RE: Love-Hounds Digest #8.231

[me <EACOX@ucs.indiana.edu>]

Hullo

	Hmmm, I hope using 'reply' to send this will work. We'll see. 
:)
	This is my first go at a post here on , I've read it a lot,
but never felt opinionated enough to really say much. The post on the real
subject of 'Kite'called to me though, as I really formed a definate feeling
about the song's meaning - and drug use and addiction seems to only one of the
many 'things' that is able to be shown in that song.
	I believe that the song works works in the abstract, not specifics,
I'd tend to think that it's more about the vague dissatisfaction with the
weight of everyday life, and finding a means ANY means to get beyond it
(Drugs,Casual Sex,frequent moving,anythinganything) and then being struck with,
apology to Milan Kundera, the "Unbearable Lightness" of the new existance.
It's about missing the solid ties that often weigh us down so much.
	Trying to reach for an example...Don't we often wish to just move
quit our jobs and move somewhere new and 'start over'? But doesn't the idea
of traveling thousands of miles away, and being without friends and family
seem a bit frightening?
	I can't say if drugs were actually in mind when the song was written, 
but from what I hear in interviews, etc, Kate seems to look more at universals
and feelings than specific events , so this feels more 'right' to me.
	

			Thanks for listening,
				Elizabeth

P.S. Haha ! There Jeffy, I posted!   %^)

= }






From:	PO1::"Love-Hounds-Request@uunet.uu.net" 22-AUG-1992 11:21:45.68
To:	Love-Hounds@uunet.UU.NET
CC:	
Subj:	Love-Hounds Digest #8.231

In this digest:
                                    Re: Misc
               Re: ???? Songs never discussed on Love-Hounds ????
                         Seek Biography on Kate Bush!!!
                             Never For Ever box, etc...
               Re: ???? Songs never discussed on Love-Hounds ????
                     Is there a Van Morrison Mailing List ????
                                  FTP Trouble
                     *** Kate's Live Bootlegs UPDATED ****
                *** Kate Bush Live Bootlegs PART II REVISED ***
 
[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
 
From: usenet@transfer.stratus.com (Mr. Network News)
Newsgroups: rec.music.gaffa
Subject: Re: Misc
Date: 21 Aug 92 17:29:04 GMT
References: <aaDsPB2w165w@netrun.cts.com>
Reply-To: Dave_Wetzel@vos.stratus.com
Organization: Dave_Wetzel
Lines: 20
 
 
In article <aaDsPB2w165w@netrun.cts.com> rhill@netrun.cts.com (ronald 
hill) writes:
>         Eric asked if the version of "Here Comes The Flood" is simular 
to 
> the one on the "Shaking the tree" record.  Well, I don't know!  As I 
> don't have the "Shaking The Tree" record.  THe one from the Christmas 
> show was pretty simple, and I seem to remember that there was another 
> version of the song on one of Robert Fripp's albums that was also very 
> simple, but don't quote me.  I'm not much into rare-gabriel.  :-) 
 
There are three versions of PG's HCTF.  The first is from PG's first solo 
albumn (1977; the one with the car on it).  That's my personal fav.  There 
is one on Fripp's Exposure albumn (1979).  Fripp adds his electronic magic 
to the song, but PG still sings it.  And last year, a very different piano 
solo version appeared on PG's "Shaking the Tree" albumn.
 
All of them are good and each is a little different.
 
--------------
Dave_Wetzel@vos.stratus.com
 
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From: Scott Telford <s.telford@ed.ac.uk>
Newsgroups: rec.music.gaffa
Subject: Re: ???? Songs never discussed on Love-Hounds ????
Date: 21 Aug 92 17:01:25 GMT
References: <RLkuPB1w165w@netrun.cts.com>
Sender: nnews@dcs.ed.ac.uk
Distribution: world
Organization: Edinburgh University Home for Deranged Kate Bush Fans.
Lines: 26
 
 
In article <RLkuPB1w165w@netrun.cts.com>, rhill@netrun.cts.com (ronald
hill) writes:
 
> KITE 
 
I don't remember what KaTe has said about this, but to me, this song 
seems to be metaphorically referring to drugs.  The first verse
expresses the desire to escape from mundane life, the next describes
apparently surreal experiences ("I got no limbs and I'm like a feather
on the wind" - Ok, so they're all kite metaphors as well...but hidden
double metaphors are KaTe's speciality, aren't they? 8^) and the
last suggests regret and inability to revert to normal life: "And I'd
like to be back on the ground/But I don't know how to get down" -
addiction of course! And there's the old cliche "high as a kite" too.
 
Oh, and (tenuous link) speaking of songs of the Tour of Life era, has
anybody else noticed that in the bit in the Hammersmith video, after
Feel It, where Simon Drake walks across the stage, he's leafing
through a girly magazine? That must have raised a few eyebrows of
people reading the props list....8^)
 
-- 
Scott Telford, Dept of Computer Science, / "Can I assume you're pissed out of
University of Edinburgh, Mayfield Rd,    /  your head on 'Big Sky', on the new
Edinburgh, EH9 3JZ, UK.                  /  album?" - Peter Swales,
electric mail: s.telford@ed.ac.uk        /  interviewing Kate Bush, 1985.
 
[][][][][][][][][][]
 
Newsgroups: rec.music.gaffa
From: LJ10717@LMSC5.IS.LMSC.LOCKHEED.COM
Subject: Seek Biography on Kate Bush!!!
Sender: news@iscnvx.lmsc.lockheed.com (News)
Organization: Lockheed Missiles & Space Company, Inc.
Date: Fri, 21 Aug 92 17:58:15 GMT
Apparently-To: rec-music-gaffa@uunet.uu.net
 
 
Hello Bush Fans,
 
I've recently become a fan of Kate's lyrical and musical style and I'm seeking
some background information on her.
 
What I'm looking for is her biography, not so much discography, but, who is
Kate Bush.  Where she grew up, age, education, current status, etc. etc. etc.
(Morissey slip, sorry!).  If anyone who knows this information on Kate please
post or email to the address below.  Thanks in advance!!!
 
Also, can someone explain the meaning behind "Whuthering Heights"(sp?); this is
the first track off "The Whole Story."  I would appreciate this as well!
 
Thanks,
 
Diamond
 
-------------------------------------------------------------------------------
Diamond - lj10717@lmsc5.is.lmsc.lockheed.com        "After all, diamonds are a
                                                     girl's best friend!"
                                                       -MM?
-------------------------------------------------------------------------------
 
 
 
[][][][][][][][][][]
 
Date:         Fri, 21 Aug 92 14:17:28 EST
From: UK04160@ukpr.uky.edu
Subject:      Never For Ever box, etc...
 
>> (speculation on a possible DREAMING box)
Hmm...that would be nice. I don't know if I'd hold my breath for
it, though...the CDs that are "boxed" in this fashion seem
to be picked by the amount of new photos availiable from the period,
what the producers have rights to, etc. instead of by chronological
order. For instance, the same people responsible for LIONESS also
did the Beatles boxes..and they've done ones on HELP and REVOLVER
and skipped RUBBER SOUentirely. Speaking of these boxes, are
they actually sanctioned by EMI or are they the result of someone
else's brainstorm?? Could these be a result of the legal loopholes
 in England that allow all those interview sets to be distributed
legally??
 
Oh well...I guess these things do give us something to look forward
to in the absence of any new Kate material. I've yet to actually
pick up any oe things,
 
Paul (uk04160@ukpr.uky.edu)
 
[][][][][][][][][][]
 
From: jeffy@syrinx.umd.edu (Jeffrey C. Burka)
Newsgroups: rec.music.gaffa
Subject: Re: ???? Songs never discussed on Love-Hounds ????
Date: 21 Aug 92 19:13:31 GMT
References: <RLkuPB1w165w@netrun.cts.com>
Sender: news@umd5.umd.edu
Organization: University of Maryland at College Park
Lines: 16
 
 
In article <RLkuPB1w165w@netrun.cts.com> rhill@netrun.cts.com (ronald hill) writes:
>
>        Following is a list of songs that haven't been discussed 
>_at_all_ on Love-Hounds.
 
 
>STRANGE PHENOMENA
 
Are you sure about this?  I remember some discussion as to who "G" might
be (Gurdjieff and Gilmour being the two most likely suspects).
 
Jeff
-- 
|Jeffrey C. Burka                | "Show what you are / Be strong, be true  |
|                                |  Time for you to / Be who you are."      |
|jeffy@syrinx.umd.edu            |                         --Happy Rhodes   |
 
[][][][][][][][][][]
 
Organisation: Westfaelische Wilhelms-Universitaet, Muenster, Germany
Date: Friday, 21 Aug 1992 15:44:35 MES
From: Martin Schluetz <SCHLUTZ%DMSWWU1C.UNI-MUENSTER.DE@VM1.gatech.edu>
Newsgroups: rec.music.gaffa
Subject:    Is there a Van Morrison Mailing List ????
 
Hello Everyone!
 
I like to know if there is something like a Van Morrison
mailing list or Fan Club.
I think it should :-))))
 
Martin Schluetz
 
[][][][][][][][][][]
 
Date: Fri, 21 Aug 1992 23:11 EST
From: MIHARKI@INDSVAX1.INDSTATE.EDU
Subject: FTP Trouble
X-Vms-To: IN%"love-hounds@uunet.uu.net"
 
Hey everyone.  Chad and I having been *trying* to access stuff from FTP, but
as the subject indicates, we are having no luck as of yet.  We can get into 
FTP, but it won't let us take anything out.  I guess what we really need to 
know is: what are the file names?  So far we keep getting, "not a plain file"
or, "invalid file or directory."  Anyone got any clues??  'Cause we sure
don't.  :)  Thanks in advance....
 
Kevin
 
[][][][][][][][][][]
 
Subject: *** Kate's Live Bootlegs UPDATED ****
From: rhill@netrun.cts.com (ronald hill)
Comments: Cloudbuster
Date: Fri, 21 Aug 92 23:07:51 PDT
Organization: NetRunner's Paradise BBS, San Diego CA
 
        Thanks to Paul R. for the info about the NEVER FOR EVER boxed 
set.  Another box I can't afford. :-( 
        He also asked about the live bootlegs.  The Bristol set is the 
most complete, but the Manchestor one is a little better quality 
(though all comparisions are relative!, it's still _BAD_  I just got up 
the nerve to listen to it today, and am afraid to get the ones that 
don't even sound as good!).
 
        Here's part I of an article I compiled a few weeks ago.  I've 
updated and corrected it somewhat since then. 
 
 
 
 
KATE BUSH LIVE BOOTLEGS
 
LAST UPDATED: August 21, 1992
 
        by Andrew Marvick (IED), Ronald Hill, Doug Allen, Woj, and 
Barth Richards. 
 
        This is a compilation of various messages from Love-Hounds, 
done by Ron Hill who takes responsibilty for any errors that may have 
occured during editing.
 
 
        There are five main sources for the material on the live 
bootlegs.
 
        1) The official _Hammersmith_Odeon_ videotape.  The best 
sounding boots simply are recorded off of the laser-disk.  
        The official video tape contains only one hour out of the two 
and a half hour show.  The un-edited film has only been seen at the 
1985 convention.  So far, no audio recordings off of the un-edited film 
have surfaced.
 
        2) Fan-recorded tapes from the Bristol, Paris, Manchester, 
London Palladium, and Amsterdam concerts.  There is also the 
unidentified (and undentifiable) "Temple Of Truth" tape (see bootleg 
entry). Note that there is only one known tape from each of these 
concerts, although they have been released in different formats.  The 
sound _is_ abysmal, there are no bootlegs of the 1979 concerts that 
have good sound. The best-sounding one that includes all the songs and 
incidental bits and pieces is probably the Manchester concert (a two-LP 
set, though only a little less complete than the _Dreamtime_ 3-LP set). 
But they're all miserable.      They feature not only songs, but a 
chant, readings by John Carder Bush, and incidental bits of music, all 
of which were heard while Kate changed costumes in between songs during 
the concert. Specifically, there are: a heartbeat passage preceding 
"Room For the Life"; an ethnic chant performed by the band in unison; 
two synthesizer introductions to songs; three brief readings by 
John--one known as "Two in One Coffin" (preceding "The Kick Inside"), 
the others passages of unidentified prose (perhaps by John); an 
arrangement of Satie's 1st "Gymnopedie", which is used to frame 
"Symphony in Blue", and a short jam session by the KT Bush Band. Also 
of note is the live version of "Egypt", which sounds very different 
from the LP version. 
 
 
        3) Kate. This was a forty-five minute TV special which aired in 
England on December 28, 1979; sometimes called the "Christmas Special". 
In addition to a couple of lip-synchs of LP tracks and one or two new 
vocal performances of old songs, several new and unique bits of music 
appeared on this show. They include a brief introduction, an 
arrangement of part of Satie's "First Gymnopedie" (as an introduction 
to "Symphony in Blue"); an early version of "December Will Be Magic 
Again"; a choral introduction for Peter Gabriel (Kate's guest on the 
show--he sings "Here Comes the Flood"), sometimes referrred to as 
"Peter, the Angel Gabriel"; a brief bit of blues piano; and a duet with 
Peter of Roy Harper's song, "Another Day". 
 
        4) There are a few clips from other live Tour of Life shows on 
three different TV programmes: the Tour episode of _Nationwide_ (UK 
TV); a German programme called _Kate_Bush_in_Concert_ (which has some 
songs from the Hamburg and Mannheim concerts); and a Swedish show 
called _Rockdrotting_ (with a few songs from the Stockholm concerts). 
All are in mono TV sound, however. 
 
        5) Bill Duffield concert.  A modified Tour of Life show, staged 
at London's Hammersmith Odeon on May 12, 1979 for the benefit of the 
surviving relatives of Bill Duffield, Kate's lighting director for the 
Tour, who had died in an accident at the very beginning of the tour.  
The concert featured Steve Harley, Peter Gabriel.  In addition to songs 
from The Tour of Life, this concert featured Let It Be, sung by Steve 
Harley, Peter Gabriel and Kate Bush ;"Them Heavy People" with verses 
sung by Harley and Gabriel; "The Woman With the Child in Her Eyes" sung 
by Harley and Gabriel; Gabriel's "I Don't Remember" sung as a duet by 
Gabriel and Kate; and Harley's "Come Up and See Me", sung by Harley, 
with Kate and Gabriel on backing vocals. 
        See _Japanese_Fan_Club_EP_, _If_You_Could_See_Me_Fly_ and 
_Passing_Through_Air_.
 
 
ALBUMS
 
        _Japanese_Fan_Club_EP_ The more common yellow-vinyl edition is 
not the original version of this disk.  The _actual_ record, as put out 
by the Japanese fan-club (now apparently defunct and succeeded by a 
different group in Japan), was a simpler affair: a red flex-disk with a 
white sleeve. On the disk where a label ordinarily would go was a KT 
symbol in silver. The disk had John's spoken message first, followed by 
Kate's brief message, followed finally by the excerpt from the live 
performance of "Let It Be" from a fan's in-audience (i.e., pirated) 
Walkman recording of the benefit concert for Bill Duffield. (The other 
singers on that track are Steve Harley and Peter Gabriel.) 
 
        _Wow_ : a two-record set containing a poor stereo dub of the 
Hammersmith odeon video's audio track and a mono dub of the BBC tv 
special _kate_ (one on each record).  This is probably the first KaTe 
booTleg, appearing in 1982 or early 1983 and was put out by New York 
based bootleggers. 
 
        _Moving_ : beautiful re-packaging of _Wow_.  Equally poor audio 
though.  Made in the UK. 
 
        _Live in Paris_ (1984): single LP containing excerpts of the 
Paris concert.
 
        "Kate Bush Live in Europe 79 & 80" is a double album credits as 
being from the non-existant Fan Club of Taiwan.   This also appeared as 
a cassette tape.  One record is the soundtrack to the"Kate Bush Live at 
the Hammersmith Odeon" video tape, and the other album is the 
soundtrack to the hour long Christmas special called "Kate" that she 
did in 79.  
 
        "Kate Bush Live in Europe 79 - 80" a re-packaged three-record 
set that consists of: 1.) a true stereo transfer to vinyl of the whole 
of "Live at Hammersmith Odeon"; 2.) a transfer of the television sound 
track from Kate's 1979 Christmas special (the same TV-hum-filled audio 
track heard on the various video copies), which originally appeared 
along with 1.) as the above-mentioned two-record set called "Wow"; and 
3.) a copy of part of a 1979 Paris concert, which previously appeared 
as the above mentioned Paris LP.  All of these records were pressed by 
the same bunch of people, under several label pseudonyms, most often 
"Rock Solid Records" and"International Records" of New York.
 
 
     _A Bird in the Hand_ (1986) is _the_ worst ripoff of all the KT 
boots. Don't buy it unless you have never heard anything from the 
Hammersmith concert video at all before. All it is is an _edited_ 
transfer of the Hi-fi audio track from the video-cassette of the Live 
at Hammersmith Odeon film. Furthermore, the stereo channel separation 
is virtually completely lost in the boot version, although the pressing 
(surface noise) is o.k.  But this particular bootleg doesn't even 
include the whole 53-minute soundtrack! Only about nine songs (perhaps 
eight are listed, but as IED recalls nine are included on the record) 
are transferred, even though other boots have a better stereo transfer 
of the entire soundtrack on single disks. So steer clear!
        The cover boasted two fine early photos in blue ink with pink 
borders. Interestingly, this bootleg is marked: "cover produced in 
U.S.A., 1986"; and according to the labels, the record's alias is 
"Don't Let Me Go".
 
        _Under the Ivy Bush_.  (1988)  This one features quite slick 
packaging, although the photos used are obviously from positives. The 
cover is of the Japanese-_TKI_ pink leotard shot (uncropped, of 
course). The album is a hodge-podge, but is quite interesting.  It 
bears the misleading label "previously unreleased live German tracks."  
This refers to tracks one and two which are simply mono tapes of the LP 
tracks of "Running Up That Hill" and "The Big Sky" as used by Kate for 
lip-synch performances. The only differences between these and the LP 
tracks are that these are in terrible low-fi TV sound, and they include 
a studio audience cheering at the beginning and end of the lip-synch 
tracks. By the way, these two tracks are taken from Kate's appearance 
on the German TV show "Peter's Pop Show", which was also re-broadcast 
on a French program, both of which aired in the fall of 1985.
     Track 3 is another matter altogether. It is a live version of 
"James and the Cold Gun" that has never appeared in any boot or video 
that IED has seen before. It's not from the Hammersmith film, nor is it 
like the "On Stage" version of the Hammersmith version, nor is it from 
the Bristol or the Paris shows. The sound is better than average for 
bootleg live material, and it's a really confident, loose performance.
     Tracks 4 and 5 are just the Satie "Gymnopedie" and "Symphony in 
Blue" from "Kate", the 1979 Christmas special. However, the audio on 
these tracks is _far_ superior to that on the earlier bootleg transfers 
of the "Kate" program.
     Side Two starts off with "The Man With the Child in His Eyes" from 
the "Kate" program.
     Track 2, Side Two is just an excerpt from the German documentary 
on Kate called "Kate Bush in Concert". You can hear the last words of 
one of Kate's answers to an interviewer's question, which segues into 
the live version of "Violin" from the TV program's filmed excerpts of 
the Mannheim and Hamburg concerts.
     Track 3 is just the "Hammer Horror" from the Tour of Life. (The 
specific concert is untraceable, really, because this recording of the 
song was made by Kate in the studio with the KT Bush Band specifically 
for the Tour, so that she wouldn't have to worry about singing for at 
least one song in the show, which left her a bit freer to dance during 
that song. Consequently this track is identical in all the concerts).
      Track 4, Side Two begins with some bootlegger's idea of a joke: 
it's a phrase from an interview Kate gave for the German TV film "Kate 
Bush In Concert" (IED believes), which the bootleggers have 
_backwards-masked_! The words that Kate utters, when played backwards, 
are: "...will be totally believed by an awful lot of people." Ha ha.
     Track 5 is a pre-tour live version of "Wuthering Heights", taken 
(probably) from one of the two German TV shows on which Kate appeared 
to perform the song in 1978. The sound, again, is quite good for a 
transfer from TV.
     Track 6, the last track on the album, is again a reasonably clear 
transfer from a thin, mono TV original. This one, however, is something 
special: the live version of "Under the Ivy" which Kate performed solo, 
accompanying herself on piano, in Abbey Road Studios for the satellite 
broadcast of a special edition of the U.K.  TV program _The Tube_.
te listenable recording of the live version of "Let It Be" which Kate 
gave at the Amnesty concerts. It's not earth-shaking, but it's a _huge_ 
artistic advance on the performance of the same song which Kate gave 
with Steve Harley and Peter Gabriel in 1979.  This is a very thoughtful 
and well-thought-out interpretation, and Kate sings all but the second 
verse this time around (IED can't say for sure who the male singer in 
this version is, but supposes it could be a very hoarse Gabriel?).
 
---
rhill@netrun.cts.com (ronald hill)
NetRunner's Paradise BBS, San Diego CA
 
[][][][][][][][][][]
 
Subject: *** Kate Bush Live Bootlegs PART II REVISED ***
From: rhill@netrun.cts.com (ronald hill)
Comments: Cloudbuster
Date: Fri, 21 Aug 92 23:20:41 PDT
Organization: NetRunner's Paradise BBS, San Diego CA
 
 
        _Kate_Bush_Live_at_the_London_Palladium_1979_  (1988) is a 
3-record set from what looks like the same old New Yorkers.  On this 
album they go by a name they deserve, "Pharting Pharoah Records". The 
album design is particularly noxious: on the front cover it features 
the famous (and copyrighted) photograph of Kate with ivy in her hair; 
and on the back, a collage mixing official photographs taken from music 
magazines (including the KBC Newsletter) with shots from the nude photo 
session of "'lookalike' Kate Simmons" which originally appeared in a 
Autumn 1982 U.K. edition of _Penthouse_ Magazine.  As IED understands 
it, the photos and story appeared in the UK edition of _Penthouse_ 
only; and the article was filled with teasing insinuations that left 
the reader in little doubt they were supposed to think it was Kate 
("young doctor's daughter from Kent"; "been composing since she was a 
child"; etc.)
        As for the use of one of those photos on a bootleg LP cover, it 
doesn't surprise IED at all. There's zero evidence that the people who 
make KT boots are fans. That's highly unlikely, in fact. In the first 
place, any real fan would do a much better job of organizing the 
tracks, listing the titles correctly (there are no fewer than eight 
mistakes on the cover of the three-record set), etc. And in the second 
place, a real fan wouldn't even sell a bootleg in the first place!
        However, there is no reason that IED can see for doubting the 
authenticity of this album's contents. All 24 songs from the Tour of 
Life concerts are included (spread over three records), as well as 
virtually all of the "incidental" music and poetry/prose readings, 
readings, chants, etc. (The Bristol bootleg, in its recent vinyl 
incarnation, manages to fit roughly the same amount of material into 
two records, but who's counting?)  The sound of the Palladium set is no 
better than you'd expect, but the source does
sound different from those of any of the other albums. As a result, it 
seems relatively safe to accept that this set originated from the 
London Palladium.
 
     _Temple_of_Truth_ is to be _avoided_ unless you are so devoted a 
fan that you must have any Kate item no matter what its quality. 
_Temple_of_Truth_ is simply an excerpt from an unidentified (and 
unidentifiable) Tour of Life concert (a different show then the other 
bootlegs). The sound of the recording is the _worst_ of any of the 
several live concert bootlegs of Kate's Tour of Life, and it doesn't 
even contain half the programme. The sound is easily recognizable, 
because the sound on this record has a peculiar way of coming in and 
out of "focus" in a cyclical pattern, rather like a shortwave radio 
station, except that the sound changes in tone rather than in level of 
distortion. Do not buy this album.
        The LP is a single record, with a purple cover that features a 
strange photograph of what might be a small, ancient lighthouse or 
something, sitting on a precipice overlooking the sea. No explanation 
is given for the choice in cover art, and there are no liner notes or 
track listings. In fact, not even
the source of the material is identified.
 
 
        If_You_Could_See_Me_Fly_ (1988) (NOT to be confused with the CD 
of the same name) is a single lp containing excerpts from the Bill 
Duffield concert from 1979, features Steve Harley and Peter Gabriel 
(organized to benefit Duffy's family following his death early in the 
tour). Also included two early demos of "Babooshka" and _Let_It_Be_ 
from the Amnesty show.
        The quality of the Hammersmith material is marginal.  The 
Amnesty show track is better, but not great.  The two studio takes of 
"Babooshka" are pretty good, though they crackle as if they had been 
lifted off another vinyl disc.
        This is a European pressing and has a black, white, and gold 
cover with a composite photo of a Fred & Ginger like pair dancing on a 
typewriter keyboard.
        The tracks and credits are listed as shown below.  Recorded 
live 12 May, 1979 at the Hammersmith Odeon, London, except where noted.
 
side one:
--------
 
Let It Be
(Lennon-McCartney)
  Kate Bush-vocals
  David Gilmour-vocals, guitar
  Pino Palladino-bass and others
  Recorded live, March 28, 1987 at the Palladium, Amnesty Festival
 
The Girl/Man With Child In Her/His Eyes
(Bush)
  Kate Bush-3rd lead vocals, piano
  Peter Gabriel-1st lead vocals
  Steve Harley-2nd lead vocals
 
Here Comes The Flood
(Gabriel)
  Peter Gabriel-vocals, piano
 
I Don't Remember
(Gabriel)
  Peter Gabriel-lead vocals,piano
  Kate Bush-synthesizer (solo), back-up vocals
  Paddie Bush-guitar
  Stuart Elliot-drums
  Del Palmer-bass
 
side two:
--------
 
D.I.Y.
(Gabriel)
  Peter Gabriel-lead vocals, piano
 
The Best Years of Our Life
(Harley)
  Steve Harley-vocals, acoustic guitar
 
Make Me Smile
(Come Up And See Me)
(Harley)
  Steve Harley-lead vocals, lead guitar
  Kate Bush-back-up vocals, piano
  Peter Gabriel-back-up vocals, acoustic guitar
  Paddie Bush-rhythm & lead guitar
  Del Palmer-bass, back-up vocals
  Stuart Elliot-drums
 
Let It Be
(Lennon-McCartney)
  Kate Bush-lead vocals
  Peter Gabriel-lead vocals, guitar
  Paddie Bush-vocals, guitar
  Del Palmer-vocals, bass
  Stuart Elliot-vocals, drums
 
Babooshka
(Bush)
  Take 1 & 2
  Kate Bush-vocals, piano
  David Gilmour-engineering, drum programming on Take 2
  both takes recorded at David Gilmour's own studio in 1974
 
 
        _Live_in_Japan_ (1989) is a seven-inch single featuring (on the 
a-side) Kate's live performance of _Moving_ from the Seventh Tokyo Song 
Festival, which was held at the Budokan on June 18, 1978. On the b-side 
are Kate's performances of abridged versions of two Beatles songs, 
_The_Long_and_Winding_Road_ and _She's_Leaving_Home_. The latter two 
songs were taped at Tokyo's TBS G Studio on June 23, 1978, for airing 
on the programme _Sound_in_S_. All three songs are accompanied by a 
large orchestral group (including full string and wind sections), and 
for _She's_Leaving_Home_ Kate pre-recorded her own background choruses.
     The sound is surprisingly good, and is in stereo (although it may 
be simply a stereo recording of the original mono tracks). There is a 
good deal of "toppiness" to the sound (distortion of the higher 
frequencies), but for the most part the recordings are quite 
listenable.
     The cover is of hard, glossy card-stock, with a close-up copy of a 
1978 publicity shot of Kate on the front, and a copy of the close-up of 
the "radiating eye" from the front cover of the official UK single 
release of _The_Man_With_the_Child_in_His_Eyes_ on the back.
     Kate's performances are extremely professional, with no hint of 
uncertainty about intonation or anything--although at the very end of 
_She's_Leaving_Home_ Kate finishes a beat later than the arrangement 
evidently indicated, a mistake no doubt prompted by what must have been 
minimal rehearsal time and poor orchestral direction. (Anyway, the 
error does not damage the performance, since the arrangement ends at 
that point.) Kate's voice is at its most spectacularly _high-pitched_ 
in all three performances, and she does manage to add two or three 
interesting little melodic flourishes to the Beatles songs, despite 
their abbreviated length.
     All in all, IED agrees completely with Peter FitzGerald-Morris, 
who called this bootleg "a treasure". 
 
 
 
LIVE CDS
 
        _Kate_Bush_Live_ (or _Live_At_Hammersmith_1979_). (1989) By its 
physical make-up IED strongly suspects that it is a product from the 
same group who have been putting out the now-famous Beatles 
_Back-Track_ and _Off-White_ CDs. The package of this KT CD is a normal 
jewel-box, with a hard-card cover (folded over once), and four colour 
photographs of Kate on the front. The track listings are almost 
completely accurate and are clearly set out. The photo/track- listing 
card is very sharply printed and glossy. Also on the cover is a red 
official KBC "KT" symbol--though of course this is _not_ an official 
producet. 
     The CD contains fifteen tracks. The first twelve are simply the 
same old _Live_at_Hammersmith_Odeon_ audio-track, though this time it 
has been very well lifted from the new Japanese edition of the 
laser-disk, which features a digital re-mastering of the original 
analog tapes. Track thirteen is the live performance of _Running_Up_ 
That_Hill_ from the _Amnesty_International_Secret_Policeman's_Third_ 
Ball_:_The_Music_ CD. Track fourteen is the live performance of 
_Breathing_ from the _Comic_Relief:_Utterly_Utterly_Live_ CD. And track 
fifteen is the track _This_Woman's_Work_ from the _She's_Having_ 
a_Baby_ soundtrack CD. The three extra tracks are re-mixed so that the 
applause from the end of the _Hammersmith_ tape fades into the applause 
from _Running_Up_That_Hill_, and ditto for _Breathing_. The only error 
in the track-listing is in the identification of the two live tracks as 
both coming from 1988. Actually both are from at least a year earlier. 
No big deal. The sound of all these tracks is exceptionally good even 
for a legitimate release, and unheard of in the history of Kate Bush 
bootlegs. Nevertheless, its price may be considered very high by many 
fans, especially those who already have these recordings in their 
original, legitimate configuration.
        Front cover:  four color pix, including a second take from the 
pose used for the US cover of "The Kick Inside" and three others most 
likely from those sessions.  Inside face:  the famous EMI publicity 
photo for that album.  Cropped, some (ref. Vermorel p. 62).
        Cover Title:  Kate Bush Live.  Title on disk:  Kathy Live from 
Wuthering Heights (Neutral Zone [Korea] NZCD89010), AAD.
        Back photo, the still used for the "Hammersmith" video and the 
KTBand logo.  Correspondence address:
                Neutral Zone Digital Recordings
                140 Rue de Rennes
                75006 Paris France
 
 
        _Performed_Live_In_London_1979.  The hammersmith film 
soundtrack, good but not as good as _Kate_Bush_Live_.
 
 
        _Feel_It_Live_ (1991).  The Hammersmith film.
 
Title:      Feel It Live
Author:     Kate Bush
Media:      CD [ADD]
Order No:   LLRCD 092
Company:    (R) Living Legend Records
            (C) 1991 Multi Coloured Music, Italy
Track List: - Moving (3.38)
            - Them Heavy People (3.58)
            - Violin (3.22)
            - Strange Phenomena (3.14)
            - Hammer Horror (4.35)
            - Don't Push Your Foot On The Heartbreak (3.38)
            - Wow Wow Wow (4.06)
            - Feel It (2.59)
            - Kite (6.16)
            - James and the Cold Gun (8.32)
            - Oh England My Lionheart (3.15)
            - Wuthering Heights (4.42)
 
        Notes: Recorded live in concert 1979
        On the cover is the note - 'We apologize for the non excellent 
quality of the recording, which has been realized with sixties amateur 
equipment'.
        Comments:   Although the above note implies that this is a 
bootleg the CD is listed in German import catalogues under the number 
(036-092).  The quality is very good except that in a couple of places 
a 'surface noise' can be heard, as though this is a digital copy of a 
record. This noise is minimal and does not distract from the well 
edited performance. 
 
 
 
 
 
 
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End of Love-Hounds Digest