IED can keep his opinion, that seems fair :-)

[(Michael J. Lamoureux) <lamour%smiley@gateway.mitre.org>]

>From: arc!ken@apple.com (Ken Stuart)
>>like to point out that these are just three in a list which I'm sure
>>is quite long.
>  I have to add Mike Oldfield to this list

     You're right, this was an obvious one, I don't know how I left him out.

>From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
>We have a misunderstanding here.  
	[...]
>Admittedly [IED's] words were not very clear, however.

	This is what I implied in my closing question:  "Could IED please 
clarify his statement?"  That's all I asked.  I just wanted to point out that 
IED's wording left his message TOO open to interpretation.

>either "Rick Wakeman" or "Frank Zappa" or "Pink Floyd" or any of these
>types had ever achieved before. Now before you get mad again

	I wasn't mad until you misquoted me :-)  (The 3rd was Todd Rundgren,
not Pink Floyd, and though you can use them in your rebuttal, you shouldn't
have used quotes)

>Kate Bush, with _The_Dreaming_, was
>able to free herself from (to at least a greater degree): either 1.)
>the notion that the transcendent musical conceptions originating in the
>mind are unreproduceable and can therefore only be _paralleled_ in more
>conventional and established terms (i.e. through rock or other
>instruments, recorded and possibly "treated" in some way in the
>studio)

	I understand that this is your opinion...I'm just trying to understand
if there is any foundation in it.  So, could you please try to explain to me in
what way you think Kate had achieved this to a greater degree than anyone else
had before _The Dreaming_?  (Note the important phrase "in what way".  It's
rather unlike IED to throw out a theory like this without more sound support.)

The following excerpted from the Kate Bush chronolgy which IED typed in:

>January 19, 1980
>     Kate breaks off from recording her own album to do some session
>work for Peter Gabriel, on his third solo album...and encounters the Gabriel 
>method of working with rhythm boxes and the Fairlight CMI.
	[...]
>September, 1980
>     Back in London, Kate attends a concert by Stevie Wonder. The
effect is profound, and on the following day Kate puts down the first
full demo version of "Sat In Your Lap", the key to her next album,
_The_Dreaming_.

	According to the article on the demise of Fairlight (so graciously
posted by andrewb@softway.oz (Andrew Bettison)):

>Peter Vogel went on a world tour, lugging the first Series I from
>studio to studio in search of interested musicians.  Stevie Wonder was
>interested, and since then the Fairlight CMI has risen to legendary
>status as one of THE musical instruments of the modern age.

And a last excerpt from the chronology:

>September 13, 1982
>     The album _The_Dreaming_ is released. Written, arranged and
>produced by Kate around the rhythm box and the Fairlight CMI.


	So back to my question:  What did she do differently that makes IED
believe that Kate did something LESS conventional than anyone else?  Or am I
completely off track again (I'm not having as easy a time as IED applying the
term "alchemy" to music in a definitive sense...I think maybe an example might
help).


Regards,                                          (( I've been told, when I
                                                   (( get older that I'll
Michael Lamoureux (lamour%smiley@gateway.mitre.org) (( understand it all, but
The MITRE Corporation  7525 Colshire Drive         (( I'm not sure if I want
Mailstop Z531 McLean, VA  22102 (703) 883-5370    (( to.     -Kate Bush
                                                 (( "In Search Of Peter Pan"