Re: The Biggest Chill?

["boots" <more@more.more>]

Yeah, she's incredible at laying out a mood. Thinking of just auditory
chills and how everything fits together I think of the first time I heard
Houdini--the parts where she sings "With a kiss... to ...with your spit
(spirit?) still on my lips, you hit the water"
I remember having to stop the tape and rewind it a few times--I'd never
heard anything that had that particular effect on me.

Oh, are you talking about
I get out of my car, step into the night...?

Yeah, that's one of those moments too

I find it in a lot of music, those harmonies, the ones usually associated
with large spaces
Tori's good at capitalizing on those
Peter Gabriel's voice is nearly that way on its own (when he's doing slower
things--I find the popish stuff he's done  like Sledgehammer to be annoying
I think my favorite group for doing that was really This Mortal Coil
(alright not an official group, but, if you've heard them, you know what I
mean)
Peter Hammill, someone mentioned a song of his in the Kate Covers Others
thread, he's excellent at it as well.

That's one of the things that compels me to certain music. It's maybe the
second most important thing after relating to the lyrics.

well, this ramble went elsewhere in a hurry
I'll cut it short

brilliant premises to you all

boots

Morten Franck Johnsen <morten@remove.sdata.no> wrote in article
<341E9C4E.337B@remove.sdata.no>...
> Big chill?
> I shiver when I hear parts of Hello Earth, just before the 
> choir sets in - when she sings "I get into...".
> The choir parts of that song are also chill material.
> Maybe this chill is more the mood and the harmonies than vocally:). 
> 
> Morten
> 
> boots wrote:
> > 
> > Hiya folks,
> >  I've got a question for you that maybe you've never asked yourselves
about
> > Kate's music... What single line of a Kate song (vocally) has caused
the
> > most intense reaction? The biggest chill to roll through you as if
> > threatening never to let go...
> > 
> > I though of that just recently when I was watch the Line, the Cross,
and
> > the Curve...she hits a distinctively Kate note in And So Is Love that
had
> > me (grown man that I am) shivering... predictably it was the last very
> > soulful iteration of the title line.
> > 
> > Other times it's happened to me?
> > at the end of the Big Sky where she hits that unbelievable screech,
> > sustains it and pulls it down into a deep rip that sounds way too rich
to
> > be some white woman.
> > 
> > in This Woman's Work (with the help of the exquisite string
arrangement)
> > Ohhh darlin, make them go away.
> > 
> > During her duet with Peter Gabriel, doing Another Day, pretty much the
> > whole thing, really, but the very end... and I walk away
> > 
> > During Under the Ivy, perhaps the strongest response of them all, just
> > because of the emotion range in the one segment
> > and it's not easy for me
> > to give away your secret
> > It's not safe
> > 
> > Okay, so these are mostly the sad moments, but hearing Kate tug at my
soul
> > has always been more a pleasure than most other musicians could provoke
> > from me in their most brilliant moments.
> > 
> > I'd really love to hear from you, hear what moments do it to you.
> > 
> > boots
> > (who's really glad he found this group)
> 
>