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Date: Wed, 21 Aug 85 00:33:57 edt
From: Doug Alan <nessus>
Subject: Dutch videos
> Oh well, your collection sounds quite interesting no matter what.
The Dutch videos for "The Kick Inside" are actually really excellent. They are significantly better, I think than other early Kate Bush videos. The Dutch video for "Wuthering Heights" is much better than the promo video -- it seemd to have a much higher budget. The other ones are all much simpler, and probably had a small budget, but they are very well done and don't appear to be as hastily done. All of Kate's early promo videos, and most of her other ones (or at least "The Dreaming") were each filmed in one day.
"Our thumping hearts hold the ravens in
And keep the tower from tumbling"
Date: Wed, 3 May 89 01:40:28 CDT
From: email@example.com (Pete Hartman)
A few comments and questions:
First off, KaTe is MORE beautiful than ever when you can see her moving around, not just frozen in stills on her albums. If only.... Oh well. Hopefully I'll get the chance to see her in person (if not up close) on Tour of Life II, right IED?
I must say that the flesh coloured leotard in The Man With the Child in his Eyes was quite, um, surprising until I realized that it WAS a leotard.
Two questions about the Breathing video: is the backing spoken vocal the description of a nuclear blast (that's what it sounds like)? And are those Kate's brothers (or some of them, and the rest of the band) in the lake with her?
Are the fragments of live performance in the Wow video from the Tour of Life? Is this a slightly different version of the song? I liked it better.....really!
Is there any "valid" compilation of videos that has the "moors" version of Wuthering Heights and the "Wogan" version of Running up that Hill ? The masks in RutH were interesting, seeming to indicate being lost among her imitators.....
While I noticed that Kate was quite dramatic with her expressions in several ov the videos, I thought the bug-eyed stance in Sat In Your Lap rather ridiculous looking, to say the least. Probably the only bad thing I found in all of them.... Did anyone else notice the "See no Evil, Say no Evil, Hear no Evil" relationship between Kate and the two jesters on either side of her during the latter sections of SIYL ?
I did find one other thing I didn't like in the videos....is there some significance to her jerky, clockwork motions in Babooshka ? I really didn't care for them. Is the Bass symbolic (to do with Del perhaps?)
Overall, I loved the videos, I HAVE to get a VCR and a (legally bought) copy of this tape.
Date: Wed, 03 May 89 13:58 PDT
>Are those Kate's brothers (or some of them, and the rest of the band) in the lake with her?
One is. Paddy, one of her two brothers, is in the lake scene (and the scenes after that). Her other brother John, does not appear in the video. Also in those final scenes are Brian Bath and Stewart Avon-Arnold; and there are three other men in the video. IED doesn't know them off-hand by face, but presumably they were among the musicians who played on the track. One of them looks a little like Roy Harper to IED. Harper sang backing vocals on the track. But IED could easily be wrong about that ID.
From: watmath!alberta!paullu@uunet.UU.NET (Paul Lu)
Date: Wed, 19 Jul 89 16:29:44 GMT
P.S. Yes! I love Kate's smile at the end of Oh England... on the Odeon video.
Date: Mon, 7 Aug 89 16:47:52 PDT
From: dhsu@SUN.COM (David Hsu)
Subject: Trivial Observations On Kate's Video's
Greetings again, all. And special thanks to Tracy and Andrew for making the Santa Cruz bash such a success.
At long last I've started acquiring copies of the official videos on laserdisc for careful perusal. Those discs at the party, Corey, were Andrew's, not mine, and our gratitude should be rightfully be his.
At any rate, I present installment #1 of Dave's Excessively Trivial Observations On Kate's Video's.
Well *I* think the sun-people scene represents a birth into the post-nuclear world, whose twin suns represent the H-bomb blast as well as the sun itself. After all, the narration does refer to the initial flash as "brighter than even the sun". And of course, Kate approaches them wearing the umbilical-cord suit while they dangle a bunny-suit of the type we see everyone wearing at the end. But hey, who expects clear and exquisite imagery in a Keef video?
Date: Wed, 27 Dec 89 02:26:50 EST
From: firstname.lastname@example.org (Chris'n'Vickie of Kansas City)
Subject: The Innocents/The Infant Kiss Video
Hello Chris here;
Uh-oh - there goes my humility - right out the window - oh well, (sigh), ... a few years ago the sound company I worked at bought a VHS video editing system. As soon as it was set up I went to work with a copy of the film "The Innocents" and a cassette of "Never for Ever" and started to make a video for "The Infant Kiss". 200 hours and 3 complete re-edits later, I sent a copy to Kate's brother John (who has a multi-standard VHS VCR & TV).
I'd finally quit my awful job the day before. Kate-Fans were visting from St. Louis, so I was at home when the phone rang. It was Kate. Luckily I'd hooked up a recorder to the phone the week before. Unluckily, Vickie wasn't home. As I fumbled for the record button I said, breathlessly, "Hi Kate". The look on my friend's (Mike Weaver) face was classic. We chatted for 10 minutes about my video, and about video and editing in general. Well to be perfectly honest- she chatted; I babbled. I sounded like Porky Pig. Buh-de buh-de buh-de. She said "well I've tried calling a couple of times before but there was no answer. I was probably calling at terrible hours of the night." I told her "no it's one in the afternoon here" and she said "oh good - then it's civilized."
She is extremely pleasant and very nice. But all of you knew that already. She got a kick out of my flusterment - she said "are you having a good time?" and giggled. Kate said that she'd watched the video several times. I glowed. I bounced. She said "Bye!"
I'd like to think that I might have had something to do with her decision to direct her own videos and use a "filmic" style. I have two theories about this depending on the state of my ego:
1: She liked it and it inspired her.
2: She thought "well if this bozo can make one anyone can".
Date: Fri, 13 Apr 90 18:28:06 PDT
From: email@example.com (Edward Suranyi)
Subject: Gary Hurst
Gary Hurst died of AIDS at the end of January. "Gary's contributions to Kate's visual presentations have been enormous, since he was first recruited to take his place with Stuart Avon Arnold as the dancers for the Tour of Life in 1979. His first video was. .. 'Them Heavy People,' and he appeared in almost every video of Kate's since which required a dance routine. Indeed he can be seen in the clip for 'Love And Anger,' his last contribution to Kate's work made only weeks before his untimely death."
Date: Mon, 14 May 90 08:53:00 EDT
Subject: December, Delius
Hello there Richard--
As a reply to your inquiry regarding my KT video...yes, it DOES include the "December Will Be Magic Again" video, with Kate curled up in the oversized wicker chair in her foxy red snuggies. (*grin*) I thought it was pretty interesting as well. How in the world does she manage to look so secutively innocent like that?? :)
The tape also includes the video for "Delius", but (if you ask ME), it's much more than a short clip...the video continues for most of the song. And I'm not ashamed to tell you that I was absolutely SPELLBOUND watching it. The sight of Kate, with that white gown all floating and gauzy around her, was breathtaking. Perhaps the lovliest I'VE ever seen her...
All the best,
Date: Tue, 31 Jul 90 17:52:22 PDT
From: firstname.lastname@example.org (Edward Suranyi)
Subject: Live at Hammersmith Odeon
Vol. 1990 No. 5 of CD International has just come out, and it has Deb Wentorf's article. In addition, there is a review of the Live at Hammersmith laserdisk. I don't know who wrote it:
KATE BUSH: Live At Hammersmith Odeon
USA: not released England: not released Germany: not released Japan: MP102-15EM (EMI Music/Pioneer)
With all the attention Kate Bush gets in this issue some of you must be already sick of her, but don't miss this live show even if you pass on all of her records. Taped on May 13, 1979 at London's Hammersmith Odeon Theatre, it will probably remain the all-time recorded highlight of Kate's creativity. From the opening song until the final bow, she doesn't stop for a second changing costumes, moods and movements, song after song. Once the captivating Wuthering Heights was over (during the audience's standing ovation), I just started watching the whole disc over one more time. I don not belong to the Kate Bush fan club, but I do know a sincere performance when I see one, and this concert is quite high on my list.
Date: Wed, 1 Aug 90 21:20:03 PDT
From: email@example.com (Edward Suranyi)
Subject: Review in CD International
I've just been told by David Datta that the review in CD International was written by Ladislav Hanousek, the editor and owner of that magazine.
Date: Mon, 25 Feb 91 14:31 CST
From: Chris Williams <firstname.lastname@example.org>
Subject: Re: The Angel Gabriel
Mark A. Semich asked:
> Has anyone ever heard the song called "the Angel Gabriel"?
This is a little snippit of a song that Kate wrote to introduce Peter Gabriel when he was a guest on her Christmas special "Kate". Kate, Paddy and Glenys Groves (one of the two backup singers on the tour) sang the following:
ALL: Through <velvet?> storms,
and the rains that fell,
here comes the man,
with his tale to tell,
and some have named him,
PADDY (very deep) Pe-ter,
ALL The An-gel Ga--bri--el.
Peter then did an incredible solo version of "Here Comes the Flood" on a Yamaha electric grand piano. This is my favorite version of the song.
Date: Sun, 28 Apr 91 14:24:27 PDT
From: email@example.com (Edward J. Suranyi)
Subject: Pulse!, May 1991
The new issue of Pulse! (May 1991) just arrived at Tower Records, and there are several mentions of Kate:
A review of the Hammersmith video in the Music Video column. In fact the headline reads "Videos from pioneers Gabriel and Bush cause for celebration." After discussing Peter Gabriel's POV, Barry Gutman writes:
"Also a long time coming was the recent rerelease, at an affordable price, of Kate Bush Live at Hammersmith Odeon (EMI Video/19.98 for videocassette). This 52-minute performance was videotaped 12 years ago, only two albums in Bush's careeer; her talents as a dancer, choreographer and mime made her a natural pioneer in the then-fledgling home-video music industry. Video is, in fact, the best medium through which to appreciate Bush -- even today.
"I often can't decipher her high, veddy English trill without a lyric sheet. But whether reading along or not, it's very easy to appreciate her bewitching countenance, fluid body English and bold, dramatic, strikingly imaginative conceptual skills.
"Clad in an array of costumes, including trenchcoat, harem pants, black leathers, cowgirl suit and sleeveless gown, Bush twirls through several numbers from her first two albums, supported by two male dancers, an illusionist/mime, two backing vocalists and a seven-piece band. She hasn't toured since this show was shot, and it's not hard to see why --such a production, at least as lavish as a small-scale musical comedy, would probably be too expenive to tote around the world. Rumor has it that Bush may, in fact, tour in support of her next album. Meanwhile, this and her other home video release are highly recommended -- even more so than her albums -- to newcomer fans as well as the already converted."
Date: Fri, 12 Jul 1991 11:27:46 -0800
Subject: Don't Push Your Foot on The Heartbrake
A quick note to Dave Gravender, who spoke of Kate's killer look during "Don't Push Your Foot on The Heartbrake". Personally, while it may not be a 'killer' look, my favorite expression of Kate's is that soft, slow, slightly sleepy smile that spreads across her face at the end of "O England, My Lionheart" on the Hammersmith video.
And for something completely and heart-stoppingly beautiful, check out the video for "Delius."
All the best to all of you,
Date: Fri, 2 Aug 1991 17:40:00 -0800
From: Peter Byrne Manchester <PMANCHESTER@ccmail.sunysb.edu>
Subject: Early Tour of Life review 1979
At the San Jose Katemas, IED did not remember having ever seen the review of the London opening of the Tour of Life that appeared in THE GUARDIAN next day. Memory may not have served that afternoon, and the following might be redundant, but it's relatively short and an interesting 'take' on Kate from the days when nobody knew WHAT was coming at them yet.
THE GUARDIAN, April 17, 1979
IN SO FAR as stardom can ever be instant, Kate Bush is the instant star. Others may start at the bottom, slowly gaining confidence and success, but she has been launched right in there at the top.
She may have a string of hit singles and awards behind her, but that's still no substitute for live performance. This was a massive gamble, and it almost succeeded magnificently.
For her first London performance she was given dance and mime lessons, lengthy rehearsals and technically inspired special effects to help her, and as a piece of musical theatre alone the result was unevenly spectacular.
She sang for rather too long--well over two hours--and changed her set, clothes and image for almost every song. There were back projections, male dancers, clowns and illusionists, and Miss Bush pranced among them all with the boundless self-confidence of a very sexy and knowing gamin.
But the real surprise of the show, apart from her ability to behave as an unflappable old trouper, were the innovations in rock choreography and microphone design. She sang while dancing, while being thrown around by male dancers, and while acting out an endless series of elaborate cameos that included everything from cowboy scene to ancient Egypt, British army parachutists to dancing violins.
Taken in short bursts, most of it was exceptional. What made the overall result less than perfect was the sense that theatrical styles were being played around with without enough sense of continuity--she clearly has the ability to write and star in a musical, and that could show her off better than distracted sketches.
Then, of course, there's her music. She has some great songs, but that shrill acrobatic voice still becomes a little monotonous after so long, but those are minor quibbles. Kate Bush, live for the first time, was very impressive.
Date: Tue, 2 Mar 93 12:35:23 +0100
From: Ulrich Grepel <firstname.lastname@example.org>
Subject: rockworld article/pics
I've promised to transscribe/late the following article that was presented in the German edition of the international 'Rock World' magazine 2-93. Since Paul from Vienna has seen the English version I'll wait with my translation until he has decided to (or not to) transcribe his already English version.
Anyhow, here's the German text:
Nun gut, vielleicht war sie der feuchte Traum eines jeden Lastwagenfahrers, aber Kate hat ihre eigene Karriere praezise gesteuert und zwar mit einer unverbluemten Individualitaet, die fuer sowohl Frauen als auch Maenner unerhoert war und sie weit ueber die Grenzen der anerkannten sexuellen (und sexistischen) Werte hinausfuehrte. In Interviews trat sie mit entwaffnender Ueberzeugung als neckisches "verlorenes kleines Maedchen" auf, aber sobald sie vor der Kamera stand, spielte sie das maennermordende Weib (oder die Prinzessin oder die Hexe oder die Verfuehrerin), ebenfalls mit verblueffendem Elan. Ihre Darbietung in "Army Dreamers", wo sie sich um ein Cello windet, reicht schon aus, um sie zum sinnlichsten, wenn auch subtilsten, britischen aller weiblichen Stars zu erklaeren. Sie begriff sehr frueh, dass Video das ideale Medium fuer ihre wild wuchernden Phantasien war und ist, abgesehen von einer erstaunlich ehrgeizigen Tour am Anfang, konsequent iden Einschraenkungen jeder Live-Situation aus dem Wege gegangen. Schon das unterscheidet sie von den meisten anderen Kuenstlerinnen. Die aussergewoehnliche Sorgfalt, die Kosten und die Zeit, die sie fuer ihre Alben aufwendet, macht deutlich, dass sie seit der Stunde Null das Sagen hatte.
(Rock World 2-93, German edition)
From: email@example.com (Paul Gillingwater)
Date: Wed, 03 Mar 93 07:40:39 ECT
Subject: Re: rockworld article/pics
And here is the English version:
"Well, maybe she was every lorry driver's wet dream, but Kate dictated her own career moves with a forthright individuality that was almost unheard of for a man or a woman and took her way beyond the realms of established sexual (and sexist) values. In interviews she played the coy little-girl-lost scenario with disarming conviction, but put her in front of a camera and she plays the man-eater with stunning panache. Her performance with a cello on 'Army Dreamers' is alone enough to put her in the frame as the most sexual, if subtle, British female star of them all. She realised that video provided the ideal vehicle for her rampant fantasies and, apart from one astonishingly ambitious tour early on, has constantly avoided the limitations of live performance. This in itself set her apart from most other women artists and the inordinate care, expense and length of time she takes on albums leave no doubt that it is she who's called all the shots every inch of the way."
by Colin Irwin, Rock World Issue 2/Vol 2 (Feb 1993), p.17.
Factual question: I suspect the cello is from Babooshka. And I don't agree with the first statement!
Date: Mon, 26 Apr 93 19:51:28 EDT
From: Andrew B Marvick <firstname.lastname@example.org.EDU>
Subject: Rockflix Video
Uli's suggestion that the Rockflix video was most likely shot in mid-1977 seems an excellent one. IED buys the idea. As for the near-duplicate entries in IED's old videologue, Uli, you're right again: an error. The two entries describe the same Rockflix video, which IED understands is the one now available in Europe/England on a home video release.
-- Andrew Marvick (IED)
Date: Tue, 04 Jul 1995 19:03:28 -0400 (EDT)
From: THE OLIVE-LOAF VIGILANTE <METH@delphi.com>
Subject: kate reviewed in b-side
From the July/august 1995 issue of B-Side Magazine, this random review:
[All typos mine -- though believe me, I corrected plenty while transcribing this! They're a great publication, but they need a copy editor BAD.]
KATE BUSH LIVE AT THE HAMMERSMITH ODEON
What a stylin' woman our lady of the fluffy crimped mane is! On this video, dating from 1979, she goes from tights to trenchcoat to top hat and gowns... a leather jacket, a sheepskin jacket, scarves and leotards whiz by before our adoring eyes. She even throws in goggles in case you harbor a flyboy fetish.
Obviously this is for fanatics only: there's no other reason to get this. Kate Bush isn't someone you buy because you're merely curious: you either adore her every inch or you hate her and wish she'd stop shattering mirrors at 50 paces. Ever since I saw her perform on Saturday Night Live eons ago, I thought this was one weird and wonderful woman and where has she been all my life? Oh, hiding in Britain and not touring. The nasty girl: offering us aural chocolates and then slamming the visual box shut. Sigggghhhh.
Still, you can soak in her visual presence on her many classy videos and with this concert. Since it was filmed back in 1979 the video quality is a touch pale, but since Kate glows so beautifully who cares. Her music sounds dated when you compare it to what she's recently concocted, but who cares. It's the voice that counts here and it's in fine form, she mostly opting for headset microphone instead of tying down her little hands to a hand held model. One glaring point is when she dances to herself singing on "Hammer Horror" ... but once you see how much she has to throw her body about in frantic dancing you realize there's no way she could sing too. The poor dear would break a lung! "Feel It" works best on an aural level 'cause it's just her voice and her piano. That's all we really need, right?
The video takes advantage of the film medium by slashing the waiting period where she's changing her costumes, and by adding little visual tricks like double images (also dated, honeys). The audience is glimpsed once in a while: she _never_ speaks to them. But on the whole by the time she closes out with her amazing hit "Wuthering Heights" you think Heathcliff, don't be no fool: let that girl in and forgive her! Especially if she's our Kate.
She can call at my window anytime. It's open!
- Rutger Julian Bradde
B-Side is a wonderful magazine, perhaps the best music mag out there (imo). Their publishers and editors are all women, and they focus on artists like Kate (whenever there's something to say), Tori, Sarah McLachlan etc. as well as lots of others on the "alternative" side of things. Radiohead is on the cover of the current issue, for example.
Date: Sun, 20 Aug 1995 03:41:57 -0400
Rob C. writes:
> Speaking of the Kate Saturday Night Live appearance, I read somewhere that her performance on the show was "controversial". Anybody know why?
IED can only suggest why it MIGHT be considered controversial, though to date he has overheard no actual KT-on-SNL controversy. As far as IED is aware, Kate's performance of "The Man With the Child In His Eyes" on Saturday Night Live is the only one in which she makes a reference to intravenous drugs. While singing the line "I just took a trip on my love for you" she extends her right arm in front of her, makes a fist and grabs the arm with her left hand just above the elbow, as though preparing for an injection. Although Kate's SNL routine for the song is essentially the same as in earlier taped renditions, this particular bit of pantomime is exclusive to the SNL performance.
-- Andrew Marvick (IED)
On to The Kick Inside (album)
written by Love-Hounds
compiled and edited
Sept 1995 June 1996