Posts Tagged ‘Juliana Hatfield’

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“It was fun building it up from scratch and then letting it all hang loose in the long free-pop/jazz outro,” Juliana Hatfield says of her newly unveiled single “Gorgon” in an official statement. “Recording at home, there’s no one stopping me from indulging in every wacky musical whim that pops into my head.”

The propulsive, percussive track packs an enveloping sonic punch as the second offering lifted from the prolific singer-songwriter-instrumentalist’s forthcoming nineteenth studio album “Blood”, due in stores May 14th via American Laundromat Records as the follow-up to 2019’s pair of releases Weird and Juliana Hatfield Sings The Police.

Listen to “Gorgon” below and revisit the album’s lead single “Mouthful of Blood”  And be sure to mark your calendars for Hatfield’s special live stream performance from Q Division Studios on Saturday, May 8th at 4PM ET.

Bloodreleased via American Laundromat Records Released on: 22nd April 2021,

Over the past four years, Juliana Hatfield has kept fans engaged and intrigued as she oscillates between impassioned original releases (Pussycat, Weird) and inspired covers collections (Juliana Hatfield Sings Olivia Newton-John, Juliana Hatfield Sings The Police). This year she returns with her latest album of originals, “Blood”, out May 14th, 2021.

Her 19th solo studio album takes a deep dive into the dark side with a lens on modern human psychology and behaviour. “I think these songs are a reaction to how seriously and negatively a lot of people have been affected by the past four years,” says Juliana. “But it’s fun, musically. There’s a lot of playing around. I didn’t really have a plan when I started this project.”

With the pandemic limiting studio safety and availability, Juliana took the opportunity to learn to record at her Massachusetts home with recent collaborator Jed Davis assisting from Connecticut. “Usually I work in a studio,” explains Juliana. “I did more than half the work in my room—with Jed helping me to troubleshoot the technology, and helping with building and arranging some of the songs–and then I finished up with additional overdubs and mixing with engineer James Bridges at Q Division Studios in Somerville, MA.”

The first single, “Mouthful of Blood”, is gritty and abrasive yet groovy and melodic. That duality is represented throughout “Blood”. It is eminently hummable and thought-provoking. Sophisticated but catchy. Challenging but danceable.

“I always love coming up with melodies and then trying to fit words into them—it’s like doing a puzzle,” says Juliana. “And I always find places to use the Mellotron flutes and strings, on every album, because those sounds are so beautiful to me. They are a nice counterpoint to the damaged lyrical content.” 

Releases May 14th, 2021

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Juliana Hatfield has announced new album “Blood” that will be out May 14th via American Laundromat Records. Juliana Hatfield has announced the release of her 19th studio album, Blood, which will be out on May 14 via American Laundromat Records. Coinciding with the announcement, she has shared the album’s lead single, “Mouthful of Blood.” Check out the song and see the cover art for Blood ,

I think these songs are a reaction to how seriously and negatively a lot of people have been affected by the past four years,” states Hatfield in a press release regarding her new album. “But it’s fun, musically. There’s a lot of playing around. I didn’t really have a plan when I started this project. I always love coming up with melodies and then trying to fit words into them—it’s like doing a puzzle. And I always find places to use the Mellotron flutes and strings, on every album, because those sounds are so beautiful to me. They are a nice counterpoint to the damaged lyrical content.” Hatfield also speaks a bit on the album’s creation, in which she was forced to record in her home in Connecticut as a result of the pandemic: “Usually I work in a studio. I did more than half the work in my room—with Jed helping me to troubleshoot the technology, and helping with building and arranging some of the songs and then I finished up with additional overdubs and mixing with engineer James Bridges at Q Division Studios in Somerville, MA.”

Hatfield’s most recent album, Juliana Hatfield Sings The Police, a cover album of songs by The Police, was released in 2019.  “Mouthful of Blood” released on American Laundromat Records, Inc. Released on: 2021-01-28

These two tracks were originally released on an exclusive 45. The cover drawing is by Paul Westerberg of the Replacements.

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Supergrass recently released a cover of The Police’s “Next To You” (the lead track on Outlandos d’Amour) and now here’s Juliana Hatfield covering the same song. It’s like when we got two asteroid/meteor movies in 1998! In Juliana’s case, it’s part of her upcoming Juliana Hatfield Sings the Police tribute album that’s out November 15th. “Their recording of it is so perfect in its imperfection,” Juliana tells Billboard. “It’s unpolished and raw. That whole album sounds like three guys bashing out a song in a room together. So I didn’t even want to attempt to do a rocking version of it like that. I don’t want it to be compared to the original. There’s no way I could come close. So I just went in a completely different direction and slowed down to half time

Nearly a year and a half after Juliana Hatfield released an album of Olivia Newton-John covers, she’s back with a set dedicated to another act that inspired her — Juliana Hatfield Sings the Police, whose vibey cover of “Next to You” is premiering exclusively below “I still don’t know exactly what I’m mining with (the covers albums) — I’m sort of going back and exploring my formative years, I guess,” says Hatfield . “The Police and Olivia Newton-John were things that I loved when I was an adolescent and coming into myself and discovering music, and my own music. So I’m just exploring my past, I think, as I come more and more into myself — but it’s hard to answer why.”

The Blake Babies and Lemonheads alum did release an album of original songs, Weird, earlier this year, and she says the covers sets provide a bit of valuable creative respite. “Whenever I make an album of my own songs, at the end I feel so depleted,” Hatfield explains. “I feel like I’ve said everything I have to say and will never write another song. But I don’t want to stop making music. That’s when I go and start looking at other people’s stuff…so I can keep working. Recording covers is like a working vacation. It’s fun, and it also informs my own stuff afterwards.”

The Police, Hatfield says, were an adolescent fixation, attracting her with their blend of pop, punk and jazzy touches and helping introduce her to reggae. Choosing a dozen tracks to interpret was no easy feat; In fact, Hatfield says she could probably manage a second volume of Police material along the way. But for Sings the Police, due out November. 15th, she “just chose stuff that pleased me the most,” included hits and deeper cuts such as “Hungry For You,” “Canary in a Coal Mine,” “Hole in My Life,” “Murder by Numbers” and “Landlord.” “I went with stuff I thought sounded cool or that seemed relevant,” Hatfield explains. “Something like ‘Rehumanize Yourself’ seems very modern and current in its subject matter. ‘Canary in a Coalmine’ is so fun to sing and play. I was really just indulging my whims.

“Obviously I wanted to put my own stamp on them,” she continues, “but the structures and foundations are so solid that it’s fun and kind of easy to get inside them and mess around and remold them. Even if you dig into them and break them apart, they’re not gonna break. They bend real easy.”

“Next to You,” the first track from the Police’s 1978 debut album Outlandos d’Amour, presented a challenge for Hatfield, however. “It really was an intuitive reworking of that,” says Hatfield, who abandoned “an awful ’80s metal ballad” version of the song before settling on this version. “Their recording of it is so perfect in its imperfection. It’s unpolished and raw; That whole album sounds like three guys bashing out a song in a room together. So I didn’t even want to attempt to do a rocking version of it like that. I don’t want it to be compared to the original. There’s no way I could come close. So I just went in a completely different direction and slowed down to half time.”

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Hatfield has had no feedback on the album yet from the Police camp (Newton-John full endorsed her album last year) and plans to continue the cover sets as a series between original albums. She’s currently on break from touring, which she’s using as an opportunity to do some songwriting before going back on the road in January. “When that tour is over I’ll start to think about recording something,” she says. “The Olivia Newton-John album definitely had an impact, so I’ll be interested to see what (the Police) album brings out of me now.”

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The early ‘90s were very good to Juliana Hatfield. In the first half of that decade, she contributed to the best album by her former band Blake Babies, released two fantastic solo albums and one with a new project, The Juliana Hatfield Three, and played bass on The Lemonheads’ greatest achievement “It’s A Shame About Ray”. It’s a period of Hatfield’s career ripe for rediscovery, even as she continues to release fine new music currently.

Juliana Hatfield’s debut album Hey Babe. Filled with effortless melodies and catchy guitar riffs. Hatfield’s intelligent, hook-laden songs shine here in here exceptional debut.

A great first step is to listen to this new vinyl edition of her 1992 solo debut, Hey Babe. The album belies its heartbroken, self-reflective songs through Hatfield’s chirpy delivery of her lyrics and the urgent grind of its guitar rock (with help from members of Bullet Lavolta and fIREHOSE). All of that is rendered with sharp definition on this new pressing of the LP. This music needs clarity like this to let every shard of Hatfield’s broken heart stick in the listener’s skin while the music surges and blooms around the room.

It’s release from 1992 was the inaugural year of the “women in rock” era: a stretch of several years when artists from Courtney Love and PJ Harvey to Meredith Brooks unwittingly formed a cohort of so-called girls with guitars and the phrase “girl power” seeped into the popular lexicon from the underground precincts of the riot grrrl scene.

Juliana Hatfield was at the heart of this zeitgeist. In 1992, Hatfield had just broken up her college band Blake Babies and released her solo debut Hey Babe on Mammoth Records. Hey Babe was among the most successful independent releases of the year; 25 years on, it remains a largely forgotten minor masterpiece. Hey Babe offers a landscape of emotion – self-disgust, second-guessing, depression, cautious optimism – that has no place in a reception model so narrowly hinged on “empowerment”. The album dwells on muddled feelings, elevating confusion and insecurity over anger. Its 11 songs build entire worlds out of the state of feeling small, delivered in a voice that skids from girlish wail to shattered mumble. The album’s centrepiece is the song Ugly, an acoustic instruction manual on living with low self-esteem. “I’m pretty lost but I don’t want to be found/ My tiny screams don’t make a sound,” sings Hatfield.

Hatfield herself stopped playing its songs shortly after it was released. “Immediately after recording the album, I was really embarrassed by it,” she explained , “but now I’m really proud of myself.” Hey Babe will strike a chord with a new generation of listeners who are shy, ambivalent, inward and emotionally complex.

Sean Glonek at SRG Studios newly master from the original 1/4″ analog tapes. The artwork has been recreated from the original LP art but with a little twist thanks to the skill and creativity of award-winning designer, Aaron Tanner of Melodic Virtue. This exclusive limited-edition pressing, in a single-pocket gatefold jacket, was pressed by hand at Burlington Record Plant in Burlington, VT.

“Hey Babe” was produced by Gary Smith (Pixies, Throwing Muses, Blake Babies), and was originally released on Mammoth Records back in 1992. The album featured a bevy of guest players, including Mike Watt, Evan Dando, John Wesley Harding, Clay Tarver, Chick Graning, and Todd Philips.

This special 25th Anniversary Reissue is produced and distributed by American Laundromat Records, Inc. under license from Mammoth Records. .

Check out :

Undiscovered Planet – A Short Film by David Doobinin (with Juliana Hatfield) Shot, Directed and Edited by David Doobinin Starring Juliana Hatfield with Ayla Huguenot, Maia Devoy, Ananda Liveright

Songs “Touch You Again” (Juliana Hatfield) “Everything’s For Sale” (Juliana Hatfield) “Wipe It Up” (Juliana Hatfield/John Strohm) “Instrumental” (Juliana Hatfield) “Lost Ship” (Juliana Hatfield) “I Don’t Know What To Do With My Hands” (Juliana Hatfield/Matthew Caws)

David (Doobinin) shot and directed the two videos from my Olivia Newton-John album and he has photographed me, too, and I’ve really liked working with him. There is a casualness to his style that puts me at ease–he doesn’t push too hard. And I like the results. He manages to capture something real about who I am and how I see myself, and not many photographers/vidoegraphers are able to do that. I was talking to David about maybe working with me on a larger project like perhaps documenting the making of my next album. As of now we’ve had trouble scheduling that but we did have time to sort of get our feet wet and shoot some everyday documentary footage in and around my home, which we thought made an interesting little short film.” – Juliana Hatfield “What always struck me about Juliana the previous times we worked together is her physicality. The way she moves through each moment. It’s an unselfconscious dance that teeters between a stumbling Chevy Chase and a Runway Model. She has this fearlessness in her music and the way she lives her life. I wanted to try and capture some of that.” – David Doobinin

Juliana Hatfield: <i>Weird</i> Review

Juliana Hatfield  is back with another album of wry alt-rock storytelling. Weird is her first album since last year’s Juliana Hatfield Sings Olivia Newton-John, which was you guessed it an Olivia Newton-John covers album. This new one doesn’t disappoint, with her signature brand of fuzzy guitar rock constantly evolving to reflect the times.

Juliana Hatfield skirted on the fringes of punk with various early outfits The Lemonheads, Blake Babies and her own Juliana Hatfield 3 but she never entirely gave in to its edgier extremes. That’s not to say that she’s ever been prone to restraint and reserve. She can rock to a fearsome degree, and as a woman in a predominantly man’s world, she stands toe to toe with Joan Jett, Heart and Chrissie Hynde when it comes to taking an assertive stance.

Hatfield has been especially busy of late, overseeing a re-release of her seminal solo album Hey Babe this past March and releasing her delightful and unexpected covers album Juliana Hatfield Sings Olivia Newton-John just a few months back. The fact that she chose to follow it up with an album titled Weird hardly seems a surprise.

Nevertheless, despite its worrisome title, Weird isn’t the eccentric invention of an artist determined to defy convention. Hatfield said she chose the title as a reflection of the fact she feels disconnected and alienated in today’s impersonal, high tech, decidedly divisive world.
As she noted in a press release accompanying the album, “I feel weird, I feel like I’m dreaming my life and that I am going to wake up some day.”

Given those sentiments, it’s little surprise that the songs are bolstered by a generally unsettled sound throughout. Yet rather than opt for a tumult, Hatfield maintains a persistent pulse and an air of determination. That’s especially evident in such songs as “Lost Ship,” “Staying In,” “Do It To Music,” and “All Right, Yeah,” although in reality there’s not a single selection here that isn’t marked by Hatfield’s arched attitude and a decided mix of determination and defiance. “You can’t talk to anyone because you might get cut off, you get these strange signals,” she declares on Receiver,” one of several songs that describe today’s off-kilter attitude. Hatfield, who handles all the instruments save the drums played by Freda Love Smith (Blake Babies, Sunshine Boys) and Todd Phillips (Lemonheads, The Juliana Hatfield Three) gives her guitar a fidgety, slightly left of center sound, raucous to a degree but never far afield of any melodic parameters.

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Still, there are some songs that tone down the overt anxiety. “Paid To Lie” purveys a more settled stance while “Sugar” and “Everything’s For Sale” are practically effusive compared to the commotion that pervades the album as a whole.

Taken in tandem, Weird provides an apt analogy for those who feel out of touch with a world that’s so askew. To some degree, it should also provide assurance for all those who feel the same.

Blake Babies "Innocence and Experience" Vinyl Reissue *PRE-ORDER*

American Laundromat Recordings We are beyond excited to reissue this fantastic Blake Babies collection on vinyl. It’s always been a favorite and we worked with John, Freda and Juliana on every aspect of the reissue.

The title is a reference to the William Blake collection of poems Songs of Innocence and of Experience.

Perched right on the edge of genuine stardom thanks to the critical adoration of 1990’s Sunburn and the general sea change heralded by the commercial success of Nirvana and other alt rockers, the Blake Babies chose instead to break up. It was nothing personal; John P. Strohm and Freda Boner were homesick for Indiana and Juliana Hatfield didn’t want to leave Boston. That sort of casualness typified the band throughout their brief existence, and indeed, it’s a huge part of their charm. Coyly taking their name from the most famous book of poetry by their name’s inspiration, Innocence and Experience is a similarly off-the-cuff collection. Less a full-career overview than a collection of rarities, favorite tracks, and demos, the 14-track collection hits all of the group’s releases, paying particular attention to Sunburn and its immediate predecessor, 1989’s Earwig. It has some faults as a retrospective, but it does hit almost all of the high points (Earwig’s “Take Your Head off My Shoulder” and Sunburn’s “Look Away” are the most egregious omissions) and the demos are interestingly different from the more familiar versions. Also of interest to Hatfield fans is the inclusion of “Boiled Potato,” the rarity that Hatfield would rework as the anorexia metaphor “Feed Me” on her 1992 EP I See You.

Our good friend and long-time collaborator Sean Glonek at SRG Studios handled remastering, Carl Saff in Chicago cut metal, and vinyl was pressed by hand at Burlington Record Plant in Burlington, VT. The artwork is recreated from the original Mammoth art but with a little twist thanks to the skill and creativity of award-winning designer Aaron Tanner of Melodic Virtue. We also included the liner notes and photos from the original CD booklet as a newly-designed inner sleeve. We’re very proud of this reissue and hope you enjoy it.

Band members

  • Juliana Hatfield – vocals, guitars, bass, piano and keyboards
  • John Strohm – vocals, guitars, bass and keyboards
  • Freda Love Smith – vocals and drums

 

Sometime earlier this summer, Juliana Hatfield was shredding alongside waste treatment machinery on Deer Island, and it was freakin’ awesome. Amidst a million subtle shades of pink and surprisingly industrial imagery, Hatfield’s new video, “Lost Ship”, paints her as the take-no-BS Boston woman we’ve always known her to be.

“No one has any power over me,” she sings, which she quickly follows with “I wanna ride on a spaceship in my mind,” both lyrics that recall her steadfast agency and desire to peace the hell out.

The next taste of her forthcoming 2019 record Weird, Hatfield’s video for “Lost Ship” was filmed on Massachusetts’ Deer Island earlier this year. With a little more than a month to go until Weird debuts on American Laundromat Records to be released in January, from the former Blake Babies member .

“Rachel Lichtman of the awesome Network 77 hipped me to this place called Deer Island in Winthrop, Massachusetts and we shot the video there,” she says . “It’s right in my backyard, practically, but I had never been there before. It was such a cool sci-fi setting, with the wind and those gigantic egg-shaped structures which are part of the waste treatment facility out there. Rachel made this a beautiful haunting video.”

Echoing Hatfield’s cut-off-from-the-world’s sentiments of Weird, director Rachel Lichtman honed in on her blissfully alone beauty for the video’s imagery.

“I feel like Juliana and I created something that so beautifully captures the powerful freedom of the chosen isolation described in ‘Lost Ship,’” Lichtman explains. “Juliana seems a futuristic goddess, luxuriously alone, atop what looks like the remnants of the industrialized world; she’s not bothered or indebted or compromised. We shot it just the two of us on the last warm day of summer, and I think that energy translates through and captures the essence of this brilliant song.”

“Lost Ship” by Juliana Hatfield from the album “Weird” out January 18th, 2019 on American Laundromat Records.

Juliana Hatfield Indulges Her Sweet Tooth on New Olivia Newton-John Covers Album

In song, as in romance, one never forgets their first love. No matter how cheesy or childish it may seem later, the memory of that initial encounter with the music’s emotional power never goes away. For Juliana Hatfield, it was Olivia Newton-John.

But Hatfield never committed the betrayal that most of us are guilty of. She never spurned her middle-school crush when she got to high school. Hatfield stayed true to Newton-John. She embraced punk rock as an older adolescent, but did not turn her back on the Australian singer of “Have You Ever Been Mellow.” And it’s that combination of illusion-grinding guitars and heart-on-the-sleeve pop tunes that has made Juliana Hatfield one of the most rewarding and underrated artists in the indie-rock generation.

“For my whole career, without consciously realizing it, I’ve been trying to integrate Olivia and X, the sweet pop and the messy punk. I’ve always had those two sides to me, not only in what I play but also in what I listen to. I veer back and forth like a pendulum.”

“Even when I fell in love with the band X,” Hatfield explains, “I never lost my love for Olivia. I never hid it. Different parts of my personality are drawn to different musics. The angry part of me is attracted to more aggressive music and more aggressive performances, like Exene’s voice, or more humor maybe, like The Replacements and Devo. The idealistic part of me is drawn to melodies and harmonies, like Olivia’s singing. For me it’s fine to like Olivia Newton-John and a band like Black Flag.”

So far from hiding her first musical love, Hatfield is celebrating it on the new album Juliana Hatfield Sings Olivia Newton-John, on American Laundromat Records. With her longtime rock ‘n’ roll rhythm section of drummer Pete Caldes and bassist Ed Valauskas, Hatfield remakes 13 of Newton-John’s songs (one of them in two different mixes), including seven singles that reached the U.S. pop top 10. Hatfield scuffs them up a little but not so much that they lose their essential, sweetness.

Hatfield was 10 years old, living in the Boston suburb of Duxbury, when the movie Grease and its soundtrack were released in 1978. She was fascinated by the character of Sandy, played by Newton-John, an exchange student from Australia and a goody-good girl who falls for the greaser bad boy Danny, played by John Travolta. Like the fifth-grader Hatfield, Sandy was essentially a rule-abiding girl who was attracted to the rule-breaking world of juvenile delinquents and rock music. Hatfield took her cue from a role model who was able to cross that boundary without compromising her principles.

“When I was a kid,” Hatfield recalls, “I just related to Olivia’s sense of innocence, especially when she was singing. I even had a friend curl my hair so I looked like Sandy. I like to think that Sandy was putting on that bad-girl persona as a goof, because she realized that this was just a game that people play. I don’t like to think she put on a mask just to get the guy. I didn’t want to believe that you have to sex yourself up to find love. I never made that choice to change myself like that. Maybe my life would be easier if I had.”

Hatfield had a different interpretation of the punk ethos than some of her friends. For her, punk wasn’t defined by drugs and promiscuous sex; it was defined by staying true to one’s own moral code, whatever that was. That’s why Newton-John still made sense to her when she picked up a guitar and started playing punk rock, even persuading her high school cover band to add some X songs to a setlist dominated by Journey and Styx.

“Maybe it was in my DNA,” she suggests. “Maybe I had a punk heart; I didn’t want to do things because everyone else was doing them. I was impervious to peer pressure, and that isolated me a bit, because I wouldn’t give in and do what the other kids did. So I felt an affinity with Olivia, because she also had this good-girl curse. I felt like an outcast because all my friends in high school and college were doing drugs, getting drunk and having sex, but I didn’t want to. I was hanging out with these people, but it didn’t feel right to me; I wasn’t ready or interested. I knew I would do things on my own time line.”

It was in 1986 at Boston’s Berklee College of Music that she formed The Blake Babies with guitarist John Strohm and drummer Freda Boner. The Lemonheads’ Evan Dando was also briefly the group’s bassist, and when he left, Hatfield was persuaded to shift from guitar and emulate Dando’s unusually melodic bass lines. Even after she returned to guitar in 1994 with her own group, she ever after wrote tuneful, prominent parts for her bassists to contrast against her brittle guitar riffs. “I like melodic bass players like Evan and Paul McCartney,” she says. “I get bored holding down the bottom, and I love melody, so I played that way. The bass players I hire know what I like to hear. It frees up the guitar to not be so melodic. I always have some anxiety about my records becoming too monochrome or not grooving enough, and I always go to melody to fix things.”

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The Blake Babies were a delightful indie-rock outfit, but the trio eventually broke up as Hatfield wanted to further emphasize the pop elements in the group’s sound, a move her bandmates resisted.  Hatfield loved the vocal-harmony echoes of Newton-John she heard in hits like “Hold On,” but Strohm and Boner dismissed it as juvenile fluff. “When I left The Blake Babies,” she says, “I was miserable because I wanted to do my own thing, but I missed being in a gang—a band is like a gang that has your back. The other members are a cushion against criticism. But I wanted to have more control over the music; I wanted to be able to say, ‘This is how I want to do it, and that’s how we’re going to do it.”

Earlier this spring, American Laundromat Records released a remastered 25th anniversary vinyl edition of Hatfield’s debut solo album, 1992’s Hey Babe, in a gatefold package. With help from such friends as Dando, John Wesley Harding and Mike Watt, she crafted a new balance between the pop and rock elements in her music. The lead-off track, “Everybody Loves Me but You,” boasts a classic guitar riff, pitted against Hatfield’s rolling bass line, as she wails that the one person whose love she craves is the one person who won’t offer it.

The album got her a deal with Atlantic Records and led to her breakthrough album, 1993’s Become What You Are. “My Sister” hit No. 1 “Spin the Bottle” appeared on the soundtrack for the zeitgeist movie Reality Bites, and Hatfield wound up on the cover of Spin. “My Sister” is a magnificent achievement, using the phrases “I love my sister” and “I hate my sister” to capture the contradictory feelings we often have about the people closest to us. The fact that Hatfield didn’t actually have a sister hardly mattered, given the infectious hook and the evocative details about firecrackers and a Violent Femmes concert.

“I wasn’t trying to put one over on people; it was all about how I was feeling,” she explains. “I just wanted to express the pain I was in. The sister was a metaphor, a construct I used to express my feelings of longing and inadequacy.”

She made two more albums for Atlantic, one (Only Everything) that was released and one (God’s Foot) that never was. She has mostly worked under her own name, but she has also recorded as the Juliana Hatfield Three, Some Girls, Minor Alps, The I Don’t Cares and the reunited Blake Babies.

“A year and a half ago,” she recalls, “I was going to go see Olivia in concert for the first time, but she ended up canceling that string of shows because her cancer had come back. That’s when I decided to make the album. It was just an idea that popped into my mind, because I was immersed with her music again in preparation for the concert. Once we were in the studio, we found ourselves translating those well-written songs through this traditional unit of guitar, bass, drums and my weird voice. We did them as if they were songs we had written.”

“My love for Olivia’s music is not nostalgia,” Hatfield says, “because I still love it and get pleasure from it. There’s something about the timbre of her voice that homes in on my pleasure center. She was never desperately pleading for acceptance or attention from people like other pop stars were. She had this great solid core that is still very appealing to me; she felt very centered. So many stars come across as emotional messes, but she seemed like she really had her shit together.”