Mainly _Watching_You_Without_Me_ secrets

[IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu]

 To: Love-Hounds
 From: Andrew Marvick
 Subject: Mainly _Watching_You_Without_Me_ secrets

     Thanks to Jennifer for noticing the errors in the lyrics-server
files for _Be_Kind_to_My_Mistakes_. IED wishes someone would dump all
the Kate Bush lyrics in the server and replace them with IED's own
far more accurate and complete file. IED is unable to do this himself,
but will gladly e-mail his file to anyone who can make the switch for    s:
him.                                                                     US

     Mark Anderson writes:
 > I thought they were less "secret" than "difficult to hear".
 > In fact, I've been listening very closely to this song this week (_The
 > Ninth_Wave_ is truly a work of genius!) in order to verify just what it
 > is I believe she's saying, and I noticed just at the very beginning of
 > this song I can hear very faint voices in the background for a second
 > or two...  Could these be the "secret messages" you mean?

  No. But Mark's points are all well taken and interesting, and they're
gratifying ones for IED since they are in agreement with his own!
     About "secret messages" in _Watching_You_Without_Me_, Mark:
IED doesn't doubt that you've been listening carefully to the recording:
the fact that you noticed the very low-level conversation at the very
beginning of the track proves this. But there are still a few more that
you apparently haven't caught yet. The most famous one is even the
subject of a now-very-old Kate Bush Club competition (begun in 1986, and
still not officially solved by anyone). But there are several other secret
messages in the recording, as well. Perhaps the best way to show readers
where these are is to re-post IED's "complete" version of the lyrics. Try
listening to the song while reading this version. And please be under-
standing about the still-unsolved gaps--perhaps you have suggestions?

-- Andrew Marvick (IED)

#             _Watching_You_Without_Me_
#

           ("What's that?")
#           ("It's _four_...five...six...seven...") <see note (++) below>

                You can't hear me.
                You can't hear me.
                You can't hear what I'm saying.
                You can't hear what I'm saying to you.

           You watch the clock
           Move the slow hand.
           I should have been home
           Hours ago,
           But I'm not here.
           But I'm not here.

                You can't hear me.
                You can't hear me.
                You can't feel me
                Here in the room with you now.
                You can't hear what I'm saying.
                You don't hear what I'm saying, do you?

           Can't let you know
           What's been happening.
           There's a ghost in our home,
           Just watching you without me.
           I'm not here.
                ("You don't hear me.") [backwards]
           But I'm not here.
           (You can't hear me.)
           But I'm not here.
           (You don't hear what I'm saying.)

                ...___...___...___...___...

           "Don't ignore, don't ignore me, Let me...[indecipherable]"*
           "Don't ignore, don't ignore me, Let me...[indecipherable]"
           "Don't ignore, don't ignore me, Let me...[indecipherable]"

                     "We see you here." [backwards]
                     "We see you here."
                     "We see you here."
                     "We see you here."
                     "We see you here."
                     "We see you here."
                     "We see you here."
                     "We see you here."

                You don't hear me come in.
           "Help me, baby! Help me, baby! Talk to me! Listen to me,
            listen to me! Talk to me! Help--"**

                ("You can't hear me.") [backwards]
           "Listen, baby! Listen to me, baby! Help me, help me, baby!
            Talk to me! Talk to me! Please, baby, talk to me!"
                ("You can't hear me.") [backwards]
                You won't hear me leaving.

#
# _Notes_on_the_above_lyrics_
#
#          #++--"It's _four_...five...six...seven...": Evidently an
#          exchange between two of the instrumental musicians on the
#          track. The first speaker ("What's that?) is asking for the
#          beat count, and the second is tapping it out for him. This
#          may be authentic studio chat, or an artful reconstruction.
#
          [*--"Don't  ignore,  don't  ignore  me...":    This "mystery
          message" immediately follows the Morse code "S.O.S." signal.
          Still undeciphered as of October, 1988, the message  is  the
          subject  of  a  continuing  Kate  Bush Club competition. The
          message is a sentence, twelve words long, beginning with the
          word  "Don't".  Backwards,   it   sounds   something   like:

          "Zwoh-nikh-noh,  zwoh-nikh-noh  nee, et-nee nong-widz-aw nee

          noy." The translation  in  the  lyrics  above  is  only  the
          editor's guess. It is not even known for certain whether the
          message is forward- or backward-directional.]

          [**--"Listen  to  me,  baby...",  etc.:  The  words  in this
          passage, and in one which follows  later  in  the  song  are
          broken  up--fractured--by some sound-treatment process known

          only to Kate.  Similar to passages from  Waking  the  Witch,
          these  lines  seem  to  contain  different words when played
          backwards. Respectively, these are: "I was here before,  you
          talked to me, you said that you didn't think it was too late
          to  help  me..."; and "Talk to me, listen to me, talk to me,
          talk to me, baby..." These words  apparently  were  recorded
          within    the    momentary   gaps   which   break   up   the
#          forward-directional recording, and like a number of other
#          important lines in the song (though possibly _not_ the
#          "competition" section), they can only be understood when
#          the recording is played backwards.