Love-Hounds-request@EDDIE.MIT.EDU (12/19/86)
Really-From: Nancy Everson <everson@spca.bbn.com> Hi everyone - Thanks for the responses, my friend read them with interest. He sent me a message this morning that I thought I would forward to Love-Hounds. He also wanted to ask, "How does one motivate oneself to listen to Kate's music repeatedly if one doesn't like it on the first listen?" (He himself was motivated because someone he liked was a Kate fan.) - nancy nancy everson (everson@spca.bbn.com) bbn software products corporation, cambridge mass ----- Forwarded message # 1: Date: Thu, 18 Dec 86 11:17:39 EST From: Kevin C. Subject: Bush-wa Dear Kate, I listened to your album THE WHOLE STORY last night. So there. Wuthering Heights is still in my mind. I liked Army Dreamers too. I happen to think that you miss a few times in Running Up That Hill, especially near the end when the "other noises" come in; your usual adeptness at orchestration flags there (Elvis wouldn't have missed on that one). Anyhow, it was okay. I think the real thing I meant about your voice is this: if you just put on one of your songs in a random room, the effect is dissonance. The sound of your voice is grating and unpleasant GIVEN THE EXPECTATION ONE HAS THAT AUDIBLE MUSIC WILL BE ORGANISMICALLY APPROPRIATE. In other words, I get the same effect as when a heavy metal song comes a random radio -- it is obnoxious. I suppose that one is tuned in and ready for you (physisologically), you are as remarkable as anything, but that's not how I encounter you usually. Does this make sense, Katey darling? Your eyes on the album cover are cool, anyway. --Kevin "not a fanatic, but not unappreciative" C. ----- End of forwarded messages
Love-Hounds-request@EDDIE.MIT.EDU (12/19/86)
Really-From: nessus (Doug Alan) > [Kevin C:] Dear Kate, [...] I happen to think that you miss a few > times in Running Up That Hill, especially near the end when the > "other noises" come in; your usual adeptness at orchestration flags > there (Elvis wouldn't have missed on that one). Anyhow, it was > okay. Ack! The end, when the "other noises" come in is the best part! The part where many Kates are singing in tongues in the background gives me multiple orgasms every time I hear it. Elvis could never do something this awesome. > I think the real thing I meant about your voice is this: if you just > put on one of your songs in a random room, the effect is dissonance. > The sound of your voice is grating and unpleasant GIVEN THE > EXPECTATION ONE HAS THAT AUDIBLE MUSIC WILL BE ORGANISMICALLY > APPROPRIATE. Well, Stravinsky said "Consonance has no place in modern music." That may have been a bit of an overstatement, but it was the right thing to say at the time. Consonace and dissonance are like ying in yang. In order to have perfection, you have to have the right amount of both. Dissonace is just as important as consonance. The problem with most heavy metal music isn't that it's too dissonant. It's problem is that it's too consonant! And way too simple. One of the reasons why Kate's best songs are the best songs in existence is because they are, at the same time, both beautifully melodic and excrutiatingly dissonant. I have to agree with IED that I enjoy being shocked by the new and this is one reason why I kept listening to *The Dreaming*, even though at first I found it much more irritating than "enjoyable". I *did* find it *intriguing* right from the beginning. *The Kick Inside*, however, I didn't like at first. I didn't find it particularly interesting -- I just found it annoying. The only reason I continued to listen to it is because it was by the same person who did *The Dreaming*. I eventually came around. |>oug "She kept on asking me, 'Do you know what love is?' Sure, I know what love is. A boy loves his dog."