Love-Hounds-request@GAFFA.MIT.EDU (07/05/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick
Subject: MisK.
First, many thanks to all those Love-Hounds who have e-mailed IED
to sanction the use of whatever part of their tape-order money remains
for the roses-and-ivy gift. Your generosity is much appreciated.
Love-Hounds veteran Joe Turner turned up in L.A. yesterday, much
to IED's surprise and delight. The two philo-canines enjoyed an evening
of Kate-bushological discourse and McChicken sandwiches, and IED learned
firsthand the extent of Joe's (and Larry DeLuca's) respective but equally
vast musical talents, as well as one or two interesting (though not,
perhaps, entirely convincing) points about the secret messages in
_WYW/oMe_.
Welcome to Love-Hounds, Jason. Don't worry about the odd jargon
spoken here--it's not really "Kate-ese", only Love-Hounds' own peculiar
dialect. Non-KompuTerized fans do not speak it, either, and they are
no less fans for that.
"What the heck is 'Katemas'?", you ask. Katemas is Love-Hounds'
term for Kate's birthday: July 30, 1958. You'll notice a good deal of
quasi- or pseudo-religious allusion peppering Love-Hounds' discussion
of Our Blessed SubjeKT. It is made (more or less) in jest.
L-Hs have a tradition (of sorts) of celebrating this sanKTified
date, although it's never yet really caught on on the West Coast. IED
is hoping that Tracy Roberts's suggestion will spark a change there.
On quite a different subject, Doug MacGowan has made some very
compelling and provocative new points about Kate's themes:
> To change the subject again, I have noticed (especially in the very
>early works of Kate that IED recently transcribed), a very unusual
>point of view that seems to show itself in the majority of Kate's
>works. It's so unique that I can't quite think of the right word for
>it, but the closest that I can come is "victim." Maybe the word is
>powerlessness.
> This is apparent in many of her songs dealing with relationships: she
>would run up that hill *if* she could; the actor can't save himself
>in _Wow_; Mrs. Houdini stands powerless, watching the magician die;
>the girl has no ability to choose what's happening and who she picks
>in _Canasta_.
This is a very interesting thesis, and IED cannot deny that
Doug gives strong examples to support it. It's a mystery, since Kate
does not, in fact, believe that people are, strictly speaking, "victims"
of fate, or helpless beings. Her philosophy, if it can be called that,
is that we _can_ affect our fate through our attitude. But she doesn't
mean by this that there is any supernatural force at work. She has
made it clear in interviews that what she means is that _if_ we are able
to view our environment in a positive light--if we can succeed in
transforming our "negative energies", or attitudes, into positive ones,
through the exercise of our _will_--then that very positive attitude
will have an effect on our environment, hence on our personal destiny.
She has been quick to stress that if such an attitude can be maintained,
then _even_ if tragedy should befall us, we will be better able to
deal with that tragedy, and thus our fate will be more hopeful.
Therefore, it's very interesting that Doug notices a theme of
hopelessness running through Kate's work. Kate has said at least twice
that she always wants to include at least some note of _hope_ in her
work. But IED believes she was referring more to her albums in a general
sense, rather than to each individual song. Also, she insists
that _The_Ninth_Wave_ ends on a note of hope for the future (the heroine
does _NOT_ die at any time in that work, and that's FINAL, Joe!). This
attitude is not always readily apparent in the songs, and Doug MacGowan
makes a very valid point, IED thinks. It's a puzzle, but IED would just
like to remind everyone that Kate is _not_ writing autobiographically
in these songs. When she assumes the pessimistic, forlorn attitude of
the fetus in _Breathing_, or the even more pathetic aspect of the mother
in _Army_Dreamers_, she is _not_ trying to express her own _personal_
attitude or opinion. In this respect Kate Bush is quite different from
99.9% of the artists writing songs today. Kate tends to take on the
personalities and to share the attitudes and opinions of the characters
who narrate the various songs she composes. She does _not_ (for the most
part) mean to _endorse_ those characters' attitudes and opinions, although
she might happen to agree with some of them. Rather, she simply responds to
those characters' situations as she believes they would respond: her
capacity for _empathy_ seems to be one of her greatest gifts and inspirations.
Given this fact, it's not necessarily a contradiction of her own
philosophy that a certain number of her songs seem to explore the theme
of helplessness or hopelessness. Such emotions are of great concern
to her, and it's almost inevitable that she should be moved to try to
express them in her music. IED believes, however, that her ultimate
and overriding message is a positive one.
-- Andrew MarvickLove-Hounds-request@GAFFA.MIT.EDU (08/03/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK. (incl. some minor sub-KT NEWS)
Glad to hear from Norvald Stol in Norway. Thanks for the note.
Incidentally, Vickie Mapes, a longtime Kansas City Kate fan,
has been the DJ of a weekly 2-hour local radio program called
_Suspended_in_Gaffa_ for over a year now. The program's only format
limitation is that all the music she plays is either composed or
performed (or both) by women. Aside from that one characteristic she
is the most eclectic programmer in the U.S. (Oh, IED forgot one other
peculiarity--she always plays one recording of Kate's in every show...)
Well, beginning last Sunday (that's right, it was on Katemas!)
Vickie began a six-hour-long (three-week) special series all about
the life and magic of Kate Bush. Any- and everyone within range of
the Kansas City, Missouri radio-waves should be sure to tune in for
the second and third shows. It is _well_ worth it. IED has heard the
first program (on tape) and Vickie did an _extremely_ good job.
Next Sunday she covers the _Never_For_Ever_ and _The_Dreaming_ periods.
Uh, only thing is, IED doesn't remember the call letters of the
station. Still, you've all got till Sunday to figure out where it is
on the dial...
Vickie passes on another bit of interesting information. Seems
there's a record dealer in Kansas City (connected with the Penny Lane
chain of record stores) who insists that "a collection of Kate's
early demos" will be coming out on bootleg CD very soon. This project,
it should be stressed here, is _in_no_way_ connected with _any_
proposed Love-Hounds plans regarding the tape, but seems to have sprung
up entirely independently. Anyway, IED'll believe a CD when he sees one.
However, far more solid (though again, _completely_ unrelated
to Love-Hounds' recent hypothetical notions) is news from a local
Hollywood importer that Volume 2 of _The_Cathy_Demos_--Volume One was a
red-vinyl seven-inch EP which contained four tracks from the 22 demos--
will finally be out, "any day now." This was based on new and reliable
information, he told IED. Meanwhile, he added that Volume One
was completely finished with. That record is now officially out of
production.
Vickie alerted IED to one other extremely neat little synchronicity
(or is it more than that?) in the _New_Musical_Express_ article about
Kate's work with Trio Bulgarka from last December 12. IED simply quotes
the relevant paragraph (italics added):
"Down at the old Bul' and Bush"
Kate Bush and Yanka Rupkina sit on a bean-bag couch and sing to me,
Bulgarian style; Rupkina bleating high and joyous above Bush's harmony.
Short but sweet, a brief musical meeting of East and West, it's the
sort of _sensual_ aural treat every philanthropist would wish to share with the
_World_. Except that the World would have been pushed to fit in this studio
broom cupboard off Upper Street, Islington.
Make up your own minds--does this mean the first single will be
one of the Trio B. collaborations? Or could it mean that the album
itself had already been given its title (what Kate has said always
comes last, after the LP is completed) last December--which would be
a very hopeful sign that the past year has been spent working up
a concert programme and videos, not the album itself?
Idle speKulaTion KompleTed for the time being.
> Could someone please KasT some light on the song "Cloudbusting" for
>me?
> I will apologise in advance if this subject has been discussed before.
>
>-- Andy Hynes, RT3121.
Apology accepted, Andy. _Cloudbusting_ is based on a book by
Peter Reich called _A_Book_of_Dreams_ (now back in print, at least in
the U.S., from Obelisk Books). The book is a memoir of the childhood
and later trauma experienced by the son of the famous (or infamous)
psycho-analyst Wilhelm Reich, an extremely eccentric renegade from
the original Viennese Freudian school who emigrated to Maine in the
1940s and caused much trouble with the McCarthy-era FDA by attempting
to spread word of some highly challenging theories about human psycho-
sexuality, UFOs and rainmaking, among other things. (Yes, if you're
wondering, the general consensus is that WR was certifiable, though in
a completely harmless and even rather beautiful, artistic way.)
Kate read the book when she was 17 or 18, and was deeply affected
by it. She also sent the tape of the finished track to Peter Reich for
his comments, and says Reich was extremely supportive.
Anyway, the story tells of the boy's experience as a child, when
he was forced apart from his beloved father by the U.S. authorities
(on a pretty-much trumped-up charge of illegal interstate trafficking
of quack medical devices). In an attempt to cope with this trauma, the
child thinks back on some of the experiences he had shared with Wilhelm,
among which were their afternoons with a machine WR had invented which
(among other things) the two sincerely believed could make it rain.
If you want more information, _A_Book_of_Dreams_ is strongly
recommended reading. It's a real downer, but very touching.
Special message to Corey Lofdahl: IED (that's right, even IED)
hasn't laughed so much in some time. Ultra-good letter, and spot on
about everything. IED shared all the same feelings at the party, but
could never have expressed them as well as you did. IED _strongly_
urges you to allow him to print out your letter and send it to
Peter at _Homeground_ immediately. Even if they don't publish it,
they're sure to get a lot of pleasure from it. (Thanks for all your
kind words re this "Marvick" character, too, though that's not why
IED liked your piece.)
Also, thanks to Steve S. for his summary of the Washington
party, which IED would like to send along to Peter as well. OK?
> Subject: IED is wrong! <re EMI-America release schedules>
> Please don't flame me if I am wrong; I'm just trying to
>honestly say what I think is right. I'd appreciate any comments
>from anyone who knows differently.
>
>-- Ed Suranyi
No possibility of your being flamed for such helpful and accurate
information, Ed! IED was definitely wrong to attribute timeliness to
EMI-America, as your posting proves. He supposes even CBS couldn't
do much worse, after all.
M.T. Diamond asks about the resale value of a signed UK copy of
_The_Dreaming_. Well, no-one can set a reliable price on such an item--
there might be someone willing to shell out $300 for the thing, though
that seems extremely unlikely to IED. Perhaps $50 or $75 might work,
if the proper steps were taken to alert potential buyers. Still, it
would depend also on the condition of the album, and--even more
important--on whether the previous dedicatee's name is part of Kate's
autograph. A personalised autograph (example: "Thanks, Jim-Bob. Yours,
Kate xx") is bound to have less appeal to fans other than Jim-Bob than
a simple "Lots of love, Kate Bush xx". But the fact is that Kate has
signed several thousands of album and single covers in her day, so
autographed copies of _The_Dreaming_ are really not all that rare.
Sorry to bring down your hopes, and your mention to L-Hs first is
appreciated. Good luck with the sale.
> Yeah yeah, you're completely right. Love-Hounds used to be the
>bastion of craziness and insanity, and now it's just too darn safe...
>...I have been reminiscing through the love-hounds archives in
>detail of late, and have concluded that the old days are gone and will
>never return. They had their bright spots, but who's to say that
>there won't be more in the future. I for one am on pins and needles
>to see the new Kate album, precisely because it should definitely
>inject some life into this list.
>
>-- Jon Drukman
IED has a somewhat different view of Love-Hounds's history, Jon.
As he recalls, the first two years of L-Hs, though admittedly packed
with passionate dialogue, were generally a very ill-willed, crabby and
unfriendly affair. There were moments of bonhomie, perhaps, but IED
tended to be an amazingly smug and intolerant character (which of course
he is today, also, but much less overbearingly so). There was too much
vitriol, and IED is happy to see those days gone for good (if they are).
The thing is, all it would take to bring IED's Hyde-ish side to the fore
again would be the appearance of another Wic or Hof back in the fold...
As for Love-Hounds being lifeless of late--IED doesn't agree at
all! The amazing success of the two west coast parties, as well as the
extraordinary common interest in the subject of a possible tape project,
are certain proof that the Love-Hounds' pack instinct has never been
stronger. And what's wrong with everyone being all nice to each other
for a change?
On a different note, it was nice talking to you, too, on Katemas,
Jon.
-- anDrew (the new goodiE two-shoes) marvIckLove-Hounds-request@GAFFA.MIT.EDU (08/05/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
Correction: IED gave the wrong time and day for Vickie Mapes's
Kate Bush radio show series. The shows air on Saturday nights, from
10 p.m. to midnight, on some small Kansas City, MO radio station.
It must be listed somewhere, and is definitely worth seeking out if
you're within listening range. The show is called _Suspended_in_Gaffa_.
Thanks to Corey for the "clean" version of his story, which IED will
forward to _HG_. Fantastic! Sorry, IED can't find a way to e-mail Corey
directly.
Also, to Deb Wentorf: IED would love to collaborate with you on
an article. IED could supply you with a chronology, some interviews,
etc. Then you could (since you seemed to want to) write the article, and
send it to IED for possible enlargement and clarification (?). You and
he need to find out _DISCoveries_'s length limit for the article, and
also the emphasis they want--should this concentrate more on the
collecting side, or should it be a real overview of Kate's life, career
and musical development? Ed, do you know?
-- Andrew MarvickLove-Hounds-request@GAFFA.MIT.EDU (08/24/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
Just a note on _Babooshka_'s grammar: IED has studied two early
versions of this song, and there can be no doubt that in those early
versions Kate wrote _and_sang_ "worse move". No "T" sound at all.
Therefore her inclusion of the "T" sound in the final version was
either a.) a very peculiar but deliberate change on her part which
was made apparently purely for the sake of the _sound_; or b.) a
little slip of the tongue which she decided was not worth scrapping
the whole take to fix. Judging from the strength of the "T" sound
the former explanation seems likeliest. She just stuck a "T" sound
on there. Now there is another possible explanation, and that is that
perhaps she meant to keep the grammar correct ("worse"), so left
the "correct" grammar on the lyrics-sheet, but at the same time wanted
to introduce _still_another_twist_of_meaning_ to the phrase, so in the
vocal, added the "T". Whatever the reason, there is _no_possibility_
that Kate didn't know the correct grammatical construction--she not
only wrote it out for the lyrics, she also sang it correctly in two
early versions of the song.
And if some of you are now extremely curious about where IED got
access to two early versions of _Babooshka_, he'll just say that they
were broadcast once on UK radio by Kate herself, and the tapes are
floating around for traders to find. Good luck. (No, no _obsKuriTies_3_
is planned--all those projeKTs are a thing of the past.)
-- Andrew MarvickLove-Hounds-request@GAFFA.MIT.EDU (08/26/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK. (mainly more on the :>oug/IED debate)
First, a big thankyou to Ed Simpson for re-printing that section
from the EMI _Never_For_Ever_ interview on _Babooshka_. Good timing.
Last, this increasingly tedious argument with :>oug. IED promises
this will be his final say on the subject--even if :>oug makes another
annoying attempt to rebut. For his own blood-pressure's sake, and for
the sake of all other Love-Hounds' nerves, IED will make this his last
contribution to the tiff, even though he anticipates more nonsense from
:>oug tomorrow, and it will be hard to let it slide.
Spelling someone's name is not like spelling "antidisestablishment-
arianism" or something, :>oug. Especially when the name is only four
letters long. And dyslexia doesn't come into it, since you clearly never
noticed that there's no "s" _pronounced_ in Mill's name. IED made this
--by his standards extremely rare--mention of a spelling error on your
part because you dared to claim that Mill somehow supports your dubious
ethical stance regarding the illegal copying of unauthorized music.
Since IED happens to admire Mill greatly, and has read a _lot_ of
his work, he took umbrage at this liberty on your part. It's likely
that Mill would _not_ have supported you in your present position. He
made nearly _constant_ qualifications of his general definitions of
the common good or interest of the majority, and you ought to know it
before you go dragooning him into your shady forensic forces. IED
admits that he was also annoyed by this mention of Mill because Mill
is one of the supreme stylists in English literature, in IED's opinion,
and it was annoying to see his name not only bandied about unfairly in
one of your (by your own admission) hastily dashed-off texts, but
misspelled into the bargain. IED therefore sends his sincere apologies
for his lack of restraint. The next time he sees you abusing
the English language (and important people's names) and then trying to
justify your lack of care and effort as some kind of laudable avoidance
of "pointless endeavors" while simultaneously claiming "slight" dyslexia,
he'll try to ignore it just as he usually does, and will content him-
self with the knowledge that at least IED tries harder. He will also
ignore your beloved crutch against owning up to the fault of bad
English and inept spelling: namely the utterly specious argument that
an attention to details of language reflects a weakness of intellectual
potency, rather than quite simply an attention to details of language!
> Furthermore, for one who does not spell my name correctly
> to my own face, you should talk!
As you well know, :>oug, since IED and at least one other
Love-Hound has told you this more than once before, the "misspelling"
you refer to stems from a keyboard problem, and is not (at least not
lately) intentional. Furthermore, one could easily turn this
point back on you by noting that for someone who fusses so unreasonably
about readers' occasional failure to use the right hieroglyphs to
produce your Love-Hounds moniker to your satisfaction, you sound pretty
small claiming that IED's objections on Mill's behalf are petty.
> Utilitarianism says roughly...
Exactly. That's why IED said it was a stretch for you to claim
_Mill_ as a backer of your flimsy moral principles. Your Cliff Notes
definition of Utilitarianism may lead you to think "it says roughly"
what you claim. But John Stuart Mill never said anything roughly, least
of all what "Utilitarianism" means.
>> Now, on to the interpretation argument. :>oug and IED have a
>>fundamental disagreement on this question. :>oug takes the "modern"
>>view that the "received" meaning has equal or--at least in :>oug's
>>view as he expressed it to Kate herself in 1985--greater credibility
>>than the "intended" one.
>
>First of all Andy, it really bugs me that you continually insist on
>criticizing my beliefs of the past...
IED has not been doing so. If you'll take the time to _read_ the
above statement, :>oug, you'll see that IED is referring to your present
claim that the "received" meaning can have a validity "equal" to the
"intended" one. This is what you said yourself not four days ago! IED
was careful, in the above statement, to distinguish your present claim
from your claim of 1985. The "or" and the dashes are eminently clear.
If, on the other hand, IED feels it worth the Love-Hounds' while not
to forget some of the more astounding positions you have held in the
past while simultaneously addressing those which you hold in the
present, he does not see how that affects the strength of his
arguments.
As for your denial that you have ever believed that "received"
meaning has greater credibility than the intended one--it is dis-
ingenuous. Your statement in 1985, addressed to Kate Bush herself, that
her own denial that she intended the meaning which you received
could still be rejected on the grounds that she may have intended it
unconsciously, demonstrates exactly the kind of arrogant attitude which
IED attributed to you. In IED's opinion anyone who could say such a thing
to Kate after having heard the answer she gave is unquestionably someone
who holds his own "received" meanings in such high regard that even
their direct invalidation by the artist cannot shake his faith in them.
That is tangible proof of your position (at least circa 1985) that
your received meaning was more valid than Kate's intended one. You
may not see it that way. IED can't help that.
>> Your lengthy quote from John Carder Bush's letter (already
>>well remembered by IED) is a very interesting explanation--of John
>>Carder Bush's opinions. They quite obviously stand in conflict with
>>the statements Kate herself made to your face, :>oug.
>
> No they don't, Mr. Mavick. As Kate has said many times, not just to
>me, "the interpretations that people have of your songs are nothing to
>do with me anyway. I think it's up to them to get what they can out
>of the song". This statement by Kate doesn't go to the religious
>extent that John Carder Bush's statements do, but they are not
>inconsistent with John Carder Bush's either.
This is why our arguments go round and round without resolution,
:>oug: because you _never_read_carefully_! IED already explained very
directly, and in very simple language, the facts about this little
quotation you love to pull out. Only two days ago, IED wrote:
"IED is naturally as aware of this statement of Kate's as you are,
Doug. In fact, it's clear he has considered it more carefully than you. For
what Kate said to you was that it's up to the listener to get what
they can out of the song. She did _not_ say that what they can get
out the song was _valid_ or _relevant_ to her own artistic intentions--
on the contrary, she is clearly implying that she won't _mind_
whether people develop their own ideas about the meanings of her songs
_even_ if they should be irrelevant to her own intended meaning."
And this is _quite_ different from what John Carder Bush wrote
to you in the letter. _He_ said that such interpretations were,
in their way, "correct". _Kate_ said _nothing_of_the_kind_. Are
you utterly incapable of reading English, :>oug?
This brings us to your complaint that IED posted too much
of your interview. IED agrees! But the point of his posting was to
demonstrate two things: first, that in each of the four supplementary
excerpts Kate went out of her way _explicitly_to_deny_ the validity
of your "received" meaning. IED apparently over-estimated your
attention span when he followed the excerpts with the simple comment
that "no further comment is needed". Clearly you needed a more direct
explanation. The other thing IED's re-posting of those excerpts
demonstrated was that your "interview"--and well over three-fourths
of the lines which IED posted from it the other day--consisted not of
Kate's intended meanings at all, but only of your "received" ones.
The astounding length of time you spent lecturing Kate about what her
own songs were "really" about is further clear evidence, in IED's view,
that, at least in 1985, you did indeed consider your "received"
meaning to be more important than Kate's "intended" one.
Also, IED posted the entire section about _There_Goes_a_Tenner_,
rather than your simple quotation--entirely out of context--about it
being "up to everyone to get what they can out of it"--precisely
because your abbreviated citation misleads the readers about what
Kate is trying to say. Here, _once_again_, is what was _really_said_:
:>oug: ...but the more I look at it, the more it seems
that nearly every line is really sort of an allusion to your
recording career at the time you were recording _The_
_Dreaming_. You wouldn't deny that this was intended, would
you?"
Kate: "Yes, I would deny it."
Doug: "You would?"
Kate: "Yes. It's very much a song about bank robbery. I
wouldn't say it was a simple song about bank robbery, but it's about
the fear that people feel rather than the glorification of
bank robbers."
Doug: "I dunno. It seems like...Well, to me it seems every line
sort of could parallel your recording career. I won't go
and explain it, but like one example is 'There goes a tenner.'
'Tenner' could be a ten-dollar <sic> bill--it could
also be a level of singing: you know, like soprano, alto,
tenor. And sort of every line is like that. But you don't
agree?"
Kate: "Well, no I don't because that's not...That was...
nothing that was in my head when I was writing it. But then I think
the interpretations that people have of your songs
afterwards are nothing to do with me anyway. I think it's
up to them to get what they can out of the song."
Doug: "Okay. That seems reasonable. Maybe it was all
subconscious. It seems so perfect to me. I dunno."
IED shouldn't have to point this out, but for the record, it's
obvious that Kate _strongly_ disagreed with your interpretation of
that song. She almost _never_ denies someone's point, yet in this
case she feels compelled to do so more than once, and in very direct
language. Then, after rejecting your idea as soundly as she has ever
rejected _anyone's_ idea in public _anywhere_, she adds the very mild
qualification to the effect that "everyone's entitled to their own
opinion". And it is _this_ bone she threw you at the _end_ of the
exchange which you have tried to use out of context to your advantage.
And _now_ you have tried to ignore the above evidence of what Kate
meant when she made that statement, by referring to "many other"
interviews in which she said the same thing. Well, IED recalls two or
three other occasions (at most) in which she has said that she doesn't
_mind_ when other people's interpretations differ from her own
intentions. This, again--and IED apologizes if he failed to make
this clear enough for you the first time--is not the same
position which John Carder Bush describes in his letter to you.
Kate has _never_ (to IED's knowledge) said "Yes, people's received
meanings, even when contradictory with my intended ones, can be as valid
as mine" (or words to that effect). She came close to saying _something_
like that on two occasions, as far as IED can remember, but in both cases
it was _she_ who _volunteered_ the idea that it might have been an
unconscious intention on her part. And she was speaking of specific and
isolated instances about individual images, _not_ of her work in a
general sense, or of art itself in a general sense, as JCB was doing. In
the _Hot_Press_ interview (November 1985), when the interviewer pressed
her on what he saw as cocaine imagery in _And_Dream_of_Sheep_, the
conversation went as follows:
Q: Obviously on one level _The_Ninth_Wave_ is about somebody
nearly drowning. But I was struck by images which suggested that there
could be drugs involved. There's the line in _And_Dream_of_Sleep_ <sic>:
"I can't be left to my imagination/Let me be weak..."
And then there's the mention of poppies.
A: "Definitely there is the connection, with the poppies. That
imagery wasn't really meant to be drug-orientated, but when you
think of poppies you automatically get that sense of terrible
drowsiness, and I suppose you do connect it to opium."
Q: Then in _The_Ice_Song_ <sic> there is the reference to "making
<sic> lines, little lines," which can obviously be interpreted in those
terms. There's also a connection in snow and pervasive _whiteness_.
A: "Yes, absolutely. But really it wasn't conscious when I was
writing it, and it was only a few weeks before we finished the album
that people said, 'God, have you looked at this: "Cutting little lines,"'
and I had really not consciously considered that at all.
I mean, the whole thing is about skaters cutting ice, and leaving
tracks instead of footprints. And it's cold and empty. For me,
the ultimate loneliness is not a complete wasteland, but for it to
be completely frozen. It was _that_ imagery more than a drug-based
one. But you are right..."
Those last words are, in IED's opinion, the truly telling ones.
"It was _that_ imagery _more_than_ a drug-based one. But you are
right..." This is the way Kate nearly always expresses her disagreement
with someone. She starts by saying, "Yes, in a way," then immediately
points out that she actually thinks quite differently about it, and
finally concludes with a nice polite phrase to the effect that she
doesn't mean to disagree with the other person's idea after all. This
pattern is very, very common in Kate's interviews. It's just her way
of disagreeing politely. Yet in _your_ case, :>oug, Kate is _much_
more positive in her denials. She rejects your ideas--nearly _all_
of them--outright, beginning with the very first song you discuss. The
way IED reads the excerpt from _Hot_Press_, the interviewer really
wouldn't be able honestly to use Kate's reply to his theory about
drug imagery as a confirmation of it. Kate was merely acknowledging
the possibility, while simultaneously trying to emphasize that the
_main_, _important_, meaning of the songs was quite different.
In _your_ case, she is even _more_ strict with her words of
toleration. It is _completely_ disingenuous of you to use that bone
she tossed at the end of her answer as proof that she _accepted_ the
validity of your ideas.
The only other such case IED can remember is in the second Daniel
Richler interview (November 1985), done for Canadian TV during her promo-
tional tour of North America. In it Richler alerted her to the co-
incidence of the girl-in-water imagery in Millais's _Ophelia_, her
own painting (_The_Hogsmill_Ophelia_), and the back cover of _Hounds_
of_Love_. Kate readily agreed that there "must" have been some
unconscious connection on her part, even though it was quite
unintentional, as far as she had been aware at the time.
In both cases, however, Kate was _volunteering_ the possibility
of unconscious motivation on her part for the meanings of _specific_
images, and in so doing was accepting a received meaning which she
had not consciously intended. IED doesn't see how this in any way
indicates that Kate therefore somehow credits _all_ "received"
meanings of her work as having a "validity" "equal" to either each
other or to her own _intended_ meaning. On the contrary, her eagerness
to concede the validity of these two isolated interpretations shows
that the question of "received" meanings in her works is of great
concern to her, and one which she judges with some hesitation and
mixed feelings.
> _The statement which you ascribe to Kate [refering to "Night of the
> Swallow" as "Nice to Swallow"] is so unlike her, is so
>>unlike her, is so uncharacteristic, that IED doesn't feel it to be
>>unreasonable of him to ask you to support or withdraw the citation.
>
> It's not unlike her at all. It's quite within her character. Kate
>has made many sexual allusions over the years. Are you really trying
>to convince anyone that the same woman who sings "I'm living in that
>evening with that feeling of sticky love inside", "But some night,
>she'll run back in fright if she picks on a Dick that's to big for her
>pride", and "The sheets are stained with your tiny fish", would be out
>of character if she said "Nice to Swallow"? Get real.
This is incredible! :>oug, IED finds it frankly unbelievable that
you can really be incapable of perceiving the difference in tone and
humor between the vulgar self-mockery implied in the phrase "Nice to
Swallow" and the extraordinarily frank, unsatirical, and openly poetic
expressions referring to sex in her songs proper. You just _couldn't_
be quite _that_ insensitive to the meanings of English words. This is
just _too_ ridiculous.
-- Andrew Marvickdbk@mimsy.UUCP (Dan Kozak) (08/26/89)
And now for a quote taken quite out of context: > Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu > This is just _too_ ridiculous. I concur. #dan Clever: dbk@mimsy.umd.edu | "For I was rolled in water, Not-so-clever: uunet!mimsy!dbk | I was rolled out past the pier" - MoB -- #dan Clever: dbk@mimsy.umd.edu | "For I was rolled in water, Not-so-clever: uunet!mimsy!dbk | I was rolled out past the pier" - MoB
Love-Hounds-request@GAFFA.MIT.EDU (09/19/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick
Subject: MisK.
A great big thankyou to Garry Berg for his _amazing_ gift to
IED--it arrived this morning. IED was still unfamiliar with 1/3 of
said gift, and is _very_ pleased with the missing link. Thanks again,
Garry. It's nice to learn that IED's efforts were not unappreciated,
and that some recipients are ready to show their gratitude in such
generous fashion.
Only other news: IED has been alerted that a Mr. "Slash", of
the ensemble known as "Guns 'n' Roses", sports a large tattoo of
Kate on his right shoulder. It's a head-and-shoulders likeness, and
even has her name at the bottom.
-- Andrew MarvickLove-Hounds-request@GAFFA.MIT.EDU (09/24/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
Seems Kate fever is in the air. IED found himself unexpectedly hosting
a mini-Bush bash last evening, with three people paying visits to
Wickham Street West (coming from considerable distances, too) just to
hear the new music and share the magiK. Meanwhile he's been receiving
calls from Kate fans not just from out of town or out of state
(KongraTulations, Joe T. and Larry De L. on your find!), but from out of
_continent_ (latest wellwishes originated from England and Australia!)
IED doesn't exactly know what all these people expect to derive
from a chat with him, but he is able to understand the Kate fan's
impulse to seek out the beat of a sympathetic heart, and he's always
happy to oblige with aimless KonversaTion.
Happy listening, everyone! Here's hoping everyone finds that
kiss of seedcake that we're all looking for.
-- Andrew MarvickLove-Hounds-request@GAFFA.MIT.EDU (10/05/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK. (mostly mailbag)
First, a notice to Sue of San Diego: Vickie wants you to call
her back! She says she really liked your phone calls, and wants you
to know that she has found a soul-mate for you in the S.D. area, so
would you please call her back soon?
> Would anyone like to correct me?
>
>-- Julian
Perhaps it didn't show up in Love-Hounds. IED doesn't
remember. But yes, Julian, IED did at one point foolishly agree
that he would state publicly that |>oug knew more about Kate Bush
than IED did or ever would if |>oug could produce page and line
number for his spurious attribution of the term "Nice to Swallow"
to Kate--whether IED could subsequently demolish the source's
credibility or not. So yes, here it is, folks:
|>oug knows more about Kate Bush than IED knows or ever will.
But |>oug sure doesn't _understand_ what he knows about Kate as
well as IED understands what _he_ knows about her...(You all knew
IED _had_ to have the last word, so who is IED to disappoint you?)
> I have seen a huge, 12'' square book called "Kate Bush" which features
>a year-by-year chronology of Kate's work (I didn't have the money at the
>time, and when I went back the next day, with the appropriate amount,
>which I begged my Dad to lend me, it was *gone*-- much gnawing and
>gnashing of teeth ensued...). This may be the Kate Bush Complete you
>are referring to, but I don't know. Whether it is or not, I really
>appreciate the ISBN # and the Publishing address.
No, it's not _Kate_Bush_Complete_. The book you're probably
referring to is called _Kate_Bush:_A_Visual_Documentarty_, and if
you must buy a Kate Bush "biography", that's probably the best
one to buy, though IED counted a total of more than 50 factual
errors in it. Still, one could certainly do much worse. For accuracy,
_Kate_Bush_Complete_ is still the best, but its factual information
about Kate's life is limited to the chronological outline in the
beginning of the book. And _A_Visual_Doc._ has lots of neat pictures.
Many thanks to the UK Love-Hound who posted that brief
Capital Radio interview with Kate about _TSW_! IED found it fascinating,
and not a little worrying. Kate sounded a bit paranoid (the stuff
about being hanged) and depressed (the admission that she's been taking
off _six_months_ at a time to get away from her work, in recent years,
rather than simply a few weeks), and it was also sad to learn that
the main reason for the discrepancies between the text of Molly Bloom's
soliloquy and Kate's lyrics was that she was denied permission by
the holders of the copyright to use the original words. It would have
been the first time Kate had actually set a work of classic literature
to music--in the grand old nineteenth-century lieder tradition. Too
bad. But her alternative solutions are, of course, every bit as
satisfying.
Speaking of the Molly Bloom soliloquy, thanks, Ed, for
posting it; as well as for all the updates on S.F.-area radio play
of _TSW_, etc. Much appreciated here.
About _This_Woman's_Work_ being available in the UK: IED
believes that although the soundtrack album was never released
in England, the film itself _did_ get released there. Besides,
Kate should have known that any _real_ fan, whether in the U.S.,
England or Timbuktu, would already long since have acquired a
copy of that song. Still, IED must admit that its placement in the
context of the new album is utterly perfect, and in fact no other
track would have had quite the effect she sought. Besides, there are
_some_ differences between the two mixes.
>dollar that after a decade of thinking about *whatever* she chose, you would
>have nine different reasons why it was the most beautiful, rational decision
>she could have possibly made.
> Face it, artists only rarely *intend* very subtle implications of their
>work. There are lots of interesting theories about how these implications
>arise anyway, but that's not the point here.
> Kate herself just said:
> "I think really that art should become simpler rather than more complicated;
>and in a lot of ways it worries me that I think this album is quite a
>complex thing."
> We have here a person who is striving for simplicity in her work,maybe
>though not always achieving it.
Brian, don't make a mistake here: it wouldn't be correct to
assume that Kate's praise of "simplicity" in art implies that she
is not deliberately making her own art complex. All it means is
that she is is aware of--and perhaps equivocal about or even
unhappy that--her art deviates from such an ideal simplicity. It
would, IED believes, be a serious mistake to conclude that the subtleties
of Kate's recordings are in _any_ way fortuitous or unpremeditated, or
not fully known by Kate herself long before they are so slyly slipped
into the public arena. Kate's remark about simplicity being an ideal
to strive for in making art is mysterious and enigmatic, especially
since it is known for a fact that she has a great penchant for
complicating her own art--sometimes almost gratuitously, as with
the "secret messages" in _Leave_It_Open_ or _Watching_You_Without_Me_.
And being so apparently contradictory to the nature of her art, her
statement must have a rather _complex_, or subtle, meaning! It reminds
IED of other remarks Kate has made to the effect that people will
_understand_ her music from an _emotional_ point of view even if they
never quite understand its thematic or narrative meaning. Of course,
she has also said that it's extremely important that the listener
experience her music _while_reading_the_lyrics_, because that's such
an important part of the art. So take your pick--you have just plunged
into one of the great mysteries of Kate Bushology; but Kate's music
complex by accident? No way!
Daniel S. Efran writes:
> Sorry if these have been answered already, but...
> 1. In Breathing, they say "We are all going to die
>_without.....(something)_"
>What's the end of that line? They do it quite a few times.
Actually, what you may be confusing is that line (which ends
with the word "without") and the countersong which Kate sings
at the end of the song: "Oh, life is---breathing!" (the last word
being sort-of whispered and sucked in). But the lines "What
are we going to do without" and "We are all going to die without"
are complete sentences/questions. Kate is using the word "without"
as the opposite of "within". Of course she's _also_ using it so that
it dovetails perfectly with the countersong's lines, which can be
heard as "finishing" the "without" line with the word "breathing".
Typically _complex_ Kate Bush...
> 2. Has Kate _ever_ been seen on a stage in the United States?
As said already by two quicker Love-Hounds, only on _SNL_.
There was a rumor once that she had also gone to a bar and performed
impromptu while in America during the _SNL_ trip, but IED has never
seen any confirmation of that story.
> 3. Is there a poster of the Kick Inside cover?
Didn't we just discuss this? Actually, there _was_ a poster
from EMI-America of the front cover of the U.S. ("country-western")
cover of the album. IED once saw it. It is extremely rare, however,
and IED suspects if you ever find one you will not be able to afford it.
IED has never seen or heard tell of a Canadian-cover poster; and there
was never a UK poster of the UK album cover, so far as IED is aware,
though there was a poster with the pink-leotard shot in the UK (this
was also used as the cover for the Japanese edition of the LP).
>4. Is Kate's Ninth Wave related to Sting's (Love is the) Seventh Wave?
>If so, what's the reference to? (I assume it's literary)
Good question. The cycle of waves in literature is usually
referred to as being seven in number, rather than nine. In fact, IED
only knows of Tennyson's reference to nine waves. He is not a very
well read Love-Hound, however, so perhaps we should ask Julian.
In any event, Kate chose the reference to Tennyson after
the recording was made, and in fact had not even heard of it until
_TNW_ had been completed. So don't try to read references to Tennyson
into the recording.
> 5. Is there anybody on here who hasn't bought Enya's Watermark album
>yet? If so, go buy it immediately. Some of it's in English & some
>isn't, but it's all incredibly good and quite in the league of the
>Goddess.
IED likes Enya very much, and has been enjoying her work since
she did the soundtrack to the film _The_Frog_Prince_ several years back.
But she is _NOT_ "quite in the league of the Goddess". That is absurd,
and patently false. Enya has essentially one rather narrow aural and
musical aesthetic idea, which she has varied and polished to surprisingly
fine effect, but she is a _far_ smaller artistic talent than Kate. And
that doesn't even introduce the fact that she doesn't even write her own
lyrics--for the most part they are the work of her producer's ex-wife.
> 6. Is Kate Bush the female Peter Gabriel or is Peter Gabriel the male
>Kate Bush?
Likewise, the comparison which people too often like to draw
between Kate and Gabriel is misleading and does a disservice to Kate.
As marvelous as Gabriel's work is, and as much as Kate's own may
owe to it, can there be little doubt that Gabriel's melodic gifts,
emotional range, vocal expressiveness, attention to detail, technical
standards, and essential originality are all vastly inferior to Kate's?
IED thinks not.
>7. Either way, couldn't the two of them have come up with a better song
>than Don't Give Up? Two of the most imaginative (read: strange)
>songwriters of the century collaborate to produce one of the least
>interesting songs either one has ever written? I don't get it.
Don't blame Kate for that. It's Gabriel's work, completely.
He described not only how he originally wanted Dolly Parton to
do the female vocal part, but also how he reshaped Kate's vocal
performance bit by bit to make it as much how he wanted it as
possible. Kate's involvement in that song was no more than that
of any of the other session musicians, except in that any music
Kate makes she invests with greater emotion and art than anyone
else would or could.
> 8. Has anyone heard Kate's guest vox on the song Sister and Brother on
>Midge Ure's album Answers to Nothing? It's pretty cool.
Here Kate had a more active role in the creation of the record. Unlike
with the Gabriel situation, with the Ure project Kate (presumably less willing
to follow Ure's directions than Gabriel's) agreed to contribute the female
vocal part providing that Ure would simply send her the masters, and let
her create her entire vocal at her own studio, without him even being
present. This (to his great credit) he agreed to do, and Kate sent
him the finished tape one week later. All this is from Ure himself,
who has long been a sincere admirer of Kate's work.
>9. Does anyone know of any other KT guest vox that are worth having?
1. _Another_Day_, by Roy Harper, from a duet with Gabriel performed
on Kate's Xmas special, 1979;
2. _Sing,_Children,_Sing_ from a charity single by Lesley Duncan;
3. _You_(_The_Game_Part_II)_ by Roy Harper, from his _The_Unknown_
_Soldier_ LP;
4. _The_Magician_, a solo-vocal cover she did of a song by Maurice
Jarre and Paul Webster, for the film _The_Magician_of_Lublin_;
5. _No_Self_Control_ and _Games_Without_Frontiers_ from PGIII;
6. _Them_Heavy_People_ from a single by forgotten EMI artist Ray Shell;
7. _Flowers_, a track by Zaine Griff, from his LP _Figures_;
8. _The_Seer_, from the Big Country LP of the same name;
9. _The_King_is_Dead_, from Go West's LP _Dancing_on_the_Ceiling_;
10. _Let_It_Be_ and _I_Don't_Remember_, done with Peter Gabriel and
Steve Harley during the Bill Duffield charity concert, May 1979;
11. _Let_It_Be_ from the Zeebrucke Ferry Relief single, 1987;
12. _Do_Bears_Sh...?_ from the UK Comic Relief shows, 1987;
13. _Spirit_of_the_Forest_ from the Gentlemen Without Weapons 12", '89.
>10. Can anyone help me think of a tenth question? I guess nine is
>enough--one for each wave.
Please, please, no more questions. You're driving IED into
an early grave.
> To me, saying that the new KT album is more like the first
>side of HoL than the second just means it doesn't have many songs about
>dead or dying people.
But death is a major theme of the songs on the first side of
the new album! So John Carder Bush must have meant something else...
-- Andrew Marvicked@das.llnl.gov (Edward Suranyi) (10/06/89)
> To: Love-Hounds > From: Andrew Marvick (IED) > Subject: MisK. (mostly mailbag) > About _This_Woman's_Work_ being available in the UK: IED >believes that although the soundtrack album was never released >in England, the film itself _did_ get released there. Besides, Last time Sharon of _Homeground_ wrote to me about this, she was very upset that the film had not been released there, and would in fact probably never be released in theatres, but only on video. Admittedly, that was last December, so I don't know what's happened since. My .signature file was not added last time, so I'll try again: Ed (Edward Suranyi) Dept. of Applied Science, UC Davis/Livermore ed@das.llnl.gov
Love-Hounds-request@GAFFA.MIT.EDU (10/06/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu To: Love-Hounds From: Andrew Marvick (IED) Subject: MisK. >Did she ever tour here? Was this trip cancelled? Please say yes, >because that means I didn't really miss the concert as I thought I did... > >-- Steve Veeneman Kate never toured the U.S., and it's safe to say that she never even set foot in Colorado. Perhaps the poster you saw referred to the Tour of Life, her European tour. It's conceivable that someone obtained a poster in England and displayed it Or it could have been someone else's concert? >They rushed her into releasing "Lionheart" which >I think pretty much speaks for itself. > >-- Jon Drukman You're treading on thin ice again, Drukman. And IED would venture to say that you're damn lucky Larry Hernandez (apparently) hasn't found a way to contribute to Love-Hounds discussions yet, or you'd find yourself on the receiving end of a devastating riposte. Thanks to Julian again for his impressive notes about Kate's editorial choices in the use of Joyce's text for _TSW_. > Personally, I think "Heads We're Dancing" is closer to an American > hit-type song than "Love and Anger." I also like it more. > >-- Ed > ed@das.llnl.gov IED tried, Ed, but he just couldn't imagine that a song like _Heads_We're_Dancing_--given its subject matter--could _possibly_ become a hit in the U.S. Not in these benighted, censorship-ridden days. Not when songs as tame and silly as _Papa_Don't_Preach_ or _Just_Like_a_Prayer_ are considered "subversive". Also, IED, for one, likes _Love_and_Anger_ as much as _Heads_ _We're_Dancing_. _Heads_We're_Dancing_ gave him a nightmare. > P.S. I thought Gaffa was a town in Israel. :-) :-) > (Just kidding, folks. Notice the smiley faces?) \ Kidding? KIDDING?? About the Gaffa issue??? : ( / > The Sept. 30 issue of _New Musical Express_ shows the single >entering the charts at number 16. > >-- Ed IED forgot to clarify this point: although all the UK newspapers listed _TSW_'s entry at number 16, they based this on either their own independent surveys or the BMIRC's statistics. The Music Week/Gallup stats are generally considered to be more accurate, however, and _Billboard_ uses them. According to the MW/G lists, _TSW_ entered the charts at number 12. > start at around 2:30, sunday 10/22. all we need is a laser >disk player (dave? ied?)--all other hardware is covered. > >-- tracy Yes. IED will bring his laser-disk player, as well as his Beta VCR. (IED's best copies of the early videos are on Beta.) He will also consult with Larry by phone to see how else he might be able to help out. A splendid time should be had by all! So remember, everyone: the magiK daTe is Sunday, October 22, beginning around 2:30 PM, Pacific time. > This is *obviously* someone who is familiar with *The > Dreaming*. If "Nice to Swallow" is a mistake, it is clearly not the > mistake of the interviewer, but rather of the typesetters. That is not clear at all. In fact, IED would think it less likely that this particular kind of mistake (for of course it _was_ a mistake!) was made by typesetters. Had the title appeared as "Nise too Swaloe" or something like that, IED would have agreed. Far more likely is the possibility that a second (or possibly a third) party transcribed Kate's comments about the albums, and that that person had obviously not learned the correct titles of the songs. The section in which the error appears is boxed and strictly isolated from the larger article on Kate. Whoever was responsible, it is a virtual certainty that whoever was transcribing those separate remarks from the tape of Kate's voice simply screwed up, hearing "Nice to Swallow" instead of "Night of the Swallow". There is, however, _no_ reason at all to rule out the very real likelihood that the error was committed by the interviewer. |>oug's confidence that the interviewer had listened carefully and intelligently to the album, based on the _interviewer's_ singularly unconvincing claim to that effect, seems to IED amazingly naive. IED could offer a dozen examples of British music journalists who claim, either explicitly or implicitly, to have great knowledge of Kate's work, yet betray in practically the same sentence that their knowledge is practically nil. And in IED's opinion, that is precisely what has happened in the "Lady Killers" case. > You are being kind of silly. Kate said "Get Out" because it is her > shorthand for "Get Out Of My House". Musicians almost often have > short names for their songs with long names. Do you think they like > saying while working on an album, "Now let's work on 'Get Out Of My > House' for a bit"? No, they'd rather say, "Now let's work on 'Get > Out' for a bit". IED would only like to point out that it is |>oug, this time--not IED--who is drawing conclusions based on unsupported speculation about how Kate would act and what Kate would say. IED was reprimanded only a day or two ago by |>oug for making far more judicious speculations than the one above. Kate has, to IED's knowledge, almost _never_ abbreviated the titles of her songs in conversation. In all the dozens of video and audio interviews (not to mention the print interviews) that IED has heard over the past eleven years, Kate has nearly always made an effort--even when the effect seemed a bit stilted--to refer to her songs by their full titles. IED would have to agree with James Smith, therefore, that, failing more tangible proof to the contrary, the reference to _Get_Out_of_My_House_ as "Get Out" is still another reason for doubting the legitimacy of this "Nice to Swallow" nonsense. Finally, pwoodruf's theory about _Walk_Straight_Down_the_Middle_ is intriguing, but IED is left in continued confusion about the narrative relevance (and rest assured that there _is_ some narrative relevance) of the birdlike cries Kate emits at the end of the track. Did pwoodruf's infirm bus rider and his distressed wife get attacked by rampaging seagulls a la _The_Birds_ upon exiting the vehicle, or what? -- Andrew Marvick
Love-Hounds-request@GAFFA.MIT.EDU (10/07/89)
Really-From: Pete Hartman <bucc2!pwh@bradley.edu> A few notes to keep my mind off the fact that I STILL can't get the new KaTe single here in Peoria.... I saw the new video for _Regina_ (a hard "g" rather than the soft one usually used in english) by the Sugarcubes last weekend. I had been hearing reviews of the new album saying that it was more "pop" than the first one, and was sort of worried. Luckily, if this song is typical, my fears were unfounded. It did have a more carefree feel to it than some of the really intense songs of _Life's Too Good_, but the music is still solid, and Bjork's voice is as wonderful as ever. I also saw a video by a band called "The Innocence Mission". Does anyone have any info on this band? They (like so many lately, it seems) are also influenced by Kate, and I was struck that there is a fair similarity between the looks of their lead singer/keyboardist, a young woman with long dark hair, and Our Goddess....not to mention that the music seemed similarish. (then again, maybe I'm just suffering from wishful thinking) Any news yet on that midwest KaTe Bash? and pete@i-core....you realize that you've just committed the most heinous sin possible...questioning the charter. I mean this IS rec.music.*gaffa* (and if you haven't heard already, that's a famous work in Bushology....just ask |>oug & IED)
Love-Hounds-request@GAFFA.MIT.EDU (10/29/89)
Really-From: ed@das.llnl.gov (Edward Suranyi) 1) Record Store news: I have confirmed that the album is #1 in all formats at Tower Mountain View. All three formats are in stock now. The CD is #6 at Leopold's Records, Berkeley. 2) Review of the single from _Hot Press_, Oct. 19: _Hot Press_ is an Irish music magazine. The single was released here not long ago; they're just reviewing it now. Another Single of the Fortnight [The first was Kirsy MacColl's "Innocence"] KATE BUSH: "The Sensual World" (EMI) What Katy Did Next. From the album of the same name, the divine Ms B intones a hymn of praise to the seduction of the senses. All of them. Hear it on headphones. Totally awesome. Like, right inside your head she's talking about chocolate cake and breathing YYEEEESSSSSSSSS. A swirling mix of instruments waft around her, the bulk of them Irish -- Davy Spillane, Donal Lunny and John Sheehan -- making a sound that's powerful and dense and tightropes between Irish and Arabic inflections with the ease of a thief of Baghdad. -- Dermot Stokes There's also an ad for the album in this issue. 3) Capsule review of the album in the Oct. 29 _Los Angeles Times_: Yes, I know that's tomorrow's date, but I got a copy of the Calendar section one day early. The _Times_ has its annual Pop Music Special this week, and they have capsule reviews of the 63 albums "expected to generate the most critical and commercial interest of all the post-Labor Day releases during the hectic year-end rush." So here's the review: **** KATE BUSH, "The Sensual World," Columbia. Having the glorious Trio Bulgarka sing on three songs even further expands Bush's already thoroughly developed world vision -- perhaps only Peter Gabriel melds so many elements with such seamless, individualistic flair. Still, some may continue to find her attention-getting vocals precious and her quasi-comic outlook and naked emotionalism off-putting. -- Steve Hochman Out of the other 62 albums reviewed, only four also got four stars: Terence Trent D'Arby, "Neither Fish Nor Flesh"; Bob Dylan, "Oh Mercy"; Soul II Soul, "Keep On Movin'"; and Neil Young, "Freedom". Please don't yell at me if you think Kate is much better than any of these; I'm just telling you what it says. No album got the maximum of five stars. There are pictures of ten of the artists. Kate is one of them! The caption reads, "Kate Bush: Expanding horizons." It's too bad Terry Atkinson appears not to work for the _L. A. Times_ anymore. He reviewed _Hounds Of Love_ in 1985, and it ended up as number one on his year-end ten best list. Ed (Edward Suranyi) |"Kate Bush: Needs more exposure in the United Dept. of Applied Science | States, but a magnificent talent." UC Davis/Livermore | -- Robert Hilburn, ed@das.llnl.gov | _Los Angeles Times_
Love-Hounds-request@GAFFA.MIT.EDU (10/30/89)
Really-From: usenet@PARIS.ICS.UCI.EDU Love-Hounds-request@GAFFA.MIT.EDU writes: >Really-From: ed@das.llnl.gov (Edward Suranyi) >3) Capsule review of the album in the Oct. 29 _Los Angeles Times_: >Yes, I know that's tomorrow's date, but I got a copy of the Calendar >section one day early. The _Times_ has its annual Pop Music Special >this week, and they have capsule reviews of the 63 albums "expected to >generate the most critical and commercial interest of all the post-Labor >Day releases during the hectic year-end rush." >**** KATE BUSH, "The Sensual World," Columbia. Having the glorious >Trio Bulgarka sing on three songs even further expands Bush's already >thoroughly developed world vision -- perhaps only Peter Gabriel melds >so many elements with such seamless, individualistic flair. Still, some >may continue to find her attention-getting vocals precious and her >quasi-comic outlook and naked emotionalism off-putting. > -- Steve Hochman I was just going to post this. Gosh, Ed, can you type it in any faster :-). My biggest complaint about all this is that no one in LA (that I know of) is playing any tracks at all from TSW. On the 17th, when I was leaving for the El Toro Tower, I had to stop for gas. When I was finished, I got into my car, KROQ was just finishing "Love and Anger." The DJ, obviously an escapee from some institution or other, came on afterward and said simply, "Isn't she wieeeerd?" Since then, I've heard not a peep from any station I can imagine might play Kate. It's been very depressing. -- Mark Nagel UC Irvine Department of ICS +----------------------------------------+ ARPA: nagel@ics.uci.edu | The world is coming to an end. | UUCP: ucbvax!ucivax!nagel | Please log off. |
Love-Hounds-request@GAFFA.MIT.EDU (10/31/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK. (mailbag)
For the record: Kate said once, after finishing _The_Dreaming_, that
she had decided that the character of digital sound was less satisfactory
to her than that of analog sound. She said something to the effect that
she _liked_ the slight tape-hiss one got with analog tape. So the
fact that _The_Sensual_World_ is an AAD CD could have been predicted.
Despite the fact that |>oug's only reason for raising the subject
was (apparently) to try to make another low swipe at IED, IED agrees
with |>oug that Kate does seem to have been quite deceitful in her
recent interviews. This does not mean that she was deceitful in the
past, of course--it is the contrast from her earlier (general) policy
that makes this development interesting. But it does make it more
difficult to rely on her testimony, at least when the source is a
major commercial organ like _NME_ or _MM_.
Someone asked what "Novercia" might mean. IED does not know.
Could it be a contraction of "Nova veritas" (new truth) or something?
This sounds very flimsy to IED.
>I remember about a year and a half ago there was much discussion about the
>new Kate album that was supposed to be released in November (1988) and
>would have a "Dr. Who" theme.
>What ever happened to that album? Was it just a flase rumor? I thought that
>the source was either IED or Homeground, both of which seem to be pretty
>reliable.
>
>-- Timo Bruck
No, no, no. No-one ever said that at all, least of all IED!!
What you are (mis-)remembering is a joke report that appeared in
the April 1st, 1988 (i.e. April Fool's Day) edition of _The_Guardian_,
in which it was said that Kate had accepted a role for the next
season of _Dr._Who_. This was _obviously_ false, as IED and at least
one other Love-Hound hastened to point out.
At about the same time there were naively optimistic reports
that Kate's new album was ready. These reports were also pooh-poohed
by IED at the time.
Please, people, try to have a little sense, and make some attempt
to comprehend and retain at least a small amount of what you read.
IED resents being associated with silly rumours about Kate simply because
of dysfunction in other Love-Hounds' minds.
Someone asked where the "KT" sign is hidden in _The_Whole_Story_
and _The_Sensual_World_. You'll need the original vinyl UK edition of
_TWS_ to find that one: it's located only on the run-out groove of
the record itself--not in the cover artwork. As for the new album,
IED believes it is found in the (apparently) natural formation of
the flower's petals, more or less upside down, in the center of the
flower. IED will not swear to this, however, as other fans have already
shown him two other possible "natural" KT formations in the flower.
IED believes that this was Kate's intention: not to put any "KT" sign
on the album at all, then just wait to see where people "see" one anyway.
Big joke, huh? Sort of like the double-groove hoax.
Frank notes that "top-40" radio is annoying for its fear of
anything out of the norm. Absolutely true, of course. In this case, however,
Mark Nagel was reporting about a DJ for _KROQ_, which _used_
to be Los Angeles's one good rock radio station. It once played all
the stuff that no other station would ever dare play. In recent years,
however, cupidity has transformed the station into another mindless
pabulum-monger for the unwashed masses; and their program director
has announced that it will soon be incorporating standard '80s pseudo-metal
into the mix, as well. IED was relieved to see Mark's report, because
he, too, had not heard a single broadcast of any of Kate's new recordings
on L.A. radio, and was worried lest some more fortunate upstate fans
might have begun to doubt him about this. The fact is that, aside
from "Morning Becomes Eclectic", there is _no_ (read "zero") adventurous
contemporary-music radio in the Southern California area at this time.
By contrast, here is Vickie Mapes's latest play-list for _her_ radio
program, "Suspended in Gaffa", which can be heard from 10 p.m. to midnight
(or later, sometimes), on Kansas City's KKFI, 90.1 FM. The following was
her Halloween show (which explains the common theme of the songs):
Kate Bush "Suspended in Gaffa" (theme-song)
Siouxsie and the Banshees "Halloween"
Toyah "The Creepy Room"
Happy Rhodes "Asylum Master"
Jane Siberry "The Strange Well"
Hugo Largo "Scream Tall"
Nina Simone "I Put a Spell on You"
Carla Bley "Musique Mechanique III"
Danielle Dax "The Passing of the Third Floor Back"
Dead Can Dance "De Profundis"
Diamanda Galas/John Zorn "Metamorfosi"
Kate Bush "Carmilla"*
*N.B.: This is the demo song usually referred to as "Camilla". Vickie
hears the name as "Carmilla", which was the title of a Victorian
ghost story by Joseph Sheridan Lefanu. IED hasn't reached an opinion
on this point yet, but notes that "Camilla" is the title of a well-
known novel by Fanny Burney, and that "Camille" is the title of the
classic by Alexandre Dumas (the younger), and Kate might conceivably
have been using an Anglicized form of that name in her song. More
research is needed.*
Kate Bush "The Infant Kiss"
Happy Rhodes "Ecto"
Toyah "Angel and Me"
Mary Kelley "Ghostriders in the Sky"
Kate Bush "Get Out of My House"
Annabel Lamb "Things That I Fear"
Fibonaccis "Old Mean Ed Gein"
Barbara Thompson's Paraphernalia "Fear of Spiders"
The World of Skin "Blood On Your Hands"
Kate Bush "Mother Stands for Comfort"
Fibonaccis "Leroy"
Nico "Janitor of Lunacy"
Siouxsie and the Banshees "Trust in Me"
Happy Rhodes "I'm Going Back"
Kate Bush "Waking the Witch"
Dead Can Dance "Mesmerism"
Diamanda Galas "Wild Women With Steak Knives"
Valaida "You Bring Out the Savage in Me"
Lene Lovich "You Can't Kill Me"
Kate Bush "Hammer Horror"
Santra "Mein!"
Santra "As a Mirror"
Buffy St. Marie "The Vampire"
The Lemon Kittens (Danielle Dax) --title unknown--
Siouxsie and the Banshees "Head Cut"
Siouxsie and the Banshees "Voodoo Dolly"
The Shaggs "It's Halloween"
-- Andrew Marvickray@radlein.UUCP (Ray Radlein) (11/01/89)
In a message of <30 Oct 89 19:04:00 GMT>, Andrew Marvick writes: > IED agrees with |>oug that Kate does seem to have been quite deceitful in > her recent interviews. About the "B-Side" thing that |>oug mentioned: Could she have been referring to "Passing Through Air," perhaps? Wasn't it recorded at David Gilmour's house? > Someone asked what "Novercia" might mean. IED does not know. Could > it be a contraction of "Nova veritas" (new truth) or something? This > sounds very flimsy to IED. If you think *that* sounds flimsy, how about *this*: "Novercia" is an anagram of "Veronica." Not being as familiar as some with the Bush family history, I could not begin to hazard a guess whether this could be the name of some grandmother, aunt, childhood friend, pet cat, or whatnot. Perhaps she was making reference to Archie and Jughead's friend (Veronica was the rich one, right?). :-) > Someone asked where the "KT" sign is hidden in _The_Whole_Story_ and > _The_Sensual_World_. That was me.... > You'll need the original vinyl UK edition of _TWS_ to find that one: it's > located only on the run-out groove of the record itself -- not in the cover > artwork. Aha! Well, this ties in with my question about runout groove messages, doesn't it? > As for the new album, IED believes it is found in the (apparently) > natural formation of the flower's petals, more or less upside down, in > the center of the flower. IED will not swear to this, however, as other > fans have already shown him two other possible "natural" KT formations in > the flower. I've pretty much given up on the flower; Angie thinks she's spotted a "KT" in the shadow's above the right eye of the cover photo (Kate's *left* eye, that is), near her hairline. On even-numbered days, I see it, too. > By contrast, here is Vickie Mapes's latest play-list for _her_ radio > program, "Suspended in Gaffa", which can be heard from 10 p.m. to > midnight (or later, sometimes), on Kansas City's KKFI, 90.1 FM. The > following was her Halloween show (which explains the common theme of the > songs): [deletions galore....] > The Shaggs "It's Halloween" ^^^^^^^^^^ Now *there's* a band that I *never* thought I'd see mentioned in rec.music.gaffa! Scarier, in their own (hopefully) inimitable fashion, than Siouxsie and the Banshees, er, put together.... -Ray R. +========================================================================+ UUCP:{uunet!ncrlnk, gatech!hubcap}!ncrcae!secola!smoak!avcom!radlein!ray FIDO:1:376/14.96, 12.3; UUCP #2: [sdcsvax nosc]!crash!pro-carolina!rayr; ARPA:crash!pro-carolina!rayr@nosc.mil; or INET:rayr@pro-carolina.cts.com "It's not the bullet that kills you -- it's the hole" -- Laurie Anderson DISCLAIMER: "We Only Know in Theory What We Are Doing" +========================================================================+
sja@SIRIUS.HUT.FI (Sakari Jalovaara) (11/04/89)
IED about the "KT" sign: > As for the new album, IED believes it is found in the (apparently) > natural formation of the flower's petals I found it this morning. It isn't on the rose, but it is somewhere on the cover. It is on the CD too but it is not as clear and much harder to find. Keep looking... ++sja
IED0DXM@OAC.UCLA.EDU (11/06/89)
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
Regarding a humor-removing program for Love-Hounds: IED has long
since implemented such a program for his own postings. Wasn't that
obvious?
Contrary to what Drukman said, IED did _not_ say that "the album"
was "pessimistic". He merely said that the "resolution" (taking care
to put Mr. Sutherland's term in quotes, since IED isn't really sure
yet whether all the songs on _TSW_ _have_ "resolutions" at all) of _some_
of the new songs (and IED specified which at the time, Drukman) did
not seem to be _optimistic_. IED really hates seeing his carefully
composed and judicious statements about Kate's work misunderstood
and then flippantly misrepresented by other, less thoughtful Love-Hounds.
Drukman's other apparent remonstrance of IED--that IED was wrong
to condemn Sutherland for having read earlier KT interviews--is no
better founded on IED's own remarks. IED _said_ that it was an
understandable way to conduct a KT interview, in that it might help
the flow of conversation and put Kate more at ease. IED merely pointed
out that--whatever positive effects such disingenuous, or duplicitous,
regurgitation of others' ideas might have had on the _MM_ interview--
it seemed to IED to be rather dishonest, or at least a little sneaky,
of Sutherland to spout those ideas as though they were his own, when
in all likelihood he had merely absorbed them from Kate's own earlier
statements in earlier interviews. Efficacious? Yes. Also probably
dishonest, and certainly self-serving.
Thanks to Michael Hui for notifying Love-Hounds of the imminent
KT piece to be heard on Canadian radio on the 12th. And to Mike
Pritchard for his timely notice re the new Kate Bush video, _Love_and_
_Anger_. (Though right now IED, having as a result of Mike's news
watched--at fast-scanning speed, of course, but still!--some eighteen
hours of "Great White", "Fiona", "Roxette", "Whitesnake" and "Richard
Marx" videos, is not feeling particularly happy about the news that
Kate's work is theoretically to be made accessible through MTV.)
Thanks also to Neil Calton for the news about the new single.
Great to hear that _Be_Kind_to_My_Mistakes_ will finally become
available on CD--assuming that there will indeed be a CD-single
of the new KT _This_Woman's_Work_ single. Also to hear that the
"12-inch" version will have an additional, exclusive track--though,
again, one wonders whether this track will appear on CD or not.
-- Andrew Marvicked@DAS.LLNL.GOV (Edward Suranyi) (11/11/89)
I was in Tower San Mateo yesterday. The album has slipped from #1 to #4, probably in part because they have completely sold out of the CD. I mentioned to the clerk that they seemed to be sold out, and he said, "Yeah, it's been doing really well for us." Yesterday evening KITS played "Hounds Of Love." There was a review of the album in the _San Francisco Bay Guardian_, a free throwaway paper (the same one that has Steve Masters' Weekly Picks). Unfortunately, it's not too good, although the reviewer clearly has liked some of Kate's past work. The one line I remember most is "Frankly, Kate Bush is only interesting when she's being weird. Songs like 'Wuthering Heights', 'Babooshka', and 'Running Up That Hill' were fascinating in part because they were not about her, or in fact about anybody on this planet." Also, in a British magazine (either _Smash Hits_ or _Number One_) there's a caricature of the cover of "The Sensual World" single. It's awful! Oh well. I hope everyone saw the great review from RAW I posted yesterday. Ed (Edward Suranyi) | "Singer/songwriter Kate Bush: The one singer Dept. of Applied Science | on two continents who most deserves a wider UC Davis/Livermore | audience" -- _Saturday Review_ ed@das.llnl.gov | (in special "Underrated/Overrated" issue)
ed@DAS.LLNL.GOV (Edward Suranyi) (11/20/89)
First of all, there's a very favorable review of the album in the
December issue of _Musician_ magazine. Since this magazine is fairly
widely available in the US, I will only quote a few lines from it:
"All it takes is a single listening of _The Sensual World_ to understand
why it's been four years since Kate Bush released an album; a song cycle
as rich and deep as this takes a while to mature."
Well, suffice to say that nearly every line of this review says something
good about the album. If anyone needs to see the entire review, please
e-mail me.
Kate's mentioned a couple of other times in this issue as well. There's
an article about the Innocence Mission, in which the writer says, "Kate
Bush on Valium might sound like this. . ."
Also, there's a review of Agnes Buen Garnas and Jan Garbarek's album
_Rosenfole: Traditional Songs from Norway_. The reviewer likes this
album a lot, and says at one point, "In fact, Garbarek's settings are
surprisingly pop-informed; note how the thudding electro-percussion in
"Lillebroer og Storebroer" recalls Kate Bush's _The Dreaming_."
Now I really want to hear this!
Next, from the Oct. 28 issue of _Melody Maker_:
Our Price, which I now know to be a chain of British record stores, has
a full page ad promoting _The Sensual World_.
There's an interview of Nigel Kennedy, the classical violinist who has
played on some of Kate's tracks. Here's an excerpt:
"EMI Classical's rising star, who won a gold disc and the BPI Classical
Record Of The Year Award for his Elgar Violin Concerto, and has just gone
straight into the album chart, at number 43, with his recording of
Vivaldi's "Four Seasons" [this could never happen in America], has also
played on albums by Talk Talk, Paul McCartney, Judie Tzuke and has been
working with Kate Bush on te long awaited follow-up to 'The Hounds of
Love', 'The Sensual World'."
Then, later in the interview:
"Kennedy makes no secret of his intense admiration for Kate Bush
and the two have been close friends ever since he worked with her on
'Experiment IV'. This time around, he contributed to two tracks on
'The Sensual World'.
"'She's just a great musician, so inspired in her attitude to
music. I think she's one of the greatest composers of the century
in my opinion. That's another type of music that relates to my way of
thinking. You can call it classical, whatever, it just takes in
influences from all over. The main song I played on was "The Fog",
where I played the counter melody to her vocal. I also did chord
banks on another song -- "Heads We're Dancing". We did it in her own
48-track studio. It was all acoustic. I think it's about the best
studio sound I've ever had -- her boyfriend Del is a great engineer.'"
That's it for now, folks.
Ed (Edward Suranyi) | "Singer/songwriter Kate Bush: The one singer
Dept. of Applied Science | on two continents who most deserves a wider
UC Davis/Livermore | audience" -- _Saturday Review_
ed@das.llnl.gov | (in special "Underrated/Overrated" issue)Love-Hounds-request@GAFFA.MIT.EDU (11/29/89)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick
Subject: MisK.
IED observes that his own subject-headings (MisK., Mailbag, KT NEWS,
Kate-echism, etc.)--which date from his beginnings in Love-Hounds well over
four years ago--have recently been adopted by Love-Hounds as diverse as the
dependable, admirable and industrious Ed Suranyi, the interesting Woj,
and the foolish, supercilious and deplorable Jon Drukman. All of you are
welcome to use these headings, of course, though IED ventures to express
the forlorn hope that in borrowing them, Drukman will make at least
a minimal effort to apply some modicum of intelligence to his future
postings. (Should this prove beyond him, Drukman can be expected to
try feebly to steal some of IED's share of that commodity, too.)
Thanks to Bob Kelner for the detailed information about the VH-1
announcement, and to Vishal for the news about _120_Minutes_.
> Oh, if anyone out there knows of other recordings of "My Lagan Love",
> I'd appreciate a short note with the name of the performer and a rec-
> ord label if possible. ThanKs.
>
> -- woj
IED can't recall the label, though he knows it is now out on
CD as well as vinyl and cassette: an album of Irish folksongs
including _My_Lagan_Love_, recorded by the soprano artsinger Angela
Pearson with solo harp accompaniment. In fact, the title of the
album itself is _My_Lagan_Love_. This version (like the old 78
recording by John McCormack) uses the "original" (actually early
20th-century) lyrics. Kate uses new lyrics written for the song
by her brother John Carder Bush. No lyrics survive from the date of
the melody itself, which is probably 18th-century in origin.
> Larry Hernandez: Get a life.
This is the kind of ignorant, patronizing remark that makes
IED a real enemy of Drukman these days.
> Declan Nolan: You're OK in my book. Forthrightness is to be
>highly valued. If only more people on this list (me included) had
>the courage to say what we really think.
Drukman obviously uses his final word loosely. He and Declan
deserve each other.
-- Andrew Marvick (a bitter, bad-humoured but _true_ Kate Bush fan)
"Though the clouds have come, maybe the sun will come out!"Love-Hounds-request@GAFFA.MIT.EDU (11/29/89)
Really-From: Jon Drukman <jsd@GAFFA.MIT.EDU> >Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu > >though IED ventures to express >the forlorn hope that in borrowing them, Drukman will make at least >a minimal effort to apply some modicum of intelligence to his future >postings. (Should this prove beyond him, Drukman can be expected to >try feebly to steal some of IED's share of that commodity, too.) Man, somebody sure woke up on the wrong side of the bed today, eh wot? > > Larry Hernandez: Get a life. > > This is the kind of ignorant, patronizing remark that makes >IED a real enemy of Drukman these days. This is the kind of decontextualized, snide remark that makes Drukman really question the motives of those on the net. I don't suppose you bothered to read the rest of the paragraph wherein I expressed in rather restrained tones my reasons for considering the "Love and Anger" video a less than sterling example of the genre. Shall I appease you and tell you what I _did_ like about it? I already mentioned the dervishes. The editing is wonderful - all those crossfades really help lift this video beyond the realm of the "normal" MTV piece of sludge. But in terms of richness, excitement, and just plain imagination, it falls woefully short. Check out _any_ of the videos from HoL and tell me that LAA is still a great piece of work. Maybe it's great in comparison to the rest of "Guns And Roses" but as a Kate video, it needs more to be considered "great." > > Declan Nolan: You're OK in my book. Forthrightness is to be > >highly valued. If only more people on this list (me included) had > >the courage to say what we really think. > > Drukman obviously uses his final word loosely. He and Declan >deserve each other. Here we obviously see the real reason for IED's picking on poor little old me. I think Declan deserves full marks for coming forth with an admittedly controversial review of TSW. You gonna consider him doggie dirt just because he dares to think that Kate has slipped? I don't personally agree with his assessment of Walk Straight Down The Middle, but I'm not going to say that he can't think just because he posted something saying that he didn't like it. I will take his band reviews and recommendations with a grain of salt in the future, that's all. I suggest you lighten up and do the same or risk becoming a bloated self-parody. >-- Andrew Marvick (a bitter, bad-humoured but _true_ Kate Bush fan) > "Though the clouds have come, maybe the sun will come out!" If a _true_ Kate Bush fan is one that uncritically accepts everything she does as total brilliance and light, then mark me down as a decidedly _false_ one. And you're darned tootin about the clouds. I don't know where you got the quote from, but it certainly is appropriate for Kate these days. -- Jon Drukman (a sarcastic, wicked gleam-in-the-eye, probably _false_ Kate Bush fan) "No future for you!"
Love-Hounds-request@GAFFA.MIT.EDU (11/29/89)
Really-From: Peter Glen Berger <pb1p+@andrew.cmu.edu> Love-Hounds-request@GAFFA.MIT.EDU writes: > From: Andrew Marvick > Subject: MisK. > four years ago--have recently been adopted by Love-Hounds as diverse as the > dependable, admirable and industrious Ed Suranyi, the interesting Woj, > and the foolish, supercilious and deplorable Jon Drukman. All of you are Gee, aren't any of you whiners going to flame IED for not saying "in my opinion" when discussing Jon Drukman? Oh, and IED: when you write about others being patronizing, remember the old phrase: "Physician, heal thyself". Your prose style is disgustingly condescending. At least Jon isn't pretentious. Praise without criticism is useless. ------------------------------------------------------------------------ Pete Berger || ARPA: Pete.Berger@andrew.cmu.edu Professional Student || BITNET: R746PB1P@CMCCVB Carnegie-Mellon University || NEXUS@DRYCAS Do not attend this college. || UUCP: ...!harvard!andrew.cmu.edu!pb1p ------------------------------------------------------------------------ "If only I could/make a deal with god/and get him to swap our places..." ------------------------------------------------------------------------
Love-Hounds-request@GAFFA.MIT.EDU (11/29/89)
Really-From: ed@das.llnl.gov (Edward Suranyi) First of all, a big thank you to |>oug for fixing rec.music.gaffa. The Love-Hounds Digest was working fine for the last week, so there was stuff posted. For those of you who don't get the digest, the most important news item (IMHO) is that VH-1 will have a special on Kate on December 12. Everybody, have your VCRs ready! Thanks to IED for his kind words about me. Now, the news: I was down in L.A. over Thanksgiving weekend, and I noticed that CBS has *finally* started to provide promotional materials to record stores. There is a poster which has a picture of the album cover, and below that it says KATE BUSH in large letters, black on a somewhat ugly orange background. There is also a flat, which has a picture of the album on one side. The other side has the same orange background as the bottom of the poster, and in black letters it says KATE BUSH THE SENSUAL WORLD. Between the artist and title is a white line drawing of a flower, seen from the side -- NOT the same view as on the album cover. Check around and see if any of your local record stores have put any of this stuff up. They made a pretty good display out if it at the Music Plus in Studio City and (perhaps accordingly) the album is number one there. Next, I was able to obtain the new CD single at Bleecker Bob's in L.A. I was discussing this with Andrew Marvick, and we think we see only minor differences between the "Single Mix" version of "This Woman's Work" and the album version. He finds some differences between the new and old versions of "Be Kind To My Mistakes" I'm not sure yet. Of course, my copy of the old version of BKTMM is pretty damn poor, having been taped off a VCR when I rented the movie once. The ending is definitely different. As for the new song, "I'm Still Waiting", well, it's absolutely terrific. It's got quite a good beat -- you could actually dance to it, I think. Here's the review of the album from the November _20/20_, a slick British arts magazine: Kate Bush: 'The Sensual World' EMI 1985's 'The Hounds Of Love' tranformed Kate Bush from mildly charismatic pop curio to fully-blown eccentric genius. 'The Sensual World' is more readily accessible (no side-long thematic suites in the vein of 'The Ninth Wave'), its ten songs mostly working within a conventional format, the faster moments in the vein of 'Big Sky' and 'Cloudbusting'. But when the pace slows, the music becomes more beautifully indulgent. The opeining title track will already be familiar, having entered the charts at number 12 in the first week of release, and as soon as Kate sings the opening line 'When I take the kiss of seedcake right from his mouth' you know this is going to be the maladjusted, lunatic adventure of her career. From that dizzy start, the album proceeds from on delirious swoon to another: 'Never Be Mine' and 'This Woman's Work' echo 'The Man With The Child In His Eyes', ricocheting with soulful, Marvin Gaye-ish abandon. 'Reaching Out' and 'Deeper Understanding' mine the familiar, swirly vein that we've come to expect, but Kate never plays to the crowds: 'The Fog' is another matter entirely, using two chords to spark up a snowstorm in your head. The Beatles may have been bigger than Jesus, but Kate Bush is sexier. -- Paul Lester Lastly, the current issue of _Rolling Stone_ is the annual year-end special, so there are no record reviews. (The album has *still* not been reviewed in this magazine!) There is a paragraph about Kate in the section dealing with the events of October, as well as a small picture. I will type in the Pulse! magazine interview for my next posting; hopefully it will appear later today. Ed (Edward Suranyi) | Caption: "Kate Bush goes from cult fave to Dept. of Applied Science | chart rave." -- _Billboard_ UC Davis/Livermore | (In "Was It A Hit Or A Miss" in the 1985 ed@das.llnl.gov | year-end special issue.)
Love-Hounds-request@GAFFA.MIT.EDU (11/29/89)
Really-From: Jon Drukman <jsd@GAFFA.MIT.EDU> >Really-From: Peter Glen Berger <pb1p+@andrew.cmu.edu> >Oh, and IED: when you write about others being patronizing, remember >the old phrase: "Physician, heal thyself". Your prose style is >disgustingly condescending. At least Jon isn't pretentious. Peter, I salute you. However, I am very pretentious, in the strict dictionary sense of the word ("1. Claiming or demanding distinction or merit. 2. Making an extravagant outward show; ostentatious") The key difference between myself and IED is that I have a sense of humor. Also, I embrace my pretension and celebrate it. But I still appreciate your remarks, of course. >Praise without criticism is useless. Well, at last someone has hit the nail on the head. Thank you for summing up my attitude in five neat words. I've been trying to get this across for years now, but all my verbiage has been outdone by this simple statement. These are words to live by, folks. Now, since I've gone on record telling you what I like and dislike about the Love And Anger video, perhaps some of you blind fanatics can itemize exactly why _you_ think it's so damn good? +---------------------- Is there any ESCAPE from NOISE? ----------------------+ | | |\ | jsd@gaffa.mit.edu | "To serve God, you gotta be stupid and | | \|on |/rukman | jsd@umass.bitnet | freakish and poor." -- ?? | +-----------------------------------------------------------------------------+
Love-Hounds-request@GAFFA.MIT.EDU (11/29/89)
Really-From: M G SriRam <msriram@cis.ohio-state.edu> Ed: i possess a VCR but it's tuner is bad news and i am not sure what VH-1 is, anyway! is there a way that i could maybe obtain a copy of the Kate Bush special on VHS videotape if i send you a blank tape? many thanks! sriram
Love-Hounds-request@GAFFA.MIT.EDU (11/29/89)
Really-From: NEWSMGR@KONTU.UTU.FI
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U!Love-Hounds-request
Newsgroups: rec.music.gaffa
Subject: MisK.
Message-ID: <8911281953.AA10284@EDDIE.MIT.EDU>
From: Love-Hounds-request@GAFFA.MIT.EDU
Date: 28 Nov 89 19:49:00 GMT
Reply-To: Love-Hounds@GAFFA.MIT.EDU
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Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick
Subject: MisK.
IED observes that his own subject-headings (MisK., Mailbag, KT NEWS,
Kate-echism, etc.)--which date from his beginnings in Love-Hounds well over
four years ago--have recently been adopted by Love-Hounds as diverse as the
dependable, admirable and industrious Ed Suranyi, the interesting Woj,
and the foolish, supercilious and deplorable Jon Drukman. All of you are
welcome to use these headings, of course, though IED ventures to express
the forlorn hope that in borrowing them, Drukman will make at least
a minimal effort to apply some modicum of intelligence to his future
postings. (Should this prove beyond him, Drukman can be expected to
try feebly to steal some of IED's share of that commodity, too.)
Thanks to Bob Kelner for the detailed information about the VH-1
announcement, and to Vishal for the news about _120_Minutes_.
> Oh, if anyone out there knows of other recordings of "My Lagan Love",
> I'd appreciate a short note with the name of the performer and a rec-
> ord label if possible. ThanKs.
>
> -- woj
IED can't recall the label, though he knows it is now out on
CD as well as vinyl and cassette: an album of Irish folksongs
including _My_Lagan_Love_, recorded by the soprano artsinger Angela
Pearson with solo harp accompaniment. In fact, the title of the
album itself is _My_Lagan_Love_. This version (like the old 78
recording by John McCormack) uses the "original" (actually early
20th-century) lyrics. Kate uses new lyrics written for the song
by her brother John Carder Bush. No lyrics survive from the date of
the melody itself, which is probably 18th-century in origin.
> Larry Hernandez: Get a life.
This is the kind of ignorant, patronizing remark that makes
IED a real enemy of Drukman these days.
> Declan Nolan: You're OK in my book. Forthrightness is to be
>highly valued. If only more people on this list (me included) had
>the courage to say what we really think.
Drukman obviously uses his final word loosely. He and Declan
deserve each other.
-- Andrew Marvick (a bitter, bad-humoured but _true_ Kate Bush fan)
"Though the clouds have come, maybe the sun will come out!"mendel@CS.UIUC.EDU (Michael Mendelson) (11/30/89)
First of all, a big thank you to |>oug for fixing rec.music.gaffa. The Love-Hounds Digest was working fine for the last week, so there was stuff posted. For those of you who don't get the digest, the most important news item (IMHO) is that VH-1 will have a special on Kate on December 12. Everybody, have your VCRs ready! Aha! Just as I had expected. For those of us impoverished souls who missed a week of Snap, Crackle, Kate!, could someone please repost any details on this VH-1 special... like *what time*? Or is that still an unknown? . /\/\ / /\/\ / / /_/ / / / "No pinky ring hustlers, No sabre-tooth neighbours"
ed@DAS.LLNL.GOV (Edward Suranyi) (12/04/89)
1) For Bay Area Love-Hounds: I was just at Reckless Records
(Haight @ Masonic in S.F.) today, and they have the new UK single
("This Woman's Work") in all of the following formats:
7", 12", CD, 12" limited edition with a fold-out poster,
and 7" picture disk. Well, they may not have any more of the
picture disks; I think I got the last one!
This same store still has some subway posters for "The Sensual World"
single.
2) I just saw the November 27 playlist for KITS. "The Sensual World"
is up to number two, and "Love And Anger" has been added at number
29 (the highest add of the week). Just think: two Kate songs in the
top 30 simultaneously! I never thought I'd see the day.
3) A review of the album from the December _Request_, the in-store
magazine of Musicland and Sam Goody. The review is generally favorable,
but it ends on a sour note that I must comment upon.
KATE BUSH
SENSUAL WORLD
(COLUMBIA)
Back when the rest of Britainnia writhed in the throes of punk, a
precocious 16-year-old Kate Bush was harboring images of a mythic
Victorian England in which arcane literature was savored in the privacy
of carefully tended gardens. Visions of midnight moors and star-crossed
lovers danced in her head as she recorded her 1978 debut, "Wuthering
Heights," a breathless single that promptly went to No. 1 on the English
pop charts. Afraid of flying and reluctant to tour, she outfitted her
charmed world with a home studio, a musical sanctuary where her
increasingly elaborate recordings could take shape without outside
interference.
Surprisingly, Bush's relative seclusion over the years has coincided
with an expanding musical vision, much as a cloistered child might
explore exotic worlds armed only with some musty tomes and an overactive
imagination. Albums like _The Dreaming_ and _Hounds of Love_ layered
rhythms and electronic samples over epic song structures, parelleling
similar inclinations in the work of her friend and occasional
collaborator, Peter Gabriel. _The Sensual World_, Bush's first album
in four years, tempers those experimental inclinations with the more
straightforward pop sensibilities of her first three albums. Pink
Floyd's David Gilmour and Bulgaria's Trio Bulgarka lend helping hands
on several cuts, the most impressive of which is "Rocket's Tail." The
track starts out as an _a capella_ number and expands into a full-blown
rocker, as the throaty quavering Eastern European voices release Bush
from her Victorian inhibitions into a state of expressionist frenzy.
_The Sensual World_ also includes the suitably Celtic title cut
(inspired, as it was, by Joyce's _Ulysses_), the exhilarating "Walk
Straight Down The Middle" (on CD and cassette), and the contemplative
"Never Be Mine." Together, they showcase Bush's intricate melodies,
imaginative keyboards (a lot more piano this time around), and sweet
mock-operatic vocal stylings. Occasionally a cloyingly pretentious
cut like "The Fog" effectively breaks the spell cast by most of _The
Sensual World_. It's the kind of self-indulgence that suggests our
heroine may be spending a bit too much time in the garden with her
precious books.
-- Bill Forman
Well, if Mr. Drukman can call "Reaching Out" "horrible", then I guess
Mr. Forman can call "The Fog" "cloyingly pretentious". Please forgive
me if I politely disagree with both of you. And also, Jon, I like
"I'm Still Waiting" a lot; I like it more than "Walk Straight Down
The Middle", for example (though I like that song, too).
Oh yes, I think the "Single Mix" of "This Woman's Work" pushes the
orchestra forward. The cellos seem to be much more prominent than
on the album version. I wonder if anybody else thinks so.
4) Reviews of the new single from the British press:
The following reviews of "This Woman's Work" all appeared
in the November 25 issues of these magazines.
From _New Musical Express_:
The whole story of this song should guarantee sentimental naffness.
Is it possible through pop to truly represent the emotions of a young man
stranded in the waiting room while his lover's life is threatened by
the birth of their baby? I think not. Unless you're Kate Bush. Oh,
how I want her to have my children!
-- Len Brown
From _Melody Maker_:
A luscious, spiritually elevating, showstopper/ballad from the
artnymph of the aureoles, who's surely never done a day's work in
her life. How does anyone get that much cool air into a voice? Sort
of "The Man With The Child In His Eyes" as interpreted by Leonara
Carrington [who?]. Ecstatic with wintry tragedy. So undeniably
beauteous that for me to sell it further would be heresy. Quietly,
one does wish she'd released "Rocket's Tail", but maybe that's
next. Heaven's Kate.
-- Chris Roberts
From _Sounds_:
Hardly a commercial sound, although it's already seen daylight on
the soundtrack for _She's Having A Baby_. It's a bit profound for a
John Hughes flick -- the line "Oh darling just make it go away" is a
heartbreaker coming from a young woman experiencing motherhood for the
first time -- and orchestrated to buggery by the fussy Michael Kamen.
On the B-side, with "thanks to Nicolas Roeg", is 'Be Kind To My
Mistakes', a song from _Castaway_. This is even less commercial, a sort
of jungle melodrama with hints at tension. These two sides smack of
complete disregard for the Top 40. Good on her.
-- David Cavanagh
Ed (Edward Suranyi) | Caption: "Kate Bush goes from cult fave to
Dept. of Applied Science | chart rave." -- _Billboard_
UC Davis/Livermore | (In "Was It A Hit Or A Miss" in the 1985
ed@das.llnl.gov | year-end special issue.)jsd@GAFFA.MIT.EDU (Jon Drukman) (12/04/89)
In article <8912040414.AA07441@das.llnl.gov> ed@DAS.LLNL.GOV (Edward Suranyi) writes: >Well, if Mr. Drukman can call "Reaching Out" "horrible", then I guess >Mr. Forman can call "The Fog" "cloyingly pretentious". Wrong. "The Fog" is NOT cloyingly pretentious, it is a work of sheer genius and it gives me a hard time justifying last night's comment that "Be Kind To My Mistakes" is Kate's finest moment post-HoL. So, therefore Mr. Forman can NOT call "The Fog" what he called it. I am allowed to call "Reaching Out" horrible because it is. (BTW, if anyone takes this whole paragraph seriously, please ram a red hot poker up yer bum. It might take you back to reality.) >Please forgive >me if I politely disagree with both of you. And also, Jon, I like >"I'm Still Waiting" a lot; I like it more than "Walk Straight Down >The Middle", for example (though I like that song, too). I dunno. I tried real hard to like "I'm Still Waiting" but it's just a little too hippy-dippy for my tastes. It does have some strong points in its favor, as I mentioned before, and you can add to the list the nifty piano sample that is married to the kick drum. I like touches like that a lot, but the choruses are just so bubbly that I want to scream. She can do better, as well we know. >Oh yes, I think the "Single Mix" of "This Woman's Work" pushes the >orchestra forward. The cellos seem to be much more prominent than >on the album version. I wonder if anybody else thinks so. I don't think so. Or, if they are, I can't hear it, and I have (if I say so myself) a pretty good ear for these sorts of things. Maybe they're pushed just the tiniest amount up, but it certainly doesn't qualify for the "single mix" appellation that the EMI cretins have given it. I noticed that they also trimmed the INTRO as well as the fade and the bridge of "Be Kind To My Mistakes." The song runs under three minutes after this apppalling surgery! I am well furious now; I suppose you can call me a "bitter, bad-humoured Kate Bush fan" as well as IED... "The storm is coming back." +---------------------- Is there any ESCAPE from NOISE? ----------------------+ | | |\ | jsd@gaffa.mit.edu | "To serve God, you gotta be stupid and | | \|on |/rukman | jsd@umass.bitnet | freakish and poor." -- ?? | +-----------------------------------------------------------------------------+
ed@DAS.LLNL.GOV (Edward Suranyi) (12/10/89)
I've got a bunch of things for you this time.
1) In the Dec. 6 _San Francisco Bay Guardian_, there's a holiday
gift guide. Gina Arnold wrote a column on record recommendations.
The first page of this article has a huge picture of Kate; it takes
up about a third of the page. Ms. Arnold has divided people into
categories, and made recommendations for each. For example, one
category is: "Regular Teenage Boys (who have Metallica's _And Justice
For All_ in their record collecton)"
Well, here's what she says a little later:
Parents (Moms and dads both, except for the Field family):
Kate Bush, _The Sensual World_ (Columbia)
Opal, _Early Recordings_ (Rough Trade)
Of course, I always use my own parents as guinea pigs, so I first
asked my dad if he'd like the new Tracy Chapman record for Xmas. He
sighed. "I suppose so," he said, dubiously. "She's a bit glum, though,
isn't she?"
Well, rest assured, Dad, there's plenty of equally sensitive,
folky albums that aren't quite so glum as Trace. Opal's early recordings
are steeped with depressive metaphors and sadness, but they are hardly
about the ills of the world. In fact, they take place in some dream
space that never touches on reality. Kate Bush is also a dreamer, whose
pretty voice and sensual songs can take a listener to a galaxy far, far
away. These are both infallibly likable records.
2) The Dec. 6 _S.F. Weekly_ also has a gift guide. In this paper,
there's a column where local (i.e. Bay Area) musicians reveal the
albums on their holiday wish lists. Here's part of it:
PAUL KANTNER
Jefferson Airplane
Big Audio Dynamite, Megatop Phoenix (Columbia)
Kate Bush, The Sensual World (Columbia)
Wagner's "Ride of the Valkyries"
"The first two, because they take chances and explore frontiers; the
third, because it's good music to invade France by."
3) Once again I found a wonderful review of the album. This one is
in, of all things, _Dance Music Report_, published in New York. It's
from the Nov. 19 - Dec. 1 issue. Here it is:
KATE BUSH
"The Sensual World" (Columbia 44164)
Produced by Kate Bush
Now I come from England and over there Kate Bush has been huge
since her first album, "The Kick Inside" spawned a number one single
called "Wuthering Heights". She went on to make more albums --
"Lionheart", "Never For Ever", "The Dreaming", "Hounds Of Love" --
which got more individual and experimental as she went along. Nobody
has ever sounded like Kate -- for easy reference maybe she could be
considered a female Peter Gabriel. But I'm only saying that cos in the
US she has enjoyed little more than a large cult. And the reason has to
be that this remarkable artist, who operates within her own world and
time-scale, is quite possibly *too* unique and, yes, "far out", for the
safe, predictable world of the American radio-dominated robo-punter.
But take the time and there is a treasure-trove of delights and
brilliant music to be found in Kate's finely-crafted music.
And so to "The Sensual World", more than three years in the making
and as intriguing, intoxicating, inspiring and individual as anything
she's done before. Where Kate's first three LPs were finding her feet
and made on a rush of overnight acclaim, the last three have taken a
lot of time and effort to produce -- by the time the 80s bow out
there will only have been four Kate Bush albums. [I think he means
that she'll have put out four albums during the 80s, including _TWS_.]
And that's the way it has to be -- every cut is composed by Kate with
her piano (and later synth), then sculpted into shape in the studio
using suitable musicians for each cut. Whereas "Hounds" was half-composed
of an ambitious side-long suite and, contrastingly, cuts like "Running Up
That Hill" and "Big Sky", which made great singles, "The Sensual World" is
ten perfectly-crafted tracks which range from her gorgeously-textured
mid-tempo stuff like the aptly-named title cut to Kate's trademark
heart-stroking ballads. Only the title cut, with its "mmh, yes" vocal
hook and the distinctive tones of the traditional Irish Uillean pipes,
seems to be an obvious single (and it is). Never does this remarkable
lady pander to any trend or anybody to take the easy out. Each album
is a labour of love, a single entity with its own character. The mood
on this one is quite subdued, lush, densely-textured with much use
of ancient instruments (long a specialty of her brother Paddy, who
plays on the record).
The single opens the LP, followed by the gradually-building tension
of "Love And Anger", the closest thing to the last album with its mass-
chorale and impassioned vocal. The first truly breath-taking moments
come with "The Fog", a misty, atmospheric floater which seems to deal
with growing up and the love of family. A predominance on violin and
cello (plus orchestra) give the cut a rich texture like an aural
painting of the last century using 90s technology. It's completely
beautiful -- and Kate's doctor dad makes a cameo! "Reaching Out" is
the kind of at-the-piano ballad she excells at, which again harks
back to childhood emotion. Great strings. "Heads We're Dancing"
takes a step back to World War 2 with its evocative lyrics and
could be the next single as Kate establishes a groove which is
exotically percussive and electronically-boosted at the same time.
Side Two kicks off with "Deeper Understanding", a quite
sinister tale of computer infatuation-then-madness. It's the first
of three cuts with the amazing Trio Bulgarka, three Bulgarian women
who contribute soaring, emotive harmonies and lift the cuts they're
involved to another dimension altogether. "Between A Man And A Woman"
is a dense, multi-layered pulse with an atmosphere of magic and
mysticism. "Never Be Mine" brings back The Trio to sing out their
hearts behind a stomach-clasping ballad of lost love. The most "normal"
cut is "Rocket's Tail", with guitar by Pink Floyd's Dave Gilmour (who
produced the original demos by a 16-year-old Kate Bush in the early
70s). Well, not *that* normal. It begins with Kate and the Trio
beseesching half the words a capella before the band lurches in to
let Mr. Gilmour wail away as he is wont to do over a Floyd-ish plod.
The subject matter appears to concern a guy intent on impersonating
a rocket by dressing up in a pointed hat, silver suit with a firework
back-pack -- he lands in the drink. This stunning set bows out with
my favourite cut, "This Woman's Work", just Kate and her piano (backed
by a tasteful orchetra) pouring out a melancholy ode to lost love and
loneliness. It kind of evokes "Don't Give Up", the heartbreaking
duet she did with Peter Gabriel in '86. Kate's fragile strength is
at its peak here and I love it.
Obviously there will be singles pulled off this album, maybe even
given dance remixes, but it's this LP that's Kate's masterpiece and one
of the best things she's done.
-- Kris Needs
4) The album continues to be in the Top 25 all around the Bay Area.
5) I just saw KITS' latest playlist (Dec 5). "The Sensual World"
has ended its long, slow climb: it is now number one, after being at
number two last week! "Love And Anger" jumped from #29 to #21.
6) This morning, VH-1 showed the ad for the album *four times*
between 6 am and 11 am. (No, I didn't sit through all this. I had
my VCR tape it, and then watched it in search mode. I'm trying
to catch an ad for Tuesday's special.) So it really looks like
Columbia is starting to do something.
You know, I have a theory about this. Perhaps Columbia *wanted*
to wait until the album became big in the alternative scene before
launching it to the public at large. Maybe they think that the
word of mouth generated would help them in what seems to be a
second release of the album.
Ed (Edward Suranyi) | Caption: "Kate Bush goes from cult fave to
Dept. of Applied Science | chart rave." -- _Billboard_
UC Davis/Livermore | (In "Was It A Hit Or A Miss" in the 1985
ed@das.llnl.gov | year-end special issue.)IED0DXM@OAC.UCLA.EDU (12/12/89)
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
IED answers Brian's questions because others may be interested,
but not to help out Brian, whose ramblings about "faults" in Kate's
new album annoyed IED as much as they were intended to.
>1. What is the phrase Kate repeats at the end of "Watching You Without Me",
> after the goofy secret message (which I liked much more *before* I knew what
> she was singing)? It sounds like "release me" to me sometimes, but I'm not
> sure.
It's a backwards message, and it says "We see you here."
>2.Is the 12" version of Cloudbusting the same as the album version? I didn't
> think Kate would do this, but when I saw the 12" in a store, it didn't seem
> to indicate that it was any different, and in fact, said "Taken from the LP
> The Whole Story". What's the deal? Did they release this in conjunction
> whith TWS, or am I just hallucinating again?
You're looking at the back of the U.S. edition of the 12" ("Orgonon
Mix") of _Cloudbusting_. It was released to support _TWS_, although
the twelve-inch Orgonon Mix is completely different from the LP mix
heard on _TWS_ and on _HoL_. The Orgonon Mix was originally released
as the second single from _Hounds_of_Love_, but by the time EMI-America
released it, it seemed better to connect it with _The_Whole_Story_,
because it was so late. A third mix--the video's soundtrack--also exists of
the song.
>3. IED (if you're still reading this), could you describe again the backing
> vocals of the last part of "Breathing"? Your original description of what i
s
> being said and how it meshes with Kate's lead seemed intruiging, but when I
> went back to listen to the song, I could not pick up what you were pointing
> out.
There are some really neat things about the end section of
_Breathing_. First, the way the chorus asks questions and the lead
vocalist makes statements recalls the interaction of chorus and
actors in Greek theatre.
Of more direct relevance to the song itself, though, is the
double-entendre of the word "without". Right up until the last
line, the chorus seems to be asking the simple question, "What
are we going to do without?" In this case, the word "without"
would seem to be meant as a synonym for "outside"--as the opposite
of "within". The meaning of the question seems to be, therefore,
"What are we going to do when we are born? When we leave the
womb and must face the outside world?"
Only in the crashing, climactic last line of the song
does it become clear that this question is really incomplete--
that the entire question is: "What are we going to do without
_breathing_?" And you could also say that _both_ of these questions
by the chorus are answered by the chorus's final words: "We are all
going to die without breathing." (Try reading it this way, as an
answer to the _first_ question, "What are we going to do without?":
"We are all going to die without, _breathing_.")
The really wonderful thing about this play on words is
the way it dovetails with what the foetus itself (Kate's lead
vocal) is saying: "Please let me breathe! Life _is_ breathing."
Only with that last note and that last word do the
chorus and the foetus-heroine conjoin. Both the statement
"We are all going to _die_ without breathing" and the statement
"_Life_ is breathing" finish up with the common word, yet they
are saying the same thing from _opposite_ perspectives. Almost
in reflection of that dichotomy, the last word, "breathing", is
heard _backwards_ (as though the breath is finally sucked in--
or out?--for the last time), to give the listener a very direct
sonic impression of "life/without/breathing".
Now IED doesn't argue that all of these things were planned
in a completely cool-headed, calculating way by Kate when she
wrote the song. But I do think that they are real, and that a lot
of this kind of complex double-meaning comes about more or less
through artistic instinct. Whatever the degree of premeditation,
IED thinks it's an absolutely brilliant artistic concept, and
one which Kate has realized with typical perfection:
"What are we going to do without?"
Ooh please!
"What are we going to do without?"
Let me breathe!
"What are we going to do without?"
Ooh, Quick!
"We are all going to die without!"
Breathe in deep!
"What are we going to die without?"
Leave me something to breathe!
"We are all going to die without!"
Oh, leave me something to breathe!
"What are we going to do without?"
Oh, God, please leave us something to breathe!"
"We are all going to die without
Oh, life is--Breathing.
>4.Has anyone seen any version of the "This Woman's Work" single in Boston? Do
> we think it's worth picking up just for the B-sides, kids? I never even saw
> a "Love and Anger" single, was there one? What was its B-side?
Yes, there is a U.S. cassette-single. The b-side is _Walk_Straight_
_Down_the_Middle_.
Jorn Barger asks whether he goes too far in giving Kate credit
for hitting on an idea before its time, so to speak. IED thinks not.
You are right, Kate did indeed mean just what you say, and IED thanks
you for pointing it out.
>Grow up Andrew,
>and face the faKT that you are embarassing yourself and Kate in the process.
IED, like Peter Pan, refuses to grow up. And though he may
often embarrass himself, he will never be able to embarrass Kate Bush.
Fortunately she remains completely untouched by anything IED (or anyone
else in this group) has to say about her and her art.
> Sure, it's fun to see Jon Druckman provoke you to near hysterics, but your
> lack of objectivity only proves "your own ignorance and lack of taste".
This is a completely illogical claim. A lack of objectivity is something
quite different from a lack of knowledge, or a lack of discernment. Certainly
you are right to say that IED is not objective. He says as much himself
regularly in this group. But IED is not ignorant of the subject about which
he holds such strong opinions, and he does not show a lack of discernment
in his expression of those opinions. But there is clearly no hope that
IED will be able to affect the discernment of anyone who, like you, David
Smith, proudly describe a work like _Reaching_Out_ as "just bombastic
caca". Fortunately, IED has faith that most Love-Hounds can see for
themselves just who is demonstrating ignorance and tastelessness here.
>Did anyone see the post I sent a while back comparing the times shown on
>the actual tape that Kate delivered to EMI? (Picture in the last KBC issue)
>The times shown there would indicate that "the laugh" did indeed belong to
>"Love and Anger".
IED did, and thanks you very sincerely for drawing all Love-Hounds'
attention to this substantial piece of evidence.
Andrew M. Jones writes:
>One that immediately comes to mind is the |>oug KaTe interview, in which
>|>oug allegedly mistranscribed a word. Shock! Horror! Castrate him!!
>As a result, IED launched a tyrade against him. The phrase "Now listen to
>this, love hounds. This is really rich!" sticks in my mind. To add insult
>to injury, IED admitted |>oug's version of the transcribed word was a
>real word (something about Donkeys), whereas IED's was a made up one, which
>knowing KaTe the way he does, must definitely be the truth. Hail Caeser!
Look, go back and read the exchange before dredging up old
arguments like this. You've got the _entire_ thing terribly mixed
up. The donkey stuff was completely separate from the stuff about
the word |>oug misheard, and it regarded a completely different song.
If you really want to go to the trouble of bringing up those two
separate issues again, IED will oblige you. But get your facts
straight first.
>Another two events were |>oug's "repuation on the line challenges" to IED
>about digging up quotes. Two occasions in which |>oug did exactly as he
>said he would, and IED eventually responded by insulting |>oug.
That's not true. IED responded by admitting he was wrong, and
stating publicly that "|>oug knows more about Kate Bush than IED
knows or will ever know." Why are you misrepresenting the facts as
they occurred before every Love-Hound's eyes?
>IED continually insulted Tim Maroney, so that he's no longer seen in this
>newsgroup any more. This is a shame.
That's a disgusting, irresponsible accusation! IED had nothing
whatever to do with Tim Maroney "leaving" Love-Hounds! As a matter
of fact, Tim was criticized more often by _other_ Love-Hounds than by
IED, who soon discovered the pointlessness of discussion with Maroney,
and let him be. But more importantly, no one in this group can be made
_responsible_ for Maroney's or anyone else's personal decision to
take part in Love-Hounds discussions. You are one of several Love-Hounds
who have recently made statements to the effect that the harshness
of IED's words somehow "intimidated" other people out of the group.
That's absurd, and probably Tim Maroney would be insulted that you
could think him so soft-skinned as that. Anyway, this is a forum
for free expression. If someone doesn't enjoy what IED has to say,
he/she has the same opportunities that IED has to respond, the same
freedom that IED has to stay or to leave.
>It surprises this humble recently-resubscribed reader that IED considers
>any one of Kate's works to be perfect. If this were indeed the case,
>and some work *were* perfect, then Kate would simply stop putting out
>albums. This doesn't seem, however, to be the case.
>
>--woodstock
This doesn't seem logical to IED. The idea seems to be that achievement
of perfection in one work of art renders the aspiration to perfection
in another obsolete, as though perfection can by definition take only
one form. In actuality, isn't "perfection" a general property which appears
differently in each of Kate's works, just as those works themselves
sound different from each other? Why must their variety affect their
perfection?
>Obviously, Kate thinks at least one of her songs is imperfect: which
>version of "Wuthering Heights" is perfect?
>
>-- Michael Sullivan uunet!jarthur.uucp!aqdata!sullivan
Well, each is perfect in a different way. (Insofar as any of
the recordings from _TKI_, _LH_ or _NFE_ can be called Kate's own
work. In addition to the vocal, you'll notice that Kate made considerable
changes to the sound of the instruments on that track when she re-mixed
it.) Anyway, IED doubts--along with you--that Kate would consider
any of her own works to be truly "perfect". She has, however, said
often that there comes a point in the recording process when nothing
can be added or taken away from the track which would improve it, and
that that is the point when the recording is "finished". And that is
exactly what Julian West recently posited as a definition of
"perfection".
> This would lead me to believe, that there are
> other relatively good arrangement/transcriptions
> of Kate's music.
> Does anyone know of any other collections? I would suspect
> they are from the U.K.
> Steve
Well, Steve, there are other editions of Kate's music in bookform,
but none is any more detailed than _The_Best_of_Kate_Bush_. If you
want _more_ of the same quality, however, seek out another Cecil Bolton
edition of Kate's music, called _Kate_Bush_Complete_, which contains
similar sheet-music records of sixty-six of Kate's songs, and also
has an excellent chronology of Kate's career by Peter FitzGerald-Morris.
-- Andrew Marvicked@DAS.LLNL.GOV (Edward Suranyi) (12/18/89)
1) I'd first like to apologize to Gary L. Dare and everybody else who wanted to tape the WNEW interview. I gave you guys the best information I had. I confirmed with Vickie Mapes last night that what I told you was what the CBS guy told her. Vickie said, "It wouldn't surprise me if Kate pulled out at the last minute. The CBS person told me that she was supposed to do the David Letterman Show, but that 'it was decided she needed an evening off.' Obviously, it was Kate herself who asked for the evening off." 2) I have a schedule of when the VH-1 special will be shown again. This comes from CBS, through Vickie. However, I have a different schedule which comes from VH-1, through Andrew Marvick. These schedules do not entirely agree! I have no way of knowing which schedule, if either, is correct, so I'll post both of them: Here's the schedule that CBS told Vickie (all times given are Eastern): Dec. 17, 3:30 pm (VH-1 told Andy 12:30 pm) Dec. 19, 10:30 pm (VH-1 told Andy 6:30 pm) Dec. 23, 9:30 pm (This agrees with what VH-1 told Andy) Dec. 27, 1:00 pm (This agrees with what VH-1 told Andy) VH-1 didn't give Andy any additional dates, so the rest of this schedule is only from CBS: Jan. 3, 6:30 pm Jan. 11, 1:00 pm Jan. 16, 10:30 pm Jan. 24, 7:00 pm Feb. 3, 1:30 pm I guess the best bets are on Dec. 23 and 27, as we have those times from two sources. 3) They played the video for L&A last night on _Videospin_, the PBS show. As someone posted, the two hosts of this show comment on the videos they show -- it reminds me of _At The Movies_. I don't remember the hosts' names, so I'll call them Host 1 and Host 2. Here's a transcript of what they said: BEFORE VIDEO: Host 1: Kate Bush has a pedigree. She's played in the best studios, with the best musicians, performing the best songs. She's revered in the music industry as well as the artistic world. For all we know, she probably keeps a real clean house and pays all her bills on time. Yeah, to put it bluntly -- she's perfect, in my book. Then again, you've never seen my book and I wouldn't show it to you no matter how much you asked. As for Kate, she can see my book any time. L&A shown. AFTER VIDEO: Host 1: There's the large budget of Kate Bush, everyone. She spent a lot of money on that -- and she probably got a lot of that stuff in her hair. Host 2: A lot of that glitter. You know, something I just found out: Her first number one hit in England was a song called "Wuthering Heights," and first time I ever heard "Wuthering Heights," Pat Benatar did it in the United States. And I always thought that was sort of like *the* version. I didn't know. . . Host 1: Oh, I didn't know that! [Referring to Host 2's lack of knowledge of the origin of WH.] Host 2: But Kate Bush hit number one with it. Boy, I like her! Why she missed in America is beyond me, but maybe this'll turn her around. Host 1: She's great. Host 2: Yeah. 4) Adam Curry, that seeming-airhead VJ on MTV, has actually interviewed Kate! Here's a transcript of what he said Friday morning, just before playing the L&A video: "You know that Kate -- Kate Bush actually -- I'm a big fan of Kate Bush. She stole my heart a long time ago, when I was just a wee tyke. [Off-stage laughter.] Five years ago, hey -- a wee tyke. She invited me to come over to England to interview her for the show I was doing in The Netherlands at the time. It was great. I was picked up by this real authentic old guy in a Bentley. He had the cap on and everything -- you know, drove through the countryside [makes driving noises]. And, uh, so we went to her house, and she showed me her studio that she has there, and, uh, you know we just talked and talked and talked -- it was great fun. But then, we were hungry, and she like sent us to get McDonald's, or takeout! It was weird -- I expected to have tea and little crumpets or little things with the crust cut off. But anyway. [Off stage: "Fish and chips."] Fish and chips, yeah, right. Kate is back with a brand new album, _The Sensual World_. We've been playing a lot of her brand new video. It's got the love dust in it; it's titled 'Love And Anger.'" 5) Several people have been wanting to know of a mail order place to get the Kate videos. I have a catolog for such a place: Crystal Music Video P.O. Box 1299 Glenwood Springs, CO 81602 "Call Toll-Free with your order: (800) 433-8574. For information on a specific artist or a specific title please call our office at: (303) 963-3680 from 8 am to 12 noon or from 4 pm to 8 pm (Rocky Mountain Time)." They have the following videos: Title Catalog # Price The Whole Story 250001 $29.95 Live at Hammersmith 330003 $69.95 The Single File 330001 $69.95 The latter two are Japanese imports. There used to be an American Live at Hammersmith, but it's now out of print. Some stores still have it, though. If you find a copy for less than $30, it must be a leftover American one -- grab it if you're at all interested. The Single File contains all the videos from her first four albums. The videos from this that are not on The Whole Story are: "Them Heavy People", "Hammer Horror", the original video for "Wow", "Suspended In Gaffa", and "There Goes A Tenner". Hope this helps. That's all for now, folks. Ed (Edward Suranyi) | Caption: "Kate Bush goes from cult fave to Dept. of Applied Science | chart rave." -- _Billboard_ UC Davis/Livermore | (In "Was It A Hit Or A Miss" in the 1985 ed@das.llnl.gov | year-end special issue.)
ed@DAS.LLNL.GOV (Edward Suranyi) (12/19/89)
1) Is there a Kate/Mishima connection?
In Sunday's book review section of the _San Francisco Chronicle_,
there's a review of a new translation of _Acts of Worship: Seven
Stories_ by Yukio Mishima. Along with the review is a picture of
Mishima. He's shown with a flower (probably a rose) in front of
his mouth, and he's staring straight at the camera. The resemblance
to the cover of _The Sensual World_ is uncanny. I wonder if Kate ever
saw this picture.
2) From the January issue of _Stereo Review_:
No, there's no review yet, but in the "Record Makers" column, here's
what it says:
"As Kate Bush has proceeded through her recording career, each of
her six albums has taken longer to make than its predecessor. Her latest,
'The Sensual World,' took four years. 'I know it's a long time,' she
admits, 'but each record gets harder to make. This is my most personal
and female album so far.'
"As before, Bush has written lush, sophisticated music with distinct
literary overtones. The title track, for example, was inspired by James
Joyce's _Ulysses_. Bush also produced the album, and she used musicians
who would give some of her sensuous arrangements an international-folk
flavor. Bulgaria's Trio Bulgarka, a women's singing group, performs
haunting harmonies on three tracks, and the piercing, ancient sounds of
Irish uilleann pipes are heard on a few others."
There's also a picture of Kate -- the same one that was with the horrible
review that appeared in _Spin_.
3) Both British teeny-bopper magazines, _Smash Hits_ and _Number One_,
have reviews of the "This Woman's Work" single. In both cases, guest
musicians do the single reviews this week.
From _Number One_, Nov. 29. The guest reviewer is Daniele Davoli --
"the Italian DJ behand 'Ride On Time' and 'Grand Piano'." Anybody
know who this is? Anyway, here's his review:
I like Kate Bush (_Although he's talking through an interpreter people's
names are pronounced the same -- with little variation. In this case it's
Bush as in 'rush'_) I respect her as an artist but I don't particularly
like all her songs, but this one's OK.
Star rating: ****
Chart Position: Top 10 ('cos it's Kate Bush).
From _Smash Hits_, Dec. 12. The guest reviewers are the members of
Curiosity Killed the Cat: Julian, Ben, Migi, and Nick.
Julian: This is one of my favorite tracks on the album.
Ben: And that's coming from a Kate Bush authority. Actually, this
reminds me a lot of that song where she lies in bed. . . "Man
With The Child In His Eyes". [?] It's got that same sort of feel,
the way it sounds like she's just about to cry. That's an art.
Emotional.
Julian: I hope she has a hit with it -- that's my favourite record of the
lot. Yeah, Katie gets my vote because she's coming from
somewhere else.
Migi: I don't think it's the sort of thing you can judge on one listen.
You'd have to listen to that one by yourself.
There's a picture of CKtC, with the members holding in various ways all
the singles they're reviewing. "This Woman's Work" is taped to Julian's
chest.
4) Due to lack of funds Andrew Marvick has been forced to sell some
of his Kate collection. His ad appears in the current _Goldmine_
(Dec. 29), on page 115. Do him a favor and buy something.
5) The new playlist for KITS is out. "The Sensual World" is down from
#1 to #6 (nothing lasts forever), and "Love And Anger" is up from #21
to #13.
Ed (Edward Suranyi) | Caption: "Kate Bush goes from cult fave to
Dept. of Applied Science | chart rave." -- _Billboard_
UC Davis/Livermore | (In "Was It A Hit Or A Miss" in the 1985
ed@das.llnl.gov | year-end special issue.)mendel@CS.UIUC.EDU (Michael Mendelson) (12/19/89)
Ben: And that's coming from a Kate Bush authority. Actually, this
reminds me a lot of that song where she lies in bed. . . "Man
With The Child In His Eyes". [?] It's got that same sort of feel,
the way it sounds like she's just about to cry. That's an art.
Emotional.
Actually, TWW reminds me *alot* of The Kick Inside (the song).
The starting is tres similar, and the (chorus?) part where she
sings "I know you have a little light (life?) in you yet, I know
you have a lot of strength left" is very reminiscent of "I'm giving
it all in a moment for you, etc." Add the solo piano stuff,
and there's no doubt that Kate Bush wrote'm both (as if we were
wondering...).
.
/\/\ / /\/\
/ / /_/ / / /
"No pinky ring hustlers,
No sabre-tooth neighbours"ed@DAS.LLNL.GOV (Edward Suranyi) (01/04/90)
Hello everybody! I hope everyone had a good time over the holidays. Considering how long I've been away from the newsgroup, I have surprisingly little news. I'm glad to hear that Deb's article will appear in _DISCoveries_. There's still no review in the new issue of _Rolling Stone_! Anybody know their telephone number so I can badger them? The album is listed in the charts, however: #1 on the college albums chart (of course, they got this from _The Gavin Report_, which is also the source for MTV's 120 Minutes countdown, so this is no surprise), and #24 on the regular albums chart. This latter position *is* a surprise; it's much higher than any other chart has shown. (On _Billboard_, it's down to #50 now, and it's peaked at #32 on _Cash Box_. For those curious, "Love And Anger" is still #1 on _Billboard_'s Modern Rock Tracks chart.) The Jan/Feb issue of _Option_ has a review of the album, and it's pretty good: KATE BUSH: The Sensual World Over the years Bush's voice has matured from a fingernails-on-a-chalkboard shrillness to a finely controlled instrument with amazing vibrato, falsetto and sustaining capabilities. These eleven new songs (one cassette/CD only) are perhaps the most personal of Bush's career. This album is somewhat of a celebration of sensuality; omnipotent carnal images mingle with submerged Freudian suggestions and Bush's personal revelations. Uniting Celtic instrumentation with modern technology (Bush is a studio wizard and a master with synth-sequencing gadgetry) and utilizing the likes of Bulgaria's Trio Bulgarka and uillean pipist Davey Spillane, she's taken on some heady yet intimate subject matter. The opener (said to have been inspired by Joyce's _Ulysses_) embraces the erotic world of flesh, sex, and love with its lusty rhythms and Celtic-mid-eastern accents. "The Fog" and "Reaching Out" explore childhood, adolescence, and separation ripe with earthy images and bodily metaphors. "Never Be Mine" is hopelessly romantic in its self-realization that the dream of love is often more powerful than the reality. The melody lines, hooks, and bittersweet delivery here find Bush at her most approachable; the most immediately memorable, soothing song of her career. _The Sensual World_ is clearly the work of a matured artist at the top of her form. (Columbia) -- Brad Bradberry That's it for now, folks. Ed (Edward Suranyi) | Caption: "Kate Bush goes from cult fave to Dept. of Applied Science | chart rave." -- _Billboard_ UC Davis/Livermore | (In "Was It A Hit Or A Miss" in the 1985 ed@das.llnl.gov | year-end special issue.)
ed@DAS.LLNL.GOV (Edward Suranyi) (01/07/90)
I've got a bunch of things for you this time:
1) The new _Billboard_ is out. "Love And Anger" has fallen to #2.
But, to compensate, here's some good news: the album is going back up!
It went up from #50 to #45, regaining its bullet.
The video for L&A is in the same positions as before at MTV and VH-1,
but now it's been added to "The Record Guide". Does anybody know
what this is? _Billboard_ says it's "Six half-hour shows weekly".
The nominations for the 1990 BPI Awards have been announced. Kate has
been nominated twice: for Best British Female Artist and Best British
Producer. Nigel Kennedy, whom we know plays on Kate's album, was
nominated in the category of Best Classical Recording for his version
of Vivaldi's _The Four Seasons_.
2) There's an article about Kate in the Winter issue of _Dirty Linen_,
a magazine published in Baltimore. For those worried about copyright
infringement, I should say that this magazine says, "Excerpts and entire
reviews my be reprinted as long as credit is given to the author, artist,
or photographer and _Dirty Linen_ magazine." I intend to do that. Here's
the article:
Kate Bush: In Focus
by John Anthony Wilcox
"Imagination sets in,
then all the voices begin."
-- from "Fullhouse"
Kate Bush. In the U.K. and Europe the name invokes memories of a
seemingly endless string of hits. "Wuthering Heights," "Babooshka," "Sat
in Your Lap," "Running Up That Hill," "Cloudbusting," the list goes on and
on. But in the States, it's a different story. Here, La Diva Bush has
only obtained a small, albeit devoted, audience. Her music is alternately
wistful, folky, gutsy, and passionate. Perhaps it's the inability for the
public to pigeonhole her into one concrete style of music that has let
stardom elude Bush here. No matter. What Kate Bush the
singer/songwriter/performer/producer presents has very little to do with
stardom and quite a bit to do with substance and storytelling.
In a conversation I had with Kate Bush a while back, she mentioned
that she seldom, if ever, wrote in an autobiographical context. She much
preferred creating characters, and the songs were stories either about
them or from their point of view. One need look no further than her
introduction to the public -- the song "Wuthering Heights." She relates
the story of obsessive love from the viewpoint ot the deceased Cathy and
her beyond-the-grave love for Heathcliff. Bronte would surely find no
fault in Kate Bush's homage to her timeless characters. "Wuthering
Heights" was a prelude to Bush's debut album _The Kick Inside_. The
album showcased a fragile, imaginative young woman and focused on delicate
piano (played by Kate) and lush arrangements to counterpoint Bush's
willowy multi-octave voice. Her sophomore album, _Lionheart_, was much
in the same vein. Perhaps *too* much.
_Lionheart_ came across as a somewhat lightweight Xerox of _The Kick
Inside_ but with less substance. However, for all its faults, the album
did contain a few gems among the pebbles. "Fullhouse," "Wow," and "In the
Warm Room" are very strong compositions, and "Wow" in particular is to
date the closest Kate has come to writing about herself. This album was
also backed by a brief but memorable tour that yielded both the _Kate Bush:
Live at the Hammersmith Odeon_ videocassette and the live EP _On Stage_.
This would mark an end to a chapter in Kate's career, as the next release
brought us a new and different performer.
1980 saw the release of _Never for Ever_. With it, Bush took a more
active hand in every facet of her music -- from concept to arranging to
producing, she was in on every step. The album opens with "Babooshka," a
tale of infidelity, and closes with "Breathing," a prayer for our Earth.
In between, _Never for Ever_ offers a cornucopia of styles, and an
impressive array of guests. Look for contributions from Preston Heyman to
Mike Moran to Roy Harper (Kate would return the favor by appearing on
Harper's _The Unknown Soldier_ disc that same year). The album is full of
mandolin, balalaika, bodhran, and even a strumento de porco, thanks in no
small part to Kate's brother Paddy, a specialist in ethnic instruments.
As big a step as _Never for Ever_ was from _Lionheart_, 1982's _The
Dreaming_ was a giant *leap* from _Never for Ever_. A caustic, dark album
full of cynicism and shattered dreams, _The Dreaming_ puts aside Bush's
inherent romanticism in favor of kinetic energy. Bush whoops, snarls, and
quivers her way through the predominently percussive "Sat in Your Lap,"
"Get Out of My House," and "Suspended in Gaffa," to name a few. But it is
the title cut that shows Kate Bush at her strongest, her most confident.
"The Dreaming" relates the plight of the Aborigines and is punctuated by
authentic digeridoo and Bullroarer. Bush handles it all with sensitivity
and respect for all involved.
By that time Kate was in full control of every aspect of her musical
endeavors and clearly loving it. That buoyancy is reflected in 1985's
_Hounds of Love_. Side one of _Hounds..._ showcases Kate Bush, the quirky
pop princess in "Running Up That Hill," "The Big Sky," and the title cut.
Bright and poppish, they are full of color and sparkle. They are
contrasted by "The Ninth Wave," a side-long concept piece. Kate informed
me that "The Ninth Wave" relates a tale of a drowning person who
encounters their past, present, and future. Cheer up, folks, there's a
happy ending. Folkaholics should note that members of Planxty turn up on
this epic to provide some musical wonder to a section entitled "Jig of
Life." Once again, another chapter in Kate Bush's story closes, and the
1986 retrospective _The Whole Story_ is a fine souvenir, collecting many
of her finest moments as well as a new tune, "Experiment IV".
Which brings us to 1989. After a lengthy hiatus, Bush came back with
_The Sensual World_. It's clearly her most "global" effort to date,
incorporating rhythms and instrumentation from such diverse sources as the
Middle East and the Balkan countries. One of the most well-known
Bulgarian groups, The Trio Bulgarka, provides authentic vocals.
Lyrically, Bush is delving more into relationships and less into creating
stories from whole cloth. Songs like "Never Be Mine," "Reaching Out," and
"Between a Man and a Woman" are her most direct yet. Curiously, she also
chose to include an older song, the delicate "This Woman's Work", which
originally appeared a few years back on the motion picture soundtrack to
_She's Having My Baby_ [sic]. Also, in a tip of the hat to her mentor,
Pink Floyd's David Gilmour, who was responsible for getting Kate her big
break, lends some blazing guitar to the album.
It should be noted that Kate Bush doesn't lie idle between albums.
She's guested on several other artist's albums, as well as turning up on
the odd soundtrack or two. Bush has also lent her considerable talents
to several charitable organizations, most recently to the preservation
of the rain forests. This woman's work is clearly far from finished!
Accompanying this article is "Kate Bush: An Extremely Selective
Discography". This includes the seven albums, _On Stage_, four guest
appearances and three videocassettes.
3) L&A moved up to #11 on KITS' playlist, but TSW fell off it completely.
KUSF, the station of the University of San Francisco, currently has Kate
listed third in their top ten artists.
4) Vickie Mapes just told me about an article where Robert Smith of The
Cure lists _Hounds Of Love_ as one of his top ten albums of the 80s.
5) The new issue of _Rolling Stone_ just came out, and there's *still*
no review! Again, I ask if anybody knows how to get in touch with these
people.
That's it for now, folks.
Ed
ed@das.llnl.goved@DAS.LLNL.GOV (Edward Suranyi) (01/18/90)
I've got lots of news for you this time, folks, so let's get into
it right away.
1) The next US single is "The Sensual World": Columbia 38-73098.
I haven't actually seen it yet, but look at item 2 for my evidence.
2) _Billboard_, Jan. 20.
"Love And Anger" holds at #2 on the Modern Rock Tracks chart. The song
that was #1 last week is now at #9. Unfortunately, the song that was at
#4 last week is now #1. ("House" by The Psychodelic Furs.)
More importantly, "The Sensual World" has entered this chart at #18!
This means she has two songs on the Modern Rock Tracks chart -- that's
pretty rare for an artist. The label number is as I said above.
The album has dropped from #44 to #48 on the Pop Albums chart.
The video for L&A has been dropped from the published playlists of VH-1
and The Record Guide, but it continues to be in the Buzz Bin at MTV.
3) The 15 second interview from MTV last night:
Here's what Kate said:
"I think I have to be careful that I'm not inaccessible totally
to people, because obviously, when you've made an album you want people
to know it's out there, um, so that if people want to hear it, they can."
4) As Deb Wentorf posted, there's an article/interview about Kate in the Feb. 8
issue of _Rolling Stone_. Since this magazine is readily available, I
will not post this to .gaffa. If, however, someone can't get _RS_, please
e-mail me.
In one of the two ads for CBS/Columbia House in this issue, there's a
picture of the album.
_RS_'s charts show the album at #31 for the second week on its list of the
Top Fifty Albums. The album has been on the chart for four weeks.
There hasn't been a top ten college album countdown on MTV's 120 Minutes
for about a month now. Their source was _The Gavin Report_, which I can
no longer find around here. However, _Rolling Stone_ uses _TGR_ for their
College Albums chart too. _The Sensual World_ is *still* number one on
that chart!
There's still no review in _Rolling Stone_!
5) As Dave Steiner just posted, there's a review of the album in the Feb.
issue of _CD Review_. Not only that, but there's a prominent picture of
the album in the table of contents. Here's the review:
Best CD of the Month
Performance: 9 Sound Quality: 9
Kate Bush: The Sensual World
Columbia CK 44164 (AAD) 1989 (89) [I don't know what that last number
means.]
Disc time: 45:59
Kate Bush doesn't know it yet, but she's not 19 anymore.
Preciousness still wraps around her like a silk shawl, too fragile to
handle, yet so beautiful and pure that it demands attention. Fortunately,
beneath the affected mantle lies a woman whose eyes are wide open to the
world around her. You see, Kate Bush is a poet, an observer of life, and
whatever role she chooses to play is simply an attempt to convey her
observations.
On _The Sensual World_, as on most of Bush's albums, those
observations deal mainly with male-female relations. From the eroticism
of the breathy "mmmm, yes" that accents each verse of the title track (a
technique sure to be despised as much by critics of her work as it will
be worshipped by her loyal fans), to the unrestrained outpouring of
feelings on "Never Be Mine" (as cathartic for the listener as it probably
was for the singer), bush ponders the eternal struggle of intimate human
emotion and the communication of those emotions between man and woman.
As usual, Bush plays all piano and keyboards. Joining her is
guitarist and perennial fan David Gilmour of Pink Floyd (who "discovered"
Bush at age 16, organized her first demo, and arranged her signing to
EMI), Bulgaria's Trio Bulgarka (whose unusual vocal style can be heard
on "Deeper Understanding," "Never Be Mine," and "Rocket's Tail"), Del
Palmer (who also engineered the disc, in addition to supplying bass,
guitar, and percussion), and Davey Spillane on Uillean pipes (which add
a haunting edge to the title track, inspired by James Joyce's _Ulysses_.
Bush's mystical, almost minimalist approach to music revolves around
the building up and releasing of tension, not any preconceived notion
of song design. While her voice is the material with which she weaves
this at times libidinous tapestry, the dreamy arrangements and Bush's
attention to melody (however odd their structures may be) leave no doubt
that she is not as self-indulgent as some think. _The Sensual World_
also reveals just how much Bush, who takes producer credits, cares about
sound. Thick with layers of instrumentation that are orchetral in scope,
the soundstage is never cluttered.
Bush wants us to understand with this disc that the past and the
future are not abstract entities over which we have no control. She is
singing about concrete realities affected by present-day activity. The
beauty of living in the sensual world is one of emotion, of pure,
unadulterated experience with no values attached to it.
-- Edward Murray
The issue also lists the album as #19 on its list of the Top 20 Pop/Rock
CDs. Last week it was #20.
6) Review of the album from the Jan. 26 issue of _Goldmine_:
Kate Bush
The Sensual World
Columbia (OC 44164)
Kate Bush has always invested her music with enough odd textures
and musical twists and turns that she not only keeps her music sounding
fresh, but unpredictable from disc to disc. _The Sensual World_,
Bush's sixth studio LP, isn't quite as bizarre as, say, 1982's _The
Dreaming_, but it has its moments. The ourtright strangest song here
is the whimsical "Rocket's Tail" in which Bush packs herself with
gunpowder and lights a fuse, launching herself into the stratosphere.
The song begins with the layered vocal harmonies of Bulgaria's Trio
Bulgarka, then segues into a cacophony of voices set to a rocking beat.
The trio lends its distinctive melodies voices [sic] to "Deeper
Understanding," about a lonely woman's love affair with her computer, and
the ballad "Never Be Mine," where a woman clings to a fantasy world ("I
want you as the dream, not the reality") but lives to regret it ("The
thrill and the hurting/I know that this will never be mine").
Bush doesn't go for typical lyrical themes. She's much too eccentric
for that: in the percussive stomp "Heads We're Dancing," Bush takes on
the voice of a woman at a '39 dance who recognizes her partner of the
night before in the morning's newspaper ("It couldn't be you/It's a
picture of Hitler"). Further, Bush's ballads ("The Fog," "This Woman's
Work") are more inventive than most other artists' attemps at balladry,
and though she may keep her fans waiting a long time between recordings
the results are always well worth it.
-- Tierney Smith
Interestingly, Gillian G. Gaar, who used to edit _For The Love Of Kate_,
wrote several reviews in this issue, but not this one!
7) The Jan. 6 issue of _Melody Maker_ has the results of its Readers'
Poll. Kate is mentioned many times:
For the year 1989:
Single of the year: #8, "The Sensual World"
Album of the year: #7, _The Sensual World_
Best Female Singer: #1
Woman of the year: #2 (Behind Wendy James. Who is this?)
Acts You'd Like To See More Of In MM: #5
For the decade of the eighties:
Acts Of The Eighties: #17
Albums Of The Eighties: #5, _Hounds Of Love_
Singles Of The Eighties: #10, "Running Up That Hill"
Woman Of The Eighties: #2 (Behind Margaret Thatcher.)
That's it for now, folks!
Ed
ed@das.llnl.govjsd@GAFFA.MIT.EDU (deep deep blue velvet) (01/18/90)
In article <9001172335.AA12830@das.llnl.gov> ed@DAS.LLNL.GOV (Edward Suranyi) writes: >Woman of the year: #2 (Behind Wendy James. Who is this?) The lead singer of Transvision Vamp. +---------------------- Is there any ESCAPE from NOISE? ----------------------+ | | |\ | jsd@gaffa.mit.edu | "Suck on this, | | \|on |/rukman | jsd@umass.bitnet | planet of noise bimbo!" | +-----------------------------------------------------------------------------+ +---------------------- Is there any ESCAPE from NOISE? ----------------------+ | | |\ | jsd@gaffa.mit.edu | "Suck on this, | | \|on |/rukman | jsd@umass.bitnet | planet of noise bimbo!" | +-----------------------------------------------------------------------------+
dsmith@cg-atla.UUCP (Dave Smith) (01/19/90)
In article <9001172335.AA12830@das.llnl.gov> ed@DAS.LLNL.GOV (Edward Suranyi) writes: > >There's still no review in _Rolling Stone_! The fact that this album has been released for more than 3 months, (with a fair amount of publicity preceding it) and _Rolling Stone_ still hasn't mentioned it (ok, there was a brief mention in "Random Notes", and the article in the most recent issue) is terribly embarassing for the publication. I would almost hope that they would just NOT publish an update. This is sort of puts the final nail in the coffin of _Rolling Stone_ being in step with the current music scene. (of course, many will argue that they've been out of step since the early 80's). But hey, maybe they'll publish another fashion issue or two instead of a KT review. Anyone else want to see another layout of Jody Watley wearing the latest from Calvin Klein? How about Madonna's navel? -- ========================================================================== David D. Smith ...!{ulowell,ginosko,decvax,ism780c,ima}!cg-atla!dsmith "...now I'm on everyone's mailing list, for things I can't afford to buy" BOB MOULD
ed@das.llnl.gov (Edward Suranyi) (01/19/90)
In my last posting, I was talking about _CD Review_: >The issue also lists the album as #19 on its list of the Top 20 Pop/Rock >CDs. Last week it was #20. I had thought that this was a sales chart, but it turns out to be a list of the best 20 CDs, as determined by the readers. Each issue of _CD Review_ has a card for the reader to list some CDs he or she recently purchased, and their ratings on a scale from 1 to 10. So let's all act to put Kate higher on the list! In other news, _Stereo Review_ just came out with their review. It's not real good, though. I just got the list of songs played on the year-end countdown by KITS. "The Sensual World" was #58. Ed ed@das.llnl.gov
ed@DAS.LLNL.GOV (Edward Suranyi) (01/21/90)
Hello, everybody!
1) I finally found the _Music Express_ magazine Chris Williams was
talking about. He's right! The cover shot of Kate is absolutely
GORGEOUS!
2) I found a review in a magazine called _Cover_, published in
New York City. This is from the Jan. issue.
Kate Bush
_The Sensual World_
CBS
Pick Of The Month: A rich and ephemeral song cycle set in Lawrencian
images. Stunning in its success, and like other of its kind (namely
Van Morrison's _Astral Weeks_ and Roxy Music's _Avalon_), its rewards
are reaped by repeated intent listenings and forgetting all you've
read about it.
-- Paul Paddock
3) Today I came across the premier issue (Vol. 1, No. 1) of a
new magazine called _Exit_, which calls itself "The Alternative
Magazine." It's published in La Jolla, California (near San Diego
for those unfamiliar with California geography).
Anyway, it has a whole page Kate Bush Discography for some reason. No
article or interview, just a discography. I won't post it since it's
not quite as comprehensive as the lists IED has posted lately. However,
it does include almost all the official singles, albums, etc. It also
includes the addresses of the Kate Bush Fan Club and eight fanzines.
Eight pages before this discography, they have a review of the album:
KATE BUSH
The Sensual World
CBS
After four years of ripening, a new fruit is hanging on Kate Bush's
tree of talents and inspirations, blending its sounds with the echoes
of _Hounds of Love_. Although _The Sensual World_ can hardly become as
commercially successful as its precedent, it is an album of mature work.
The listener will probably have to listen to it several times before they
can attempt to appreciate its value. Although carefully balanced and
mixed, the album might sound (sort of) raw, as far as timbre is
concerned. This is a consequence of Bush's using quite unusual
instruments such as villain pipes [sic], valiha, bouzouki, fiddle,
whistles, etc., which hug the songs with a special warmth.
Another contribution to the overall sound is made by three Bulgarian
singers, the Trio Bulgarka, whose melodic lines, although sounding
unfamiliar to the western ears, create an harmonic effect that ranges
from interesting to hair-raising, especially in "Never Be Mine" and
"Rocket's Tail". Two other important contributions to the sound of the
album are made by Michael Kamen, who skillfully made the orchestra
arrangements and Dave Gilmore [sic] (old buddy of Kate's) who did not
fail to make his presence noticeable by playing a couple of his
strumming guitar solos.
In spite of the many guest musicians, however, _The Sensual World_ is
still a very personally made album. It is charged with Kate's own
emotions and experiences. Don't hesitate to respond to her invitation
of sharing those emotions. Grab the delicious fruit from her tree and
take a deep bite. (Mmm. . .yes!)
-- Nectarios Tradas
4) In my last long message, I posted the results from _Melody Maker_'s
readers' poll. Well, here's the readers' poll from _Sounds_. (It's
from the Jan. 13 issue.)
Kate Bush appears on the following lists:
Album of 1989: #9, _The Sensual World_.
Single of 1989: #12, "The Sensual World", and #14, "This Woman's Work".
Female Vocalist of 1989: #1.
They show the winners in this category for the past ten years.
Kate won in 1980, 1985 and 1986. Also, they apparently told
Kate about her #1 position on this list, and she said, "You've
made an old woman very happy -- and me too."
Musician of 1989: #12.
Promo Video of 1989: #8, "The Sensual World".
Comeback of 1989: #10
Person of 1989: #9
LP of the '80s: #9, _Hounds Of Love_.
Single of the '80s: #14, "Running Up That Hill".
Person of the '80s: #11
5) The new playlist at KITS shows "Love And Anger" moving
up one position to #10.
That's it for now, folks.
Ed
ed@das.llnl.govIED0DXM@OAC.UCLA.EDU (02/03/90)
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
Eric, IED didn't say any of Kate's music could be "improved",
only that it would be nice if she were able to make more of it.
A re-mix of _Love_and_Anger_ would be different from the LP mix,
not better (nothing could be better). Was it heresy nevertheless? Perhaps...
Woj, the film from which _Be_Kind_to_My_Mistakes_ originally
hails is Nicholas Roeg's _Castaway_. (Note correct title.) The
actual title sequence of the film has an edited version of the
original mix. A limited (or at least hard-to-find-now)
LP and cassette edition of the soundtrack was released in '87,
and on that album the original, "full" mix of _BKTMM_ appeared,
in good stereo. It's a glorious thing to hear (though not on IED's
copy, which is pure audio hell at this point), and it contains
a good 64 measures of "extra" music--none of it lead vocals, but
nonetheless first-water Kate Bush--which Kate has removed from the new
re-mix. The sound is also quite different from the CD mix. The LP also
contains thirty-five-odd minutes of typically lush orchestral-cum-electronic
cinema music by Stanley Meyers and Hans Zimmer, as well as a single brief
track contributed by Eno.
-- Andrew Marvick, who reminds everyone in this group that, after all,
and thank God, it is this--_not_ "XTC"--that brings us together...IED0DXM@OAC.UCLA.EDU (03/03/90)
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
First, the UK _Love_and_Anger_ seven-inch is out, both in a regular
glossy-card sleeve and as a special limited-edition gatefold with
colour-photo pages inside. The front cover of both is the same: a
solid black field with a small "letter-box"-style still from the
video in the middle and white serif capitals saying "KATE BUSH
LOVE AND ANGER" on top. The b-side of both is the same: just "Ken",
the theme song from the Comic Strip episode called "GLC" (Greater
London Council--thanks, Neil). The gatefold edition has a close-up
of one of the whirling Dervishes seen from behind on both the front
and back inside covers. Over this photo are the lyrics of _Love_and_
_Anger_, half on one side and half on the other. Stapled into the
gatefold are three or so additional pages featuring photos from the
video shoot. All the photographs are by John Carder Bush. All in all
this is a lovely little extra for a Kate Bush single, and IED was
pleasantly surprised by the quality. There is no secret message in
the runout grooves of the single, and the label is generic EMI stock.
IED should be getting the twelve-inch and CD-single versions of
this single, featuring two extra tracks from the Comic Strip episode,
sometime today or tomorrow, and he will update the group as soon as
he has seen/heard them. Until then he will not comment on the new
music, except to say that Kate clearly recorded it quickly and solely
for the purposes of the telefilm. He'll also say one other thing:
_Ken_ features a (Fairlight) horn section. Echoes of _Sat_In_Your_Lap_?
In other Kate Bush-related news, IED has received three new
Kate Bush fanzines in the last two days. 1.) The latest _Dreamtime_
(the Australian fanzine), which is very nicely put together as usual
but which unfortunately contains virtually no news since it is
necessarily a bit out of date. 2.) The fifth (Vol.2, No. 2) issue of
Tracy Robyn Somerville's excellent (and still improving) Canadian
fanzine _Still_Breathing_, which is dominated by the first part of
an ambitious song-by-song runthrough of Kate's work to date, plus photocopies
of record covers, snapshots, posters, fans' self-portraits, and a first-rate
cover by Paulina Stuckey. 3.) A brand new fanzine (yes, that's right, _another_
new Kate Bush fanzine--this makes number 19--at least) called _Reaching_
_Out_, which is published (on a home PC and dot-matrix printer) by Cynthia
Kiley of Newtonville, Massachusetts. IED doesn't know how he came
to get on Cynthia's mailing list, but he is grateful for the chance
to see the fledgling effort. The cover is a color computer-reproduction
of a detail from the _Babooshka_ "warrior"-outfit photograph, and is
visually arresting. The issue is also _very_ valuable and _much_
appreciated by IED for its transcription of a _recent_phone_interview_
with Kate. IED's guess is that this is a transcription of part of a
conference-call interview which was set up by Columbia Records, Kate's
record company in the U.S, during her visit to New York. In it, a
large number of radio dj's joined in and asked Kate questions. IED
may learn more about this interview soon, but in the meantime, he
will try to transcribe it for Love-Hounds' edification and entertainment
soon. Brava Cynthia, wherever she is--are you a Love-Hound, Cynthia?
-- Andrew Marvick (IED)IED0DXM@OAC.UCLA.EDU (03/06/90)
From: Andrew Marvick (IED)
Subject: MisK.
To: Love-Hounds
First, IED apologizes to Larry Spence (whom he has been unable to
e-mail directly): it is impossible to forward to you, Larry, IED's
earlier posting about David Sylvian's _Weatherbox_, because IED does
not keep anything in his files that is not directly related to Kate Bush.
Perhaps someone else in the groups has kept it.
The address of the new U.S. KT fanzine is: _Reaching_Out_, P.O. Box
154, Newtonville, MA 02160. Attn.: Cynthia Kiley.
Meredith Tarr "warns" us that she will transcribe some of the
picture-disk interviews for Love-Hounds soon. IED believes that
none of those interviews has yet been transcribed, Meredith, mainly
because it's slow and difficult work transcribing from an audio/video-tape
or record. If you really are willing to do the job, IED for one would
be _very_ grateful to you.
IED applauds Neal Richard Caldwell's annotated version of the
lyrics of _Moving_. They are very well put together, and make a
great beginning. Best of luck with the project.
One final word on this "wrong note in _Wuthering_Heights_ (New Vocal)"
discussion: Vickie, IED has no objection to your feeling that Kate's
g-natural on the New Vocal version of the song _sounds_ wrong. That's
your prerogative. But there can be absolutely no question that it is
not an actual error on _Kate's_ part. That is, you may feel that her
aesthetic decision was improper, but you would simply be wrong if you
meant to say that she had hit the tone she did through an inadvertant
lapse in intonation. The note makes perfect sense from the point of
view of musical logic, and furthermore (as IED pointed out the other
day) Kate has been singing the passage in exactly that way for
more than a decade--there are numerous recordings of performances
of the song in which she includes the same g-natural grace
note.
For the record, though, the note sounds _beautiful_, in this fan's
opinion. It adds greatly to the melodic climax of the song--in fact, IED
now misses its absence in the original studio version. At least to IED's
ears, the g-natural not only _isn't_ wrong--it doesn't _sound_ wrong,
either.
-- Andrew Marvick (IED)IED0DXM@OAC.UCLA.EDU (03/22/90)
To: Love-Hounds From: Andrew Marvick (IED) Subject: MisK. Greetings, fellow philocanines. IED apologizes for his long silence once again. Grave apprehension is felt here over the prospect of our Pseudo-Moderator's impending transfer and possible abdiKaTion. Please, say it's just an April Fools Day joke, :>oug! Please don't let the side down! One other item of interest. IED got a letter from Lisa Bradley, Secretary of the Kate Bush Club in England, in which she informed him that Love-Hounds's submission for the official Kate Bush Club competition to see how many words of four letters or more can be formed out of the letters in the title THE SENSUAL WORLD was accepted, but was _not_ a winner--this even though IED's list, which was mainly the work of east-coast Love-Hound Julian West, numbered well over five hundred words. It seems that we are not the only KompuTerized Kate fans out there, folks, for there were not one but _three_ people who turned in longer--_much_ longer--lists than IED's and Julian's. The second runner-up's was over 700 words, the first runner-up's was more than one thousand three hundred words long, and the winning list of words from THE SENSUAL WORLD contained TWO THOUSAND SEVENTEEN entries. Oh, well, Love-Hounds's glory will have to await another day... IED hasn't seen a Digest in about a week now, so he apologizes if pressing issues have not been addressed by him in this posting. It is this that brings us together. -- Andrew Marvick
Love-Hounds-request@GAFFA.MIT.EDU (05/28/90)
Really-From: ed@das.llnl.gov (Edward Suranyi)
Hello, everyone. I've got a couple of little things.
First of all, the new issue of _Pulse!_ just came out. (June 1990.)
One of the letters in the Desert Island Discs section is titled:
Only One Kate Bush Fan This Month
The writer, Curt R. Burich of Suburban Philadelphia, PA, lists two Kate
albums in his ten DIDs:
"1. Hounds of Love -- Kate Bush. Brilliance. Her voice is beautiful,
whether she's singing or screaming. The songs she writes stays with you."
[. . .]
"6. The Kick Inside -- Kate Bush. More beautiful singing from the
then-19-year-old. She sounds like no one else."
Here are the other eight albums on his list, for comparison:
2. Tusk -- Fleetwood Mac
3. Autoamerican -- Blondie
4. The Beatles -- The Beatles [i.e. the White Album]
5. 1984 -- Eurythmics
7. Home of the Brave -- Laurie Anderson
8. The Queen is Dead -- The Smiths
9. The Wishing Chair -- 10,000 Maniacs
10. 3 Feet High and Rising -- De La Soul
Next, another letter, this time form the June issue of _DISCoveries_,
which also just came out:
MAILBOX CAN'T BE TOO BIG
In response to your question in the April issue, I'm in favor of
increasing space devoted to readers' letters. I just started reading
_DISCoveries_ and missed the issue with an article on Kate Bush, so I sent
a letter asking whether I can obtain a copy of the article, what material
is available by Kate Bush, and where to begin looking. To me, if
increased space devoted to letters means I and others will find answers to
questions sooner, it's worth the space.
John Young
6010 California Circle #108
Rockville, MD 20852
I've already sent him a photocopy of the _DISCoveries_ article,
but if anybody else wants to write to him, I'm sure he'd appreciate
it.
KITS is doing its annual countdown of the Top 300 Modern Rock Songs
of All Time. I've been real busy lately, so I didn't get a chance
to vote this year. I also haven't had much time to listen to them.
But yesterday, I turned the radio on in my car, and the second song
they played was "Running Up That Hill". It was at #234, down quite
a bit from last year's #192. But this year, they have a good chance
to play something else from Kate, in particular "The Sensual World".
They always publish a list of all the songs in the countdown afterwards,
so then I'll be able to check.
I'm real late with the _Billboard_ news this week. The May 26 issue
shows the video collection down to #19 on the Music Videocassette
Sales Chart. This is its 11th week on the chart, so we can't
complain too much.
The same issue of _Billboard_ has an article describing how VH-1
is changing its rotations again -- they want to emphasize the hits
more, at the expense of the developing acts. :-( Well, at least
I have proof on videotape that "This Woman's Work" was actually
a Five Star Video once.
Finally, I just got the two new Renaissance compilation CDs: _Tales
of 1001 Nights_, Volumes 1 and 2. Wow, are they great! I'm not sure
I'd choose exactly the same songs for my dream greatest hits
collection, but most of my favorites are here. These CDs are both
very long -- over 75 minutes each. And the sound is wonderful!
That's it.
Ed
ed@das.llnl.govLove-Hounds-request@GAFFA.MIT.EDU (07/06/90)
Really-From: ed@das.llnl.gov (Edward Suranyi)
I've got a couple of things. First, there's a review of the videos
in _The Laser Disc Newsletter_, June 1990. I haven't actually seen
the laser disc, but I guess it must exist. The reviewer (who is
unnamed) talks about how the 8-inch is back again, and says:
"The best of the lot is _The Sensual World Kate Bush The Videos_.
Although the source material is mildly grainy, the sound is clear and the
presentation is sufficiently effective. Each number is preceded by an
interview, but the interruption is low key and not a real problem.
Bush's music is free of stress and less cliched than her earlier
efforts. [?!] She is finally using folk motifs as a light spice in
her compositions, instead of employing them as the main meal. The videos,
'Love and Anger,' 'The Sensual World,' and 'This Woman's Work' are well
crafted, compelling the viewer to pay attention without a bombardment of
conflicting images. The title number is the best, adeptly evoking
Technicolor chromatic designs to depict Bush tripping freely through a
studio set forest."
I've seen criticism of Kate's past work, but I've NEVER seen it
called "cliched"!
Next, _Option_ had a cover story on Kate a few months back. In the
issue which just came out (Jul./Aug. 1990), there's a letter, right
under a picture of Kate that takes up a third of the page. (Not one
we haven't seen before, unfortunately.) Here's the letter:
Dear Option:
I can't thank you enough for Maria Montgomer Sarnoff's lengthy,
illuminating piece on Kate Bush in the March/April issue of OPTION.
I've grown accustomed to reading nothing more than the occasional
"blurb" about this gifted artist who has been in the business long
enough to deserve the sort of exposure that other, less talented artists
seem to enjoy. And to see her gracing your cover, no less -- I'm
beyond gratitude!
What Kate Bush has brought to the world of music stretches way
beyond the realm of conventional art. It's a whole psychology of images
and feelings -- an unparalleled talent which, I fear, has perhaps
hindered rather than helped her throughout her modest career -- her
emotional accessibility makes people uncomfortable and therefore makes
her unpopular. And yet, it is precisely Bush's ability to concretize
the feeling values of all levels of the human experience that make her the
sacred swan she is.
Thank you, OPTION, for recognizing this too, and bringing such a
great artist to light!
Sincerely,
Julie K. Dzengeleski
Wollaston, MA
Wow! As I said, there's a picture of Kate above this letter. The caption
reads, "Sacred swan? Well, a bird in the hand . . ."
That's it for now.
Ed
ed@das.llnl.govLove-Hounds-request@GAFFA.MIT.EDU (07/22/90)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu To: Love-Hounds From: Andrew Marvick (IED) Subject: MisK. Amazing news about the TSW Videos coming back onto the _Billboard_ charts--thanks for your perseverent eye, Ed! IED was very pleased to read Tracy's posting, which indicated that she still plans to come to IED's party--IED looks forward to seeing you again, Tracy. Also a big thankyou to Vishal Markandey for his generous donation to the White Rose Fund. IED is another who'd like to know what the East-Coast Love-Hounds are planning to do for Katemas this year. Is there no plan at all for a Katemas party on the 28th or 29th? What has happened to our once-enthusiastic Boston-area KonTingent? Where has your philocanine spirit gone? What with months and months going by without more than two words from our Pseudo-Moderator, and scarcely a single new _explication_de_texte_ from Julian to fascinate and eduKate us, and not one word from ol' Joe Turner in ages, IED is wondering just how that ivied bastion of Bushological wisdom came to fall into such disrepair... -- Andrew Marvick
Love-Hounds-request@GAFFA.MIT.EDU (07/22/90)
Really-From: Fear Of A Black Planet <jsd@gaffa.MIT.EDU> >Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu > IED is another who'd like to know what the East-Coast Love-Hounds >are planning to do for Katemas this year. Is there no plan at >all for a Katemas party on the 28th or 29th? What has happened >to our once-enthusiastic Boston-area KonTingent? Where has your >philocanine spirit gone? What with months and months going by >without more than two words from our Pseudo-Moderator, and scarcely >a single new _explication_de_texte_ from Julian to fascinate and >eduKate us, and not one word from ol' Joe Turner in ages, IED is >wondering just how that ivied bastion of Bushological wisdom >came to fall into such disrepair... We're all bitter and bad-tempered, what with the state of the economy and the ultra-humid weather of late. Dear |>oug has a new job which is keeping him so busy that he scarcely has time to even read l-h, let alone write anything to it. Joe Turner has decided to withdraw from the group, although he keeps up with some of the more, er, spirited discussions thanks to his housemate Larry Deluca (and to a lesser extent my humble self). As for a party, there isn't anywhere to have it. Julian lives in Vermont now, and we've not heard a peep out of him in ages. |>oug's apartment is barely large enough for two people. Joe's place is small as well. I'm going to be in California for Katemas. The whole situation is a shambles, basically. Of course, the dismal state of katedom here in Boston merely leaves us open for a miraculous, phoenix-like rise from the ashes in the future. If I can, I'll be in LA this year, otherwise no Katemas for the first time in three years for this L-H! +---------------------- Is there any ESCAPE from NOISE? ---------------------+ | | |\ | jsd@gaffa.mit.edu | ZIK ZAK - We make everything you need, | | \|on |/rukman | -Fight The Power- | and you need everything we make. | +----------------------------------------------------------------------------+
Love-Hounds-request@GAFFA.MIT.EDU (07/31/90)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: MisK.
First, IED would like to thank everyone who attended his Katemas
Eve's Eve Bush Bash last Saturday, and for making it what seemed,
to IED, at least, a rollicking success. In all, between 32 and
34 people were present. More tellingly, of those, about twenty-five
_remained_ in attendance for a good five or six hours--most of
them without so much as letting an eye or ear stray from the TV sets.
Those with whom IED was able to chat for an odd moment here and
there throughout the course of the evening proved to be very
charming and interesting conversationalists, and IED, for one,
had a _very_ fun time. In all, it lasted from 2:00 p.m. to 2:00 a.m.
IED would _especially_ like to thank Ed Suranyi, who helped IED
out in many little ways during the course of the evening.
Also thanks to Larry Hernandez (L-H), whose presence reminded
IED that, indeed, she really is.
Also a big thank you to Tracy for her morale-boosting presence--
and to all others who traveled from great distances just to meet
up with other Kate Bush fans. A splendid time was had, IED hopes, by all.
IED understands why Jon Drukman couldn't make it (too bad, it
would have been fun for IED and Drukman to meet in the flesh at last),
but Dave Hsu, what happened to you? And what about Gabriella Carlson,
who had all the big plans for a KT-fan group trip to Disneyland the
next day? Ah, well, IED was too pooped to go anywhere Sunday anyway...
IED will keep everyone's addresses, and next summer perhaps
the Southern and Northern Californians can link up with the Washingtonian
KonTingent, to organize the first West Coast Kate Bush Convention...?
Speaking of Washington--what happened to you guys? IED called
both the telephone numbers given in your posting, but no-one answered
either phone, and there was no answering machine to take our message.
We had thirty people crammed into a hot little room ready to sing
"Happy Birthday" in unison with you Washingtonians, all to no avail.
And Vickie tells IED she had the same disappointing experience when
she tried to call you people from her Chicago party. What gives?
IED enjoyed meeting a great number of Kate Bush fans, and feels
that he made a few new friends. In particular a very interesting, all
too short chat with British Love-Hound Derek Langsford will be
remembered with pleasure. Thanks to everyone for coming, and he
hopes you all got enough noodles and brownies...
About the CD boxed set: first, IED gathers that the project
is still in the early planning stages, right, Vickie? So there
may yet be a decision to re-organize the release such that the
album-CDs need not be purchased in order to get the non-LP-cuts
CDs. IED will not complain, however, if all are sold as one package.
It will add to the prestige, value and collectibility of the box,
and you can never really buy too many copies of Kate's albums, anyway.
("Yes you can, you kooky Kate Bush fan!")
Speaking of the David Sylvian boxed set of CDs (as Derek was
doing): IED can appreciate its quality as a package, but IED was
very disappointed that not only did _Weatherbox_ rehash all of
Sylvian's solo albums (all of which IED already owned, as did
no doubt many of _Weatherbox_'s purchasers), but except for
the missing instrumentals on _Gone_to_Earth_ and perhaps one
or two instrumentals from the _Alchemy_/_Steel_Cathedrals_ projects,
there was no new-to-CD material in the entire set. In fact, _Pop_Song_,
which is Sylvian's most recent release, wasn't even included--even though
the same track _had_ come out as a CD-single prior to _Weatherbox_'s
release. Also missing were the instrumental and extended mixes of
the singles from _Brilliant_Trees_, and one or two other
instrumental tracks of great beauty which were heard on the Japanese
_Preparations_for_a_Journey_ soundtrack. When one takes into account
the additional fact that _all_ of these tracks could have been
included along with all of _Weatherbox_'s other material in a
total of one _fewer_ CD's, it becomes clear that more work could
and should have been done on that project prior to its release.
IED raises all this old history only because he has higher hopes
for Kate's forthcoming boxed set.
In late 1988, following Peter's suggestion in _Homeground_ that fans
should send in ideas about a possible EMI CD collection of KT b-sides
and rarities, IED wrote a typically long and pompous letter detailing
every single snippet of music that he felt was indispensible to such
a compilation. He received a very cordial answer from EMI indicating
that they would be sure to keep IED's letter on file and consult it
when the project was revived (it having been shelved indefinitely
due to the news of _TSW_'s imminent release).
IED, not relying on such an old assurance, has revised his list
of rarities-compilation requests, and it appears in a separate
Love-Hounds posting for readers' comments before being sent off
to EMI.
IED has been asked to say a word or two about the "last" official
KT convention. IED did not attend that one. In 1986, following the
hugely successful 1985 convention which IED _did_ attend (along with
your Humble Pseudo-Moderator Doug Alan and about 400 other dediKated
fans), _Homeground_ organized what they called a "video party" in
a club in Argyle St. in London. Unfortunately the club was overpacked
with fans who had somehow learned that Kate herself would be attending,
and as a result that party turned into something of a fiasco--Kate
ended up sitting at a tiny table signing an endless stream of album
covers, etc., there was near-pandemonium, and few fans had a good time.
IED's experience at the 1985 convention was, in contrast, very
positive indeed. It occurred in November, at the Dolphin Centre
in Romford, a suburb of London. There was no over-crowding, as
only those who had bought tickets in advance showed up; and there
was no rushing of Kate or excessive album-signing, because everyone
had cleverly been led to believe that Kate would "probably not
attend" the convention. When at the very end Kate _did_ turn up
onstage, the whole group went wild with excitement, rushed en masse
to the foot of the stage, and then held their breath to hear Kate
thank everyone for coming, and to watch her as she was presented
with a platinum album for _HoL_. It was a _great_ moment.
Before Kate's appearance, however, lots of other fun things
happened: there were two rounds of a Kate Bushology Quiz, conducted
by Peter FitzGerald-Morris, the Dean of Kate Bushology (who wore a cap
and gown from H.G.U.). Our Pseudo-Moderator actually participated in the
first round, sitting onstage and answering the questions with his
usual deftness and aplomb.
There was a slide show, during which a tape of a then-exclusive
interview with Kate was heard (this was the Capital Radio interview
of 1985, conducted by Tony Myatt and since posted in Love-Hounds).
There were door-prizes, including one of Kate's gold albums and
Del Palmer's Tour of Life leather jacket (presented by Del). There
was a lot of official KT merchandise on sale in a back room, as well
as a good deal of unofficial KT trading among the crowd. (One person
had at least fifty different KT badges on his person, many of which
were for sale; and Scott Shepard, an American fan, had brought a big
case full of posters to peddle.) There was a very interesting (though,
unhappily, under-miked) interview with Kate's brothers Paddy and John Carder
Bush, conducted by--Kate's brothers Paddy and John Carder Bush. And best of
all, there were Kate's entire family and Del Palmer at the back of
the main room throughout the entire event, ready and willing to chat
with any and all fans who were interested. It was a really friendly
atmosphere. Also, a lot of exclusive video clips were shown, including
coverage of Kate's trip to Japan and outtakes from the Hammersmith
Odeon film.
If the next convention is held in a big enough room, and ticket
sales are carefully limited, and if _Homeground_ _don't_ go spreading
assurances that Kate herself will attend (a little late for that!),
then the occasion should prove to be another amazing, magical success,
like the '85 con. Let's hope at least a few Love-Hounds are able to
put in an appearance and represent our group, eh?
-- Andrew MarvickLove-Hounds-request@GAFFA.MIT.EDU (07/31/90)
Really-From: n8344141@unicorn.wwu.edu (paul carpentier) re: Katemas inquiries, mainly to IED and Vickie I sent a longer Katemas posting about our little Washington party, but I can't find it or an error message here...??? About the phone game: KateHouse had the unfortunate circumstance of faulty telephone service the day of our parties. This caused me some grief earlier in the day. As for the other phone number, IED, it was mine and Craig's, and we, as were our upstairs housemates Dan and Julie, were across town at the Katemas party. I regret any difficulties this caused any number of rooms full of people. Happy Kate! Paul M Carpentier
Love-Hounds-request@GAFFA.MIT.EDU (08/16/90)
Really-From: ed@das.llnl.gov (Edward Suranyi)
Has anybody ever heard of a Belgian group called Tilt? I just
heard their very weird cover of "Running Up That Hill" -- industrial
techno-dance! It's amazingly bad -- yet, it's amazing.
I just got a whole bunch of Rock Over London shows in the mail today,
from late 1985 and early 1986. I don't mean bootlegs -- I mean the
actual LPs that went to the radio stations who broadcast this show.
I already had one from August of 1985 when RUTH was played for the
first time -- the host, Graham Dene, seemed very excited about it.
I was shocked to discover that "Cloudbusting" was edited for this show
by removing the second verse! Both editions of ROL where this song
is played are like that.
ROL always broadcasts the top five British songs of the week. I don't
know how they get their chart information, but it's always much more
favorable to Kate than any other chart I've seen. On one edition they
have "Cloudbusting" at number four, and on another they have "Hounds Of
Love" at number three, despite the fact that the gatefold of _The Whole
Story_ shows that neither of these songs got into the top ten. More
recently, they had "The Sensual World" at number three one week, much
higher than I'd seen elsewhere.
At the end of December 1985 they played a countdown of the top 20 albums
of that year. _Hounds Of Love_ was number 17.
Here's the big thing: at the beginning of that month they broadcast an
INTERVIEW with Kate! Although she doesn't say anything we haven't heard
hundreds of times, and it's only four minutes long, the interview is one
that I, at least, hadn't heard before. Here it is:
D: Graham Dene, the host of ROL.
C: Paul Cooke, the interviewer.
K: Kate.
D: You might like to know that in three weeks time on Rock Over London
you'll be able to hear our review of the British rock year, and the
re-emergence of Kate Bush will have to go down as one of the comebacks
of '85, with her album _Hounds Of Love_ and two hits: "Running Up That
Hill" and "Cloudbusting". Well, Kate's been chatting with Paul Cooke,
who first asked her about the concept behind _Hounds Of Love_.
K: It's, uh, two separate pieces for me really, the A and the B side.
The A side is five individual songs, perhaps linked by the theme of
love, but very much individual songs for me. And the second side
is a concept -- seven songs that are linked together, and it's very
much one story, about someone who's in the water for the night, and
how they manage to cope with the situation until morning.
C: You call the second side "The Ninth Wave" and you quote Tennyson.
Why?
K: Well, rather than it being inspired by Tennyson as a lot of people
have presumed, it was completely the other way around, in that I was
looking for a title for the piece, and there was no line from the
songs that was -- no title that was really right for the whole side,
so I started looking through books for quotes, _et cetera_, and just
found this quote from the ninth wave, by -- about the ninth wave that
seemed so parallel -- the idea of waves moving in cycles of nine so
that it all builds up to the ninth and then begins again. So, it
was used as the title.
C: You're considering making a film about it. Could you tell us about
that?
K: It's what I'd like to do next, is the major project if I could. And,
it is really just talk at the moment, and I won't know, I suppose,
until next year if that is going to be a feasible thing or not. But
I would love to do that next.
C: Do you find that a lot of people don't quite understand your work,
maybe think it's a little bit mystical?
K: I think there's a lot of people who don't understand necessarily what
I'd originally conceived as the idea, but I don't know if that's very
important. I think if people feel they understand it on any level,
then I've achieved something and that's great.
C: Could you explain a couple of your songs? First of all, "Running
Up That Hill". What's that about?
K: It's about two people who are very in love, and it's about the power
of the love and how that can get in the way sometimes, and how if they
could swap places -- if the man could become the woman and the woman
the man that perhaps in areas they'd understand each other better and
there would be less problems between them.
C: The other song I'd like to know about is "Cloudbusting".
K: Yes, that was very much inspired by a book by a man called Peter
Reich, and the book's called _A Book Of Dreams_. And it's about
a very magical relationship between himself when he was a child
and his father. And it's all written through a young boy's point
of view, and it's so innocent and sad, and it was just the inspiration
for the song.
C: Now, what about doing some live dates? I mean, a lot of people would love
to see you again.
K: Well, I really would like to, and I've been saying this for so long,
and it's just a matter of when it's the right time. Obviously, if I
can go ahead with "The Ninth Wave" as the next project, then I don't
think there would be time for a tour. But if that's not feasible,
then who knows? So there's a possibility.
C: What about going to America?
K: Um, that's a very strong possibility. I've only been there a couple
of times, and that was a long while ago now but, yes, I would very
much like to go to New York.
C: Well, thank you very much for coming to see us, and all the best with
things.
K: Thank you.
D: Kate Bush, chatting with Paul Cooke, and let's hope that feature film
comes off.
As we all know, it didn't, and neither did a tour.
I've got a couple of other items. A listener requested "Hounds Of Love"
on KITS yesterday, and they played it. The DJ, Big Rick Stuart, called
it a "great song".
Has anybody else seen the movie "Jesus of Montreal"? It's a French
Canadian movie, in French with English subtitles. There's lots of
great music in it (unfortunately, none by Kate). But the point is
that the lead actress reminds me tremendously of Kate, aged another
five or ten years!
That's it for now, folks.
Ed
ed@das.llnl.govLove-Hounds-request@GAFFA.MIT.EDU (08/18/90)
Really-From: ed@das.llnl.gov (Edward Suranyi)
Thanks, |>oug, for fixing the hard disk on gaffa. That's why it's not
been working well lately, everyone. I think it's fixed now. I tried
posting the following article several days ago, but it failed. Here
goes again:
Has anybody ever heard of a Belgian group called Tilt? I just
heard their very weird cover of "Running Up That Hill" -- industrial
techno-dance! It's amazingly bad -- yet, it's amazing.
I just got a whole bunch of Rock Over London shows in the mail today,
from late 1985 and early 1986. I don't mean bootlegs -- I mean the
actual LPs that went to the radio stations who broadcast this show.
I already had one from August of 1985 when RUTH was played for the
first time -- the host, Graham Dene, seemed very excited about it.
I was shocked to discover that "Cloudbusting" was edited for this show
by removing the second verse! Both editions of ROL where this song
is played are like that.
ROL always broadcasts the top five British songs of the week. I don't
know how they get their chart information, but it's always much more
favorable to Kate than any other chart I've seen. On one edition they
have "Cloudbusting" at number four, and on another they have "Hounds Of
Love" at number three, despite the fact that the gatefold of _The Whole
Story_ shows that neither of these songs got into the top ten. More
recently, they had "The Sensual World" at number three one week, much
higher than I'd seen elsewhere.
At the end of December 1985 they played a countdown of the top 20 albums
of that year. _Hounds Of Love_ was number 17.
Here's the big thing: at the beginning of that month they broadcast an
INTERVIEW with Kate! Although she doesn't say anything we haven't heard
hundreds of times, and it's only four minutes long, the interview is one
that I, at least, hadn't heard before. Here it is:
D: Graham Dene, the host of ROL.
C: Paul Cooke, the interviewer.
K: Kate.
D: You might like to know that in three weeks time on Rock Over London
you'll be able to hear our review of the British rock year, and the
re-emergence of Kate Bush will have to go down as one of the comebacks
of '85, with her album _Hounds Of Love_ and two hits: "Running Up That
Hill" and "Cloudbusting". Well, Kate's been chatting with Paul Cooke,
who first asked her about the concept behind _Hounds Of Love_.
K: It's, uh, two separate pieces for me really, the A and the B side.
The A side is five individual songs, perhaps linked by the theme of
love, but very much individual songs for me. And the second side
is a concept -- seven songs that are linked together, and it's very
much one story, about someone who's in the water for the night, and
how they manage to cope with the situation until morning.
C: You call the second side "The Ninth Wave" and you quote Tennyson.
Why?
K: Well, rather than it being inspired by Tennyson as a lot of people
have presumed, it was completely the other way around, in that I was
looking for a title for the piece, and there was no line from the
songs that was -- no title that was really right for the whole side,
so I started looking through books for quotes, _et cetera_, and just
found this quote from the ninth wave, by -- about the ninth wave that
seemed so parallel -- the idea of waves moving in cycles of nine so
that it all builds up to the ninth and then begins again. So, it
was used as the title.
C: You're considering making a film about it. Could you tell us about
that?
K: It's what I'd like to do next, is the major project if I could. And,
it is really just talk at the moment, and I won't know, I suppose,
until next year if that is going to be a feasible thing or not. But
I would love to do that next.
C: Do you find that a lot of people don't quite understand your work,
maybe think it's a little bit mystical?
K: I think there's a lot of people who don't understand necessarily what
I'd originally conceived as the idea, but I don't know if that's very
important. I think if people feel they understand it on any level,
then I've achieved something and that's great.
C: Could you explain a couple of your songs? First of all, "Running
Up That Hill". What's that about?
K: It's about two people who are very in love, and it's about the power
of the love and how that can get in the way sometimes, and how if they
could swap places -- if the man could become the woman and the woman
the man that perhaps in areas they'd understand each other better and
there would be less problems between them.
C: The other song I'd like to know about is "Cloudbusting".
K: Yes, that was very much inspired by a book by a man called Peter
Reich, and the book's called _A Book Of Dreams_. And it's about
a very magical relationship between himself when he was a child
and his father. And it's all written through a young boy's point
of view, and it's so innocent and sad, and it was just the inspiration
for the song.
C: Now, what about doing some live dates? I mean, a lot of people would love
to see you again.
K: Well, I really would like to, and I've been saying this for so long,
and it's just a matter of when it's the right time. Obviously, if I
can go ahead with "The Ninth Wave" as the next project, then I don't
think there would be time for a tour. But if that's not feasible,
then who knows? So there's a possibility.
C: What about going to America?
K: Um, that's a very strong possibility. I've only been there a couple
of times, and that was a long while ago now but, yes, I would very
much like to go to New York.
C: Well, thank you very much for coming to see us, and all the best with
things.
K: Thank you.
D: Kate Bush, chatting with Paul Cooke, and let's hope that feature film
comes off.
As we all know, it didn't, and neither did a tour.
I've got a couple of other items. A listener requested "Hounds Of Love"
on KITS yesterday, and they played it. The DJ, Big Rick Stuart, called
it a "great song".
Has anybody else seen the movie "Jesus of Montreal"? It's a French
Canadian movie, in French with English subtitles. There's lots of
great music in it (unfortunately, none by Kate). But the point is
that the lead actress reminds me tremendously of Kate, aged another
five or ten years!
I went to Tower Records the other day, and as I entered I heard the
unmistakable Kate. They were playing "And Dream Of Sheep," so I stayed
to hear the rest of "The Ninth Wave", then congratulated the clerk on
his taste.
That's it for now, folks.
Ed
ed@das.llnl.govLove-Hounds-request@GAFFA.MIT.EDU (08/29/90)
Really-From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu To: Love-Hounds From: Andrew Marvick (IED) Subject: MisK. About this Sinead business: Bravo, Lazlo. Well said. -- Andrew Marvick
Love-Hounds-request@GAFFA.MIT.EDU (09/27/90)
Really-From: Andrew B Marvick <abm4@cunixd.cc.columbia.edu> Hi, everyone. Michael Kaufman, don't feel bad about the discrepancy between dates. Up until a couple of days ago IED thought the KT convention would be in October, too. Anyway, for the record, the convention is set for November 17. IED thanks Ed Suranyi and Vickie for their timely information about the convention, and all their other help to IED recently. Greg B., IED hopes to see you in England at the Convention! -- Andrew Marvick
Love-Hounds-request@GAFFA.MIT.EDU (10/02/90)
Really-From: Andrew B Marvick <abm4@cunixd.cc.columbia.edu>
IED continues to read Love-Hounds with fascination and gratitude,
even now when he finds himself beset by non-KT obligations and
responsibilities such as he has never experienced before (hence
his sporadic, news-meager postings of late). The excitement of
receiving even a slim booklet from the KBC like the one recently
described by conscientious Love-Hounds is so great that no-one
seemed to notice that the original price bandied about for the
CD box set was some 70 Pounds, whereas it turns out the actual
list price is to be (gulp!) 100 Pounds! (A difference of about
$60.00.) Are these people utterly crazy, or what? Even with
a substantial discount the product will be _far_ too expensive
for widespread sales. You'd think for such a price they could
_at_the_very_least_ have taken the trouble to include all the
official EMI tracks! The report of ICE's interview with some
jerk in charge of the project (is he, in fact? or just--let's
hope--some flunky?) who so cavalierly dismissed the instrumentals
of _RUTH_, _TSW_ and _Dreamtime_, etc., should _surely_ be shot, no?
In a wild mood, IED signs off for the present.
-- Andrew Marvick
Love-Hounds-request@GAFFA.MIT.EDU (10/28/90)
Really-From: ed@das.llnl.gov (Edward Suranyi) 1. In the latest issue of _Rolling Stone_, Suzanne Vega lists _The Dreaming_ as one of her favorite albums of the eighties! 2. I was eating in a Livermore restaurant a couple of days ago (Baker's Square to be exact). They play music from a tape. Suddenly, "This Woman's Work" came on! I asked the manager where they get the music, and he showed me a sticker on the door which said something like, "Aural environment provided by AEI Music", but no address. Ed Suranyi ed@das.llnl.gov
Love-Hounds-request@GAFFA.MIT.EDU (12/03/90)
Really-From: ed@das.llnl.gov (Edward Suranyi) 1. In the December _Q_ magazine, there is a list of "Frighteningly precocious pop achievements guarenteed to make persons of all ages feel utterly talentless." Kate is listed, of course, for "Wuthering Heights." 2. From the same issue of _Q_, an interview with Sinead O'Connor, talking about a concert for Amnesty International in which she appeared with Peter Gabriel: "He's a weirdo but I think he's lovely. We sang that song Don't Give Up with him at the end. I did the part that Kate Bush -- who I *love* -- did originally. I was thrilled to be Kate Bush but inevitably I made a complete balls of it. But then I couldn't hope to do it anywhere near as well as Kate Bush because she is a Goddess." Isn't that an incredible quote? And to top it off, this paragraph is right across from a full page ad for the box set! 3. Selected quotes from some reviews of the box set (all favorable, by the way): From the same issue of _Q_: "'Be kind to my mistakes' she says in the accompanying 26-page book of colour portraits, 'because I'm not'. There really isn't any need." From the Nov. 10 issue of _New Musical Express_: "She arrived with one of the most extraordinary debut singles ever. . ." "But several things distinguish her from her male counterparts; her vast reservoir of talent for one, and the strangeness and magic of her best work." "If you don't know Kate Bush, immerse yourself in this terrific set. If you do here's your chance to replace all those scratched and tear-stained mementoes at a stroke." From the Oct. 27 issue of _Melody Maker_: "Anybody who has been concerned and involved with pop in its purest sense over the last 15 years will have favourite Bushy moments . . ." "Then there's the preposterously good records." "So Kate free-falls through 'The Kick Inside'. 'Lionheart', 'Never For Ever', 'The Dreaming', 'Hounds Of Love', and 'The Sensual World', while the listener crawls along these womb-like air-ducts with a mixture of fascination, awe, suspense, trauma and profound irritation. That's more than we expect from pop music and it's more than we deserve. Nice, fantastic, amazing." Here's a real strange line: "The elegiac 'Night Of The Swallow' appears to be a comment on the sense of humour in the female genitals. Nice one Kate!" In fact, this guy seems to have very strange ideas about several of Kate's songs. 4. I was browsing in Tower Books in San Mateo today, and the clerk put on the second side of _The Sensual World_, and played it all the way through. Naturally, I congratulated her on her good taste. Ed ed@das.llnl.gov
Love-Hounds-request@GAFFA.MIT.EDU (12/09/90)
Really-From: Andrew B Marvick <abm4@cunixd.cc.columbia.edu> IED has finally caught up with the volumes of recent postings to the group, and has one or two very minor KommenTs. I liked the story of Ron's visit to Welling. IED has very fond memories of his own pilgrimage there in 1985. Good job interviewing the local villagers about their recolleKTions of Kate "way back when..." Ed's list of "famous" people who've avowed admiration of Kate should also Mick Karn (whose recent expression of his respect for Kate's work postdates and presumably supplants earlier, less favourable assessments by members of his ex-group Japan--himself included--back in 1982, when they jointly asserted that the Japanese singer- songwriter Akiko Yano did what Kate "tried to do" better than she did); and the two Irish musicians Donal Lunny and Liam O'Flynn, who have worked with Kate on several occasions and who, upon being asked about the experience by IED a couple of years back, were _very_ animated in their praise of her talent and character. If we're going to be real sticklers about the titles of Kate's two French-language recordings, IED believes the titles should read: "Ne T'enfuis pas" (or possibly "Ne T'Enfuis pas") and "Un Baiser d'enfant"--NOT "Ne T'Enfuis Pas" or "Un Baiser d'Enfant". The capitalization of words in French titles is limited to the first word and/or the first "principal" word--or alternatively, the first noun or verb. Not, as in English, all words except minor conjunctions, prepositions, etc. In Kate's defense about the switch from "THE Infant" to "UN Baiser": Kate's two French friends (who made the translations of both songs originally) had good reason for changing the article in this way. "Le Baiser d'enfant" can conceivably be interpreted in French argot as a gerund rather than a simple noun--and in such a context "baiser" does _not_ mean a simple "kiss". Although it would sound awkward to a French native, the phrase "Le baiser d'un enfant" could sound a bit like "the f***ing of a child". IED assumes that this was the reason for the changing of "Le baiser" to "Un baiser", though again it's only a theory; and it's doubtful that Kate had anything to do with such decisions, relying as she seems to have done on her friends' translation, and making one or two minor errors (which nevertheless go beyond mere mispronunciation) in her delivery. (The original translations have been published in old Newsletters and _KB_Complete_, and they do not contain those particular errors). IED invites responses on these linguistic issues, and stands ready to be correKTed on his French, which he admits is woefully imperfeKT. A big thankyou to Ron S. Hill for his splendidly generous offer to make prints available upon request. Sounds to IED as though you may have made the mistake that alot of fans made (IED included) when snapping Kate on stage: i.e., using flash. The stage, it seems, was plenty brightly lit already, for a reasonably fast film. The whiting-out of Kate's face was the inevitable result. -- Andrew Marvick P.S.: IED confesses that he cannot place the "poem" which Ed Suranyi posted, though he knows he must have read it in its original location because it sounds very familiar. Wasn't it a recommendation for a book, Ed? Did it appear in the Newsletter?
Love-Hounds-request@GAFFA.MIT.EDU (12/09/90)
Really-From: ed@das.llnl.gov (Edward Suranyi) >Really-From: Andrew B Marvick <abm4@cunixd.cc.columbia.edu> > P.S.: IED confesses that he cannot place the "poem" which >Ed Suranyi posted, though he knows he must have read it in >its original location because it sounds very familiar. Wasn't >it a recommendation for a book, Ed? Did it appear in the Newsletter? Yes, in a way it is a recommendation for a book. I never saw it in the Newsletter, but I suppose it could have appeared there first. I saw in a much more interesting and surprising place. Don't fret -- I'll give the answer sometime this week! Ed ed@das.llnl.gov
Love-Hounds-request@GAFFA.MIT.EDU (12/12/90)
Really-From: nbc%inf.rl.ac.uk@mitvma.mit.edu >From: barger@aristotle.ils.nwu.edu (Jorn Barger) >One clip I found eye-opening in the video spectacular at the Kon was from >a British comedy show (someone fill in the details?) where an incredibly >obnoxious lout was shouting to someone offstage who he claimed was having >carnal relations with Kate Bush... The offstage character replies that >he's actually having sex with... [someone even more preposterous], and >"just using Kate Bush as a contraceptive!" This was from the live stage performance Comic Relief - though the people concerned were members of The Young Ones TV show cast (three of whom also feature in most of the Comic Strip films). The obnoxious lout was Ric (aka Pric) played by Ric Mayall and the offstage character was Vyvian (Ade Edmondson). I think what he said was that he was having sex with Kate Bush and using Neil as the contraceptive. My namesake being played by Nigel Planer. As for Kate's likely reaction - have a listen again to the lyrics of her duet with Rowan Atkinson. >From: The Holy Lunching Friars of Voondoon <CARROLLJ%ALCBAN@KRDC.INT.Alcan.CA> >Subject: ...Scchhllup!..Back from the Cosmic Void. >If anyone is interested I will summarise my reactions to each album. >You guys who've heard them all already might be surprised to a 'novices' >reaction. Yes go ahead, I for one would like to know your reactions. >From: ed@das.llnl.gov (Edward Suranyi) >Subject: Famous Kate fans I know you said you did not just want people who ahd worked with Kate, but you should add to the list the leader of Big Country (can't remember his name but he said he was a fan in an interview I posted a few years back). Also, what about the members of Go West? >From: nrc@cbema.att.com (Neal R Caldwell, Ii) >Subject: BucKeTs o' Stuff >You've convinced me. I'll buy the LP set as well as the CDs just for >the larger booklet and the extra picture. Of course then I'll have >to complain that I was ripped off... The major rip-off now seems to be in the prices being charged by some US and all GB retail outlets. The prices quoted from Canada, NZ and some parts of the US make buying a second copy of 6 CDs less onerous. If the set had been sold in the UK at a lower price my original complaints would have less severe. The fact is that several of the CDs are being sold separately in adjacent racks at mid-price. Yet in the box set we have to pay full price (in GB at least). Andy Semple has already posted some information about the piece in Q, but here are a few more details which I posted but seemed to get lost: In the January (91) issue of Q magazine there is an article about a forthcoming TV series called Bringing It All Back Home. It is in 5 parts and "traces the extraordinary journey of Irish traditional music and dance over a couple of centuries to America and back" ".. The programme makers have enlisted the musical services of a wide rnage of performers - members of U2, The Waterboys, Hothouse Flowers, Pete Seeger, Don and Phil Everly, Ricky Skaggs, John Cage, Emmylou Harris, Kate Bush and The Pogues - mixing their cultural and musical backgrounds to underline the point of the story." "Besides the 5-part TV series and accompanying book a soundtrack album is also planned. All the performances are live and even include some special compositions like Elvis Costello's Mischievous Ghost which he sings with flame-haired Irish chanteuse Mary Coughlin, backed by Irish piper Davey Spillane". Bringing It All Back Home is scheduled to be broadcast in February. A little while ago I posted here that Rapido on BBC-2 had done a piece on Irish influences on musicians. This featured a short spot from Kate - whether they pinched this film from the new series is unknown. Be seeing you, Neil -- Neil Calton UUCP: ..!mcsun!ukc!rlinf!nbc Informatics Department, NSFNET: nbc%inf.rl.ac.uk@nsfnet-relay.ac.uk Rutherford Appleton Laboratory, BITNET: nbc%inf.rl.ac.uk@ukacrl Chilton, Didcot, Oxon, OX11 0QX JANET: nbc@uk.ac.rl.inf England Tel: (0235) 821900 ext 5740
Love-Hounds-request@GAFFA.MIT.EDU (12/12/90)
Really-From: Andrew B Marvick <abm4@cunixd.cc.columbia.edu> Thanks to all for the timely descriptions of the _Passing_Through_Air_ CD and (to Neil) for mention of Kate on _Prisoners_of_Conscience_. Neil, please let us know: did Kate actually appear on camera? If so, for what proportion of total programme-time? What did the film look like? Was there any sign of who wrote the text that Kate read? Was there any music? Etc. Thanks. -- Andrew Marvick
Love-Hounds-request@GAFFA.MIT.EDU (12/19/90)
Really-From: ed@das.llnl.gov (Edward Suranyi) 1. I have a vague memory of someone mentioning a group called Blue Pearl. Was it you, Jorn, who posted about them? I can't remember, and it must have been before the beginning of this month. In any case, they do a cover version of "Running Up That Hill". Vickie played it to me over the telephone last night. It actually sounds pretty good! It has a kind of soul sound, and Vickie said that the singer is, indeed, a black woman. Dave Gilmour and Youth perform on the song, and the album was produced by Youth! (For new Love-Hounds, I should say that Youth, who used to be a member of the band Killing Joke, played on _Hounds Of Love_.) 2. I went to Let It Be Records in San Francisco today. As the name suggests, this tiny store specializes in the Beatles. However, he also has a lot of Kate Bush items. Although I think his prices are somewhat high, he's about the only local store that still has lots of rareties, such as the early Japanese singles with the different covers, the "Night of the Swallow" single, and several differently colored vinyl versions of the Canadian mini-LP. Today I saw a German translation of Paul Kerton's biography, and a Hong Kong cassette version of _The Whole Story_. One could see immediately that the later was a black-market item. The artwork was entirely different, as was the selection of songs. It even included "Don't Give Up"! I also saw a 1983 EMI-America compilation album that includes "The Man With. . .", and a 1984 EMI-America promo compilation album that includes "Wow". One interesting item I picked up was an LP for the syndicated radio show "Radio Free America". I had never heard of this show before, but apparently it was a new music show that went on a few college stations. The one I got was from sometime in 1983, and "Sat In Your Lap" was played (although they called it "Sit On Your Lap" in the playlist that came with the record). This is by far the earliest time known to me specifically when Kate was played on American radio. The announcer says, "her music has created quite a stir in new music radio recently." I was talking with the owner of Let It Be about Kate for a while. One thing he said, which I hadn't thought about before, was that now that Kate is on CBS in the USA, there shouldn't be any money troubles to get in the way of an American tour. This refers to something that I don't think many Kate Bush fans realize. For most of the eighties, EMI-America (later EMI-Manhattan) has been in moderately to severely difficult financial shape. They only started to recover with a few hit albums in the late eighties (1988 or so). On the other hand, CBS is doing very well -- otherwise Sony would not have bought it. If they want to help Kate tour here, money is not an object for them. Ed Suranyi | "I couldn't hope to do it anywhere near as well ed@das.llnl.gov | as Kate Bush because she is a Goddess." (415) 447-3405 | -- Sinead O'Connor
Love-Hounds-request@gaffa.MIT.EDU (01/04/91)
Really-From: bbaker@xlnvax.novell.com (Brad Baker) If I send you a blank VHS video tape, could you tape it for me? Elvis Costello and Kate Bush are my two favorites. Brad Baker bbaker@novell.com
ed@DAS.LLNL.GOV (Edward Suranyi) (02/18/91)
1. Seen at Streetlight Records, 24th Street, San Francisco:
A wall section labeled "Employee Favorites", with an LP-sized
drawing of Kate and information about the box set. Below it is
written:
"This set is really cool! No foolin'! Sure, it doesn't have the
Cathy Demos or outtakes from any LP sessions, but so what!! It's got
a mess o' tracks that are really hard to find. And the sound on these
imports makes those domestic items seem like old 78 rpm's! So trade in
those CD's, LP's, and tapes and get some credit t'wards this box set!
You won't regret it. Trust me.
-- Dave Gilmore
(The first K.B. fan.)"
Well, they spelled Gilmour's name wrong, but aside from that it's
nice that they have this out so prominently.
2. At Tower Video, Market Street, San Francisco, the _Live At
Hammersmith_ video is in the new release section!
3. After not seeing the _Whole Story_ video for many months,
it has suddenly appeared again at some Tower stores. Perhaps they
ordered it the same time as _LaH_?
4. I heard "Wuthering Heights" on the radio today. It had been
a long time!
5. Leopold Records, a Berkeley store, now has a quarterly in-store
magazine called _Ear Whacks_. In the Winter 90-91 issue there's
a review of Victoria Williams' album _Swing the Statue!_. It
starts, "Victoria Williams is not for everybody. That being said,
I remind you that neither are most of the really great individual
voices in music." Don't we know that! As you can guess, it's
a very favorable review. But the reason I'm mentioning it in
this newsgroup is because of a line further down: "Victoria is what
you might imagine happening if Kate Bush married Tom Waits."
That's it this time.
Ed Suranyi | "I couldn't hope to do it anywhere near as well
ed@das.llnl.gov | as Kate Bush because she is a Goddess."
(415) 447-3405 | -- Sinead O'Connorabm4@cunixa.cc.columbia.EDU (Andrew B Marvick) (02/19/91)
Kate was once asked (through the KBC Newsletter) the identity of the man in the photo on the cover of "The Dreaming". Her reply was, "Why, Houdini, of course." IED's guess is that the man is Anthony Van Laast, Kate's one-time dance instructor and collaborator on the choreography for some of her early videos and the Tour of Life. For those who are wondering what "The Garden" is: "The Garden" is an unwieldly collection of lists, catalogues, lyrics, articles and interviews by and/or about Kate Bush, transcribed (with the help of a number of other Love-Hounds, including Ed Suranyi, Doug Alan, MarK T. Ganzer, Tippi Chai, etc.) by Andrew Marvick (IED) and once intended for hard-copy printout and wide dissemination. Alas! the text quickly grew too large to make paper copies affordable--the postage alone for a text weighing some five pounds would be prohibitive for some locations, let alone the cost of a decent laser-printout and even the simplest velo-binding. As a result, _The_Garden_ remains, except to a few early participants in the project, merely a well organized alternative or supplement to the Love-Hounds Archives--and equally difficult to access! Greg asked about a poster-ography. IED has never had the time to make one, but he knows of at least fifty, perhaps as many as sixty-five or seventy, different Kate Bush posters--a certain number of which are near-duplicates of each other, but different enough in detail and source to merit inclusion in the total. There are at least forty different posters using different imagery. Perhaps IED and Ed and Chris'n'Vickie could find the time next summer to put together a proper catalogue of KT posters? woj: The interviewer on the Canadian programme to which you refer was Laurie Brown. There are two versions of that show: the one you described, and a one-hour-long version (the interview is no longer than on the half-hour version, but it is supplemented by clips from an earlier pair of interviews done by Canadian TV as well as more complete clips from Kate's videos) called "The Story So Far..." It is a wonderful interview--great, well-prepared questions respectfully asked, with fascinating, serious answers from Kate. There is also a brief glimpse of Kate's new home (in Eltham?). Kate herself looks less than her best--she was in the midst of wrestling with "The Sensual World" at the time, though we didn't know it then, and she had clearly _not_ yet resumed her dancing regimen. In fact, wasn't it in this interview that she described the "RUTH" video as her "farewell to dance"--a pronouncement which has very happily proved to be inaccurate--? Dead Dog Robey asks about "The Dreaming" posters: There have been at least three different editions of the poster featuring the front cover of "The Dreaming" LP. The first is now the rarest (IED saw an ad recently for copies of this UK-only edition at 30 Pounds recently): KATE BUSH and THE DREAMING are sub- and super-titling a large blow-up of the cover photo. There was later a second pressing of nearly the same poster, except that the title and Kate's name had traded places, and the edges of the letters (upon close inspection) are saw-toothed-- the letters were very smooth and sharp-edged in the original. The original poster is visible in a collection of photographs of Kate dating from her appearance at the Virgin Megastore to sign copies of the album in 1982--shots from this collection have appeared from time to time in various fanzines and books, mainly because they were sold for years by Pete Still Photography, a mail-order business. About two years ago IED came across a third edition of the same poster--this time a bit smaller in size, and the whole thing printed in monochrome orangeish-brown ink. IED has heard that this poster was actually available in more than one shade of brown in different parts of the US--but it is believed to be American in origin, and it didn't cost much money. Perhaps you may still run across it in some stores, or at a swapmeet, someday. That's all for now, folks. If you're feeling blue, take comfort in the supremely heartening knowledge that SHE'S GONNA TOUR! -- Andrew Marvick
ed@DAS.LLNL.GOV (Edward Suranyi) (02/21/91)
1. The new issue of _Pulse!_ came out today at Tower Records, much earlier than I expected. The Bulgarian Women's Chorus is on the cover; it seems Le Mystere Des Voix Bulgares Vol. 3 is about to be released. There's one mention of Kate: [Talking about Yanka Rupkina] ". . ._The Forest Is Crying_ features her work with the Trio Bulgarka, which gained international acclaim last year through a highly publicized collaboration with Kate Bush." The same issue lists _Live at Hammersmith_ as a new video release. 2. Tower Mountain View has no less than 29 copies of _LaH_ on the shelves at various places in the store! Ed Suranyi | "I couldn't hope to do it anywhere near as well ed@das.llnl.gov | as Kate Bush because she is a Goddess." (415) 447-3405 | -- Sinead O'Connor
abm4@cunixa.cc.columbia.EDU (Andrew B Marvick) (03/07/91)
Michael Graham asks for some information about the various KT
books that are now or have at one time been available. Since it's
likely that many of the newer Kate Bush fans now reading this posting
will want to know about the state of the KT publications scene, IED
has offered a round-up for the benefit of anyone interested.
First, it's important to remember that only one published book
about Kate Bush can be said to have come from a completely reliable
and more or less "official" source, and that's _Cathy_, a book
of photographs by Kate's brother, John Carder Bush. _Cathy_
contains about fifty duo-tone prints of black-and-white photo-
graphs of Kate which John took of his sister when he was about
twenty-two and she about eight--though the span of years is not
clear. John wrote a short, vague but personal introduction to
the collection, and he appended a brief, mildly poetic caption to each
photograph. In short, the only "official" book about Kate contains
scant factual information about her life, but it's still a beautifully
clothbound collection of wonderful, moving photographic portraits of
a great artist-in-embryo.
A second book, Kate's autobiography, called _Leaving_My_Tracks_,
was planned for publication at one time, but in the end it was kept
out of print, and as far as IED is aware it does not exist. Love-Hound
extraordinaire Ed Suranyi is tracking this probably non-existent
book's trail in search of clues, but chances are the book will never be
found.
A third book, usually found in sheet-music stores rather than
the biography or music sections of bookstores, is _almost_ officially
approved by the Bush family. Kate is said to have looked over the text
before publication of _Kate_Bush_Complete_, a trade-size paperback
purportedly edited by Cecil Bolton but actually the work of Peter
FitzGerald-Morris, co-editor of _Homeground_ (about which more will
be found below). _Kate_Bush_Complete_ contains minimal music
notation of most of Kate's published songs through 1986; a basic, no-frills
edition of the lyrics to those sixty-six songs; and--perhaps most
valuable of all--Peter's excellent chronology of Kate's career.
The first "biography" of Kate to be published was Fred and Judy
Vermorel's _Kate_Bush:_Princess_of_Suburbia_, which is now rather
hard to find. It was a very thin, trade-size paperback which contained
a fascinating collection of candid photos, birds-eye views of Kate's
family home (East Wickham Farm), and a load of wildly inaccurate text
about her youth and early career. Throughout the book the Vermorels
are at once contemptuous of their subject and sycophantic about her.
It's a bad book with totally unreliable information, but most avid
Kate fans will still want to own a copy, sad to say.
Shortly after the Vermorels published _Princess_ a more
standard kind of teeny-bopper fan-biography of Kate, simply called
_Kate_Bush:_A_Biography_ was written by Paul Kerton. Again a trade-
size paperback, this book contained some of the same interesting
photographs as well as a few new ones, and it reprinted a few of
Kate's school poems. The text contains its share of factual errors,
but Kerton's tone is inoffensive, for the most part.
A few years later Fred Vermorel, apparently stung by criticism
of his despicable first book about Kate, published a second
"biography", this one entitled _The_Secret_History_of_Kate_Bush_.
Although it begins with a sort of backhanded apology for the first
book, the new text goes on to compound its predecessor's transgressions,
and--what's worse--it dwells interminably on dubious "research" into
Kate's historical ancestry. There are a few unrelated but interesting
remarks about Kate's studio techniques toward the end of this trade-
size paperback book, but for the most part _The_Secret_History_ is
another washout--and an infuriating one, at that.
In recent years three more books about Kate have come on the
market: Kerry Juby's _Kate_Bush:_The_Whole_Story_, Cann & Mayes's
_Kate_Bush:_A_Visual_Documentary_, and an unsigned, bootleg collection of
magazine interviews and clippings called _To_Kate_With_Love_, or
something along those lines. Of these three, the _Visual_Documentary_
is the best by far.
Juby's _The_Whole_Story_, published by the reputable firm of Sidgwick
& Jackson, came out in hardback a few years back. If judged
by its high production values and opening pages, it represents
a breakthrough in quality. Alas, a closer reading of its 150-odd
pages of depressingly shallow and repetitive text reveals no fewer
than eighty completely false statements about Kate's life and career.
The book contains a few isolated bits of valuable new information,
and it includes a small collection of unfamiliar candid photos,
but overall the biographical information is _not_ to be trusted.
(Love-Hounds Archives contains IED's detailed, page-by-page review
of the book.)
The anonymous _To_Kate_With_Love_ reproduces interviews, reviews
and clippings from British music weeklies, etc., and is worth having,
particularly if you are getting into Kate's music too late to find
the original relevant issues of _Melody_Maker_, _Sounds_, etc.
Unfortunately, this collection of reprints--an eight-by-
eleven-inch glossy-covered, staple-bound paperback--is increasingly
difficult to find in its own right.
Of all the books about Kate Bush, the only one which IED is
willing to recommend (albeit with reservations--it _does_ contain
a few inaccurate statements) is the Cann & Mayes trade paperback,
_Kate_Bush:_A_Visual_Documentary_. Their style is unpretentious,
their attitude toward Kate is seldom patronizing, and their facts,
for the most part, are straight. Moreover _A_Visual_Documentary_
contains a wealth of unofficial photographs of and relating
to Kate Bush, her life, music and career.
Aside from the above books, you might want to remember that
there are also a few Kate Bush sheetmusic-books. The notation in
all of these publications--all official EMI Music Publishing
books--is confined to basic piano parts (not at all like Kate's
recorded piano arrangements), guitar-chord indications and
simplified melody lines. The first of these books contains about eight
of the thirteen songs on _The_Kick_Inside_; the second, all ten
songs from _Lionheart_--as well as a few photographs from the
album's photo-sessions; the third, a collection of songs from
the first three albums, called _The_Best_of_Kate_Bush_ (this book
also contains one-line-long captions written for the collection by
Kate to accompany each song in the collection; as well as some
official photos); the fourth, a songbook of _Hounds_of_Love_
(including an exclusive poster); the fifth, a bare-bones songbook
of _The_Whole_Story_ LP; and the sixth, a new, not very interesting
songbook of _The_Sensual_World_. There are also individual
sheetmusic editions of most of Kate's single releases to date.
For more published information regarding Kate Bush, new
fans are encouraged to seek out the _Newsletters_ of The Kate
Bush Club, the only official fan club. The Kate Bush Club has
published twenty-five _Newsletters_ to date, and although they
are sometimes frustratingly thin on penetrating analysis of
the music and hard facts, they nevertheless make fascinating
reading for Kate fans--especially since they contain a number
of articles written by Kate, her brothers Paddy and John, and
her boyfriend/bass-player/engineer Del Palmer. Warning: the
_Newsletter_ now is published once a year--if that often.
There are also more than a dozen currently active fanzines
devoted to Kate Bush, the oldest and by far the most important
of which is _Homeground_, edited by Peter FitzGerald-Morris,
Krystyna FitzGerald and Dave Cross. _Homeground_ remains
independent from the Kate Bush Club, but it does occasionally
organize special events and merchandise sales with the KBC,
and it sometimes gains "inside" information on Kate's work.
One of _Homeground_'s greatest assets is Peter's continuing series
of detailed summaries of Kate's career, including listings of
virtually every radio, press and video appearance made by Kate
since her rise to fame in 1977.
Among the other Kate Bush fanzines presently in operation are:
_Watching_Storms_/_Little_Light_ (Rhode Island); _Lone_Star_
_Lionhearts_ (Austin, Texas); _Still_Breathing_ (Vancouver, British
Columbia, Canada); _Cariad_Kate_ (Swansea, Wales); _Kate_ (Holland);
and _N'Abandonne_Pas_ (Paris, France).
Other fanzines devoted to Kate, some of which may not still be
active, include: _Reaching_Out_ (U.S.); _The_Big_Sky_Forum_ (U.S.);
_For_the_Love_of_Kate_ (Seattle, Washington); _Break-Through_
(Manitoba, Canada--this defunct fanzine, of which there were about
eleven issues, is a classic, and still sets a standard for KT 'zines);
_Under_the_Ivy_/_Kate_ (England); _Blow_Away_ (Scotland); _The_First_
_and_Last_Forever_ (Italy); _Lionheart_/_Kate_ (Japan); and
_Dreaming_Fairies_(?--Germany).
Finally, but by no means last in importance and usefulness, there
is our own discussion group, the computer forum for Kate Bush fans
called _Love-Hounds_.
With the above information, IED wishes the new Kate Bush fan every
success with All We're Really Looking For...
-- Andrew Marvick
graham@ug.cs.dal.ca (Michael Graham) (03/07/91)
Thanks to IED for his summary of the KT books available. It was much
appreciated. Right now I have AVD which I am finding a VERY good read.
I am also waiting for TWS to come in.
Two questions (completely unassociated) come to mind...
1) of the books mentioned, what is a reasonable price to pay? While in
Montreal I saw a used copy of Kate Bush Complete going for ~$25 US. I
paid the same for a new copy of AVD. What do you thinkof these prices?
And what would I expect to pay for the others?
2) Has Kate ever mentioned her views on the whole british punk phenomena?
She was playing gigs with the KT Bush Band at the same time as the Sex
Pistols were going strong.
3) Speaking of the KT Bush Band - does anyone (IED, Ed, ?) have any live
tapes of them performing? I'm not going to hound for trades, but I am
interested to hear what their versions of "Brown Sugar", "I Heard it
Through the Grapevine", "Satisfaction" sounded like! She must have
had fun singing Brown Sugar! I can hardly imagine...
sorry...it was 3 questions
oh...
4) What was/is Kate's relation to Rowan Atkinson. Was their duet as
hilarious as it "sounds" (I haven't heard it). Can it be rented?
that's it (for now)
mike
--
Michael Graham | Baldrick, you wouldn't know a subtle plan if it
graham@ug.cs.dal.ca | painted itself purple and danced naked on top of
mgraham@ac.dal.ca | a piano singing 'Subtle Plans are Here Again'!
- Black Adder.evan@castle.ed.ac.UK (E Welsh) (03/07/91)
In article <1991Mar7.023728.14033@cs.dal.ca> graham@ug.cs.dal.ca (Michael Graham) writes: >4) What was/is Kate's relation to Rowan Atkinson. Was their duet as > hilarious as it "sounds" (I haven't heard it). Can it be rented? No relation, I think. They are friends though. The song is fantastic - you have seen the lyrics haven't you? It can in this country...it can actually be purchased. -- / __ /\ evan@castle.ed.ac.uk /\ I went... \ \ |_ \ / \/ rew@lfcs.ed.ac.uk \/ I saw... / / |__VAN \/\/ELSH /\ evan@tardis.cs.ed.ac.uk/\ She sang... \ \ ================ \/ ecwu86@ercvax.ed.ac.uk \/ I died!!!!!!!!!!!!!!!!/
abm4@CUNIXA.CC.COLUMBIA.EDU (Andrew B Marvick) (03/14/91)
Welcome Eugene Yang, Kate fan of proven loyalty, to the group! Glad
you found a way into Love-Hounds, Eugene.
N.R.Caldwell: Thanks for forwarding Dawn (L.PAULLIN1)'s extremely
informative and interesting posting from GEnie about new
Kate-influenced sci-fi books. IED's questions: first, what _is_
GEnie? Second, what is the GEnie "Kate Bush discussion group", and
how big is it? And third and most important, why is someone with
as much to KonTribute to Love-Hounds as Dawn (L.PAULLIN1) stuck
in GEnie instead of being let loose in the rich ether of
Philocaninia? Can you do nothing to get her out of GEnie (along
with any other woefully misdirected Kate fans who are stuck there
with her) and into Love-Hounds--asap? Meanwhile, if it's any
comfort to her, her posting made two more sales for Samuel M.
Key/Charles de Lint, and one for Emma Bull. Thank her again for
IED.
There is no reliable information on how heavily Kate smokes,
but it seems very unlikely to IED that she is a two-pack-a-day
addict. What was the source of this rumor?
Finally, IED got issues 12, 13 and 14 of CKI (_Cariad_Kate_
_International_), actually known now as _Never_Forever?_ (though
what the question mark is for IED has no idea). Though it pains
IED to say it, this fanzine is pretty routine stuff, for
the most part--with one notable exception: its knack for
digging up the obscure old interview. IED will be transcribing
three of these and posting them to Love-Hounds for their pleasure
and edifiKation in the days ahead. Thanks to Nev and Jon for the
interviews, at least.
-- Andrew Marvick, ever marching along with Kate, Peter and Emma
to the rhythm of the Army of Cosmic Engineers...
nrc@cbema.att.COM (Neal R Caldwell, Ii) (03/14/91)
From article <CMM.0.90.0.668911905.abm4@cunixa.cc.columbia.edu>, by abm4@CUNIXA.CC.COLUMBIA.EDU (Andrew B Marvick): > N.R.Caldwell: Thanks for forwarding Dawn (L.PAULLIN1)'s extremely > informative and interesting posting from GEnie about new > Kate-influenced sci-fi books. IED's questions: first, what _is_ > GEnie? This may have been made clear by my reply to Ron but I'll try to give a bit more detail. GEnie is an information service much like CompuServe that is offered by GE. It offers access to non-computer related "Round Tables" or message bases at a flat rate of $4.95 per month. That includes access via a local phone number in most areas. > Second, what is the GEnie "Kate Bush discussion group", and > how big is it? There is a music "round table" which contains a rock "category" which in turn contains the Kate Bush "topic". All of the messages in a topic are kept in a sequential file that you can page through. When you reply to the topic your message is appended to the end. Crude but effective. We have accumulated something like two or three hundred messages over the last six months. > And third and most important, why is someone with > as much to KonTribute to Love-Hounds as Dawn (L.PAULLIN1) stuck > in GEnie instead of being let loose in the rich ether of > Philocaninia? Net access is a strange and wonderful thing. Most of the users of GEnie are personal computer users many of whom really have little or no idea that something like "the net" exists. Even once informed of it's existence most have no idea where or how to obtain access (assuming it's even available in their area). For some there remains a technical barrier even if access is available. The operation of typical news reader software is not intuitively obvious to many PC users (or human beings in general for that matter). > Can you do nothing to get her out of GEnie (along > with any other woefully misdirected Kate fans who are stuck there > with her) and into Love-Hounds--asap? I doubt that I can rescue the entire group but I will at least attempt check the public access UNIX listing for systems close to the heaviest contributers. It's worth noting that I am making Love-Hounds postings available on my public BBS to anyone who cares to peruse them. Posting ability may follow if volume should warrant. > Meanwhile, if it's any > comfort to her, her posting made two more sales for Samuel M. > Key/Charles de Lint, and one for Emma Bull. Thank her again for > IED. I'll pass the word along. "Don't drive too slowly." Richard Caldwell AT&T Network Systems att!cbnews!nrc nrc@cbnews.att.com
abm4@cunixa.cc.columbia.EDU (Andrew B Marvick) (03/26/91)
That's "bonne nuit", Jeff. The French translators for Kate's two
French-language recordings were a French couple, friends of Kate's,
whose names were given in an old Newsletter once years ago. IED
doesn't have access to the old Newsletters here, though, sorry to
say.
Judi asked what is _Under_the_Ivy_? It's a simple ballad by
Kate, a b-side from the _The_Big_Sky_ single. IED should say
"deceptively simple", though--it is actually very subtle, and
has a secret subtext. Love-Hounds have sent Kate white roses
on Katemas (and at the recent convention) for the last two or
three years, in reference to this song and its "secret" meaning...
Judi also asked about other Kate recordings aside from the
six studio LPs and _The_Whole_Story_. There are three main
collections to get, Judi: first, the two-CD (or three-LP) set
of b-sides and re-mixes which are contained (unfortunately
only as part of the set) in the boxed set called _This_Woman's_
_Work_. There is a hope that Kate's U.S. label will release this
collection on its own sometime in 1991, but don't count on it.
You might also try to find one of two bootleg versions of (more
or less) the same collection of b-sides: one is an old two-LP
set called _Passing_Through_Air_, the other is a new single
LP called _Back_Sides_. Both are of inferior quality, straight
analog transfers of the vinyl 45-RPM b-sides. They will cost
less than the entire CD boxed set, however, and are much easier
to collect than the original single releases. Of course you
are not being encouraged to break the law and buy a bootleg
product here...
The second collection IED recommends to you consists of
a bunch of early "demos" Kate recorded at various times,
all of them relatively early in her career. These include
the so-called "Cathy Demos"--so-named because of the title
given them in a series of seven-inch vinyl releases by an
early bootlegger of the demos. There have been a total of
twenty-three such "Cathy Demo" recordings, available in
five seven-inch color-vinyl records (each in a different
black-and-white sleeve featuring John Carder Bush photos
of Kate as a child, stolen from JCB's book, _Cathy_--hence
the name). Twenty-two of these twenty-three demos (the
missing twenty-third demo is mistitled _Organic_Acid_ by
the _Cathy_ bootlegger on Volume Five) have also been
circulating on cassettes (one was called _Fiddle_--a
reference to _Violin_, of which an early version appears
in the collection), LPs (two volumes: _Cathy's_Album_
and _Cathy's_Album_Too_) and now CDs (two: _If_You_Could_
_See_Me_Fly_ and _Passing_Through_Air_--N.B.: the titles
are the only things these CD boots have in common with earlier,
vinyl bootleg collections). Other demos exist, as well: there
is the official b-side of Kate's early recording of _Passing_
_Through_Air_, now found in the boxed set--this is a track
from the 1973 David Gilmour sessions. Also from that session
is an excerpt from another early unreleased song, known as
_Maybe_ (among other things), which Kate played briefly on
a radio programme in 1978. Then there are five or six demos
of songs which _did_ appear (in more polished versions) on
the first two LPs--except for one in the group, which IED
calls (for want of an official title) _Scares_Me_Silly_. This
group of demos appears on some of the above-mentioned boots.
And finally, there are two demo versions of _Babooshka_, both
only known in short versions, and now available on some of
the above bootlegs.
The third collection IED recommends is the soundtrack from
the _Live_at_Hammersmith_Odeon_ film. Twelve tracks from the
Tour of Life live show of May 12-13, 1979. They are available in
several forms: an official VHS video-cassette ($19.95, now at
Tower Records), a Japanese import laser-disk (digitial sound,
incomparable picture quality), and an illegal bootleg transfer
--digital from the laser-disk, very good quality--on CD, called
_Kate_Bush_Live_. There are also many earlier analog bootleg
vinyl versions of the Hammersmith film's soundtrack.
You should know that the complete concert was more than
twice the length of the official _Live_at_Hammersmith_ film:
twenty-four songs, many of which were prefaced by interesting
non-LP instrumental or spoken-word introductions (heard during
the live performances while Kate made one of the fifteen or so
costume changes for the show). These are also audible (though
only just) in various bootleg LP sets, the best (i.e., least
horrible-sounding) of which are the _Live_at_the_London_Palladium_
and _Live_in_Bristol_ multi-record sets.
Richard Caley refers to _Walk_Straight_Down_the_Middle_ and--sin
of sins--_Deeper_Understanding_ as (gulp) "weak". Weak? WEAK?? Oh,
smelling salts! Where are IED's smelling salts??
R-og asks why Kate doesn't cross the pond more often, and when
she has done so in the past. Well, Kate actually has been to the
States more often than some fans may be aware. She came once in 1978
(for the stint on _Saturday_Night_Live_). She also came in 1985,
to promote _Hounds_of_Love_--she visited New York City and then
hopped up to Toronto. Then she came again in January 1990 (New
York) to help out _The_Sensual_World_, though she did much less
actual promotion that time than she had done in 1985 for _HoL_.
In addition she visited (at least) once before--she was taken
to Las Vegas by an EMI-America official, where she was flown
around in a small plane over the Grand Canyon. She didn't have
a great time, IED is led to understand.
R-og also asks whether dates have been announced for the "tour".
No. There may not even _be_ a tour. Let's all not get too confident
too soon, that's IED's suggestion. It will probably happen, but if
so, not for at least another year, if we have learned anything about
Kate after thirteen-plus years. Del Palmer did say that five cities
in the U.S. had been suggested, three of which would probably be
NYC, LA and Chicago, and the remaining two of which probably would
_not_ include San Diego (sorry!). Beyond that we know nothing yet.
In re Heath's descriptions of the boxed-set photo-booklet:
On page 1, this photo is not from any known performance or video
appearance, but another (even more fascinating) shot from the same
session appeared on the cover of the Kate Bush Club _Newsletter_
No. 23, back in 1988.
On page 2, note that this shot is from the session for the _U.S._
edition of the cover of _The_Kick_Inside_.
On page 11: The pipes are Uillean pipes, the traditional Irish
pipes, and the photo session (from which other shots have appeared
in old _Newsletters_) was apparently done for the cover of the Irish
single-release of _Night_of_the_Swallow_ in 1983.
On page 13: This is from _Oh,_England_,My_Lionheart_--the live
performance from the Tour of Life.
On page 23: IED suggests that anyone interested in this mysterious
photograph take a look at the covers of old Depeche Mode albums, and
consider the chicken-and-egg theory. This photo is a real KT
mystery...
-- Andrew Marvick, listening, under the leaves, to the whistle of
passing (sp)arrows...abm4@CUNIXA.CC.COLUMBIA.EDU (Andrew B Marvick) (03/29/91)
|>oug has brought IED down to size: Oops! "Under the Ivy" is from the
b-side of "RUTH". He appreciates |>oug's suggestion that the error was
a result of overwork on the dissertation--alas, the truth is this damn
Love-Hounds group is still distraKTing IED from his proper work in the
worst way...Anyway, the goof was worthwhile, since it got a peep out
of ol' |>oug.
Daniel W., the line is: "For 'tis either you or me's betrayed the
Handsome Cabin Boy!"
Brian, the record you refer to is popularly known as "the mini-LP".
There is a U.S. edition (with five tracks), and a much preferable
Canadian edtion (with six tracks, sometimes found in one of several
different colors of vinyl). But at this point the mini-LP contains
nothing that isn't available on CD, in the boxed set.
IED continues to enjoy the stream of philo-canine reminiscences.
Keep KonTributing them, please!
-- Andrew Marvicknrc@cbema.att.COM (Neal R Caldwell, Ii) (03/29/91)
From article <CMM.0.90.0.670184409.abm4@cunixa.cc.columbia.edu>, by abm4@cunixa.cc.columbia.EDU (Andrew B Marvick): > Brian, the record you refer to is popularly known as "the mini-LP". > There is a U.S. edition (with five tracks), and a much preferable > Canadian edtion (with six tracks, sometimes found in one of several > different colors of vinyl). But at this point the mini-LP contains > nothing that isn't available on CD, in the boxed set. This LP was my first exposure to a couple of Kate tracks but the quality of the record was a big disappointment. It seemed to me that the sound was terribly muddy and that the higher pitches where grossly distorted. My copy was virtually unlistenable. Did anyone else have this problem? "Don't drive too slowly." Richard Caldwell AT&T Network Systems att!cbnews!nrc nrc@cbnews.att.com
abm4@cunixa.cc.columbia.EDU (Andrew B Marvick) (04/02/91)
Just a note or two: _Carmilla_, the novella by Sheridan LeFanu, was
indeed the subject of an early song by Kate Bush. Probably called
simply "Carmilla", its official title cannot be determined, since
the recording (as well as all the other twenty-two so-called "Cathy Demos")
has never been acknowledged by Kate. Kate's "Carmilla" is a short,
exquisite reflection on the central romantic dilemma in the story.
A question was posed about the number of Kate-related fanzines
in operation at this time. There are a lot:
1. The Kate Bush Club "Newsletter" (the only official fanzine--U.K.);
2. "Homeground" (the oldest, and arguably the best, fanzine--U.K.);
3. "Still Breathing" (an offshoot of the defunct "Break-Through"--Canada);
4. "Watching Storms" (an Amateur Publishers Assoc. fanzine--U.S.);
5. "Little Earth" (an offshoot, or digest, of "Watching Storms");
6. "Little Light" (U.S.);
7. "Lone Star Lionhearts" (Kevin Hendryx's Texas-based fanzine);
8. "Never Forever?" (formerly, "Cariad Kate International"--out of Wales);
9. "Kate" (The Netherlands);
10. "Dreaming Fairies" (a collectors' magazine--Germany);
11. "The First and Last Forever" (Italy);
12. "N'Abandonne Pas" (France);
13. "In the Morning Fog" (the latest Japanese fanzine);
14. "Dreamtime" (Australia);
15. "Love-Hounds", or "rec.music.gaffa" (the international computer forum).
There have also been, at one time or another, a U.S. fanzine
called "After the Party"; a Scottish fanzine called "Blow Away"; a British
fanzine called, variously, "Under the Ivy" and "Kate"; a Japanese
fanzine called, variously, "Kate" and "Lionheart"; the U.S. "Wickham St.
Irregular Quarterly", publisher of "The Garden", a KT resource; Gillian Gaar's
Washington-State humorous fanzine, "For the Love of Kate"; Cynthia
Kiley's "Reaching Out" fanzine; and a U.S. fanzine called "The Big
Sky Forum"--making a grand total of twenty-three different Kate Bush
fanzines to date, that IED is aware of.
-- Andrew Marvick
abm4@cunixa.cc.columbia.EDU (Andrew B Marvick) (04/09/91)
FIrst, a big, public thankyou goes out to Ron Hill, for the extrarodinary efforts he has been going to to re-format _The_Garden_ for the sake of other fans' future access. IED couldn't do it without you, Ron. Jeff Tucker, in describing the recent Kate Bush convention, reports that Cappy Petri and Scott Shepherd (sorry if spellings are wrong) have attended "every Kate Bush convention". This is untrue. Neither IED (who first met Scott and Cappy in '85 at the Romford Kate Bush convention) nor Scott nor Cappy was able to attend the first official Kate Bush convention, which was organized by the Kate BUsh Club several years before the Romford con. IED is glad to hear that you had fun at this new convention. Why is it that news of Scott's sale of Kate merchandise does not come as a surprise? In _GOoMH_, the pursuer (male) _also_ changes into a mule--just as he has been able to adapt to the earlier tactics of the pursued (female). Btw, the pursuer says, at the point in question, "Let me in!" Vickie, IED believes (unless he remembers incorrectly, which is certainly very possible) that Kate said _GOoMH_ was "inspired by", not actually "based on", Stephen King's novel, _The_Shining_. She also said the movie _Alien_ had had something to do with the genesis of her recording. But clearly the most direct _influence_ was _The_Twa_Magicians_, the old folk song--not, as far as IED can tell, a musical influence, but definitely a narrative one. Jimmy Fingerle asks why Part Two of IED's updated chronology never appeared in Love-Hounds. There were two reasons: first, IED didn't have easy access to the earlier edition; and second, no-one ever commented on Part One (until now--thanks, Jimmy). This summer IED hopes to get the rest of the chrono updated and corrected, for posting in Love-Hounds before Katemas '91. Run-out-groove "secret" messages: "We're all playing a hunch" is a reference (in IED's opinion) to a couple of lines from "Hammer Horror", in which Kate made a rather clever play on the words "Hunchback of Notre Dame". "Happy anniversary to the P's" is still unexplained, but IED for some reason has always thought that this was an expression of good will from Kate to all the Peter Pans out in Kensington Gardens. The most interesting of the three run-out-groove messages you asked about (at least in IED's opinion), Jimmy, is: "Well done J.B. 1st Dan". This, IED discovered (and confirmed later through an an independent source) is a message to Kate's brother John Carder Bush, who had attained a "first dan" in Karate (or possibly another of the Oriental martial arts) shortly before the cutting of the record in question. Finally, IED digresses for a moment from his usual subject, to comment on Virginia Astley's family: her father is not just any old movie-score composer. He is Edwin (Ted) Astley, the father of Sixties spy-genre music. He wrote (arranged, conducted and produced) the themes and incidental music for the original Patrick McGoohan spy series _Danger_Man_ way back in 1961; the Roger Moore series _The_ _Saint_; _Randall_and_Hopkirk,_Deceased_; and _Department_S_; as well as the films _Koroshi_ and _Vendetta_of_the_Saint_. An amazing musician, woefully underappreciated today. IED thinks it's fair to say even that Kate Bush herself could not have recorded some of the music from _G.L.C._ were it not for the style of music which Astley, Senior originated some thirty years earlier. -- Andrew Marvick
dbk@TOVE.CS.UMD.EDU (Dan Kozak) (04/11/91)
In article <CMM.0.90.0.671143041.abm4@cunixa.cc.columbia.edu> abm4@cunixa.cc.columbia.EDU (Andrew B Marvick) writes: > Finally, IED digresses for a moment from his usual subject, to >comment on Virginia Astley's family: her father is not just any old >movie-score composer. He is Edwin (Ted) Astley, the father of Sixties >spy-genre music. I didn't mean to imply anything by refering to him as a "film composer" -- but I didn't know any of this, he was just Pete Townshend's father-in-law to me (he did some string bits that show up on one of PT's _Scoop_ albums). Thanx for the info! #dan Clever: dbk@cs.umd.edu | "Softly her tower crumbled in the Not-so-clever: uunet!mimsy!dbk | sweet silent sun." - Nabokov
ed@DAS.LLNL.GOV (Edward J. Suranyi) (06/01/91)
1. In the May 24 issue of the _San Jose Mercury News_, David Plotnikoff's
Pop Music column includes the following:
"Our own Top 10: Wherein members of the local music community tell
us what songs are getting heavy play in their homes and cars. This week's
list comes from Rebecca Smith, San Jose music consultant and promoter."
The list that follows includes: "8. 'This Woman's Work,' Kate Bush".
For the record, the other songs on her list are:
1. How Much is Enough -- The Fixx
2. She Still Loves Him -- Jellyfish
3. Crime Stories -- M.C. Hammer
4. She's So Sunshine -- Grey Matter
5. I've Been Thinking About You -- Londonbeat
6. I Touch Myself -- Divinyls
7. Black Boys on Mopeds -- Sinead O'Connor
9. Soul Mining -- The The
10. Bring -- Legal Reins
2. I finally got the June issue of _Q_ magazine with the Q Sleevenotes
on _Hounds Of Love_. I noticed that in the magazine they mention the
Prince/Kate rumor. Is this one of the places people first heard it? They
say: "Prince and Kate Bush collaborating? Surely not, yet the rumour
is rife and confirmations or denials held, perhaps significantly, in
abeyance."
3. I was in Tower Books, Mountain View, and the stereo there was tuned
to KITS. You guessed it -- they started playing RUTH. It's really
quite amazing how many times I've heard that song on the radio lately
-- at least five times in May alone. Yet I remember other periods where
I wouldn't hear that song for months. Strange.
4. They've opened a new Tower Records store in Dublin, California! So
there's finally a decent store for new records reasonably close to
Livermore. I used to have to drive about 30 miles to Concord, which is
where the closest Tower Records store used to be. There's still no
decent used record store in this area.
I went there today to check it out. They have all seven of Kate's albums
in both CD and cassette formats -- the first time I've seen this in any
store in the Tri-Valley area.
While there I picked up the June issue of _Pulse!_ magazine, which came
out today. Somebody includes Kate in her Desert Island Discs list. In
fact, this is the third month in a row that someone has listed Kate in
such a list. Frances Chan of _RTR Countdown_ of Auckland, New Zealand
lists:
"8. _Hounds of Love_ -- Kate Bush. For when I get sick of listening to
angry young men."
For the record, her other choices are:
1. Gone to Earth -- David Sylvian
2. The Smiths -- The Smiths
3. Skylarking -- XTC
4. Soul Mining -- The The
5. Colour of Spring -- Talk Talk
6. Hup -- Wonderstuff
7. Happiness -- Beloved
9. It Takes a Nation of Millions to Hold Us Back -- Public Enemy
10. World Clique -- Deee-Lite
5. You know that mystery song I told you about a couple of days ago?
The one that a lot of people thought was produced by Kate? Well, the
producer turns out to be Howard Jones. I don't know if this is a slur
against Kate or a compliment for Mr. Jones. I still don't know what the
title or artist of the song is.
Ed
ed@das.llnl.govgraham@ug.cs.dal.ca (Michael Graham) (06/01/91)
7 albums? -- Michael Graham | "Well she's not really my half sister...err... graham@ug.cs.dal.ca | more like 2/5ths" mgraham@ac.dal.ca | - Diane Keaton, Love and Death
ed@DAS.LLNL.GOV (Edward J. Suranyi) (06/02/91)
>7 albums? >-- >Michael Graham | "Well she's not really my half sister...err... Well, six albums plus _The Whole Story_. I meant that they have several copies of all her releases. They even have a few copies of _Aspects of the Sensual World_! Ed ed@das.llnl.gov
THOMASDL@VMD.CSO.UIUC.EDU (06/04/91)
1. Ken asked "Is there a Chicago Katemas party planned".... Yes...I thought Chris & Vickie were holding one.... 2. Jorn Barger noted that WEFT (Champaign IL) "asked Aural G. for a CD, (it's in the mail)". Yes, I asked them (I'm at WEFT) and YES IT HAS ARRIVED! It will be played this Wed during my 8pm show (June 5) (tune in Julianne, Ken, ...!) I want to get her cassettes for the station as well. I'll write another letter to Aural G., but maybe someone here (Vickie?) can pass the word on to them that we want *everything*. 3. Ken also mentioned walking into Champaign's Rose records. He wonders "who's the love-hound in C-U?" Well, there's me, but you already know that. I _did_ go into Rose awhile ago asking for Happy Rhodes, but _I_ never mentioned Vickie. There _is_ another Love-Hound in town too -- Julianne (hi Julianne!) -- maybe she also went into Rose and mentioned Vickie as well. And I think there's one other Hound here in CU (but I forget your name...arggggg). Ken, Julianne, ?...have any of you heard Happy yet? 4. R.L.McMillin mentioned getting addresses for nonmusical lists. Can I get that info as well? I'd really appreciate it. David T. Champaign IL. WEFT 90.1fm "Primary Objects" 8-10pm Wed
brownfld@ux1.cso.uiuc.EDU (Kenneth R Brownfield) (06/05/91)
THOMASDL@VMD.CSO.UIUC.EDU writes: >1. Ken asked "Is there a Chicago Katemas party planned".... >Yes...I thought Chris & Vickie were holding one.... Yep, and I think I'll make it unless the sky falls. >3. Ken also mentioned walking into Champaign's Rose records. He >wonders "who's the love-hound in C-U?" >Well, there's me, but you already know that. I _did_ go into Rose >awhile ago asking for Happy Rhodes, but _I_ never mentioned Vickie. >There _is_ another Love-Hound in town too -- Julianne (hi Julianne!) -- >maybe she also went into Rose and mentioned Vickie as well. And I think >there's one other Hound here in CU (but I forget your name...arggggg). >Ken, Julianne, ?...have any of you heard Happy yet? I think the guy knew of Vickie directly. But they have had a lot of requests (more than the three Hounds we know of, I would think.) But I'm Happy-less at the moment. Hopefully they'll have it today when I check. With my luck, they won't, of course! How about some Gabrielle Roth, too? I've already heard _Oceana_ eight gazillion times! ;-) >David T. >Champaign IL. >WEFT 90.1fm "Primary Objects" 8-10pm Wed -- Ken. Kenneth R. Brownfield brownfld@uiuc.edu Computing Services Office uunet!uiucuxc!uiuc.edu!brownfld University of Illinois, Urbana-Champaign. (finger for more info.) -- Ken. Kenneth R. Brownfield brownfld@uiuc.edu Computing Services Office uunet!uiucuxc!uiuc.edu!brownfld University of Illinois, Urbana-Champaign. (finger for more info.)
tcb@silver.mintaka.lcs.mit.edu (Ted Beatie) (06/07/91)
Is there going to be a New England or Boston area Katemas? Please email replies as I do not get on here as often as I'd like... -- ------------------------------------------------------------------------------- The Superstructure is crumbling! EIT! Hey Look! There's Santa! Ted Beatie (617) 628-9619 tcb@silver.lcs.mit.edu / tcb@gnu.ai.mit.edu -------------------------------------------------------------------------------