![]() He tracked down Converse’s brother, hosts of parties she attended and surviving relatives of her friends. He compelled a singer and pianist, Charlotte Mundy and Christopher Goddard, to make an album of Converse’s unreleased art songs, based in the German liede tradition. Fishman learned Converse’s songs and began performing them at his own gigs. He first heard “How Sad, How Lovely” at a holiday party soon after its release, and couldn’t believe that music so modern, sophisticated and haunting was made while Bob Dylan and Joni Mitchell were too young to drive. But Fishman’s passion for this music and his devotion to uncovering its origins are infectious, and form a secondary plot of the book. ![]() Converse’s “guitar songs” are raw bootlegs of urbane and reserved tunes, not murkily mysterious folk documents like the low-fidelity blues recordings from the era. ![]() Individual listeners may agree or not with that assessment. ![]()
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