And I wish I could say that the 2017 compilation Vanity of Vanities - A Tribute to Connie Converse does her justice, but it really doesn't. It features many of the most respected names in American experimental music, almost all of whom seem to entirely miss the target. It's not as bad as Soupsongs Live, but at times it's a close run thing.
But I'm happy to say that Laurie Anderson's contribution is nothing short of stunning. Have you ever seen Lynne Ramsay's film of We Have To Talk About Kevin? She uses sound like no-one else, filling the air with the sound of heavy machinery and traffic to show the way Tilda Swinton's character copes with her pain by driving it out of her head, filling it instead with inescapable noise. It's desperate and heart-rending. Anderson does a parallel manouvre with Sad Lady, starting with close-miked vocals but being unable to cope. The electronic accompaniment is too intimate, it grows and swells to fill the available space, anything to avoid the awful story that the song tells. If the rest of the album was even half as good as this, I wouldn't hesitate to recommend it.
Laurie Anderson - Sad Lady