Re: reaching out; perfection

[berns@lti2.lti (Brian Berns x26)]

Julian says:

> A work is said to be _perfect_ if no small alteration
> will improve it. In a strict mathematical setting, this
> is the notion of a local maximum in calculus.

You know, when I first read this I thought to myself -- "In a truly anal sort of
way, this is a good definition."  But then I reconsidered.  What you are really
defining here is not "perfection", but "accomplishment".  By which I mean to say
that any song (or other piece of art) which finds itself in a local maximum has
merely acheived what it set out to acheive.  That's all.  By this definition, I
don't think you can deny that the last ten singles by Rick Astley, Milli
Vanilli, Bananarama, Kilie Minogue, etc. are just as "perfect".  Certainly, they
are flawlessly polished, complete, and clear; no small alteration will improve
these babies.

So much for that idea.  Another "sound theoretical base" bites the dust.

As far as "Reaching Out" and the rest of TSW goes, I think this much is clear:
You would be hard pressed to find a group of people who approached this album
more eagerly, or with more open minds.  Even people who are hoping for
"repeats" of old albums were expecting, even wishing, for new ideas and higher
peaks.  Some philocanines were DISAPPOINTED, like me.  Those of you who cannot
accept this fact are welcome to bugger off.  The claim (made by IED) that this
outcome is the result of ignorance is a lot of horseshit.  I couldn't care less
that "Reaching Out" marries two forms, or is based on a third from the 1800's or
whatever.  It's a SONG, and a ROCK SONG at that.  Get a clue.  This intellectual
claptrap about trying to PROVE a song's worth is worse than useless.  In fact,
it was stuffed-up attitudes like this that led to the rebellion of rock music
in the first place.  I have never met Kate or any of her relatives or ex-
doctors, but I think she would probably agree.

And don't even get me started on that "mystical" crap.

********************************************************************************

Actual Kate-related questions:

1. What is the phrase Kate repeats at the end of "Watching You Without Me",
   after the goofy secret message (which I liked much more *before* I knew what
   she was singing)?  It sounds like "release me" to me sometimes, but I'm not
   sure.

2. Is the 12" version of Cloudbusting the same as the album version?  I didn't
   think Kate would do this, but when I saw the 12" in a store, it didn't seem
   to indicate that it was any different, and in fact, said "Taken from the LP
   The Whole Story".  What's the deal?  Did they release this in conjunction
   whith TWS, or am I just hallucinating again?

3. IED (if you're still reading this), could you describe again the backing
   vocals of the last part of "Breathing"?  Your original description of what is
   being said and how it meshes with Kate's lead seemed intruiging, but when I
   went back to listen to the song, I could not pick up what you were pointing
   out.

4. Has anyone seen any version of the "This Woman's Work" single in Boston?  Do
   we think it's worth picking up just for the B-sides, kids?  I never even saw
   a "Love and Anger" single, was there one?  What was its B-side?

-- Brian