Call Anna Calvi experimental, avant-garde punk, or the Italian heiress from the fortunate guitar goddesses, one thing is clear, Calvi can pay one hell of a tribute with a single cover. Ghost Ride originally composed by the band Suicide fell into the right hands when Calvi showcased an intimate portrayal of the structure of the song. First off, that is one aspect where Calvi shines through, being able to take a part the structure of composition and rearranging the harmonic sounds. With this intent, Calvi uncovers hidden components no one would have heard before.
A great version of Ghost Rider live is performed inside of St. John at the Hackney Church. Maybe this cathedral setting offers a more extreme view, throwing ghosts and churches together seems beneficiary when it comes to storytelling. However, Calvi composes the same way priests perform exorcisms, full of a vicious energy awaiting the arrival some something unseen, Ghost Rider is that embodiment.
As the song opens there is a considerable amount of feedback playing off of the amps. Calvi in sporadic moments rushes through the lyrics as if being chased by an invisible presence. What's remarkable is the fact the audience seems to feel or share this fear. The energy changes as the atmosphere supercharge towards a droning sound. Calvi picks up the pace as those first few chords mimic's Rowland S. Howard's familiar sound. As the song progresses, offering an obscene screeching noise and then fueling out as a harmonic summoning. Calvi ends the song the same way it began, possessed with the harmonic accompaniment of lost souls.
Calvi forges through the fire of past covers which tend to fall short, instead, Calvi calls out with strength and dark, ethereal experimentation. Ghost Rider remains the main spark of creative aspiration and only a select few will rise to the occasion.
