Love-Hounds-request@EDDIE.MIT.EDU.UUCP (04/13/87)
Really-From: IED0DXM%UCLAMVS.BITNET@wiscvm.wisc.edu >Since there was nothing really current in the profile, it probably was the >same one shown months ago that people have been mentioning this week. It was. No update, no changes. Same brusque, almost openly annoyed answer to the "What's Cloudbusting about?" question. (As explained earlier in L-Hs, Kate had answered this question very emotionally for the cameras during the interview, but was then told that they had to shoot it again because -- of all things -- her microphone had been rubbing against her tie. Worst of all, this had already happened several times during the interview, yet no-one there had considered moving the mike somewhere else. Kate was reportedly royally p-o'ed.) >For you experKTs out there, (I know this has probably been brought up >before, but I don't remember) is the video version of Cloudbusting on any >single or something? It seems quite different than the album version. No, the video version was never released on record, unfortunately. The single is the same as the LP mix, and the twelve-inch is a third, completely different version of the song. The video version is basically identical to the LP version, except for an insert of completely new music (It's you and me...Daddy") which Kate wrote and recorded specifically in order to make the track long enough to fit the entire story visually into the film. So far, the best reproduction of the sound for that track is on the PAL Hair of the Hound video-cassette. Soon, however (any day now, he hopes), IED will be receiving the Japanese laser-disk of Hair of the Hound, which will finally give us a hi-fi stereo version (possibly digital audio) of the track. At that time, IED will gladly make copies to interested parties willing to pay for materials and postage... Peter E. Lee is hereby added to the compilation tape mailing list. When you will receive it is anyone's guess, however. Whoever has the tape and doesn't know who to send it to, ask IED, who is keeping a file of requesters' addresses, and he'll tell you who wants it next. Note: when the tape is filled up with stuff, someone should send it back to point of origin (Andrew Marvick's place), so it can make a second sweep. Yes, it is highly inefficient, but we've already begun. >...TD is assuming a substantial lead. To be sure, its flaws >(at least, what I perceive to be flaws) and rough edges, intentional or >not, are far more visible than those which might be hiding somewhere in >HoL. And yet again, it tempers, qualifies the intensity of each image. Has IED understood your point correctly? You're saying that the rough edges in The Dreaming somehow soften the intensity of the music? In other words, the imperfections of The Dreaming (always assuming -- for the sake of argument -- that there ARE any "imperfections", of course) actually improve the tracks by somehow dissipating the brutal power of the musical ideas to which they are connected? An unexpected and highly intriguing idea... >For Powell & Lawson's anticlimactic string arrangement in Houdini, >it seems merciful that Kate did not refine the song further. IED doesn't see the final string passage as anti-climactic. Rather, it is a kind of ruminative, contemplative coda. Tragedy superseded by regret and nostalgia. It's indispensible. >I don't >see how even the most dedicated L-H could withstand it were it polished >to the level of Get Out Of My House. Here you've really lost IED. Assuming that the "it" you are referring to is "Houdini", then your statement is confusing because "Houdini" IS polished to the level of "Get Out Of My House", and beyond. IED agrees with John Carder Bush that "Houdini" is the most "refined" thing on the album, perhaps in her entire catalogue. "Get Out Of My House", though packed with an incredible amount of information, is relatively less polished than "Houdini". (Admittedly, these comparisons are next to meaningless.) IED detects a general tendency in your comments to prefer roughness over refinement; which is pretty clearly the opposite of the direction Kate has been going in since Lionheart. The difficulty with all these terms is that it is extremely easy to confuse a loud, aggressive track for a "rough" or "unrefined" one (not that you've been doing that). In fact, though, "The Big Sky", for instance, is arguably more "refined", from a musical and production standpoint, than anything else on side one of HoL. >TD is to HoL what a Turbo Esprit >is to a 928S -- far less passive (HoL PASSIVE?), laden with character, >and all the more endearing. Not having a good picture in his mind of the two cars you refer to, IED can only respond to the latter half of your analogy. You seem to be questioning your own opinion ("HoL PASSIVE?"). IED does too. The Ninth Wave is definitely not more "passive" than The Dreaming -- nor is it less "laden with character" or less "endearing". Is there ANYTHING in twentieth century music MORE "endearing" than "And Dream of Sheep" or "The Morning Fog"? (RHETORICAL QUESTION! DON'T ANSWER THAT!!) >Fine with me...but I've gotta ask you - is there REALLY a station that >plays ONLY New Age? I hope this doesn't escape Cupertino... "The Wave", a new station in L.A., purports to play only "New Age". Unfortunately, they define the category as broadly as possible, so that all kinds of MOR rock gets thrown in, as well, making it not much different from KNX-FM, purveyor of James Taylor and Carly Simon songs. Also, they have replaced all dj patter with some utterly infuriating, sickening and repulsive "skits". It's DISGUSTING. -- Andrew
Love-Hounds-request@EDDIE.MIT.EDU.UUCP (04/15/87)
Really-From: prs@oliven.atc.olivetti.com (Philip Stephens) In article <8704131853.AA10705@EDDIE.MIT.EDU> Love-Hounds writes: >Really-From: IED0DXM%UCLAMVS.BITNET@wiscvm.wisc.edu >>Fine with me...but I've gotta ask you - is there REALLY a station that >>plays ONLY New Age? I hope this doesn't escape Cupertino... > >"The Wave", a new station in L.A., purports to play only "New Age". >Unfortunately, they define the category as broadly as possible, so >that all kinds of MOR rock gets thrown in, as well, making it not >much different from KNX-FM, purveyor of James Taylor and Carly Simon >songs. Also, they have replaced all dj patter with some utterly >infuriating, sickening and repulsive "skits". It's DISGUSTING. > >-- Andrew I could probably understand being disgusted with "New Age" if that were one's only exposure. Somewhat more representitive (although I found it too boring to remember to tape) is VH1's "New Visions" (on at about the same time as MTV's "120 minutes"). I don't get enthusiastic about it like I do about occaisional rock and most Kate Bush, but sometimes I just want some background music that doesn't stick in my head afterward like an ad jingle, and KLRS works slightly better than classic for that. MOR and supermarket music tend to be like the Paul Simon in Hell skit on Saturday Night Live a few years back: sickening remakes of randomly chosen rock tunes; I'd rather wade through the current rock I don't like for the few current gems I love than listen to pablum travesties of songs I enjoyed firsthand. New Age music, as selected by KLRS, might seem like pablum (but hardly any retreads) to jazz fans, but I'm not one of those. In fact, occaisional bits on KLRS are *too* much like jazz trumpet for my taste, but not often. As for making music, I might dabble in new age style, but I think I will find my own style closer to rock, with excursions into almost anything else depending on mood. So please don't expect me to defend Newage, I've only half heartedly accepted it myself. Still studying the beast. - Phil prs@oliveb.UUCP (Phil Stephens) {really oliven} or, if that fails: {get to 'ames' somehow, then}!oliveb!prs Mail welcome, but my mailer seldom cooperates when I try to reply.