Tag Archives: Moon over Boston

Happy New Year (a clip show post)

So, we’re nearly at the end of Songs from So Deep’s first full year! I’m still finding it really rewarding to do this, the number of people finding the blog continues to grow and there are still things to talk about. So it’s looking good for 2015.

One of the things that remains really interesting to me (actually that’s a bit of an understatement) about doing this is seeing which posts prove popular. The majority of my most-read posts come from 2013, which makes sense, as they’ve been on the site longer, and as I don’t tend to write about much contemporary music (though more now than when I started), it seems natural that the posts would have a long tail. My not-very-well-written post on Bobby Caldwell’s What You Won’t Do for Love is still my most-read post, suggesting that a lot of people love this song as much as I do and can’t find much info on it elsewhere on the web.

But some posts I write that I think are an awful lot better than the Caldwell one only get a tiny fraction of the traffic. So for my last post this year, I thought I’d maybe point you in the direction of a few posts from 2014 that I thought were pretty good (by my standards at any rate) on subjects that people just don’t seem to bother Google with.

Enjoy New Year’s Eve, whatever you have planned, and I’ll see you on the other side!

Graham Nash David Crosby by, well, Graham Nash & David Crosby

Unsatisfied – The Replacements

Glowing Heart – Aoife O’Donovan

Let’s Stay Together – Al Green

Moon Over Boston – Tanya Donelly

Merrimack River – Mandy Moore

The Persistence of Sentiment – Mitchell Morris

Turnham Green – Colorama

Summer Breeze – The Isley Brothers

You Used to Drive Me Around/review of gig at The Islington – Jon Auer*

*Jon was kind enough to link to this from his Facebook account, which was the highlight of my year as a blogger. It gets in this list on a technicality as it is in truth one of the most-read posts on this blog. But the majority of those views came from that link rather than search engine results.

Moon Over Boston – Tanya Donelly

Tanya Donelly is one of my favourite musicians. The step-sister of Kristin Hersh – leader of Boston-area art-punk band Throwing Muses since the mid-1980s – Donelly was the group’s lead guitarist, harmony singer and occasional singer-songwriter for their first four albums, between 1983 when they formed and 1991 when she left after The Real Ramona (which is one of the Muses’ very best records, right up there with the debut). Donelly was also a founding member of the Breeders, and Pod bears heavy traces of her involvement; the group were never quite as interesting to me after she stepped aside to focus on her post-Muses band, Belly.

Unlike Throwing Muses, who continued their honourable labours without ever catching a break, Belly were immediately successful: top-five album chart success in both the US and the UK, top-20 singles, heavy rotation on MTV and radio, and Grammy nominations. Donelly was an inspiration to anyone who’d ever been a second fiddle but harboured ambitions of succeeding on their own terms, and she did it making music that was shiny and inviting, but with a disconcerting aura of strangeness and spookiness, a sound I’ve described elsewhere as like something bad going down in Toytown. Belly were quite a thing.

Alas Belly’s success didn’t last, and the group unravelled after recording a wonderful second album that didn’t strike the same chord with the public that their first had. Donelly took a year or two to come back with her first solo record, Lovesongs for Underdogs, and it was a slightly odd mix, blending the shiniest hooks of her career (Pretty Deep is an alterna-world smash) with some of the disquieting obliqueness that had marked Belly out as something special on tracks such as Swoon, as well as occasional straitforward ballads like Manna, which Donelly had never really engaged in before. The production, though, was pure AAA, which didn’t suit the more idiosyncratic material, but didn’t quite elevate the poppier songs either.

While the Lovesongs era didn’t succeed in making Donelly a solo star the way it seemed designed to, it did produce an enduring favourite of mine. Moon Over Boston was the B-side to the album’s second single, The Bright Light. To my knowledge, it’s the only proper recording of the song, which was written by Gary “Skeggie” Kendall, a guitarist, promoter and Boston scenester from the 1980s and ’90s, formerly of the bands Tackle Box and the Toughskin. Probably cut live with the full band, like a proper jazz side, it’s a spot-on recreation – produced by Kendall and long-time Boston hero Gary Smith – of a certain type of small-band jazz record, with exactly the right kind of warm saxophone sound and all the proper passing chords; it’s even got the old-school, free-time intro. It’s a beautiful record, and Donelly’s voice is surprisingly adept at this sort of tune, sounded not unlike Blossom Dearie. I’m convinced it could become a standard if someone were to make a romantic comedy called Moon Over Boston and feature this as the title track. Maybe I should get to work on a screenplay.

Donelly stepped away from music in the mid-noughties, and trained as a post-partum doula. However over the last year or so, she’s recently put out a sequence of EPs, the Swan Song series, a title which she says doesn’t indicate imminent retirement. Hersh, meanwhile, powers on. The most driven musician I can think of (see here for some of her backstory), Hersh will make music as long as she’s got two working hands and a voice. Next month, I’m going to get to see Throwing Muses play in London with Donelly guesting. Let’s just say I’m looking forward to that one.

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