please type these lyrics

[HERO]

1. Blazing a trail to the southern cities from the streets of our hometown


Basement bars we played from the heart


in the company of our friends


You're cool and cred like Fogerty


I'm Elvis Presley in the 70’s


You're Chateauneuf, I'm Yellow Label


You're the buffet, I'm just the table


I'm a Ford Temple, you're a Maserati


You're The Great One, I'm Marty McSorley


You're the Concorde, I'm economy


We used to midnight run to The Vesta Lunch -- cheese burgers and chocolate shakes


And once I got drunk with Jeff, I told him I was in love with you


But I love you like a brother so I guess that half of it was true



I'm sure it's been said in the finer print


You make me look legitimate



You're cool and cred like Fogerty


I'm Elvis Presley in the 70's


You're the Concorde, I'm economy




2. It's complicated


Technically I'm certified


A walking declaration


Of everything I couldn't get right


Time is just an anchor

But seven years I think I'm right

And now you've changed your number

It's like a noose around my life

For every pill I took in vain

Every meal for you I made

Every penny I put away

Asking for flowers

Is like asking you to be nice

Don't tell me you're too tired

10 years I've been working nights


My life is like a picture

Left out too long in the sun

Now I'm trying to remember all the faces of the names I've loved

And all that's left of me now is a cigarette burning bright

And a fading memory of all the things I tried to get right

Every pill I took in vain

Every meal for you I made

Every plan I tried to make


Every bill I went and paid

Every card I signed my name

Every time I poured my heart out

Every threat you made to move out


Every cruel word you let just slip out

Every cruel word you let just slip out

And asking for flowers

Is like asking you to be nice

Don't tell me you're too tired

Ten years I've been working nights . . . .








3. What a surprise

Wearing your disguise on the telephone line


I know it pleased you to know I needed you and your time

You play the game

Not saying either way, but you know


Could've made it real quick

Saved me the guilt trip and just said no


Are you writing this all down?


This conversation

Alienation in your tone

I've got no clue from your point of view and your time zone

I wouldn't have asked—saved you the task—if it weren't for real


Trading a daughter

Two thousand dollars for a national steel


Are you writing this all down?




4. Going down in the same old town down the same street to the same bar


And the same old faces saying hi and I don't care


Going down in the same old bar and I know I don't even order anymore


I am so sick of consequence and the look on your face


I am tired of playing defense


And I don't even have hockey skates


You can meet me at ten thirty


But I won't be there I'll be gone


We can talk like we are friends


Going over it all again


Talking about everything I am doing wrong.


Do you wish that your nose was longer so you'd have an excuse not to see past it?


Do you wish that the lights were brighter in the city that you live?


I am so sick of consequence and the look on your face


I am tired of playing defense


And I don't even have hockey skates


You can meet me at ten thirty


But I won't be there I'll be gone


We can talk like we are friends


Going over it all again


Talking about everything I am doing wrong


And do you think your boys club will crumble


Just because of a loud-mouthed girl?

[Beautiful sky]

LOL, this is a farfetched of an idea

[HERO]

Probably. At least some sort of idea regarding which functions stand out. Or which function...

[Corwin]

Yay, I get to practice.

I'm going with SEE

Emotive + Strategic + Sensory + Valued + Canadian = SEE

Fi-SEE most likely

Blazing a trail to the southern cities from the streets of our hometown

Sensory

in the company of our friends

And now you've changed your number
It's like a noose around my life

Alienation in your tone

Every time I poured my heart out

Valued

Every meal for you I made

Id ?

Every cruel word you let just slip out
Every cruel word you let just slip out

Emotive

Every plan I tried to make

Strategic

And I don't even have hockey skates

Canadian

[Scapegrace]

Yay, I get to practice.

I'm going with SEE

Emotive + Strategic + Sensory + Valued + Canadian = SEE

You cheated.

[Corwin]

You cheated.

Canadian/Other is a valid type dichotomy.

Canadian:
Says "aboot"
Often talks about hockey
America's hat

Other:
Does not say "aboot"
Rarely talks about hockey
Not America's hat

Trust me, I'm an expert.

[Scapegrace]

My boyfriend needs to reevaluate his Candianness.

Hey, do you know Jodi Arias?

[Corwin]

On trial for something. Why?

[HERO]

“People are far more important—and your relationship and connection that way is far more important than writing songs . . . . I write about things that I know and feel.”—Kathleen Edwards

“The only thing I care about is protecting his feelings as well through this ‘cause it’s not easy.”—Kathleen Edwards




- more lyrics:


5. Painted over the walls

The saddest color of blue

Posters covered in glass

Favourite curbside grab

Red Valentine's card, stuck on the mirror to keep

Record player made of tube spinning Tommy by The Who

There's no time to waste

There's no time to wait

Keys on the hook by the door for the truck sold years ago

Standing guitars in the case filling up closet space

Vintage 40's wardrobe

Pink Emerson Radio

Old lace dress I bought in the store, motorcycle boots on the floor

There's no time to waste

There's no time to wait

Sirens up on the street

Smoke is burning my eyes

And the neighbors are screaming at me

I can only carry one thing, I can only carry one thing

There's no time to waste

There's no time to wait . . . .




6. There are some things that I believe

Like if you've got nothing you've still got your family

And when you are no one you're still the king

And there's not a dollar enough in the world to make you sing

So don't get down

Good things come when you stop waiting around

Good things come when you stop looking

Don't get down

You've just got to stop looking

There are some things I used to be

Won't you find the will just to remind me

Because you are so safe inside my memory

And the scar underneath my knee



7. (dedicated to Absurd) I know your heart

It is a sacred thing

You're a comedian

You hide behind your funny face

Every time, every time

Out of the shadows

Out of the cameras and the lights

You're a chameleon

And you hide behind your darker side

Every time, every time

I don't need a punch line . . .


Everybody's watching

The way that I see you could not change

I'll be your medium for everything you wanted to say

'Cause out of the shadows

Out of the cameras and the lights

I'm a chameleon

I just hide behind the songs I write

See me smile

It's not for a funny joke

See me smile

It's not for a funny joke

It's for...

Every time, every time

I don't need a punch line . . . .










I guess this could also be (partially) related to jason_m’s thread. Some people’s types are a lot more obvious (e.g. Courtney Love’s, Virginia Woolf’s, Dave Grohl’s, Vanessa Carlton’s, Emily Haines’, etc.). Then there are people like Kathleen Edwards, who are perhaps (even) more ‘atypical’ (and/or ‘sensitive’) and/or less ‘archetypal’, so to speak.


http://www.kathleenedwards.org/media...onto-star.html

'Never one to mince words, Kathleen Edwards has already sardonically labelled Voyageur her “divorce album,” but you don't have to be acquainted with the recent details of the Ottawa singer/songwriter's biography to realize from that there's been a shakeup in her universe.

It's not just the lyrical content that gives it away, either, although heart-rending tunes such as “House Full of Empty Rooms,” “Pink Champagne” and the exquisitely weepy “A Soft Place to Land” are replete with words and images that suggest they were written in the midst of a particularly rocky personal period. “So I'm going to hell/ In a basket I've made,” sings Edwards on “Going to Hell,” the most cathartic cut. “It's woven from your letters/ And it spells your name.”

No, Voyageur also works as its own phoenix-rising-from-the-ashes metaphor, putting as it does a fresh spin on Edwards's confessional songwriting four albums into the game thanks to some attentive production help from Bon Iver bandleader (and new boyfriend) Justin Vernon. His isn't a radical reimagining of the familiar Edwards sound, but there's definitely more shimmer and space to the proceedings than one might recall — particularly on the almost-ethereal ballads, which occasionally, fondly bring to mind the elegantly heady work of Suzanne Vega.'—Ben Rayner


http://www.lostatsea.net/review.phtm...847d71640b7939

‘These days artists who don't freely fly a flag of one stripe or another are often pigeonholed into a particular genre, and there often accepting their lot set about mining it for all it's worth. As far as (women) singer-songwriters go, most end up in the acoustic guitar-toting, post James Taylor "sensitive" category, only to be forgotten when their broken hearts heal; in happiness, their seemingly endless well of melody dries up.

From the start, molding herself after roots rock pioneer Lucinda Williams, Kathleen Edwards refused such a fate. Edwards' brash vocals, sincere and aggressive, immediately set her apart from those contemporaries with their hearts set on soundtracking a Bed Bath & Beyond marketing campaign. Her signature guitar sound is both classic in approach and delivery, yet through her sophomore release, Back to Me, Edwards seemed like she struggled to truly break out of the slowly forming rut (a la Lucinda) from whence she came.

Fast-forward three years, and Kathleen Edwards has emerged with a new kitbag. To explain the delay in following up Back to Me, suffice it to say that Edwards had some things to do after a long run on the road (gardening, jogging, working at a winery), and they often took her away from music. The most important task however, was Edwards' determination to learn how to play the piano. And she's not shy about accomplishing it either. Asking For Flowers' leadoff track, "Buffalo," demonstrates her budding, albeit somewhat rudimentary, skill. The track builds with production reminiscent of Neko Case's recent country noir, and even has hints of the highlights of Cat Power's The Greatest.’—Jeff McMahon


http://www.popmatters.com/review/kat...g-for-flowers/

‘ “Alicia Ross” is a powerful song about a young woman who was murdered by her neighbor. Written in Ross’s voice, [Kathleen] Edwards’ lyrics are absolutely heart-wrenching: “He pulled me so hard off my very own back door steps / And he laid me in his garden / All the years I’ve watched him tend.” Reminiscent of Bruce Springsteen’s “Nebraska”, another stark, ripped-from-the-headlines murder ballad, though from the perspective of the killer, not the victim, “Alicia Ross” is quite possibly the strongest (and saddest) song Edwards has ever written. All royalties from the song will be donated to Project Canoe, a charity founded by Ross’ parents that aims to help at-risk teens, so if for some unknown reason you decide to forgo buying the entire album in favor of cherry-picking a couple tracks from iTunes, make sure this is one of them.

The album’s catchiest song is “I Make the Dough, You Get the Glory”, a clever, mid-tempo track featuring Greg Leisz (Wilco, Robert Plant & Alison Krauss) on pedal steel. The song also showcases Edwards’ dry Canadian wit as she sings, “You’re cool and cred like Fogerty / I’m Elvis Presley in the ‘70s.” Not to reinforce stereotypes about our neighbors to the north, but there’s even a hockey analogy: “You’re the Great One / I’m Marty McSorley.” Who can resist a Wayne Gretzky reference?

On a more serious note, socially conscious songs abound on Asking for Flowers. “Oil Man’s War”, a song ostensibly set in the Vietnam Era, can easily be applied to current geopolitical happenings; the song’s focus on war’s ramifications on a personal level make “Oil Man’s War” far more meaningful and poignant than most of the other protest songs floating around out there. Also, it rocks, which is always a plus. “Oh Canada” might just be the angriest song Edwards has ever written, and considering the angry songs that pepper her first two records, that’s really saying something. The track covers a variety of topics from racism perpetuated by the media (“There are no headlines / When a black girl dies”) to suburbia’s willful ignorance of life outside the McMansion (“In the valley below / There’s crack and young girls / You don’t have to believe / What stays out of your world”).

There’s no doubt in my mind that Kathleen Edwards is the next Lucinda Williams, right down to the barebones vocals and increasingly politically aware songwriting. If Edwards can write and release three incredible records before she turns 30, just imagine what she’ll be doing 20 years from now. I, for one, can’t wait to hear it.’—Juli Thanki


Bruce Springsteen cover:











https://twitter.com/kittythefool

“don't make me choose between bryan adams and ryan adams. i won't do it.”—Kathleen Edwards


Kathleen Edwards‏@kittythefoolMar 4

“I cannot tell you how creeped out I am to see [Toronto mayor Rob Ford] follows me. YOU are a SOCIOPATH!!!!”—Kathleen Edwards

“wow! that worked.... [Toronto mayor Rob Ford] no longer following me. YOU'RE STILL A SOCIOPATH!!!!”—Kathleen Edwards




https://www.facebook.com/kathleenedwardsmusic/info

“If I weren't playing music, I would be not as happy, but I'd probably be a killer bartender/landscape designer/cat whisperer.

Grammar is important to me, but I am not always perfect.”—Kathleen Edwards


Kathleen Edwards‏@kittythefool22 Jul [2013?]

#RoyalBaby followers: “Let us not forget how many babies will be born today in refugee camps, and babies born into poverty.”—Kathleen Edwards



Kathleen Edwards‏@kittythefool1 Jul [2013]

“May our country be the example we so desperately want it to be. Happy Canada day, my friends. Let our ideals hold strong. Let's make waves.”—Kathleen Edwards

Kathleen Edwards‏@kittythefool1 Jul [2013]

“50% of First Nations children live in poverty. As a Canadian, I am deeply embarrassed. I implore to all my fellow CDNs to be idle no more.”—Kathleen Edwards


Kathleen Edwards‏@kittythefool29 Jun [2013?]

“I want to go to Sweden and live there until I write enough songs for my next album.”



Kathleen Edwards: "Just want to congratulate the @pmharper on an incredible exclusion of Aboriginal and FIrst Nations in tonights entertainment. #CanadaDay" (2014)








http://www.popmatters.com/pm/review/...ards-voyageur/

‘Voyageur marks some new territory for the artist [Kathleen Edwards] in that the coyly self-deprecating nature of some of her songs, such as “One More Song the Radio Won’t Like” and her jab at fellow Ottawa musician and touring bandmate Jim Bryson, “I Make the Dough, You Get the Glory”, has been dialed back a bit, in exchange for some artistic hand-wringing over her current state of affairs. Voyageur is a pretty serious and straightforward affair, full of seemingly autobiographical references (that somehow feel removed from the self) and the occasional flash of Biblical imagery.’—Zachary Houle



http://www.nowtoronto.com/music/stor...content=161998

“I have always felt ambivalent about Kathleen Edwards. Like a lot of Canadian songwriters, she’s a household name (at least if you read NOW’s concert listings), but it’s hard to recall her music at all. Yet her fourth album comes as a pleasant surprise, arguably tough country at its finest. Her clear, pristine vocals convey longing, heartbreak and the sexiness of the working class with honesty and grace.”—Emma McKenna


http://www.slantmagazine.com/music/r...-voyageur/2712

Her ability to turn a witty, incisive phrase has always been Kathleen Edwards's strongest selling point, and she gets off plenty of vicious one-liners on her fourth album, Voyageur. What distinguishes the album from its predecessors is the number of barbs she reserves for herself. Rather than using her acid tongue primarily to dismiss her exes, Edwards focuses instead on her own shortcomings and pessimism when it comes to failed relationships. To that end, Voyageur may not be the most uplifting album, but it's acutely self-aware and revealing.

The persona Edwards creates over the course of the album is consistently hamstrung by doubt and hesitation. "Maybe come September I'll feel brand new," she sings wistfully on "Empty Threat," but she's quick to betray even a guarded sense of hope just a few lines later, even as the track's raucous arrangement builds forward momentum. On the freewheeling lead single "Sidecar," which is far and away the most cheerful-sounding track Edwards has recorded, she spends the entirety of the song's verses and B sections lamenting "feeling so lost for so long," before exclaiming, "You and I will be sidecars/There to chase down the hard stuff," as though it's the most romantic thing anyone has ever said.

Voyageur works as a travelogue of that chase, since the album certainly doesn't shy away from difficult emotions and confrontations. Edwards derides herself for giving into the obsessive side of love, subverting the familiar sentiment of "Anywhere you go, I'll follow" on a song called "Going to Hell." The album-closing "For the Record" is both self-pitying and witheringly dismissive, as Edwards draws an unapologetic parallel between her own experiences and crucifixion.

Thematically, it's pretty dire, but Edwards and co-producer Justin Vernon trade in an ironic detachment between the tone of Edwards's lyrics and performances and the polished, accessible arrangements.’—Jonathan Keefe


http://www.allmusic.com/album/asking...s-mw0000583002

‘Kathleen Edwards' 2005 album Back to Me was the sort of record that grows and reveals new secrets each time you gave it a listen, so it's tempting not to trust immediate impressions after three spins of her next set, 2008's Asking for Flowers. But if one has to leap to a relative snap judgment, Edwards' new record sounds just as strong as its fine predecessor, and shows that she is gaining strength and confidence as a songwriter, qualities she hardly lacked before. Produced by Jim Scott and featuring a handful of top-notch American studio players (Benmont Tench, Greg Leisz), Don Heffington) alongside members of Edwards' Canadian road band (Colin Cripps, Jim Bryson), Asking for Flowers shows a broader range of colors than her first two albums (both lyrically and musically) than her earlier work. The playful wit of "I Make the Dough, You Get the Glory" ("You're cool and cred like Fogerty/I'm Elvis Presley in the Seventies") and "The Cheapest Key" ("Here comes my softer side/And there it goes!") is livelier than her previous work, but the gravity of "Alicia Ross" (based on a true story of a murdered teenager) and "Oh Canada" (a rant against social injustice in her homeland) cuts deep into the heart, and "Oil Man's War" is a tale of a draft-age man fleeing to Canada during the Vietnam War that's affecting and sadly relevant. The music is beautifully rendered and moves with the emotional peaks and valleys with surety and grace. And when Edwards sings about love, as she does often, it's with a naked honesty that's genuinely touching and reinforced by the rough but sweet tone of her voice. Back to Me was the work of a singer/songwriter well on her way to becoming a major artist; Asking for Flowers leaves no doubt that Kathleen Edwards has arrived and made an album that's funny, startling, poignant, and (once again) worthy of repeated play.’—Mark Deming



- for more songs see this thread:

http://www.the16types.info/vbulletin...thleen-Edwards

[Amber]

SEI , SLI somewhere

[HERO]

"You know what I wish? / It was just you and me / Sitting in this corner bar / You could tell me how you are / But I'm not gonna lie or anything / You don't even have to speak if you keep looking at me // And I could go all night, but they're turning up the lights / It would be so easy: do or say anything / And I'm not gonna lie: I'm not looking for love / I won't let you in my heart, but you were always on my mind"



I remember the way

Driving home late

Speeding all the way

Alone in the rain

I was rehearsing a part from down at the bar

My mouth smelled like a drink

We were laughing, I think

I've been away

Do you pick up your phone?

Do you check your mail?

Do you answer your door even if it's late?

'Cause I don't know who to call

I don't know who to write

And I think I forgot what your face looks like

I've been away....

And do you think I changed?

I swear I never tried

Memory's a terrible thing when you use it right . . . .




I'm not gonna lie

Not gonna make up my mind tonight

No, I'm not gonna pretend

I cleared out of town so I could clear my head

I'm not gonna smile

All the shit that's happened’s gonna take a while

And I don't want to be your friend

Just take off your clothes and get into my bed

And the press is after you

Jumping over fences just to see who's cool

And now I stand accused

I put a hole in your heart and then fed it to you


I'm not gonna think about all the shit you want me to think

And, no, I'm not gonna say who I spent my time with yesterday

And, no, I'm not gonna choose ‘cause in the end either way I still lose

And I'm not gonna wait

I was thinking about drinking my way through the day . . . .




“ . . . . It's not the Year of the Rat / We don't say it out loud / There are no headlines / When Muslim and Arab/Yemeni civilians and children are killed (or maimed and/or burned) by (American and Saudi) bombs (and weapons) / It's not the lack of a sense / It's called ambivalence . . . . You don't have to believe what stays out of your world . . . .”



- for more songs see this thread:

http://www.the16types.info/vbulletin...thleen-Edwards

[HERO]

Kathleen Edwards: Si-ESFj (Harmonizing subtype); or ENFj




Top it off, a white carnation

I borrow my mother's clutch,

Thinking the grass could be greener at last

Now that I'm all grown up.

But expectation at night will be the death of me.

In a dress to kill and a glass to fill

I wasn't ready but I didn't fight.

Pink champagne tastes the same.

I don't want to feel this way.

Looking back, it was such a dumb idea:

Five girls in the same-colored dress.

Book a honeymoon and find yourself thinking,

My life is a perfect mess.

‘Cause when you're far from the phone

I start feeling at home where I am

Thinking the grass would be greener at last

If I were on my own.

Pink champagne tastes the same.

I don't want to feel this,

I don't want to feel this way.

Everybody's saying, well if I were you…

‘Cause now you're such a good judge

When it comes to love.

And everybody's thinking they know me and you.

Well, I can be cruel.

And so can you.

Pink champagne tastes the same;

And I don't want to feel this,

I don't want to feel this,

I don't want to feel this way . . . .




Get out a map, carve out a path

Highlight it in fluorescent yellow

From the mountain pass to the prairie grass

Anywhere you go I will follow

And if we don't speak after you leave,

I'll look to the sky for smoke signals

If I fall behind, could you leave me a sign?

Breadcrumbs in the shape of an arrow

See I'm going to hell

In a basket I made

Woven from the letters and it spells your name

When the weather breaks we can sail the great lakes

I'll make a white flag from your pillow

Plug the holes of your leaky boat

Use your t-shirt for material

See I'm going to hell

In a basket I made

Woven from the letters

and it spells your name . . .




Wanna go get high?

Mercury is parked outside under the light

Wanna take me too?

The parking lot at the old high school.

And it's like you said

I would've turned up dead in the car . . . .






















http://luna.typepad.com/weblog/2005/...en_edward.html

Rolling Stone - SXSW 2003 Coverage: Best Stage Banter: Ottawa native Kathleen Edwards has a pretty voice and a dirty mouth. During her Antone's show, she announced, "Compared to Texans, Canadians are fuckin' assholes." At press time, nobody back home had destroyed any of her records.

“I’ve written some songs. I play them live. I record them. Some haven’t been awesome. Some I still really like.” That’s modesty. It’s perhaps like Picasso saying, “I paint some pictures. Galleries show them. Some I still like.” OK, Kathleen Edwards is not Picasso but she is one of the best songwriters this country of songwriters (something we do really well) has produced. Like many of our best she is able to square the circle in the sense that she writes songs of truth and conviction that still reach big audiences and sell. She is also a tonic for anyone fed up with massive pop egos. Her first album (2003) was called Failer and featured One More Song the Radio Won’t Like. When she stopped her music career with a 2014 Facebook post – “I don’t want to make music anymore” – she opened a coffee shop in Stittsville, just outside Ottawa and called it Quitters.

She used her reach to encourage folks to sign the letter crafted by Focus on Creators: “Fellow Canadian musicians and creators: Read this letter and tell me it doesn’t ring true… Every company from Spotify to Rogers and Bell Media enjoys the benefit of an outdated Copyright Law that fundamentally doesn’t appropriately compensate the creators of the content they use to make money. SIGN this letter. I did. If you know people in the creative arts in Canada, share it. It’s important that Canadians know and appreciate that artists contribute to the economy in this country and their intellectual property deserves to be protected. This isn’t a ‘please give us a hand out’ letter. It’s a ‘please implement policy that protects our copyright’.”

She and Jeffrey Jay Staley wrote Bullets Blood and Bones “for Frank Meyers, an Ontario farmer who was forced off of his land by the Canadian Forces! Protest singers and songwriters are still here, we just don’t get heard as often anymore because no one gives a damn about their neighbours anymore.” . . . . [performer biography by Gary Cristall]

kathleen+edwards+2014-17.jpg

Kathleen Edwards III.jpg

[Guillaine]

I've liked Kathleen Edwards for ages, her lyrics, I really get them especially the Failer album it's my favourite, so I always had her as IEE with lots of NE. Especially stuff like "you call me daddy, i'll call you Mabel, you passed out so I flicked through cable, and I stole you're gold watch from the bedside table." That dirty realism I associate with Ne plus a lot of gaps in the story, ie the main story is really the one not spoken about, like Raymond Carver's writing.
She was with Justin Vernon/Bon Iver for a while, I know it doesn't really help with typing but I would have thought him to be an SI lead.