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From: Mike Palmer <CPI080%ibm.southampton.ac.uk@NSS.Cs.Ucl.AC.UK>
Date: Mon, 10 Apr 89 14:40:37 BST
Subject: Love-Hounds Digest
Comments: Resending note of Tue, 4 Apr 89 06:05:13 EST from Doug Alan<nessus@EDU.MIT.GAFFA>
*** Resending note of 04/04/89 14:32
Via: UK.AC.EARN-RELAY ; (to uk.ac.soton.ibm) 04 Apr 89 14:32:16 BST
Date: Tue, 4 Apr 89 06:05:13 EST
From: Doug Alan <nessus@EDU.MIT.GAFFA>
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Date: 3 Apr 89 10:09:00 EDT
From: Greg (G.T.) Ward <GREGW%BNR.CA@mitvma.mit.edu>
Subject: Fw:Love Hounds submission
I am forwarding the following message for a friend who does not have
direct access to the net. I resolve myself of all responsibility for its
contents.
Greg
BTW, while I'm sending something, has anyone heard any news on when
David Sylvian or Dolphin Brothers will be releasing new albums? They
put out two of the best albums in 1987, and I'm hoping they'll do it
again in 1989.
---forwarded-message---->
1989 Mar 30 at 16:29 EST
to: Greg Ward (BNR) Dept 5L40 CRK
copies to: Joe Grech (NT) Dept 1906 BRW
from: Ted Poltoranos (NT) Dept 1906 BRW
subject: Love Hounds submission
I recently bought the Voice Of The Beehive's "Let It Bee" album
(great title) and was quite impressed with it, so I was glad to
see it get some mention on Love Hounds. I wasn't too pleased with
the comparison to the Bangles (yecch) or the B-52's because the
Voice are much more serious than either of them. Superficially,
they may resemble those 2 bands (vocally - Bangles, musically -
B-52's), but lyrically, the Voice are much deeper than either.
I saw them in concert last night at a local club, opening for
That Petrol Emotion (I think the promoter got the billing
backwards), and thought you'd like to here my humble opinion of
the show. Since they were the opening act, they only played about
45 minutes. The selections were mainly from "Let It Bee", with
3 or 4 new (unreleased) songs, a cover of the ComSat Angels
"Independence Day" and - as the encore - Led Zeppelin's "D'yer Maker".
Although the girls seemed very nervous while introducing songs,
band members or chatting with the audience, the songs were done
quite well. It seemed like they were having a great time on stage,
which helps the audience have a good time. I think the girls would
finish 1-2 in any Lene Lovich look-alike contest. The only slightly
negative aspect of the evening was the crowd - the show was sold
out, but the crowd didn't get into the show - very little dancing/
slamming. Maybe they were all TPE fans?
As long as I'm here, I might as well ask the All-Knowing, All-Seeing
Love Hounds Contributors a couple of questions that have been
gnawing at my brain (or what's left of it) for a while. I know in
my heart that if I'm sincere, the infinite Love Hound Knowledge
Data Base will answer my prayers and save my soul.
The first question involves Shriekback. I was glad to see the recent
interest in the band on Love Hounds, and I partially agree with the
review of "Go Bang" - although I think the best song on the album
(ie. the one that sounds most like the old Shriekback) is "Over
The Wire". Anyways, there seems to be some confusion in getting to
the heart of the Shriekback Crisis. Granted, Dave Allen's departure
(real or otherwise) is significant, but the really important question
remains unanswered. And without that answer, life has lost much of
its meaning for many of us. What happened to Carl Marsh? It was his
departure (which is all too real), that started the demise of the
band. He only played on half of "Oil and Gold", and consequently
it was only half as good as "Care" and "Jam Science". From there,
things just got worse. I've never heard "Tench" either, but I'd
kill to get a copy.
The second question is a more current issue. I've survived for
years without Carl Marsh, but the anticipation of the new THE THE
album is killing me! When is it going to be released? I've heard
that Johnnie Marr is working with Matt - is anyone else? I pray
each and every day that Matt doesn't let Marr, or anyone else, have
any input at all into the project. After INFECTED (the best LP of
the decade), any outside influence would be detrimental. Is he
going to tour? Will there be another album video? Is there a
Jools Holland piano solo on the album? Is Matt really going to
uphold his promise : "the more successful I get, the more obscene
I'll get"? Help! I need answers!
There's a philosophy,
Don't mean a lot to me,
The value of anything
Is how much it hurts.
Wonko (The Sane)
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Date: Mon, 3 Apr 89 14:48:54 EDT
From: Michael Joseph Conroy <maynard2@pawl.rpi.edu>
Newsgroups: rec.music.gaffa
Subject: Re: Dead or alive?
Organization: Rensselaer Polytechnic Institute, Troy, NY
Just one question, could somebody post the complete stanzas to (I think
it's Paddy's) recitation at the end of "Jig of Life"...(....Come over
here to where wind lingers, waiting in this empty world. Waiting for them
when the life spray pools...)etc. Thanks.
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Date: Mon, 3 Apr 89 14:42:02 EDT
From: Michael Joseph Conroy <maynard2@pawl.rpi.edu>
Newsgroups: rec.music.gaffa
Subject: Re: Does she die?
Organization: Rensselaer Polytechnic Institute, Troy, NY
OK. With regards to her death, I can't be certain. For one, her interview in
the Bristol Advocate(syndicated,of course) never mentioned death being a
factor.
Also, if indeed she does die, she dies at the beginning shortly after "And
Dream of Sheep", otherwise, "watching you without me" would have a completely
different significance. The sounds at the end of "Jig of Life" are decidedly
old NASA outtakes. Aside from the obvious dialogue, the careful ear can
discern the characteristic reverb on the last bit of dialogue...(something to
the effect of "Math(?) data, tracking data, and three-point trajectory are all
one line." The reverb is that of the sounds you always here when at a
launch because of where the speakers are placed in relation to the concrete
shielding. Somehow, I know that sounds strange, but trust me... Anyway,
with regards to the "Sub" sounds, no. Although a friend of mine states that
the "Ninth Wave" was inspired by "Das Boot", the sounds at the end of "Hello
Earth" are not sub. They are identical to the sounds in "Under Ice". Although
that title suggests a submarine, the sounds heard are drips, not sonar pings.
A sonar ping, even in cold water, is not that clear because of temperature
gradients. Also, the return on a sonar ping following the initial ping would
be somewhat distorted and more than one echo would be returned(I'm refering to
a short delay time between the other echoes...no two second delays count!)
Also, examine the reverb characteristic of the drip sound. For any of you
spelunkers, the sound should be familiar. That's all for now. Critical
commentaries appreciated...... of course.
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Date: Mon, 3 Apr 89 14:52:52 -0500
From: Creeper <bmrose@csd4.milw.wisc.edu>
Subject: New and want to sign up!
Newsgroups: rec.music.gaffa
Organization: Scumbag College
Hi,I was just wondering what you have to do to sign onto this
group. I have read some articles, and it looks interesting.
Please fill me in..
and then sign me up!!
Brannon M. Rose <Creeper>
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Date: Fri, 31 Mar 89 14:11:12 pst
From: hal%garth%sri-unix%husc6%harvard%ames.uucp@mailrus.cc.umich.edu (Hal
Broome)
Subject: Re: Submission for rec-music-gaffa
Newsgroups: rec.music.gaffa
Organization: Intergraph (APD) -- Palo Alto, CA
Hi. That BBC special album of Pink Floyd could have been commissioned
for John Peel, the BBC1 dj who has been around since the sixties . . .
he brings in groups that he thinks have a chance of making it--darn
near shoots a 100% there; in fact, he sometimes goes out of his way
for groups that won't but should--and turns them loose in the
well-stocked studios of the Beeb. Amazing that Peel's favorite sounds
have remained nearly the same over the years; he was popular during
the psychedelic era and is currently popular with the post-new wave
crowd. Nowadays, however, he wouldn't be caught dead playing PF, at
least the newer stuff. His secret is to find out about a group over
the grapevine and commission them before they turn famous and charge
an arm and a leg or refuse because they don't need the publicity.
I've heard there are a lot of Syd Barrett sessions around as well,
taken in his solo days before his mental collapse.
hal
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Date: Sun, 2 Apr 89 19:22:55 PDT
From: duane@EBay.Sun.COM (Duane Day, I.R. - Applications Development)
Subject: Helicopter fatality
> Either that or she died of cancer, and this other woman named Kate,
> who was with Leila and the Snakes and maybe hung out with the Tubes
> and other San Francisco musicians, is the one who died in the
> helicopter. That would make for two dead Kates, at least one of
> which has a single-syllable last name.
The woman who died in the helicopter was a comedienne (oh, god, is
that a politically incorrect word now?) named Jane Dornacker. She
co-wrote the Tubes' "Don't Touch Me There". She was a self-proclaimed
"trafficologist" for a San Francisco radio station. I don't remember
whether or not she was doing traffic reports at the time of the crash.
She also had an amusing bit as a character who was a "snackologist",
touting the nutritional virtues of Hostess Snoballs, etc.
Duane
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From: Doug Alan <nessus@athena.mit.edu>
Reply-To: Doug Alan <nessus@athena.mit.edu>
Subject: Jig of Life
Date: Mon, 03 Apr 89 18:38:38 EST
These lyrics were declared "official" by John Carder Bush:
Can't you see where memories are kept bright
Tripping on the water like a laughing girl
Time in her eyes is spawning past light
Run on the ocean and the woman unfurls
Holding all the love that waits for you here
Catch us now for I am your future
A kiss on the wind and we'll make the land
Come over here to where When lingers
Waiting in this empty world
Waiting for Then when the life spray cools
For Now does ride in on the curl of a wave
And you will dance with me in the sunlit pools
We are of the going water and the gone
We are of water and the holy land of water
And all that's to come runs in
With the thrust on the strand
I capitalized "when", "then", and "now".
|>oug
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From: Doug Alan <nessus@athena.mit.edu>
Reply-To: Doug Alan <nessus@athena.mit.edu>
Subject: Re: Does she die?
Date: Mon, 03 Apr 89 18:44:57 EST
> Although a friend of mine states that the "Ninth Wave" was inspired
> by "Das Boot" [...]
Kate says it too (in part).
> Although that title suggests a submarine, the sounds heard are
> drips, not sonar pings.
Although it may very well be true that the sonar-ping-like sounds are
not authentic or accurate, I think it clear that Kate intended them to
be sonar pings and not cave drips....
Long live the New Flesh,
|>oug
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From: "Scott A. McIntyre" <gorn!avalon@ucscc.ucsc.edu>
Date: Mon, 3 Apr 89 12:14:39 PDT
Path: gorn!avalon
From: avalon@gorn.santa-cruz.ca.us (Scott A. McIntyre)
Newsgroups: rec.music.gaffa
Subject: Re: (none)
Date: 3 Apr 89 19:14:38 GMT
References: <16.Mar.89.09:53:49.GMT.#8396@UK.AC.SOTON.IBM>
Reply-To: avalon@gorn.santa-cruz.ca.us (Scott A. McIntyre)
Organization: The Planet GORN.
Lines: 19
+-In article <16.Mar.89.09:53:49.GMT.#8396@UK.AC.SOTON.IBM>,
Love-Hounds@GAFFA.MIT.EDU wrote:-
+----------
>Really-From: HII013%IBM.SOUTHAMPTON.AC.UK@mitvma.mit.edu
>
>Is there any chance that I can receive the Love Hounds newsletter ?
>
>Mike Palmer
+----------
If this really exists, PLEASE add me to any and or all mailing lists..
Scott
--
avalon@gorn.santa-cruz.ca.us {This site}
avalon@ssyx.ucsc.edu {A different site}
avalon@ucsck.BITNET {A completely different site}
"Time has little to do with infinity and Jelly doughnuts"
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Date: Tue, 4 Apr 89 00:14:39 -0700
From: cquenel@polyslo.calpoly.edu (46 more school days)
Newsgroups: rec.music.gaffa
Subject: Pings
Reply-To: cquenel@polyslo.CalPoly.EDU (46 more school days)
Organization: Blue Blaze Irregulars
>Really-From: Doug Alan <nessus@athena.mit.edu>
>Although it may very well be true that the sonar-ping-like sounds are
>not authentic or accurate, I think it clear that Kate intended them to
>be sonar pings and not cave drips....
During one of the ocurrences of these "pings",
I can definately hear words in the background that
sound like guys on a submarine, and I can fairly
clearly make out the word "sonar".
--chris
--
@---@ ------------------------------------------------------------------
@---@
\. ./ | Chris Quenelle (The First Lab Rat) cquenel@polyslo.calpoly.edu | \.
../
\ / | + good; ++ good; -- Annie Lennox | \ /
==o== ------------------------------------------------------------------
==o==
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Date: Tue, 04 Apr 89 01:15 PDT
From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
Subject: KT MEGA-NEWS
To: Love-Hounds
From: Andrew Marvick (IED)
Subject: KT MEGA-NEWS
Nice to see _that_ subject-heading again for a change, eh?
Well, this news doesn't disappoint, either--it's a doozy!
KATE BUSH DEMOS HAVE COME OUT!!!
(Please be indulgent with IED today, his annoying verbosity
seems to be on the upswing. It's just his way of dealing with
his totally undeserved _state_of_bliss_ at having NEW KATE BUSH
SONGS rioting through his brain!!!)
That's right, folks, Kate Bush demo recordings are now
available. Attentive Love-Hounds-readers will remember IED's
notice a week or so back concerning a rumour about a female
bootlegger in the Southern California area who had obtained
tapes of twenty early Kate Bush demo recordings and had plans
to release them as a series of seven-inch EPs, featuring three
or four tracks on each single and spacing each release about
a month apart.
This evening IED got his sweaty palms on the first in the
series. And let him assure his gentle readership--this thing _really_is_
the Holy Grail at last!
The record is very nicely packaged in a white sleeve featuring
one of the most beautiful of John Carder Bush's old Pre-Raphaelite-like
close-up portrait photos of Kate, taken when she was about eight or
ten years old. On the front are the words _Kate_Bush_, _The_Cathy_Demos_,
_Volume_One_. On the back is a blow-up of Kate's eyes from the same
photo, the catalogue number KB001, and the titles of four songs:
on Side One, _The_Kick_Inside_ and _Hammer_Horror_, and on Side Two,
_A_Rose_Growing_Old_ and _Keeping_Me_Waiting_. At the bottom of the back
of the sleeve is the handwritten series number xxx/600. (IED's copy
was number 269.) All the writing is in vaguely _HoL_-style black typeset.
The record itself is in a second, blank paper inner-sleeve.
It is in red vinyl, and has black labels with white lettering in the
same typeset. Titles are the same as on the outer sleeve. Finally, in
the runout grooves there are "secret" messages which actually identify
the bootleggers, at least by first name (this is only IED's theory).
On Side One, the catalogue number (slightly different than on the sleeve)
and the words: "She smokes the blackest hash". On Side Two, the words:
"Fan Fan, Jackie and Cecile" and "Fan Fan, Cecile and Jackie". Since
IED was told that the bootlegger was a woman, he assumes that one or
more of these names refers to the manufacturers. He has no idea what
the relevance of the "hash" remark is. Ideas, anyone?
Now to the musical content itself--in a word, _amazing_. It's
fantastic! The first track is _The_Kick_Inside_, but the performance
is an _early_ demo version, featuring the voice of Kate accompanied only
by her own piano-playing. The sound is extremely "matte", i.e. without
any echo, ambience or reverb of any kind. This has the advantage of
making the performance eminently clear. All four of the songs on the
record have the same bare-bones sound quality, and all four are highly
listenable. The transfer from the master-tapes must have been relatively
well handled, because the tape-hiss-level and surface noise are quite
acceptable.
In IED's opinion the four songs all come from the same demo
collection. They do _not_ come from the same collection which Peter
FitzGerald-Morris discussed in an issue of _Homeground_ last year,
because the titles do not correspond with those he listed. IED believes
that these recordings may date from about 1976 or '77. This is because
Kate's high soprano technique is fully under her command, there is
no hint of uncertainty with intonation, and a few of the little vocal
embellishments of the melodies seem similar to some of those heard on the
first two albums. Based on the only other pre-album recordings known
to us already--the tracks _Passing_Through_Air_ and _Maybe_, both
of which stem from the first David Gilmour session--IED believes
that the present four tracks probably date from a somewhat later
period, because in both _PTA_ and _Maybe_ Kate's voice is a little
timid and uncertain, and does not venture into her now-long-since-
abandoned-but-historic falsetto range (which is at its prime
in these demos). However, IED is by no means certain of
this dating, and indeed can readily see how another listener might
make a strong case for placing the new group of recordings among the
earliest collections (ca. 1971-73) which Kate made at home with very
simple equipment and only piano accompaniment. Given the homey but
high quality of the recorded sound and the evident care that was taken
with its packaging and design, IED thinks it's likely that the reason
there is no specific information about the recording dates is that
the bootleggers themselves didn't really know. Anyway, suffice it
to say that the recordings are _early_, and that they're _beautiful_.
Both _The_Kick_Inside_ and _Hammer_Horror_ differ significantly
from their later album versions. _TKI_ veers from its album counterpart's
lyrics several times, even referring explicitly to the song's
characters' _identification_ with Lizzy Wan--making it very clear
that the actual story of _TKI_, though similar, involves quite
different characters than _Lizzy_Wan_'s. The piano arrangement--which
Kate obviously plays in real time with her vocal--also differs in several
places, and stands as further evidence of the subtle and unassuming,
quietly sophisticated nature of her songwriting technique even at this
very early stage. Naturally the performances are all highly professional.
_Hammer_Horror_ contrasts with its later album incarnation even
more strikingly than _The_Kick_Inside_. This is partly because we know
the song as a rocker of sorts, and in its solo-piano demo arrangement the
expected visceral power of the song is, of necessity, suggested rather
than hammered home (ha). On the other hand there are several marvellous
structural touches, especially in the piano writing, that are absolutely
brilliant, and the overall feeling of intimate confession in this demo
version is, for this listener, a revelation: it completely transforms
the long-familiar song into a fresh and touching new piece. The bridge
section from the album version had evidently not yet been composed
at the time of the demo's recording, for it is missing and the song
is consequently much shorter. Also, many of the words are different
than on the album version.
Then on Side Two there are two new songs. IED apologizes, but he
couldn't possibly find the words to describe them to you
yet. What he _can_ say is this: if you like Kate Bush, Y O U M U S T
G E T T H I S R E C O R D ! And if anyone is ever foolish enough to
suggest that there is the _slightest_doubt_ that Kate is a full-fledged
GENIUS--just play them Side Two of this record. That'll put an end to
such nonsense--the same way it now stops IED's posting.
-- Andrew Marvick
"Feeling like a waltz..."
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