Love-Hounds-request@EDDIE.MIT.EDU (04/25/87)
Really-From: IED0DXM%UCLAMVS.BITNET@wiscvm.wisc.edu OK, FOLKS. ODODODODODODODONONONONONON44446 OAOAOAOAOCOCOCOCOCSUE, PLEASE LET US KNOW HOW YOU FOUND OUT ALL THIS ST UFF ABOUT "SHE'S HAVING A BAYOD," O.IK.? AND ARE YOU REALLY SURE IT;S BY KATE???* AND DOUG, WHATEVER THOSE COMPLIACATIONS ARE, (ASND IED HAS A PRETTY GOOD IDEA), WE ASLL HOPE TO KHRIST YOU DON'T FORGET ABOU7T YOUR PACK OF L-HS, NOR THE PURPOSE AND MISSION THAT BROUGHT THEM TOGETHER IN THE FIRST PLACE. YOUR ABSENCE FROM THE GREAT GREAT KONVERSATION IS SORELY FELT. S PARDON ALL THE TYPOS. IED 'S SCREWED UYP HIS KEYBAOARD COMMANDS AND EVERYTHING'S COMING OUT FUCKED. HE CAN'T EVEN PBACKSPA-FUCKING-CE. S -- ANDREW MARVICK S P.S . IF YOU WROTE IN ABOUT GETTING ON THE LIST, DON'T WORRY, YOU'RE ON. NEXT UPDATED PRINING PRINTING POSTING IN A COUPLE OF DAYS. PERSONALLY IED THINKS IS IT IS SOMETHING OF A RELIEF THAT MAKE IT OGO AWAY IS GONNA BE POSTPONED. THREERE'S GETTING TO BE TOO DAMN MUCH EXPOSURE LATELY, DON'T YOUYI FOLKS AGREE? ASLOALSO, DESPITE MANY MOMENTS OF ABWSOLUTE BRILLIANSE IN "BNE KIND TO MY MISTASKES", (APPROPRIATE TITLE FOR THIS WPOSTING, EH?>) , THE RECORDING IS VERY CL;EARLY A B-SINDE CLASS RECORD FOR KATE, HAVING BITS OF "NOT THIS TIME:" , "BURNING BRIDGE", :ETC. IN ITS PRODUCTION AND GUITAR (RHYUTHM GUITAR) TOUCHES FROM (OR SIMILAR TO) X4, ECTC. ALSO, KATE ACTUALLY HITYS A "WRONG" NOTE IN IT, ALTHOUGH BY USING IT AGAIN (THEREBY MAKING THE WHOLE FPHRASE MORE COMPLEX HARMONICALLY) SHE ACTUALLY LEGITIMIZES IT. ALTHOGETHER A DIFFERENT PIECE OF PIE (HUH?) IN THE CORPUS OF KATE'S WORK TO DATE. SOMETHING IS DIFFERENT ALSO IN THE BACKGROUDN D OF THE SONG, AND IN THE IMAGERY THE LISTERNER BRINGS TO IT. THAT IS, THIS TIME WE KNOW THE STORY VERY WELL (EXPECIALLY THOSE WHO HAVE ALREADY SEEN THE MOVIE), AND THAT MAKES KATE'S "STORYTELLING" TECHNIQUE TO NARRATIVE SONGWRITING SEEM MUCH MORE TRANSPARENT THAN IT WOULD WITHOUT THE MOVIE TO PUT EVERYTHING IN FOCUS (HJA-HA). WITHOUT THE MOVIE, THE LYRICS TO "BE KIND TO MY MISTAKES" WOULD SEEM HIGHLY CRYPTIC IN PLACES, AND WOULD SPAWN THE SAME KIND OF SWPECULATIVE DEBATE THAT RUTH GOT, FOR INSTANCE. BUT WITH THE MOVIE, IT'S VERY STRAIGHTFORWARD AND EVEN A LITTLE BLAND , LYRICALLY SPEAKING. "YOUDNON'T KNOW ME, I DON'T KNOW WYOU," AND LINES LIKE THAT, WHILE NOT PA BAD OR ANYTHING, ARE PRETTY MINOR. EXCEPT THAT THAT LINE TURNS OUT TO BE THE EXPLANATION OF THE REPETITIVE BACKGROUND CHORUS LINE "IT IS THIS THAT BRINGS US TOGETHER)::", SINCE IT EXPLAINS THAT IT IS THE FACT THAT THE TWO PEOPLE DON'T KNOW EACH OTHER THAT BROUGHT THEM TOGETHER IN THE FIRST PLACE. IT;S ALSO INTERESTING THAT THE SONG FOCUSSES SS SS ON THE CHARACTERS AND THEIR PRIVATE THOUGHTS ABOUT THEIR RELATIONSHIP EXCLUSIVELY, AND DOESN'T EVEN HIUNB (TRY AGAIN) HIND (NOT YET) HINT (THERE) AT THE EXOTIC ISLAND-LOCALE EVEN FROM A MUSICAL STANDFPOINT LET ALONE IN THE LYRICS. THIS SHOWS YOU CLEARLY WHERE KATE IS GOING IINTELLECTUALLY. HER RECENT TALK ABOUT HUMAN RELATIONSHIPS BEING HER MAIN CONCERN IS EXPOSESD QUITE PLAINLY IN THIS SONG. ALSO, THE STURRUCTIURE OF THE SONG IS VERY MUCH LIKE THAT OF "NOT THIS TIME" EXPSPECIALLY IN THE LAST MINUTE, WHEN THE FRAMEWHORK MORE OR LESS DISINTEGRATES BEFORE THE LISTENER'S EARS. THERE IS THE SAME KIND OF STRANGELY BASRE BARE, AUSTERE PIANO CHORD-SEUQUECNE IN THE CODA OF THE NEW SONG THAT DISTINGUISHED THE END OF "NOT THIS TIME", AND WHICH IS REALLY VERY BIZARRE. IT SMAKES THE SONG SPOUND AS THOUGH IT'S SEARCHING FOR A CHORD TO NEND THE RTRACK WITH, BUT JUST CAN 'T SEEM TO RESOLVE THE PROBLEM PROPERLY. AND THERE'S A BUNCH OF STRANGE FAIRLIGHT VOCAL GOINGS-ON AT THE FADE-OUT, COUPLED WITH SOME ODD DELAY/CHANNERL-SCREW0UP OF THE DRUMS THERE, AS WELL, WHICH CONTRIBUTE TO THE ":WORK-IN=PROGRESS_" SOUND OF THE TREACK. AND OF COURSE THE DRUM-KIT SOUND THROUGHOUT THE SONG IS UNUSUAL FOR IKATE, IN THAT IT SOUNDS ALMOST GARAGE-LIKE (NOT AT ALL IN AN INDUSTRIAL OR HEAVY SENSE, BUT AS THOUGH CHEAP TRAP-DRUMS WERE BERING USED). ALL CLEARLY DIELIBERATE, BUT ODD A LEXTREME, NE'SSSSS;TLEPAS? ANYWAY IED SUPPOSES YOU CAN SEE THAT HE;'S GOT MIXED FEELINGS ABOUT THE SONG -- IT;S NOT THAT IT ISN'T A VERY FINE AND UNUSUAL PEICEIECE OF WORK -- THERE ARE LOTS OF TURNS OF PHRASE (THE WHOLE SCENTRAL BRIDGE SECTION, WITH THE LONG PHRASE "THERE ARE SECRETS TOO DARK TO LET OUT,,...TO LET GO OF...TO GET OVER-R-R-R-") THAT ARE UNIQUELY KATIAN AND UTTERLY WORLDS AHEAD OF ANYONE ELSE IN POP SONGWRITING TODAY. BZVAND THERE RE ARE ALSO SOME REMARKABLE INSTURUMENTAL TOUCHES TOO, ALSO, TOO, SUCH AS THE ULTRA0-MINIMAL (MINIMALIST) GUITAR FILLS IN THE LAST INSTRUMENTAL PASSAGE BEFORE THE CODA SECTION , THE COMBINATION OF THE GRHYTHIMM GUITAR FIGURE WITH THE FRETLESS BASS FIGURE (EXTREMELY BEARUTIFYUL PLAYING BY DEL ON THIS TRACK), AND THE WIEIRD "EYEE-AYY-OOO-AYY-OO-O"S OR WHATEVER BY KATE'S BACKGROUND CHORUS IN THE VERY LAST PART OF THE CODA. NO, IT;S JUST THAT KATE WAS OBVIOUSLY WORKING QUICKLY ON THIS RECORD, AS ON MOST OR ALL OF THE B-SIDES, AND EVEN ON EXPERIMENT IV, THOUGH THE USE OF SYNTHETIC RHYTHMS IN X34 AND THE PRECISION OF HER SINGING, BPLUS A FEW PRODUCTION TOUCHES GIVE THAT TRACK AN A-SIDE SHEEN. AND QUICKLY IS A WORD KATE'S BEST WORK HASN'T HERETOFGORE BEEN ASSOCIATED WITH. THE RESLULTS ARE VERY FINE, BUT LESS THAN QGROUND-BREAKING. ANBD WORKING WQUICKLY IS A TEMPTATION. IED WOULD PERSONALLY LIKE TO SEE A GOOD EIGHTEENT TO TWENTY-FOIUR MONTHS GO BY BEFOERE THE NEXT STUDIO LP APPEARS. S LET'S HOPE KATE FEELS THAT WAY, TOO... -- ANDREW S PPS THIS READS SORT OF LIKE A VIDEO MAX H. HUH? SORRY. S ,,,,,,.SA \`ONON8,OCOCOCOCOCOCOCOAOAOAOAODODODOD OLOLOLOL OL OLOAOA