Re: Reaching Out/Heads

[as010b@uhura.cc.rochester.edu (andrew david simchik)]

In <Dec.3.00.39.43.1992.26029@pilot.njin.net> vickie@pilot.njin.net (Vickie Mapes) writes:


>as010b@uhura.cc.rochester.edu (andrew david simchik) writes:

>>Addressing two previous points:

>>1.) Why I don't like "Reaching Out".

>>	I do like it, actually, but I find it to be kind of lacking in
>>Kate's usual melodic inventiveness.  I mean, the verse is a pretty straight
>>descending line, and the refrain, while appropriate to the lyrics, is fairly
>>straightforward also.  Perhaps this explains why I find it one of my least
>>favorite songs on the album.  I also think the way its ideas are expressed
>>lacks Kate's customarily well-crafted poetry.  It's not a bad song, just not
>>a great one.

>emotionemotionemotionemotionemotionemotionemotionemotionemotionemotion

>Why does everybody seem to dissect this song? Feel it.
>I do think it's a great song.

As I said, I do like it, but my main complaint is that I *can't* feel it. 
Those reasons I gave may sound technical, but they are in fact the
subliminal reasons why it fails to affect me.  If those details were there,
the feeling would be there for me.

I'm not trying to start an argument here over RO's quality.  I wish I could
feel the same way you do about it.


>I didn't say I disliked it, I just said I didn't love it. I do like it,
>but it's my least favorite on the album, if I had to rank the songs.
>The only part of the song I *do* dislike is the "do do do do dos" but
>I can handle 'em, 'cause I like the rest of the song.  

See, now here's another subjective difference.  One of my favorite things
about HWD is singing along with it; it just feels so wicked and heated.

>To Gord: Wouldn't *you* laugh after having just gone "yeahhhhhh"? If not,
>why *would* you laugh before "The Fog"? I don't care how the CD is
>programmed. I have never understood why people used that as the
>almighty gospel for deciding where the laugh goes.

I agree.  The laugh just doesn't make any sense just before The Fog.  I
don't think one can really pay much attention to CD programming, what with
Kate's admirable tendency to link songs together without any silence
separating them.  I occasionally like to shuffle "The Dreaming", which is a
horrible thing to do because you lose the continuity between The Dreaming
and Night of the Swallow.  Similar things occur when shuffling "Hounds of
Love", which is also dumb because the entire Ninth Wave sequence simply
*must* be heard in order.  My personal theory (and one which makes good
sense, if I do say so myself) is that there's a space of silence between the
"yeah" and the laugh, whereas there's a negligible space between the laugh
and the intro to "The Fog".  It would seem easier for the programmers to
separate where there is enough space; the idea that maybe Kate intended the
laugh to be "packaged" with "Love and Anger" was probably much less
important, particularly if you listen to the album in order.


>Vickie

Drewcifer
-- 
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* Andrew David Simchik, a.k.a. Drewcifer ***************  SCHNOPIA! *******
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