As with the previous Moonshake track to be played by Peel, Sweetheart was one of “hers”, so consequently it takes on strange, mysterious, disarming textures. Just like Little Thing, it feels like what we’re hearing are the mechanics of music making - here evidenced both by Miguel Moreland’s clattering drumwork and kronky guitars which sound like they’re trying to hawk up a lungful of phlegm - while, tantalisingly heard in the background, we can make out the performance of Margaret Fiedler’s subdued vocal. Her performance walks the line between sex kitten and femme fatale, but it was too quiet for me to be able to make out whether her character was giving a come on or a kiss off. The high, fluting backing vocals suggest the former, but the stabs of acid jazz brass suggest the latter. It may be hard to pin down but it all sounds seductively brilliant.
Indeed, as the blog heads into the home strait of Peel’s 1992 shows, and I reflect on one of the long forgotten aims of this blog to buy as many of the records that caught my ear as possible, I find myself pondering that the Eva Luna album may be one of the few from Peel’s 1992 playlists that I would actually want to own. Discogs UK dealers may be having turkey for Christmas after all.
Video courtesy of We Came to Dance
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