"Days In Italy"
Interview with Annie Burns
by Meghan Gardner

Meghan: Can you describe for me the feel that you wanted to create for this CD?

Annie: I wanted to make a collection of my favorite works that I have written as well as some special songs, by other writers. 

Meghan: I don't know if it's just from the percussion, but I noticed an almost Mid-Eastern feel in a few of the songs...

Annie: Perhaps that's a "World Beat" that your thinking of...

Meghan: Yes... "International"

Annie: Yeah. I think that what happens with a lot of musicians is that we get influenced by all kinds of music... I did want to create more of a rhythmic record this time with bass and percussion. I've been working with my sisters for many years. We have been recording music with a country feel most recently. I felt like stepping away from that sound on this recording. 

Meghan: Why?

Annie: To experiment. For example, I just wanted a song with a guitar... or I just wanted a song with guitar and bass... or I just want to sing my throat out and rock and roll. I'm influenced by so many artists...from Aretha Franklin, Bonnie Raitt to Patti Griffin, she is an awesome singer songwriter. Lately I have been listening to Andrea Bocelli. What an incredible talent. 

Meghan: Is that an influence of your mom (who sang opera)?

Annie: Oh yeah. In fact, that is how I discovered him. If you go into my parents house, that's who they have on. They listen to a lot of classical music.

Meghan: What's the story behind the title of this CD?

Annie: Well that's the title of my favorite song on the CD which is dearest to me because it's about a person...my best friend who passed away. Her name was Leslie Schwartz Burgevin. She taught me a lot about living life to the fullest because she battled cancer for 10 years and yet she was the most fun, wonderful, hysterical, witty person you would ever meet. And her passing was so dramatic for me that it took me over a year to finish the song.

Meghan: Did you write this before she died?

Annie: No, actually I wrote it about a year afterward... she died three years ago. I wanted to write a song about her great sense of humor and share the depth of who she was. So I wrote about two really good friends... around forty-ish... who go to Italy to sort of let their hair down. We never actually went to Italy. But she had traveled there, and we often talked about going someday. She spoke a little Italian... She was a brilliant woman... an art historian... she surrounded herself with artists. Her dad is a classical concert pianist, Joseph Schwartz, and her mom is a classical vocalist, Florence Schwartz. She inspired everyone she knew on how to live life to the fullest, and to appreciate all that you have been given. 

Meghan: And the Italian line in there - 

Annie: La Vita e Bella...

Meghan: Yes.

Annie: I came up with the chorus, and the idea of being in Italy….then I thought of using "Life is beautiful" in the refrain .. in Italian, so I asked my daughter's French teacher who speaks Italian, how to say it, and it worked perfectly. - in fact it is her husband that is speaking the Italian and flirting with the women at the end of the song - it was great fun. 

I had the chorus for a long time, over a year. But I couldn't finish the verses because it was so painful for me. In fact, I even went to the studio and tried to sing the choruses, and completely broke down, I then realized the reason I hadn't finished the song is because I hadn't faced my grief. It takes time. Finally, I called Rich DePaolo , - who I will call often when I am having trouble finishing a song. He did a great job. He and I co-wrote a number of the songs on this CD. He was a friend of Leslie's as well. I like writing with Rich because he can get into my frame of mind and allow the song to evolve from its original source, which I appreciate so much in a co-writer. Not everyone you co-write with is willing to get into that space. He doesn't try to change the direction I'm taking. He helps me get inside myself. In the end, I feel like I captured her essence and our friendship. It's important to me 

Meghan: What was your greatest hurdle to overcome in this CD as a whole?

Annie: Producing the CD was the most difficult. Knowing what I wanted artistically, and being able to communicate the concept was challenging. When to know the work is as good as it's going to get is tough. It's hard for me to say "when". I don't want to say "when". In fact, I could go in there today and keep working on the songs. Luckily, I have been blessed with my executive producer, Cliff Fagin, who arranged for the incredible lineup of musicians and studios I recorded in, and gave me daily pep talks on how I was capable of completing this project. When you have someone who believes in the project it makes a world of difference. 

Meghan: By the same token, here you have unlimited choices as to what you can do. I can imagine that can be a little bit of a hurdle. Suddenly you don't have any restrictions on what you can do, so where do you go.

Annie: Yeah, that's true, I was able to work with these incredible musicians, so the opportunity to hear fresh musical ideas were easy. All I had to do was listen, and let them express their ideas. For example, Sean Pelton on drums - he came up with so many wonderful grooves. I feel like I just allowed these people to play, they were so fabulous; I didn't have any problems there. It was better than I dreamt it could be. One of the hardest parts was going to the studio, working on my vocals, singing all those backups, and wondering if they were good enough. When do you say "when"? You're on a budget. You can't be crazy. 
However, I am guilty as charged.


Mehgan: Why don't you tell me about the musicians on the CD

Okay….My executive producer Cliff Fagin arranged the awesome lineup. On drums and percussion, Shawn Pelton - he was grand. On acoustic guitar is Jim Kimball, who lives in Nashville. He's great. He has played on the last Burns Sister recording and is a singer songwriter himself. Larry Campbell played acoustic guitar, mandolin, and cittern. He is awesome, plays a zillion instruments. Tony Garnier played bass… he's just amazing. Mark Shulman played electric guitar…he is one of my all time favorites.
Walter Strauss and Rich DePaolo played some additional acoustic guitars, Hank Roberts, who is out of this world, played cello. And my dear friend Doug Robinson sang back-ups on a few songs. Brian McGee engineered in NYC at Magic Venture Studios. Tim Reppart, at Rep Productions in Ithaca, saved my life and let me work there. And I mixed with Rich DePaolo at Electric Wilburland studio in Ithaca. What a year. 



Meghan: Was there a particular song on this album that was a problem child or stumbling block?

Annie: What I found difficult about this CD is that it's a collection of songs written over the past ten years. In re-recording Surrender, which I've done on other recordings, I wanted to give it a new feel with the mid-eastern drums. It's a meditation song - the chorus is based on a Sufi prayer. But at the same time, it's difficult to re-record anything. You've been there. (Laughs) I want everyone to know that I'm never going to record these songs again. I love doing them, and I did want to change the feel of a couple of them, but I feel that now they are where I want them to be. When something is fresh and new like "Days in Italy", the recording is easy and really fun. When you're re-doing something that's already been done very well, like the recordings with my sisters, it makes it a little harder.

Meghan: What's the story behind "The Owl"?

Annie: I lived in the darkness. (Laughing) I got the title from a book "I Heard the Owl Call My Name" that my daughter was reading when she was in 5th grade. I remember seeing that book and talking about it with her and skimming through it. It was about someone who is dying. I'm the Woody Allen in folk music - obsessed with death (laughing). For some reason it's a theme of mine. I do tend to write about quite serious stuff, I guess. So that title stuck with me and I wanted to use that idea. Years later, I started dreaming about owls, which is kind of interesting. It has a variety of meanings. In the Native American culture, it's about death Also, it could be about being deceived. The owl became this creature that was appearing in my dreams. Maybe like my totem. Who the heck knows. I was just interested in this being that kept showing up at that time in my life. I was going through a rough time, as you can tell from the lyrics. I was having some relationships in my life that I felt really needed to be healed. That's what that song is about - letting go of anger and making sure your relationships are in order.

Meghan: How about "Without Love?" That's a dark song. Can you tell me something about that? 

Annie: Oh yeah. Well - I think that song sort of speaks for itself.

Meghan: This song has a more classic rock feel, and you really push it with your voice.

Annie: As much as anything, I love a good ballad. I like a rock and roll song. I feel like I could go from A to Z to A again. I'm pretty tough on myself musically. I'll listen to old albums and say "I'm pushing my voice too hard there. I need to become more subtle." Then I'll work on all these subtleties, and then I'll wonder where my raw edge is. I really wanted to have it be kind of raw. I like to sing. It's what I do. If it doesn't sound absolutely perfect in every way at least it's true. You gotta go for it. You gotta open your heart and sing it out. It doesn't have to be perfect.

Meghan: "God Made Woman", another re-recording. How is the feel of this song different?
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Annie: I wrote this song with Annie Tate, a writer from Nashville. She's a hoot and a half. I didn't want to re-record it exactly the same as the Burns Sisters recording. That would be ridiculous, why bother? I have stepped away again with a raw edge feel. I feel like I belted it out. It might not be very pretty, but at least I feel like I'm singing it with a raw sound. I used to do a lot of flat-out blues singing, which I haven't done in a long time. The back-porch bluesy thing. 

Sean Pelton put that little cowbell thing in there. I'm like "Credence Clearwater Revival" (laughing). It's this really cool feel. He called it the swamp feel. I didn't put any harmonies on it. I wanted it just to be plain. I did that on a couple songs on this CD. Most of the songs have harmony backups. Sometimes I miss the single voice. … nothing fancy. I used to listen to a lot of Bonnie Raitt music, Etta James, blues mamas (laughing). I just want to go back to this for a little while, sort of revisit that… which is part of who I am.


Meghan: "Long Time". What was the inspiration for this song?

I get to know people because I travel with the music. They become your really close friends, and you're not going to see them for a long time. It's sort of like embracing the moment, being present and appreciating the love in your life. It's not about being with someone all the time. Obviously, the song's about people who can't be together.

Meghan: I also notice in this song, that it really showcases your vocal talent. You do some very interesting things in there, that I haven't head from you in other songs. Very nice.

Annie: Thank you.

Meghan: "The King is Going to Fall". Wow. Your sister wrote this?

Annie: My sister Sheila wrote it many years ago, during the 80s version of the Burns Sisters. We recorded it on Columbia. We did it more in a big 80s kind of feel, of course because it was the 80s. It never really got released; because we were dropped before the album was released. I think it's a beautiful song. I've always loved it. I think it's timeless. The lyrics are poignant, just beautifully written. Sheila wrote all the lyrics, John Zeeman wrote the music, and a guy named Bob Marlette made a few adjustments. We recorded it in California in the 80s. I just love this song, and have always thought it needed to be out there again. It was buried. Here's this beautiful song, and it has so much meaning. So I called Sheila and asked her if I could do it, and she said yes. 

Meghan: "Someone Tonight". That song really speaks to the loneliness that I think everybody goes through at some point in their life.

Annie: I didn't write this song. This is from Kathy Ziegler, who is a fabulous writer, if you get a chance to hear or see her. I heard her do this song and I fell in love with it. She was working with Rich DePaolo and they did a demo of this song. I kept that demo and played it in my car all the time. It's a song about compassion. That's what this song's about to me - like the line, "God how the hollow sets in, when it takes so long to reveal itself." I've been through some tough times. I think everybody does. If you don't go through tough times, you're not going to know the good times. These lyrics struck me. The verses are a poem, and the chorus is always the same. Each time the chorus comes around, it takes on a different meaning, takes you to another place.

Meghan: "John of Dreams". What's the history of that song? Where did you first hear it?

Annie: My ex-husband and I had a friend Jack Williams, who passed away suddenly. His wife asked me to learn this song for his funeral. Jack was into interpreting dreams. He talked about dreams and taught seminars in dream interpretation. He was this very mystical, wonderful man. He had two boys and was so in love with his wife, Karen… such a fabulous family. It was just tragic. She asked me to learn this song for the funeral, and I fell in love with it. It's such a beautiful song - the melody is Tchaikovsky, and the lyrics are by Bill Cadick. 

Meghan: How about "Mystery"?

Annie: "Mystery" is a song by a fabulous singer-songwriter, Jennie Stearns. I love to find a beautiful song. This song was very haunting to me. I knew I was making this record, and I wanted to mix in some other people's writing. If you want to hear great songs…check out Jenny Stearns

Meghan: "Follow". It's funny, when I hear this song, I think of a song that I would write or play for my daughters, as they head off into the world.

Annie: It's a well-wishing song, like an old Irish well wishing.

Meghan: I have a couple more questions more about you.

Annie: I'm 25, and I'll remain 25 for many years (laughing).

Meghan: Do you tend to write your lyrics first and then the music, vice versa, or a mix of both?

Annie: It's a mix of both. My basic way of writing is that I'll get a melody with maybe the theme or the hook of a song or the chorus of a song. I will then have the story line or the chorus done, and then I'll get an idea for the first verse, and it goes from there. This is the torture of my writing. I'm not one of these writers who can write 3 songs in a week. It's like pulling teeth. It's this horrible, hard process for me. I really have to work very hard. Some people can just write, write, and write. I'm not one of them. What happens is I'll get the chorus, and then I'll write a verse, then another verse, then I'll just sit with the song. "Oh, I've just got to finish this song". So then I may invite another person with me or else try to finish it all myself. 

Meghan: What role does spirituality play in your music?

Annie: I think a big part. Sometimes, I feel like, "why am I writing all these spiritual songs, no one going to want to buy these!" (Laughing) I wrote "Surrender" 10 years ago. I have a bunch of other music no one's ever heard that are very spiritually oriented and I'll probably never put out. They're just pieces I've worked on. I could see myself doing a CD of totally sacred music. That's something I'd really like to do. .

Meghan: It sounds like music is really a manifestation of your spirituality, a way for you to express it.

Annie: Yes it is. It's very important. We did "Prayer of St. Francis" on Out of the Blue. That was great. I love that. I could see us doing a record of just things like that.

Meghan: And yet you cross so many genres, and you don't just stick to one form of spirituality... like the Traditions album.

Annie: Absolutely. I don't believe in just one form or particular religion.

Meghan: Is there anything else you'd like to add?

Annie: No… (Laughs) Thank you, Meghan.

Meghan: Thank you, Annie.