|
Post by Lori on Jul 30, 2003 23:11:00 GMT
One of the band told me last night That music is all that he's got in his life So where does it go? Surely not with his soul Will all of his licks and his R'n'B
Blow away? Blow away Blow away
Our engineer had a different idea From people who nearly died but survived Feeling no fear of leaving their bodies here And went to a room that was soon full of visitors
Hello Minnie, Moony, Vicious, Vicious, Buddy Holly, Sandy Denny Please don't thump me Don't bump me Don't dump me back there Please don't thump me Don't bump me I want to stay here
Put out the light, then, put out the light Vibes in the sky invite you to dine Dust to dust Blow to blow Bolan and Moony are heading the show tonight
Hello Minnie, Moony, Vicious, Vicious, Buddy Holly, Sandy Denny Please don't thump me Don't bump me Don't dump me back there Please don't thump me Don't bump me I want to stay here
|
|
|
Post by Lori on Jul 31, 2003 22:47:09 GMT
For you information on this track, just incase anyone didn't know (from TKI): BILL DUFFIELD In March 1979 – The Tour was to open officially on April the 3rd at the Liverpool Empire but first there was a preview at the Poole Arts Centre near Bournemouth to iron out any last minute hitches. Everyone was naturally very nervous but the show went tremendously well and afterwards, Richard Ames recalls, “We went back to the hotel having a few drinks, everyone was very up. And I got the call from the hall that Bill had run back up to the top of the auditorium where the (Lighting) desk had been and where he’d been running the show. He was doing the ‘idiot check’ – you rush up after everything’s in the truck to make sure nothing’s forgotten. Someone from the auditorium had lifted up a panel from the flooring on the very last step of the aisle between the seats and placed it on the step below the top step. Bill rushed up, tripped over it ‘cos it wasn’t lit very well, and went head first down 17 feet onto concrete. He lasted a week on the life support machine. May 12th 1979 a special benefit concert was staged at the Hammersmith Odeon. David Lewis reviewed the show for Sounds, confessing that he had gone along principally to hear Steve Harley break his two-year silence. But David admitted: “Like practically all the other gnarled old cynics, I cannot deny that I was wrong, her fans were right and she was left to reap the applause for a show that sometimes teetered on the farcical but was never short of compulsive to watch.” The set order had been revamped and it was near the end of the show when Steve and Peter (Gabriel).”Crept slowly out of the wings in trench coats and fedoras to singalongaKate on ‘Rolling The Ball’. “Then after a solo from Steve, he and Peter sang ‘Woman With The Child In Her Eyes’ as a duet. Later Peter sang ‘Here Comes The Flood’ unaccompanied and finally Steve Harley had the crowd joining in with ‘Best Years Of Our Lives’ and ‘Make Me Smile (Come Up And See Me)’. As the show ended they were mown down by Kate in ‘James And The Cold Gun’. The encore for Bill was The Beatles ‘Let It Be’.
|
|
|
Post by Adey on Feb 12, 2004 20:57:09 GMT
Lori, you posted this a long time ago - I've only just seen it. Thanks for the info; I knew about the incident but not the details and I have often wondered.
No analysis needed on this, it's just a beautiful tribute. My favourite track on Never for Ever by a country mile.
|
|
|
Post by strabley on Feb 12, 2004 21:23:48 GMT
No analysis needed on this, it's just a beautiful tribute. My favourite track on Never for Ever by a country mile. Well then you're gonna have words with me when we Kate rate Never For Ever. You're still mad at me about And Dream of Sheep aren't you?
I think there is a lot of guilt in this song. On some level I think Kate feels partly responsible for Duffield's death (if she never toured it never would've happened sort of thing) To comfort herself she did many things, among them this song. I can't put my finger on it, but the subtle tightness of it resonates of guilt feelings to me. The lyrics are continual with the theme of "I'm glad I'm in the afterlife I wouldn't want to be alive on Earth anymore" as if Kate it trying to convince herself that this is what Bill is feeling. Cool to think of Sid Vicious and Minnie Ripperton jamming together. How odd!
|
|
|
Post by Xanadu on Feb 12, 2004 22:15:45 GMT
No analysis needed on this, it's just a beautiful tribute. Why? Isn't there more feeling in this that's worth some discussion? Thanks Sheila for sharing your impressions about the song. I have really enjoyed your feeling more comfortable with posting here. And I agree with you, and also another step in the long search for enlightenment and spirituality.
|
|
|
Post by Adey on Feb 12, 2004 22:22:31 GMT
Not your favourite then!
Sheila I love your posts, always so full of humanity.
I think you're right about some self guilt in the song. I think there usually is in any sort of personal tribute. Whatever, Bill Duffield is known about and will be remembered because of the song, to people who would have otherwise known nothing about him. I'll forgive you Dream of Sheep, because you love the Dreaming & the Red Shoes so much.....!!!!!
|
|
|
Post by Adey on Feb 12, 2004 22:43:11 GMT
Hi Xan, so you think I may be wrong to close my mind to a deeper understanding of this song, by making such a glib statement as "no need for analysis here" ?
You're probably right! I'm already thinking about Blow Away again after thinking about Sheila's comments.
I love pulling songs apart to see what makes them tick and to understand why they can sometimes touch me so much. But I try not to do it too often, for fear of losing that sense of wonder you sometimes feel on hearing a song that moves you.
|
|
|
Post by Xanadu on Feb 12, 2004 23:07:41 GMT
Hi Xan, so you think I may be wrong to close my mind to a deeper understanding of this song, by making such a glib statement as "no need for analysis here" ? I think "glib" may be an understatement. You're probably right! I'm already thinking about Blow Away again after thinking about Sheila's comments. I also think that's the most important reason we're here. For me, it's only about the music. Without that discussion, there's no purpose in a live forum, at least as I see it. And bringing a new life and interest to a song you may have heard many times is most exciting and important. I love pulling songs apart to see what makes them tick and to understand why they can sometimes touch me so much. But I try not to do it too often, for fear of losing that sense of wonder you sometimes feel on hearing a song that moves you. But what about the "sense of wonder" and excitement when you discover something you never thought of before. The love that develops for a song that you may have passed over in the past. How you may not have realized what that song could mean in your life? I don't always want to speculate on what Kate's intentions were, but you have to acknowledge that before you can move on with your own personal experiences. Do you agree Sheila... like our discussion about "Big Stripey Lie?" Or was I too vague then. Oh, and by the way... I'm working on the new image, but having technical difficulties.
|
|
|
Post by Al Truest on Feb 12, 2004 23:34:21 GMT
Seeking truth is the excitment and wonder to me. A song can mean so many things depending on your life experience and curiousity. The first hook is sometimes diminished by digging too deeply. But this is rarely the problem with Kate Bush's music. The layers of meaning and mystery are there to explore. I'll have to say, my only disappointment in delving into her lyrics was, intially, "The Dreaming." "Bang goes another Kanga on the bonnett of the van" seemed so much more mysterious when it was unintelligable. However, the political and moral undercurrents gave it new life and meaning to me - over and above just the lyrical presentation.
|
|
|
Post by Adey on Feb 13, 2004 1:27:54 GMT
But what about the "sense of wonder" and excitement when you discover something you never thought of before. The love that develops for a song that you may have passed over in the past. How you may not have realized what that song could mean in your life? I can't deny the validity of this Xan. I have experienced exactly what you have eloquently described on several occasions whilst listening to Kate Bush over the years. The Dreaming being a major case in point. (I won't bore you with the details here - see my post on AT's thread, "Pull Out the Pin" ). Perhaps, I'm not ready to let go of my first impressions of "Blow Away" just yet. For once sentimentality overrules my search for a Deeper Understanding.. nb: where is your Babooshka! Are you going to experiment with the animated one Al reserved for you? You may have my little red dragon if you want him!
|
|
|
Post by strabley on Feb 17, 2004 22:45:10 GMT
I agree Zan sharing interpretations enriches the music for me. (You still have to talk to me more about big stripey lie though, more of that some other time?) It's great to think of a familiar thing in a new way!
|
|
|
Post by Barry SR Gowing on Apr 5, 2008 5:34:48 GMT
So Kate thinks Bill is happier on the other side. I think it's best to agree with that sentiment. I knew Bill had died after falling on the '79 tour, but I didn't know exactly how until just now. A little chilling to read the description of how it happened. I know someone who fell in almost exactly the same circumstances ... luckily he survived the fall (he was in hospital for a while of course) but it just goes to show how close to death we can be sometimes without really knowing. The song itself ... Kate wonders what happens to your music when you die. The music in your head, in your heart, in your soul. Where does it go? Does it go with you, or does it blow away? Then she thinks of Bill, and others who have gone. They're doing a gig in the great beyond tonight, so their music did go with them. Fortunately they left behind some great music for us to enjoy. This is the KB song that most resembles Steely Dan. There's definitely a touch of Aja in the chord changes, although the style of the song also contains a dash of Rikki Don't Lose That Number mixed in with a smidgin or two of the Katy Lied album and a sprinkling of The Royal Scam. Plus, as Rosa noted elsewhere ( katebush.proboards6.com/index.c.cgi?board=musichomeground&action=display&thread=1204506319&page=4#1207353877), musically the song seems to be directly related to Night Scented Stock as if the two pieces had a common origin. --Paul--
|
|
|
Post by Al Truest on Apr 5, 2008 15:19:17 GMT
This is the KB song that most resembles Steely Dan. There's definitely a touch of Aja in the chord changes, although the style of the song also contains a dash of Rikki Don't Lose That Number mixed in with a smidgin or two of the Katy Lied album and a sprinkling of The Royal Scam. --Paul-- You are mentioning some of my favorite songs. I am a fan of Becker/Fagan fan from way back. Kate has directly referenced Peg as influencing "Why Should I love You" She also remarked that "Gaucho" was her favorite album of their's.
|
|
|
Post by Barry SR Gowing on Apr 5, 2008 19:28:28 GMT
You are mentioning some of my favorite songs. I am a fan of Becker/Fagan fan from way back. Kate has directly referenced Peg as influencing "Why Should I love You" She also remarked that "Gaucho" was her favorite album of their's. I just saw Becker and Fagan in person for the first time last year. Gaucho is also one of my favourite albums too, but as I recall it hadn't been released when Kate was working on Never For Ever, so Blow Away can't be influenced by that I suppose. I'll have to listen to Why Should I Love You again and see if I can pick up what Kate gleaned from Peg. --Paul--
|
|
|
Post by Barry SR Gowing on Apr 5, 2008 20:14:07 GMT
I'll have to listen to Why Should I Love You again and see if I can pick up what Kate gleaned from Peg. Of course .. the "one she did with Prince". Sort of has the groove from Peg and a similar style guitar solo. I hear an echo of the Peg melody but it's fairly subtle. --Paul--
|
|