Kristin Hersh (born August 7, 1966) is an American singer/songwriter. She i… Read Full Bio ↴Kristin Hersh (born August 7, 1966) is an American singer/songwriter. She is the lead singer and guitarist for alternative rock group Throwing Muses and the hardcore punk-influenced power trio 50 Foot Wave. She has written a memoir, titled Rat Girl, which was published in the USA by Penguin Books on August 31, 2010 and is co-founder of the non-profit, open-source software project for recording artists, CASH Music.
Early life
Born in Atlanta as Martha Kristin Hersh, she was raised in Newport, Rhode Island. She learned guitar at age nine from her father, and started writing songs soon after. As a teenager, she formed Throwing Muses in the early 1980s with stepsister Tanya Donelly and other high school friends that were subsequently replaced by bassist Leslie Langston and drummer David Narcizo.
Hersh has listed among her early musical influences The Raincoats, Talking Heads, Violent Femmes, Meat Puppets, Dead Kennedys, Hüsker Dü, Velvet Underground, R.E.M., and X. She has said her parents' albums by Patti Smith, the Carter Family, Stevie Wonder, Robert Johnson, Talking Heads, The Clash, Steve Miller, The Beatles, Philip Glass, and traditional music influenced her when she was growing up.
Throwing Muses and early solo work
Hersh began singing and writing most of Throwing Muses' songs in changing tempos, with Donelly also singing and writing some of the songs. Early in the band's career, Hersh became friends with classic star Betty Hutton while both were students at Salve Regina University. Hutton attended several Throwing Muses concerts.
The group was signed by the British 4AD Records label in 1986 and, after one album, signed a U.S. deal with Sire/Reprise Records in 1987. They began touring around the U.S. and Europe while recording critically acclaimed rock albums, with Hersh writing most of the songs.
Throwing Muses became a trio when Donelly left the group after 1991's well received The Real Ramona. In 1994, Hersh began an additional career on Sire/Reprise and 4AD as an acoustic solo performer, beginning with Hips and Makers, an album sparely arranged around her vocals, guitar, and a cellist, in contrast to the volatile, electric sound of her band work. Michael Stipe of R.E.M. made an appearance on this first solo album.
Hersh's solo songwriting style focuses some of the relationship subject matter on her family. While Hersh's work reflects her personal experience, she has said that she writes from a point of view outside of her personality. Stating that "songwriting is about shutting up instead of talking", Hersh has said that songs that appeal to her are those that "say things that I don't know yet and tell stories I may not have lived yet".
The New York Times pointed to Hersh's explorations of "rage, aggression and mental chaos" as evidence that there were at least a few female rock music artists by the early 1990s pushing against gender role boundaries to express "more than simply vulnerability or defiance" in their work.
Hersh, whose early publicity at times portrayed her as a tortured artist "channeling" her songs from her psyche, has mentioned that the "angry young woman" fascination of some writers in reviewing the work of female performers has at times led to cartoonish stereotypes, rather than three-dimensional portraits respecting their intelligence. By the mid-1990s, journalists acknowledged that the breadth of her "fierce, quirky, and imaginative" lyrical style included explorations of "emotional and physical love" combined with "elliptical puzzlement".
After receiving some airplay and major media coverage for Throwing Muses album University in 1995, Hersh moved to Rykodisc for her 1996 Throwing Muses album, Limbo, and her 1998 solo album, Strange Angels. In order to better control her career and the distribution of her recorded material she created the ThrowingMusic label with husband/manager Billy O'Connell in 1996. This enabled her to co-release certain Hersh-related projects, including an ongoing download subscription service called Works in Progress (WIP) for releases available only through the Kristin Hersh website; which serves as a "listener powered" gateway to all of her projects.
Later career
In 1999, Hersh also participated in Throwing Muses drummer David Narcizo's Lakuna solo project album release, Castle of Crime.
In 2001, she released the Sunny Border Blue solo album, on which she again played nearly all instruments. She has described this album as having even more intensity than her previous works, as she continued her pursuit of songwriting as being in part a way to transform "ugly feelings" into art.
Hersh's recorded and live performances in recent years have occasionally included appearances with like-minded alternative artists like Vic Chesnutt, Willard Grant Conspiracy, Grant Lee Phillips, and John Doe.
In 2003, she released The Grotto, an acoustic solo album of song sketches with personal lyrics set in Providence, Rhode Island, with Andrew Bird on violin and Howe Gelb on piano. On the same date a self-titled album by her Throwing Muses group was also released, the first since Limbo. Both were recorded at Steve Rizzo's studio in Rhode Island.
Also in 2003, she formed a power rock trio 50 Foot Wave, when Narcizo was unable to tour on a full-time basis due to other commitments. Her touring appearances and recording efforts in 2004 and 2005 centered around both 50 Foot Wave and her solo career.
In 2005, Hersh recorded a cover version of the Pixies' "Wave of Mutilation" for American Laundromat Records 80's film tribute.
In January 2007, Hersh released her first solo album in four years, entitled Learn to Sing Like a Star.
On November 26, 2007, Hersh announced the opening of CASH Music. The subscriber-based, direct-to-consumer model had its first year-long project in the form of what was supposed to be an album called Speedbath, which was released one song per month for free at Kristin's CASH website. 50 Foot Wave also released an EP titled Power+Light through the CASH organization. January 2009 began another series of one track per month for free on the website, and the tracks wound up cohering without the song "Speedbath" at all; the new record, Crooked, was released in 2010. It was available to buy as a hardback book which included essays on the songs and a link to download the album and related tracks.
Hersh has written and illustrated a children's book called Toby Snax.
In 2008, Hersh recorded a cover of Neil Young's "Like a Hurricane" for the American Laundromat Records charity CD "Cinnamon Girl - Women Artists Cover Neil Young for Charity".
A second collection of Appalachian folk songs, The Shady Circle, is expected to be released. Live recordings of the songs have been available since late 2008.
In 2010, Hersh released her memoir, Rat Girl, which covers events from early 1985 through early 1986, when she was in her late teens, and was referred to by Rolling Stone as "one of "The 25 Greatest Rock Memoirs of All Time". The UK version of the book, released in early 2011, is entitled Paradoxical Undressing. The book covers topics such as the meaning behind many of her songs and the early stages of the Throwing Muses.
Musical style
Hersh's music is known for its chords, sonic treatments, and a vocal style ranging from softly melodic singing to impassioned screaming. Some of her signature contributions to popular music include addressing the complexities of life through impressionistic, sometimes hallucinatory lyrics about everyday feelings and varying mental states. A few of her songwriting subjects have included childbirth ("Hysterical Bending"), love ("Tar Kissers", "Lavender"), surreal vignettes ("Delicate Cutters", "Fish"), death ("Limbo"), emotional anguish ("The Letter"), loss of custody of her first son ("Candyland"), and the shedding of a relationship's anxiety ("Snake Oil").
Hersh has used images such as apples, water, diamonds, eyes, the sea, snow, ice, rain, fire, the sun, parking lots, sand, and cowboys. On occasion she has used historical figures like anorexic suicide Ellen West as metaphors in depicting a state of mind. Eccentric characters encountered in her family's travels have made occasional appearances in songs such as "Ruthie's Knocking"; a 2005 live solo set list included a then-untitled song ("Under The Gun") about a "parrot lady" character she met while visiting Lake Michigan.
Some interviews have described Hersh's early drive to perform as due to hearing sounds in her mind so that her songs began to "write themselves", becoming at times their own separate presences in her life, inner voices haunting her. She has stated that hearing these "pieces of songs" clanging together in her mind compelled her to take the pieces apart and craft songs from them. "If I don't turn ideas into songs, they can get stuck in me and make me sick," she said in a 1995 interview with AOL's Critics' Choice electronic music magazine. "That's the way a song hits you right here, right here [she motions to the heart and gut] instead of in your brain because the words themselves are all real sweaty, color, action words, so they just go bangbangbang. They're not supposed to make you think and try to figure out some puzzle. People think that I'm trying to trick them, that I have some thing I could write down and I haven't done it and I've just given them a bunch of poetry instead. I find it to be the clearest way to talk. It's like the way little kids talk because they have no filler words and no overriding thoughts to color your impression of what's happening in a song."
Early life
Born in Atlanta as Martha Kristin Hersh, she was raised in Newport, Rhode Island. She learned guitar at age nine from her father, and started writing songs soon after. As a teenager, she formed Throwing Muses in the early 1980s with stepsister Tanya Donelly and other high school friends that were subsequently replaced by bassist Leslie Langston and drummer David Narcizo.
Hersh has listed among her early musical influences The Raincoats, Talking Heads, Violent Femmes, Meat Puppets, Dead Kennedys, Hüsker Dü, Velvet Underground, R.E.M., and X. She has said her parents' albums by Patti Smith, the Carter Family, Stevie Wonder, Robert Johnson, Talking Heads, The Clash, Steve Miller, The Beatles, Philip Glass, and traditional music influenced her when she was growing up.
Throwing Muses and early solo work
Hersh began singing and writing most of Throwing Muses' songs in changing tempos, with Donelly also singing and writing some of the songs. Early in the band's career, Hersh became friends with classic star Betty Hutton while both were students at Salve Regina University. Hutton attended several Throwing Muses concerts.
The group was signed by the British 4AD Records label in 1986 and, after one album, signed a U.S. deal with Sire/Reprise Records in 1987. They began touring around the U.S. and Europe while recording critically acclaimed rock albums, with Hersh writing most of the songs.
Throwing Muses became a trio when Donelly left the group after 1991's well received The Real Ramona. In 1994, Hersh began an additional career on Sire/Reprise and 4AD as an acoustic solo performer, beginning with Hips and Makers, an album sparely arranged around her vocals, guitar, and a cellist, in contrast to the volatile, electric sound of her band work. Michael Stipe of R.E.M. made an appearance on this first solo album.
Hersh's solo songwriting style focuses some of the relationship subject matter on her family. While Hersh's work reflects her personal experience, she has said that she writes from a point of view outside of her personality. Stating that "songwriting is about shutting up instead of talking", Hersh has said that songs that appeal to her are those that "say things that I don't know yet and tell stories I may not have lived yet".
The New York Times pointed to Hersh's explorations of "rage, aggression and mental chaos" as evidence that there were at least a few female rock music artists by the early 1990s pushing against gender role boundaries to express "more than simply vulnerability or defiance" in their work.
Hersh, whose early publicity at times portrayed her as a tortured artist "channeling" her songs from her psyche, has mentioned that the "angry young woman" fascination of some writers in reviewing the work of female performers has at times led to cartoonish stereotypes, rather than three-dimensional portraits respecting their intelligence. By the mid-1990s, journalists acknowledged that the breadth of her "fierce, quirky, and imaginative" lyrical style included explorations of "emotional and physical love" combined with "elliptical puzzlement".
After receiving some airplay and major media coverage for Throwing Muses album University in 1995, Hersh moved to Rykodisc for her 1996 Throwing Muses album, Limbo, and her 1998 solo album, Strange Angels. In order to better control her career and the distribution of her recorded material she created the ThrowingMusic label with husband/manager Billy O'Connell in 1996. This enabled her to co-release certain Hersh-related projects, including an ongoing download subscription service called Works in Progress (WIP) for releases available only through the Kristin Hersh website; which serves as a "listener powered" gateway to all of her projects.
Later career
In 1999, Hersh also participated in Throwing Muses drummer David Narcizo's Lakuna solo project album release, Castle of Crime.
In 2001, she released the Sunny Border Blue solo album, on which she again played nearly all instruments. She has described this album as having even more intensity than her previous works, as she continued her pursuit of songwriting as being in part a way to transform "ugly feelings" into art.
Hersh's recorded and live performances in recent years have occasionally included appearances with like-minded alternative artists like Vic Chesnutt, Willard Grant Conspiracy, Grant Lee Phillips, and John Doe.
In 2003, she released The Grotto, an acoustic solo album of song sketches with personal lyrics set in Providence, Rhode Island, with Andrew Bird on violin and Howe Gelb on piano. On the same date a self-titled album by her Throwing Muses group was also released, the first since Limbo. Both were recorded at Steve Rizzo's studio in Rhode Island.
Also in 2003, she formed a power rock trio 50 Foot Wave, when Narcizo was unable to tour on a full-time basis due to other commitments. Her touring appearances and recording efforts in 2004 and 2005 centered around both 50 Foot Wave and her solo career.
In 2005, Hersh recorded a cover version of the Pixies' "Wave of Mutilation" for American Laundromat Records 80's film tribute.
In January 2007, Hersh released her first solo album in four years, entitled Learn to Sing Like a Star.
On November 26, 2007, Hersh announced the opening of CASH Music. The subscriber-based, direct-to-consumer model had its first year-long project in the form of what was supposed to be an album called Speedbath, which was released one song per month for free at Kristin's CASH website. 50 Foot Wave also released an EP titled Power+Light through the CASH organization. January 2009 began another series of one track per month for free on the website, and the tracks wound up cohering without the song "Speedbath" at all; the new record, Crooked, was released in 2010. It was available to buy as a hardback book which included essays on the songs and a link to download the album and related tracks.
Hersh has written and illustrated a children's book called Toby Snax.
In 2008, Hersh recorded a cover of Neil Young's "Like a Hurricane" for the American Laundromat Records charity CD "Cinnamon Girl - Women Artists Cover Neil Young for Charity".
A second collection of Appalachian folk songs, The Shady Circle, is expected to be released. Live recordings of the songs have been available since late 2008.
In 2010, Hersh released her memoir, Rat Girl, which covers events from early 1985 through early 1986, when she was in her late teens, and was referred to by Rolling Stone as "one of "The 25 Greatest Rock Memoirs of All Time". The UK version of the book, released in early 2011, is entitled Paradoxical Undressing. The book covers topics such as the meaning behind many of her songs and the early stages of the Throwing Muses.
Musical style
Hersh's music is known for its chords, sonic treatments, and a vocal style ranging from softly melodic singing to impassioned screaming. Some of her signature contributions to popular music include addressing the complexities of life through impressionistic, sometimes hallucinatory lyrics about everyday feelings and varying mental states. A few of her songwriting subjects have included childbirth ("Hysterical Bending"), love ("Tar Kissers", "Lavender"), surreal vignettes ("Delicate Cutters", "Fish"), death ("Limbo"), emotional anguish ("The Letter"), loss of custody of her first son ("Candyland"), and the shedding of a relationship's anxiety ("Snake Oil").
Hersh has used images such as apples, water, diamonds, eyes, the sea, snow, ice, rain, fire, the sun, parking lots, sand, and cowboys. On occasion she has used historical figures like anorexic suicide Ellen West as metaphors in depicting a state of mind. Eccentric characters encountered in her family's travels have made occasional appearances in songs such as "Ruthie's Knocking"; a 2005 live solo set list included a then-untitled song ("Under The Gun") about a "parrot lady" character she met while visiting Lake Michigan.
Some interviews have described Hersh's early drive to perform as due to hearing sounds in her mind so that her songs began to "write themselves", becoming at times their own separate presences in her life, inner voices haunting her. She has stated that hearing these "pieces of songs" clanging together in her mind compelled her to take the pieces apart and craft songs from them. "If I don't turn ideas into songs, they can get stuck in me and make me sick," she said in a 1995 interview with AOL's Critics' Choice electronic music magazine. "That's the way a song hits you right here, right here [she motions to the heart and gut] instead of in your brain because the words themselves are all real sweaty, color, action words, so they just go bangbangbang. They're not supposed to make you think and try to figure out some puzzle. People think that I'm trying to trick them, that I have some thing I could write down and I haven't done it and I've just given them a bunch of poetry instead. I find it to be the clearest way to talk. It's like the way little kids talk because they have no filler words and no overriding thoughts to color your impression of what's happening in a song."
A Loon
Kristin Hersh Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Some store I'm not going back there any more
Wandered in don't think I'll do that again
No I don't think I'll do that again.
I swear you look at me cross-eyed
And I don't know what to do
No I don't know what to do crazy loon.
There's a room in his pallet
There's a pillow for his head
Sees an offshoot in his bottle
When he wants to see me dead
Heirlooms a loon.
Never thought I'd see that silly grin
Never thought I'd see that fool again
Never thought I'd like that lunatic.
Nothing left to dance around
What a hero
What a black and blue bird
What a loon a loon
What a loon a loon.
Wandered in don't think I'll do that again
No I don't think I'll do that again.
I swear you look at me cross-eyed
And I don't know what to do
No I don't know what to do crazy loon.
There's a pillow for his head
Sees an offshoot in his bottle
When he wants to see me dead
Heirlooms a loon.
Never thought I'd see that silly grin
Never thought I'd see that fool again
Never thought I'd like that lunatic.
Nothing left to dance around
What a hero
What a black and blue bird
What a loon a loon
What a loon a loon.
The lyrics of Kristin Hersh's song, A Loon, depict the story of the singer who visited a store once and had a terrible experience, swore never to go back again. The singer also describes encountering an unknown person who looks at them cross-eyed, and they do not know how to react to that. The third stanza portrays the situation of a person's room, who possesses an incomplete state of mind and sees delusions in a bottle. This person thinks of the singer's death, which marks them as a crazy loon.
In the last stanza, the singer mentions how they thought they would never see this silly person again, but they did, and, to their surprise, they found themselves liking the lunatic. The phrase "what a loon" repeats throughout the song, indicating the message that people with unconventional beliefs or state of mind are not always to be ruled out or dismissed. The song's overall mood is gloomy and melancholic, reflecting on the singer's experiences with people who are in distress.
Line by Line Meaning
Some store I'm not going back there any more
I had a bad experience at a certain store and won't be returning.
Wandered in don't think I'll do that again
I accidentally walked into the store and it was a mistake.
No I don't think I'll do that again.
I have decided I will not be going back to that store.
I swear you look at me cross-eyed
I feel like you're giving me a strange look.
And I don't know what to do
I don't understand why you're giving me that look and it's making me feel uncomfortable.
No I don't know what to do crazy loon.
I don't know how to react to your behavior.
There's a room in his pallet
He has a living situation that's not ideal.
There's a pillow for his head
Even though his living situation isn't great, he still has a place to rest.
Sees an offshoot in his bottle
He tries to find solace in alcohol.
When he wants to see me dead
He has expressed violent intentions towards me.
Heirlooms a loon.
He has a family history of mental illness.
Never thought I'd see that silly grin
I can't believe how much joy he's expressing in his current situation.
Never thought I'd see that fool again
I never thought I'd have to deal with someone I have a negative history with again.
Never thought I'd like that lunatic.
Despite all his flaws, I can still find things to appreciate about him.
Nothing left to dance around
There's no way to avoid the harsh realities of our situation.
What a hero
Sarcastically acknowledging someone for not being helpful.
What a black and blue bird
Describing feeling hurt and bruised.
What a loon a loon
Another reference to the mentally ill person in the song.
What a loon a loon.
Reiterating the fact that they are dealing with a mentally ill person.
Lyrics © HEYDAY MEDIA GROUP LLC
Written by: KRISTIN HERSH
Lyrics Licensed & Provided by LyricFind
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@profitnadeem
damn she's hauntingly gorgeous and sounds so beautiful love the changes midpoint
@aaronlanier203
She looks absolutely insane when she performs... And I love it.
@tjewald32
Good lord. Millions made by garbage musicians, and yet KH still underrated & under appreciated.
@_MrPink_
Kris is one of the least appreciated musicians on the planet. She is ours.
@williamdunn9053
One of my favorite songs ever...this woman is a goddess
@AimeeAimee444
She’s a funny woman in concert!
Talking about her kids pretending to juggle inanimate objects with their eyebrows.
Genius and humble.
🙌🏼🤍🕊️
@tita4ewaz
I'm such a fan of her music and skillmanship on guitar and writing but can is alright to point out how incredibly physically beautiful she is? God. THose eyes.
@kangfesher
Saw her in concert for "Hips and Makers". Just her on an acoustic guitar...it was one of the best shows I have ever seen.
@XanarchistBlogspot
Same.
@3340steve
I am a huge fan of K.H. thanks for posting this beautiful photography and sound.