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Wow
Mar 8, 2008 0:45:06 GMT
Post by crimsoncrow on Mar 8, 2008 0:45:06 GMT
Thanks for the Welcome! I have had a major return to all Kate's music and just can't find many active discussions. Understandable, I suppose.
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Wow
Mar 8, 2008 0:47:43 GMT
Post by rosabelbelieve on Mar 8, 2008 0:47:43 GMT
Well, we are getting more active by the day here, I think. I hope that you'll stick around.
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Wow
Mar 8, 2008 0:56:23 GMT
Post by tannis on Mar 8, 2008 0:56:23 GMT
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Wow
Mar 8, 2008 0:57:43 GMT
Post by rosabelbelieve on Mar 8, 2008 0:57:43 GMT
Oh, so that makes sense! Thank you Tannis!
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Wow
Mar 8, 2008 18:05:38 GMT
Post by crimsoncrow on Mar 8, 2008 18:05:38 GMT
Oh! O.K. I know about Emily Bronte, and I know about the run-outs Kate has written. And I know about the run-out "Thank you, Emily" But what I didn't know is that, the run-out "Thank you, Emily" was on the single of Wow! So, in a way, that whisper isn't related to the song Wow! It is a whisper from the artist to one of her Muses.
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Wow
Mar 8, 2008 18:14:19 GMT
Post by crimsoncrow on Mar 8, 2008 18:14:19 GMT
BTW, I didn't mean I couldn't find active discussion here. I meant in general.
It is hard to find sites that are actively talking about or exploring Kate and her music. I stopped here because there were some active or recent posts.
Thanks!
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Wow
Mar 8, 2008 19:32:04 GMT
Post by rosabelbelieve on Mar 8, 2008 19:32:04 GMT
Well, we're sort of just getting busy again- that's why I said we are getting more active by the day.
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Wow
Mar 30, 2008 8:01:24 GMT
Post by Barry SR Gowing on Mar 30, 2008 8:01:24 GMT
Interesting that Kate would choose to thank Emily Bronte with this song... Imagine my surprise when I watched the video for Wow and saw what Kate does when she sings the line about hitting the vaseline. Cheeky Kate! --Paul--
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Adena
Moving
This time around we dance - we're chosen ones
Posts: 611
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Wow
Apr 5, 2008 23:38:30 GMT
Post by Adena on Apr 5, 2008 23:38:30 GMT
Another one I heard for the first time very recently. This one strikes a chord with me because of its similarity to her work on TKI, which I guess is only to be expected as she changed her style dramatically after Lionheart came out, and this is the only song I've listened to on Lionheart. It's a bit like a musical cloud hanging over one's head, it's so haunting and soft. It is incredibly beautiful, though.
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Wow
Apr 28, 2008 15:36:54 GMT
Post by tannis on Apr 28, 2008 15:36:54 GMT
KB: "Wow is a song about the music business--not just rock music but show business in general, including acting and theatre. People say that the music business is about rip-offs, the rat race, competition, strain, people trying to cut you down and so on, and though that's all there, there's also the magic. It was sparked off when I sat down to try and write a Pink Floyd song, something spacey; though I'm not surprised no-one has picked that up, it's not really recognisable as that--in the same way that people haven't noticed that Kite is a Bob Marley song, and Don't Push Your Foot on the Heartbrake is a Patti Smith song..."gaffa.org/garden/kate2.htmlI found this narrative study on Lionheart, and since LH is often ranked low in the Bush canon, I decided to quote the essay at length... There is often gravity to the [ Lionheart] songs that co-exist with the more humorous aspects and whilst revelling in their artificiality (she is telling fictional stories) and elegance, (the music and vocal performance are well constructed and executed). What is clear about the various definitions surrounding camp is that artifice is a fundamental aspect of camp. Bush uses this aspect of camp, as we will see, to challenge many of the things that surround us within culture that posture as natural. Embracing artifice is thus a key to engaging, challenging and changing the world around us. The most obvious example of these strategies can be found in the single released from the album, ‘Wow.’ Based in the ruthless world of show-business, the song contains a teasing critique of the entertainment industry, its routines and the roles people have to play in order to get anywhere within it. Equally, the song can be referring to the roles we play in everyday life that often fall, when we begin to learn them, into predictable forms: We’re all alone on the stage tonight, We’ve been told we’re not afraid of you, We know all our lines so well, ah-ha, We’ve said them so many times, Time and time again, Line and line again... The song also gently plays upon the hypocrisy of the industry and glamorises failure in the face of flattery and dissimulation, whilst telling the story of the young gay man who’ll never ‘Be that movie queen/ He’s too busy hitting the Vaseline,’ (in the video Bush pouts at the camera knowingly and spanks her bottom in accordance with singing this line). The chorus of the song with the repeated ‘Wows’ communicate the wonder and magic of showbiz, while the ambivalent ‘unbelievable’ at the end of the chorus points to the tension between fantasy and reality, that theatre and performance straddle. The chorus also demonstrates the vocal cross-dressing that Wood describes in ‘Sapphonics,’ as the ‘Wows’ oscillate through a scale in their repetitions, beginning the middle register before soaring impossibly high before going low again and then finishing astoundingly with the high release of the final ‘unbelievable.’ The song is also a comment on the very obvious artificial nature of acting, as if to assure those credulous viewers and listeners that what they see before them is not real, that it is rather, artifice. This of course relies on Bush’s audience being absolutely intoxicated by the magic of performance and points to a will that hovers between wanting and not wanting the spell to be broken: ‘When the actor reaches his death/ You know it’s not for real, he just holds his breath.’ This may be one of the recurring themes of the album – an absolute childlike belief that invites you plaintively but is in danger of breaking the spell right before your very ears... from: Debi Withers (2006), 'Kate Bush: Performing and Creating Queer Subjectivities on Lionheart.'
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Adena
Moving
This time around we dance - we're chosen ones
Posts: 611
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Wow
Apr 30, 2008 8:55:51 GMT
Post by Adena on Apr 30, 2008 8:55:51 GMT
Hmm. That's quite a strange idea. I... uh, don't know what to think.
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Wow
May 16, 2008 12:56:37 GMT
Post by soundbite on May 16, 2008 12:56:37 GMT
In reference to earlier comments regarding "Emily" or "Ennui" I thought it sounded like "any". Since (I think) this only appears on the album and as it segues from "ISOPP" I wondered whether it actually relates to "ISOPP", though it's a fair way into "Wow" so I guess it's a bit of a long shot - lol
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Wow
Apr 23, 2009 13:27:31 GMT
Post by tannis on Apr 23, 2009 13:27:31 GMT
Ooh, yeah, you're amazing! We think you're incredible.
Wow: Bush said she had wanted to sit down and write a 'spacey Pink Floyd kind of song'. She certainly achieved that feel for the song. 'I enjoyed recording "Wow",' she said. 'I'm very, very pleased with my vocal performance on that, because we did it a few times, and, although it was all in tune and it was OK, there was just something missing. And we went back and did it again and it just happened, and I'm really pleased with that - it was very satisfying.' Her flippant description of redoing the vocals is at odds with Andrew Powell's memories of the sessions. 'Kate got far more self-critical, wanting to sing things again and again,' he says. 'For "Wow" she did a very musical guide vocal, but she sang it maybe four or five times an hour, ten hours a day for a week. At times one would try to convince her that her performance was great, but if she was really unhappy she had to have the chance to do it again. She was optimistic every time.' ~ Kate Bush, Jovanovic (2005, p.89)
Ooh, yeah, you're amazing! We think you are really cool.
On Stage. In August Kate and Jon Kelly went back to the collection of live tapes and worked their way through them to mix the sound-track to a planned tour-video release and a four-song live EP called On Stage, which was coming out in September. The EP featured 'Them Heavy People', 'Don't Push Your Foot on the Heartbrake', 'James and the Cold Gun' and 'L'Amour Looks Something Like You'. But Kate wasn't happy with the sound. So, in an act of perverse logic (and hinting at the later obsession with tinkering with her recordings), she went back and recorded some of the parts to make them sound more 'live', which surely defeated the whole object of its being a live EP. ~ Kate Bush, Jovanovic (2005, p.103)
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