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By the time I had played the album continuously three or four times, thesnow was pouring down. A young couple came into the shop--if you would like thedetails, the man looked a bit like a Swedish Tom Petty in an Afghan coat, whichwas a rare garment in those days, and the young lady was small with short darkhair and very beautiful. They were my first customers of the day. I said,

Other helpful folk include: Joe Boyd, Sally Reeves, Judy Greenwell,Borimira Nedeva, Rumyana Tzintzarska, Nellie Tzvetkova, Fred Muller, ZandraMarkus, Patrick Jauneaud, John Porter, Mitra and Lubimka Bisserov [The Bisserovsare another, younger Bulgarian female vocal ensemble who became friends withKate during her involvement with the Bulgarians' concerts in England andEurope], Melanie Spriggs, Professor Lee Saunders, Jim and Haydn [Bendall] andKen from Abbey Road Studios, Roy and Jacqui Harper, Dave and Toni Arthur, ChrisThomas and Ian of Audio-Venue, Guy Marriot, Dr. Smola & Dr. Crausse ofSupraphon Records, Dave Clancey of Casio, Rev. Normal [this last is an insidejoke: the Reverend Normal is a character in some of Del's and Paddy's articlesfrom earlier issues of the Newsletter.] Thank you for your kindness and help.

Apple bobbing was a popular activity a few decades later in 1914 at a massive Halloween party in Kansas arranged by Elizabeth Krebs. Tired of seeing her garden destroyed by young people celebrating Halloween each year -- since it was often common for pranksters to wreak havoc on people's property at that time -- Krebs helped pioneer parades and costume contests in an effort to provide less destructive outlets for marking the holiday.

Americans would also occasionally get together on Halloween for Nut Crack Night festivities, in which people ate freshly harvested hazelnuts and chestnuts. In some cases, a young man would assign names to each nut -- the one that burned brightest in a fire could signify his future sweetheart. Another tradition involved a young couple putting two nuts in the fire and seeing if they jumped apart or stayed together, as described in Mary E. Blain's 1912 book "Games for Hallow-e'en."

Wussy [Shake It, 2009]From their records I know this great couple band nobody's heard of to be mordant, obsessive, desperate. But having caught them live in Manhattan last year, I also know them to be urgent, funny, companionable. To be clear, they're a two-male, two-female quartet, but only grizzled fat Chuck Cleaver and lissome tattooed Lisa Walker are a couple. What's worrisome is that if I'm to take their latest songs autobiographically, which is hard to resist after that show, I should say they're a couple-I-hope, not just because I want them to keep making records but because I liked them together--and because this is as brutal a relationship album as Richard & Linda Thompson's Shoot Out the Lights. It starts with a miserable reunion, gets bleaker, sets the tone for its upful moments with the lively "Happiness Bleeds," and keeps on bleeding till a spare, funereal closer with the ominous title "Las Vegas." But there's also good news. With Walker's soprano simultaneously reasonable and fraught, Cleaver's rough tenor spooked by Appalachian Cincinnati, their country-drone guitars and locked-in rhythm section never give up, not even on the slow ones. There's hurt there always. But no discernible hate. A

Funeral Dress II [Shake It, 2011]I'm so skeptical of unplugged Record Store Day thingies it never occurred to me to sample this one when it materialized last April. This means I was an idiot--when you love a record the way I love their debut, you never know when some alternate version might turn into, say, the live Daydream Nation that other couple group assembled. It also means the limited edition is almost sold out by now. What will you miss if you don't buy it--eek!--right this minute? Suffering stripped naked beneath the wit, tune, and transcendent noise you long ago learned to love. Detailed knowledge of how nuanced and expressive Chuck and especially Lisa's voice can be, and how delicately they're capable of interacting. Well-turned lyrics you never before had to concentrate on--and yes, they make sense except when they don't, which why should they always when life doesn't either? Acoustic guitars, brushed drums, occasional accordion. And a finale you never knew was so agonizing. Try to break up to that. I dare you. A

Strawberry [Shake It, 2011]The first Wussy album in which louder, heavier tub thumper Joe Klug replaces Mo Tucker fan Dawn Burman is also the first he co-produced. There's more distortion, less naturalism; Chuck Cleaver and Lisa Walker yowl more, as when Chuck's aging head voice rises to the challenge of Mark Messerly's organ on "Pulverized." These alienation effects help define a rock that generalizes the connubial agony at the band's core, and if this is alienating for those of us who love them as well, it's also comforting, because it distances us from real-life couple Chuck and Lisa's real lives. I'd as soon assume the co-written "Fly Fly Fly" was inspired by a dumb young couple they know. I'm glad "Pizza King"'s tale of permanently adolescent disarray takes place in Indiana, not Ohio. And it's fine with me that "Asteroids" is so spacey--it means the heart "floating in the frozen void" might be metaphorical. A 041b061a72