A somewhat different impetus for this episode of brain radio, in that the song running through my head reminded me of an album that I had (almost inexplicably) forgotten about entirely.
For a few days I had a song by Laurie Anderson running through my head. I couldn’t remember the name of the song (it turned out to be Langue D’amour) so I went to my music library, sorted by artist, Laurie Anderson, and totally failed to find what I was looking for.
This was puzzling to me. I’ve been a fan of Laurie Anderson since I was in my early teens and I was reasonably sure I had all her music from the mid-‘80s to late-‘90s in my library. So I went to [$online_music_store] and my jaw dropped. I had totally forgotten about the album Mr. Heartbreak.
Somehow, at some point in the remote past, during a shuffle of data from one hard drive to another, Mr. Heartbreak fell out of my library without me noticing and it’s existence just slipped from my mind. The oddest are thing about the situation is that Mr. Heartbreak is still probably my favorite of Anderson’s studio albums.
The album was released in 1984, which was probably about the time I discovered it. Unfortunately I have absolutely no memory of how I got connected with Anderson’s music. I’m almost positive I didn’t hear it on the radio, although c. 1986 the song O Superman (For Massenet) from her first studio album Big Science did get a little airplay on the new wave station in Seattle (KJET 1590 AM). Anyway, the album has vocals by Peter Gabriel and (of course) William S. Burroughs in addition to Anderson and is about as mainstream as her material gets, in the sense of being considerably more accessible than, say, some of her spoken word/poetry performances with John Giorno. Which is sort of like saying an airport is more accessible than the high security areas of the Pentagon; the former you can get in to, but it takes work, whereas attempts to get in to the latter will, best case scenario, result in nothing but frustration and, worst case scenario, may result in serious head trauma. But I digress.
There is still a share of surreal imagery, experimental sounds, and examples of Anderson’s fascination with Bible stories and literature, but they’re hidden a little better. On some tracks anyway. The whole album is amazing, but this is the track that stuck in my head;




