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."
Tuesday Night
Kristin Hersh Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
When you sleep you tell me off
I told you once before
I can't resist you
When You sleep I build you up
I make you king of here
I can't resist you
I can't wait
I'll suck down another water while I wait
I watch the clock glow blue
And think of you
I can't wait
The moon shines through my dress
And through my glass
I promise not to drink until you're home
I can't wait
The moon pales even when it thinks
it holds the face of the clock
I watch for you while I wait
I can't wait
I told you once before
I can't resist you
When You sleep I build you up
I make you king of here
I can't resist you
I can't wait
I'll suck down another water while I wait
And think of you
I can't wait
The moon shines through my dress
And through my glass
I promise not to drink until you're home
I can't wait
The moon pales even when it thinks
it holds the face of the clock
I watch for you while I wait
I can't wait
In Kristin Hersh's song Tuesday Night, she describes the irresistible pull of love and the longing for a partner. The opening line, "When you sleep you tell me off," suggests that her partner may be distant or irritable with her, perhaps even in their dreams. Despite this, Hersh can't resist or stay away from them. She even builds up her partner in her mind, making them the "king of here," indicating that she holds them in high regard and values them greatly.
The chorus of the song, "I can't wait, I'll suck down another water while I wait," implies that she is anxiously waiting for her partner to return home. She's watching the clock "glow blue" and thinking of them, unable to contain her impatience. The imagery of the moon shining through her dress and glass suggests that she's in a quiet place, perhaps reflecting on her feelings. She promises not to drink until he's home, indicating her desire to be present and attentive when her partner returns.
Hersh watches the clock for her partner, suggesting that time moves slower when she's waiting for him. The final repetition of "I can't wait" reinforces her eagerness for him to come home, and she seems to be consumed with thoughts of him. Overall, the song describes the longing and excitement of waiting for someone you love, even when they're not around.
Line by Line Meaning
When you sleep you tell me off
Even though you speak harshly to me in your sleep, I still love you
I told you once before
I've expressed my feelings to you about this situation in the past
I can't resist you
I'm drawn to you and can't help myself
When you sleep I build you up
When you're vulnerable in your sleep, I empower you in my mind
I make you king of here
I give you a position of power and authority in my own thoughts
I can't wait
I'm eagerly anticipating something
I'll suck down another water while I wait
I'll drink water to pass the time until the desired event occurs
I watch the clock glow blue
I stare at the blue glow of the clock, waiting for time to pass
And think of you
My thoughts revolve around you
The moon shines through my dress
The moonlight passes through my clothing
And through my glass
And also through my drinking glass
I promise not to drink until you're home
I vow to refrain from drinking until you arrive
The moon pales even when it thinks
The moon becomes less bright when it believes it's illuminating the face of the clock
it holds the face of the clock
It shines on the clock's face
I watch for you while I wait
I keep an eye out for you the whole time
I can't wait
I'm eagerly anticipating something
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: KRISTIN HERSH
Lyrics Licensed & Provided by LyricFind
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