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From: uli@zoodle.robin.de (Ulrich Grepel)
Date: Sun, 11 Jun 1995 12:10:08 -0400
Subject: (diffs) FAQ: Cathy Demos
4.4. Basic Discography/Videography
The Cathy Demos (23 early songs, ca. 1975-77???, a MUST for every fan). Twelve of these are demos of songs that later appeared on albums. They are available on various bootlegs. (Anybody have an early 80's album called THE EARLY YEARS?).
Tracks (compiled from various boots - none contains all. The names are not officially known, so there are some songs with more than one name. Some names are from a radio broadcast in Arizona [KLN], the matching was done by [AR]):
The Kick Inside (Brother) [note subtitle],
Hammer Horror,
It Hurts Me (A Rose Growing Old, Feeling Like A Waltz),
Keep(ing) Me Waiting (Stranded at the Moonbase),
Davy (While Davy Dozed),
Disbelieving Angel,
Moving,
Kashka From Baghdad,
Surrender Into the Roses (Coming Up, Carmilla),
Oh To Be In Love,
Rinfi the Gypsy (Playing Canasta (in cold rooms)),
On Fire Inside a Snowball (Snow, Hot in the Ice),
Dali (Ferry Me Over),
Where are the Lionhearts (Lionhearts, On the Rocks)
[NOT Oh England My Lionheart],
Violin,
The Craft Of Love,
The Gay Farewell (Queen Eddie),
Something Like a Song (In My Garden),
Frightened Eyes,
Never The Less (You'll Do),
Come Closer To Me Babe (Goodnight Baby),
So Soft,
Rare Flower (I Don't See Why I Shouldn't (Pick the Rare Flower),
Organic Acid
The Studio Demos (7 songs, 1977?, often listed along with The Cathy Demos) Most of the times these share the space on CDs, LPs, singles or tapes with The Cathy Demos, the biggest distinction is that the studio demos were done together with the KT Bush Band instead of Kate alone at her piano. (Babooshka differs in style and might have been recorded at Dave Gilmor's studio, some comments on various bootlegs about the second version suggest this) Tracks (same comments about the names as above): Don't Push Your Foot On The Heartbrake, Kite, L'Amour Looks Something Like You, Strange Phenomena, Scares Me Silly (Really Gets Me Going), Babooshka (2 versions),
[Andy (IED) suggested to split the entry for The Cathy Demos in The Cathy Demos and The Studio Demos. Where does Turkish Delight belong to? Is it a Studio Demo or a Cathy Demo?]
From: btd@carina.cray.com (Bryan Dongray)
Date: Sun, 13 Aug 1995 15:33:23 -0500 (CDT)
Subject: Songs word gaps
Hello again,
I've been listening and reading the words of my recently got Home Demos CD (thanks again Robb), and have noticed some gaps in the wordsheet from I mentioned yesterday.
Here are my thoughts on what (possibly) the gaps should be.
The * means the changed lines.
Davy
...
Your face seemed radiant,
* The walls too steamy,
* With a crack emerged,
As I held you
Oo-ooh...
* While na-na na-na-na na-na-na Davy dozed.
I closed my eyes
* And now the time is close for us to go.
Hold me, oh hold me. ...
NB This chorus is repeated again
Ferry Me Over
High.
* Can't see you.
* You've seen your darling
Alone and higher still
...
On the Rocks (Lionhearts)
...
Joan of Arc walks into my mirror,
A burning sword.
I'd like to cry. I look into her eyes.
* I see she's sitting on days and night.
"Ooh," she says,
...
Pick the Rare Flower (Don't See Why I Shouldn't)
...
It's quite an occasion.
It's driving me crazy.
* I'm not allowed to touch on lust.
I've gotta get a hold of myself.
...
It's calling me.
* Would I ever see him whisper.
* A magical opera enchanting me.
I've gotta get a hold of myself,
Something Like a Song (In My Garden)
...
I see him when I turn the lights down low,
In my garden, wading through the pond.
Resting sooooo.
"Oohoo, ahoo, oohoo, ahoo, oohoo, ahoo..."
...
OK, some of these were guesses and of course can be way out, I've also not listened to the whole CD while comparing the words with what is shown in the wordsheet I have (which may also be out of date).
I hope this helps out and others benefit from my observations, it might help since I was brought up in the same part of England as Kate (about 20-30 miles away), although I often think she has more of an Essex accent really (no insults intended), not Kent. Hmm, the accent is close, maybe her parents were from Essex, or had some London in them. I don't mind really, I quite like accent variations, they really fancinate me.
Bryan Dongray
Date: Sun, 13 Aug 1995 18:35:19 -0400
From: geek the boy <woj@remus.rutgers.edu>
Subject: Re: Home Demos last track
Bryan Dongray sez:
> On the "Home Demos" CD, the last track "Really Gets Me Going" (#29)
> What's the alternative title(s)?
this track is sometimes referred to as "scares me silly," but all of the bootlegs where it appears title it "really gets me going".
this track is not one of the cathy demos. it is one of six demos that were recorded prior to the recording of the kick inside with a full band in a real studio.
i don't think the words for this song are anywhere in the archives, though IED makes reference to them in the garden.
woj
From: freeform@aol.com (FreeForm)
Date: 14 Aug 1995 10:12:03 -0400
Subject: Re: Songs word gaps
>> Pick the Rare Flower (Don't See Why I Shouldn't)
>> It's calling me.
>> * Would I ever see him whisper.
>> * A magical opera enchanting me.
>> I've gotta get a hold of myself,
To me, the words sound like:
It's calling me
* with a menacing whisper.
* Magical world enchanting me,
I've gotta get a hold of myself...
>>On the Rocks (Lionhearts)
>>I see she's sitting on days and night.
I see as she's seen, the long days and nights (?)
From: st@festival.ed.ac.uk (S Telford)
Date: 15 Aug 1995 09:41:52 GMT
Subject: Re: Home Demos last track
I know it's bad form to followup your own posting, but anyway, I ran my dub of "Practice Makes Perfect" back and forth a few times last night, and I've come up with the following:
Scares Me Silly
Here in the studio
As they're turning down the lights
I lick my lips to start the first line
How come they're scolding me?
"Oh, little thing, are you looking lost?"
---------- the need to lose.
Oo-ooh...
They try to trip me up and tapes begin to spin
I feel a little sick[?] and hold my notes again
I try to put it ------- do it for you
Don't even know you but I need you to love me, too.
They try to trip me up and tapes begin to spin.
I feel a little sick[?] and hold my notes again
I try to ------- do it for you
Don't even know you but I need you to love me, too.
Scares me silly, but it gets me going,
Like a Romeo
Scares me silly, but it gets me going,
Like a Romeo
Scares me silly, gets me going.
Swinging[?] amid the cans
I wonder can I goad myself into another take
And keep the mood?
It's like a ----------- balance. [?]
I close my eyes to the cello solo
And ---- the music
will never let me go away.
Oo-ooh,
You know the feeling when you're on the right track
You fall in love and you're never gonna turn it back
It's recording ----
-------------------------------.
You know the feeling when you're on the right track
You fall in love and you're never gonna turn it back
It's recording ----
-------------------------------.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, gets me going.
Date: Tue, 15 Aug 95 11:30:40 PDT
From: Emmy May Lombaerts <lombaeg@interpac.interpac.be>
Subject: Cathy demos
Hi everyone!
The lyrics from "The Cathy demos"... Here are my attempts....
[Davy]
> Your face seemed radiant,
> * The walls too steamy,
> * With a crack emerged,
To me this sounds like "The wall with the ceiling with the crack remembers..."
[Scares me silly]
> Ooh, ooh...
> The---------and the tapes begin to spin.
> I feel a little sick and hope my notes are in <?>
> I try to -------do it for you.
put it all in (?)
[Pick the Rare Flower (Don't See Why I Shouldn't)]
>>> It's calling me.
>>> * Would I ever see him whisper.
With a menacing whisper
>>> * A magical opera enchanting me.
The magic of it enchanting me
>>> I've gotta get a hold of myself,
What do you guys think? Chat with you later :-)
Emmy.
From: Ulrich Grepel <uli@zoodle.robin.de>
Date: Tue, 15 Aug 95 22:42:59 +0200
Subject: Re: Home Demos last track
ftp://ftp.uu.net/usenet/rec.music/gaffa/kb/lyrics/most-lyrics.ied
which is a file holding most other lyrics (up to TSW). Therefore here they are:
Scares Me Silly
Here in the studio,
As they're turning down the lights,
I lick my lips to start the first line -
How come they're scolding me?
"Well, little thing, ah, you're looking lost!"
The birdy goes and me too...
Ooh, ooh...
They try to hit me and the tapes begin to spin.
I feel a little sick and hope my notes are in
I try to put it on it, do it for you.
Don't even know you but I need you to love me, too.
They try to hit me and the tapes begin to spin.
I feel a little sick and hope my notes are in [?]
I try to put it on it, do it for you.
Don't even know you but I need you to love me, too.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going.
Swimming amid the cabs,
I wonder can I gull myself into another take,
And keep the mood?
It's like a music balance. [?]
I close my eyes to cello solo,
And hate/aid [?] the music.
Don't ever let me go away.
You, You know the feeling when you're on the right track.
You fall in love and you're never gonna turn it back.
It's a partial/party [?] -------------------------------.
-------------------------------.
You know the feeling when you're on the right track.
You fall in love and you're never gonna turn it back.
-------------------------------.
-------------------------------.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going.
From: btd@carina.cray.com (Bryan Dongray)
Date: Thu, 17 Aug 1995 01:08:44 -0500 (CDT)
Subject: Re: Home Demos last track
Hi all,
Various folks combined now have this song to be the following but I'll put in what I hear (hopefully obviously, mine have the ***'s):
Scares Me Silly
Here in the studio,
As they're turning down the lights,
I lick my lips to start the first line -
How come they're scolding me?
"Well, little thing, ah, you're looking lost!"
The birdy goes and me too...
Ooh, ooh...
They try to hit me and the tapes begin to spin.
*** The "china" video tape begins to spin
Obviously, "china" does not fit, but maybe with the word "video" someone will hear the previous word, I just don't think it's "try to hit me".
I feel a little sick and hope my notes are in
I try to put it on it, do it for you.
Don't even know you but I need you to love me, too.
They try to hit me and the tapes begin to spin.
*** same again using "video tape"
I feel a little sick and hope my notes are in
I try to put it on it, do it for you.
Don't even know you but I need you to love me, too.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going.
Swimming amid the cabs,
*** Singing amid the cans
ie "cans" as in headphones.
I wonder can I gull myself into another take,
*** goad
And keep the mood?
It's like a music balance.
I close my eyes to cello solo,
And hate/aid [?] the music.
*** make
Don't ever let me go away.
You,
You know the feeling when you're on the right track.
You fall in love and you're never gonna turn it back.
*** You're so popular, they're so sensitive
*** Losing without me, brimming over with secrets.
You know the feeling when you're on the right track.
You fall in love and you're never gonna turn it back.
*** same You're so popular, they're so sensitive
*** same Losing without me, brimming over with secrets.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going,
Like a Romeo.
Scares me silly, but it gets me going. ---------------
I think I'm 90% correct for the blank lines. Some words being a little hard to get, if you've heard this track, you'll understand this understatement!
Bryan Dongray
From: Scott Telford <st@epcc.edinburgh.ac.uk>
Date: Fri, 18 Aug 1995 12:38:30 GMT
Subject: Re: Home Demos last track
Here's my latest interpretation - I decided to bring a little technology to bear on the problem and sampled the track using my PC's SoundBlaster 16 card so I could play back sections repeatedly and slow it down to half-speed for the tricky bits. I'm not at all sure about the last two lines of the second bridge, though.
Now, how about the backing vocals?.....8-)
Scares Me Silly
Here in the studio,
As they're turning down the lights,
I lick my lips to start the first line,
How come they're scolding me?
Oh, little thing, are you looking lost?
The vertigo, the need to lose. [?]
Oo-ooh...
They try to trip me up, the tapes begin to spin,
I feel a little sick and hold my notes again,
I try to put it all into it for you,
Don't even know you but I need you to love me, too.
They try to trip me up, the tapes begin to spin,
I feel a little sick and hold my notes again,
I try to put it all into it for you,
Don't even know you but I need you to love me, too.
Scares me silly, but it gets me going,
Like a Romeo,
Scares me silly, but it gets me going,
Like a Romeo,
Scares me silly, gets me going.
Swimming amid the cans,
I wonder can I goad myself into another take,
And keep the mood?
It's like a film - such colours, [?]
I close my eyes to the cello solo,
????? music, [I think this might be one word rather than "And
??? the music"]
will never let me go away.
Oo-ooh,
You know the feeling when you're on the right track,
You fall in love and you're never gonna turn it back,
It's recording your representative, [? - I definitely hear "...sentative"]
Oozing without me spilling over with feelings. [??? - I don't hear a
consonant before "oozing" ("using"?)]
You know the feeling when you're on the right track,
You fall in love and you're never gonna turn it back,
It's recording your representative, [?]
Oozing without me spilling over with feelings. [???]
Scares me silly, but it gets me going,
Like a Romeo,
Scares me silly, but it gets me going,
Like a Romeo,
Scares me silly, gets me going,
From: nudeadguy@aol.com (NudeAdGuy)
Date: 3 Oct 1995 15:42:30 -0400
Subject: Demos Re: "Snowbound..."
Jbuchwald wrote:
> "Snowbowl," (or is it "Snowbound." My friend's penmanship was not too clear when he labelled it.)
According to the box that stored the master tape copy that was played on the radio down here in Phoenix some years ago (and which I copied on tape), the song is called "On fire inside a snowball," not "Snow Bowl" or "Snowbound," or anything else. Listen to the song, for godz' sake. she's clearly saying "On fire inside a snowball."
The DJ also read the song title as such on the air.
From: kln@crl.com
Date: 4 Oct 1995 16:19:36 GMT
Subject: Cathy Demo names, context
It would perhaps help to have some context. (Nude Ad Guy, please correct me on any details.)
The tapes NudeAdGuy is referring to were aired in Phoenix were probably original demo tapes. Kate sent demo tapes out to a number of record companies when she was looking for a place to sign on. Someone who worked at one of these record companies took the tapes with him/her when they changed jobs.
At some point the tapes were aired on a radio station in Phoenix. The DJ read the names of the songs from the original label, which we may strongly conjecture and even hope are the names Kate to gave these songs.
This whole piece of information was discussed at some length earlier this year, if anyone would like to review previous conversations about this.
The list of the names from the demo tape were posted. Several of them are rather different from both the names on the bootleg 7" (these are not official remember) and also different from names the Love Hounds have come to call some of these songs spontaneously.
IED kindly made a sort of matrix of all known names of these songs, which should also be archived in the postings of that stretch of time.
Karen kln@a.crl.com
From: IEDSRI@aol.com
Date: Thu, 5 Oct 1995 00:18:43 -0400
Subject: Snowballs and nicotine
Hey, folks, simmer down. Yeah, Nude could have been a little sweeter about this issue, but his point is really not debatable: Kate definitely sings "On fire inside a snowball." And the titles on the Cathy Demos EPs are not the least bit authoritative -- notice, for example, the incorrect "Rose Growing Old" instead of the correct "Waltz". The Pheonix titles, on the other hand, appear to be legitimate, though none of us can be certain of course.
: )
-- Andrew Marvick (IED)
S R I
From: nudeadguy@aol.com (NudeAdGuy)
Date: 5 Oct 1995 14:17:35 -0400
Subject: re "Snowbound..."
FYI--I had a tape of this radio braodcast at least a year before the "Cathy" Demos started appearing in illicit record stores in my area. I, too, bought that demo on colored vinyl to see if the quality was any better than the low-power radio broadcast that I had. (It is.)
So, yes, I do have an inside lead--the DJ was a guy named John Dixon, who goes by Johnny D on the air and he's a big Kate fan and former employee of Capitol Records, which is where he got the tape.
Incidentally, I saw him at a local record convention recently where he showed me EMI acetates of "Man with the Child" and another song, I think "Kite." They weren't for sale, by the way. He just likes to pull them out so Kate fans like us can drool on them. (He has no idea what he would ask for them even if he was going to sell them!)
For the record, here's the songs on the tape I have, with the titles as listed on the tape box, as read by the DJ:
The Kick Inside,
Hammer Horror,
It Hurts Me,
Stranded at the Moonbase,
Kashka from Baghdad,
Surrender into the Roses,
Oh To Be In Love,
Rinfi the Gypsy,
On Fire Inside a Snowball,
Dali,
Where Are the Lionhearts,
Violin,
The Craft of Love,
The Gay Farewell,
Something Like a Song,
Frightened Eyes,
Disbelieving Angel,
Nevertheless, You'll Do,
Come Closer to Me Babe,
So Soft,
Rare Flower,
While Davy Dozed.
I'm curious how many of these songs eventually made it to bootlegs, an under what alternate titles?
From: btd@carina.cray.com (Bryan Dongray)
Date: Fri, 6 Oct 1995 16:59:09 -0500 (CDT)
Subject: Phoenix demo tape broadcast
OK, I'll skip on the ones that have never changed their name, here's what I understand, between the "Home Demos" CD I have, the IED mapping, and the Phoenix broadcast, of course some of the Phoenix mapping is guessing on my behalf:
Phoenix broadcast.. Home Demos.. IED (maybe)
It Hurts Me.. A Rose Growing Old.. Feeling Like a Waltz
Stranded at the Moonbase.. Keeping Me Waiting.. Keeping Me Waiting
Surrender into the Roses.. Coming Up.. Camilla
Rinfi the Gypsy.. Playing Canasta in Cold Rooms
On Fire Inside a Snowball.. Snow.. Hot in the Ice
Dali.. ?.. ?
Where Are the Lionhearts.. Lionhearts.. On the Rocks
The Gay Farewell.. Eddie the Queen.. Eddie the Queen
Something Like a Song.. In My Garden.. Something Like a Song
Come Closer to Me Babe.. Goodnight Baby.. Who is Sylvia?
So Soft.. You're Soft.. You're Soft
Rare Flower.. Don't See Why I Shouldn't Pick the Rare Flower
While Davy Dozed.. Davy.. Davy
The only left from the Home Demo CD (excluding TKI outtakes) is
Ferry Me Over
and the only one listed on the Phoenix broadcast is:
Dali
could these be the same? Could the lyrics for that really be:
High,
Can't see you.
You've seen your "Dali" I've seen it as "Darling"
Alone and higher still
Hmmm! Could be that the DJ said "Darling" but they might sound much the same over the radio.
I think I'm going to change my home made CD insert for my Home Demos CD to have the Phoenix broadcast titles, I guess they're closer to what Kate originally had!
Bryan Dongray
From: IEDSRI@aol.com
Date: Sat, 7 Oct 1995 19:53:01 -0400
Subject: Demos
Bryan Dongwray's cross-indexing of the Cathy Demos titles is very helpful. IED has some amendments to offer:
"Surrender Into the Roses Camilla" -- Important change:
IED's suggested title should read "Carmilla". The song explores the Victorian vampire story of the same title, written by Sheridan LeFanu; hence IED's suggested title. Carmilla, not Camilla. Of course, this may not be the actual title of Kate Bush's song.
"The Gay Farewell Eddie the Queen" -- The correct title of this one is pretty well confirmed as "The Gay Farewell"; IED's title, "Eddie the Queen", is not likely.
"Something Like a Song In My Garden" -- The correct title of this one is pretty well confirmed as "Something Like a Song", not "In My Garden".
"Ferry Me Over" and "Dali" -- These suggested titles are indeed for the same song. IED was told by someone long ago that the song was suggested by Salvador Dali imagery; he has never had any confirmation of this claim, however. He has absolutely no idea what this song may actually be about; he only knows that it is a masterpiece.
As Bryan suggests, the Phoenix titles seem to be more authentic, for the most part, with the above possible exceptions noted. It's too bad that we can't really confirm any of the demos' titles.
-- Andrew Marvick (IED)
S R I
From: nudeadguy@aol.com (NudeAdGuy)
Date: 10 Oct 1995 13:25:52 -0400
Subject: Re: Phoenix demo tape broadcast
Brian wrote:
> Could be that the DJ said "Darling" but they might sound much the same over the radio.
Just listened to the tape--he definitely says, "Dali," but that doesn't mean he's right. This broadcast was in the wee hours of the morning, and the light in a radio station isn't always the best.
Reading from the box, he also says, "Kashka from Baldad," apparently a typo on the box. So Dali could be a typo from some long forgotten stenographer at EMI.
From: chrisw@miso.wwa.com (Chris Williams)
Date: Wed, 22 Nov 95 18:48:57 GMT
Subject: Re: Kate Boots
Especially considering the low quality of most of the Kate boots, and how few original Kate pieces there are to bootleg. Most of the boots are:
* Dubs of the Hammersmith Open videotape.
* Dubs of the Christmas special.
* Audience recordings of other shows on the tour
* Various collections of the "Cathy Demos."
* Recordings of her few live performances since the tour.
A boxed collection of all these could fit on four or five CDs. This would give EMI something to sell during the long, bleak sales winter between Kate albums. It would also completely destroy the Kate bootleg market.
...
No, this is, and always has been, about *control*. Kate's control of her music. I have no objection to *positive* control. It's the *negative* control that it irritating. This the famous Bush family passive-aggressive way of dealing with things.
Releasing the "Cathy Demos" would do no harm to Kate's career. No one would mistake it for a new release. The only person who doesn't want them out there is Kate...because she doesn't think they are "good enough." Fine. She is welcome to think that. We have the right to disagree. But could *somebody* try to convince her that her fans are intelligent enough to understand the work of a mature artist, and to also want to see the "garden" that that art grew from?
She could put a big red warning sticker on the package "Warning!: Kate is of the opinion that these songs are of not 'up to snuff!'"
>Yet another lost opportunity. . . perhaps someone needs a marketing manager .
She needs a manager. Period. Not a producer, no, she handles the musical part wonderfully. She needs a business manager to offer an objective opinion from outside her family and friends. To handle the details of putting a tour together (according to sources, she *has* tried to assemble a US tour.) To look after Sony and try to get some effective marketing in the US (they couldn't get 50 people to see a free showing of The Line, The Cross and The Curve in *Chicago*?!? Hell, Vickie and I got 100 people to contribute to charity to see old videos during an ice storm in Kansas City!)
Chris Williams of Chris'n'Vickie of Chicago
From: Wieland Willker <willker@chemie.uni-bremen.de>
Date: Mon, 11 Dec 1995 09:56:01 -0100
Subject: KT Piano Demos on CD
Let me recall. We have 22 home demos, 6 studio demos, the two Babooshka's and Organic Acid. Right?
Organic Acid is not available on CD.
What I have, and how they sound:
- - Cathy's Home Demos, Blue Moon, 29 songs (Moving is missing)
- - Practice makes Perfect, Piano Demos No.1, France, 26 songs
(Goodnight Baby, 2 Babooshka's and Moving are missing)
- - If you could see me fly, 18 songs |
Passing through Air, 13 songs, |both Chapter One
These sound all very similar and are recorded from record.
- - Alone at my piano, Ukinel Records, NY 1988, 22 songs
(CD-version of the cassette "Fiddle"?)
This CD sounds different. You can't hear any of the typical record noise. It seems to me that this might be either a direct copy from a demotape, or from a tape dubbed from a demotape? IED? What exactly is "fiddle"?
The first airing of the original 22 demo tape in the US was in 1982 (!) by DJ John Dixon who had worked for EMI at the time of KaTe's signing (see Breakthrough 4/84), but it took more than 6 years for their release.
I like this one much more, because it sounds so fresh, direct. You can also hear the turning off/on of the tape recorder and KaTe walking there and back to the piano, you can hear the planks creak. It's as if you are in the room with KaTe. I love it. And you can hear the sparrows chirping at the end of Hammer Horror! This bootlegger has my respect.
The others above are all for the garbage can, IMHO (from the sound quality point of view). Unfortunately you need them too, because they have additional material. The two Chapter One CD's have all. Sorry, I don't know a source.
Contents of "Alone at my Piano, Piano demos '74":
(as written on the cover)
1. The Kick Inside
2. Hammer Horror
3. It Hurts Me
4. The Air is getting low [= Keeping me waiting/Moonbase]
5. Kashka from Baghdad
6. Coming Up [= Carmilla]
7. Oh To Be In Love
8. Playing Canasta
9. Snow
[between 9 and 10 is no recording break, she goes on without interruption!]
10. Ferry Me Over
11. Lionhearts
12. Violin
[long double break here.]
13. The Craft Of Love [...the tiny fish!]
14. Queen Eddie
15. In My Garden
[WHAT A SONG!!! My favourite!!! BTW, what's the missing word in the second verse? See below. And, what's this song all about?]
16. Frightened Eyes
[You can hear her walking on clogs or so. then a complete break.
Maybe the bootlegger has cut out something here?]
17. Disbelieving Angel
18. Never the Less
19. Goodnight Baby
20. So Soft
21. I don't see why I shouldn't
22. Hold Me [= Davy, this is great too!!!]
This is really great stuff. I think there's not much hope for an official release. So we must do the best with what we have. There's much white noise on the whole thing, but I was told, that you can remove it almost completely with high-tech equipment. But it cost enormous amounts of money! Anyone out there with such an equipment? This CD is a good test. Maybe one can record the noise in the intervalls between the songs, calculate some mean noise and subtract it from the songs? Any expert out there?
And: Let's discuss these songs!!!
Best wishes
Wieland
******************************************
There's something, that sounds like a song
In my garden, by the willow
A piper:
Haahooohooouu, hooohooohou..
I see him when I turn the lights down low
In my garden, wading through the pond
Resting so [long?]
Haahooohooouu, hooohooohou..
I've called him by every name I know
By every name I know
But he won't answer me
He keeps coming forward, but never moving
Is there no destiny here?
*******************************************
From: IEDSRI@aol.com
Date: Wed, 13 Dec 1995 16:05:56 -0500
Subject: of Koffee and Tapes
Just as many thanks to Wieland for his thorough run-down of the several CD editions of the "Cathy Demos". Very very useful information!
Wieland writes:
> - - Alone at my piano, Ukinel Records, NY 1988, 22 songs
(CD-version of the cassette "Fiddle"?)
> This CD sounds different. You can't hear any of the typical record noise. It seems to me that this might be either a direct copy from a demotape, or from a tape dubbed from a demotape? IED? What exactly is "fiddle"?
By "record noise", IED assumes you're referring to vinyl surface noise, not tape hiss, of which this CD has a great deal.
"Fiddle" is the title of an early (1988?) cassette-only bootleg of 22 of the demos, which IED picked up at a record swapmeet. From your description both "Fiddle" and "Alone At My Piano" appear to stem from the same source (perhaps the Phoenix FM broadcast).
BUT: although these versions are not from vinyl, and although they do not cut out between tracks (with the exception that Wieland listed yesterday), they DO seem to be several generations from the "master" (whatever that may have been). Like "Alone At My Piano", "Fiddle" suffers from terrible tape hiss, which gets louder in between songs (indicating the use of an auto-record-level dub at some point during the course of the recording's ancestry).
As far as IED is aware, all of the other current CD editions so comprehensively listed by Wieland appear to derive from the bootleg LPs, "Cathy's Album" and "Cathy's Album Too" (there was at least one other title for one or both of these, too). And THEY in turn derive from the five vinyl "originals", called the "Cathy's Demos" EPs -- which explains the large amount of vinyl surface noise on these various CD editions: two generations (at least) of vinyl can be heard.
Unfortunately, the LPs retained neither the sound quality of the EP set (which was noticeably superior even to early versions of the "continuous" dub, such as "Fiddle"), NOR the little bits of quiet ambient noises between tracks.
The problem is two-fold, therefore: first, all of the CDs except "Alone At My Piano" are missing most of the between-song bits; and second, NONE of the CDs (INCLUDING "Alone At My Piano") has as good a source as it would have had, had any of them originated from the EPs themselves.
The problem is even more frustrating, however, because only the first of the five "Cathy's Demos" EPs is "continuous" (i.e., retains the between-song sounds), yet it is clear from that single record that the continuous sounds in all of the OTHER "continuous" editions ("Fiddle", "Alone At My Piano", perhaps others) are grossly distorted by subsequent use of an auto-record-level meter, which artificially exaggerates the volume and timbre of low-level sounds (like the originally very quiet clicks of Kate's tape-recorder, which in all the later "continuous" dubs sound like giant trip-hammers).
All of this is simply to point out the serious need for an authorized EMI release of the demos -- WITH official lyrics and commentary by Kate Bush about each song, please!
- -- Andrew Marvick (IED)
S R I
From: IEDSRI@aol.com
Date: Wed, 13 Dec 1995 16:06:12 -0500
Subject: of ponds and pipers
Wieland's excellent challenge to us to revive our never-adequate discussion of the brilliant and perfect early "Cathy" masterpieces led IED to begin a new listening, which has resulted in a small discovery! This is IED's revised reading of the lyrics of the song "Something Like a Song".
He is now relatively confident about these words, which, as readers will see, finally bring all parts of the song's lyrics into a logical narrative/thematic whole -- one closely related to that of Donovan's "Lord of the Reedy River", which IED dares to suggest might have been the inspiration for Kate Bush's great early work. (Notice the use of the unresolved repetition of the opening verse as a kind of coda for the song, which Kate would have heard in the Donovan recording[s], and which is a device she has used several times since, as for example in "The Kick Inside" and "Under the Ivy".)
(As he has done in the past, IED sets the lyrics of "Something Like a Song" in verse/chorus order -- which, as so often in Kate Bush's songs, is here a novel variant on the usual pop-song formula -- but with the addition of prose punctuation, which he believes is appropriate for the sake of narrative clarity.)
Something Like a Song
There's something that sounds like a song
In my garden, by the willow --
A piper: "Oohoo...
"Ahoo, oohoo, ahoo, oohoo, ahoo, ooh..."
I see him when I turn the lights down low,
In my garden, wading through the pond,
Rest and sing, "Lover, oohoo...
"Ahoo, oohoo, ahoo, oohoo, ahoo, ooh..."
I've called him by every name I know,
By every name I know,
But he won't answer me.
He keeps coming forward,
But never moving.
Is there no destiny here?
It sounds like a song
In my garden, by the willow --
A piper: "Oohoo...
"Ahoo, oohoo, ahoo, ohoo, ahoo, ooh..."
From: Anders Hultman <anders.hultman@unisource.se>
Date: 14 Dec 1995 10:31:18 GMT
Subject: Re: KT Piano Demos on CD
willker@chemie.uni-bremen.de (Wieland Willker) wrote:
>Maybe one can record the noise in the intervalls between the songs, calculate some mean noise and subtract it from the songs? Any expert out there?
That is not possible. Noise is, per definition, totally random. There is no way to take away noise without taking away other things as well. One popular way to take away noise is to take away treble, because white noise mainly consists of treble. But the wanted treble sounds goes away in the same process.
anders
From: Craig Heath <craig@sco.COM>
Date: Thu, 14 Dec 95 23:12:19 GMT
Subject: Re: KT Piano Demos on CD
> From: Anders Hultman <anders.hultman@unisource.se>
> Wieland Willker wrote: >>Maybe one can record the noise in the intervalls between the songs, calculate some mean noise and subtract it from the songs? Any expert out there?
> That is not possible. Noise is, per definition, totally random. There is no way to take away noise without taking away other things as well.
This is of course, technically true; however, it is possible to be a lot more selective about filtering out noise frequencies than simply cutting off the top end (i.e. turning the treble down). The Windows shareware utility COOL EDIT has a function which will do an FFT analysis of noise in a content-free part of the signal (i.e. the gap between songs), and will then filter the whole signal to remove all or part of the noise frequencies.
I have experimented with this on "Disbelieving Angel", with a small amount of success; the tape I have does not include much of the in-between song gaps, however, and I'm sure a better job could be done. There are two factors - getting a good sample of the signal-less noise, and then the judgement of how much of the noise to remove traded off against inevitable loss of parts of the true signal.
As an aside, you can use this technique to analyse say, the frequency spectrum of the piano part, and then remove that from the track -fun, but ultimately not very useful! It is also very slow on my machine, taking over 1 hour real time for 1 minute of recorded signal.
- Craig @ SCO near London.
From: btd@carina.cray.com (Bryan Dongray)
Date: Fri, 15 Dec 1995 22:59:35 -0600 (CST)
Subject: Something like a song
IED says:
> Rest and sing, "Lover, oohoo...
I'm not so sure about the word "Lover" there, but definately "Rest and Sing", although it sounds like "Rust" to me.
Things I believe are in Kates garden, are:
A hidden yo-yo
A piper by the willow
A pond (with someone wading through it)
Half of a heaven
Ivy plant (with leaves you can go under, to a white rose)
Kate - fading fast in your arms
There was Geoffrey, her ex-gardener, who had told her he was
only going away for little while.
according to her lyrics.
I assume most people know these references?
Any other reference to such a place (perhaps a pseudonym for garden I've not thought of)?
Bryan Dongray
From: btd@carina.cray.com (Bryan Dongray)
Date: Fri, 15 Dec 1995 23:44:46 -0600 (CST)
Subject: Re: KT Piano Demos on CD
I thought this was a good time to re-advertise the names as read by the DJ of the Phoenix demo tape broadcast apparently off a "real" cassette (I believe). So skipping all the obvious later production released ones and ones where the title matches, we have:
Phoenix broadcast.. Bootleg Demos.. Often referred to as
It Hurts Me.. A Rose Growing Old.. Feeling Like a Waltz
Stranded at the Moonbase.. Keeping Me Waiting.. Keeping Me Waiting
Surrender into the Roses.. Coming Up.. Camilla
Rinfi the Gypsy.. Playing Canasta in Cold Rooms
On Fire Inside a Snowball.. Snow.. Hot in the Ice
Where Are the Lionhearts.. Lionhearts.. On the Rocks
The Gay Farewell.. Eddie the Queen.. Eddie the Queen
Something Like a Song.. In My Garden.. Something Like a Song
Come Closer to Me Babe.. Goodnight Baby.. Who is Sylvia?
So Soft.. You're Soft.. You're Soft
Rare Flower.. Don't See Why I Shouldn't Pick the Rare Flower
While Davy Dozed.. Davy.. Davy
Dali.. ?.. ?
? Ferry me over.. Ferry me over
It seems that the words of "Ferry me over" has:
High,
Can't see you.
You've seen your "Dali" (or is that "Darling")
Alone and higher still
of course the DJ may have said "Darling".
I personally use the Phoenix broadcast name, since he was reading from the cassette box, perhaps Kates own hand writing!
Hope the above helps you write your own CD insert sheet. I have my own for my "Home Demos" CD, I also included some images from the Cathy book, besides the lyrics, matching appropriate images with songs, where I could. Unfortunately, 8 sheets of paper folded over becomes fairly thick and only just squeezes in the CD slot. I also have yet to find a stapler that can reach the 4 inches to staple nicely the spine. It's all only black and white too. Quite nice though according to my friend.
I agree with your liking "Something Like a Song", it IS up there in my mind with "Under the Ivy", "Moments of Pleasure", "Infant Kiss", and "The Kick Inside". "While Davy Dozed" is similarly excellent.
I've also amused about the "tiny fish" too! I guess this relates to another good phrase "every girl knows about punctual blues", I've always assumed this to be "non-punctual" worries, but perhaps it is just referring to PMS, which seems more reasonable.
I also love how she says "Give me one second to succumb" in "Rare Flower".
I prefer "Lizzy Wan's story" to "that old mythology". Neither really to me particularly in the beat to that line, but in thinking what could have gone there, I have no idea what would have fitted.
On my CD in the 2nd Babooska (with the beat machine), what does she say in the last verse? I have:
And when he laid eyes on her,
He got the feeling that he knew her well.
Uncanny how she
Can take him back onto a piece of mars.
And saying things that make him want to laugh.
Just like his wife before she freezed on him,
Just like his wife when she was beautiful.
the problem line is the Mars line! It doesn't seem to make sense or fit in, anyone have better ears that me?
Bryan Dongray
From: Ulrich Grepel <uli@zoodle.robin.de>
Date: Sun, 17 Dec 95 00:48:13 +0100
Subject: Re: of Koffee and Tapes
Hi!
Ok, I've done some analyses of some songs and their recording quality.
Conclusion:
DOES ANYONE HAVE THE FIRST THREE 7" CATHY DEMOS FOR SALE?
(reasonable [i.e. affordable] prices only please!)
If anyone's making a reasonable offer, I'd give a CD recording of the singles back in return as well - I've access to a CD writer...
Here's what I found out:
I listened to Kashka, Coming Up, and Goodnight Baby. The first and the last one also on vinyl, namely Cathy's Album (both) and Cathy Demos Volume Four (Goodnight Baby only). Conclusion:
- - Cathy Demos Volume Four:
This recording is - compared to all others - really good. As close to studio quality as you can get in a living room with amateur equipment in the 70s. That is, there's almost no tape hiss, almost no surface noise, equal recording level with no automatic adjustment, almost no distortion. Very nice. There's one click on the *left* channel after the first couple of seconds of Goodnight Baby. There's more clicks and pops, but generally they're not too disturbing, *and* they're on all other recordings as well.
- - Cathy's Album:
Already a lot worse, and the click on Goodnight Baby is on *both* channels. This record also has the screech - screech - screech... on the beginning of Kashka.
- - If You Could See Me Fly, Cathy's Home Demos, Home Demos, Practice Makes Perfect (Piano Demos No. 1):
These four inferior CDs (Practice... doesn't contain Goodnight Baby, but does contain Kashka) all are copies of the Cathy's Album series, for: the click at the beginning of Goodnight Baby is on *both* channels, and the screech... is there as well.
- - Alone At My Piano:
The click is on the *left* channel, the screech is not there. So it's not a copy of Cathy's Album. On the other hand, the sound is far worse than on Cathy Demos Volume Four. Especially the high frequencies seem to be missing quite a lot.
- - Shrubberies:
The click is on the *right* channel. Strange but true. This therefore is also not a copy of Cathy's Album. The sound quality seems to be better than the sound quality of Alone At My Piano, but that's basically because there's much more high frequencies. Unfortunately higher frequencies also bring in more tape hiss.
To summarise this with also giving some numerical estimations:
Let's say a modern studio recording on CD is 100 points and static noise is 0 points. Then I'd put the four CD copies of Cathy's Album (and Cathy's Album Too) at about 40. These albums themselves would be at 43-45. Alone.. would be at 50, Shrubberies at 55 (for the first 22 tracks, the rest is worse), and the 7" boots at 75 at least (as much as I've heard of them which still isn't much).
A side remark: Cathy Demos Volume Four's version of Goodnight Baby is even still *MUCH* *MUCH* *MUCH* better than any of the others after I've recorded it on far too low level (~ -6 db) on a good analog tape deck with Dolby C) and by playing it (what a sacrilege!) on a good but old and not-cared-for turntable. "Good" in both cases means just "good", definitely not "very good".
Recordings missing in my collection:
Fiddle: I do not own this tape copy of the demos. Anyone dare to comment?
Cathy's Album + Cathy's Album Too are also available as Cathy Complete in a 2 LP set. I've not seen this anywhere, but have seen it listed. Anyone able to comment on the sound quality?
The Sensual Woman: I've got a track listing of this LP, but unfortunately that's all I know: Kashka, Coming Up, oh to be in love, Playing Canasta, Snow, Ferry Me Over, Lionhearts, Violin, Craft Of Love, Queen Eddie, In My Garden, Frightened Eyes, Never The Less, Goodnight Baby, So Soft, I Don't See Why I Shouldn't.
Too Much Bush For You: This LP was also only listed somewhere, the only thing I know that it's supposed to exist in 133 copies and is US made.
The original masters: sigh... EMI!!! KATE!!! Pleasepleasepleaseplease... ;-)
Bye, Uli
From: IEDSRI@aol.com
Date: Mon, 18 Dec 1995 13:44:06 -0500
Subject: Re: Kate demo boots compared
IED has studied Uli's excellent evaluation and agrees completely (insofar as his own limited knowledge allows) with Uli's judgement of the various editions' relative sound quality -- the difference between the "original" 7-inch EPs and all other editions is indeed very noticeable, which makes the abrupt cut-outs between songs on all but the first EP even harder to bear.
"The Sensual Woman" -- IED believes this was simply the alternate title used for some pressings of the "Cathy's Album/Cathy's Album Too" LPs. There is no discernible (to IED's ears) difference in sound quality between these different pressings.
"Fiddle" -- Audio-cassette only as far as IED is aware, and NOT very good sound quality. IED once received a relatively better audio-cassette dub from an unnamed source from Australia which was better than "Fiddle"'s sound, but still nowhere near the quality of the EPs'.
- -- Andrew Marvick (IED)
S R I
From: MCQUARRF@ucfv.bc.ca
Date: Mon, 18 Dec 1995 13:31:40 -0800 (PST)
Subject: Original Masters of Cathy Demos?
To follow on Uli's very thoughtful discussion of the varying quality of the various versions of the Cathy demos:
I would be willing to bet that at least SOME of these versions are the best that you are going to get. Speaking as someone of the same age group as Kate, who was dickering around with various home recording techniques (although no one is ever going to clamour for the release of my demos!), the technology and quality that was available then was light years worse (and more expensive) than what is available today.
These demos (I 've heard the vinyl 2-record set) sound very much to me like the quality of what a lot of people, without access to professional (expensive) recording studios, would make as submissions to record cos. for possible signings. So...it could be that what EMI has, or what they received from Kate originally, is exactly what you hear on the Cathy demos. I don't know much about transferring tape to CDs and remastering, but I honestly wonder how much of this could be "cleaned up" if the original version is such low quality.
I seem to recall, however, that David Gilmour paid for Kate to make a "professional" tape, and some of that ended up on The Kick Inside. Are there any songs from that that haven't been released?
Cheers, Fiona
From: Wieland Willker <willker@chemie.uni-bremen.de>
Date: Tue, 19 Dec 1995 12:27:33 -0100
Subject: Mailbag
IED:
> By "record noise", IED assumes you're referring to vinyl surface noise, not tape hiss, of which this CD has a great deal.
Yes, that's correct. I for one can't stand it listening to a CD crackling like a record! Then I prefer tape hiss. This also reminds me more of the original demo tape.
We are so lucky that we can listen to these treasures, aren't we? I have always a feeling of "this girl knows it all". But maybe this is typical for girls in this age?
> an auto-record-level dub
> ... which artificially exaggerates the volume and timbre of low-level sounds (like the originally very quiet clicks of Kate's tape-recorder, which in all the later "continuous" dubs sound like giant trip-hammers).
Oooh, I see, I was always wondering about this strange distortion.
> All of this is simply to point out the serious need for an authorized EMI release of the demos -- WITH official lyrics and commentary by Kate Bush about each song, please!
Dreams Are!
I think we will never see an official release. This is one of the very few things, I can't understand of KaTe. Why she's so completely against a release. I really would like to talk to her about it, persuade her to do it. I know I have the arguments on my side, but nothing else! Oh yes, all lovehounds will stand behind me as one man!
But maybe there's a chance to track down one of the original tapes, find Mr. John Dixon? Money should be no consideration! But I would suppose, he is not very cooperative. What can we do? Just read Uli's idea... A lovehounds -CD!
Sounds very good! Go on with that, Uli! Anyone in Germany with the EP's? But remember, all this is VERY illegal! Better discuss most of it in private!
Now to:
Something Like a Song (aka In My Garden)
[IED:]
> In my garden, wading through the pond,
> Rest and sing, "Lover, oohoo...
I think, this is correct.
[IED:]
> ...finally bring all parts of the song's lyrics into a logical narrative/thematic whole...
The only question for me is: Who sings "Lover..."? Is it him? What's his problem? Maybe the song should be called "Melancholy"? Explain.
Re Noise-subtraction:
[Anders Hultman:] "That is not possible. Noise is, per definition, totally random. There is no way to take away noise without taking away other things as well."
[Craig Heath:] "This is of course, technically true; however, it is possible to be a lot more selective about filtering out noise frequencies than simply cutting off the top end (i.e. turning the treble down)."
I know this technique from my own research on NMR spectra. You can subtract mean noise, which makes signals visible, which were hidden under the noise before.
It is clear that techniques like this have some effect on the sound itself, but it seems to work quite good. Remember the new Beatles song! I have also heard stories about a company who processes exactly those demo tapes we are speaking about. It's done before presenting them to a larger audience. It's done either by the record company or the band. It works like:
Noisy tape
|
V
heavy computers + very much money ($ 5.000 I've been told)
(As Craig already pointed out, it took large amounts of computing time.)
|
V
Noisefree tape.
|>oug: Any NASA/NSA/FBI connections? I think we can raise the money, but at first we need the original tape!
AND A GIANT CAMPAIGN BROKE FREE
***** WHERE IS THE TAPE ? ****
Bring it in the news. Inform your lokal newspaper...
And when you know, where it is: Steal it. Or commit massmurder (this for |>oug only).
Bryan Dongray:
> It seems that the words of "Ferry me over" has:
> High,
> Can't see you.
> You've seen your "Dali" (or is that "Darling")
actually it sounds to me like "you've seen you-en-aaleeee.." But I'm sure it's Dali. The last word in the song is definately "Dali" and not "darling".
Especially I like these A-ee-aha-ee-aha-oooh's (Ferry Me Over) and the Ahoo, oohoo, ahoo, oohoo, ahoo, ooh...'s (Something Like A Song)
Oh God, where is the tape? "WHERE IS THE TAPE?" he cried in pain...
[re "the tiny fish", from the archive for your reading pleasure:]
- ----------
Date: Tue, 6 Jun 89 23:54:33 EDT
From: jsd%UMASS.BITNET@mitvma.mit.edu (Jonathan S. Drukman)
Subject: a bit of saKTrilege
> The sheets are soaked by your tiny fish.
This has got to be the most embarrassing lyric Kate has ever written. Far worse than "thighs like marshmallow" and it's also biologically incorrect.
Date: Wed, 07 Jun 89 13:43 PDT
From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
Subject: MisK.
>> The sheets are soaked by your tiny fish.
>This has got to be the most embarrassing lyric Kate has ever written. Far worse than "thighs like marshmallow" and it's also biologically incorrect.
IED totally disagrees with you about this one, Jon. Not only does he see nothing "embarrassing" about those lines from The Craft of Life and In the Warm Room ), he actually considers those lines to be among Kate's most remarkable and powerful. Such explicit yet simultaneously sensitive references to sex are extremely uncommon in vocal music of any era, and they're even more uncommon in the work of female popular musicians. Though they may be excruciatingly direct, they are not the least bit trite. These lines may "embarrass" you, but IED thinks they're totally wonderful. Perhaps your dedication to the exigencies of the scientific process is what makes these images (which are obviously poetic and not subject to standards of "biological" correctness!) so unpalatable to you, Jon. If so, it's too bad.
- -- Andrew Marvick
Date: Thu, 27 Jul 89 11:17 PDT
From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu
Subject: Mailbag
Jon Drukman and Joe Turner both seem to share a sad, adolescent fear of direct expression of softer emotions in art. The Sensual World : "Ack barf" (even though it's plainly one of the greatest album titles in the history of music); "The sheets are soaked by your tiny fish": "Ack barf" (even though it's clearly a line of pure genius, especially as sung--two different ways--in the song); ...
- ---------------
Our IED, in top condition, finding the jewel in the tiniest fish!
[re 2nd Babooshka: ca. 1'30]
Bryan Dongray has: Can take him back onto a piece of mars.
IED has: Can take him back into the blue summers.
Interestingly both sound quite correct to me! "piece of mars" makes no sense, "blue summers" could make some sense, if you can tell me what a blue summer is.
It's definately more "blue" than "piece". It is "blue-sum-mars" what I hear. It can be "summer", but I'm not certain, there is too much "a", IMHO.
Maybe it's "blues o' ???", "blues" in the meaning of "sad" in contrast to the next line "...things that make him want to laugh"?
From: IEDSRI@aol.com
Date: Tue, 19 Dec 1995 15:27:30 -0500
Subject: Re: Copies of original Cathy demos?
Fiona says the Cathy demos might never sound any better, but the issue is whether a good copy can be made from the best available source (the five "Cathy's Demos" seven-inch EPs), rather than the noticeably worse-sounding sources that were used for all the currently available CD editions. Certainly, though, Fiona, your point is well taken -- these recordings will never sound exactly "professional", though the performances are peerless. Many fans, however, have not heard the sound of the EPs, and would be surprised to hear how good they sound compared to all the other editions.
As for the "professional" demo arranged for by Dave Gilmour: this is tricky, because there were two "sessions" connected with Gilmour. The first resulted in several home recordings featuring a live band of some of Gilmour's friends, of which the track "Passing Through Air" is one. The second resulted in three more elaborately arranged and carefully recorded tracks, of which the LP cuts "Saxophone Song" and "The Man With the Child In His Eyes" are two. The third track from that session was a version of the song "Maybe" (or "Humming"), of which part of an *earlier* recording was played once on the BBC Radio programme "Personal Call" in 1978 or '79. The later, more polished version of that song has never been released.
Anyway, this is the way IED has interpreted the bits and pieces of vague information he has picked up over the years regarding the demos.
- -- Andrew Marvick (IED)
S R I
Back to The Cathy Demos main page
written by Love-Hounds
compiled and edited
by
Wieland Willker
Sept 1995 - June 1996