L ucinda Williams has been sleep-talking more than usual. One night last week, she dreamed that Mormons invaded her house, converted her friends and stole her possessions. Her husband and manager, Tom Overby, told her she had grown agitated in her sleep. Wiggy dreams are a quarantine staple, but Williams has had a lot to process lately. No sooner had they arrived than a tornado hit the city, taking part of their roof with it. She last saw Prine in November when she played his festival in the Dominican Republic. Now aged 67, Williams has written often about death in her year career: songs such as Pineola, Sweet Old World, Lake Charles and Drunken Angel have become alt-country classics, often depicting complex men who might otherwise easily be reduced to caricature. I like to get a reaction out of people. Williams is no cheap rabble-rouser: it is her insistence on compassion and complexity that is provocative.
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John Prine: this extraordinarily gifted songwriter was the envy of all
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