Isn't that the way it is with record companies in general, Quincy? Maybe they were unable to comprehend these songs at all, and didn't think they would sell. They had their demographics for their target audience, and perhaps they couldn't make it fit. That's the problem with these labels; they tended to be risk averse and lacking vision. Her cerebral, introspective songs, lacking rhyming lyrics, were a leap too far.
With maturity, maybe Sarah thought they were right. She has seen what sold, and what didn't. I got the same impression on Rareties you mentioned. She was more a back-up singer than the main one. I've only got Vol. 2, so I heard only the covers. Did she hope to promote others she liked? Or did Nettwork think they were just trading on her name for more sales? It would seem it would be a forum to put her own lesser-known music out there.
I'm curious about her writing prior to Touch. Surely Sarah must have been writing in a journal, or something, to have such an excellent feel for the flow of words that she displayed on that album, and has continued to show since then. These rare songs illustrate also how well her writing was progressing. I just love the way she uses words like entwine, inherent, appease, and so on in her lyrics, giving them a sort of classically literate perspective.
So yes, one can dream, Karine. Meanwhile one can listen, thankfully.
