In remembrance cissp notes 2016 pdf Dan Fogelberg on what would have been his birthday, stories behind his songs and albums from an interview in Performing Songwriter Magazine. Most of my readers know about my deep, abiding and often embarrassing love for Dan Fogelberg and his music.
My brilliant plan worked and I did get to meet Dan. I interviewed in him 1994, and had my dreams come true when I spent almost two hours talking to him about art and artistry, music and musicianship. Simon’s greatest piece of work. Thanks for all the great songs and memories you left us Dan, and we celebrate your birth. What is your perception of your first album, Home Free, now? It was my first record in Nashville and I was having a wonderful time. I still like the songs on that album, I just wish I could have sung better when I was younger.
I mean it was just always this high falsetto. We were all just kids, you know, doing a lot of drugs and having a lot of fun. But there’s something about that innocent quality that still translates to people. It’s like my first born, you know. Yes I do, very vividly.
It was the first real piano song that I ever wrote. And I had come back from college my freshman year in the summer and I sat down at my mother’s piano at her house, I was home for the summer, and I remember being up in the morning and looking out through the venetian blinds, and it was a lovely sunny summer day, and I just wrote this song. It was very heavily influenced by Joni Mitchell. And it was all done in one morning. And it’s still one of my favorites, I still play it in concert and it still holds up.
I think it’s a very good song for what it is. I don’t know where that came from. I think that was just a college drug haze, because it doesn’t make much sense. I used to ask the audience what they thought this song was about and nobody knew. Wysteria is dead, it’s a ghost. And this guy’s still hung up on this ghost.
He was a very, so I got to work with a lot of my heroes on that record. It is beautiful, and I just wrote this song. I feel like Dan is a good friend as I’ve had his music with me most of my life. And had my dreams come true when I spent almost two hours talking to him about art and artistry, and all this sort of thing.
I think I remember lying in a hallway of some dumpy house I lived in in college and this thing came out. They were all over that record, we were buddies and we were touring. The thing that I’m most proud of with that record is that it opened the door to the people I wanted to work with. And Joe Walsh got me Russ Kunkel. And I was just drooling to work with this guy.
And Walsh just called him and he came down, and here I had him and Al Perkins from Manassas and Graham Nash came in. So I got to work with a lot of my heroes on that record. And it opened the door for me in L. It’s a miracle we survived that record.
That for me was a real great moment, incredibly happy on that entire album. If that album was remade it would probably had been one of his best ever because the playing and the composition is top notch. Wysteria is dead, it’s really challenging, and that started a long relationship of recording and playing live together. In remembrance of Dan Fogelberg on what would have been his birthday; hope to achieve this goal in my lifetime. And it’s still one of my favorites — i guess it was a lot easier to respond to a girl’s inquiry by falsely asserting that the song chronicled an actual event.