Canadian _TSW_ news; misK. Thoughts

[Tippi Chai <martinn@csri.toronto.edu>]

This is your Toronto LoveHounds Connection speaking.  First,
regarding _TSW_:
1) KT is still under Capitol-EMI of Canada
2) there is no Canadian 12" single planned
3) the Canadian 7" single is _TSW_ b/w _Walk..._  The cover is
exactly the same as the UK 12" single.  The labels on the single
are boring Capitol-mauve.
4) Release date for the LP is Oct. 19

This info (apart from #3 which is first hand) I got from calling
the Capitol-EMI promo office in Toronto.  Their number is (416)
677-5050.  Note the first 2 digits are same as the KT number (672-
KATE). I meant to ask them if they had done that (I bet they did),
but the person was already slightly annoyed at my barrage of
questions, so I'll ask that next time.  

IED writes:
>     An amazing discovery: there is also ... a white-label test
>pressing of the UK 12" ... the a-side is _double-grooved_!
>The a-side plays _both_ the instrumental and the vocal versions of
>_TSW_, depending on exactly where you set the needle down!

Oh yeah, IED?  Boy have I got news for you. *** MY UK 12" DOES JUST THAT ***
I KID YOU NOT!! I was lucky enough to get the vocal version on the first play 
and the instrumental on the second.  Imagine my surprise and delight, after
checking the label about 4 times to see that I'm indeed playing side A.

After the first few times I heard the song (by calling the KT number), when I
tried to recall it, all I got in my mind is _Be Kind to my Mistakes._  
Does anyone else find the two songs to have a passing resemblence? 
especially when heard on an answering machine over the phone??

Incidentally, the record store from which I obtained the import 12"
(Starsounds on Yonge & College) plays nothing but DISCO, er, I mean
DANCE MUSIC in their store.  But they do carry a lot of IMPORTANT
import titles (I got all my 5 _HoL_ 12" singles from them.)
Moral: don't judge a record shop by the music they play.

Second, while KT-hunTing, I picked up the latest album by Jane
Siberry, _Bound by Beauty_.  Interestingly, some of the song-
writing hails back to her pre-_No Borders Here_ era.  There are
also some ballads and some whimsical stuff ("Everything reminds me
of My Dog") but nothing like _Bird_in_the_Gravel_ from her previous
album.  But since JS is but a Minor Immortal when compared with KT
Goddess, I'll refrain from details.

Third, regarding songs form _TKI_, I've always thought 4 of the 6
songs on side B centre around the love/sex/lust theme, i.e.
 _Oh to be in Love_, _L'amour..._, _Room for a Life_, _The Kick
Inside_.  Therefore I find that the presence of _Them Heavy
People_a bit jarring in the middle; I'd prefer to have those 4
songs together.  To me, there's a subtle thread linking them.

Also, for those who _STILL_ haven't seen a real cloud buster, look
for the book _The Man Who Dreamed of Tomorrow_ by William Edward
Mann, J.P.Tarcher Inc. 1980, L.A.  ISBN 0-87477-1439, LC call
number RZ 460.M36, Dewey call number 150.195.  For more pix of
Wilhem, Peter, Eva et al., also look for _Wilhem Reich and
Orgonomy_ by Ola Raknes, which should be found right next to the
former book.

And next,
>Really-From: motcid!marble!meadley@uunet.UU.NET (A. Meadley) 
> 
>Whilst playing "The Dreaming" to an Asian friend recently, he 
>commented that the section (which sounds like) "Dagga dagim da da,
>daggim da da", is in fact derived from an Indian dance discipline
>called the Rhag (this spelling may be incorrect).  It is a very
>formal dance in which the instructor chants and the students
>perform the intricate dance to this chanting. 
 
Please tell your friend a) he's very imaginative and b) he's got
his raag and his taal mixed up.  Raag (or raga) is to Indian music
as what melodies and scales are to Western music, whereas taal (or
tala) refers to rhythm cycles.  Before I continue, let me establish
my "authority" in this issue: I study and perform Kathak, one of
the six classical dances of India.  Kathak is different from the
other classical dances such as Kathakali and Bharat Natchyam in
that besides gestures and story-telling, we also have "abstract"
compositions that deal only with rhythmic patterns, which allows
for infinite variations and improvisation. 
Recitation is used in two ways; first, to keep the beats in the
rhythm cycle, and second, to recite the composition which we dance. 
In the first instance, the syllables ("bols") fall always on the
beat.  In the second, the bols are used to dictate the rhythmic
patterns that we dance.  Whereas the passage from GOoMH in question
is indeed a rhythm pattern, it is too short for a composition, and
compositions do not contain a single repeating pattern.  Nor are
compositions repeated ad infinitum as in the song.  Further more,
I have never heard bols that sound like that.   Now I'm not saying
that it is not possible that Kate heard some recitation somewhere
and incorporated it into her music.  However, it is unlikely that
she would just make up some rhythm pattern and throw in some
"nonsense" symbols of her own, given the other examples that show
her to be meticulously true to the original in such cases.  One
such instance is the "funeral chorus" from Nosferatu,
Of course, I'm only Chinese and not Indian, and maybe the passage
*DID* come from some aspects of Indian music that I don't know of. 
However, unless someone with more authority (someone from the Bush
family or a guru of Indian music) convinces me otherwise, I'll say
that the passage has nothing to do with Indian music.

Lastly (whew!) did I really save the net "hundreds if not thousands
of dollars" by lumping six posting into one?

--
Tippi Chai              "Nurse! get ready to apply the, um, SKIDADOO test."
now at {utzoo,decvax,ihnp4,allegra}!utcsri!martinn   martinn@csri.toronto.edu
Disclaimer: all opinions, pinions and onions expressed herein are solely mine.