Courtney Love: More than just a Dirty Blonde?
- jamesgeraghty
- 17 minutes ago
- 20 min read
At times it felt like Courtney Love’s infamous relationship with Kurt Cobain was more of a circus sideshow than a marriage built on love. The pair were seemingly drowning in their drug habit, yet somehow trying to raise a small child at the same time.
For many fans of Nirvana, it seems that Love has always been very much a persona non grata; a bad influence and possibly the ultimate ruination of Cobain. So, was it as simple as that - is Courtney Love really a manipulative, talentless, all round nasty person; or a misunderstood, underrated and talented musician, who occasionally strayed off the tracks?
Tania Branigan, writing in The Guardian in 2001, sets up a big part of this debate quite nicely: “Critics and fans alike compare her to Yoko Ono: critics describing her as a manipulative woman who enslaved a great man and sought to destroy a great band, and fans saying she is an intelligent, creative and loving wife constantly belittled by misogynist musicians and rock writers.”
Daisy Jones, in Vice, points to elements of hypocrisy in some of the arguments, and you start to see how grey, rather than black and white, this is. Jones talks about the scrutiny her drug addiction, her abilities as a mother and whether she should have ever been married to Cobain, all because she’s seen as “nothing more than a wilful opportunist,” doing merely what “male musicians are often romanticised and celebrated for… [being] painted by the media as a kind of one-dimensional psychopathic caricature.”
Trouble from the start:
Courtney Harrison was a child of the Californian 60s, eldest daughter of a psychotherapist mother and a publisher father (who was also a road manager for the Grateful Dead). There was intrigue and interest in her wider family; her mother, Linda Carroll, did not know who her biological father was, but was the daughter of novelist Paula Fox and great-granddaughter of the Cuban-born writer Elsie Fox. Her great grandfather, Paul Fox, was a cousin of the writer Faith Baldwin and actor Douglas Fairbanks.
After Love’s parents divorced in 1970, her mother testified in a custody hearing, that her father, Hank Harrison, had sometimes dosed her with LSD as a toddler! There was also an allegation that he was planning to abduct her and run away to another country. Not an auspicious start for young Courtney.
Mother and daughter relocated to Oregon, where Linda remarried and maintained a somewhat unorthodox household, as Love recalled, full of “hairy, wangly-ass hippies running around naked.” So, it is perhaps unsurprising that she struggled academically at school, along with attending multiple therapy sessions while she was still in single digits - not to mention, a potential early diagnosis of autism.
Then Carroll divorced again - and this time they were off to the south island of New Zealand. Once there, her stint at Nelson College for Girls was short-lived, as she was expelled for misbehaviour - and by 1973 (still aged only 9) she was sent back to live with her stepfather in Oregon.
It didn’t get any better. At 14, Love was arrested in Portland for shoplifting, ending up for a while at Hillcrest Correctional Facility in Salem. This was where she got her first taste of post-punk and new wave music, hearing records by the likes of Patti Smith, the Runaways and the Pretenders. There were some spells in foster care at 15, before being emancipated (legally freed) from her mother in 1980, aged just 16.
Love set off for Japan, getting work as a topless dancer for a few months before managing to get herself deported. Back in Portland, she was working at Mary’s Club, the oldest strip joint in the city, which is also where she started using the name Love for the first time, in order to conceal her identity. She was working all kinds of odd jobs, DJ’ing at a gay disco and hanging out with drag queens, but later reflecting how she lacked any social skills. There were glimmers of hope for her, as she enrolled at Portland State University to study English and philosophy and for a while considered a career working with children - before her passion for music fully took hold and sent her in other directions.
Teardrops and Faith:
At 17 she inherited a small trust fund from her grandparents and headed off to Dublin, where her biological father was living - even studying theology for a while at Trinity College. Then there was another random twist when she met Julian Cope at a Teardrop Explodes concert in the city. He seemed to like her and said she could stay at his Liverpool home while he was out on tour. In London she met her friend (and future band mate) Robin Barbur and they headed up to Liverpool, where they stayed at Cope’s house, with among others, Pete de Freitas of Echo & The Bunnymen.
Returning to the States, there was more musical connecting going on. After seeing Faith No More in San Francisco, she somehow persuaded them to let her join the band as a singer, and while they did record some stuff with Love included, the relationship didn’t last long and she was fired.
Faith No More: Blood (audio only - rare live clip with Love on vocals)
Then it was travel time again. A brief spell as an erotic dancer in Taiwan was followed by work at a Hong Kong dance hall; an important place in the narrative, as this was apparently the place where she first recalls using heroin. At this stage, not even twenty years old, you can already see why her later life may have ended up being problematic…
Back in the States, there were a number of short-lived musical projects; Sugar Babylon (later Sugar Babydoll), another brief stint with Faith No More, and then the Pagan Babies with Kat Bjelland (later of Babes in Toyland). This last one also included future L7 members, Jennifer Finch and Janis Tanaka. Bjelland moved to Minneapolis and formed Babes in Toyland, with Love briefly following her, before deciding that her future was in acting and heading to the San Francisco Art Institute. She also took some theatre classes in Oakland, including some that were being taught by Whoopi Goldberg.
She tried out for the part of Nancy Spungen in the Sid & Nancy biopic, getting a small support role instead. But director Alex Cox then cast her in a more prominent role in his spaghetti western Straight To Hell, also starring Joe Strummer, Grace Jones and Dennis Hopper. It wasn’t a critical success but did help her get a few more bits and pieces of acting work, before again deciding to change tack in 1988 - back to stripping in Oregon. Then she went to Anchorage for three months because, as she said, “I needed to get my sh*t together and learn how to work”. That work involved stripping of course.
Into a Hole:
By the end of 1988, Love had finally taught herself to play guitar properly and had moved herself to L.A. An advert went in a fanzine, with her influences cited as being the fairly diverse choice of Big Black, Sonic Youth and Fleetwood Mac. The next year, Hole was born (the name taken from a line in Medea by Euripides’) and featured Eric Erlandson on guitar, Lisa Roberts on bass and Caroline Rue on drums.
In July 1989, Love married James Moreland, the singer with L.A. band Leaving Trains, although that was annulled within months, with her later claiming it was only ever a joke. She began a relationship with Erlandson that would last for a year or so.
Love was still working the strip joints to earn money to get equipment for the band. They played their first gig that November, at Raji’s rock club in Hollywood and then debut single Retard Girl (about a girl being bullied) came out on local Sympathy for the Record Industry label in April 1990. Things were starting to take shape when local DJ royalty, Rodney Bingenheimer, played the song on his KROQ show.
Hole: Retard Girl (audio only)
Pretty On The Inside, the debut LP, came out in September 1991 and was produced by Kim Gordon, who they had met when they supported Sonic Youth at the Whisky a Go Go the year before. The album got some good reviews and even troubled the lower reaches of the UK charts (#59) - it also got them a co-headlining tour of Europe with Mudhoney, and a US support slot on the Smashing Pumpkins tour.
Hole: Babydoll (audio only)
The meeting:
You would think that the time when the two people who would become the celebrity couple of the grunge scene first met, would be straightforward to pin down. In fact it seems everyone on the scene remembers a different version of the first meeting between Love and Kurt Cobain.
Journalist Michael Azerrad says that they met at the Satyricon club in Portland in 1989. Cobain’s biographer Charles Cross says it was 12 February 1990, when Love joked that Kurt looked like Dave Pirner of Soul Asylum and Cobain wrestled with her. Erlandson said that the pair of them were introduced to Cobain outside the Hollywood Palladium in May 1991. Love herself says that they met at a Dharma Bums gig in Portland.
Whichever version was the actual one, they met again in late 1991 through Jennifer Finch and were definitely a couple by 1992. Indeed, things progressed quickly and they got married at Waikiki (Hawaii) on 24 February 1992. Dave Grohl was one of eight people to attend this ceremony, while Krist Novoselic refused, upset with the couple’s continuing heroin problem, which he seemed to squarely blame on Love’s influence.
Hole: Garbadge Man (official music video)
Frances Bean Cobain followed on 18 August 1992, born in L.A., before the family moved back to Washington state. The relationship was gaining publicity, not all of it was good. The pair were featured in a Vanity Fair article called Strange Love by Lynn Hirschberg, in September 1992. Cobain was becoming huge with the success of Nevermind and Love was included in the story.
You can start to see the beginning of the end here. As their relationship blossomed, so did their heroin addiction. Hirschberg’s article was not flattering and implied that Love had been using heroin throughout her pregnancy. Love said that her words had been misused and that she had quit in the first trimester, as soon as she knew she was pregnant. Either way, the story led to the L.A. Department of Children and Family Services investigating and initially taking Frances away, placing her with Love’s sister Jaimee. Love would also assert that the article impacted both the marriage and Cobain’s mental health.
A Bigger Hole - how to live through this:
With her pregnancy now complete, Hole were back in the studio in October 1993, this time with Love, Kristin Pfaff (bass) and Patty Schemel (drums). The result was Live Through This, a weirdly apt title if ever there was one, with lead single Miss World being released on 21 March 1994.
Hole: Miss World (official music video)
On 8 April, tragedy struck when Cobain was found dead at their Seattle home, while Love was in L.A. at a rehab clinic. In a painful twist, less than a week later, the LP was released on 14 April by DGC Records. When looking at the constant controversy that has followed Love for much of her adult life, her decision to plug the record during her speech at Cobain’s vigil two days after his death, seems very odd to say the least.
The pain kept on coming though. On 16 June, Pfaff overdosed on heroin and died in Seattle.
Hole: Doll Parts (official music video)
With new Canadian bassist Melissa Auf Der Maur onboard, Hole played their first show since Cobain’’s death, at the Reading Festival in August 1994. Perhaps distilling the whole experience of the year to date in one line of their review, MTV called the performance “by turns macabre, frightening and inspirational”. John Peel noted in an article for The Guardian that Love’s appearance “verged on the heroic…. [steering] her band through a set which dared you to pity either her recent history or that of the band… The band teetered on the edge of chaos, generating a tension which I cannot remember having felt before from any stage.”
From this period of intense tragedy came a period of commercial success for Love and the band. Although it didn’t chart all that highly at home (peaking at 52), within a year the record had achieved platinum status and eventually selling more than two million copies worldwide. It was also critically well received; Rolling Stone said their brand of punk was “as insinuating as Nirvana’s but as corrosive as the Sex Pistols”. Meanwhile Musician Magazine talked of her “foul, funny eloquence [which] cuts through all the bullsh*t with a mighty flourish.”
It dealt with some personal themes, and some that were applicable to many women - motherhood, depression, body perception and elitism. The exceptional Violet, possibly one of the best punk songs of any era, full of raw, eviscerating power, was written about her brief romantic liaison with Billy Corgan. Doll Parts was about insecurity, while I Think That I Would Die touched on postpartum depression.
Hole: I Think That I Would Die (audio only)
Who wrote it?
The pile-on aimed at Love continued, with rumours doing the rounds the moment the album came out, that she had not written any of the songs, and that they had actually been written by Cobain. This was blatantly nonsense; some had been played live going back to 1991 before the pair had even met; while a later piece in Time magazine (2006) pointed out the allegations were “a nasty thing to say” and that the record was “clearly a woman’s work [and is] far more swaggering than any album any grunge man ever came up with.” Schemel also called it simply not true, commenting that “it’s not true. Eric [Erlandson] and Courtney wrote Live Through This.”
Dave Grohl certainly had his opinions on her abilities. In 1999, when being interviewed by Howard Stern, he was asked what his favourite Hole song was, to which he replied perhaps a touch sarcastically, “‘Teenage Whore’, because I know she wrote it.” Love’s school playground retort came via Spin magazine, “He knows exactly what I wrote, he knows exactly the input I had on [Nirvana’s] third album. Kurt came [to the studio] to play with [Hole] more than he did with Nirvana because he liked us better.”
The rollercoaster of high drama was never ending. Love would later admit that she had little recollection of 1994 and 1995, on her steady diet of heroin and Rohypnol. On the subsequent tour, she often appeared to be hysterical on stage, breaking into intense rants and having fights with audience members. She was arrested getting off a Qantas flight in Melbourne for causing disruption and arguing with an attendant. There was a fracas with fellow musician Kathleen Hanna (Bikini Kill) at the Lollapalooza Festival in George, Washington. Love claimed Hanna had made jokes about her daughter and so punched her in the face and threw a cigarette at her. Found guilty, she was sentenced to anger management classes.
There was a return to acting next; small parts in the biopic Basquait and the Keanu Reeves movie, Feeling Minnesota, were followed by landing a role as Larry Flynt’s wife in The People vs Larry Flynt. The director, Milos Forman, insisted she got clean, and so she was off to rehab again to quit heroin. She then had to take regular urine tests to ensure she was keeping her end of the deal. It was worth it though - her performance received great reviews and even a nomination for a Golden Globe. Noted film critic Roger Ebert noted that “she is not a rock star pretending to act, but a true actress.” There was another bonus from the film, as she spent three years dating co-star Edward Norton.
Celebrity Skin:
The next record went more power pop and less punk and there most definitely was collaboration on song writing this time, as Corgan co-wrote several tunes. It was well received again, “a basic guitar record that’s anything but basic,” as Rolling Stone reported. It got them into the Top 10 this time too and went multi-platinum in several countries.
Hole: Celebrity Skin (live in Philadelphia, 1999)
The film roles kept rolling in too. She was Jim Carrey’s wife in the Andy Kaufman biopic, Man On The Moon, and the wife of William S. Burroughs in Beat (with Kiefer Sutherland). She won an award for Julie Johnson, and then starred with Kevin Bacon and Charlize Theron in Trapped.
Legal trouble and more legal trouble:
Having formed Nirvana LLC in 1997, with Cobain’s former bandmates Dave Grohl and Krist Novoselic, to manage the band’s business dealings. Four years later, Love filed a suit to dissolve it, blocking any unreleased Nirvana music from being released - but also to prevent a song Kurt wrote three months before his death (You Know You’re Right) from being added to a Nevermind box set. Grohl and Novoselic counter-sued, calling her “irrational, mercurial, self-centred, unmanageable, inconsistent and unpredictable.” Her response - a letter which stated that “Kurt Cobain was Nirvana,” therefore making her and her family the “rightful heirs”. A poll at the time on the unofficial Nirvana fan site ended with 76% taking the side of Grohl and Novoselic and only 6% backing Love.
Hole: Malibu (official music video)
There was a further dig at Love from Grohl, when the sixth Foo Fighters record, Echoes, Silence, Patience & Grace, came out in 2008. It contained a song called Let It Die, which was about Love and Cobain’s relationship, drug use and financial arrangements. It once again descended into vitriol, with Love asserting on My Space that Grohl had tried to hit on her “many times” and also that Cobain really did not like Grohl. While it seems that Cobain’s views of Grohl were often contradictory, possibly down to his own mental health struggles, making him occasionally a little jealous of Grohl’s upbeat personality and talent - along with one or two rumours that he had considered firing him from the band - it is clear that he thought Grohl was a really great musician, considered him a good friend and knew his presence in the band was positive.
In early 2003 there was another arrest, this time at Heathrow, but again for disrupting a flight on Virgin. Then, in October, she was arrested in L.A. for breaking windows at the house of her boyfriend at the time, James Barber - she was under the influence of a controlled substance at the time. She again temporarily lost custody of Frances.
American Sweetheart?
Hole were done and Love was contemplating a solo record this time. She got a deal with Virgin Records and started writing with Linda Perry of 4 Non Blondes, with the result being the perhaps tongue in cheek titled, America’s Sweetheart, released in early 2004. It was, according to Charles Aaron in Spin, “a jaw-dropping act of artistic will and a fiery, proper follow up to Live Through This.” That said, it was a commercial flop, not even reaching 100,000 sales, with her ongoing drug problems being cited as a major issue.
Courtney Love: Mono (official music video)
Arrests piled up. Her fortieth birthday celebration in July 2004, was to get arrested for failing to show up at a court appearance for an earlier arrest. She was taken to New York’s Bellevue Hospital and placed on a 72-hour watch, with her apparently being incoherent and police believing that she was a danger to herself. Two days later she was considered mentally sound and released into rehab. Press coverage was relentlessly negative, but Margaret Cho, the comedian, rallied to her side writing that “Courtney deserves better from feminists,” and arguing that the negativity around her personal issues was adversely impacting her wellbeing."
More rehab stints followed, culminating in a 180 day stretch in late 2005, where she stated that this time her addiction had been with cocaine, crack and prescription drugs. Two sober years later she would put her continued practice of Soka Gakkai Buddhism as a key part of her journey.
The Dirty Blonde:
Having said that solo recording was not for her, she found herself back in the studio in 2006, again writing stuff with Corgan and Perry. Some of the songs, like the obvious anti-drugs song Loser Dust, came out of her time in rehab. It had gotten so bad, in fact, that she had no hand-eye coordination and her fingers would freeze up trying to play chords, that she wondered if her music career was done. 2006 also saw her publish a memoir, Dirty Blonde, which included diary entries, artwork, poetry and song lyrics.
Courtney Love: Hold On To Me (audio only)
In 2009, she stated an intention to resurrect Hole, but Erlandson said that could not happen contractually without his involvement. Love, forthright as ever, said that Hole was her band and her trademark, and put the album she had worked on, Nobody’s Daughter, out as a Hole record in April 2010. There was a new line up and the album included material that she had started for that solo album that never got finished (to have been called How Dirty Girls Get Clean). It was a much more folky and acoustic sound than anything Hole had done before.
More acting, more lawsuits:
She starred in an Yves Saint Laurent advert in 2013, along with fellow musicians Kim Gordon and Ariel Pink. She also decided to drop the Hole name again, and went out on a solo tour of North America that year as well.
Another year, another unwanted first. When her former attorney Rhonda Holmes sued her for libel in January 2014, it was the first ever case of Twitter libel brought to court in the US. The jury sided with Love on this occasion, but the following month the decision went against her when fashion designer Dawn Simorangkir (Boudoir Queen) won a defamation lawsuit against Love.
She even took to the stage, starring in Kansas City Choir Boy, a pop opera by Todd Almond, that was put on in New York. It was well received; Charles Isherwood, writing in the New York Times, said she had a “bewitching” stage presence. Then it was clothes - a collaboration with Sophia Amoruso saw a line of 18 pieces reflecting her style come out in January 2016.
There was another lurch into addiction in 2018, which she managed to pull herself out of again and moved to London in 2019. There was a nasty period in hospital in 2020, when she had acute anaemia which all but killed her, reducing her weight down to 44 kilos.
Hole: Pacific Coast Highway (live in the UK, 2010)
Courtney the advocate:
What doesn’t get shouted about in the negative press, is the amount of advocacy that Courtney Love has done for different causes over the years, even as she fought her own battles. She has discussed race relations in the music industry, noting that white musicians have been stealing from black communities for years. She is a frequent collaborator with the Los Angeles Gay and Lesbian Center, which helps homeless youth, domestic violence victims and provides mental health services and arts programmes. She has made donations to AIDS organisations like the RED Campaign and supported various anti-bullying organisations.
She was also way ahead of the #MeToo movement, recording a video in 2005 warning young aspiring actresses of the dangers that Harvey Weinstein posed to them. She said while she “wasn’t one of his victims, I was eternally banned by [Creative Artists Agency] for speaking out.”
The Love Legacy?
So, what, if any, is her legacy? She once said that, “I want every girl in the world to pick up a guitar and start screaming,” implying that playing a guitar gave females a degree of power.
She has undoubtedly been an influence on a wide range of female musicians, ranging from Brody Dalle to Lana Del Ray to Florence Welch. One of her own heroines, Patti Smith, praised her too - “I was amazed to hear a girl sing like that…. What Courtney Love does, I’d never heard a girl do that.”
Daisy Jones (Vice, 2017) believes that Love is responsible for a “string of undeniably pioneering albums.” Pretty On The Inside is “forever darting between brutality and vulnerability, aggression and sexuality, the album redefines… the whole concept of femininity by creating a collage of contradictions.” Live Through This she says, “is like a masterclass in rage and female grief.”
She would later address the negativity around her relationship with Cobain, saying that their marriage “created a mythology around me that I didn’t expect for myself”, saying that some of the vilification of her was similar to that directed at Yoko Ono when she married John Lennon.
Kim Gordon, having been persuaded to produce that first Hole album (before Courtney and Kurt were a thing), wrote in her autobiography (Girl In A Band) that Love undoubtedly had a “great punk voice”. She was less enthusiastic, however, about Love the actual person, seeing as being smart and ambitious, but also manipulative - someone “who spent a lot of time growing up staring in the mirror practising her look.” She notes that Love was always sweet with her and co-producer Don Fleming, but regularly screaming and abusive towards her bandmates.
Amanda Fortini, writing on Today website a decade after Cobain’s death, tried to present a more nuanced view of Love’s talent, struggles and relationship. She noted that the sight of Love over the ten years since his death, “has been alternately riveting and repellant. Along the way, in spite of her bad behaviour or because of it, Love has made some undeniably powerful music; raw, defiant, so full of anguish that listening to it is a physically demanding experience.”
Fortini said that the replacement of Love as a musician, by Love as a celebrity and all that notoriety is not entirely her own fault. She noted how the public “loves to vilify a celebrity widow” to which she never helped herself, helping reinforce the views of many Nirvana fans that she was “a shameless opportunist.” She admits though, that there is some plausibility in the accusations that she did much to aid Cobain’s descent into drugs and depression.
But she says that there is much to admire in her music, especially those first two Hole albums, with deceptively simple and effective lyric and narrative writing, “devoid of anchoring referents like proper nouns, names of places, concrete things.” Then there is Love’s voice, “ferociously strong, embodying an access to rage that seems almost primal or feral…. Simply hearing her yell is a visceral (and sometimes cathartic) experience, like sticking your head out of the window of a moving car.”
Fortini also points the finger back at us, the listener / fan; where things like drug use and trashing of hotels was considered “an essential part of the machismo of rock n roll”, (think Keith Moon) she asserts that nowadays, people “want our rock stars to perform the role of rock star, not actually be one - and when they do behave badly, we want them to apologise for it.”
The feud that wouldn’t end:
The verbal war with Dave Grohl raged intermittently for years after Kurt Cobain’s death (and seems to have been brewing pretty much from first sight). In a 2011 show, she accused Grohl of stealing money from her and Frances Bean, explaining later, “Dave makes five million dollars a Foo Fighters show. He doesn’t need the money from Nirvana, so why the eff does he have a Nirvana inc. credit card and I don’t, and last week he bought an Aston Martin on it.”
This was followed a year later with accusations that Grohl had hit on the now nineteen year old Frances. Things didn’t look good for Love at all by now - Bean, who had already previously filed a restraining order against her mother, clarified that, “I have never been approached by Dave Grohl in more than a platonic way. I’m in a monogamous relationship and very happy… Twitter should ban my mother.”
The make up:
In 2014, with Nirvana about to be inducted into the Rock and Roll Hall of Fame, Grohl and Love buried the hatchet. She told Pitchfork that when she was backstage at the event, “On my way to the bathroom, I saw Grohl, and Grohl saw me, and he came up to me, and I was like, ‘Alright, no matter what happens, we’re not going to be bastards.’ This was my attitude going in and obviously his. Not much else needs to be said. We both knew it was time to let go. We were ready to do it. It’s been twenty years. We didn’t even talk at the funeral, none of us. So 20 years of Dave baching and me bashing, making it worse. All that stuff, the legal stuff, the trial. We just buried it. It was really deep.”
Of course, that’s not necessarily the end of the story, as in 2021 she once again criticised him on Instagram, accusing him of “gorging on Kurt’s fortune and Kurt’s goodwill.” That post was later deleted.
So, who is Courtney Love? Misguided rock star, or conniving, manipulative she-devil?
In fact, it seems that she is a combination of her somewhat strange and irregular upbringing - coupled with the realities of being unable to deal with the rock n roll lifestyle, expectations and relationships in a mature way. We again go back to Amanda Fortini - “you get the sense, watching Love, that she’s not always in control. But there’s a funny irony tangled up in all of this. Where once this kind of authenticity was crucial to rock - and female rock stars understood that the muddy boundary between art and life could lend them a mysterious allure - it’s now clear that if you reveal too much, you’ve become disappointingly unprofessional.”
The bottom line, dare I say it, is that had she been born male and perhaps a star in the 1960s or early 70s - her debauched, wild and unpredictable lifestyle would have probably raised some eyebrows (and maybe the odd negative headline) - but she probably wouldn't have been pilloried in quite the way she was. Yes, the influence of her crazy personality on Kurt may have been a small factor in his ultimate demise - in as much as she may have egged on his drug use and all of that was probably not the ideal accompaniment for his melancholic state; but ultimately to say that she killed him is something only a blinkered Cobain fan could (and did) claim.
Oh, and the other thing, she has (despite what some contend) written some really great songs (and yes, some were even before she met Cobain). Her lyrics are rooted in a very lived experience - Violet is one of the best punk songs (with one of the rawest deliveries) of them all, certainly from the US. But there have actually been many other cracking tunes along the way too. And that voice... so raw at times it could shred you from fifty yards.
Ignore her music at your peril.
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