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Whiskey Tango Ghosts

Tanya Donelly

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Album Review

Whiskey Tango Ghosts is without a doubt Tanya Donelly's most simple album of her career. It is also most likely her bravest. Unlike her guitar-friendly work with Belly and Throwing Muses, Donelly eases up on the electric riffs and builds on the sweetness found on 2002's Beautysleep. There isn't a clear-cut theme lingering throughout these 11 songs other than Donelly's own charming appreciation for Stephen Sondheim and some of country music's more classic sounds. She listened to a lot of Gram Parsons, Emmylou Harris, and Lucinda Williams and a bit from Wilco and Neko Case during the recording of Whiskey Tango Ghosts. If there was any kind of influence stemming from those particular artists, it's reflected in Donelly's streamlined approach to this album. The soft beauty that's made her a star all these years is the fruit of these songs. Her girlishly sweet vocals are as good as ever and all instruments are bare bones. Most of the time it's only Donelly and an acoustic guitar or it's her and the stylish chill of her backing band, husband Dean Fisher (guitar/bass/drums), Elizabeth Steen (piano), and Rich Gilbert (pedal steel/guitar). From the mauve-colored love song "The Center" and the jazz-like comfort of "Divine Sweet Divide" to the bittersweet melodies of "Just in Case You Quit on Me" and "The Promise," Whiskey Tango Ghosts finds solace in finding a place in life regardless of how much it changes. And as much as it is lovely, there's a hint of gray hovering over Donelly's signature musical purity. "Story High" and "Whiskey Tango" exude such somber tones. Much like Neko Case did with Blacklisted, Donelly's effort in keeping the instrumentation as simple as possible in order for the lyrics to cast a spell of wonder is exactly what makes Whiskey Tango Ghosts the enchanting album that it is.

Customer Reviews

Is that enough?

I was so enthusiastic with my purchase of Lovesongs for Underdogs that I had to get Ms. Dnnelly’s other works. While I still do not have Beautysleep, the album between Lovesongs, and Whiskey Tango Ghosts, the shifts between Lovesongs and Whiskey Tango are remarkable. Whiskey tango gets rid of the electric guitars and drum beats that connected Lovesongs to Tanya Donnelly’s earlier work as a member of Throwing Muses, the Breeders and (especially) Belly. Most of the music is played on piano and acoustic guitars. Even the precusion goes for a lighter, tropical music for cold climates feel. The result is beautiful and as haunting as the title would suggest. Lyrically Ms. Donelly is more direct than ever before. Which does not make her less aware of the complexities in live and how they are hidden and suggested in song. The album opens with the line “I have lost myself” and the tries to assure the listener that though they (we) cannot “be as one” they should not worry. The next song “Every Devil” describes the difficulty of connecting as she would like to with to whom she sings as well as the worldly problems that occupy her time. It is magnificently sad with no self pity. Difficulties with communication also underlay the song “Whiskey Tango.” Here the problems are addressed on an intra personal level as she sings ”you accuse me/ of fancy talk/ when I’m just trying to find the words.” She discusses the way her past agitation continues to affect her view, even as shw no longer is “the young girl making waves.” It is tempting to find an autobiography in here referencing her changes from indi-rock teen to anit-folk adult she is here. But there are plenty of hints not to take this material as autobiographical. It took me a while to warm up to the next song, “Just in Case You Quit Me.” It has some very off kilter syncopation which work well with lyrics about needing someone you cannot help but insult. “Butterfly Thing” was the first song on it that I fell under on this album. It is hypnotic in its dread and wonder about the effect that you can have on people. It is quiet beautiful and probably the most accessible on the album. “My Life as a Ghost” shares the sentiments with Alice Seabold’s “The Lovely Bones.” It has a tragic atmosphere whose quietness is belied by the restless life cut short. This is followed by “The Center,” which seems like a straight forward love song. Only the metaphors she uses make the loved one seem more like a kami than a human. Which dovetails with the opening lines of the next song “Golden Mean” where she is not afraid of the possibility of her power. “The Promise” breaks you heart with how easy and simple it could be, if we were not. “Story High” is currently my favorite song on the album. The song is like someone being calm in the face of hysterics. Or is it the other way around? She is in her own mythological world here with the references to “acrobats, and liars, paper moons in macro-skies.” “Fall out” has a tragic feel that complements the albums opener, where the worrier has become paralyzed by fear and the singer must demonstrate that it is alright to have little control. The album closes with a traditional hymn, which is surprising, but magical in her voice.

Tanya's Best Work to Date

I will start by saying that my wife is the real Tanya Donelly fan, I'm just a sideline observer. Now that we've gotten that out of the way, the arrangements on this record give her (really quite beautiful) voice the room it needs to breathe and the songwriting is as good as anything she's done, save possibly Lovesongs for Underdogs. Thanks to my wife, I've heard just about everything Tanya's done (and even seen her in concert once) and this one is my hands-down favorite.

Her voice really shines here

Well actually it really shines on "This Hungry Life" too. But this is my favorite of Donelly's work and want to write about it. The stripped down format allows Donelly's beautiful voice to be quietly powerful. Also, it's some of her best song writing. I love this album.

Biography

Born: July 14, 1966 in Newport, RI

Genre: Alternative

Years Active: '80s, '90s, '00s

A founding member of three of the most successful bands of the post-punk era, singer/songwriter Tanya Donelly was born July 14, 1966, in Newport, RI. At the age of 16, she and stepsister Kristin Hersh formed Throwing Muses, which in 1985 became the first American band ever signed to the influential British label 4AD; not only did the Muses' dreamy, swirling guitar sound prove highly influential on many of the alternative acts to emerge in their wake, but they also made any number of unprecedented...
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