OK, that's the sex, now the rock and roll. Pop music is filled with singer-songwriters. You know, someone singing along to a piano or a guitar. Kind of a cliche. Well, not this woman, Lili Haydn. David Was has a profile of her.

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DAVID WAS: Rock and roll violinist Lili Haydn has just released her third studio album, "Place Between Places," which is quite an accomplishment in and of itself. In a genre better suited to electric guitars jacked up to 11, the 23 inches of fragile spruce and maple, that she calls her axe, hardly seems fit to compete much less be heard.

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WAS: Then again, the diminutive 33-year-old has more moxy and attitude than a tour bus full of heavy metal crack-heads. Attending a music business pow-wow some years ago, she sauntered uninvited to the front of the stage and started playing with George Clinton's P-Funk review. That led to a two-year residency with the funk ringleader, who has since called Lili Haydn, the Jimi Hendrix of the violin.

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WAS: The tough girl take no prisoners determination may have been a genetic gift from her mother, cult comedienne Lotus Weinstock. A former hostess at the Bitter End in 1963, she was famous for making Bob Dylan pay a cover charge when he was trying to get in free. She was also Lenny Bruce's paramour for the last nine months of his life. It was Lotus who told her daughter to just show up at people's gigs and let them know who she was, a tendency that led her mother to call Lili a jam slut. Such full frontal behavior led to notable gigs, like jamming with Jimmy Page and Robert Plant, and recently Roger Waters at Coachella, for his recreation of "The Dark Side Of The Moon."

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WAS: On her own album, Lili's gate-crasher persona gives way to the neo-psychedelic flower child just beneath the surface.

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Ms. LILI HAYDN: (Singing) Eye, for an eye, for an eye, for an eye, how long can this go on?

WAS: On the song "Children of Babylon," her wispy vocals appeal for an end to warfare, and she's audacious enough to rhyme violins with violence, wishing aloud that the sound of the former could eradicate the latter. Magical thinking at its best.

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Ms. HAYDN: (Singing) How many lives will it take, oh if the sound of violins could only stop violence, I pray for it now…

WAS: The last track on the album is a cover of George Clinton's "Maggot Brain," which features her soloing with the Dakah Hip-Hop Orchestra. The shrinking violet finally disappears altogether and the rock star virtuoso takes center stage. Her soaring wah-wah peddle violin makes you forget Lili Haydn stands just five feet tall and plays with a bow instead of a pick. Heifetz meet Hendrix.

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COHEN: Lili Haydn's new CD is called "Place Between Places." Our reviewer is David Was. He's half of the musical duo Was Not Was.

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BRAND: Day to Day's a production of NPR News, with contributions from I'm Madeleine Brand.

COHEN: And I'm Alex Cohen.

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