A Gorgeous, Prophetic Protest Anthem From the Jigsaw Seen’s Dennis Davison

After years of fronting the brilliantly lyrical, psychedelic Jigsaw Seen, Dennis Davison made waves with his similarly tuneful solo debut album earlier this year. As it turned out, he has a lot more material in the can than just the tunes on that album, including his visionary latest single, The Monuments, a name-your-price download at Bandcamp.

The cover alone will creep you out: a corpse-like statue in tribute to the “Confederate States of America 1861-1865.” But look closer: the statue has been splattered with paint. Over a lush, brooding web of twelve-string guitar and bass, Davison warns of a paradigm shift. The dictator at the center of the story won’t budge:

You live in peace
Upon the gift of my consent
I’ll set you free
The day that they topple the monuments

But Davison knows that they’re going to be “ground into powder, the graven marble recast.” Take off that muzzle, hug your friends, we’re free! Watch for this at the top of the best songs of 2020 page here at the end of the year.

Rare Live Elliott Smith Available For the First Time on Record

The big deal about the new, remastered 25th anniversary edition of Elliott Smith’s solo debut – streaming at Bandcamp – is that it comes with a bonus live album, something that the iconic 90s songwriter never released during his lifetime. It took a conversation with one of his best friends from college to get the inside dope. “Oh, from when he was doing all those drugs,” she said with a dismissive wave of the hand: she wasn’t inclined to hear it.

For whatever reason, Smith doesn’t sound particularly opiated. His voice is ragged in places, and he doesn’t interact much with an impressively large crowd who’d come out for his solo acoustic set at Umbra Penumbra in Portland, Oregon on September 17, 1994. But his guitar work is solid, and vigorous, and everybody who was listening to Smith before he was murdered will want to hear it.

Knowing how he ended up, it’s sobering to hear the endless druggie references: the desperate narrative over those Wilco-ish chords in his first number; the references to scoring on the Lower East Side in Alphabet Town; and the appearance of Constantina, a recurrent, pseudonymous character who would outlive him.

Plenty of early versions of as-yet unreleased material in the setlist. No Name #4, an allusively grim narrative over briskly picked folk chords; the even more grisly detailed Condor Ave.; the wistfully waltzing No Name #1; and the broodingly Britfolk-tinged No Confidence Man, among others. Smith’s old Heatmiser bud Neil Gust joins him for a stark two-guitar version of Half Right.

On the reissue record, the bass response seems substantially boosted: does that explain why the downstrokes and atonal open-string harmonies of Needle in the Hay, for example, sound so much like Nirvana? Or is that just a function of listening on headphones instead of getting to know this otherwise rather delicate, mostly acoustic cd by cranking it up on a big oldschool stereo in a Gramercy Park apartment?

Hindsight being 20/20, it’s easy to hear the otherwise opaque Christian Brothers as a prototype for the gorgeously anthemic sensibility of Figure 8. Or how tantalizingly the briskly strummed layers of Southern Belle foreshadow that era as well. Or, listening to the full-band studio version of Coming Up Roses here, how much he already had that in his fingers to an extent that nobody realized at the time.

Smartly Woven Southern Gothic Tunesmithing From Abigail Dowd

Rural life isn’t easy, as folk music from around the world will never let you forget. Abigail Dowd draws on that tradition, with imagistic tales which reflect how much things have changed – and also how little. She’s got a big, bluesy voice, like Lucinda Williams before the booze caught up with her, as well as way with a sharp turn of phrase and a solid supporting cast of players behind her. Travelers and outsiders figure heavily in her songs. Her new album Not What I Seem is streaming at Bandcamp.

The stripped-down arrangement in the biting, minorr-key, bluesy Wiregrasser – just acoustic rhythm guitar, lead slide guitar and steady bass – underscores Dowd’s hardscrabble tableau, where people extract everything from the surrounding woods until there’s nothing left but creosote.

“I mostly look out for myself,” Dowd’s cynical narrator relates in The Other Side over a catchy, Dylanesque sus4 riff – but she also asserts that “When you get to heaven, there’ll be many a party, but there won’t be nobody there that you know.”

Over a spiky web of fingerpicked guitars, Dowd chronicles a harrowing southern legacy in Old White House. Dowd’s fingerpicking grows more spare and enigmatic in the album’s title track, a defiant, solo acoustic individualist’s anthem.

“I remember looking for a smile, and meeting cold steel eyes,” Dows recounts as Chosin, a searing memoir of how war trauma crosses generations, rises from a hazy intro to a briskly ringing, open-tuned melody. “Stand and fight, you fool, ‘cause no one’s gonna out alive/Watch out, how many of these wounds are mine?”

Dowd looks back on an uneasy transition from southern comfort to New England chill in Goodbye Hometown. She takes that story further into a troubled future in Oh 95, a vivid traveler’s tale: “When you’re all alone you speak the truth,” she reflects.

Dowd and the band pick up the pace with Desire, a shuffling minor-key tale set in coalmining country. Alienation is a persistent theme in these songs, and the stark To Have a Friend is the most forlorn of all of them.

Drag Me Down is an unexpected turn toward acoustic White Album-era Beatles. She keeps the low-key, fingerpicked ambience going with Daredevil: “Let me be the devil on your shoulder, I’m daring you to live,” Dowd cajoles.

She takes a turn into Lou Reed territory in Sweet Love and then returns to Americana, singing a-cappela in the album’s closing cut, Silent Pines, a gospel-flavored revolutionary anthem. If best-of-2020 lists still exist when this hellacious year is over, you’re going to see this album on a lot of them.

An Incendiary, Politically Fearless Lockdown-Era Album by One of This Century’s Funniest, Most Quotable, Pissed-Off Songwriters

Matthew Grimm‘s song West Allis topped the Best Songs of the Year list here in 2013. On the surface, it’s a clear-eyed, unsentimental account of a Wisconsin man, David Carter, whose dead body went undiscovered for four years after he’d shot himself in his own home. But as is usually the case with Grimm, there are many other levels at work here, one of them debunking the myth of how close-knit Midwestern communities actually are.

Before Grimm went solo, he fronted a raucously twangy, ferociously populist New York Americana-punk-janglerock band, the Hangdogs. That band’s 2002 release Wallace ’48 was rated best album of the year by this blog’s e-zine predecessor. Grimm’s new album Dumpster-Fire Days – streaming at Spotify – is his hardest-rocking and arguably most witheringly lyrical album in a long and incendiary career.

He opens with Salt of the Earth, which could be Steve Earle fronting Social Distortion. It’s Grimm’s What’s the Matter with Kansas:

We’re the peasants who cheered as heretics burned,
Put synagogues to the torch
Lined up to die for rich men’s right to own people,
Enforced apartheid a hundred years more
We gathered in the square to watch Black men hang
Like a Friday night football game
We’ll greenlight genocide long as some charlatan
Tells us it’s in Jesus’ name

Not quite everything here is quite as, well, grim. Tommy Keene Is Playing Kiki’s House, the album’s title track more or less, is a bittersweet look back at college life during the Reagan era. Much as it seems Grimm could already see the fascism that was coming down the pike, there’s an indominable joie de vivre here too. Compare your freshman reading and playlist to this one:

1986, Songs From the Film, JP finds it in the cut-out bin
We spin it again and again like it turned some secret key in ou restless brains
Niebuhr, Gramsci, Scruffy the Cat, Hobsbawm, Wiesel, the Mats
Social D, Marcuse, Del Fuegos, Dewey, threads that wove what we became

Aspire is more acoustic, with one of those Texas shuffle grooves the Hangdogs loved so much. It’s Grimm at his most cynically amusing: “Venture unto roads less traveled, unless you’re in the South.” Likewise, Reply Guy (The Dick Next Door) could be the Hangdogs in one of their janglier moments, a ruthlessly detailed portrait of a rightwing nut with an especially twisted secret – which turns out to be less than a secret after all.

In Be Saffiyah Khan, Grimm sends a shout-out to the woman who stared down a crowd of anti-Muslim bigots – and won. He reminds that a Nazi by any other name is still a Nazi in Nazis Agree With You, a perennially relevant broadside which also contains the album’s best musical joke.

Monument, a slow, seething number with organ behind the guitars, doesn’t namecheck Trump, but it doesn’t have to:

He vows to build a wall and paint the country red
He rips children from their mothers while they’re sleepin in their beds
There’s malice in his heart and there’s blood on his hands
We don’t need a monument to that kind of man

Grimm picks up the pace with a rare love song, Friney’s Song, and follows that with the simmering, Celtic-tinged anthem So Long, Good Luck and Fuck You:

I might not make it out alive so it’s down to you rise up
And smash the garbage system that led millions to their graves
Tell the toffs who wrecked the earth to recognize your actual worth
And shut this fucker down until they do

Stephanie King supplies harmony vocals in March, a gospel-inspired, Woody Guthrie-esque singalong for anyone who wants “to make a world of no masters and no lords.” Grimm closes the album with The Whirlwind, as prophetically vindictive a song as he’s ever written:

Did you think we’d take your hand and just go gently into a new dark age
That we’d turn our backs obeisant while you dragged our neighbors away,
That all your Russians and your fascist cult can save you from your sins
Well, count your days, open wide, and prepare to reap the whirlwind

And while we’re at it, let’s resolve that after this whirlwind is over, the world we inherit afterward – and we will – is one where guys like Grimm can play songs like this on a real stage in front of real people.

Emma Swift’s Blonde on the Tracks – Best Album Title Ever?

If you’re a woman putting out an album of Dylan covers, you can’t do any better than Emma Swift’s Blonde on the Tracks. It’s just as irresistible contentwise as it is titlewise, and it’s streaming at Bandcamp.

As Dylan cover albums go, the gold standard is Mary Lee’s Corvette’s live version of Blood on the Tracks. Until that record came out in 2002, The Byrds Play Dylan was the benchmark for smartly arranged rock versions of songs by the guy who would eventually give us Murder Most Foul. Swift’s record is a mix of both. Take the first track, Queen Jane Approximately. Swift gives the vocals both country twang and hash-oil mist, leaving no doubt what this song’s about. The mix of acoustic and twelve-string guitars behind her is a throwback to the Byrds but with more balanced, digital 21st century production.

The rest of the record is a mix of classics and obscurities. Swift really goes deep into the lyrics in a skeletal but wickedly nuanced take of I Contain Multitudes: recognizing how well this weatherbeaten late-period song is suited to a woman’s voice was a genius move.

It would have been just as brilliant if Swift had put a brass section on the big Frankenstein piano hook in Sooner or Later One of Us Must Know. She doesn’t – in fact, she takes it out completely, going for a spare, hazy atmosphere, which is a letdown, Mining iconic songs like this can be a minefield and in this case it blows up in her face – although the pedal steel is a welcome touch.

Likewise, the wide-angle tremolo guitar and organ really help Swift nail every ounce of angst in Simple Twist of Fate, one of those Blood on the Tracks songs that deserved production this intuitive. Her cover of Sad Eyed Lady of the Lowlands is one of the great WTF moments in rock history, right up there with Carol Lipnik’s symphonic Spanish-language version of Freebird. For what it’s worth, this is an improvement on the original: Swift bails just short of the twelve minute mark and actually manages to give the lyrics some wistfulness.

She goes for counterintuitive again with The Man in Me, the closest thing to genuine Blonde on Blonde here. Lyrically, it’s a throwaway, but the band elevate it beyond the schlockiness of the original. With tasty acoustic/electric contrasts, they’re just as inspired in Going Going Gone, and Swift has fun with a couple of big Patsy Cline-style upward swoops.

She winds up the album with another Blood on the Tracks number, You’re a Big Girl Now: the vocals are an improvement but the flangey faux-70s guitars are not. Dylan fans are going to pick this to death far beyond anything on this page: and every single one of them’s going to want to hear it.

Purist, Eclectic Psychedelic Tunesmithing and Subtle Humor on Lorraine Leckie’s New Album

Lorraine Leckie has been one of the few musicians to survive the devastation of the incredibly fertile rock scene that flourished in New York as late as the mid-zeros. It was a top-down assault on artistic communities. Encouraged by tax breaks, opportunitistic developers took the wrecking ball to working-class housing everywhere, and it wasn’t long before the giant sucking sound of an artistic brain- drain out of town ensued. Yet even under those dire circumstances, Leckie’s following grew, and the gigs got better and better, probably because she was one of the few still representing a gritty, punk-influenced Lower East Side sound.

But thta’s hardly the only sound she’s mined since then: her albums range from delicate, rainy-day acoustic songs, to icy, gothic Mitteleuropean art-rock and snarling Americana. Her latest album, Razor Wing Butterfly – streaming at Bandcamp – is her most psychedelic release to date.

Leckie’s skeletal, fingerpicked Telecaster explodes into a roar on the chorus in the opening track, Only Darkness, a parallel tale of a couple of noir archetypes seemingly doomed to their own separate worlds. Lead guitarist Hugh Pool channels dirty, evil, Crazy Horse Neil Young, violinist Pavel Cingl adding elegant washes and accents over the chugging rhythm section of Charles DeChants and drummer Keith Robinson

They follow the strutting, Stonesy Under the Vampire Moon with It Ain’t the Blues, which Pool introduces with a creepy approximation of a music box. There’s clever irony in the title because this is a blues – a vindictive, rampaging one.

Bristling with richly textured guitar multitracks, Genius in the Crowd is a shout-out to Leckie’s psychedelic rock pal Anton Newcomb of Brian Jonestown Massacre, her tender lyric contrasting with the guitar fury – and an interlude that’s too funny to give away.

Crickets, a stark, open-tuned acoustic ballad, has Britfolk tinges: it could be a John Renbourn or June Tabor song from the 60s spiced with spare electronic keys. The album’s funniest track is Mars Bar Baby, a tourists-eye view of one of New York’s most legendary dive bars. Again, the joke is too good to give away: if you know the old swing tune Moon Over Brooklyn, you’ll get it.

The Other Woman Is the Wind was inspired by a conversation Leckie had with a biker at the Sturgis motorcycle festival, a slow, swaying, Molly Hatchet-ish account of a guy addicted to the thrill of the raod.

Leckie follows with the album’s two best cuts, each of them a protest song. She wrote America Weeping in a rehearsal room with the band in the wake of the fateful 2016 Presidential election. It’s both a requiem for Leonard Cohen (a huge influence, who had died the night before) and an anguished cauldron of guitars. The title track perfectly captures the fury in the streets this summer, a growling yet hopeful anthem, Cingl contributing a tantalizingly brief, slashing coda.

Leckie switches to piano, slightly out of tune and awash in reverb, to wind up the album counterintuitively with the pensive vignette Why Oh Why. This album is probably the best introduction to Leckie’s music that exists so far. And for anyone who’s followed her regular Manhattan weekend residencies over the years, friom Banjo Jim’s, to Zirzamin and afterward, Leckie’s already substantial back catalog is dwarfed by the vast amount of material she’s written but hasn’t yet recorded: it’s reason to look forward to whatever this defiantly multistylistic tunesmith decides to put out next.

Wickedly Smart Metaphors and Catchy, Socially Aware Songs From Lara Herscovitch

A lot of the songs on Lara Herscovitch‘s new album Highway Philosphers – streaming at Spotify – pack a wallop rarely found in the normally sedate world of singer-songwriters. Take the album’s fifth track, You USA. The music may be low-key – just her intricate fingerpicking and lead guitarist Stephen Murphy’s airy washes – but the political content is fierce, and really captures the embryonic phase of the paradigm shift that’s sweeping the world:

We are underestimated, undeterred, here to stay
Pins in the rafters from the rally yesterday
Learning to look each other in the eye
Power grid’s gone down so we live like fireflies
Don’t look away USA

At at time where we’re finding Bernie supporters standing shoulder to shoulder with Trumpies at anti-lockdown protests, and just about everybody protesting the murder of George Floyd, something amazing is going on here. The whole world is uniting to rip those masks off ourselves…and also off everyone who profits from racism and divide-and-conquer strategies.

Another killer track is the Neko Case-ish Careful Porcelain Doll, a defiant tale of breaking away from a life of “paint by numbers in reverse.” The girl at the center of this story dreams of emulating her idol, Yankees home run champion and Gold Glove third baseman Graig Nettles, then trades that for adult domesticity…but ends the story with a spectacular Jacoby Ellsbury kind of move. For fans of the pinstripes, maybe it’s best that guys like DiMag and Bernie Williams didn’t try to make plays like that! We may not have baseball this year, but at least we have this song.

Most of the music here is pretty spare: just the bandleader’s acoustic guitar and clear, uncluttered vocals, Murphy’s terse electric fills and Craig Akin’s bass. There’s always a welcome subtext in these songs: Sailing to Newfoundland, for example, works on every level that quasi sea chantey’s title implies.

Fault Lines is Herscovitch’s eerily detailed counterpart to Dawn Oberg‘s harrowing End of the Continent; “I still wonder what that summer measured on the Richter Scale,” Herscovitch muses.

Castle Walls is a similarly vivid, wise tale of a European fling that didn’t work out. The album’s arguably funniest song is The Tiger and I, the most hilarious account of formula retail as circus ever set to music. Rise is also irresistibly amusing: it could be a Trump parable, or a satirical look at Andrew Cuomo’s ridiculously taxpayer-funded adventures with bridges to New Jersey. Or both.

There’s also In Your Corner, a gospel song about boxing – on a surface level, at least – and From a Dream, a surreal spoken-word narrative. Anyone who can’t resist clever wordplay, unselfconsciously soulful vocals and catchy tunes should check this out.

Sinister Musical Mini-Movies and Murder Ballads From Ben Da La Cour

Dark Americana crooner Ben De La Cour‘s 2016 debut Midnight in Havana made the 20 best albums of the year list here. His latest album, Shadow Land – streaming at Bandcamp – is longer and considerably more twisted: it was very  tempting to save this for the annual Halloween celebration here. De La Cour spins a hell of a yarn, and his expressive baritone has more unhinged energy but also more nuance this time around. If murder ballads are your thing, this is your guy.

The album opens with the briskly shuffling outlaw ballad God’s Only Son. This guy is a total psychopath: he gives his kid brother the shiv, and it just gets more grisly from there. Likewise, the slow, simmering High Heels Down the Holler seems to be a retelling of the Ed Gein story.

The devil is always in De La Cour’s details. “Her words trailed off like cigarette smoke underneath the door.” Talk about saying volumes in a few words! That’s a line from The Last Chance Farm, a delicately fingerpicked ballad which could be set in a prison, or a pretty awful workplace, or somewhere else. Tom Shaner’s classic Lake 48 comes to mind.

De La Cour picks up the pace with the snarling, open-tuned electric blues In God We Trust – All Others Pay Cash, a surreal, cynical update on Blonde on Blonde-era Dylan. Is there a Hendrix quote in Amazing Grace (Slight Return)? Nope, but it’s a killer narrative, a hushed, stunningly detailed generational clash with an ending that’s way too good to give away.

Musically, the album’s title track is more lightheartedly Dylanesque, but De La Cour’s gloomy surrealism is unrelenting: “The more I talk, the less I have to say; the more I listen, the less I understand,” he grouses. Then he and the band hit a raucous post-Chuck Berry roar in The Basin Lounge. There’s a David Duke poster on the wall of this joint: get out of Denver, baby, GO!!!

The wistful, Celtic-tinged waltz Swan Dive opens on a grim Brooklyn streetside murder and just gets more interesting from there. The even more muted From Now On is the ringer here, a momentary break from all the killing. The album’s funniest number is Anderson’s Small Ritual, a bizarre character study.

De La Cour recounts an opium dream in the slow fire-and-brimstone blues Harmless Indian Medicine Blues. He winds up the record with flurries of fingerpicking throughout the hauntingly anthemic, apocalyptic Valley of the Moon. Telling stories with sharp lyrics over a catchy tune may be a neglected art these days, but nobody’s working harder than De La Cour to push that envelope. You’ll see this album on the best-of-2020 page if there’s still reason for a music blog to exist by the time we hit December. If we hit December.

Ward White’s Leonard at the Audit – Best Rock Record of 2020 So Far

Since the early zeros, songwriter Ward White has been on a creative tear matched by few other artists, ever. In context: Bowie in the 70s; Aretha in the 60s; Elvis Costello from 1977 to about 1985; and Steve Wynn pretty much since birth. Hall of fame company. And White just doesn’t stop: his tenth and latest album, Leonard at the Audit, is streaming at Bandcamp. In terms of searingly literary lyricism set to imaginative, catchy rock changes, White is pretty much unsurpassed these days.

This particular record is probably the closest thing to White’s sinister nonlinear song cycle Bob – rated best rock record of the year here in 2013 – that he’s released since then. The album title reflects parallel narratives: Leonard Cohen’s 1960s flirtation with Scientology, and a seemingly mundane but actually much more grim story that looks back to the deadly geopolitics of the Bob record. Is this a sequel? Maybe.

The opening track, Bubble and Squeak, is White at the top of his imagistic, slashing game. A creepy cast of characters from the deep state along with an undertaker’s assistant make their entrance, none of them identified by name. “If you tangle with the Pharisees, be prepared to give up a son,” White warns. Musically, this sounds like the Police, built around a recurring guitar figure that White calls “seasick.” The band – Andrew Bird keyboardist Tyler Chester, Jakob Dylan drummer Mark Stepro and bassist John Spiker – maintain a low-key new wave pulse alongside him.

White goes for a more lush, ornate, briskly backbeat-driven feel in Not the Half, probably the only song to date to make the connection between Dylan Thomas final post-barroom collapse and lockdown-era respirator deaths. Above the watery web of guitars, the story references a hostage but also issues of artistic posterity or lack thereof.

The voice of a seemingly stoned and enlightenment-fixated Cohen alternates with someone whose marriage is going to hell on the express track in the similarly enveloping, jangly Ice Capades – or maybe it’s just a single narrator. The journey to the center of White’s songs is always a challenge, but an irresistible one.

Awash in hazy mellotron and icy chorus-box guitar, the Pink Floyd-inflected title track weighs the sacred against the profane – alongside what might or might not be a plane crash. The next song’s “Kleenex/Phoenix” rhyme is one of White’s funniest lyrical moments ever, and the litany of 70s references afterward are just as amusing, as is the central guitar hook – in a skeletal art-rock song about a contract killing, no less.

Likewise, the opening clang of Edmund Fitzgerald Is a Wreck (DAMN, White nails everything 70s here!), a sick, distantly late Beatlesque, characteristically image-rich Wisconsin death trip.

The backdrop shifts ten years forward into allusive 80s powerballadry with Try Me. The suspense and the black humor are relentless:

I was talking to the funeral director
Asking him how much this might all cost
He said “It’s hard to put a price on a relationship with God”
I said “Try me”

The surrealism reaches fever pitch in Dreaming of Dentistry, a druggy El Lay tableau akin to Floyd doing a sneering take on 70s lounge-pop with more than a hint of southwestern gothic. Dead People Fucking is one of White’s more Costelloesque numbers, referencing James Joyce, Henry Miller, Charles Bukowski, and others with wry imagery that’s part Shakespeare, part Warren Zevon.

White sets the ominous gambling metaphors of You Gotta Have a System to a slow, lingering sway:

Lucky with queens, but not in spades
I told you to hit me!
Diamonds retreat where the heart invades
You might as well double down

He winds up the record with the Bowie-esque Pornographic Ennui, connecting the bloody dots between dirty pix and police state ruthlessness:

He was a man who liked machines;
On cocaine it was guns, on beer, anything that runs on gasoline

If it still makes sense for there to be such a thing as a music blog in December 2020 – let’s hope there is – you’ll see this again, high on the best albums of the year list.

A Rare Chance to Score This Era’s Most Formidable Rock Songwriter’s Obscure Debut Album

Hannah vs. the Many frontwoman Hannah Fairchild released her debut album Paper Kingdoms under her own name in 2010. She and the first incarnation of the band played the release show at the tiny, long-defunct Park Slope boite Bar 4. That’s how the great ones get started.

The album pretty much sank without a trace. But just for today, May 1 it’s up at Bandcamp as a name-your-price download. On one hand, you could say that this is strictly for the diehards. On the other, it’s a fascinating blast from the past from a songwriter who would grow into one of the most witheringly lyrical, ferociously powerful rock tunesmiths ever.

At her blog (also recently resurrected), she looks back on the strategy and logistics (or lack thereof) for making a bedroom pop record on a secondhand laptop, playing all the instruments….with a broken ankle, no less. While a lot of these songs lack the focus and savagery of her breakout album, All Our Heroes Drank Here, and her valkyrie wail doesn’t cut loose to the extent that she’s let it in the years since, there are moments of vocal brilliance and embryonic craft that will take your breath away.

Fairchild would eventually reprise five of these songs for her ferocious 2013 short album Ghost Stories. Hearing the subdued take of All Eyes on Me – Fairchild’s Don’t Fear the Reaper – is a revelation. So is Poor Leander, with its slashingly detailed story of a poor schlub in way, way too deep for his own good; it cuts through just as ominously if a lot more quietly here. And who would have known how much new resonance the line about how “I’ve got my mask on and I’m slipping out the side door” – in the defiant individualist’s anthem Lady of the Court – would take on over the past few weeks? Grab this piece of history while it lasts.