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From: firstname.lastname@example.org (ronald hill)
Date: Tue, 17 Nov 92 21:52:24 PST
Subject: ***** Kate Bush Convention 1990 ******
For those who remember, today the 17th is the TWO (count em) year
anniversey of the 1990 Kate Bush convention. Following is the improved
transcript of the convention, which I don't think has been posted here
(the improvements, I mean).
(PS. This is the last major interview about new subjects that Kate has
given. She did do another interview about HOUNDS OF LOVE in 1991 and then
a short radio interview at the end of the year about ROCKET MAN).
Date: Mon, 26 Nov 90 20:42:25 EST
From: Andrew B Marvick <email@example.com>
Subject: Transcript of Kate's Participation in the Kate Bush
Hello, all Love-Hounds.
IED has finally finished transcribing Kate's part in the festivities at
the Kate Bush Convention which took place at Le Palais, London on November
IED need not say that the forty-three minutes in which Kate was on stage
were among the most magical forty-three minutes in his life. He hopes this
transcription will reflect at least a little of that magic to those of you
who could not attend in person. Happy reading!
Kate Bush at Le Palais, London, November 17, 1990
"You must be mad!"
"More mad than me!"
"It's very nice to see you. I'm sorry that I can't talk to you
all. You're too many!"
"Um...I've brought some questions here from some of you. And, uh,
let's have a go at this, shall we? The first question is from Pauline
(Dave Cross:) Where are you, Pauline? Down here.
"I think um..."
"The question is that uh, (laughs), why do I speak in interviews
about the first two albums less favourably?"
"Well, I think there's a lot of reasons for that. Um, a lot of
it's to do with the fact that I didn't really feel that I had creative
control over what I was doing for those first two albums. Although I'd
written the songs, I wasn't really, uh, taking overall control and saying
what should happen. I feel very much that the production of the songs has as
much to do with the feeling as the words and the music. And by the third
album I was starting to take that kind of control. I went into
co-production, and actually felt that I was working in a studio as someone
that was in control of what they were doing.
And also, I think that you feel, just naturally more fond of the stuff
that you do more recently. It's just a human factor. You don't like to think
that what you were doing ten years ago is better than what you're doing now
(laughs). So that's a factor as well."
(Ron Hill:) We love them anyway! (Cheering.)
"Uh, this next one's from Marina Patterson."
"Give us a wave, Marina!"
(Dave:) Oh, uh, good.
(Marina:) Uhm, uh, how did you like singing with Rowan Atkinson?
"Did you all hear the question?"
"Well, uh, I'm sure like most of you if not all of you, I'm a big
fan of the comedy that's happening in Britain today. I think we've always
been a leading voice in comedy and music, and, um, it's so good to see young
people actually charging us again with comedy that's also very educational.
And, um, I was very honoured to take part in that whole Comic Relief event
where Rowan Atkinson was performing. And I really believe that comedy has a
lot to offer the world. It's very important. Sometimes you can say much
heavier things through comedy than you could ever say seriously. So, uh, I
was knocked out to...to sing with Rowan and just to be involved in anything
that they were doing. Uh...thank you."
(Applause. Kate mutters something while looking at the next question
slip, and the audience cries out.)
"I'd just want to say that uh, it's from Fiona Mitchell. Fiona?
Give us a wave?"
(Dave:) Fiona? You'll have to read it out...Oh! Oh, Lisa's off!
(Lisa, from balcony:) (Inaudible.)
"Uh, I'll read it out. It says, 'Will you ever feature a solo sax,
such as "Saxophone Song" again?' Um, I don't know. (Laughs.)"
"The best I can say is that I think in some ways the Uileann pipe
is almost like a Celtic saxophone. And, so we've used them a bit.
"Uh, the next one is from Emma Stace."
(Dave:) You'll have to read that one out.
"Uh...It's a lovely question, actually. It says, 'Does it comfort
you when you're a bit down to know that whatever you do for us we will love
and support you?'"
(Massive cheering and applause, lasting twenty seconds.)
"You've left me all afluster! Um...Particularly when I'm in the
middle of making albums, when I don't know when I'm going to finish the
project, and, uh, I don't know if I'm a songwriter or a singer, or what I
am; and I get the odd letter that says, you know, 'We'll wait! (Laughs.)
We'll wait for you till you've done your time! (Laughs.) And you're out in
the free world again.' Um, it really means a lot, so thank you."
Thank you! (Massive cheering.)
"Um...Jonathan Houghton, Houghton?"
(Jonathan:) 'Breathing' now seems more pertinent than ever. Has your
view of human nature become more philosophical and emotional over the past
ten years, even though the Sensual World still exists?
"Well, I think that my emotional feelings...are as strong, if not
stronger sometimes, but I think there is a philosophical side that is
growing alongside that, and um, there are a lot of things about human beings
that are extremely unpleasant. And, uh, perhaps my view is more that there
are--not that it's good and evil--but there are opposites that have to
exist, almost as a law of nature, and that for every positive action there
will probably be a negative action somewhere else, and...I take great hope
in the fact that the more young people I meet, they're so attentive and so
aware of worldly issues. They care about the environment. It's uh, I think
it's very heartening. Although the world is very sick, I think young people
have a very healthy attitude. And, uh, that's who's going to save the world,
isn't it? Is young people?"
"This is from Liz Wil--Wilding?"
(Lisa finds Liz.)
"A quick round of applause for Lisa, for all the work..."
(Lisa:) Will you ever release your visual interpretation of the concept
piece, "The Ninth Wave"?
"Did you all hear that?"
"Um...There was never a visual piece made to 'Then Ninth Wave',
unfortunately. Um, it was something that I'd hoped to do, and, the um, the
whole of that side had been made very much with a film in mind. Uh, I was
too exhausted, really, by the time it came to actually having a chance to
make it, but I would very much like to make a film of some kind, um, one
day. If it takes me longer than my albums I'm in big trouble, I think!"
"But, uh, I just uh, love the combination of film and music. I
think when it works, it's so powerful. And uh, also it's nice working with
big groups of people because when I make an album it's quite isolating, you
really only deal with small numbers of people at a time, and when you're
making a video there's maybe up to forty people, so it--it's very exciting
for me. Uh, thank you.
"Uh, this is from Neil Holbrook."
(Dave:) Where's Neil?
(Neil:) "I find it really amazing that at such a young age, you
were practically a schoolgirl, that you could be so creative. Um, I mean,
looking back now, does that seem really odd to you?"
"I mean..." (Inaudible.)
"I'm sorry, say that last bit again?"
"I'm not really sure. At the time it didn't strike me as being odd
in any way at all. That was just what I had to do. This was it, this was my
mission in life. And, actually, the older I get, the more I look back on it,
I think how bizarre it was. Uh, I had such a feeling of time being
incredibly important--that I shouldn't waste any time at all, and I was very
impatient for the first album to be made and to come out...And, uh, maybe I
was psychic (laughing) and I knew that in ten years it would be taking me
four years to make an album."
"But, I did have an incredible sense of just...needing to do it.
It was what I did. And I feel very lucky that I had something to actually
focus on at such a young age. It, um, well it changed my life, eventually. I
wouldn't be here today, now, if, you know. And, you find yourself in
situations that you would never have imagined. You know, I think of myself
back at school, and the first gig I ever saw was The Who. And, uh, they
completely blew me away. And I could never have imagined that I would well,
be here now. It's ridiculous, really. It is, it's ridiculous! (Laughing.)"
(Applause and cheering.)
"Uh, this is uh, Tom--Tom DiCarlo."
"Yeah, sit down (laughing)!"
"You're from France?"
"Well, hi! Thanks for coming!"
"Thanks for coming! Tom DiCarlo, are you here?"
(Dave:) Tom?...She's over there, now. Lisa I think has become Anneke
"She should use a spotlight!"
(Dave:) Yeah! We haven't got any spots.
(Tom:) I have a question about having you produce new artists. I didn't
know if you've already done any, or if you're planning to or wanted to.
"Oh, what a nice accent. Is that Irish? Or American?"
No, it's California! I've been called Canadian before.
"Oh, well there's always a first." (Neither Kate nor Tom
could really hear each other well here, which explains their odd exchange of
"Um, I haven't really produced any artists. It's something that I
think I'd be interested in, if the music was really something I felt that I
could contribute to. It's a very personal vision, music. And um, in some
ways I pity the poor sod that had to put up with me for three years
(laughing with the audience), if it takes them as long as it does me. I mean
most people like their albums done in six months. I don't know. I don't
know, who knows? At the moment it's more than I can handle just trying to
look after myself. Thank you.
"Um, now I'm going to leave this one till later. I'm not cheating,
(Dave Cross:) David? I've got him, Lisa.
(David Kyle:) Have you got any new ideas about the next LP, any
(inaudible), or any stories that you'd like to expose?
"Uhm, I have started writing for the next album."
(Massive, prolonged applause.)
"Uh, and uh, I--I've kind of been taking the approach where I go
back to writing on the piano again, which was how I used to work when I
started. And, uh, it was quite shocking for me to suddenly be left alone at
the piano without all this equipment, you know, where I could just press a
button and I've suddenly got an orchestra...And I felt really, uh, really
odd about the whole thing. But, uh, in some ways I think I'm trying to get
back to a lot of things that were my roots. Uh, I've started dancing again,
which I never thought I'd manage."
"And I think in some ways, um...Like we were saying earlier, when
I started it was all like a sense of a mission, it was something I had to
do, I was, you know, working towards this. It--I kind of lost that a bit,
and just found myself making album after album, and getting further away
from the writing process too, so I think maybe with this album I want to...I
want to try and make it a little simpler, and hopefully...positive. But
we'll see, won't we? But I'm really pleased, that's a lovely reaction, as
I've only started the album (laughing)!"
"And I bet, you know, half way, could you give me a lift?"
(Laughter and applause.)
"Thank you very much...really sweet...
(Dave:) Robert Brown.
(Robert:) Hello, Kate.
(Robert:) Um, could you, um, give some more details about that very
first session with Dave Gilmour in 1973, um, and (inaudible), do you know
the actual date (inaudible)...
"Someone here would probably know that better than me..."
"I'm terrible with dates....1973, my God, isn't that a long time
ago? No wonder people think I'm like, nearly fifty."
"Well that was, uh, that was really the turning point, I suppose.
That was the first time I was putting tracks down professionally. Uh, Dave
Gilmour at that time was trying to help a band called Unicorn, who were
putting out their first album, and he was good enough to produce it. And
uhm, we went to Dave's for a day, basically. And the bassplayer and drummer
from Unicorn sat down and we just kind of put a few songs together. I
remember it was the first time I'd ever done an overdub with the keyboard--I
put this little electric piano thing down, and I remember thinking, 'Ooh!
(laughing) I like this!'"
"And, uh, well, I mean really it was because of those tracks that
um, I then went on to do the tracks which were then used--two of which were
used to go on the first album. As far as I remember the tracks we did with
this session in '73...Uh, there was a track called 'Passing Through Air',
which I think went on a b-side--"
"No, I hadn't written 'Army Dreamers'..."
B-side of "Army Dreamers"!
"B-side...Oh--oh, was it?
"The other track was, um...It had a couple of titles..."
"Yes, it was, 'Maybe'. There was an--'Humming', it was called, as
well. I see you've heard of all...But, I just can't believe how long ago it
was. My God! Um, Amanda Greenway?"
(Amanda:) Um, have you ever thought of doing a cover version of
anybody's song at the moment, and if you did, whose would it be?
"Oh, it's such a difficult question. There're so many good songs
written, and...Cover versions, it's uh...it's actually very difficult to try
and do something that's better than the original. Like re-makes of movies:
they're very rarely better. (Pause.) I have actually done a cover version
that might be out in a couple of years as a song.Uhmm..."
(Interrupted by laughter. The audience apparently took this to mean that
Kate would be working on the cover version for 'a couple of years'.
Actually, she means that it's been in the can for a while but that the
project has been delayed by a record company.)
"I don't know when it will be out. It's actually beyond my
control. It's going through another project. But that's an Elton John song."
"And uh...Well that was one of my favourite songs. And there's a
good example of me never imagining when I was about twelve or thirteen--I
was so into Elton John, he was just like the biggest hero ever. And 'Rocket
Man' was one of my favourite songs, it was just wonderful. So I never
imagined that--how many years later? Don't mention it! (laughing)--I'd
actually get the opportunity to record it. Brilliant, isn't it? Big circle.
It's wonderful. Uh, Mark Gibson..."
(Mark:) Hello, Kate.
Did the KT Bush Band ever play at the King's Head or the Half Moon in
"I, uh, think we played at the Half Moon..."
"And uh...Well if you know why're you asking? (laughing) Now
that's a long time ago, too. And um, that was a lot of fun, that was
actually my first performance ever, really, apart from a school play..."
(Laughter, perhaps because some fans even know the details of the school
play, through unofficial biographies.)
"It was wonderful. We used to do all these cover versions of
things like 'Honky Tonk Woman' and, uh, 'Heard it Through the Grapevine'.
And, uh, I used to...(Turning to Del and Paddy) What was the song? The um,
the song that was the instrumental... that (name inaudible) used to
play--the free track? 'Stee'--no, that--'Steeler'. And uh, I used to go up
into this dance routine about how many people (inaudible) into the audience,
like this--" (waves her arms in parody of Kate Bush dance movements.)
"--doing all these things. And um, one night I met a friend of
mine. And she said, 'Oh, hello, Kate!' And it was right in the middle of
(waves her arms again)..."
"And I was--(laughs)--I was so ashamed of being such a poser, you
know, that I--I stopped to have a chat with her."
"And I suddenly realized it was time for me to get back on stage,
so I had to say to her, 'Oh, bye, then!' and (waves her arms again)..."
(Laughter and applause. Someone near the front of the audience hands
some framed artwork to Kate.)
"That's lovely, oh, that's really beautiful. Did you do that?
Isn't that lovely?"
"Thank you...Ooh, another one!"
(Pause, while another picture is handed up by the fan, who has produced
these things from a bag. Laughter, as Kate puts these objects by her side
on the couch.)
"This is a Mary Poppins bag, isn't it? Goes up onto the stage and
gets out a giraffe..."
"Did you do these?"
(Inaudible from fan.)
"Oh, they're lovely."
"Very nice! Caren--Caaren?--from Brazil."
(Caren--a man--stands up holding an enormous Brazilian flag.Laughter.)
"It's just...I get too emotional."
"Don't get too emotional!"
Uh...I'm glad to share with you um, something, uh, this woman that's
very important to us both at the same time. (Apparently this is addressed
to the fans.) And just a short question...Have you been to Brazil yet?
"I haven't. I've never been. But, uh, it must be a very beautiful
place. I hope I do go."
(Caren:) Can I ask you another question. I just forgot to uh, write it
"Oh, yeah!" (In a doubting, wary but amused tone.)
(Caren:) It's um, just eh, 'Walking Straight Down the Middle'--the
noises you made, the bird noises. Was that a bird from Brazil? Because we
have a bird in Brazil that makes the same kind of noise. And I was just
curious about it?
"Well, we had quite a...a nice incident with that, um...I don't
know if I can do it: (Makes loud bird noise a la 'Walking Straight Down the
"And, uh, when we were doing that, a friend of ours thought there
was a peacock...so, thank you very much. Giselle Minns?"
(Dave Cross:) Here we go.
(Giselle:) As a performer, how do you cope with your nerves?
"Well, as you all know, I don't do very much performing--"
(Cries from audience.)
"--and uh, I do get incredibly nervous. And, I think a lot of that
has to do with the insecurities I've felt as a performer. Each time I
performed I would be very nervous. I'd feel I wasn't very good, and it would
build up more and more. I don't know, I think in a way it's just something
you have to--you almost have to take it by the hand like a person, your
nerves, and, um, try to get it to sit down and stop running around the
place! 'Cause that's what you're doing inside, you know? Um, and I just
admire performers so much that can go up in front of really big crowds and
deal with it."
Are you nervous now?
"Um...Actually, I don't feel as nervous as I thought I would at
all. I was very nervous before I came on, but, uh, no, I feel okay, thanks!"
"I'll let you know...I'll keep you, uh, keep you
(Nick:) Hello, Kate.
(Nick:) I wanted to know what you do when you go shopping.
(Nick:) Whether people come up to you and sort of disturb you, or if you
just want to stay in.
"Um...Shopping is one of those facts of life, right? You, you have
to do shopping. I find supermarkets really difficult. They're like...What's
the room in '1984'? What's it--1-0-?"
"101...That's kind of my room 101. I'm all right if they're empty.
But, uh, big supermarkets, they freak me out. Actually I found out I'm not
alone in this. I have a friend who uh, completely freaks out every time he
goes to the checkout counter, and leaves this huge basket of shopping just
at, you know--and goes off, because he can't handle it!"
"It made me feel really good!"
"But, uh, I must say, generally people are just so nice with me,
and, uh, the problem I have with them is, is in here (points to her head).
You know, if I'm feeling a bit vulnerable and tired, I--I feel vulnerable
and tired. But people are generally just really nice to me. I'm very
grateful for that. I know some people that have a very hard time, and uh,
you're very kind to me. Thank you...Um, Gary Smith."
(Gary:) Hello. I wonder if 'The Fog' off 'The Sensual World'--was that
originally written for 'The Ninth Wave'? Because I feel there is a
similarity between that and 'The Ninth Wave'?
"Yes, I think you're very right. It does sound like a song that's
come from that side. It wasn't written as part of 'The Ninth Wave', but it
was probably one of the first songs that I wrote for 'The Sensual World'
album. And it's when you hit moments like that that you think, 'Well, I
haven't quite found where this next album is meant to be.' Because I--I
worry if it's sounding like the last album. In a way there's a natural sense
for you to want to just carry on writing in the same style of writing that
you did before. And uh, I really feel each album should be somehow a new
expression of something. But yes, I thought that, too."
(Gary:) I don't think it sounds anything like 'The Ninth Wave', it's
just theme of the girl trying to swim...
"It is, it's a lot of water imagery again. Uh, I felt that, when I
was writing it, that it was...And I think in some ways I haven't really let
go of 'The Ninth Wave'. Maybe this is it. The song is about letting go,
(Gary:) Maybe that will continue on through your career and eventually
there will be songs that will...It will become a bigger concept, maybe?
"Oh, that's a nice idea, isn't it?"
(Gary:) Thank you very much, Kate.
"Thank you! Thanks very much. Paul Thomas, from Bournemouth.
(Paul:) This is one of those rumours, which keeps appearing. It's about
the Ken Russell film, the re-make of "Wuthering Heights". And,
is it true you were offered the lead part as Cathy Earnshaw?
"Uh, I've heard this as a rumour as well."
"Uh, a few people have said to me, 'Is it true?' I've not heard
anything about this, and so, I don't know. But we'll see, won't we? if
there's any truth in it, I presume they'll ask me! (laughing)"
"Unless they've got something else planned (laughing.) Well, I
don't know. What do you think?"
(Cries of 'Yeah!')
"D'you think it would be a good idea?"
(Louder cries of 'Yeah!')
"D'you really? I find that very interesting--"
"--that you do. Well, I will seriously consider it now, if I'm
asked. It's very nice. If it's true, it's very nice. Um, Dennis Johnson."
(Dennis:) The question is, what song did you find most difficult to
write, and why?
"Well, I suppose there's a few. There's a few songs that have been
difficult to write. I think the most frustrating and difficult to write was
the song, 'The Sensual World.' Uh, you've probably heard some of the story,
that originally it was written to the lyrics at the end of 'Ulysses', and
uh, I just couldn't believe how the whole thing came together, it was
so...It was just like it was meant to be. We had this sort of instrumental
piece, and uh, I had this idea for like a rhythmic melody, and I just
thought of the book, and went and got it, and the words fitted--they just
fitted , the whole thing fitted, it was ridiculous. You know the song was
saying, 'Yes! Yes!'" (Laughter.)
"And when I asked for permission, you know, they said, 'No! No!'"
(Lots of laughter.)
"That was one of the hardest things for me to swallow. I can't
tell you how annoyed I was that, um, I wasn't allowed to have access to this
great piece of work that I thought was public. And in fact I really didn't
think you had to get permission but that you would just pay a royalty. So I
was really , really frustrated about it. And, um... kind of rewrote the
words, trying to keep the same--same rhythm and sounds. And, um, eventually,
through rewriting the words we also changed the piece of music that now
happens in the choruses, so if they hadn't obstructed the song, it would
have been a very different song. So, to look at it positively, although it
was very difficult, in the end, I think it was, it was probably worth all
the trouble. Thank you very much."
"Oh, here, this is nice. Jeff Shipp."
(Jeff:) Hello, Kate.
(Jeff:) You never mention painters in your work, at all. Have you any
"Yes, I--I think, um, paintings are phenomenal. I would love to be
able to paint. Particularly in oils. I think, uh, it just must be so
fantastic to stand there and--paint a picture. And I think, um, they've been
quite influential on my work. Um, when I was very young I was into Millais
pictures, and I used to find, um--Do you know 'The Huguenots'? Do you know
that? Beautiful painting, I just--In fact, I wrote a song that was kind of
inspired by the painting. I got a painting years ago that I couldn't afford
to buy at all, but, um, that inspired a lot of my work, as well. (This is a
reference to 'The Hogsmill Ophelia'.) And I think one of my favourite
painters is Brueghel. I think his work is just so extraordinary. The sense
of detail, and, um, and colours, it's so alive. I would love to be able to
uh, to do something like that. So uh, vive les painters, eh?"(Laughter.)
(Gordon:) Are you going to do more acting in TV or films in the future.
And if you're not, would you like to?
"Um--um, the only real bit of acting I've done is with 'The Comic
Strip' just last year--wait, this year, isn't it? And, um, I did enjoy it.
But I have to be totally honest, I really missed having control
over--(laughs)--over the whole thing. I'm obviously such a megalomaniac.
And, uh, it was incredible working with those people, it was a lot of fun.
Very different pace. Very interesting... very interesting stuff. I did enjoy
it very much. But I think I enjoy putting the videos together so much, where
I'm actually directing. It's like--it's like writing a song visually. I find
that so exciting that um...That--that's what grabs me. And um, although I
would love to do some acting, if it was something very very interesting and
I felt I could actually do it, um, I'm kind of happier to pursue the idea
of, someday, making a little film. Uh, so..."
"Thank you very much. Uh, Jackie Bezzie?"
"Are you all getting hot? It's warm isn't it?"
(Jackie:) Yes, I wanted to ask you what inspired you to write This
(this was about thirty seconds when IED was trying to get closer to the
stage to hand Love-Hounds's bouquet of thirty white roses to Kate...)
"Thank you. Uh...There--there's a film called 'She's Having a
Baby'. And um, John Hughes, the director, rung up and said that he had a
sequence in the film that he really wanted a song written to be with. And,
ah, I'd only worked the once before on the Castaway film - where I'd really
enjoyed that - so I was extremely tempted by the offer. And when he sent the
piece of film that the song was going to be [??? part of], I just thought it
was wonderful, it was so moving, a very moving piece of film. And in a way,
there was a sense that the whole film built up to this moment. And um, it
was a very easy song to write. It was very quick. And just kind of came,
like a lot of songs do. Even if you struggle for months, in the end, they
just kind of go - BLAH! You know, (laughs). So that was uh, and that was the
first song that I wrote for 'The Sensual World' album. In fact at the time
we weren't even sure whether to put it on the album or not. And I must say
that Del was very instrumental in saying that I should put it on the album,
and I'm very glad I did. Because I had the most fantastic response--in some
ways, maybe the greatest response--to this song. And I was really--I was
absolutely thrilled, that, um, that you felt that way about it... (To
herself, looking at more questions:) No, that's the same, that's talking
about the film, 'She's Having a Baby'..."
(Dave Cross, who has just seen IED and his flowers, motioned to him to
get up on stage (in the wings), and give him the bouquet:) Kate...
(Dave:) Before you do, this--
"Ooh!" (Seeing the flowers which Dave is crossing the stage
to present to her)
(Dave:) This is from all the Love-Hounds, who are all the American
"Oh, they're just lovely!"
(Dave:) --Andrew Marvick just sent them up to the stage."
"They're lovely! Oh!"
(Applause and cheering.)
"Absolutely beautiful...Thank you very much. Well, maybe it's time
to have the last question. Postman Phil."
(Dave:) Where are you Phil?
(Phil:) Hello, Kate.
(Dave:) If you do tour again, while it be in big auditoriums like the
MEC and places like that, or smaller places, like the last tour?
"Well, I have to say that, if circumstances allow--if things go
well--we are hoping very much to do some shows at the end of next year."
(Deafening applause lasting forty seconds, while Kate basically says "Oh!"
"What a lovely response!"(Cries from audience.)
"I know it's been such a long time. All I can say is I just, in
many ways, haven't been ready for it. And also I don't think the time was
quite right for me since that first tour. I think those of you that were
there will know how much I did enjoy touring, it's not that I didn't enjoy
it, which a lot of uh, I've seen press... interview things... It's not true,
I did enjoy it very much. And, I would very much like to at least do some
shows again, if not a big tour. So, we're thinking about it now, and
although it's not definite, I would have thought if it's going to go ahead
it will be announced in January. And, uh, I just really wanted to let you
know first, so [??? inaudible] --"
"What a lovely reaction! I can't believe how much... Thank you so
"It's so lovely seeing you all today. It really is great, and um,
I--I think you're lovely...I'd like to say--Would you please give, uh, a
hand to all the organizers of this event--"
(Continuous applause here.)
"To Peter and Krys, to Dave Cross, and to Lisa, where are you?
Take a bow (laughing)!"
"Thank you very much! Now, I wonder... would you mind if we just
had a few minutes silence just for... Alan Murphy, and Gary Hurst, who, as
you know, are no longer with us. And I think they would be thrilled to think
that we might be touring again. And I believe this event is in their honour,
and I'm _sure_ that they feel it. So thank you very much."
(While saying this, Kate has taken out a slip of paper from her boot,
and this has some lyrics on it. The house at this point is breathlessly
quiet. She sings the following, a cappella, to the tune of 'My Lagan
"I'd like to thank you,
One and all,
For so many things you give me.
It means so much to
Be with you here,
And to see your smiling faces.
To see you all
Here in this hall,
It fills my heart with joy!
God Bless you all.
Goodbye for now,
Until we meet again."
(Dave:) Kate, before you go, we've got a little surprise for you. We did
this to you last time. And I'd like to ask Steve Davis, who is the
Marketing Manager for EMI--this is the man that looks after Kate at EMI--
he says he's got a present for you. Steve? This is the platinum disk for "The
"That's really nice. Thank you! Thank you all!"
(Dave:) Let's hear it for Kate!
(Applause follows Kate as she leaves the stage.)
-- Andrew Marvick
On to the D2 - LH History
written by Love-Hounds
compiled and edited
Sept 1995 June 1996