Tracy Bonham! Remember her? No? Just me? Okay.

When Bonham made her first and biggest splash in 1996 with The Burdens Of Being Upright, she had two heatseekers in her arsenal. First, she could play the violin while singing—something Lisa Germano once said was next to impossible. Impressive, if perhaps mostly in a high school recital sort of way. Her second gift, though, was one of volume: given half a chance, she could probably shatter all the windows in a city block radius with the power of her voice. Her one major hit, “Mother Mother,” was a case in point. With a chorus that consisted mainly of Bonham screaming at the top of her lungs “everything’s fine,” the song hit the top of the Billboard Modern Rock Charts. At a time when Rolling Stone was still running “Women In Rock” issues and post-grunge alternative rock was still sorting itself out, Bonham left an indelible impact upon listeners who’d seen a bevy of second-grade female rockers descended from the likes of Alanis Morrisette, PJ Harvey and Liz Phair.

Speaking of PJ Harvey. Bonham released an EP, The Liverpool Sessions, before screaming her way to stardom; “Sunshine” was released as a single off that EP, and you’ll find as the b-side Bonham belting the bejeesus out of PJ Harvey’s “50 Ft. Queenie” at a live show. And don’t get me wrong, Harvey is fantastic in every way, but I’ll be damned if Bonham doesn’t blow her out of the water with her sizzling violin romp. And even if her output post-Burdens has been less interesting, the one-two combo of “50 Ft. Queenie” and “Mother Mother” are almost as potent a decade later.