Love-Hounds-request@EDDIE.MIT.EDU.UUCP (04/04/87)
Really-From: IED0DXM%UCLAMVS.BITNET@wiscvm.wisc.edu >From: Sue Trowbridge <ins_aset%JHUNIX.BITNET@wiscvm.wisc.edu> >Subject: A new Kate Bush song!, Zwort > >Goodness, could I have actually scooped IED on a bit of Kate news, >or did I miss something? I just spoke to a fellow Katefan >who works in the movie biz. He'd seen a trade screening of the >new John Hughes production, "She's Having a Baby," which will >open 19 June. And there was a brand new Kate song playing over the >credits! I don't know the title (aargh -- sorry!). Maybe John >Hughes isn't as bad as I've thought... >From: Dave Hsu >(cough) *GAAAACK* (retch retch) > >I don't know which is a more disturbing thought; John Hughes making a >worthy film, or Kate selling out and doing a piece for a John Hughes >soundtrack. > >If only the former were possible...Kate, what have you DONE?! > >-dave hsu, Chairman If this is true, then who gives a damn what the movie is! IED, however, is highly skeptical that the song is a new Kate Bush track, Sue. He's been burned before so many times by third-hand accounts of new KT product (remember the many insistent announcements of The Dreaming on CD long before it had been made? Or the announcement of Kate Bush's a capella rendition of "Agent Orange Song" on a San Francisco compilation tape that turned out to be by Kate Wolf?). So, until he hears it himself, please don't be offended if he hesitates to take your Katefan friend's word for it. And besides, IED kind of liked "The Breakfast Club"! >Now, who IS Zwort Finkle? >--Sue Another L-H has asked IED this question, too. IED, unfortunately, has no idea. His suspicion is that it's just Del or Lisa or someone, using a silly name and playing a prank with Kate on her fans. In the issue preceding the Finkle issue, Kate was interviewed by the equally unlikely and silly "Aunt Hettie". Knowing Kate's fervid nationalistic enthusiasm for British comedy, this name-game must be her idea of High Mirth. >Pardon me assaulting you with the obvious, but I wanted to point >out that while some backward portions turn out quite predictably, >the apparent effect of reversing the "chopped" part is totally >at odds with what you would predict by cataloging the phonemes >and then listing them in reverse order. I think she has made an >incredible discovery here. Well, it blows me away, anyway. > >Apparently she has a way of putting both fwd and bkwd phonemes >into the same burst in a way that allows each to be ignored when >played the opposite of its intended direction. Stunning idea. Phil, thank you ad infinitum for your transcription, it was really phenomenal, and will be much studied by IED. The above quotation is the most amazing part of your totally wonderful posting. Let IED get this straight: you're saying that the choppy parts (elsewhere referred to by IED as the "scatter-voices") are somehow synched up with a backwards track that SAYS SOMETHING ELSE (namely the new, totally unfamiliar lines quoted in your posting)? You don't list any similar effect with the choppy parts of "Waking the Witch" -- does this mean it only happens with the "Watching You" track? IED is hyper-excited by this idea of yours, and will go home and test your allegations forthwith. Unfortunately, he still has no recourse but to turn his record backwards by hand on his turntable, as he owns no proper tape recording equipment. Thanks, Mark, for the alert about the Night Flight show. It's always possible that they've updated it with the "X4" video... >From: nessus (Doug Alan) >Subject: KollaboraTees... >Mr Marvick, > >You left out > > Roy Harper, "You (The Game Part II) -- The DNA Song" on > *The Unknown Soldier*. A duet with Kate. > Ray Shell, "Them Heavy People". Rey Shell performs a > disco cover of Kate's song. Kate sings bvox. > > |>oug Thanks for the corrections, Mr. Alan. (!) IED's memory slipped badly to have forgotten the Roy Harper track; but he has never HEARD of the Ray Shell recording. Could you explain who he is, when it was made, etc.? Thanks very much. >Re the "Kate vs. Brahms" discussion: It's been a number of years since I >was involved in performing classical music, but I seem to recall that the >scores to most works were not really that complex. For example, a bass >rhythm part is played by a number of instruments in harmony, instead of >by a single bass guitar. But the number of different parts is not usually >any greater. I'm sure there are exceptions, though... Yes, many. But as IED implied before, it's not just the number of actual parts he wrote for. His late chamber music, for instance, is confined to only a few musical lines. The "complexity" in question has to do with the structure of the composition as a whole, the brilliance of the interlocking parts in the development sections, the integration, transformation and modulation of the themes, etc. That's where Brahms still FAR outstrips most of Kate's work to date. Still, parts of The Ninth Wave, as yesterday's posting from Phil demonstrates extremely well, seem to come pretty close to Brahms's level, albeit in a very different musical language. -- Andrew