Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.3 4.3bsd-beta 6/6/85; site mit-eddie.MIT.EDU Path: utzoo!decvax!bellcore!ulysses!allegra!mit-eddie!gds From: gds@mit-eddie.MIT.EDU (Greg Skinner) Newsgroups: mod.music Subject: Love-Hounds Digest Message-ID: <1956@mit-eddie.MIT.EDU> Date: Tue, 13-May-86 05:19:23 EDT Article-I.D.: mit-eddi.1956 Posted: Tue May 13 05:19:23 1986 Date-Received: Wed, 14-May-86 17:39:29 EDT Organization: MIT Lusers and Hosers Inc., Cambridge, Ma. Lines: 318 Approved: gds@eddie.mit.edu Love-Hounds Digest Tuesday, May 13, 1986, 05:23 EDT Today's Topics: Danielle Dax (2 msgs) Jane Siberry! Back to the 60's ? Much Music Spotlight The oddest promotional gimmick ever? Recent French KT interview KTCD continued [][][][][][][][][][] Date: Thu, 8 May 86 13:52:47 EDT From: David Oskard Subject: Danielle Dax All I know about Danielle Dax is that she appeared in The League of Gentlemen (as in Robert Fripp and the..) and is on their album. I forget exactly what she plays, but it sounds like she has promise from what you say, Doug. Let's all buy her EP so she'll put out an album. Of course, I dread the thought of what would happen to her if she became popular--money and music don't seem to mix too well. dno [][][][][][][][][][] Date: 8 May 86 11:12:00 PST From: "ROSSI J.A." Subject: Back to the 60's ? Reply-To: "ROSSI J.A." Tim Wicinski brought it up, this leaving the 60's question. Even more so than comparisons of Kate's style with other performers, of any decade, we do, indeed, appear to be in a trend back toward the 60's in many creative and moralistic dimensions. It isn't surprising that musical ideaology which was prevalent in the 60's is showing up again in the second half of the 80's. This is separate from any neo-psychedelicism which preys on exact imitation of 60's type music, but a descriptive trend in the thought processes which are responsible for creative thinking, in general. For example, I have noted a remarkable change in the moralistic attitudes of college students in the last 3 or so years. Initially, this change was reflected in concern for third-world and developing countries. Most recently the avid student protests concerning South Africa investments are of interest. Last week, the students of Connecticut College actually took over the administration building in protest of the discriminatory hiring practices of the school. I'm not sure, but I think that this is the first successfull student takeover attempt to occur since the very early 70's. Now that the Yuppie attitude is going, and is apparently being replaced with an attitude reflecting concern by political protest, should it be surprising if music follows a similar path. (VAX isa shutting down, to be continued .... maybe) John ------ [][][][][][][][][][] Date: Thu 8 May 86 08:49:38-PDT From: Bob Knight Subject: Jane Siberry! Just heard "Seven Steps to the Wall" on KFJC from the new album. In my humble opinion, it blows away *anything* on the first two albums. Is the disk in the store yet? Is it named "Speckless Sky"? I CAN'T WAIT! Bob ------- [][][][][][][][][][] Subject: Much Music Spotlight From: KNIGHT@MAINE (Michael Knight) Date: Thu, 8 May 1986 08:30 EDT Last nights KB spotlight on the Canadian Much Music channel featured the following videos, and *NO* DJ's yapping it up. Breathing ( in cellophane, yum!) Babooshka Sat in your Lap The Dreaming Running up that Hill Cloudbusting I managed to find this station on a satellite receiver so many thinks to our friends up in Canada for the early warning. Looking forward to saturdays concert. -Mike 'Wine_Women_&_Song := Sex_Drugs_&Rock_n_Roll' [][][][][][][][][][] Return-Path: Date: Thu, 8 May 86 13:23:09 EDT From: Susanne E Trowbridge Subject: The oddest promotional gimmick ever? I just got my WJHU mail, and there was something from 415 Records. I opened up the envelope, and there was a tiny envelope inside, with a bright orange sticker reading, "Until December and W.A.R.D. mean Safe Sex. (Until December, by the way, are a gay disco group on 415.) Inside the envelope was a "Prime Lubricated" condom! Can you imagine all the college music directors in America getting condoms from a record company? Odd indeed... -Sue [][][][][][][][][][] Date: Thu, 08 May 86 16:27 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: Recent French KT interview The following is a translation of an interview printed in the French music magazine Guitares et Claviers, February 1986, pp. 56-60, 119, 121. The interview was conducted by Yves Bigot and translated by Andrew Marvick. It should be remembered that the interview was originally conducted in English, probably not fluent, then translated into French, and now finally, back into English, so do not interpret Kate's replies as verbatim quotations. Furthermore, inaccuracies -- and stupidities -- on the part of Monsieus Bigot have been retained in translation. PART ONE Once again the young Englishwoman is crossing the continents.* * -- In French this expression has a figurative as well as a literal meaning. The expression means, roughly, "making a great change," or "at leaps and bounds". -- * This time, she's telling strange love stories, set to even more finely chiseled music. To find out more about her and her album, Yves Bigot interviewed Kate Bush between two airplanes.* * -- This interview was therefore conducted following Kate's return from North America, between November 25th or so and November 29th. At exactly the age of twenty-seven, Kate Bush is an accomplished artist. Born into a family of doctors of the London area, she was practicing dance before she discovered that she was a musician like her brothers. Discovered byDavid Gilmour (of Pink Floyd) when she was still no more than sixteen, she astounded the whole of Europe at the beginning of 1978 with "Wuthering Heights", a bewitching song which she interpreted in an astounding voice, half-mouse, half-cat. The United Kingdom's little darling, she ate up the air-waves ("Man With the Child in his Eyes", "Wow", "Breathing", "Babooshka", "Army Dreamers") and demonstrated an excellence on stage, where her talents as a ballet dancer and actress enabled her to incarnate a variety of characters without ever giving a false impression. Highly aware of her image and of the public impression her career makes, she was one of the first to use a video as a promotion vehicle. In 1981, with the confidence of a Joni Mitchell, she decided to take complete charge of her destiny, and, already responsible for every aspect of her life-style, took equal control of her music in producing The Dreaming, a ground-breaking and adventurous album in the style of the third Peter Gabriel. "Sat In Your Lap" brought her the success she needed in order to continue, but the tour that had been planned did not materialize. One had to wait until last autumn to hear talk of Kate Bush again -- and what talk! Even if Hounds of Love is not the cut gem that its predecessor was, it has generated a far greater success, and "Running Up That Hill", number one throughout Europe, is opening the doors of America for the first time... Y.B.: More than three years between The Dreaming and Hounds of Love, that's a lot. Were you trying to break Randy Newman's record for laziness, or what? K.B.: It seems a long time, but I didn't need all of it just to record the new album! After The Dreaming, I decided to re-organize my life, and that took me a certain amount of time. I left the city and moved into the country, I started taking intensive dance courses again. Then I had to build and equip my own recording studio, at my home; it was only after all this that I was able to compose and put on tape what has become my new album. Eighteen months of off-and-on work, all the same, between the first song and the final pressing. Y.B.: Where does this absolute desire to control everything come from? K.B.: Production was a logical extension of my desire to make sure that my songs sounded exactly as I heard them. When you write something, you want it to be in a style that is the most precise, the most complete, the closest to your original idea as possible. Each element that goes into the track affects it for better or worse. I discovered that in involving myself in the process of following up on my music, it was necessary to become the producer, which, today, is only one supplementary aspect of my job as author-composer. Y.B.:I presume that the invention of the Fairlight and the development of automatic consoles helped your apprenticeship as producer. K.B.: Technology is a valuable aid for me. The Fairlight is, for me, a marvelous invention which has allowed me to greatly develop my capacities as arranger and composer. Electronic drums have changed my life as well. After that, it was natural to have my own studio, so as to be able to work naturally, in tranquility, in proximity to the origins of my songs. Y.B.: You own your own Fairlight? K.B.: Now, yes. At the time of the last album, I worried whether it was worth the expense, because they're incredibly expensive. But since buying it, I congratulate myself every day. Y.B.: You're not kidding! Your last two albums seem almost submerged under the characteristics of the Fairlight! K.B.: It was the sound and style that I've wanted since the beginning. But in those days I had neither the tools nor the capacity to express myself as I wanted. Little by little I feel more satisfied, more free, happier. Y.B.: Peter Gabriel, the pioneer of the instrument, has visibly had a huge influence on your development. But one could say that something more exists between you, like a telepathic link. Do you disagree? K.B.: It's difficult to say. Comparing me to him is a marvelous compliment, and certainly exaggerated. I greatly admire what he does; he's a brilliant artist. I think that people like him and me are similar because we are trying to do something new. The pop world does not enter into our pre-occupations. We are that kind of people. Peter, of course, but also David Bowie, who was incredibly innovative at a moment when it was needed, Bryan Ferry with Roxy Music, Brian Eno, who can't be honoured enough for what he's done. All are very important musicians, whose influence greatly exceeds their popularity, which lasts three minutes in the charts. Y.B.: Well, you found a magic formula there, since "Running Up That Hill" is a worldwide success, your first hit in the United States, and since the album stayed at number one in England for a month. K.B.: It's extraordinary. You can't imagined the pleasure that brings me, after having worked so hard, to see that the public receives this record so well. Y.B.: Do you think of the public when you're in the studio? K.B.: I think that one always writes a song for oneself. You let yourself be swept away from your environment and you listen to your "interior voices". The only censure consists in knowing what works and when. But ultimately, you're on the watch for the opinions of others: the musicians who come to play their parts, the engineers; you sense immediately if their interest is aroused, and maintained, when they hear what you're working on. Everything is public. Y.B.: With regard to voices, yours never stops plunging lower and lower, with each album. It's true that, with "Wuthering Heights", you were taking the soprano part! K.B.: In my first two albums, I had it in my head to sing only in my highest register. A whim, but it made people think that it was the only way I knew how to sing. However, when I was truly a little girl, I never sang in that way. Since then I've been trying to explore the possibilities of my larynx, to find that which best suits the piece. Furthermore, in growing older, the voice changes. I'd like to hope that it's changing for the better. In any case, I control my voice much better than formerly. Being the producer also allows me to devote more time and attention to the method in which I want my singing to sound. That's another source of progress. END OF PART ONE [][][][][][][][][][] Date: Thu, 08 May 86 15:37 PDT From: IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU Subject: KTCD continued I have a German CD of Kick Inside (the eyeball cover) and of Lionheart; I have seen Japanese editions of Kick Inside (pink leotard cover) and of Lionheart; and I agree that all the Hounds of Love CDs are Japanese in origin, no matter whether priced as a domestic release at ca. $13.99 (as at Tower Sunset, Westwood this week) or as an unspecified import. My advice is, if you've seen a country/western cover CD of Kick inside, BUY IT. Never seen it anywhere; it's just possible it's a Canadian edition, although I agree with Doug that it's almost certainly U.S., and that that's virtually impossible. A D-5 is the model number of Sony's first portable compact disc player. [][][][][][][][][][] From: Jeff Dalton Date: Thu, 8 May 86 17:51:08 -0100 Subject: Danielle Dax In addition to Jesus Egg that Wept, Danielle had an earlier album called Pop-Eyes, also rather weird. The first time I played JEthatW, I had it at the wrong speed and didn't realize this for several minutes. - JD [][][][][][][][][][] -- It's like a jungle sometimes, it makes me wonder how I keep from goin' under. Greg Skinner (gregbo) {decvax!genrad, allegra, gatech, ihnp4}!mit-eddie!gds gds@eddie.mit.edu