The Watergirls is a one-off, one-time, musical project lead by Alan “Teamy” Thomson. It features a global array of collaborators – lead vocalist Mhairi McClymont, Shellac’s bassist, Bob Weston, CC:Disco, Fantastic Twins, LCD Soundsystem’s James Murphy on backing vocals, in Bowie mode, plus producers and engineers Mary Kani, Pablo Morales and Pearl M. Wong – all paying tribute to Optimo’s JD Twitch aka Keith McIvor. The press one-sheet states that as the project evolved, “anyone who asked to add something was instantly told yes, and everyone who was asked to contribute instantly said yes.” In McIvor’s memory, and to raise funds for charity, they’ve chosen to cover The Waterboys’ “The Whole Of The Moon”. In Teamy’s own words, it’s a song about “those people in your life that guide you”, the people who show us the best of this often broken world.”

“The Whole Of The Moon” was originally released in 1985, to little fanfare, but it was revived in 88, during The Second Summer Of Love. Spun as an end-of-the-nighter by “Balearic Beat” DJs, such as Andrew Weatherall and Tony Wilson.* The 12 at the time was impossible to find, but its popularity on the “rave” scene led to the song’s reissue in 1991.

The new “Full Moon” mix is a stamping, stomping shot of robo-disco. Its flickering, fidgeting arpeggios a nod to New Order. Its acidic twists and big, arms-in-the-air piano breakdown, asking listeners / dancers to remember not just an icon, but perhaps also an innocence, an optimism, lost. There’s no doubt that it, itself, would have been huge back in the day. 

Sean Johnston’s “Total Eclipse” take pumps and pushes the track even further toward anthem territory. Racing, rocking to a twanging, rubber band like B-line, and making far more of the group vocals. Turning the final verses into a triumphant chorus. I’ll bet that anybody who danced to the song, while high, way back when knows the lyrics by heart.  

Sean’s “Amorphous” mix is a wonderful, Weatherall-esque dub. All booming, buzzing bass, echoed vocals, and swirling sound effects. The latter cleverly mirroring the original melody. Its drums, a break that rattles in and out as if cut about, ecstatically, on an old school cross fader. Sean also adding layers of Sci-Fi synths. With a touch of the One Doves. A touch of The Sabres. 

The Watergirls’ “The Whole Of The Moon” can be ordered directly from DFA Records. All proceeds from the release with be donated to The Beaston Cancer Charity, in part to help fund glioblastoma research at Glasgow and Edinburgh Universities. 

*I associate The Waterboys’ “The Whole Of The Moon” primarily with the parties thrown by South London promoters Fascination. Particularly their Downham Tavern all-dayers, when the song would be spun as one of the last, it not the last tune. Candy-flipping, on a mix of acid and E, it would have me thinking of all my brilliant friends. Folks who had a fearlessness, a ferociousness, a confidence that I seemed to lack. People around me who took chances, risks. Who weren’t afraid to talk about, to reach for their dreams, no matter how far fetched. Friends, and lovers, who inspired me to be braver, better. When, often, I felt defeated, too scared to even start. 

“I spoke about wings, you just flew.”

“Too high, too far, too soon”, to me made holy heroic failure. The importance of trying, crashing and burning, rather than never trying at all. The song struck, hit me as a celebration of the visionary, the underdog. Those struggling, fighting against expectations, norms. Stacked odds. The heart of the human spirit, I suppose. As the house lights came up, I shouted the words, but with my eyes shut. Not wanting to make contact, but keep the moment, instead, private, close. 

At the time, amongst us ravers, rumour was that the song was about Prince. The record sleeve bears a dedication to The Purple One, but The Waterboys’ Mike Scott has said that this was more about the positivity of his Paisley Park music, which was a big influence, rather than the musician himself. Later, I heard stories about C.S. Lewis, the author of “The Chronicles of Narnia”. Not that any of that matters. Deliberately left wide open to interpretation, it’s about what the song stirs in you. 

“I spoke about wings, you just flew.”

Listening to “The Whole Of The Moon” now, nearly 40 years later, in hindsight, and relative sobriety, I’m stuck with the question that did I, despite myself, live a big life? Perhaps, maybe, but the only answer, really, is could it ever have been big enough? 

For Dave and Jo.