Path: utzoo!utgpu!jarvis.csri.toronto.edu!rutgers!mit-eddie!TCGOULD.TN.CORNELL.EDU!riley@TCGOULD.TN.CORNELL.EDU
From: riley@TCGOULD.TN.CORNELL.EDU (Daniel S. Riley)
Newsgroups: rec.music.gaffa
Subject: Re: TSW - finally got it!!
Message-ID: <9474@batcomputer.tn.cornell.edu>
Date: 23 Dec 89 16:52:12 GMT
References: <1561@adobe.UUCP>
Sender: daemon@eddie.mit.edu (Mr Background)
Reply-To: riley@tcgould.tn.cornell.edu (Daniel S. Riley)
Organization: Cornell Theory Center, Cornell University, Ithaca NY
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Approved: nessus@eddie.mit.edu


In article <8912231547.AA01470@GAFFA.MIT.EDU> gaffa!jsd (Jon Drukman) writes:
>This leads to an observation of a friend of mine who I believe does
>not read love-hounds anymore: he said that on the latest album, unlike
>the previous Kate records, you can really hear the contributions of
>the guest musicians, and they affect the songs more than on the prior
>albums.  Discussion?

Well, here's my immediate reaction:  How about Eberhard Weber on
"Mother Stands for Comfort"?  Or Danny Thompson's fantastic string 
bass on "Pull out the Pin"?  Or Eberhard Weber on "Houdini", with
the bass and string bridge?  These all stand out (for me, at least) as
performances as memorable and significant as any of the bass parts
on TSW.

I could cite similar examples for other instruments, but I'm checking
these as I go, and I don't have time right now to listen to everything
Kate has done...though it would be fun.

-Dan Riley (riley@tcgould.tn.cornell.edu, cornell!batcomputer!riley)
-Wilson Lab, Cornell University