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Post by Lori on Jul 31, 2003 23:30:14 GMT
And you huh? You do huh? We let it in We give it out And in the end What's it all about? It must be love
I give you my I give you my You give me your You give me your joy
We used to say "Ah Hell, we're young" But now we see that life is sad And so is love
Ooh baby live your life for love Ooh baby live your life for love
We used to say "Ah Hell, we're young" But now we see that life is sad And so is love
Ooh baby for the sake of love Ooh baby for the sake of love
And whatever happens What really matters? It's all we've got Isn't that enough?
Life is sad and so is love
You let it slip You let it slip I love you more I love you more for it
Life is sad and so is love
All for love Just for the sake of love You set me free I set you free
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Post by brillo69 on Jun 12, 2004 22:20:54 GMT
And you huh? You do huh?
We let it in We give it out And in the end What's it all about? It must be love
I give you my I give you my You give me your You give me your joy
We used to say "Ah Hell, we're young" But now we see that life is sad And so is love
Ooh baby live your life for love Ooh baby live your life for love
We used to say "Ah Hell, we're young" But now we see that life is sad And so is love
Ooh baby for the sake of love Ooh baby for the sake of love
And whatever happens What really matters? It's all we've got Isn't that enough?
Life is sad and so is love
You let it slip You let it slip I love you more I love you more for it
Life is sad and so is love
All for love Just for the sake of love You set me free I set you free
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Post by CopyOfCpt (just say Cor) on Jul 4, 2005 13:10:48 GMT
One could read (from the last two lines): "If you love me, leave me and I will leave you for the same reason". Rather sad actually. On the other hand it offers a whole new way of interpreting the album.. I recently re-listened and I suddenly got the feeling of "My God, this is a woman with a LOT of problems (issues may be a better word here), she's hurt in o, so many ways!". I don't mean that in the sense that I am laughing at Her (perish the thought), but I could not find other ways of describing it.
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Post by tannis on Dec 7, 2008 22:27:25 GMT
"And So Is Love" is a song written and recorded by musician Kate Bush. It was released as the fourth and final single release from the album The Red Shoes. Eric Clapton plays guitar on the track. Released on November 7, 1994 the single climbed to number 26 in the UK Singles Chart. Its entry in the Top 40 marked Bush's first appearance on Top Of The Pops in nine years. This single was the last release before a gap of almost 11 years in Bush's releases.Kate Bush, "And So Is Love", Top of the Pops 1994www.youtube.com/watch?v=YLHLPbEQ-hE- Why are there back up singers when Kate Bush usually does her own BV's? - Yea, because when they sing it's Kate's voice you hear! - This is the first appearance that I can think of where she wasn't either alone or surrounded by men. Even the Trio Bulgarka don't appear in any vids.KATE BUSH And So Is Love (Ultra Rare [and I don't use these words lightly] 1-track 10" vinyl metal based acetate of the And So Is Love single release. This single is UNRELEASED commercially on 10" with released formats on CD and 7" only. This exciting rarity has to be one of the most in demand items for any Kate Bush collector. Complete with EMI America production label with the title incorrectly printed as 'Oh To Be In Love', the disc also features chinagraph pencil markings - A superb 'Jewel In The Crown' item!!). eil.com/shop/moreinfo.asp?catalogid=378978
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Post by tannis on Feb 19, 2009 6:45:41 GMT
And So Is Love Del says this is his favourite track on album. "This one seems to have the most effective band sound to me; we had Gary Brooker (from Procul Harum) on Hammond organ and Eric Clapton on guitar, and that was just a couple of months after his son died. I admired him for doing that - he'd promised to do it and he wanted to stick to his commitment. Eric only really plays in one style, but he's a genius at what he does, so that was a highlight for me. The track's original backing is a sequenced 4-bar Fairlight pattern which was played to the musicians to give them a feel for the piece. "Usually we keep more of the Fairlight sound", says del, "but in this case it got scrubbed apart from the toms so it could all stay in strict tempo, so it could all be played live." Kate's Series III Fairlight is pretty obsolete now, and most of its capabilities could be reproduced by a computer and a couple of Akai S1000s. However, she's got used to the machine over the years and has a lot of favourite sounds on it. "On this track there's a little flute/reed sound, but the Fender piano sound is a real one and the drums are Sl000 samples. We only have a very small room for acoustic recording and the sound of the room tends to get on to drum recordings, so we used a lot of S1000 drum samples triggered from Simmons pads plus real cymbals. Stuart Elliott knows that our drum recording can be a long and arduous process and he might get called back four or five times - not because we're unhappy with what he's done, but because the track changes as it develops." Future Music interview with Del Palmer, "Well red", Nov. 1993www.gaffaweb.org/reaching/i93_fm.html
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Post by tannis on Mar 20, 2009 20:00:11 GMT
We used to say "Ah Hell, we're young" But now we see that life is sad And so is love{D} You say in one of your lyrics that life and love are sad. When did you decide that? {K} It was a line from Joseph Campbell, and I'm not saying it's something I believe--quite often there are things said in a song that I don't believe at all, but they are beliefs of other people, and sometimes that's very relevant. Details, "A Tightly Wound Conversation With The Rubberband Girl", March 1994www.gaffaweb.org/reaching/i94_det.htmlAs usual, KaTe's answer is very defensive. I mean, it doesn't need Joseph Campbell to tell us that life is sad and so is love. So why, in this instance, does KaTe feel the need to attribute her song's theme to a particular source? Is she resisting identifying with this universal theme? And, if she is so happy in life and love, then why does she sing us the opposite?
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Post by stufarq on Aug 18, 2009 21:58:56 GMT
As usual, KaTe's answer is very defensive. I mean, it doesn't need Joseph Campbell to tell us that life is sad and so is love. So why, in this instance, does KaTe feel the need to attribute her song's theme to a particular source? Is she resisting identifying with this universal theme? And, if she is so happy in life and love, then why does she sing us the opposite? She could be singing about someone else. But I don't think this is song is sad at all. If you took out the chorus it would just seem like an intense love song. The chorus could just be an acknowledgement that life is hard even when you are happy. So it probably depends on what the original quote was. I can't find anything close to the lyrics so my guess is that it's based on a Joseph Campbell quote rather thanactually using one. Here are a couple that seem relevant. "Participate joyfully in the sorrows of the world. We cannot cure the world of sorrows, but we can choose to live in joy." "Find a place inside where there's joy, and the joy will burn out the pain." "It is by going down into the abyss that we recover the treasures of life. Where you stumble, there lies your treasure." "Life is without meaning. You bring the meaning to it. The meaning of life is whatever you ascribe it to be. Being alive is the meaning." "Love is a friendship set to music." And a couple for those who believe that this is about a break-up. “A sad thing in life is that sometimes you meet someone who means a lot to you only to find out in the end that it was never bound to be and you just have to let go." “Getting over a painful experience is much like crossing monkey bars. You have to let go at some point in order to move forward.” “There are things that we never want to let go of, people we never want to leave behind. But keep in mind that letting go isn’t the end of the world, it’s the beginning of a new life.”
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Post by tannis on Aug 20, 2009 15:27:11 GMT
Yes, And So Is Love is an intense 'Love Life Loss' song. And thank you for posting the Joseph Campbell quotes. "Whenever I've experienced a relationship, or the people around me have, it's always ended up being incredibly complicated because that's the way human beings are. Nothing is simple, it always ends up being something else or dying and that's what I find so interesting - the drive behind human beings and the way they get screwed up." Melody Maker, "Dreamtime Is Over", Oct. 16, 1982 www.gaffaweb.org/reaching/i82_mm.htmlWe let it in We give it out And in the end What's it all about?
"We let the weirdness in..." "Don't ignore, don't ignore me / Let me in, and don't be long..." "Let me in your window..." In the video (TLTC&TC, 1993), KaTe addresses the latter part of the song to a blackbird trapped inside and desperate to get out. However, instead of setting the blackbird free outside, KaTe releases the songbird inside, only for it to crash into a window and drop dead on her musical score...You set me free I set you free...Kate Bush - 2 of 7 - The Line, the Cross and the Curve (And So is Love)www.youtube.com/watch?v=M281fh-cg3w&feature=related"And So Is Love" is typical of Bush's aggressively sad torch songs, built of simple phrases theatrically enunciated and enhanced by dramatic support from guest Eric Clapton. Rolling Stone, Nov. 1993 gaffa.org/reaching/rev_trs2.html#4_2r
If Bush's lyrics are more direct this time, their settings, and the way each guest's contribution is utilized, show that her musical gift has also matured. The best material on 'The Red Shoes' plays to the strengths of her collaborators: "And So Is Love," for example, features Clapton's guitar in a tense duet with Bush's voice. With that tune, "I really wanted to get at the rawness of relationships, the way things just burn at people but never quite erupt," Bush explained. "And Eric just sensed that. The track couldn't say it, it just had to unfold, holding the tensions until the voice goes up into the higher octave. He followed brilliantly, like it was a conversation. It feels like the guitar is answering the voice. I was so moved by what Eric played." Philadelphia Inquirer, "A Return to Innocence", Jan. 1994 www.gaffaweb.org/reaching/i94_pi.html
Kate Bush always manages to be steamily exotic without being the least bit smutty. There's this thing called subtlety, see. I won't quote the lyrics of "And So Is Love" at length out of context, but her terrible sexy tease is the explicit detail she leaves off the end of every line. It sounds like an infuriating device, but it's brilliant. It's another of her unabashed testimonials to the primacy of true feeling; in affairs of the heart, Kate Bush always means business. New York Press, Nov. 1993 gaffa.org/reaching/rev_trs2.html#4_2x
Kate Bush balancing precariously between spiritual and flossy-headed. Initially somewhat shrill and unimpressive, The Red Shoes improves immeasurably after repeated plays over a long period of time, gaining solidity at odds with disparate musical strategies. Though it opens with the unassuming, direct single Rubberband Girl - Bush lamenting her inelasticity and finding some compensation in vocal bungee-jumping on the coda - it soon finds its natural centre with And So Is Love, the first of several tracks dealing, in an unfocussed, woolly-mystical manner, with the connections between love and the abstract, spiritual nature of creativity. Eric Clapton chips in a few taut guitar stabs over a gentle keyboard pulse, while Bush asks vague rhetorical questions: "And whatever happens/What really matters?/It's all we've got/Isn't that enough?", that sort of thing. Q Magazine review of The Red Shoes Nov. 1993 gaffa.org/reaching/rev_trs1.html#4_2f
She then goes into a discourse about why the song Life Is Sad And So Is Love is incredibly positive, and I'm afraid she lost me. I cannot tell whether she is being obtuse on purpose but suspect that she is trying to avoid the questions about men which she senses are coming. There have been so many wincingly intimate songs about relationships, I wonder who has been her muse. "That's for me to know and you to find out. I don't really see what that question has to do with my work." The Sunday London Times, "Beating About The Bush", September 12th 1993 www.gaffaweb.org/reaching/i93_lt1.html
Exploring the terrain of the heart in her hyperdramatic way, Bush argues that romance is all we have, even if life stinks ("And So Is Love"), so there's no reason to hold back ("Eat the Music"), that being true to your emotions provides the one sure defense against the darkness ("Lily"), so don't be scared ("Constellation of the Heart"); and follow those desires ("Big Stripey Lie") even if they lead to perdition ("The Red Shoes"). Between the theatrical arrangements and aggressively intimate vocals, Bush has clearly labored to do justice to the soul's storms. "Musician" 1993gaffa.org/reaching/rev_trs1.html#4_2i
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Post by tannis on Sept 17, 2009 19:27:29 GMT
What's it all about, Alfie? ... Do you live your life for love? ... 'And So Is Love': Featuring subtle synthetic drum timbres and atmospheric keyboard 'pipes', this song starts moodily, with Bush's vocals deep and resonant, if slightly world-weary, reflecting the lyric 'We see that life is sad, And so is love'. Despite the final couplet 'You set me free, I set you free' this is not a redemptive lyric or musical track. Am I also being too pedantic in noting an unnecessary amount of 'transatlantic' vocal styling creeping in? Prior to this point, it is fair to say that the vocalist has been the most English of singers in all respects, and so the hegemonic incursions of a more American register do seem puzzling, at the very least. In addition, the inclusion of the first of several 'big-name' contributions - in this case Eric Clapton impersonating Eric Clapton - does not ring true. To all but the most sonically astute of listeners, his blues fills could have been the work of any journeyman session musician, so the purpose of his contribution remains unclear. All things considered, the track is nothing more than moderate filler, and a real anti-climax after the promise of the previous track. The 'directness' of the lyric renders it a far less personal account than many of the artist's more singular lyrics. It may be 'from the heart' but it cannot help but come across like a series of indentikit phrases, and the musical backing does nothing to move the song out of the mundane. Kate Bush and Hounds of Love, Ron Moy (2007, pp.115-116)."Life at my age is not easy, but spring is beautiful and so is love" (Letter to H.D., 24 May 1936, in Tribute to Freud 194). Penelope's Web: Gender, Modernity, H.D.'s Fiction, Susan Stanford Friedman (1990, p.318)
Not having, but giving, is true love, — giving all one can ; and I would give, God knows, if I might. Life is sad, love is sad, and one does not know the end ; but if one has found something worth loving, one has won life's best good. Aulnay Tower, Blanche Willis Howard (1885, p.262).
"Bah ! Monsieur le Comte," cried Jean Marais. "You set me free ; I set you free ; the account is squared. When next we meet, we will begin a new one. But, pray, go!" and, pushing open the door, he saw Monsieur d'Artonne pass through, and closed it upon him. The False Heir, George Payne Rainsford James (1843, p.94).The James Taylor Quartet - Love The Life - 1989
if you love the life that you live then you will live the life for love if you love the life that you live then you will live the life for love
jtq - love the life - morales rmx '90 www.youtube.com/watch?v=y2j85S7zggE Genre: Electronic Style: House Year: 1990CHILD IN THE GREAT WOOD by Muriel Rukeyser from Beast in View (1944)
It is all much worse than I dreamed. The trees are all here, Trunk, limb, and leaf, Nothing beyond belief In danger's atmosphere And the underbrush is cursed. But the animals, Some are as I have dreamed, Appear and do their worst
Until more animals With recognizable faces Arrive and take their places And do their worst. It is all a little like dreaming, But this forest is silent, This acts out anxiety In a midnight stillness. My blood that sparkles in me Cannot endure this voiceless Forest, this is not sleep Not peace but a lack of words. And the mechanical birds Wing, claw, and sharpened eye. I cannot see their sky.
Even this war is not unlike the dream, But in the dream-war there were armies, Armies and armor and death's etiquette, Here there are no troops and no protection,
Only this wrestling of the heart And a demon-song that goes For sensual friction Is largely fiction And partly fact And so is tact And so is love, And so is love.
The thin leaves chatter. There is a sound at last Begun at last by the demon-song. Behind the wildest trees I see the men together Confessing their lives and the women together. But really I cannot hear the words. I cannot hear the song. This may still be my dream But the night seems very long.Alfie (1966) - End titlewww.youtube.com/watch?v=48oLsDImC5A
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Post by tannis on Nov 27, 2009 20:27:24 GMT
XXVII. Zeon, Cleanthes, Varro, Epictetus, And all the Stoicks, taught us to despise Fate's hand, however roughly it might treat us, And, not to feel at all, they deemed most wise. Now they who know their Alphas from their Betas, Esteem such dogmas little less than lies— Indeed, I find the whole menage of passion, Joy—grief—hope—fear—despair—are all in fashion.
XXVIII. And so is love! a little, blind, sly rogue! From Adam's time till now his name hath been Worshipped, adored, and very much in vogue— Yes! yes!—and so 'twill ever be, I ween, For love impels our hearts to disembogue The torpid blood that nourishes the spleen, And leaves them light as bubbles formed of soap : Critics! the simile will pass, I hope?
from Poetical memoirs. The exile: Canto II, James Bird (1823)
Life's but a dream By Ned Halyard (1849)
Life's but a dream, and so is love, From which we all must awake,— And Fate's deep cup is running o'er, From which all a draught must take.
Eyes are a snare,—lips are a snare,— But the heart heats on beneath : Love, with his devilry, plays the deuce, And blinds our eyes with a wreath
Of sweetest flowers, to charm the sight. While thorns thick under them lay; Before you own them one short hour, They fade from your touch away.
The fall and swell of the bosom white, Where you would rest your head,— Beware, I say; for you will find It soft, but a treacherous bed.
Life's but a dream, and so is love, &c.
GOOD BYE. By Mary Ada King (1850)
GOOD bye! but never quite forget Your old and faithful friend, Who's loved you from the time we met, And will unto the end.
Then let me shake thee by the hand, Call thee by friendship's name, Our youthful ties shall ever stand, Our joys remain the same. Doubtless love is more exciting Than friendship's cooler flame; If 'tis bright and most inviting, 'Tis oftener on the wane.
While friends go on from year to year, Content to hold esteem In hearts they'd fain preserve from care, Of change they never dream.
Not like the transient things of earth, Which melt into decay, Which pass and are as nothing worth, Nor anxious thoughts repay.
Like rainbow colours, how they shine, How brilliant is their cast, They too are splendid and divine, But were not made to last.
The green and scented shrubs and flow'rs, The richly laden trees, The sparkling streams and leafy bow'rs, The soft and balmy breeze,
Will quickly fade and pass away, They do not tarry here; Most evanescent is their ray, In this our wintry sphere.
And so is love; 'tis very sweet, But seldom does it stay, Then steady friendship let us greet, For lasting is its day.
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Kris
Under Ice
Posts: 43
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Post by Kris on Sept 19, 2012 1:35:45 GMT
This song really does capture the "live" feel of the album - easily one of the best on it. This song along with "Top of the City",& "You're The One", are the trio of the best songs on "The Red Shoes".
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