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Post by Al Truest on Dec 31, 2005 5:57:42 GMT
I just saw a Lotte Lenya video performance from 1958 on the 'Arts' channel. I was stricken right away with the avant garde presentation and a vibe that Kate must have been influenced in some way by this singer/actress. After a google search (and Gaffaweb) I was right. So..... Here's a little project for you guys. From the following list, what can you connect with the music and culture of Kate Bush and her family: Lotte Lenya Malagasy Carnatic Griff Zaine Heyman Preston Bouzouki Pyewacket Ibiza Tony Myatt Julian Doyle When you've completed this task, I will post 10 more......Don't be lazy  Bonus question - What Kate Bush song pays homage to this singer's style - click here |
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Post by Adey on Dec 31, 2005 12:35:33 GMT
Bonus question - What Kate Bush song pays homage to this singer's style - click hereIf you can get past the strict tempo cheesy ballroom dance school style, bontempi organ on rhythm setting no 3, I'm reminded of the film Cabaret with it's associations of pre-war Germanic night clubs and questionable morality.. Add a little bit of Lily Marlene, and I'm thinking ~ Coffee Homeground? |
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Post by Al Truest on Jan 1, 2006 2:52:42 GMT
Bonus question - What Kate Bush song pays homage to this singer's style - click hereIf you can get past the strict tempo cheesy ballroom dance school style, bontempi organ on rhythm setting no 3, I'm reminded of the film Cabaret with it's associations of pre-war Germanic night clubs and questionable morality.. Add a little bit of Lily Marlene, and I'm thinking ~ Coffee Homeground?You would be correct on all counts. This tune is a Kurt Weill (German composer and later American Broadway musical producer) creation for his wife Lotte Lenya. It was the basis for a 50's hit for Bobby Darin in "Mack the Knife" Weill broke away from his European art-music to create tunes for Broadway. He lived in American from 1943 until his death in 1950. This is inconsequential as it applies to an influence on Kate Bush, other than the performance of the artist Lotte Lenya. According to Gaffaweb, Kate was given a recording of Ms Lenya that made a significant impact on her development. It is later cited in the section of "Them Heavy People" (@ Gaffa) that "Coffee Homeground" was a nod to the style characteristic of the artist. I found the mp3 on my own. I'd like to know if anyone else would care to dig up some history and share it with the rest of the members here. |
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Post by Al Truest on Jan 1, 2006 5:39:19 GMT
Bonus question - What Kate Bush song pays homage to this singer's style - click hereIf you can get past the strict tempo cheesy ballroom dance school style, bontempi organ on rhythm setting no 3,..... Perhaps you can appreciate this clip a bit more. I actually heard and saw (an old filmstrip) the English Version of this segment ('Jenny the Whore' changed to "Jenny the Pirate" in the later version) from Weill's "Threepenny Opera" The audio sample is from 1930. I heard a distinct influence on what would later become Kate's early career. Can you hear it? |
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Post by Adey on Jan 2, 2006 2:39:34 GMT
You would be correct on all counts. This tune is a Kurt Weill (German composer and later American Broadway musical producer) creation for his wife Lotte Lenya. It was the basis for a 50's hit for Bobby Darin in "Mack the Knife" Weill broke away from his European art-music to create tunes for Broadway. He lived in American from 1943 until his death in 1950. This is inconsequential as it applies to an influence on Kate Bush, other than the performance of the artist Lotte Lenya. According to Gaffaweb, Kate was given a recording of Ms Lenya that made a significant impact on her development. It is later cited in the section of "Them Heavy People" (@ Gaffa) that "Coffee Homeground" was a nod to the style characteristic of the artist. I found the mp3 on my own. I'd like to know if anyone else would care to dig up some history and share it with the rest of the members here. Interesting stuff - thanks for the research. I'll listen to the new clip later today.. |
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Post by Al Truest on Jan 2, 2006 2:50:03 GMT
Actually, in case you missed it - THIS (click here) is the audio sample I wanted you to hear. I can just imagine a young Kate emulating the vocal style fron this 1930 recording. |
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Post by karmamama on Jan 3, 2006 3:40:44 GMT
Lotte Lenya's the woman who also starred in From Russia With Love playing Rosa Klebb, right?
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Post by Adey on Jan 3, 2006 13:36:00 GMT
Actually, in case you missed it - THIS (click here) is the audio sample I wanted you to hear. I can just imagine a young Kate emulating the vocal style fron this 1930 recording. Ah now, this is more like it.. The previous clip ( Mack the Knife one) was vaguely indicative of the style Kate explored on Coffee.. This one is much more obvious. I think it's fair to say you've nailed the musical origins of what was always one of the most unusual tracks on Lionheart. Lyrically of course, it's from the same cloth as Hammer Horror sharing the same dark gothic vibe.. Just thinking, this pre-war theatrical Germanic styling is an odd influence for a Doctor's daughter from Kent.. Especially a girl that is 50% irish too. I've described Kate's music here before as world music - here's more proof. I love that she's a little thieving magpie, picking up little gems from here and everywhere and re-cycling them all in her own unique way. And that was the point of your thread here Al, was it not? |
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Post by Al Truest on Jan 3, 2006 22:18:38 GMT
Lotte Lenya's the woman who also starred in From Russia With Love playing Rosa Klebb, right? Yes. She is one and the same, portraying an early and controversial lesbian role. |
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Post by Al Truest on Jan 3, 2006 22:26:02 GMT
Actually, in case you missed it - THIS (click here) is the audio sample I wanted you to hear. I can just imagine a young Kate emulating the vocal style fron this 1930 recording. Ah now, this is more like it.. The previous clip ( Mack the Knife one) was vaguely indicative of the style Kate explored on Coffee.. This one is much more obvious. I think it's fair to say you've nailed the musical origins of what was always one of the most unusual tracks on Lionheart. Lyrically of course, it's from the same cloth as Hammer Horror sharing the same dark gothic vibe.. Just thinking, this pre-war theatrical Germanic styling is an odd influence for a Doctor's daughter from Kent.. Especially a girl that is 50% irish too. Kate had the benefit of an extremely supportive (from what I've read) and cosmopolitan upbringing. A physician would surely have more of a propensity for varied cultural influences it seems to me. Her brothers picked up on these adventerous and worldly interests. The Irish influence just seems to add a celtic and moorish tint to the overall color that has become Kate's unique body of work. You are correct Sir! Next up - Malagasy. Who will follow up on this current penchant that Paddy has? And where can you hear this and the 'carnatic' influences? |
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Post by Adey on Jan 17, 2006 3:45:05 GMT
Malagasy? Your particular reference is to Paddy's current affinity for Madagascan ethinic music and his previous fondness for Bulgarian folk music I assume. (A fascinating study no doubt, bridging - as it does - the divide between Western European & 'light' Eastern music) His earlier interest in the Bulgarian form was enthusiastically absorbed by Kate in those collaborations and one composition that saw the light of day on The Sensual World. We may assume that there would have been no Sensual World (at least not in that instrumental format) or Trio Bulgarka had he not dangled them in front of our heroine.. On the subject of Kate Connections, (and Paddy Bush generally) I recall a suggestion from the otherwise lamentable early Fred & Judy Velmorel (sp?) book, that in the form of his sister, Paddy had finally found/created his ultimate musical instrument. Who knows if it's true? Interesting to speculate though.. I wonder also about Paddy's reduced instrumental contribution to Aerial.. For the first time we see no reference to 'Paddocellos', 'Paddilikas', 'Padhillias' or 'Poco Intrumentii Obscurum', or whatever the hell musical piece of kit he'd invented/discovered that particular week. An accident of unavailability? Or a parting of the ways, as Kate rejects the last of the influences/remaining controls on her unique style? What do you have say about Malagasy Al? I'm not aware of a Madagascan vibe in the distinctly English Aerial material, though I might not recognise it if it were there. I must assume that for now at least, it remains Paddy's baby, not yet absorbed by Kate and integrated into her musical palette..
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Post by Al Truest on Jan 18, 2006 17:25:34 GMT
Sorry Adey, I have had a couple days of 'signal strength' issues with my ISP and just yesterday some family illness. I'll get back to you on thursday or friday.
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Post by Adey on Jan 19, 2006 3:11:11 GMT
No problem Al, at your convenience..
Sorry to hear the appalling news about your sister - I can only send my best wishes to you & the family through the forum here.
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Post by Al Truest on Jan 24, 2006 2:09:17 GMT
Malagasy? Your particular reference is to Paddy's current affinity for Madagascan ethnic music and his previous fondness for Bulgarian folk music I assume. (A fascinating study no doubt, bridging - as it does - the divide between Western European & 'light' Eastern music) His earlier interest in the Bulgarian form was enthusiastically absorbed by Kate in those collaborations and one composition that saw the light of day on The Sensual World. We may assume that there would have been no Sensual World (at least not in that instrumental format) or Trio Bulgarka had he not dangled them in front of our heroine.. On the subject of Kate Connections, (and Paddy Bush generally) I recall a suggestion from the otherwise lamentable early Fred & Judy Velmorel (sp?) book, that in the form of his sister, Paddy had finally found/created his ultimate musical instrument. Who knows if it's true? Interesting to speculate though.. I wonder also about Paddy's reduced instrumental contribution to Aerial.. For the first time we see no reference to 'Paddocellos', 'Paddilikas', 'Padhillias' or 'Poco Intrumentii Obscurum', or whatever the hell musical piece of kit he'd invented/discovered that particular week. An accident of unavailability? Or a parting of the ways, as Kate rejects the last of the influences/remaining controls on her unique style? What do you have say about Malagasy Al? I'm not aware of a Madagascan vibe in the distinctly English Aerial material, though I might not recognize it if it were there. I must assume that for now at least, it remains Paddy's baby, not yet absorbed by Kate and integrated into her musical palette.. The influences of Madagascar, with the African and French references around the islands of the Indian Ocean can be heard on several tracks going back to Red Shoes and earlier with the Trio Bulgarka. Although Paddy is the impetus, artist's like Justin Vali on 'Red Shoes' and tracks such as "Eat the Music" are some of the most prominent nods to Malagasy; there are also many cues gathered from percussion and melody (midway in her career and up to 'Aerial'). Here are Kate's top ten world music influences and collaborations (from a new entry @ Gaffaweb) As for the instruments that Paddy may have peddled to Kate, who knows...but she's not buying what she's not willing to put her thumbprint on. (IMO) |
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Post by Al Truest on Feb 1, 2006 3:33:00 GMT
Well.....Anyone?
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