the KaTaloguer's spirit consumes and destroys the physical being...

[IED0DXM%UCLAMVS.BITNET@wiscvm.wisc.edu]

As IED mistakenly purged his Love-Hounds today,
don't be surprised that he hasn't offered his
inflated two cents on all the latest hot topics.
Anyway, there is only one topic, right folks?

Having spent the better part of a week listening
to "Be Kind to My Mistakes" now, IED would like
to make some alterations to his original judgment.
There is a hell of a lot going on in this track.
The most confusing and fascinating thing about it,
to this listener, is its structure and melody.
On close inspection, it seems that this song, which
originally struck IED as being very simple and filled
with repeats, is actually made up of at least
eleven separate sections, which are themselves made up of
no fewer than twenty smaller units. Furthermore, the
sections are not all of regular length (i.e., four
or eight bars each), but run into each other
prematurely, so to speak, especially as the track
progresses. Roughly analyzed, it proceeds something
like this:

   I. Introduction
      a. four bars, rhythm only;
      b. four bars, chorus added;
      c. four bars, rhythm only;
      d. four bars, different, crescendo chorus;

  II. Refrain motif ("It is this which brings us together"), four bars 2x;

 III. First verse  ("It's all right, darling...")
      a. 9-bar first section (four-bar figure stated once, repeated with
         an extra bar);
      b. 4-bar second section ("You don't know me...");
      c. 4-bar third section ("It is this that...");

  IV. Refrain repeat, 8 bars ("It is this that..." 2x);

   V. Second "verse" (chord progression changed from III. so
      as to accomodate simultaneous superimposition of the refrain (IV.)
      "I don't know what you are...", 8 bars;

  VI. Vocal bridge ("In your life, in my life, there are secrets..."),
     12 bars;

 VII. Instrumental bridge (rhythm guitar replaced by minimal "solo"
      guitar fills), 12 bars;

VIII. Restatement of II.a. ("It's all right..."), with
      slight changes, figure stated three times (total of 10 bars);

  IX. Vocal "climax" ("Please..." with background "Ooh-ay-ooh")
      stated four times (3 bars, 3 bars, 3 bars, 2 bars);

   X. Extended vocal coda ("Be kind...be kind...") with new unresolved
      chord progression, 4x4 bars;

  XI. Fade-out ("lum....lum...lum..."), 6 to 8 bars (ending obscured
      by LP producer's ill-advised retention of film soundtrack's
      super-imposed fade-in of Stanley Meyers's music over Kate's
      extremely unusual fade-out).

Finally, IED's earlier suspicion that Kate sang a note off-key
(though in a mellifluous way) has been dispelled by the
realization that the same note is repeated very deliberately
twice more in the same section (VI.). It is definitely a
part of the intended melody.


-- Andrew
   Southern California Kate Bush party soon! Everyone invited.