, Ani DiFranco.
Meanwhile, it took Ferron another four years before she made Shadows On A Dime. Released in 1984, acclaim was both instantaneous and universal. The once prestigious Rolling Stone magazine called it 'A thing of beauty.' And in a moment of euphoria, the Boston Globe critic remarked: 'Someday, they will call Dylan the Ferron of the '60s.' Yes, well, it's the sentiment that counts. Still, like all great records, it retains all its distinguished qualities twenty years on. Tracks like Snowin' In Brooklyn, I Never Was To Africa, The Return, Shadows On A Dime - epics all flush with lavish, lyrical depth. It would be six years before she would record again.
There were endless tours, though. And she still chuckles about the talent that opened for her in the succeeding years.
Suzanne Vega, Tracy Chapman - it's hilarious all these women who have warmed up for me have become quite famous. Ani DiFranco, I remember she was very young in military fatigues and we did a show in Philadelphia together. We were back stage, she asked me if there was anything I wanted to say about the business. And I said, 'Don't ever go with a record company.' Well, hello! A few years later I do and look what happened, She never has. She's smart.
Tracy Chapman: we were at a festival and a whole bunch of us went to her room after she did her set I said to everybody, 'She's it.' This would be about 1986. People said, 'No.' I said, 'Yeah.' She was just an upstart at that point.
About a year later a friend who was trying to help Tracy Chapman comes to meet me in Northhampton and says, 'I have a tape I want you to hear.' And so she plays me these songs and I don't remember that it's the same [Tracy]. She asks me, 'What do you think I should do with that?' I said, 'I think a small, tight band is what this gal needs.' I remember really liking it but I hadn't made a connection. Then the next year I had to pick up friends in Vancouver. We were driving through town and a friend said, 'Stop at a record store because I've got to get this LP.' We go home and put on Fast Car and it starts to dawn on me. I'm looking at this and I'm thinking I know this person. I think she's great.
The constant strain of perpetual touring finally took its toll and Ferron retired to a rented house on a cove on Saturna, complete with rubber boots, canoe and dog. As she says, she reconnected with her working class roots and wrote much of Phantom Center. Released on Chameleon Records, a subsidiary of A&M Records, it featured a new version of White Wing Mercy and dabbled with acoustic jazz. Spartan and as lyrically elegant as ever, it featured, among others, Tori Amos on harmony vocals. Amos was brought to the studio by the producer Joe Chiccarelli, whose diverse credits include Elton John and Frank Zappa.
The live, Not A Still Life, followed two years later. And in 1994, Ferron made Driver. While no real departure from its predecessor, Shawn Colvin certainly approved. 'Ferron has what moves me most,' she said at the time. Indigo Girls, Amy Ray and Emily Saliers - provided exquisite harmonies. They frequently toured with Ferron between 1990 and 1996. Whatsmore, their band featured violinist Scarlet Rivera, who had made an enormous impact on Bob Dylan's album Desire.
When I first heard Desire, I fell in love with whoever that was playing the violin. I read the name Scarlet Rivera and I said to myself, 'You have to have a dream. Some day I'm going to play with Scarlet Rivera.' In the early '90s I ended up touring with the Indigo Girls. We're chums. And they had Scarlet Rivera out touring with them . I couldn't believe it. And we're all hanging out in the back room and I'm like, 'Oh my God.' I Played It Won't Take Long on stage and I asked her to come out and play it with me. And she did and she loved it. So then after that I had enough connections to ask her to play on Still Riot.
Ah yes, Still Riot. Isn't this where we came in? Lavishly produced and a million miles from Shadows On A Dime, Still Riot is Joni Mitchell's The Hissing Of Summer Lawns as compared to Blue. Whatever, From A Goatpath (name has been changed to Turning Into Beautiful) is a welcome return to basics. While it took years of soul searching to complete, the final result she says she can comfortably live with.
I'm very hard on myself. I don't know why it is but all of a sudden I give myself permission that these songs are good enough to reflect me. They are strong enough to survive in the world. All of a sudden it is okay what we are doing. But there'll be other times I'll think, 'This is poop. It 's not finished yet.' It's very hard.
Stay tuned.
Penguin Eggs
10942 80 Ave.
Edmonton, AB
Canada
T6G 0R1
www.penguineggs.ab.ca
Ph: 780-433-8287
Fx: 780-437-4603
