Folk legend Ferron's new album a 'boulder' return to her roots

Stroking the auditory senses of discerning, self-doubting critics is nothing new to folk singer Ferron. Of her 1984 album Shadows on a Dime, Rolling Stone magazine described the singer's distinct blend of twangy vocals and cunning lyrics as "cowgirl meets Yeats…a thing of beauty."

But that generous review should come as no surprise to fans of Ferron. Beginning as early as 1977 with her self-titled Lucy Records debut, the Canadian artist has proved herself an organic wordsmith with an appreciation for sparse and mellow instrumentation who's capable of turning out stunning, sweeping verse that figuratively— and, often, literally—soothes the soul.

Part Ojibwa and Cree Indian and a native of Vancouver, Ferron fled a turbulent childhood at age 15, striking out on her own with a shopping bag containing only the bare necessities: a toothbrush, a change of clothes, and a Leonard Cohen album with "no record player." Yet 14 albums and spades of inspired performances later, Ferron has become a seminal fixture in feminist music, and over the course of her three-decade career has earned the admiration of such subsequent performers as Ani DiFranco and the Indigo Girls, just a few of the artists who lend their talents to her new album Boulder, available now.

Produced by New York-based indie artist Bitch, who contributes to nearly all of the album's 12 tracks, Boulder brims with the brightness of a fresh and powerful collaboration between two poets—and to make matters more authentic, the pair forged the concept album in the remote forests of Michigan that Ferron calls home where Bitch's RV doubled as a recording studio. As a result, the record retains a starkly autobiographical feel, with Ferron's smoky vocals penetrating and, at times, haunting the listener.

Boulder begins with "Souvenir," a sparsely arranged address to a lover that's captivating in its simplicity. "Trade your wanderlust for my little bitty fire," Ferron beckons, "'cause I've been waiting for you to remember me."

"Never Your Own" and "Our Purpose Here" feature Amy Ray and Emily Sailers of the Indigo Girls providing backup, mandolin and guitar assistance, and melding subtle bluegrass harmonies into gentle, romantic storytelling, while "Girl On A Road" brings Ferron's trademark poeticism to new heights, with renowned folk singer Ani DiFranco laying down underlying vocals.

Intricate string harmonies and spirited vocals from Ferron and Bitch continue to draw listeners deeper down with "The Cart," a ballad steeped in the echoes of the untamed frontier that likely also resound in the forests surrounding the makeshift studio in which it was recorded. The album picks up pace with the track "Misty Mountain," however—it's hypnotic drumbeats and erratic female warbling offering a starkly indigenous texture.

"Shady Gate" pushes the album toward its conclusion, and also shows Ferron and her guitar at their rudimentary best. This song's lyrics seem to come from an immensely personal place, giving audiences a glimpse into one family's inner workings and detailing a poignant exchange between mother and daughter that doesn't mask either generation's inability to answer the questions of the other; rather, it brings to light the sublime connection between the experienced and the inquisitive and reminds that each individual is always in the midst of her own search for answers. The mother remarks, "Maybe the sun will shine/Or maybe it won't at all/But whatever is coming for you/You get to have it all."

All in all, Ferron's Boulder is a compelling work not to be overlooked. In such turbulent times as the present, everyone needs a subtle reminder of the ebb and flow of the journey that is existence, and with her sonic donation, the insightful Ferron contributes her peace. Ferron and Bitch will tour in support of Boulder through 2008. For more information, visit www.ferrononline.com