Recommended Albums #110

Connie Converse: How Sad, How Lovely (2009)

Connie Converse disappeared in 1974, leaving behind a haunting body of recorded music that would remain virtually unheard for the next 35 years.

Written through the 1950’s, Connie’s cache of original material instantly reveals itself to be uniquely inspired and years ahead of its time.  (From Bandcamp artist bio)

Sure, the sheer mysteriousness of the Connie Converse’s story (explained in the video at page bottom) would be enough to intrigue: a brilliant student who dropped out of college, an enigmatic figure who seemingly dropped out of existence without a trace, a cache of songs forgotten and rediscovered 50 years later…a fascinating tale.

But this isn’t an unsolved mysteries blog, and we’d be content to leave the tale to other sites, but for one thing: Connie Converse’s songs are terrific.

The quality of the homemade recordings, not so much.

As Gene Deitch, who helped her record the tunes that would be discovered half a century later, surmised: “There were many better singers than Connie, but few were as intelligent or literate or beautiful. Her songs still haunt me.”

Indeed, as a writer Converse had a unique voice, a delightful way with wit, and a gift for the turn of phrase that would be the envy of many a folksinger.

Songs like “Roving Woman” and “Clover Saloon” also showed a feminist lyrical bent that was decades ahead of its time.

Moving to an apartment at 23 Grove Street in New York’s Greenwich Village area, Converse found work writing for academic journals and had cartoons published in the Saturday Review of Literature. She also enjoyed painting and writing poetry.

But it’s the songs she wrote and recorded at the Grove Street apartment, and at Deitch’s home, that will be her most lasting legacy.

Sadly however, it’s a legacy Connie Converse would not be around to enjoy. She gave up on the pursuit of music as a career, and moved from Greenwich Village the same year Bob Dylan arrived there, 1961.

23 Grove Street

Then in 1974, after health issues and bouts of depression, Connie Converse drove off in a Volkswagen Beetle, leaving behind written notes for family members and friends, including:

“Human society fascinates me and awes me and fills me with grief and joy. I just can’t find my place to plug into it. So let me go, please; and please accept my thanks for those happy times that each of you has given me over the years: and please know that I would have preferred to give you more than I ever did or could—I am in everyone’s debt.”

and:

“Let me go, let me be if I can, let me not be if I can’t”

Connie Converse was never heard from again, except in the rough and real recordings collected and finally released in 2009.

How sad, how lovely.

Listen to: “Talkin’ Like You (Two Tall Mountains)”

Listen to: “Johnny’s Brother”

Listen to: “Roving Woman”

Listen to: “The Clover Saloon”

Listen to: “Playboy of the Western World”

Recommended Albums #109

Natalia Lafourcade: Un Canto por México, Vol. 1 (2020)

This album’s story begins with the September 2017 Puebla earthquake, which in addition to causing destruction in Puebla, Morelos and the greater Mexico City area, also did damage to the Son Jarocho Documentation Center, a cultural building in Veracruz.

Singer-songwriter Natalia Lafourcade organized a November 2019 fundraiser concert, a sold-out 3-hour affair dubbed Un canto por México (A Song for Mexico) to aid in the center’s reconstruction.

The concert and her experience with the local community and the Veracruz musical style of folk music known as Son jarocho inspired the release of two albums, of which this is the first.

Musical guests include Los Cojolites, Jorge Drexler, Los Autenticos Decadentes, Carlos Rivera, Leonel García, Panteon Rococó, Emmanuel Del Real of the band Café Tacvba and the youth mariachi of Tecalitlán.

The album includes updated versions of previously released Lafourcade songs, Mexican traditionals, and a couple newly-written originals.

Among the new songs is “Mi Religión”, which won the Latin Grammy for Best Regional Mexican Song. It’s addictive chorus:

Music, you
My religion
A lifetime isn’t enough
To give you my love

Music, you
My downfall
A lifetime isn’t enough
To give you my love

The song is just one example of Natalia’s superior knack for lyrical phrasing. The consonants fall like a percussion instrument playing a polyrhythm.

Interpolating as it does traditional Mexican folk rhythms into its musical fabric and celebrating with joyful exuberance the love of the music itself, it’s the kind of song that puts Natalia Lafourcade in rarified company as an ambassador of Mexican song.

Un Canto por México, Vol. 1 won 2 other Grammys in 2020, including Album of the Year. It cemented her status as an artist devoted to Mexico’s musical tradition, her love of which is on display again in another Lafourcade original, “Mi Tierra Veracruzana”:

See you again
See you again
My Veracruz land, I want to see you
See you again
See you again
My Veracruz land, I want to love you

Lafourcade writes songs that will endure, because they sound already like longstanding Mexican traditional folk songs.

The below video of “Tú Sí Sabes Quererme” from Un Canto por México, Vol. 2 best conveys the spirit of the Un canto por México project:

Listen to: “Mi Religión”

Listen to: “Nunca Es Suficiente”

Listen to: “Ya No Vivo Por Vivir”

Listen to: “Lo Que Construimos”

Don’t miss: “Mi Tierra Veracruzana”

See also: https://edcyphers.com/2026/01/06/video-of-the-week-natalia-lafourcade-npr-music-tiny-desk-concert/

See also: https://edcyphers.com/2025/12/18/video-of-the-week-los-angeles-azules-and-natalia-lafourcade-nunca-es-suficiente/

See also: https://edcyphers.com/2025/12/02/video-of-the-week-golpes-en-el-corazon-los-autenticos-decadentes-with-natalia-lafourcade/

Recommended Albums #108

Andy Burrows: Company (2012)

After kicking around in bands most Americans haven’t heard of (like Razorlight, We Are Scientists, and I Am Arrows) British drummer/songwriter/multi-instrumentalist Andy Burrows offered up his second album as a solo artist, on which he played all instruments.

Company is a beautifully ruminative record but confounding in that none of its four singles charted.

Then again, none of the wonderful songs we include here were among the singles, which is equally confounding.

Nevertheless, guys like Andy Burrows actually get played on UK pop radio. He’d probably never get played on American pop radio.

Yes, we won the Revolutionary War–but at what cost?

Listen to: “Company”

Listen to: “Maybe You”

Listen to: “Stars”

Recommended Albums #107

Nick Lowe: Nick Lowe and his Cowboy Outfit (1984)

Nick Lowe is the type of artist to whom critics like to attach descriptors like “legendary”, but in appraising his discography they’ll frequently use phrases like “released to little success” and “largely went unnoticed”.

His biggest album in America was 1979’s Labour of Lust, mainly on the strength of the single “Cruel to be Kind”, his only US top 40 hit.

But 1979 was the year of The Knack, when New Wave music was breaking. By 1984 Lowe had wisely stopped looking for the follow-up hit that would never come and turned to a rootsier sound.

“Half a Boy and Half a Man”, with its roller rink Farfisa organ arrangement, sounds like Sir Douglas Quintet-brand Tex Mex.

“Live Fast, Love Hard, Die Young” is a Faaron Young cover.

“L.A.F.S.” is co-produced by Elvis Costello, whose first five albums had been produced by Lowe, and features the same TKO horns that graced Costello’s Punch the Clock of the same year.

The album as a whole is an exuberant affair, and garnered positive reviews from critics.

And fate has a way sometimes of rewarding persistent effort. Curtis Stigers’ recording of Lowe’s “(What’s So Funny ‘Bout) Peace, Love and Understanding” appeared on the biggest-selling soundtrack in history, the My Bodyguard soundtrack, and the million dollars he made in songwriting royalties probably made Lowe’s previous sales figures a little easier to live with.

“Released to little success” indeed…

See also: https://edcyphers.com/2013/02/20/songs-you-may-have-missed-338/

Listen to: “Half a Boy and Half a Man”

Listen to: “Breakaway”

Listen to: “God’s Gift to Women”

Listen to: “L.A.F.S.”

Listen to: “Live Fast, Love Hard, Die Young”

Recommended Albums #106

The Favors: The Dream (2025)

When Finneas and Ashe teamed up in 2025 for the duo project they called The Favors and the album The Dream, the results were pretty much what you’d expect from a Berklee-trained singer-songwriter and a guy with ten Grammys (and a couple Academy Awards for soundtrack work).

Finneas O’Connell is the older brother of Billie Eilish, and co-wrote and produced everything she released between 2019 and 2024. He’s also taken home awards for the Barbie movie and the James Bond film No Time to Die. All in addition to a successful solo career.

Finneas had previously produced and duetted with Ashe on some of her solo work, but The Dream is their first time recording as a proper duo.

The Dream‘s songs tell a linear story of a couple dealing with the aftermath of a breakup neither really wanted. I didn’t include its final song because…spoilers!

The album’s overall sound, recorded simply with electric piano, guitar, bass and drums, has a bit of a 70’s soft rock feel (in a good way) and the songs are well-written and drenched in harmonies.

If you hear a little Fleetwood Mac “Go Your Own Way”-type drama in the album’s subject matter and a little Stevie-Lindsey vibe in the vocal interplay, you’re not the only one.

Heartbreak and harmony are beautiful in combination.

Lead single “The Little Mess You Made” is a standout here, with Finneas and Ashe’s harmonies coming together in a simple but indelible chorus that’ll probably stick to you on first listen. The song blew up with over a million views on TikTok before it was even released.

The duo’s chemistry is on display in a 2025 Chicago Lollapalooza performance of the song:

Listen to: “The Dream”

Don’t miss: “The Little Mess You Made”

Listen to: “The Hudson”

Listen to: “Necessary Evils”

Listen to: “Times Square Jesus”

Recommended Albums #105

Pat Donohue: Back Roads (1996)

Fingerpicking guitarists are underrated generally–which is weird because guitars were invented to be picked with fingers. But unless you were Steve Howe wedging an acoustic number into a concert or progressive rock album, as a disciple of Chet Atkins your work has been worshipped in the commercial catacombs for decades.

Pat Donohue is the fingerpicking guitarist’s guitarist.  Chet Atkins called Pat “one of the greatest fingerpickers in the world today”.

In the liner notes of one of Donohue’s albums, Leo Kottke said:

“I first heard him on the radio and got upset. Then I heard him in concert somewhere and got more upset. He thinks harmonically, improvises beautifully, and writes. Disgusting.

Enjoy this record, but if you’re a guitar player, it’s going to haunt you.”

And if you’re not a guitar player, it may still haunt you. But in a good way.

If the sound of the strings vibrating in the hollow wood is your idea of real music; if the nimble runs and harmonics are something you appreciate; and if you like songwriting that’s well-crafted, with humor and authenticity, listen here.

The Master himself Mr. Atkins is Donohue’s guest on the mutually self-deprecating, chucklesome homage “Stealin’ from Chet”.

Pat’s facility for internal rhyme is especially evident in the love song “I Don’t Worry ‘Bout the Blues”.

“Touch ‘Em All” is a “touching” tribute to a ballplayer who was (at the time at least) a hero to all Minnesotans.

Things get heavy on the confessional “Love and Desire”, then lighthearted and frivolous on “Nothin'”.

“Stumblin’ Through” is archetypical Pat Donohue songcraft: injecting philosophical wisdom into charmingly rustic, toe-tapping folk music. It’s humorous. It’s chock full of internal rhymes. But it’s clearly real and from the heart of a writer–one with the gift of a relatable humanness.

Finally the instrumental “Summer’s End” showcases Donohue’s gift for a beautiful melody, with guitar harmonics adding a sublime radiance.

Back Roads is Pat Donohue at his best, which means fingerpicking folk guitar at its best.

Listen to: “Stealin’ from Chet”

Listen to: “I Don’t Worry ‘Bout the Blues”

Listen to: “Touch ‘Em All”

Listen to: “Love and Desire”

Listen to: “Nothin'”

Listen to: “Stumblin’ Through”

Listen to: “Summer’s End”

See also: https://edcyphers.com/2013/08/21/songs-you-may-have-missed-466/

See also: https://edcyphers.com/2013/02/02/songs-you-may-have-missed-317/

See also: https://edcyphers.com/2012/11/08/songs-you-may-have-missed-215/

See also: https://edcyphers.com/2012/06/18/pat-donohue-plays-maple-leaf-rag/

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