click on each song for lyrics, notes and stories

  • Why Run When You Can Hide

    i never believed it

    even when it comes to me

    and i don't mean to be so negative

    if you ever conceive the thing

    that you never thought would come to you

    wouldn't you question it too

    wouldn't you

    so i try to keep the light on

    oh you know how hard i try

     

    but when you run too far

    and you're looking back

    is it the love that you recall

    or that you took a fall

    for me

    for me

     

    if you're ever to go away

    never to come back to the

    place where you belong

    write me a letter

    send me a photograph

    tell me what it means to you

    i really wanna know

    and i'll try to keep a light on

    oh you know how hard i try

     

    but when you run too far

    and you're looking back

    will it be the love that you recall

    is it the love

    when you run too far

    and you're looking back

    will it be the love that you recall

    or anything at all

    or me

     

    come on come on come on

     

  • Credits

    lyrics and music:  astrid young & david rotter © SOCAN

     

    vocals: astrid

    background vocals: jane wiedlin & victor delorenzo

    guitars: joe gore, jane wiedlin, astrid

    bass & keyboard: astrid

    drums: victor delorenzo

     

    studio:  robot recording, san francisco

     

    engineered & mixed by  travis kasperbauer

     

    arrangement & production: Victor Delorenzo & Astrid Young

    mastered by joao carvalho

  • Liner Notes

    i was living in santa rosa during the harvest season, working in a winery ... david is a friend from the L.A. days, and was living in sebastopol at the time, not far away. david is like a musical savant, he can play anything, and is the only person i know to truly have an eidetic  memory ... but i digress ... this song came together one evening in 2002. i was listening to david bowie's 'heathen' a lot at the time, and some of the ideas kind of crept into the lyrics, but the arrangement was mostly david's. when we recorded it at Travis' studio, jane, victor and i played together in the same room. the idea to track this song just came to me when i was trying to think of something to play ... i don't think i'd played the thing since david and i wrote it. when i got in touch with david to tell him it was on the record, he remembered every change, and started firing questions at me about this part and that part ... i couldn't remember, but i sent him the file to listen to, and apparently i got it all right. whew!

    joe gore played a resonator on this, what a great sound. the little riff at the beginning is a keyboard, i think the sound was a hammer dulcimer, or a yangqin, and it's part of a riff i would ordinarily play on the guitar at the intro.

  • Your New Drug

    are you high on your new drug

    are you seeing things so clear

    and if you really gotta go

    why don't you leave your body here

    in the night do you dream in russian

    can you astral travel there

    there's got to be a way to get inside you

    ride a rocketship to jesus

    sail a pony to the moon

    the quicker that we make it

    it won't be too soon

     

    i don't want to be judged by you

    i just want to be loved by you

     

    understanding's over rated

    don't wanna know just what you mean

    but i know tonight we're faded

    between the daylight and a dream

    i see rainbows and unicorns

    and baby puppies being born

    and the light that shines above you

    there's a time for making wishes

    and a time for making love

    you got the highs i got the need

     

    i don't wanna be loved by you

    i just wanna be touched by you

    i don't wanna be loved by you

    i just wanna be drugged by you

     

    i don't wanna be loved by you

    i just wanna be touched by you

    i don't wanna be judged by you

    i just wanna be drugged by you

  • Credits

    music and lyrics: Astrid Young & Eric McFadden © SOCAN

    vocals: astrid

    bass: lou castro giovanni

    guitars, mandolin: eric mcfadden

    12-string: astrid

    drums: dan cornelius

    tambourine: victor delorenzo

     

    studios:

    central audio, toronto

    econoline studios, toronto

    robot recording, san fransico

     

    engineers:

    rob sanzo, astrid young, travis kasperbauer

    mixed by travis kasperbauer

    arranged and produced by astrid young

    mastered by joao carvalho

  • Liner Notes

    i had this riff, and that line: i dont wanna be judeged by you, i just wanna be loved by you ... eric came to visit for a few days and we wrote some, recorded some, and ate a scotch egg or two.  walked down to the gibson showroom, which was in the neighborhood ... they let us grab a bunch of guitars and take em down to my little studio, and this is what happened.

    we laughed so much when we were writing this. silly lyrics ... oddly enough, the next time i saw eric, he had just returned from russia. we had a good laugh about that too. what are the odds.

    we performed them live that night at the liberty cafe, which was in the building. i was wearing a violent femmes shirt, with victor's face on it, right there. at that point, neither eric nor i had worked with or even met victor. eric met him that year or maybe the next at steel bridge fest, and me about a year later. again, what are the odds.

  • The Nerve

    came here with my body

    now i lie in ruins

    whats a girl to do when it's all been said & done

    the darkness that's a-comin

    might just be here to stay

    there ain't no chance for romance since you

    chipped it all away

    your sticks and stones don't break me

    but i can't deny

    they have sent me back to darkness

    and that's where i'll likely die

     

    you said i wasn't worthy of the life that i'd been living

    despite the truth in front of you that i'd been doing fine

    i put aside my brushes

    i put aside my pen

    you stole all my ideas

    and you fucked with me again

    i could never get it back

    like pushing empty pin

    so let's get it all behind us

    'fore we start it once again

     

    i may be in ruins

    as empty as the sky

    but i still have a need in me that will not be denied

    i'd walk across a sea of nails

    for love that might be true

    if the blood that flowed from me

    was poisenous to you

    yeah you took me by surprize

    you really did me in

    i'll forever sing your curses

    if it punishes your sin

  • Credits

    music and lyrics: astrid young © SOCAN

    vocals: astrid

    guitars: eric mcfadden

    bass: eric mcfadden

    drums: ray farrugia

     

    studios:

    sly fi chapel, trenton ontario

    robot recording, san francisco

    napier park recording, dundas ontario

     

    engineers:

    brent bodrug, travis kasperbauer, steve foster

    mixed by travis kasperbauer

    produced by astrid young

    mastered by joao carvalho

  • Liner Notes

    i was angry when i wrote this. just got out of a long term relationship that i had lost myself in. to this day, i still think i left parts of myself behind in that one.

    other than that, i think it's pretty self-explanatory. part of the journey, which isn't always a joy. i guess if life was always good, we wouldn't know the difference. reminder that you're alive.

    eric was so great playing on this, it's really up his alley, so i'd envisioned him playing on it the whole time. kick ass! SAME WITH Ray, not that he would admit it, but he's got a lot of rockabilly haunting his early years, so it suits him well. there were a few other tracks ray had worked on but this is the only one we finished for this version of the record, although there will be more to come.

    in a way, i kind of envision this song with a bunch of crusty old cattle-riders out on the plain at night, sitting round the fire and chanting in the background - we actually tried to lay this idea down in the studio, but of course we'd had a few libations and we couldn't stop laughing. heck, i'm laughing now ... sorry Jimmy, i'll get you next time ...

  • Drag Race Face

    i've been damned before

    many times - damned by love

    i try so hard to find

    nothin i want - then there's you

    you make me shake - shake it

     

    mmhmm ... it's hard to understand

    i haven't felt this way for anyone

    in so long now - oh so long

    i need love

    right now

    give me love

    i need it

     

    i could be your fool

    i'm suffering - i'm a fool for love

    in time time just in time

    gonna make you mine

    don't make me wait

    satisfy - sanctify

     

    mmhmm ... it's hard to understand

    i haven't felt this way for anyone

    in so long now - oh so long

    i need love

    right now

    give me love

    your love

     

    yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah

     

    oh no no no no  no no

     

    i been down before

    many times - down by law

    i ain't gonna give you up

    you're what i want - don't make me beg

    cause i will - here i come baby

     

    mmhmm ... it gets so hard

    it gets so hard

    hard to understand

     

    i need love

    right now

    give me love

    your love

    i need your love right now

    give me love

    your love

  • Credits

    music and lyrics by astrid young © SOCAN

    vocals: astrid

    guitars: joe gore

    bass, keyboard: astrid

    drums, percussion and leather chair: victor delorenzo

     

    studio: robot recording

    engineered and mixed by: travis kasperbauer

    produced and arranged by Victor DeLorenzo

    mastered by joao carvalho

  • Liner Notes

    this is the third version of this song that i've done, the other two are on Pokalolo Paniolo ... i may do another, more country-fied next time ... anyway, it's always a crowd pleaser. an actual, true love song. i love the way it unfolds in this version, the layers of it, the insistence. yeah.

  • Try This

    the fates remind me i've got nothing to hide

    i've done some time for good behavior

    and left that all behind

    i am a terrorist with nothing to lose

    i've got a million different reasons for wanting you

     

    i do not sympathize with your misplaced aggravation

    you never cross that indivisible line

    i've had enough of trying to save my reputation

    i've got a million different reasons for wanting you

     

    sweet sweet lover

    sweet sweet lover

  • Credits

    music & lyrics astrid young © SOCAN

    vocals: astrid

    background vocals: astrid & victor

    bass: astrid

    drums and stuff: victor

    guitar: joe gore

     

    engineers:  travis kasperbauer, steve foster

     

    studios:

    robot recording, san francisco

    napier park, dundas ontario

     

    MIXED BY TRAVIS KASPERBAUER

    arrangement/production: victor

    MASTERED BY JOAO CARVALHO

  • Liner Notes

    when we were in San Francisco the first time, we went with the intention of finishing up a bunch of tracks i'd already started, but also to track some new stuff. we messed around the first day with this and that, actually tracked 'why run' the first day, with Jane ... anyway, the first night, i was thinking about what we might do on day two, and i had a really great idea, but Travis came home and interrupted a thought, and out then window it all went. i proceeded to consume a bottle of wine, i think it was Paloma, but now i'm not so sure ... anyway, with a sufficiently irritating headache, we began the following day with me and a thumping bass riff, which immediately became a 'thing' ... in retrospect we should have made it longer because it was such a fun and cool riff ... anyway, i think this was the moment victor and i (and Linda and Travis) looked at each other and went, yeah, that's what's really going on here. and then of course, Joe Gore. what can i say, the man is a mountain of creativity and sound. every note, just perfect. victor kind of thought it was a bit too Kate Bush at the end, but i like Kate Bush, so there it is.

  • iNtegratron

    by the time you hear this i won't be gone

    i'm gonna sing it til the end

    you won't have to listen

    it's just gonna be

    once we were enemies

    once we were brothers

    everytime i hear your call

    i see it all

    oh

    now the centuries fly

    beside each other lie

    weaving this melody under the skin

    would you let me in

    i will not stray from your love

    from your love

    from your love

     

    one night at the giant rock

    i saw the ocean from the sky

    oh the way we used to fly

    remember

    leaving the dream behind

    walking on water

    out by the iNtegratron

    where the wind is warm

    it might have to be

    and our children will cry

    at what we have become

    but god loves his sinners

    or so moses tells it - is he selling me a lie

    or must i go pray for your love

    for your love

    for your love

     

    did you see the light

    from up on your pedestal

    through the eyes of your chemicals

    is it coming clear

    when you touch me babe

    does it all come flooding in

    or do you let it go

    what can you take from me that hasn't been taken

    another time

    and i am expecting to pay for your love

    for your love

    for your love

  • Credits

    music & lyrics by astrid young © SOCAN

    recorded at the shack, hamilton ontario

    engineered & mixed by

    bob lanois (with an additional tweak or two by travis kasperbauer)

    harp: bob lanois

    all else: astrid

    produced by astrid young & bob lanois

    mastered by joao carvalho

  • Liner Notes

    Bob and I met through Tom Wilson, who i met through my manager at the time, Tom Dertinger, all Hamilton fellers, which i guess was a taste of what was to come later ... so tom w. brought bob out to my gig at the corktown, we had a couple of fine moments on stage, and bob made as how i should come down to his studio, 'the shack' they called it, and see if maybe we could lay something down. out there in the woods, with the freight trains going by at intervals, we did it up old-school, on 2" tape, and with some sweet API and Neve  mic-pre's, some Dolby SR and an old Neve board that the bros. Lanois had brought back from Mexico of all places. the floor was kind of iffy, being made of plywood and kind of boomy, so bob had a method of flying the microphones from the ceiling so there wasn't a chance of picking up anything that carried up from the floor. strange but cool. i think we used a neumann U87, but my memory might not be 100% on that. when we came to mix the thing, ironically, the one and only piece of digital gear that he owned, a TC H3000, had decided it was going to update itself, and basically what that means is that it was not available to use, and since it's a stand-alone piece of outboard that doesn't explain itself very well (and if it did it would probably be in some weird british accent) and so we decided to go ahead and mix with only the mic pre's and the lovely tape compression. the result was obviously a very dry mix, but it is so up close and personal ... spooky, even. loved it.

     

    Bob and I wanted to continue to record that way, but before we could continue, my father passed away, and recording was the last thing on my mind for a really long, long time.

  • Amy's Song

    remember when the valley used to be a valley

    before the tide came in

    malibu is our atlantis now

    and those that remain had to ride a big wave

    funny how we never thought

    of dying young or getting caught

    life was pretty good

    but it's so much better now

    at the shoreline

    the san fernando shoreline

     

    i love to watch the lemmings do their thing

    i used to up an' sing

    still do it all the time

    we never needed anybody's graces

    in places where our faces

    were the starshine in double time

    funny how we never thought

    of dying young or getting caught

    life was pretty good

    but it's so much better now

    at the shoreline

    the san fernando shoreline

     

    i'll write a book

    you can make a film

    jimmy, grab your guitar

    and i'll pour the zin

    at the shoreline

    the san fernando shoreline

     

    when it's time to let it go

    i hope you understand

    come on out to santa fe

    ride it out til the end

    we'll be high in our castle of sand

    come back when we can

    oh san fernando

    to see you again

    and those that remain

    those that remain

    and those that remain

     

    at the shoreline

    the san fernando shoreline

     

    c. astrid young

     

    vocals: astrid

    background vocals: kim koren

    piano/B3: astrid

    12-string: astrid

    other guitars: eric mcfadden

    bass: malachi delorenzo

    drums: victor delorenzo

     

    studios:

     

    central audio, toronto

    sly-fi chapel, trenton

    napier park recording, dundas ontario

    robot recording, san francisco

    the past office, milwaukee

     

    engineers:

     

    rob sanzo, brent bodrug, steve foster, travis kasperbauer, malachi delorenzo

     

    i wrote this song the day my friend amy yessian passed from this world. she was light to me. the world is still grieving her, but her spirit goes on.

     

    the proceeds from this song will be donated to cancer research in her name.

  • Credits

    .Music & lyrics: astrid young © SOCAN

     

    vocals: astrid

    background vocals: kim koren

    piano/B3: astrid

    12-string: astrid

    other guitars: eric mcfadden

    bass: malachi delorenzo

    drums: victor delorenzo

     

    studios:

     

    central audio, toronto ontario

    sly-fi chapel, trenton ontario

    napier park recording, dundas ontario

    robot recording, san francisco

    the past office, milwaukee

     

    engineers:

    rob sanzo, brent bodrug, steve foster, travis kasperbauer, malachi delorenzo

    mixed by: malachi delorenzo

    produced by victor delorenzo

    mastered by: joao carvalho

  • Liner Notes

    i wrote this song the day my friend amy yessian passed from this world. she was light to me. the world is still grieving her, but her spirit goes on.  these are some things we talked about, laughed about, got up to, and all that ... amy was probably the most enthusiastic music lover i've ever known, outside of other musicians. she had an infectious smile, laugh and a heart that was both embracing and embraceable ... you could not know amy without loving her, that's for sure. she battled cancer for years, fought to stay because she loved life, and she loved jimmy. the only grace in her passing is that she is not in pain anymore. there is no justice in a world that could take her from us, and i still think of her every single day. i know i'm not the only one.

     

    so ... it took a while to make this song work. the guts of it were there, but the original interpretation that we tracked just wasn't quite right ... dan cornelius played on the original track, but the edit ended up (in my opinion) too bouncy and maybe a little less dramatic than maybe it should have been ... so i recut the drums with Ray Farrugia, and it was a better interpretation, but the overall sound was trashy and harsh - big room, too much room, too much cymbals, there was nothing i could do in an edit that could change it, so we were back to square one. victor laid a track down at Travis' during those sessions, but it was a bit meandering and lacked focus overall ... funny that such a simple and straightforward song can give you such trouble! so what saved it in the end: i went back to Brent's studio and did a piano track on this old upright honky-tonk piano, (one take y'all, no edits), and then i sent the whole mess to Victor and Malachi, who then recut a new drum track, laid down a new bass track (it was near impossible to nail a good bass track without the right drums) and there it was, just like it had been waiting for us to find it. so i want to say thank you to everyone who attempted to make this track, but did not end up on the final: dan cornelius and ray farrugia on drums, and also mike costantino, joe gore and travis on bass. it was all a necessary part of the process for sure. there's also an incredibly epic background vocal arrangement that kim koren and i spent a great deal of time on, but hey, just maybe it's what we DIDN'T put in there that makes it so special!

     

    the proceeds from this song will be donated to cancer research in Amy's name. You will never be forgetten, my sweetest friend.

  • Patchouli Boy

    i walk beside you on the ancient ocean floor

    whisky dances and perfume

    the ground was shakin and the air was shimmering

    and then my ears began to ring

     

    where is my patchouli boy

    did i leave him on the breeze

    and if i just imagined him

    what does that say about me

     

    the years they pass the moments that are lingering

    time together, time for tea

    and if i fade from indigo to gold

    would you still remember me

     

    where is my patchouli boy

    did i leave him on the breeze

    and if i just imagined him

    what does that say about me

     

    i wake beside him on the gently blowing sand

    sunlight shatters in my hand

    before the morning sirens rise and sing

    i remember everything

     

    where is my patchouli boy

    did i leave him on the breeze

    and if i just imagined him

    what does that say about me

     

    where is my patchouli boy

    did i leave him on the breeze

    the winds are slick with his perfume

    here i'll wait til he comes back to me

     

  • Credits

    music and lyrics: © astrid young SOCAN

     

    vocals: astrid

    wurlitzer: brent bodrug

    hammond B3: astrid

    guitars: astrid

    guitar solos: eric mcfadden

    bass: mike costantino

    drums: dan cornelius

     

    studios:

    sly fi chapel, trenton ontario

    central audio, toronto

    robot recording, san francisco

     

    engineers:

    brent bodrug, rob sanzo, travis kasperbauer

    mixed by travis kasperbauer

    produced by astrid young

    mastered by joao carvalho

  • Liner Notes

    this is a song about a smell. you know, those moments when you just catch a wisp of something on the breeze, and it takes you somewhere ... and the otherworldly connection you feel with certain people, like you've known them across oceans of time. it's so romantic ...

    i played all the guitars on this, aside from the solos. i also played B3 on it, which is not my thing really, but Brent's studio, SlyFi, is just full of awesome keyboard gear. and of course, Brent is incredibly talented at playing all of them ... i had a go at a wurli part too, but he's got more of a feel for it than i do. i did find a great deal of satisfaction playing the B3 though, i have to say. it's hard when you've played with the great B3 players of the world, like Booker T. and Spooner Oldham, they always stick in your mind as being so inscrutable that i don't DARE approach the thing ... but there it was, i had a go, and it was so cool ... i may even be persuaded to do it again sometime!

    some of the lyrical content is borrowed from another song i'd been writing years earlier, called 'whiskey dances' ... one of those songs which i completely lost in a computer crash, and summarily lost forever. i hate when that happens. but perhaps patchouli boy is the better, more enduring result of all that.

  • i Wish

    i've got such a crazy life

    you wouldn't think i had a lot to give away

    knowing that i can't escape the outcome

    of the anyway

    and i know it's gonna change

    i worry how it's gonna be arranged

     

    and i wish i knew a thing or two

    i wish i knew a thing or two

    i wish i knew a thing or two

    about love

    about love

    about love

    la-la-la-la-love

     

    there's a lonely road ahead of me

    and it wears a faded garment of misery

    like the tears that follow rain

    a memory brings the pain of where i oughta be

    but i may never change

    you never have to worry 'bout me gettin strange

     

    but i wish i knew a thing or two

    i wish i knew a thing or two

    i wish i knew a thing or two

     

    it's never what it seems

    sometimes it's even better

    like the times we were together

    together

    together

     

    and i hope you never change

    you're the reason that my sorry heart's been rearranged

     

    and i wish i knew a thing or two

    i wish i knew a thing or two

    i wish i knew a thing or two

    about love

    about love

    about love

    la-la-la-la-love

     

  • Credits

    lyrics and music: astrid young © SOCAN

     

    vocals: astrid

    background vocals: kim koren

    keyboard: astrid

    viola: luca d'alberto

    guitars: joe gore

    acoustic guitar: astrid

    bass: joe gore

    drums, notebook: victor delorenzo

     

    studios:

    robot recording, san francisco

    napier park recording, dundas ontario

    econoline recording, picton ontario

     

    engineers:

    travis kasperbauer, steve foster, astrid young

    mixed by travis kasperbauer

    produced by victor delorenzo & astrid young

    mastered by joao carvalho

  • Liner Notes

    I wrote this when i was touring matinee in holland. it's had several names, including 'monday morning',  'Amsterdamn', and 'the pig'.

    i was living in napa valley at the time, i'd been seeing a man for a short time, and not necessarily because of this particular guy, it just occurred to me that my lifestyle was not conducive to maintaining a long-term relationship. in that moment, i really didn't think it would ever happen.

    never say never.

     

    i'd only ever played this song solo, and the time-thing in the intros seemed to confound most drummers ... once again joe gore made it real: we played it together, him on bass and me on the 12-string, and there's a little 'mistake' at the end - we were so in the groove there was really no point in revisiting the part, so i worked the vocal around it. Kim Koren had her way with the backgrounds, you hear them come in at the beginning like an ethereal train from heaven. Luca D'Alberto, who played Viola on this, contributes all the way from Italy, as he sent his tracks to me from there. One day i hope to meet the very talented Luca, whose string tone can almost make you cry sometimes, it's so beautiful ... technology is a wonderful thing.

  • Hey Vanilla

    hey vanilla

    you gonna give it gonna give it to me

    hey vanilla

    you're gonna give in you're gonna give in

    eventually

    hey hey yeah vanilla

     

    hey pretender

    i never noticed never noticed you there

    hey believe me

    i know it isn't fair, love ain't never fair

    hey hey yeah pretender

     

    love is what it is

    it gives and it gives

    you live and you live

    still it only brings you what you bring to it

    love is what it is

    it gives and it gives

    you live and you live

    still it only brings you what you bring to it

    what you bring to it

     

    hey patchouli

    come and get it come and get it

    hey patchouli

    you won't regret it you won't regret it

    hey hey yeah patchouli

     

    love is what it is

    it gives and it gives

    you live and you live

    still it only brings you what you bring to it

    love is what it is

    it gives and it gives

    you live and you live

    still it only brings you what you bring to it

    still it only brings you what you bring to it

    still it only brings you what you bring to it

  • Credits

    music & lyrics by astrid young © SOCAN

    vocals: astrid

    guitars: joe gore

    bass: astrid

    drums & percussion: victor delorenzo

     

    studio:

    robot recording, san francisco

     

    engineered & mixed by: travis kasperbauer

    produced by: victor delorenzo

    mastered by joao carvalho

  • Liner Notes

    it all started with a bass line. that's the truth of it. i'd been messing around with this bass line for a while, and had jammed it out with a multitude of drummers (okay, maybe just one or two before victor), and i really saw it as a heavy song ... as in, metal-ish, or probably stoner-ish, more to the point. the inspiration was a friend of mine, and we all have a few of them ... the ones who think they're pretty wild, but in actuality they're pretty middle of the road ... nothing wrong with that, per se. so this friend, in stretching his boundaries and trying out some things that may have seemed a bit 'wild' to him in theory, found himself to be in possession of qualities he did not know he had. little did he know that these things had been in practice for perhaps centuries before he discovered them. the moral of the story is: if it feels good, it's not weird. and you're only too old/young/inexperienced/afraid if you want to be that way. just do it. do it now.

     

    so it became kind of a t-rex vibe in the studio, mostly driven by joe's interpretation of the riff. i love what he did, there's a resonator track in there, and the harmony lead kind of comes out of nowhere - it's such a surprise, and even to us at the time it was so. joe gore is a fucking genius. nuff said.

  • Happy

    maybe you're not just right after all

    maybe you're no good for me

    but the greatest of loves often don't come predictably

    sometimes you've just gotta take a chance

    and sometimes you have to let your heart decide

    to trust the gift behind the kiss

    behind a spark behind a flame

    behind the girl

     

    i can't apologize for being here

    i can't explain exactly what it is i fear

    but i guess i shouldn't stand so near to you my dear

    i get all shaky when you call

    i don't remember how to fall gracefully

    or not at all

    if there's a road i'll find a way

    you call the shots for now and that's okay

    for now

     

    are you still waiting

    fpr that thing that's gonna set you free

    you gotta believe in something

    anything

    if it makes you happy

     

    your eyes are bluer than the sky

    you're swimming in sunshine

    you are the ocean breeze

    i am the desert sand

    blowing in the trees

    changing like the wind

    yeah

     

    are you still waiting

    for that kiss that's gonna set you free

    you gotta believe in foolish miracles

    are you still waiting

    are you still waiting for me

    you gotta believe in something

    anything

    if it makes you happy

  • Credits

    music and lyrics: astrid young © SOCAN

    vocals: astrid

    background vocals: kim koren

    guitars: joe gore

    acoustic guitar: astrid

    guitar solo: sam arion

    viola: luca d'alberto

    bass: joe gore

    drums, percussion and brushed notebook: victor delorenzo

    floor tom tom: dawn richardson

     

    studios:

    robot recording, san francisco

    napier park recording, dundas ontario

     

    engineers:

    travis kasperbauer, steve foster

    mixed by travis kasperbauer

    produced by victor delorenzo

    mastered by joao carvalho

  • Liner Notes

    this was a song years in the making. i think i've written the lyrics and melody four or five times, trying to get it just right.

    i even tried to co-write it, thinking maybe some fresh eyes on it ... blah de blah. only to take it back to square one. in the end, it's a mish mash of all the different versions, and even though for the longest time it seemed kind of disjointed to me, i love it now. to clarify, the music part of it, even the order of the parts, and the chords, they never changed. this is one which started with the music, and generally with me, the lyrics come soon after, but this one confounded me for so long.

    it was named by my dear friend, MJ, who never likes to be named or recognized for anything, hence only the initials ... but in the end, it's fitting because it is kind of about him as well. the really ironic thing, i thought it was a stupid name, but after ripping apart the chorus a dozen or so times, i decided to use it to my advantage.

    so it worked out, after all, and no regrets. thanks, MJ.

    in the studio, joe really brought the ethereality into the arrangement. it's so vast, and so minimal at the same time ... we had a visitor in the studio that week, sam arion from toronto, who is a friend of the family, and only about 16 at the time. a budding musical genius, it worked out that he could come and hang with us and sit in on the sessions ... my memories of doing just that when i was his age are still very clear in my mind, so i know how important it was. anyway, we were getting ready for the day's work, and between Joe, Victor and I, we decided maybe we should give Sam a go at the solo. When he arrived at the studio that day, i don't think he knew what hit him, Travis put a guitar in his hands, and started hooking him up.

    we gave him two takes, but we used his first one. it was a keeper.

design © W.O.T.G. Omnimedia • all rights reserved • desert photography © Jim Metzger