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Post by tannis on Nov 30, 2008 13:50:34 GMT
ARMY DREAMERS
Side A: Army Dreamers (Single Remix) 3:12 Side B: 1. Delius 2:50 2. Passing Through Air 2:05
"Army Dreamers": Produced by Kate Bush / Jon Kelly Single Remix Engineer: John Barratt, assisted by Danny Dawson, Written by Kate "Delius": Produced by Kate Bush / Jon Kelly. Written by Kate Bush "Passing Through Air": Production and Engineering: Dave Gilmour. Recorded in 1973 on a sunny afternoon at Dave's. Remix Engineer: John Barratt, assisted by Danny Dawson. Written by Kate Bush Cut by Chris Blair Photography and cover concept by John Carder Bush
EMI, UK #16, EMI 5106, 22.09.1980PTA could be classed as Kate's only officially mixed and released demo track. The Army Dreamer's "Passing Through Air" was recorded before Cathy Bush was signed, and was of suitable production values to be included as a B-side. It was recorded at Dave Gilmour's house, just after Kate had turned 15, so again before she went into a proper studio.
PTA displays a simplicity and pop vibe that make this number less interesting than her other work. So, could it have been recorded alongside the Don't Let The Sunshine In demo?From the age of twelve, Kate had been recording songs at home on her brother's tape recorder, and later, a friend of the family who worked in the music business played some of them to Pink Floyd's singer and guitarist Dave Gilmour. He was so impressed that he paid for her to make some professional demos, and lost no time playing them for EMI's Bob Mercer. The company were impressed enough to sign her up, but they didn't launch her recording career immediately because they felt she was too immature; instead she gained experience by gigging in South London pubs with brother Paddy and future boyfriend Del Palmer. Their band was called appropriately enough, the K.T. Bush Band. Around this time, Kate was also given mime and dance lessons by the legendary Lindsay Kemp, whose past work included the Rocky Horror Picture Show, as well as providing an early spark to the imagination of the youthful David Bowie... It's worth noting that without Dave Gilmour's perserverance and position of influence, the world might never have heard of Kate Bush. On her first album, he is credited with much thanks and love for 'rolling the ball' in the beginning... Music Collector, "The High Poetess of Rock", Mike Day, Sept. 1990gaffa.org/reaching/i90_mc.htmlFirst signed to EMI at 16, the Kent, England-born singer has collected a number of honors and a few number one records over her extensive career. But it wasn’t until 1985’s home-recorded Hounds of Love that she finally made it onto the U.S. Billboard charts, where she remained through the release of 1993’s The Red Shoes (the mediocre album that was predicted to be her last). Her catalogue ranges from heavy David Bowie influences to tunes suitable for the Rocky Horror Picture Show. But her best and most accessible album (particularly now, with the Futureheads recently covering the title track) is 1985’s Hounds of Love. And twenty years later, her comeback release is similar to that record in that it is a double-disc album divided by a diverse group of pop songs and a less accessible concept half. Prefix Magazine, China Bialos, December 8, 2005gaffa.org/reaching/revaeweb3.htmlSubject: Deeper, deeper "Tiefer, tiefer, irgendwo in der Tiefe, gibt es ein Licht," (deeper, deeper, somewhere in the deep, there is a light.) Hmmm, reminds me of the line from the Rocky Horror Show, "There's a light (over at the Frankenstein place) ... There's a light in the darkness of everybody's night". Love-Houndsgaffa.org/archives/1994-39/msg00022.htmlThe Rocky Horror Show is a long-running British stage musical, opening in London on 19 June 1973. It was written by Richard O'Brien. The play was adapted as the 1975 film The Rocky Horror Picture Show.
Anyone else think Kate could have played Janet? ... There's a light (over at the frankenstein place) There's a light (burning in the fireplace) There's a light, light, in the darkness of everybody's life...Rocky Horror - Over At The Frankenstein Place (sub ita) www.youtube.com/watch?v=osrFywF264k "Over At The Frankenstein Place" is the third song in the cult musical The Rocky Horror Picture Show. The 1975 cult film includes the song being sung outside Dr. Frank N. Furter's castle in the rain. It is performed by Susan Sarandon (Janet), Barry Bostwick (Brad) and Richard O'Brien (Riff-Raff).Little light shining, Little light will guide them to me...KB: "I'm interested in theatre," asserts Kate. "Films...I really don't know about. I don't consider myself an actress. Unless something came up that I felt I could do, then I wouldn't do it. I have had film offers--like, there's been a couple of vampire films, and a rock musical. That's an obvious one because I'm a singer. But I wouldn't have thought I was a vampire!" The Pop Star, "Fangs a Lot Kate!", May 26, 1979 gaffa.org/reaching/i79_ps.htmlSo maybe the demo comes from a RockyHorrorShow-esque film or musical offer, c.1979? ...
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Post by tannis on Nov 30, 2008 19:36:09 GMT
And here is the "Don't Let The Sunshine In" demo on YouTube. A big THANK YOU to 'robbjmc' for putting it together with a beautiful KaTe montage. And it sounds so much better! Let's hope a wider debate can solve the mystery. All opinions welcome. Mystery Demo: "Don't Let The Sunshine In" -- Kate Bush?www.youtube.com/watch?v=4fWwXo7lJU8
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Sheila
Moving
Life is a minestrone served up with parmesan cheese.
Posts: 701
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Post by Sheila on Dec 1, 2008 15:29:39 GMT
I've never heard that voice in my life. I don't know who it could be. ;D Do we know it's from the 70's? If it is it is not her. But that's her dead on from the 80's-90's. OKAY ENOUGH FUNNY BUSINESS WHERE THE HECK IS THAT FROM??? Thanks Tannis for this link.
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Post by tannis on Dec 1, 2008 15:55:51 GMT
OKAY ENOUGH FUNNY BUSINESS WHERE THE HECK IS THAT FROM??? Yes, Sheila, that is the question! ...
I agree, the voice is very KaTe c.80's-90's. But the 'Country Rock' arrangement - guitar, pedal steel guitar, drums, etc. - seem to date the track much earlier. And there are certain phrases which appear in other KT songs, e.g. "come true" (The Red Shoes), "might have been" (Never Be Mine), and "last forever" (The Man With The Child In His Eyes). Del told HG that it is not Kate Bush. But this could be a sophistiKaTed response! I believe that sometimes dreams they have come true Maybe one day I'll awake and I'll find you... (demo)And all the dreamers are waking... (Nocturn)Is someone playing games? And could the real singer please step forward... The demo doesn't mention the artist (unless the artist is 'DOMO', 'DEMO', or 'DONO'* ). Any rising starlet or group would surely double check to ensure their name is on the acetate. Indeed, that no name is mentioned can explain why the demo got misplaced or overlooked, ending up on eBay. So whoever the demo is by must have had reputation or experience enough to hesitate about attaching their name to the acetate. So maybe it was prepared 'anonymously' for some project?
* 'DONO': A Japanese suffix. Ranking higher in levels of politeness, Dono should be used with the utmost respect. Although it is lower than Kyou, it is one of the highest honorifics. Dono: sounds like DOH NOH. Suffix added to males names instead of -San. -dono: Archaic honorable. Samurai used -dono, and you occasionally hear it in anime. I'm not clear on the rules for its usage, but it does denote respect.
There was a band called DOME releasing albums from 1980 via Rough Trade / 4ad but the demo is not them: "Dome abandons conventional song form for a hodgepodge of treated instruments and voices, with lurching mechanical noises infrequently keeping a vague beat; melodies fragment under studio manipulation. Eerie." trouser press trouserpress.com/entry.php?a=dome
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Post by tannis on Dec 1, 2008 16:45:10 GMT
KaTe re-recorded "Wuthering Heights" with new vocals for The Whole Story (1986). So maybe she re-mixed and re-recorded "Don't Let The Sunshine In" at the same time? This would account for the c.80's-90's vocals and the original 70's base...Though the new 'Wuthering Heights' is the same at base as the original, her new vocal soars far above the comparatively pedestrian if novel squealing of the old. So much so that to balance the added hunger and bite of her own performance, the guitar which counterpoints her at climax has been pushed forwards most emphatically in the mix. Sounds November 15th 1986 gaffa.org/dreaming/tws.htmlQ: Why did you sing a new vocal on Wuthering Heights for 1986's The Whole Story compilation? (Both versions are included in the box. ) KT: "I'm happy with my voice now, and I suppose I wanted to make Wuthering Heights somehow step up through the decade. It sounded very dated to me: my voice sounded so young, the production sounded so '70's. I like the idea of taking the song I'm most associated with, and making it me now as opposed to a very young girl, as I was in '77." Q/HMV special mag., "Follow That!", Mat Snow, 1990 gaffa.org/reaching/i90_q2.html
Why did you re-do the vocals on Wuthering Heights ? KT: "Well, to be honest, I think if we'd had more time I probably would have done the same with a couple of other songs. I just felt that ``Wuthering Heights'' felt particularly dated. It sounded dated. The other tracks were just kind of holding their heads above water. And so we liked the idea of re-doing the vocal and remixing the track - not re-recording anything else - just so we could bring it up to date, so we could give it a more contemporary sound." U.S. radio interview, Unknown origin, December 1989 gaffa.org/reaching/ir89_us.html
She also re-recorded the vocals for Wuthering Heights. KT: "I wanted to put a contemporary mark on it. I felt it sounded like a very little girl singing that to me, and the production was very much a Seventies production. And although there were some other tracks in there that you could say the same thing of, they weren't as blatant as that one was. If I had had the time I probably would have done the same to some of the other tracks." Much Music, "The Story So Far", Laurie Brown, May 30, 1987gaffa.org/reaching/iv87_mm2.htmlThe original base on The Kick Inside Wuthering Heights were: Stuart Elliott and Morris Pert (percussion); Andrew Powell (bass); David Paton (acoustic guitars); Ian Bairnson (electric guitars); Duncan Mackay (organ); and Andrew Powell (celeste). August 1977: Kate is finally called in to record material for an album. The producer chosen is Andrew Powell, and the backing band are half of Pilot [Ian Bairnson and David Paton] and half of Cockney Rebel [Stuart Elliot and Duncan Mackay]. Though the songs recorded are all Kate's own material, her role is confined to vocals, some piano-playing and some simple piano arrangements. It is decided to use eleven songs from this session and two from the 1975 Gilmour demo on the album. A Chronology of Kate Bush's Career gaffa.org/garden/chrono.htmlIn 1975, Duncan Mackay joined 'Steve Harley & Cockney Rebel'. Duncan did much session work during this time, at the famous "Abbey Road Studios". He played, on the first 3 Kate Bush albums one being "The Kick Inside" which included the hit "Wuthering Heights".
Morris Pert is a Scottish musical composer, drummer and percussionist who has played as a session musician with many big name artists, including Paul McCartney, Andrew Lloyd-Webber, John Williams, Kate Bush, Mike Oldfield, Peter Gabriel, Phil Collins and the jazz-rock band Brand X, as well as having his own extensive solo career.
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Post by Adey on Dec 1, 2008 19:57:38 GMT
Looks like I left it too long to join the debate..
Youtube reports that the video is no longer available.
Is the basic soundfile still around on the net somewhere? I don't really need to see someone else's Kate montage..
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Post by tannis on Dec 1, 2008 22:10:43 GMT
Adey, to hear the demo, search YouTube for 'Kate Bush Sunshine' and the mystery demo video should present itself to view.Mystery Demo: "Don't Let The Sunshine In" -- Kate Bush?www.youtube.com/watch?v=4fWwXo7lJU8Or search eBay for item number '260318695970' to see the original listing. The page listing will show an audio file and click the play button to hear.
Let us know what you think. Do you think Dave's added some Fender Pedal Steel Guitar? Kate Bush Unreleased EMI Studios 7" Acetate HEAR IT / Item number: 260318695970cgi.ebay.co.uk/Kate-Bush-Unreleased-EMI-Studios-7-Acetate-HEAR-IT_W0QQitemZ260318695970QQcmdZViewItemQQptZUK_Records?hash=item260318695970&_trksid=p3286.c0.m14&_trkparms=66%3A2|65%3A1|39%3A1|240%3A1308Unicorn: Bassist Pat Martin and drummer Peter Perrier of this group played on demos recorded at Dave Gilmour's home studio in 1973. Gilmour returned the favor by playing pedal steel guitar on their subsequent albums Blue Pine Trees in 1974 and Too Many Crooks in 1976. GAFFAWEB DICTIONARY gaffa.org/diction/list.html"Nothing of what Gilmore plays, on guitar or lap steel, is hard to play on a technical level. But that's not the point - his whole career has been about finding the right notes that fits and enhances the song, and tell a story through his playing." "No one would argue that a lot of people who post here could play rings around him on lap steel. For myself, it's a bit inspiring to see someone who's obviously not a lap steel 'player' (very limited technique, using a flat pick, etc) nonetheless get a nice sound out of the instrument. Kind of like guys who can only play a few licks now and then on blues harp, but it sounds right for that song." The Steel Guitar Forumbb.steelguitarforum.com/viewtopic.php?p=1272908&sid=83c7d34d512316353c3a7670bf0e2a6bThe pedal steel, with its smooth portamenti, bending chords and complex riffs, is one of the most recognizable and characteristic instruments of American country music. Mastering the pedal steel guitar can take time due to its harmonic complexity and unusual physical technique required. In country music, where the pedal steel guitar is most commonly used, talented players are highly esteemed.
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Post by tannis on Dec 2, 2008 13:11:35 GMT
Lost Kate Vocal Performance surfaces on iTunes! (and eBay... )26th August 2008: So this fascinating piece of news has completely caught me napping! For some time it's been known that songwriter Lionel Azulay (the drummer with 'Company', the original band that was later to become the KT Bush Band) was gearing up to release an album of his original work. In the early 1970s Company comprised of Lionel, Del Palmer and Brian Bath and were also occasionally joined live on mandolin by Paddy Bush. Unfortunately, at that time in the 1970s Lionel had a serious road accident and was forced to leave the band, being replaced as drummer by Charlie Morgan, thus missing his chance to play live with Kate. His Myspace page has recently reported that a song called "Wouldn't Change a Thing" was recorded with Kate on prominent backing vocals but has remained unreleased untill very recently! The song is featured on the new CD "Out of the Ashes". It was recorded in the 1990s. Lionel says on his site: "The now legendary and hugely all round nice person Kate Bush kindly lent her unique and wonderful voice to one of my songs (Wouldn’t Change a Thing, engineered and produced by Del at The Farm, Welling)." Luckily permission to include this song has been cleared in time for the album release. And we get to hear some previously unheard Kate!Lionel Azulay: "1973 signed to Essex Music/Cube Records with my very talented band ‘Company’ comprising Del Palmer (www.delpalmer.com, also see his myspace from my friends list), Brian Bath (probably the most talented person in the universe and contributed to almost everything I have ever done!! Visit http://www.brianbath.com), Barry Sherlock (one of my earliest musical collaborators and very close friend...oh, and one of the best songwriters I have had the privilege to work with) and occasionally joined by Paddy Bush live on mandolin in the early years. However, in 1974, a motorbike accident brought my promising career to an early and abrupt end. Following exhaustive auditioning, the very talented and complete professional Charlie Morgan (www.manicdrums.com) was drafted in to more than capably take over my drum throne. As you may know, aside from many other huge involvements including Kate Bush, Charlie was Elton John’s live and album drummer for 13 years. . . The now legendary and hugely all round nice person Kate Bush kindly lent her unique and wonderful voice to one of my songs (Wouldn’t Change a Thing, engineered and produced by Del at The Farm, Welling). However, permission was never sought by EMI to use the track until now and it not only has been included in my new album, 'Out Of The Ashes', but has been posted on here for your delectation."Lionel Azulay: "Wouldn't Change a Thing" profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=191976484There seems to be no mention of Lionel Azulay or "Wouldn't Change a Thing" on Gaffaweb. So KaTe's involvement with the project was a well kept secret until Lionel sought permission by EMI to use the track on his new album, 'Out Of The Ashes'. So maybe permission was never sought by EMI to use Don't Let The Sunshine In. . .12 Angry Men[/i] tells the story of a jury member who tries to persuade the other eleven members to acquit the suspect on trial on the basis of reasonable doubt. Can we prove beyond reasonable doubt that 'Kate Bush' isn't singing on the Don't Let The Sunshine In demo? Can we falsify the theory that she is? . . .[/color]
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Post by tannis on Dec 2, 2008 20:59:51 GMT
DEEP THROAT: My God, you think something this big just happens? The break-in and the cover up...Del: "The definitive answer ... THIS IS NOT KATE BUSH !!!"So it looks like the story's gone underground. There must be something, mustn't there. Maybe the demo was stolen during a break-in at the DNC EMI headquarters? Look, forget the myths the media's created. Maybe we should check with KaTe. Has anyone got her telephone number?BERNSTEIN: Kate, will you confirm that you were singing Don't Let The Sunshine In to the Grand Jury? KATE BUSH (O.S.): ...I won't say anything about Don't Let The Sunshine In... not ever... BERNSTEIN (desperate): All right--listen--it's against your reputation if you talk about the Don't Let The Sunshine In demo, right? But you don't have to say a thing--I'll count to ten--if the story's wrong, hang up before I get there--if it's OK stay on the line till after, got it? KATE BUSH (O.S.): Hang up, right? BERNSTEIN: Right, right--OK, counting: one, two--(he inhales deeply)--three, four, five, six--(now he's starting to get excited)--seven, eight--(inhales deeply)--nine, ten. Thank you! KATE BUSH (O.S.): You've got it straight now? Everything OK? BERNSTEIN (on a note of triumph): Yeah!
~ All the President Bush's Men ...
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Post by tannis on Dec 3, 2008 13:51:01 GMT
It's almost more like an actual attempt at a proper recording that was abandoned, rather than just a demo. WHAT IS AN "ACETATE"??
An acetate disc is cut prior to the cutting of the master disc which is used for mass production of records. Even though referred to as an "acetate", it is essentially an aluminium disc coated with a fine film of nitro-celluolose lacquer with no acetate in it at all! I can tell you right off the bat that they're nothing special to look at. They do not come in a frame. There is NO picture sleeve, and no special artwork on the record labels. Most acetates are 10" round, but the actual music record grooves are usually 7" in diameter. A 7" single is usually cut on a 10" disc, a 12" single or LP is cut onto a 12" disc. They're almost always single-sided (the other side is totally blank and shiny, with no grooves and no label).
This is used as a reference disc allowing the producer, engineer, artist and other interested parties to see how well the recording transfers to disc. Trying to transfer some recordings to disc is like trying to fit a square peg into a round hole, and so the cutting engineer must make some adjustments to the sound so that song on the tape fits within the confines of a record groove. This may include adjusting the overall level (volume), adjusting bass/treble, compressing the overall signal, etc. so that the record sounds as good as possible when played on a variety of hi-fi systems. For example, if a song is excessively long, the cutting engineer will have to reduce the overall level of the disc. When such changes are necessary, the reference disc (or "acetate") allows the producer to check and approve these changes before the master disc is cut and sent off to the pressing plant where thousands of copies are pressed.
Once everyone is happy with the reference cut, the engineer will cut the MASTER LACQUER disc with the same changes and send it off to the pressing plant for mass production.
The lacquer coating on the disc is very soft and so the sound quality will deteriorate the more you play it. At first, the high frequencies will diminish and an increase of surface noise will be evident. If you thought records scratch and wear out easily, a lacquer disc is worse!
Reference cuts will usually appear as 10" discs with a 7"single cut onto them, or a 12" disc with either a 7" or a 12" cut. Reference discs will often have a second hole near the centre hole. This is to identify them as reference cuts and not master lacquers for production use.
So if you have an "acetate", you have a disc that was theoretically cut for the producer, engineer and artist to listen to... The lacquers should not be overplayed as they are very fragile and are only good for five or six listenings before noticeable sound deterioration...
Lacquers should be checked for the following problems before you go to the trouble of making the final cut: 1. Low overall volume compared to other records 2. variations in volume levels within the songs or from cut to cut 3. variations of tempo within each song 4. breaking up or distortion in the treble or high registers at peak loudness levels or towards the end of a side 5. excessive boominess or airiness in the bass or low registers 6. dullness or lack of presence in the mid-range 7. skips, buzzes, crackling noises, or dull thuds at the beginnings of notes...
I guess the best way to explain it would be like this: having an acetate for a song is almost like having the "negatives" for a photo. You can actually play an acetate if you really want to, but they weren't designed to be played on a standard record player, so sometimes they may not sound that great. The reason you cut an acetate reference disc is so that you CAN play it on a standard record player! That's why they were used for reference purposes. If it doesn't sound great it's because it has been played to death and the soft lacquer wears very fast. They sound GREAT when you are the first person to play it. Acetates are extremely rare, and in some cases, are one-of-a-kind... Since acetates were never designed to see the light of day (much less be sold in a store), they're nothing special to look at, unfortunately. But if you can get your hands on one, you're sure to have an extremely rare and unique piece of musical history.
WHAT IS AN "ACETATE"??www.madonnacatalog.com/guides/acetate.htmSo, we cannot judge the "Don't Let The Sunshine In" demo by sound quality alone, as the sound quality of acetates deteriorates the more they are played and are only good for five or six listenings before noticeable sound deterioration. And who was the producer and cutting engineer on the "Don't Let The Sunshine In" demo? The same as the Army Dreamer's "Passing Through Air"? Or those involved in the 1975 session? ... "Passing Through Air": Production and Engineering: Dave Gilmour. Recorded in 1973 on a sunny afternoon at Dave's. Remix Engineer: John Barratt, assisted by Danny Dawson. Written by Kate Bush Cut by Chris BlairIn 1975, Gilmour decides that the only way to interest the record companies in Kate's talent is to make a short three-song demo to full professional standards. He puts up the money. Kate goes into Air Studios in London's West End, with Gilmour as producer, Andrew Powell as arranger, Geoff Emerick as engineer. The three [known] songs recorded are Saxophone Song (also known at this stage as Berlin), The Man With the Child in His Eyes, and a song which fans refer to as Maybe.www.angelfire.com/stars4/katebush/Biog.html
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Post by tannis on Dec 3, 2008 14:50:02 GMT
THE SWEET ACETATE
The eBay seller who sold the "Don't Let The Sunshine In" demo is currently selling 'Sweet - I Want Be Committed 1974 UK 45 EMI ACETATE' (Item number: 260324585485).
The handwriting on the Sweet acetate is clearly the same as the handwriting on the "Don't Let The Sunshine In" demo (you can tell by the 'The'). And if we can date the Sweet acetate to 1974, then this surely means that the "Don't Let The Sunshine In" acetate must also date to 1974... And was there really another woman singing very much like 'Kate Bush' AND associated with EMI before 1976? ... "What say you, good people?" ... Sweet (referred to as The Sweet on albums before 1974 and singles before 1975) were a popular 1970s British band.
Desolation Boulevard (USA, 1975, Capitol, ST-11395) features "I Wanna Be Committed" (Chapman, Chinn).
Track listing 1. Ballroom Blitz 2. 6 Teens, The 3. No You Don't 4. A. C. D. C. 5. I Wanna Be Committed (Chapman, Chinn) 6. Sweet F. A. 7. Fox on the Run 8. Set Me Free 9. Into the Night 10. Solid Gold Brass
Details Playing time: 43 min. Distributor: EMI Music Distribution Recording type: Studio Recording mode: Stereo SPAR Code: n/a
Album notes Sweet: Andy Scott (vocals, guitars, synthesizer); Steve Priest (vocals, bass); Mick Tucker (vocals, drums, timpani, tubular bells, gong); Brian Connolly (vocals). Producers: Phil Wainman, Mike Chapman, Sweet, Nicky Chinn. Recorded at Audio International Studios, London, except "Fox On The Run" recorded at Kingsway Studio, London.I Wanna Be Committed - The Sweet www.youtube.com/watch?v=EG1pgmsQDNI Full version of the song that was supposed to be the next single released by The Sweet after Turn It Down, but it never was due to it being about mental health. This is the full version which as far as I know isn't yet available on CD and comes from the album Strung Up.
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Post by tannis on Dec 3, 2008 15:33:14 GMT
The Kick Inside Recording Sessions: July, August 1977The actual recording sessions for the album. Very probably our 'Kick Inside Demos' are from these sessions. These demo recordings are of a far more refined and polished type, and are fully orchestrated and produced. They are probably among the many tracks which were worked on prior to the final selection of the thirteen songs on The Kick Inside.
Five of the titles are familiar: Moving; Don't Push Your Foot on the Heart Brake; L'Amour Looks Something Like You; Kite; and Strange Phenomena.
Scares Me Silly (But It Gets Me Going) This sixth track is an unreleased song. It is extremely bouncy and catchy, laden with melodic hooks. Its lyrics are fascinating, as well (they describe the challenge of retaining the original spark of feeling of a song during the recording process). Just a thought I have sometimes: Listen to "The Kick Inside" as an early Demos album. An officially released Demo album by KaTe herself. Makes a big difference. Listen to the "Kick Inside Demos" first, then change to the album "The Kick Inside". Strange, mysterious experience!
PHOENIX: The Early Kate Bushgaffa.org/phoenix/index.htmlCould the "Don't Let The Sunshine In" demo be a seventh track dating from c. July, August 1977?Kate Bush - Scares Me Silly (But It Gets Me Going) www.youtube.com/watch?v=KBJj5aV-PiM
Scares Me Silly (Really Gets Me Going) (Written by Kate Bush) [The Studio Session, Demo, 1977]
Here in the studio, As they're turning down the lights, I lick my lips to start the first line-- How can this girl be me? "Oh, little thing, are you looking lost?" The vertigo, the need to lose.
Ooh, ooh... They try to trip me up and tapes begin to spin I feel a little sick and hope my notes are in. I try to put it all in, do it for you. Don't even know you but I need you to love me, too.
They try to trip me up and tapes begin to spin. I feel a little sick and hope my notes are in. I try to put it all in, do it for you. Don't even know you but I need you to love me, too.
Scares me silly, but it gets me going, Like a Romeo. Scares me silly, but it gets me going, Like a Romeo. Scares me silly, but it gets me going.
Swimming amid the cans, I wonder can I goad myself into another take, And keep the mood? It's like a film - such balance. I close my eyes to the cello solo, and ache. The music will never let me blow away - you-oo
You know the feeling when you're on the right track. You fall in love and you're never gonna turn it back. It's recording you, they're so sensitive. Oozing without me, spilling over with secrets.
You know the feeling when you're on the right track. You fall in love and you're never gonna turn it back. It's recording you, they're so sensitive. Oozing without me, spilling over with secrets.
Scares me silly, but it gets me going, Like a Romeo. Scares me silly, but it gets me going, Like a Romeo. Scares me silly, but it gets me going.Indeed, the extended line endings in the demo can be compared with Scares Me Silly (Really Gets Me Going).Mystery Demo: "Don't Let The Sunshine In" -- Kate Bush? www.youtube.com/watch?v=4fWwXo7lJU8
Every time I close my eyes I dream of you Then you're mine until that sun starts shining through (0:50)
I believe that sometimes dreams they have come true Maybe one day I'll awake and I'll find you (1:56)
Every time I close my eyes I think of you Then you're mine until that sun starts shining through (2:54)
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Post by tannis on Dec 3, 2008 16:00:56 GMT
Here in the studio, As they're turning down the lights, I lick my lips to start the first line...THE FIRST RECORDINGS:
In 1972/73 Kate recorded several tapes of songs (more than 30 songs per tape, some sources say 60 altogether, Kate once said "...I had, say like 50 songs...". Some said up to 200 songs). 20-30 of these songs were presented via JCB's friend Ricky Hopper, first without success to record companies. "I was about fifteen. My family thought it would be interesting to see if we could get some of my songs published, I'd written loads of songs. I just used to write one every day or something." "He [Ricky Hopper] came around to listen to me. I put twenty to thirty of my songs on a tape and he'd take it to record companies. Of course there was no response; you wouldn't be able to hear a thing, just this little girl with a piano going "yaaaa yaaaa" for hours on end... [the songs] weren't that good. They were OK, but..." Then Ricky Hopper presented the songs to David Gilmour. Gilmour noticed her talent, but also the bad tape recorder quality. Gilmour: "A friend of mine has a friend who told my friend that his sister was very talented. This friend of mine came to me and said, "My friend has a very talented sister" and would I listen to her. And I said "sure", so I listened to her. I thought she was very good."
THE SECOND RECORDINGS ('GILMOUR PIANO SESSION'):
This session took place at Kate's house with Gilmour in 1973. Only Kate and piano, with a better recorder. There are at least two Gilmour-interview confirmations about this session (Q and CHEZ Canadian radio). I think this is the session, Kate had in mind, when she said: "Absolutely terrified and trembling like a leaf, I sat down and played for him." "He came along to see me and he was great, such a human, kind person - and genuine." Gilmour: "I did some recording at her house, her parent's house..." Gilmour: "I know that one of the first songs that I noted was "The Man With the Child in His Eyes", out of many songs that she had written. She was only 14, I think, when I met her, maybe just about 15." But Gilmour also once said re this [?] session: (IED stating from the Q-interview:) "He paid to have Kate go into a studio and re-record some fifty songs over again. (again, apparently, solo with her own piano accompaniment-- not, it seems, with Gilmour and his musician friends at Gilmour's house)." (Q, 1990) This is a bit confusing. It seems to be sure, that Gilmour visited Kate at her home and listened to her songs. I also think, they recorded something. Did Gilmour visit Kate more than once? Did he bring a recorder at the first meeting? What is this about the piano studio session? It seems unlikely IMHO, to insert yet another session here. Nothing is well confirmed so far.
THE THIRD RECORDINGS ('Passing Through Air', PTA-SESSION):
In August 1973 at Gilmour's farm with two "Unicorn" band members: drummer Peter Perrier and bassist Pat Martin, and Dave Gilmour on electric guitar. According to Gilmour (Q) ca. 10-20 songs had been recorded. This tape definitely made it to EMI. Besides PTA also the second version of "Maybe" was recorded. Kate: "And we went to Dave's for a day, basically. And the bass player and drummer from Unicorn sat down and we just kind of put a few songs together. I remember it was the first time I'd ever done an overdub with the keyboard - I put this little electric piano thing down, and I remember thinking: 'Ooh! [laughing] I like this!'" "And, well, I mean really it was because of those tracks that I then went on to do the tracks which were then used - two of which were used to go on the first album. As far as I remember the tracks we did with this session in '73... There was a track called "Passing Through Air", which I think went on a b-side -" (PTA appeared as a B-side of Army Dreamers.)
The song MAYBE: The version from this session was presented by Kate in part on Personal Call, BBC Radio 1, 1979: Ed: Kate had a very wistful look on her face. Why was that? K: I was waiting for the flat note in the middle. [Laughs] Ed: Ah, you mean we faded it just in time! K: No, you caught it actually, I'm sure... ) Kate 1978 re Maybe: "pretty awful." 1990, Bush Con: "It had a couple of titles..."Maybe". ...there was an - "Humming", it was called as well.") Kate bush - Mini interview plus the demo song maybewww.youtube.com/watch?v=nl3t6rUuESkTHE FOURTH RECORDINGS (3-SONG-SESSION):
In June 1975 Gilmour booked a professional studio (AIR London), brought Andrew Powell to arrange and produce the songs and hired top musicians to back Kate. They recorded TMWTCIHE, The Saxophone Song and Maybe. This tape finally was Kate's breakthrough at EMI. The first two songs from this session appeared on The Kick Inside. Kate: "Gilmour said: 'It looks as if the only way you can do it is to put at most three songs on a tape and we'll get them properly arranged.' He put up the money for me to do that, which is amazing. No way could I have afforded to do anything like that." Kate: "I think he liked the songs sufficiently to feel that it was worth him actually putting up money for me to go in and professionally record the tracks, because all my demos were just piano vocals and I had, say like 50 songs that were all piano vocals. And he felt, quite rightly, that the record company would relate to the music much in a more real way if it was produced rather than being demoed. So he put up the money, we went into the studio, recorded three tracks..."
July 1975 - July 1976: The recording deal is much discussed between Kate, her family, Gilmour and EMI. In July 1976 it is finally perfect. During the first year of the EMI contract Kate makes two further demo tapes. These are very possibly the songs known to us originally from the Phoenix broadcast and later from the various bootlegs. The date 'Nov. 1976' is written on the reel tape, the DJ played in 1982 (?) on KSTM. 5 songs which appear on The Kick Inside, Lionheart AND Never for Ever [!] (Violin!), can be found on the demo tape!PHOENIX: The Early Kate Bushgaffa.org/phoenix/index.htmlIn 1975, therefore, Gilmour arranged for and financed (again to his credit) another recording session, this time under fully professional conditions. Only three [known] songs were recorded: The Man With the Child in His Eyes, The Saxophone Song and a new version of the song known as Maybe. The first and second of these three recordings were later incorporated, almost without changes, into Kate's debut album for EMI, The Kick Inside. The third of these recordings was a more polished version of the song which Kate played part of an earlier version of on the radio programme Personal Call. This new set of three demos, together with Gilmour's personal backing, finally succeeded in obtaining a contract for Kate with EMI. In 1976 Kate bought a modest piano for 200 Pounds and, according to Peter FitzGerald-Morris, the editor of Homeground, began only then to "screech into existence her unmistakable voice." Then, according to Peter, Kate went on to record two more "tapes" of demos during the months surrounding the LP sessions. Peter has not explained or substantiated these statements, but if we assume that they are true, then it would seem that another set of twenty-two demo recordings, which has now begun to circulate among fans in at least two forms, dates from about this time--i.e., ca. 1976-1977. If Peter's claims about Kate's development of her high range only after the beginning of 1976 are accurate, then we must conclude that this collection of twenty-two songs dates from the period 1976-1977. gaffa.org/garden/catalog.htmlMaybe the DLTS demo dates to the June 1975 session, and was recorded with 'TMWTCIHE', 'The Saxophone Song' and 'Maybe?
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Post by tannis on Dec 4, 2008 2:00:28 GMT
THE SWEET ACETATE
The eBay seller who sold the "Don't Let The Sunshine In" demo is currently selling 'Sweet - I Want Be Committed 1974 UK 45 EMI ACETATE' (Item number: 260324585485).
The handwriting on the Sweet acetate is clearly the same as the handwriting on the "Don't Let The Sunshine In" demo (you can tell by the 'The'). And if we can date the Sweet acetate to 1974, then this surely means that the "Don't Let The Sunshine In" acetate must also date to 1974... And was there really another woman singing very much like 'Kate Bush' AND associated with EMI before 1976? ... "What say you, good people?" ... Sweet (referred to as The Sweet on albums before 1974 and singles before 1975) were a popular 1970s British band.
Desolation Boulevard (USA, 1975, Capitol, ST-11395) features "I Wanna Be Committed" (Chapman, Chinn). Here are images of the two EMI acetates:Kate Bush?, "Don't Let The Sunshine In (Demo)", Unreleased EMI Studios 7" Acetate:The Sweet, "I Wanna Be Committed" 1974 UK 45 EMI Acetate:SUMMING UPThe handwriting is the same. They are not fakes. The date of The Sweet (1975) suggests that the "Don't Let The Sunshine In (Demo)" can be dated c.1975. There was no other woman singing like 'Kate Bush' and associated with EMI before 1976. Around this time, the young Kate Bush recorded with Gilmour on guitar, and Peter Perrier and Pat Martin of Unicorn on drums and bass, respectively. There is no mention of how many songs were recorded during these recording sessions. And these players could be on the "Don't Let The Sunshine In (Demo)" - guitar, steel guitar, drums, etc. In June 1975 Gilmour booked a professional studio (AIR London), brought Andrew Powell to arrange and produce the songs and hired top musicians to back Kate. This tape finally was Kate's breakthrough at EMI. They recorded TMWTCIHE, The Saxophone Song and Maybe. The first two songs from this session appeared on The Kick Inside. Could the "Don't Let The Sunshine In" demo date to this June 1975 session? There are certain phrases which appear in other Kate songs, e.g. "come true" (The Red Shoes), "might have been" (Never Be Mine), and "last forever" (The Man With The Child In His Eyes); and there are vocal inflections which are distinctly 'Kate Bush'. Also, the 'heavy' piano playing on the demo can be compared with the deeper piano on Cussi Cussi (e.g. 1:59). And the extended line endings on the demo can be compared with Scares Me Silly (Really Gets Me Going). However, we cannot judge the "Don't Let The Sunshine In" demo by sound quality alone, as the sound quality of acetates deteriorates the more they are played and are only good for five or six listenings. According to Peter FitzGerald-Morris, the editor of Homeground, Kate began to develop her high range only after the beginning of 1976 (Gaffaweb). So, again, the demo could date from the pre-1976 period. [n.b. The demo is sung in a somewhat high range. Compare the opening line of the demo ( Don't let the...) with the first line of And Dream Of Sheep ( Little light...).] The humorously emphasised "I want to last forever" also seems very Kate Bush, as suggested by the abandoned autobiography 'Kate Bush - Leaving My Tracks' (c.1982/83), the (re)naming the tour 'The Tour Of Life', the suggested source for the title of The Sensual World, and the Aerial Alchemist's Elixir of Life (as recorded in the album booklet). "SOUND, sound the clarion, fill the fife! Throughout the sensual world proclaim, One crowded hour of glorious life Is worth an age without a name." The "Don't Let The Sunshine In (Demo)" could have been produced/engineered/cut by the "Passing Through Air" (1973) people (Gilmour/Barratt/Blair), or those involved in the 1975 session (Gilmour/Powell/Emerick). [Or even those involved in the Brian Bath troupe; see below.] Maybe this demo was made before Cathy Bush was signed, but with others who were signed to EMI, hence the EMI acetate and no mention of the artist. Maybe 'Kate' wrote or co-wrote the song, or is singing someone else's composition. Now, maybe all of this is coincidence, but one thing is for sure, that is definitely KATE BUSH on the demo !!!Mystery Demo: "Don't Let The Sunshine In" -- Kate Bushwww.youtube.com/watch?v=4fWwXo7lJU8Finally, maybe the "Don't Let The Sunshine In" demo comes closer to Kate's 'natural' range. Many of her songs are so technically demanding, they probably could not be sung night after night on an extended tour. Indeed, just how many live performances has Kate given since 'The Tour Of Life'? Kate Bush & David Gilmour - Running up that Hill - Live SPBwww.youtube.com/watch?v=vl9OKddQBRg&feature=related"What say you, good people?" ... Ignoring the 'Is it Kate?' question for a moment and returning to the actual acetate itself, it's interesting to compare the "Don't Let The Sunshine In" acetate label with that of the Clovis acetate below, which according to a discography, can be positively dated to that of 1st November 1971. The "Don't Let the Sun Shine" label appears to be identical to the Clovis label, but the handwriting is different.
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Post by tannis on Dec 4, 2008 16:11:20 GMT
Del Palmer began playing bass in 1967, joining friend Brian Bath's band Cobwebs and Strange. In 1969, Palmer and Bath formed Tame with Victor King on drums. The band lasted until 1970. Around 1971, at her father's invitation, Kate played her wonderful songs at the piano with Brian Bath on electric guitar. From 1972, Palmer and Bath were in Company with Barry Sherlock (guitar) and Lionel Azulay (drums). They signed to Cube Records in 1973, but Azulay was injured in a road accident.
In 1974, Del Palmer, Charlie Morgan, Barry Sherlock and Brian Bath formed the band Conkers. A series of singles followed on Cube. The band secured the talents of Ivan Penfold, who put some humour back into the outfit; bringing songs like 'Give me money'. Line up included session supremo Graham Broad (drums), and the brilliant Danny Mcintosh on lead guitar duty (now Kate’s partner- Bush that is!). Kate had a writing contract with EMI and they were always asking her to come up with a Number one hit – the same asked of Brian at Essex Music. So, both before and after signing to EMI, Kate's circle of friends already included the would-be KT Bush Band members. Indeed, around 1971 Kate played her wonderful songs at the piano with Brian Bath on electric guitar, and a later performance at Whitechapel Art gallery, where Kate did a dance routine during Paddy’s end of year show for his college finals [c.1976]. This was the birth of the Kate Bush ‘Tour of life’ routine. Brian: "My mother got a note from Paddy Bush, asking for my presence one afternoon. We got in touch, Paddy relating some ideas, and asked if I would be interested in listening to his proposal. Paddy and myself used to jam at weekends on mandolins at his parents place. I still remember one afternoon Kate running into the room, and hiding behind the sofa, while Paddy and I innocently carried on playing, because the call had come for her Violin lesson to begin- ‘no sorry haven’t seen her, she made an appearance some time ago! Anyhow, Paddy explained that Kate was looking for some live experience as she was about to record her first album with EMI. I said “not many Benny”,(yes) and would endeavour to sort a band out. Paddy left, and I rushed around to Del’s house to explain things, saying that tons of gigs would come our way. Great singer, great looks with theatrical tendencies- she could front for sure, a pretty sensational outfit! Vic King was on board that evening! ... Kate was more than pleased to join in with ‘the old school outfit’. We immediately set about organizing a set that would blow the socks off of any competition on the pub circuit.
"The bulk of this material came from a previous incarnation of an act we had got together earlier... Kate spoilt us all with gallons of tea and biscuits, and fun was had by all. Brilliantly, she had learnt all the lyrics, so we spent useful time on some simple, largely rocking song arrangements that we were all happy with.
"We needed a gig to try the band out, so I went to the Rose of Lee pub in Lee Green one night, and told the guvnor about the band. -I got him interested...
"A demo session was arranged at De Lane Le recording studios in Regent Street, London. Some nice ‘takes’ were captured on tape- overdubbing another guitar, and honky-tonk piano... These early gigs were a mixture of Kate’s songs, my own compositions and some popular covers. Kate, Del, myself and Vic sang in harmony adding colour and sometimes humour to the mix... A showcase at The White Elephant restaurant along the Embankment in London was the next stop, performing privately for EMI executives worldwide..."
KT BUSH BAND FORMS www.brianbath.com/page9.htmBrian Bathprofile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=364910869So maybe the "Don't Let The Sunshine In" demo dates to the Brian Bath troupe... Maybe we should check with Brian. Has anyone got his telephone number? ... Brian: "maybe some of this early stuff could get up on the Web along with Company songs and the like. A lot of these recordings were ‘one take’ demo’s so if tracked down, maybe we could all agree to ‘air’ a few favourites."Has anyone got any tracks from Brian Bath's bands Cobwebs and Strange, Tame, Company, or Conkers which they could post on YouTube? It would be interesting to compare these with the "Don't Let The Sunshine In" demo.Brian: "Kate had a writing contract with EMI and they were always asking her to come up with a Number one hit – the same asked of myself at Essex Music. I used to call her and ask how the writing was going fairly regularly. I always found it easy to talk my lovely friend Kate."
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