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1. #BELLY FUCKS TONY TROPICAL CUTIES FULL#
2. #BELLY FUCKS TONY TROPICAL CUTIES TV#
3. #BELLY FUCKS TONY TROPICAL CUTIES FREE#

They haven’t learned to be afraid of death they haven’t fit it into their world yet. Favorites were the Brothers Grimm and Hans Christian Andersen, who captured “the way children are. “Eventually I want to write children’s books,” she told Evelyn McDonnell around the time of Star‘s release.

She wove motifs through her lyrics: beds, sleeping, dreaming backs (lying on having burns on having a dead dog or a bird’s nest strapped to) houses and dresses the moon waters, divers, and shores (Newport’s Sachuest Beach, in the title track).

#BELLY FUCKS TONY TROPICAL CUTIES FULL#

What sort of songs were they? Some prospective singles, full of hooks contrasting darker pieces in 3/4 or 6/8.

#BELLY FUCKS TONY TROPICAL CUTIES FREE#

Everybody is free to take what they want from my songs. Whatever people get out of the songs, they’re as right about it as I am. It came down to her “needing the music” before the Pixies inevitably broke up. New band, new relationship, new everything…I think that as long as I’m in somebody else’s band, I’ll never become a good songwriter.”Īlthough Kim Deal played guitar on a few demos, Deal sticking with the Pixies through mid-1992 led Donelly to abandon the idea of using the Breeders as her solo vehicle. “I had the songs and I didn’t know what to do with them,” she said in 1993 (among the oldest was a unreleased song from the Muses’ “Doghouse” demo tape, “ Raise the Roses,” which she split into “ Angel” and “ Sexy S.“) Her debut was a transition piece, “representing the time when I was completely revamping my life. There are few lyrical variants from the album versions Donelly’s phrasings, rhythm guitar lines and song structures are greatly there, although she’d change “Mariah” to “Maria” in “Slow Dog” after Pavement’s Bob Nastanovich wondered if she was singing about Mariah Carey. Songs feel set in place in their sketch forms. Her comfort with Harvard and Fort Apache allowed her to tack down much of Star at its demo stage. A friend since the early Muses days, he called her “Bogie Gwang” (“after the quirky guitar intro of a song I wrote, ‘ The River’“). In tribute, Donelly put the demos on Bandcamp for free. Joe Harvard, who recorded the “Breeders II” demos at Fort Apache in Cambridge, MA, died earlier this year. The Fort Apache “Breeders II” tapes (Donelly, via WGBH) Star was a double-remove of an album, with some songs written for the Muses’ The Real Ramona and most demoed for a second Breeders record. Confined to two songs per album in the Muses, only a guitarist and harmony vocalist on the Breeders’ Pod, Donelly had a boxload of songs by 1991. “Feed the Tree” was an MTV constant and a Billboard Modern Rock #1 band and album even got Grammy nominations. The most lucrative project ever associated with Donelly’s former band, Throwing Muses, Belly’s debut Star sold over a million copies worldwide and nearly topped the UK album charts. So I was keeping her down and she was dragging me up. Tanya wanted to be a pop star and I had no ambitions at all.

The misspelling of her name is a constant of her press coverage. And it wasn’t for long: Belly was done and dusted before Bill Clinton’s first term as president was over.ĭonelly’s top 12, Melody Maker (14 November 1992). The sort of band whose roadies could have been more charismatic figures, their existence seemed improvised, mysterious, even fragile.

#BELLY FUCKS TONY TROPICAL CUTIES TV#

If Donelly’s charm threatens to sink the video concept-it’s a wonder she never popped up in some Nineties film or TV show (even Juliana Hatfield got a speaking part in My So-Called Life) -it ultimately works because Belly had a central anonymous quality. But a lot of my stuff is like third-person-me watching something.

“Sometimes it’s me, sometimes it’s not,” she said in 1993, when asked who she was on stage. It’s Donelly watching her performing self, a “Tanya” seen here in shadow, in quick cuts, from behind, from jostled perspectives of the audience. She knows every word, sings along she’s translating the song, while it’s being given to a crowd, into a private show playing in her head. Tanya Donelly crouches alongside the stage, fixated on the lead singer. They fix dangling mikes, tune snare heads and guitars, tape down cords. “You have to leave the nest sometime,” 1995 (Ebet Roberts)įor the video of “ Now They’ll Sleep,” lead-off single of Belly’s 1995 album King, the band are cast as their own roadies.