With the help of my “band” – The Astro Travellers – I put together a beautiful show comprised of songs composed for the show, music from the vaults, some of my own instrumental music, collaborative songs by me and Francisco Silva and me and Bill Rivers, music from the vaults, still to be released music, songs that friends think represent me. This year I also picked a song that represents me. You can read the story of the 3rd Anniversary edition here Amazing Songs & Other Delights #67 – The 3rd Anniversary edition by Raquel & The Astro Travellers – programme story On the tracklist the name ahead of a song is the name of the person that picked it for me.
Tracklist: 01: Raquel Pinheiro – Big Bang with sax – Paulo Miranda’s Spectral Sound Modulation version 02: Bill Rivers & Raquel Pinheiro – Da Da Da bom 03: João Diogo Zagalo – Dead Redemption 04: Lola Flowers – This Is Not A Love Song (Pedro Mesquita) 05: digei de bairro – never been in Ibiza 06: Ed Clayton-Jones – Country Girl 07: Pernice Brothers – Working Girls (Rui Pimenta) 08: The Rolling Stones – She’s a Rainbow (Dana Detrick) 09: Francisca Fortes & Carlos Fortes – Como Um Cavalo Louco (Um Zero Amarelo cover) 11: Francisco Silva & Raquel Pinheiro – Someone Kissing You Away 12: Cake – I Will Survive (Raquel) 13: John Cale – How We See The Light (António Cunha) 14: Paulo Navarro – Atravessando as Águas 15: Bill Rivers & Raquel Pinheiro- Sweet Peace 16: Ed Clayton-Jones – Interloper 17: João Diogo Zagalo – Red Uszatek 18: Iggy Pop – The Passenger (Matt Hutchison)
My Amazing Songs & Other Delights #67 is The 3rd Anniversary edition and airs Monday 3rd, 3-4pm (gmt+1) on Yé Yé Radio: yeyeradio.com (or on the app). As usual on the program anniversary my “band” The Astro Travellers and I put as radio show together from a mix of purpose created songs or instrumentals, morsels from the vaults, songs that represent me, still to be released songs and instrumentals.
Here the Astro Travellers are António (Tó) Cunha, Bill Rivers, Carlos Fortes, Dana Detrick, Ed Clayton-Jones, Francisca Fortes, Francisco Silva, João Diogo Zagalo, Laura Mesquita, Matt Hutchison, Paulo Miranda, Pedro Mesquita, Pedro Tenreiro, Rui Guerra, and Rui Pimenta.
Tó, Dana, Matt, Pedro Mesquita and Rui Pimenta selected songs they feel represent me. Interestingly, Dana choice is Tó’s choice for my 1st anniversary show She’s a Rainbow by The Rolling Stones. This year I also picked a song that reportes me Cake’s version of I Will Survive.
I threw three chords to Bill and Francisco. Two of which I didn’t even knew the name of. I strummed them on the guitar, like it, drew a diagram. Bill didn’t knew the name of one of the chords either and called it chord H. Turns out, according to Francisco, chord H, if strummed a certain way is a pompous thing, a Fmaj7#11/ whatever that may be.
What happened to those three chords – with some adds/modifications by Bill and Francisco? They become three songs, Da Da Da bom, Someone Kissing You Away and Sweet Peace. Da Da Da bom are exactly the same instrumental basis, the first on keyboards, the second on acoustic guitar. Da Da Da bom has no lyrics per se, it is Bill humming a vocal melody. The lyrics in Sweet Peace were written by Bill to his latest record with Simon Hayward. Someone Kissing You Away are a few words Francisco used instead of a vocal melody to show me how the song could turn out.
Like the cover of Um Zero Amarelo Como Um Cavalo Louco by Francisca and Carlos Fortes, the aforementioned three songs are home, living room, recordings. João Diogo Zagalo and Paulo Navarro also contributed with home done music. Paulo did a beautiful piano solo piece, Atravessando as Águas, João sent what turned into Dead Redemption that was just voices. I liked it and kept it along Red Uszatek. Pedro Tenreiro, with his digei de bairro moniker, and Ed Clayton-Jones graciously allowed me to play still to be released material. Paulo Miranda took my Big Bang with saxophone (courtesy of Rui Guerra) and with spectral audio modulation created a new ambient for my music.
The Anniversary edition is my wide family affair, a group of fabulous musician, composers, songwriters, producers. It is always a guess, a what will come of it, until the show is fully assembled. I hope you enjoy listening to it as much as I enjoyed doing it.
01: Raquel Pinheiro – Big Bang with sax – Paulo Miranda’s Spectral Sound Modulation version 02: Bill Rivers & Raquel Pinheiro – Da Da Da bom 03: João Diogo Zagalo – Dead Redemption 04: Lola Flowers – This Is Not A Love Song (Pedro Mesquita) 05: digei de bairro – never been in Ibiza 06: Ed Clayton-Jones – Country Girl 07: Pernice Brothers – Working Girls (Rui Pimenta) 08: The Rolling Stones – She’s a Rainbow (Dana Detrick) 09: Francisca Fortes & Carlos Fortes – Como Um Cavalo Louco (Um Zero Amarelo cover) 11: Francisco Silva & Raquel Pinheiro – Someone Kissing You Away 12: Cake – I Will Survive (Raquel) 13: John Cale – How We See The Light (António Cunha) 14: Paulo Navarro – Atravessando as Águas 15: Bill Rivers & Raquel Pinheiro- Sweet Peace 16: Ed Clayton-Jones – Interloper 17: João Diogo Zagalo – Red Uszatek 18: Iggy Pop – The Passenger (Matt Hutchison)
My Amazing Songs & Other Delights #66 – The John Parish edition dedicated to musician, composer, songwriter, producer John Parish can now be listened to on mixcloud.
Tracklist: 01 – PJ Harvey – To Bring You My Love 02 – Dry Cleaning – Hot Penny Day 03 – Giant Sand – Astonished (in Tucson) 04 – Tracy Chapman – You’re The One 05 – John Parish – Westward Airways 06 – M. Ward – Primitive Girl 07 – Bettie Serveert – Satisfied 08 – Eels – Stumbling Bee 09 – The Goon Sax – In The Stone 10 – Mazgani – Distant Gardens 11 – Aldous Harding – Lawn 12 – PJ Harvey – Inside the Old I Dying 13 – John Parish – Sorry For Your Loss 14 – Peggy Sue – All We’ll Keep 15 – Sparklehorse – King of Nails 16 – John Parish & Polly Jean Harvey – Rope Bridge Crossing
Yé Yé Radio: yeyeradio.com (or on the app) the radio where my Amazing Songs & Other Delights airs every other Monday turns 3 years old Monday 27th. We’re celebrating at Praia da Luz, in Porto, 7-11pm with DJ sets by Francisco Coelho, Francisco Esp, João Bruschy, José Amen, Maria Gambina, Pedro Tenreiro, Rui Pimenta and Tugalife.
Yé Yé came to be May 27th to signal one year of the departure of our friend Vicente Pinto de Abreu. Vicente was a music, books, film, tv shows, comics lover. Praia da Luz a place he liked and identified with. A place where he and the djs collective he was part of, 7 Magníficos – of which Pedro Tenreiro and Rui Pimenta were also part of – spinned records many times.
I still remember the day of Vicente’s death. The night before, as we often did, we had been talking about films, tv shows, comics. I both were meant to watch and read something to discuss with each other the following evening. There was no following eve.
We are celebration Vicente, Yé Yé, radio, music, life, the joy of life and living, the seaside. Come celebrate with us.
My Amazing Songs & Other Delights #66 – The John Parish edition airs Monday 20th, 3-4pm (gmt+1) on Yé Yé Radio: yeyeradio.com (or on the app).
This edition is dedicated to musician, composer, songwriter, producer John Parish whose work I’m quite found of. John Parish graces one of the to three different front pages of print Mondo issue 13, the third anniversary issue in November 2002.
Parish work is wide and diverse. From his own solo albums and soundtracks to being PJ Harvey’s trusted collaborator in a number of roles.The choices for this programme include two songs by John Parish, two by PJ Harvey, one by John and Polly Jean from the album Dance Hall at Louise Point and an assortment of John’s work with musicians as diverse as Tracy Chapman, Mazgani or Bettie Serveert.
Tracklist: 01 PJ Harvey – To Bring You My Love 02 – Dry Cleaning – Hot Penny Day 03 – Giant Sand – Astonished (in Tucson) 04 – Tracy Chapman – You’re The One 05 – John Parish – Westward Airways 06 – M. Ward – Primitive Girl 07 – Bettie Serveert – Satisfied 08 – Eels – Stumbling Bee 09 – The Goon Sax – In The Stone 10 – Mazgani – Distant Gardens 11 – Aldous Harding – Lawn 12 – PJ Harvey – Inside the Old I Dying 13 – John Parish – Sorry For Your Loss 14 – Peggy Sue – All We’ll Keep 15 – Sparklehorse – King of Nails 16 – John Parish & Polly Jean Harvey – Rope Bridge Crossing
The second Reading List comprises reading choices by my friend, at times co-songwriter, and fellow avid reader Francisco Silva. Francisco laid to rest his old (pun intended) music composition Old Jerusalem and has been taking off in new directions with The June Carriers and Velho Homem. In Francisco’s own words.
Some of my musical reading material… :
Warren Ellis – Nina Simone’s Gum: A Memoir of Things Lost and Found is a picaresque story of the amulet engendered by Warren Ellis as an excuse to digress about music, creativity, humanity, etc.
Whyndam Wallace – Lee, Myself & I: Inside The Very Special World Of Lee Hazlewood is Lee Hazlewood’s life story as retold by his former manager, journalist Wyndham Wallace.
Bruce Adams – You’re With Stupid, the Chicago scene and the Kranky label by the quill of one of its founders, Bruce Adams.
Various – Rock Rendez Vous the photos of the iconic Lisbon club (and the portrait of an era).Rob Young – Electric Eden a detailed and multifaceted story of British folk music and its context.
Harold F. Eggers – My years with Townes van Zandt: Music, Genius and Rage” – the uncanny account of Harold F. Eggers’ time as road manager to Townes van Zandt in his prime and beyond it – an assignment that only a Vietnam veteran could tackle.
Ian Preece – Listening to the Wind: Encounters with 21st Century Independent Record Labels. Interviews and profiling of some of the most interesting (obscure?) independent record labels of our time: Light In The Attic, Thrill Jockey, International Anthem, Touch, Sublime Frequencies, Temporary Residence, Important, Paradise of Bachelors, Scissor Tail, among others.
… and two extraordinary graphic novels: the hitherto rare Storyville by Frank Santoro and the amazing Rusty Brown (but it could also be the just as beautiful – if not more so – Jimmy Corrigan) by Chris Ware.
My Amazing Songs & Other Delights #65 – The Rockamatic edition now available on mixcloud.
This edition name comes from the image transmitted by the songs. A mix of cinematic and rock covered by songs of diverse genres and ambients.
Tracklist: 01: Barry Adamson – The Last Words Of Sam Cooke 02: Belle & Sebastian in – What Happened To You, Son 03: Bernard Butler – Deep Emotions 04: Beyoncé – Blackbird 05: Dark Miles – The Waiting 06: Fat White Family – The Work 07: Girl and Girl – Oh Boy! 08: Guided by Voices – Serene King 09: Janita Salomé & Camané – Homens do Largo 10: Johnny Moped – Things May Happen 11: Mark Knopler – Two Pairs of Hands 12: Martin Savage & The Jiggerz – Observer 13: Myriam Gendron – Terres brûlées 14: Of Montreal – It’s Different For Girls 15: Pernice Brothers – Look Alike 16: Prickly Pear – At The End 17: The Decemberists – Burial Ground
An old friend has, for the last couple of years, been suggesting I should write essays. About whatever I feel like, since I write to him regarding everything under the sun. Although there is an inordinate amount concerning guitars and songs, and quite a bit on feelings and emotions. Therefore, let’s go for it. Like the shorter text on Camber Sands, this isn’t a standard song, or record, review. Do I even do anything standard? Answer, standard (guitar) tuning.
“Good Grief! I’m almost running out of tissues. That’s a compliment, by the way.” is what I wrote on Bernard’s instagram post of Deep Emotions visualizer. Running almost out of tissues was a small dramatic exaggeration to, there, easily convey the feelings and emotions brought by the song. Which are many, and multilayered.
Here, I have more room. All the room I want. The tissues didn’t almost run out – there was a nice stock, but the song release day and subsequent days were trying. What does a mostly logical, calm, joyful, steady person of profound, even feelings, do when confronted with a flood of emotions? She’s lost. And, or, shuts down. Or tries to figure out why tears keep want to burst out. Tears?… Again? What is going on?
Deep Emotions is an emotional mine field for me. The begging is easy “I saw the stars align over Primrose Hill”. Oh! a fellow star gazer! Nice. 🙂 A stubborn daughter and a stubborn dad? Rings several bells. From then onwards, making the song mine, quicksand is afoot. It makes me traverse at least, two separate levels of stored grief and trauma, that I thought solved, shelved, dusted and done. Unlike Sapphire Goss’ (who directed the short film that accompanies the song) words “… brief glimpses of half remembered things … ” there is nothing half remembered for me coming from Deep Emotions.
still from Deep Emotions film by Sapphire Goss
So far, Good Grief has proved a contender to thee record that has deeply touched me in such an unsettled manner in recent years – along with Mick Harvey’s Waves of Anzac/The Journey. Interestingly, Deep Emotions was released on April 24th, both the eve of Anzac Day – a solemn day in Australia and New Zealand – and 25 de Abril the day in 1974, 50 years ago, that ended a 48 years dictatorship in Portugal. The dictatorships had Colonial War (1961-1974) to which by dad and many young men were dispatched to. Dad left the war, went to exhile and was only allowed to return in 1977? … Talk about emotions. Deep, complex, ones. One
If with Waves of Anzac/The Journey I took my default route to process feelings and emotions: go for a very long walk on my own, and, more recently, also hit my electric guitar to pour it all out, when I start writing about Deep Emotions I was too tired for either manner of physical release.
still by Deep Emotions film by Sapphire Goss
What seriously intrigues me is why the album versions of the songs provoke such an emotional reaction in me. The live versions, that can be found on youtube, touch me, but with serenity intensity. There is no “what do I do with these shattering waves that are bringing it all to the surface again?” sensation.
Aside from the obvious – live versus recorded – what is the difference? The voice? The delivery? The existence of more instruments? The arrangments? The production? The (in)famous sensorial surround sound (I listened to the, theoretically, non surround sound)? All of the above? The guitar(s) on the album version has(have) a lot to answer for, but … Does is matter? Is it relevant to go find Wally and figure out exactly what is the cause? Probably not. Maybe better to leave aside dissecting that side of things and write from feeling. Or maybe those things are a deliberated way of translating emotions. Deliberated in the sense artists go for whatever allows us to better express what we want to tell, and, hopefully, reach cross to the listener, viewer, reader, audience.
Grief and trauma. I could sell it by the bucketload. We all probably can. The difference is not all of us are out there, opening up, being vulnerable, explaining, talking about our songs and life before an audience, being scrutinized.
Now and then I write songs, and most often I write poems, some of which were turned into songs, and instrumental music. A lot of me and my life is on those, but mostly in a cryptic way, providing me with shelter. You would also need to know my life to decode them. Deep Emotions is the opposite of cryptic, of providing shelter. It’s bare bones, ripped apart heart, dive right into the storm. And I don’t like it. Because, as said at the beginning, it brings back what had been properly wrapped on the bottom of the top shelve of the cupboard or thrown away since it was no longer of use. Yet, here I am, tissues within reach.
still by Deep Emotions film by Sapphire Goss
Why do I have issues, get frightened with, of, deep emotions? It is not with deep emotions per se. It is with deep emotions that blow up in your (in my) face. Especially when coming from the person who was meant to be there for me through thick and stone, till death did us apart, who, instead of the grim reaper did us apart. And there it was, grief and trauma cake layer number two. Not that, by then, or before, with grief and trauma cake layer number one, I had no words for the consequences.
It is also because when the me who is often told “you’ve always been the backbone” (I’m a bassist, I’m meant to) or “you’re rock solid” (I’ve just wrote I’m a bassist and I’m meant to), “you’re the driving force” (I’ve just wrote twice I’m a bassist …) was overwhelmed by deep emotions everything for myself went south. I was as disoriented as a band when the bassist stops playing unannounced. Instead of my usual know what to do in a crisis and trust my instincts, there was a seriously hurt, confused, couldn’t comprend it person.
It is not every day your beloved tells you, among other baffling stuff and behaviour “you have no feelings, you don’t even cry at funerals”. Of the seven billion humans on Earth that human was aware I go deeply quiet and silent in such situations. That saying was just the more visible start of a downward spiral caused by depression, grief and trauma – his – that spill over in all sorts of ugly manners and would culminate in a wrecked marriage and a miscarriage. Miscarriage is a soft way of putting what happened, but I’m not ready to go further in such a public forum. Connect the dots.
still from Deep Emotions film by Sapphire Goss
So… so… On the record when Bernard sings “I’m not holy in possession of myself” it is not Bernard my mind sees, hears. It is something far more dangerous than him speaking about himself in a song. And it gives me the shivers.
If I go further back, there is another major episode of raining deep emotions I had no idea how to deal with. My by then boyfriend, husband to be, me and a friend had a music and poetry project. I was offstage, picking most of the poems. My husband picked a few and wrote some. He read/spoke them on stage with our friend compositions and musical support. The hurt, pain, mortification, inner darkness coming out when my husband read, interpreted the poems, in particularly one called Leilão (Auction) in which the narrator auctions every part of itself, including its most treasure possession, the heart, was too much for me.
Not knowing how to express how much it upset me to see his raw pain, how it heart broke me, I issued an ultimatum “It’s the band or I!”, knowing too well it would be me. By then, we were young, life was hectic, all the concepts now easier to speak of eluded us. I have memory no of ever explained the reason for the ultimatum. Life, and other projects, carried on. Until the darkness and deep, muffled, or explosive, emotions I didn’t knew how to deal with, now with more added hurt and grief, resulted in self destruction, into which I nearly got fully pulled into. I came back home, we both bare the scars, our bond is broken.
still from Deep Emotions film by Sapphire Goss
So… So… Deep emotions are very scary. At least for me. “I’m hard to reason with, that’s not in doubt…”, “the saddest story is my anguish and pain”, “I got deep emotions running through my veins/Sometimes I feel guilty, sometimes I feel pain”, “when they take me over I’m harder to reach…” Oh! 😦 It’s still not Bernard my mind hears and sees, even if it is his voice singing.
As for “I’m drawn to the boundaries of longitude/Iike the companionship of solitude”, that’s far more me, my longitude often being inner.
It’s the guitars, it’s it? On the record. They come from here, and there, and then there is that big, fat, bluesy one, that contrasts and adds to the dramatic crescendo. And the clapping. If it is clapping. Drums, maybe?
And now I just made part of my story known and opened myself to be scrutinized. It is fine. Another friend told me I should write a book with my life story. I’m not quite there. This things take time. For now, I may go back to my own Good Grief (or Ghosteen) a record in sketch mode, that came to me out of the blue with a set number of tracks, names for most of them, a storyline. I set it aside “It’s silly. I don’t want to go there. I’ll have to explain it.”…
Fortunately for me, Good Grief only has seven more songs. Meanwhile, until the next one is out, I’m going to see the stars, and planets, aline above the urban mountain top, with back view to the sea, I live at.
P.S. I’ve mailed you the tissues bill, Mr. Butler. It is quite hefty. I’ll accept your gorgeous factory black 330 as payment.
A little over one year ago my friend Dana suggested me Julia Cameron’s The Artist’s Way. I have now been writing The Morning Pages, an integral part of the book that is meant to be carried on.
Dana recommending me The Artist’s Way wasn’t so much because I was artistically blocked. I was composing, playing, painting, writing poems and more at the time. More because I wasn’t going to physical places I wanted to go. My feet, my body, seemed glued. In early 2022 I was invited by a friend to go and spend time with him. I truly wanted to, but couldn’t move.
Maybe summer (2022) would be it. It wasn’t. Summer 2022 brought a big musical piece, appeared literally when I woke up, name, concept, the names of several tracks all there. I turned my laptop on, opened Audacity and start cresting the sounds that, for me, translated the names of the tracks.
Out of the blue, as a coincidence, that Julia Cameron just like my friend Ed call synchronicity, Francisco (Silva – The June Carriers/Velho Homem/Old Jerusalem) start sending small guitar lines for me to hear the sound of his new guitar, an electric one (in Old Jerusalem life, Francisco was known for playing acoustic). He didn’t knew I was composing, I didn’t knew he had the Mustang. “What if I put some of those guitar lines on my tracks?” And so I did and what was electronic start become, and end up, electro-acoustic.
That same summer another friend turned 50. Until the eve of his birthday I didn’t knew he played (guitar), he didn’t knew I played (bass). There was going to be a band in which he was playing covers. I said I would go and play bass. And I did. I had played with them before, had never played on stage, hadn’t played bass in about 18.5 years until a few months before, no rehearsal. Just get there, they were already playing when I arrived, pick the house bass and go for it. It was great.
A few days later I was at the jams that were held at the place of the birthday party. This time, it was tricky to get the house bass. A woman playing electric? Seems not (it turned out is wasn’t just a woman playing electric, but not being from the proper musical background. I stayed there, observing, until I spotted an approachable musician, a saxophonist. We both played together, by the end of the jam. Total improv. He would wonderfully fit the saxophone wherever it was required. The next week he brough a jazz guitarist that gave me four 7th arpeggios to practice to play with them one week later. And so it was.And then it stopped. But I got a fabulous saxophonist for my music I didn’t even knew I needed. That summer I also started painting on canvas.
I didn’t went to stay with my friend. Autumn, Winter came. I didn’t went to go see my friend. It’s 2023. I want to go see someone play abroad. My feet remain glued. Dana, aware of what has been written so far and more, told me about The Artist’s Way. I read it, did all the exercises – some may, at first glance seem silly and childish, but aren’t – begin writing The Morning Pages.
I start venturing into short distance travels by train. Stayed overnight with a recent acquaintance. And with a different friend for a few weeks, carrying a ton of notebooks, my guitar, the digital copy of The Artists Way. It was the first time I spend a number of weeks with an electric guitar as my only instrument. It was a thrill.
Over two years since he invited me, I still haven’t went to see the friend that asked over in early 2022 – there is a little more to the story than my feet being glued the floor. As in, my feet were glued to the floor, but something else, my heart, was glued too. Under his shyness, my friend is adventurous, passionate, intense, larger than life, has deep emotions, loves love, passion and life. I share some of those things, but don’t deal well with deep, bubbling emotions. Open my heart again? Run the risk of heartbreak? Probably not. One day it will (re)happen.
But The Morning Pages have been there for me, so has he who keeps telling me to write for others to read. I write a lot on my journal(s), notebooks, The Morning Pages, to him.
I’ve recommended The Artist’s Way to a few people. Some already read it, did the exercises and wrote The Morning Pages for a while. Others bought the book and are still to read it, do the exercises and immerse themselves in The Morning Pages. My Morning Pages aren’t always in the morning, but I’ve been writing the three pages everyday. Matt, another friend, thinks it is quite the commitment to be writing The Morning Pages for a year.
Early this year I went to a vero circuit/guitar pedal building wokshop. A nice distortion/fuzz pedal both for guitar and bass was build. The last time I had soldered I was 13 or 14. Afterwards, home, I painted and customized the pedal box. Some of the materials, like the sparkling dust and the stars were part of a number of things from The Artist’s Way exercises. The rest is acrylic paint and glossy nail varnish and coat.
I’ve recently become a member of Grupo Operário do Ruído (Workers Noise Group) an ensemble of noise(s) and rhythm from Sonoscopia that will have its public presentation December 8th at Conservatório de Música do Porto. We have a staggering amount of rehearsals and a few workshops. Grupo Operário do Ruído is far less leftfield for me than what can be called life narration writing. To an extent I do that with my poems, but it is very different. I’ve also taken a short trip by metro to the seaside north of Porto that included seeing a small intimate concert friends had put up.
In fairness, I move across very different social groups. So much so that now Beatriz, one of my fellow members of Grupo Operário do Ruído (GOR) asked if her fellow GOR members would be interested in being part of her group of guests in a performance she is part of called Sonópolis. Sonópolis is to be presented at Sala Suggia, the orchestra room, at Casa da Música, July 7th. I’m in!
The tracery of Sparky (Hips and Makers, 1994) filled the wideness of the stage until Kristin Hersh’s voice filled the room with Eyeshine (Clear Pound Road, 2023) casting out ghosts that seemed to threaten Throwing Muses’muse at every turn.
Lady of lyrics tinted by experience and personal conflicts, braided with a pop folk sound under a harsh vocal sky Kristin Hersh and her acoustic guitar run through thirty years of career, including her time with Throwing Muses, in an intimate, mature, flowing performance in choices such as Your Ghost (Hips and Makers, 1994), Kay Catherine (Throwing Muses, 2020), Your Dirty Answer (Sonny Border Blue, 2001) or Ms Haha from her latest album.
It would have been wonderful to prolong this golden moment of the musical calendary, electrically wrapped with The Cuckoo (Hips and Makers, 1994) and English folk song open to interpretations, cladled as a goodbye.
Mondo Bizarre Magazine 