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Post by tannis on Dec 4, 2008 19:35:21 GMT
The "Don't Let The Sunshine In" demo is now available in MP3 ... HG: Don't Let the Sunshine in-new/old song?thehomegroundandkatebushnewsandinfoforum.yuku.com/topic/16324/t/Don-t-Let-the-Sunshine-in-new-old-song.html?page=10As mentioned on HG, I suggest that everyone listen to the "Don't Let The Sunshine In" demo on YouTube or MP3 a LOT. ...it's me--Cathy. Come home. I'm so cold! Let me in...Listen to it with headphones. Divorce the lead vocal from the rest of it during repeated listenings. Accommodate the possibility of a Kate doodle in the sweet vein of "Passing Through Air" or "In My Garden" but with a full band backing.
The parts that don't sound exactly like her are certainly a tone that she could vocalize if she wanted to...but the parts that sound exactly like her would be difficult for someone else to create.
That fact, and the dating of the acetate make the existence of this song (which will also grow on you, by the way) very perplexing.
As for Del, he may not know everything she has done, though he would recognize her voice, certainly. But again, I think the poor playback requires repeated listenings, an open mind and perhaps...Maybe...okay, here I go into the breach: Maybe this demo isn't sanctioned. None of them are sanctioned, of course, but all except this one surfaced two decades ago, and there could've been a shift in policy regarding the admission of demo-dom. I would never say that anyone is fibbing without due cause. All I am saying is that this demo or Domo, like a glass of wine, deserves a chance to breathe and settle on the tongue, and that snap judgments upon the first pass under the nose aren't necessarily the best ones. Come to think of it...a little wine might be a good idea while you download the mp3 and adjust your headphones or play it on YouTube... And why would EMI ever print an acetate from a singer who is copying their best female singer?
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Post by tannis on Dec 6, 2008 1:33:53 GMT
Since the 1979 Kate Bush Tour and Kate Christmas Special, Kate Bush has sung live on only a handful of occasions. The Dreaming and The Ninth Wave employ machine manufactured voice effects (e.g. 'Leave It Open' and 'Waking The Witch'), and I imagine that Kate's meticulous production style is to record take after take before piecing together a finished album product. So, compared with the officially released 'Kate Bush' sound, many will hear the demo as "not Kate Bush". Yet the demo DOES sound like Kate Bush, and it is odd that Del "fails to see how anyone could mistake the singer for Kate as it doesn't sound like her at all."
Mystery Demo: "Don't Let The Sunshine In" -- Kate Bush? www.youtube.com/watch?v=4fWwXo7lJU8
"Oh wow. I listened to this now for the umphiest time. This could, could, could be Kate. At least: there are some Kate-esque elements here. Both in the voice and in the subject matter. And - being almost completely biased in liking everything she does - I really like this track."
"I am sure, if Kate will ever admit it's her, people will start to listen to this song differently and they will probably like it, especially if one of the male backing vocals is Dave Gilmour (at least myself). I wonder how much value would have the acetate for Pink Floyd fans in this case."
"If one ignores the main melody line off the top-intro (guitar line) and concentrates instead on only the piano - you can hear the same DNA found on the track "The Kick Inside" - listen to the piano on both beginnings, and while it's a generic I, V, IV, V pattern (in two different keys), there may be a golden thread here...and for that matter, the vocal quality makes it 'plausible' too!"
IMHO, and in the humble opinion of many others, the acetate is a sweet and rare example of early-mid Kate Bush. We know Kate was not happy about the tens of early recordings that leaked, specially considering the amount of work she puts on each of the songs she decides to make public (though "Passing Through Air" was chosen for official release). So maybe the 'official line' is to deny any connection with future leaks for whatever reason, which is a pity as it denies love-hounds insight into the history and creative process of 'Kate Bush'. But before 1979, there was no other woman singing like 'Kate Bush', playing the piano and associated with EMI...
How does one go about authenticating a manuscript as "by Mozart", an old master as "by Titian", or a demo as "by Kate Bush"? We need a Kate Bush Scholar! Perhaps Kate will address the "Don't Let The Sunshine In" debate on her website? ... BUSH HOUSE SPOKESMAN: I have been informed reliably by Kate Bush that no one connected with the "Don't Let The Sunshine In" demo...
LOVE-HOUND SENATOR (coming in, overlapping): It is only our pathetic Forum Post that deliberately tries to infuse the "Don't Let The Sunshine In" caper with a seriousness far beyond those shenanigans that have been the stock trade of political pranksters ever since...
~ All the President Bush's Men ...
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Post by Barry SR Gowing on Dec 6, 2008 22:52:43 GMT
I will make the following observations:
It doesn't sound much like the 3 songs that were recorded in the '75 Andrew Powell session - TMWTCIHE, Saxophone Song and Maybe. By that I don't just mean the style of the writing, I mean the style of the recording. This recording is technically rough. I know the engineer who worked on the other three songs and he certainly didn't do this one.
This demo is on an acetate record. Now, a lot of people may not know what an acetate record is, but I do. It's a special kind of record that can be cut quickly for test or demo purposes. Back in the days before cassette tapes (let alone CDs or mp3s) an acetate record was an easy way to allow someone to hear your music on an ad hoc basis. For example, when Brian Epstein was trying to get a recording contract for the Beatles he had acetates cut from their demo tape, because cassette tape had not yet been invented, but everybody had a record player back then. Of course, once cassette tapes become widespread the need for acetates diminished. Once CDs had become the main medium for sound recordings the acetate become very uncommon indeed.
Consequently, the existence of a demo recording on an acetate guarantees that recording almost certainly cannot be from an era later than the 70s.
If it is Kate I tend to think that it must be from before 1975...
Now, the million dollar question: could there be another English singer from the mid seventies who sounds sufficiently like Kate Bush to be mistaken for her? I think there could be, but I'm doing more research.
--Paul--
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Post by tannis on Dec 7, 2008 1:10:34 GMT
1976: Kate gets a small inheritance, and decides to leave school to concentrate on preparing herself for a career in music. She buys an old honky-tonk piano* for 200 Pounds and begins screeching into existence her unmistakable voice. 1977: During the first year of the contract Kate makes two further demo tapes. [Very possibly these include the twenty-two recordings now making the rounds among fans.] She resists EMI's attempts to "commercialize" her songs. She pursues her dancing. She moves away from home and into a flat in a house owned by her father in Lewisham, Southeast London, with her brothers as neighbours. March 1977: Wuthering Heights is written at the full moon. A Chronology of Kate Bush's Career gaffa.org/garden/chrono.html* "A demo session was arranged at De Lane Lea 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.htmDe Lane Lea Studios: Over the years, many music legends have recorded at De Lane Lea studios. Major artists include The Rolling Stones, Jimi Hendrix, the Beatles, The Who, Pink Floyd, Deep Purple, Fleetwood Mac, Country Joe and Queen. Mike Thorne landed himself the job of tea boy and assistant engineer at De Lane Lea studios in London, where he worked on sessions for Fleetwood Mac and Deep Purple. Mike finally got his big break in 1976 and was hired by EMI to work in A&R. As an A&R man at EMI Mike Thorne oversaw the early career of Kate Bush and witnessed the birth of British punk in 1976 , keeping a watchful eye over the likes of The Sex Pistols.Jim Hession/ What Is Honky Tonk Piano? Lecture10www.youtube.com/watch?v=NcsJDY2cyK0Yes, Paul, I too tend to think that the "Don't Let The Sunshine In" demo cannot be from an era later than the 70s. Could it come from the c.1977 attempts by EMI to "commercialize" Kate's songs, or from the Brian Bath troupe?Now, the million dollar question: could there be another English singer from the mid seventies who sounds sufficiently like Kate Bush to be mistaken for her? I think there could be, but I'm doing more research. Kate's debut "Top of the Pops" appearance gave rise to Kate being described as "a dark-haired Lyndsay De Paul". But the demo doesn't sound like Lynsey De Paul at all... Lynsey De Paul ~ ' Storm In A Teacup' 1972www.youtube.com/watch?v=A-QbqtbrFZk&feature=related
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Post by tannis on Dec 7, 2008 17:55:44 GMT
Kate Bush - Nationwide special bit 2www.youtube.com/watch?v=meaGiD_yD7g&NR=1The backing vocals on the "Don't Let The Sunshine In" demo suggest a female vocal singing in the higher register that we associate most with Kate's earlier work. And the male backing vocals suggest the falsetto b/v's as seen on tv during the 'Kite' rehearsals on the Nationwide documentary [2:00-5:11]. July 1975: While Pink Floyd are at Abbey Road Studios recording Wish You Were Here, Gilmour plays the three-track demo to Bob Mercer, then General Manager of EMI's pop division. Mercer is impressed and negotiations are opened. The deal takes some time to conclude. It is much discussed at meetings between Kate, her family, Gilmour and EMI. A Chronology of Kate Bush's Career gaffa.org/garden/chrono.htmlDave Gilmour spent a fair amount of time at Abbey Road in the early to mid seventies.
So could Dave Gilmour or the KT Bush Band have been involved in the "Don't Let The Sunshine In" demo?April 1977: Kate's brother Paddy forms a band with his friends Del Palmer, Brian Bath and Charlie Morgan. Kate is asked to be the vocalist, and the band adopts the title of the KT Bush Band. Starting at the Rose of Lee public house in Lewisham, and then in pubs and clubs in and around London and the Home Counties over a three-month period, the band perform a varying set consisting mostly of rock-and-roll standards (Honky Tonk Women, Heard It Through the Grapevine, Come Together, Sweet Soul Music, Satisfaction, etc.), although latterly Kate sings Saxophone Song and James and the Cold Gun from her own repertoire. The Gaffaweb Dictionary gaffa.org/diction/index.htmlThe KT Bush Band: A band originally consisting of Del Palmer on bass, Brian Bath on guitar, with either Victor Smith (or King) or Charlie Morgan on drums, and Kate on vocals. The band made their debut at the Rose of Lee public house in Lewisham, April 1977.The band finally disbanded as Kate’s album progressed, (The Kick Inside) and we all became kind of unemployed again. Contact still existed and by now the idea was forming to gig the album, to promote and perform it in some shape or form. Other additional musicians were to be auditioned, the nucleus now being myself, Del and Paddy, followed by a search for a keyboard player and this time, a new drummer. . . We took on many other shows; one in particular in Germany – Biof’s Barnoff, the biggest Saturday night ding dong, live from Munich. But short of a drummer again, Charlie Morgan was invited along. Kate sent a car to pick me up, and we met Charlie at the airport and flew over to play on one song. "Kite", a song off The Kick Inside album, was performed live on the back of a railway train. Myself, Charlie and Del, backed Kate while she bravely sang and danced her way through the number. The TV audience loved Kate. She finished with "Wuthering Heights" and received rapturous applause! Brian Bath: KT BUSH BAND FORMSwww.brianbath.com/page9.htmThe Tour Of Life: The only live concert tour by Kate Bush, running from 3 April to 14 May 1979 with dates in England, Scotland, Sweden, Denmark, Germany, Holland and France. The penultimate show of the tour, at the Hammersmith Odeon in London, was recorded for video release. The backing band consisted of Paddy Bush on mandolin and backing vocals, Del Palmer on bass, Brian Bath on rhythm guitar, Alan Murphy on lead guitar, Kevin McAlea on keyboards and saxophone, Ben Barson on keyboards, Preston Heyman on drums, and a variety of additional performers [Charlie Morgan, a member of the original KT Bush Band and drummer on the 'Tour Of Life']. The Gaffaweb Dictionary gaffa.org/diction/index.htmlKate Bush - Nationwide special bit 2 www.youtube.com/watch?v=meaGiD_yD7g&NR=1 5:02... "It was a combination of strong personality and discipline that kept Kate Bush in control of eight accomplished musicians. Some of them playing professionally while she was still at school..." Nationwide, "KB on Tour", April 4, 1979 gaffa.org/reaching/iv79_ot.htmlThe eight accomplished musicians: Paddy Bush, Del Palmer, Brian Bath, Alan Murphy, Kevin McAlea, Ben Barson, Preston Heyman, Charlie Morgan... ?
Could any of these have been involved in the "Don't Let The Sunshine In" demo?
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Post by tannis on Dec 7, 2008 18:00:48 GMT
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 and half of Cockney Rebel. 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.htmlThe backing band are half of Pilot and half of Cockney Rebel... Could any of these have been involved in the "Don't Let The Sunshine In" demo?Pilot was a pop rock group formed in 1973 in Edinburgh, Scotland by former Bay City Rollers members David Paton and Billy Lyall. This was prior to the Bay City Rollers 'hitting the big time'. Joined by Stuart Tosh and Ian Bairnson, the band recorded several demos over the course of 1973 and 1974, eventually catching the attention of EMI Records. The 1974 single "Magic" from their debut album, produced by Alan Parsons and written by Paton, was a #11 UK and #5 U.S. hit and remains a pop classic. The simple but catchy pop ditty "January" gave them their biggest hit in the UK, securing the number one spot in the UK Singles Chart in January 1975. However, the group surprisingly failed to make the Top 30 again. "January"'s arranger, Andrew Powell went on to record Kate Bush, and both Paton and Bairnson played on her debut album, The Kick Inside, which included "Wuthering Heights".
Cockney Rebel was formed by Steve Harley in 1973 and was signed to EMI Records after just 5 gigs at London's Speakeasy club. The band comprised Steve Harley (who was the songwriter) on vocals and acoustic guitar, Stuart Elliot (an amazing young drummer whose timing was so tight he was like a human drum machine), John Crocker on violin, mandolin and guitar (a bluegrass fiddler at heart) and funky bass player Paul Avron Jeffreys. Keyboards man Milton Reame-James was invited to join and the band went straight into the studio and recorded "The Human Menagerie" (in 1973) and "The Psychomodo" (in 1974). The band had UK hits with "Judy Teen" and "Mr. Soft", and did a major UK tour.Steve Harley: Leader of the group Cockney Rebel, in a less well known credit Harley also provided vocals for the first version of the Andrew Lloyd Webber musical The Phantom Of The Opera. Having donated half of Cockney Rebel to the recording of the album The Kick Inside, Harley further gave of himself on 12 May 1979 by appearing at a benefit concert at the Hammersmith Odeon in memory of the late Bill Duffield, with whom Harley had worked in the past.
Stuart Elliott: A member of Cockney Rebel who also recorded with the Alan Parsons Project and Al Stewart, Elliott became one of Kate's regular drummers with the album The Kick Inside. The only musician other than her brother Paddy -- and of course, Kate herself -- to appear on every Kate Bush album to date. Rather than ennumerating all the songs on which he plays drums or percussion, it would be easier simply to list the handful of tracks on which he does not play.
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Post by tannis on Dec 8, 2008 11:33:29 GMT
And compare the piano on "Pick The Rare Flower" and the "Don't Let The Sunshine In" demo.Pick The Rare Flower Fly Away / The Rare Flower / I Don’t See Why I Shouldn’t (Written by Kate Bush) [The Phoenix Recordings, Demo, 1976] Kate Bush - Pick The Rare Flowerwww.youtube.com/watch?v=H8q9Nw5YHEgMystery Demo: "Don't Let The Sunshine In" -- Kate Bush?www.youtube.com/watch?v=4fWwXo7lJU8
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Post by tannis on Dec 8, 2008 16:14:25 GMT
"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 Blair1973: Kate records at Gilmour's home studio. The backing band is comprised of Gilmour himself on guitar, and Peter Perrier and Pat Martin of Unicorn on drums and bass, respectively. The songs recorded at this stage include Passing Through Air (later to surface on the b-side of the 1980 single Army Dreamers) and a song now known as Maybe. [Again, a bit more detail would have been welcome here. There is no mention of how many songs were recorded during these recording sessions...] A Chronology of Kate Bush's Career gaffa.org/garden/chrono.htmlTHE SAXOPHONE SONG Drums: Barry de Souza; Bass: Bruce Lynch; Guitars: Paul Keogh, Allan Parker; Keyboards: Andrew Powell; Saxophone: Alan Skidmore; Electric Guitar: Paul Keogh. Executive Producer: Dave Gilmour Recorded at AIR London Studios: June 19751975: 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
The Cathy Demos (23 early songs, ca. 1975-77, a MUST for every fan). Twelve of these are demos of songs that later appeared on albums. They are available on various bootlegs. (Anybody have an early 80's album called THE EARLY YEARS?). The names are not officially known, so there are some songs with more than one name. Some names are from a radio broadcast in Arizona [KLN], the matching was done by [AR]): The Kick Inside (Brother) [note subtitle], Hammer Horror, It Hurts Me (A Rose Growing Old, Feeling Like A Waltz), Keep(ing) Me Waiting (Stranded at the Moonbase), Davy (While Davy Dozed), Disbelieving Angel, Moving, Kashka From Baghdad, Surrender Into the Roses (Coming Up, Carmilla), Oh To Be In Love, Rinfi the Gypsy (Playing Canasta (in cold rooms)), On Fire Inside a Snowball (Snow, Hot in the Ice), Dali (Ferry Me Over), Where are the Lionhearts (Lionhearts, On the Rocks) [NOT Oh England My Lionheart], Violin, The Craft Of Love, The Gay Farewell (Queen Eddie), Something Like a Song (In My Garden), Frightened Eyes, Nevertheless (You'll Do), Come Closer To Me Babe (Goodnight Baby), So Soft, Rare Flower (I Don't See Why I Shouldn't (Pick the Rare Flower), Organic Acid.
The Studio Demos (7 songs, c.1977, often listed along with The Cathy Demos). Most of the times these share the space on CDs, LPs, singles or tapes with The Cathy Demos, the biggest distinction is that the studio demos were done together with the KT Bush Band instead of Kate alone at her piano (Babooshka differs in style and might have been recorded at Dave Gilmour's studio, some comments on various bootlegs about the second version suggest this). Tracks (same comments about the names as above): Don't Push Your Foot On The Heartbrake, Kite, L'Amour Looks Something Like You, Strange Phenomena, Scares Me Silly (Really Gets Me Going), Babooshka (2 versions).
There have been rumors about a 'new' old Kate song called Turkish Delight. Unfortunately the song is not from Kate, but rather from the Japanese group 'Sandii and the Sunsetz' [VM, WW, Homeground #32].
Love-Hounds www.faqs.org/faqs/music/kate-bush-faq/Was the "Don't Let The Sunshine In" studio demo done together with the KT Bush Band?
Was the "Don't Let The Sunshine In" demo recorded at Dave Gilmour's studio?
Was the "Don't Let The Sunshine In" demo recorded alongside The Saxophone Song?
Is the "Don't Let The Sunshine In" demo a 'new' old Kate song?
Or is "Don't Let The Sunshine In" by the Japanese group Sandii and the Sunsetz? ... Sandii & the Sunsetz were a Japanese technopop or J-pop band that collaborated from 1979 until the 1990s. The Sunsetz, led by Makoto Kubota, and Sandii started as separate artists, and each have a separate discography. However, their collaboration provided a particular body of work that is representative of the period, and which successfully blended Eastern, Western and pop influences.
OPEN@sesami@by Sandii & The Sunsetzwww.youtube.com/watch?v=u7B6Wvl7aY8The Great Wall By Sandii & The Sunsetzwww.youtube.com/watch?v=DKv7egWYIVQ
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Post by tannis on Dec 8, 2008 18:40:13 GMT
Or maybe "Don't Let The Sunshine In" is by CHINA DOLL? ... ;D "TURKISH DELIGHT": A 'FAKE' The only song falsely presented so far as a Kate Bush song is "Turkish Delight": from Homeground No. 32, p. 8: "A track which has appeared on certain 'instant' tape cassette bootlegs recently has caused some puzzlement. The name of the track is 'Turkish Delight'. It isn't written or performed by Kate. It was recorded by an outfit called 'China Doll', and it was released by EMI (Parlophone) as a single in July 1983. It was a cold methodical rip-off of an accountant's view of what constituted the 'Kate Bush Style'. DJs who could not find space for Tenner on their programmes, found space for this travesty, introducing it as 'the new Kate Bush single' (yet another one). We thought it sounded like Faith Brown doing an impression of Pamela Stephenson doing an impression of Kate on a bad day. ..." To me it sounds even now quite good. I wasn't sure for some weeks although I noticed some slight differences in the voice. Strange experience. gaffa.org/phoenix/index.htmlCHINA DOLL - Turkish Delight ©1983www.youtube.com/watch?v=qvB9sQwZla0
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Post by tannis on Dec 8, 2008 23:45:12 GMT
"It is definitely Kate Bush but I am tossed up between Joan Armatrading and Annie Lennox on the other voice. I am listening to it again...to try to decide. But that is without a doubt Kate Bush."Happy Rhodes (her real name) is an independent singer/songwriter/musician from upstate New York, with 10 albums and an astonishing vocal range. She's been described as having a voice that ranges from early Kate Bush highs to David Bowie or Annie Lennox lows. In fact, a Happy Rhodes song has been floating around the file-sharing world for years called "When The Rain Came Down" that's misidentified as being by Kate Bush and Annie Lennox. If you'd like to hear the song, here it is. Happy herself is a huge Kate Bush fan and learned how to sing by singing along to The Kick Inside. gaffa.org/faq/faq_happy.htmlWHEN THE RAIN CAME DOWN [Happy Rhodes] www.youtube.com/watch?v=LpwDx4ifSjk
Happy Rhodes - When The Rain Came Downwww.youtube.com/watch?v=1zzcMmfGBjY
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Post by tannis on Dec 9, 2008 13:33:44 GMT
The Unicorn saga began in 1963 when Ken Baker met Pat Martin at secondary school in England. Drummer and soon lead vocalist Peter Perryer was brought in and various people filled in on bass until Trevor Mee came aboard as a guitarist, with Martin switching over to bass. In 1969, during a month-long residency in Copenhagen, they listened to the Crosby, Stills & Nash album, which been released in May of that year. It must have had a big impact, as the band returned to England and began transforming themselves into a country-rock outfit. Their debut album, Uphill All the Way, was released on Big T in 1971. The next recordings were directly influenced by exposure to groups like Traffic.
Around this same time, Mee left the group and was replaced by Kevin Smith (ex-Camel), who brought his love for the Clarence White-era Byrds into the group's repertoire. In 1973, Unicorn played at the wedding reception of Ricky Hopper, where they met. David Gilmour ('73). Dave told how he really liked Country Rock. A week later Dave phoned Pat to say that he had just completed a studio installed at his country retreat and, as a try out, he could offer a free day there to demo some songs. The band immediately accepted. Things started to happen from then on.
Ricky Hopper was later to discover Kate Bush, then called Kathy Bush. Pete and Pat from Unicorn played on her first demo recordings at Dave's studio.
Two members - Peter Perryer (drums) and Pat Martin (bass) got invited to make a few demo's with Kate Bush, Gilmour's new protege. The other members were Ken Baker (vocals, guitar, keys) and Kevin Smith (guitar; he played shortly with Camel).
So maybe the Unicorn guys were involved in the "Don't Let The Sunshine In" demo...see more: UNICORNhome.hetnet.nl/~nickgielkens/who_unicorn.htm"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 Blair1973: Kate records at Gilmour's home studio. The backing band is comprised of Gilmour himself on guitar, and Peter Perrier and Pat Martin of Unicorn on drums and bass, respectively. The songs recorded at this stage include Passing Through Air (later to surface on the b-side of the 1980 single Army Dreamers) and a song now known as Maybe. [Again, a bit more detail would have been welcome here. There is no mention of how many songs were recorded during these recording sessions...] A Chronology of Kate Bush's Career gaffa.org/garden/chrono.html'David Gilmour Music Ltd' sent Pat Martin and Peter Perrier a cheque in respect for work they did with Dave Gilmour on some tracks for Kate Bush. As a formality they were asked to sign and return attached papers. The letter was dated 28th May 1981. Was the payment for the 1973 Passing Through Air session? Or was it for a later session? Or was it connected with the release of the "Army Dreamers" single (22 September 1980) which had PTA from the 1973 session on its B-side? And what was the subject of the "attached papers"? A gagging order? ... Mystery Demo: "Don't Let The Sunshine In" -- Kate Bush? www.youtube.com/watch?v=4fWwXo7lJU8 "Reasons why it is Kate: Del Palmer is being lawyerly/splitting hairs this is The KT Bush Band not Kate Bush. Bush has a wicked sense of humor. She is trying to do something similar to Paul (McCartney) is dead rumors of 40 years ago "Reasons why it is not Kate: Del Palmer has denied it to a fan club message board. It does not sound like 1976 British music but more like something The Partridge family or Brady Bunch would put out early in the decade. Unlike today with the retro movement people did not play even slightly earlier styles back then. It could be a singer from her neighborhood that has a similar accent."
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Post by tannis on Dec 10, 2008 10:10:21 GMT
FAKE BUSH: "THIS IS A HOAX"
Someone from Homeground got in touch with Unicorn and received this response:So, the Bass Pat Martin from the Unicorn has answered and the mystery get even more mysterious since: "All I can tell you is it definitely ain't Kate Bush and it definitely ain't me Pete and David Gilmour playing on it. Whoever it is singing, she's much older than Kate was then, the phrasing is not like Kate and the song isn't good enough to have been written by her or anything like the other songs she was writing at the time and I heard them all. Sorry if this disappoints anyone. This is a hoax. Pat." So it seems the "Don't Let The Sunshine In" demo is not one of the demos recorded with Unicorn (1973). Indeed, Pat judges the demo to be a "hoax", so not that old. It is true that the voice on the "Don't Let The Sunshine In" demo does sound 'older' than the Cathy demos, and more like Kate of the 1980s/90s. However, the voice on the sunshine demo could be Cathy singing "at ease" or trying to sound older and more "commercial" for EMI. And the acetate label seems to date the demo to the 1970s, as does that handwriting. So maybe an elaborate (and expensive) hoax?1977: During the first year of the contract Kate makes two further demo tapes. She resists EMI's attempts to "commercialize" her songs. She pursues her dancing. She moves away from home and into a flat in a house owned by her father in Lewisham, Southeast London, with her brothers as neighbours. A Chronology of Kate Bush's Career gaffa.org/garden/chrono.htmlMaybe Kate sang the song at a friend's request. Maybe it was written by the KT Bush Band. Maybe EMI gave her the song to sing to showcase her talented range and explore her "commercial" potential. And maybe Kate's foresight resisted mentioning or crediting the artist on the acetate label.Maybe, as with "Sexual Healing", the demo was recorded but dropped from someone else's album. Or maybe the "Don't Let The Sunshine In" demo was recorded alongside The Saxophone Song?THE SAXOPHONE SONG Drums: Barry de Souza; Bass: Bruce Lynch; Guitars: Paul Keogh, Allan Parker; Keyboards: Andrew Powell; Saxophone: Alan Skidmore; Electric Guitar: Paul Keogh. Executive Producer: Dave Gilmour Recorded at AIR London Studios: June 1975Now, the million dollar question: could there be another English singer from the mid seventies who sounds sufficiently like Kate Bush to be mistaken for her? I think there could be, but I'm doing more research. So is the "Don't Let The Sunshine In" acetate by a totally unknown/unsigned artist predating Kate/Cathy's professional career? What an incredible coincidence! Surely, it's impossible that a singer was singing so Katebush-like before Kate. And I doubt someone has managed to imitate her so professionally, as in the demo.Del is adamant that it is NOT Kate Bush and is apparently rather bemused by the fact that any Kate fan could think it was Kate. He fails to see how anyone could mistake the singer for Kate as he thinks that the singer doesn't sound like her at all. He further states that Kate would not write a song like that nor would she ever agree to sing a song like that.But Pat Martin considers the demo to be a "hoax", which at least implies that he thinks the singer sounds enough like our Kate to fool some of the people some of the time. Yet to call the "Don't Let The Sunshine In" demo "a hoax" prompts the question, 'Who would want to engineer such a hoax?' Someone with a wicked sense of humor, a stockpile of old EMI acetates, a fair amount of talent and a lot of money? And who would be taken in by such a hoax? Radio stations? Or just Kate Bush forumites and fanzines? What purpose would a hoax serve? It makes no sense. Indeed, IMHO, the "Don't Let The Sunshine In" demo cannot be a hoax for reasons as mentioned by Paul:I have no doubt that this is a real song from the 70s. . . I don't think that this is a modern day attempt to do a "Kate fake" as clearly far too much effort would be involved - all those backing vocalists and musicians and general "crap 70s demo vibe" which is very hard to replicate these days. The 109 pounds this fetched on eBay wouldn't pay for the time and effort involved! Moreover, the tagged statement, "This is a hoax", could imply that Pat's answer is the hoax! ... Here's Del's answer on the subject of the (1976?) bootleg demos: "They are very rough ideas and she is such an ultra perfectionist about everything she does. There's a lot about it that I think she found annoying - stuff got out that shouldn't, which is one reason why we stopped doing demos to give to the record company - to stop that." So maybe the Kate Bush Camp has joined ranks to distance itself from unauthorised leaks and sales? After all, the value of the "Don't Let The Sunshine In" acetate would rocket if someone were to confirm that Kate Bush did have relations with that demo! ... Fake Bush Live at Jericho Tavern Oxford July 2008 - Part 1www.youtube.com/watch?v=cR4JUpOtCnM
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Post by tannis on Dec 11, 2008 13:00:43 GMT
'Pushed' release Sort of the opposite of falling off the note. It's rarer than falling off and is quite distinctive in sound. This is when the singer actually pushes the note upwards slightly, just before releasing. You can hear this commonly in singers like Kate Bush, Dinah Washington or Hank Williams, and the sound can sometimes have an almost 'flip' quality to it. It creates a high-energy sound and takes true effort to produce. This release can be both gentle (which is how you'll hear it in the CD example) or extreme - see the Resources section for suggestions on where to hear the more radical versions of this release! But whether gentle or extreme, it is always a playful and sassy sound and is such an unexpected way to finish a sung phrase that it may make an audience laugh - but that is usually because it's such a joyful sound. It's a release that has usually only been used by vocalists who are brave and secure in both their power and the uniqueness of their style.www.vocalprocess.co.uk/resources/ezine19/ezine19.htmAnyone recognize the 'pushed' release in the "Don't Let The Sunshine In" demo? ...
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Post by Adey on Dec 12, 2008 23:18:46 GMT
Stayed out of this debate so far, merely enjoying Tannis's exhaustive research at a distance.
I've been a fan of La Bush since it all started, and her music has seeped so deeply inside me that it's entirely ingrained into my physicality! (Well maybe not, but you get the picture)
For what it's worth I'll stick my neck out 90% of the way on this one. Yes I do think it's Kate - probably reluctantly doing EMI's bidding in the earlier days of her involvement with them. Maybe an experiment in dictating her style or even a potential 1st release.
'Artists' apeing her style after the initial success of TKI, included Lena Lovich and Toni Basil and it sure ain't either of them. No, I really do think this is Kate distancing herself from an unwanted memory of her past and being protected by her friends and associates.
Actually, you have to say that Kate has always chosen her friends well. Especially in their silence and discretion. Were this any other artist, the truth would have been confirmed long ago.
As for me, yes I've heard the demo (and all the other ones too). Will I listen to it again? No.. I've always been happy just to listen to the Kate Bush music Kate intended that her admirers would hear. Would I like people to hear some (any) of my earlier music demos (even if there were any interest)? God no, I'd be mortified..
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Post by tannis on Dec 13, 2008 8:27:19 GMT
Adey, thanks for joining the debate and for enjoying the research on the demo! Your opinion carries much weight, especially since you saw Kate live and have been a fan from the beginning. So I am delighted to read that you think it's Kate on the demo - "probably reluctantly doing EMI's bidding in the earlier days of her involvement with them. Maybe an experiment in dictating her style or even a potential 1st release" - and I am now even more convinced it's Kate!
And wouldn't that be exciting - for the demo to have been a potential 1st release which Kate resisted, just as she fought with EMI re: WH as the first album release, followed by TMWTCIHE over JatCG - and for fans like us to have finally got to hear what could have been "the beginning". And, of course, Gaffa makes clear that during the first year of the contract, Kate had to resist EMI's attempts to "commercialize" her songs.
Now, the million dollar question: could there be another English singer from the mid seventies who sounds sufficiently like Kate Bush to be mistaken for her? I think there could be, but I'm doing more research. I wonder how Paul is getting on researching Kate sound-alikes? And we haven't heard from Al yet. However, I agree that this is Kate distancing herself from an unwanted memory of her past and being protected by her friends and associates.
I never much listened to the early Cathy demos before investigating the sunshine demo. Like yourself, I respect that this work was never meant for fans, and am happy just to listen to the official Kate Bush music. And you're right about Kate choosing her friends well and remaining true to her friends. But wouldn't it be great for one of the band to blow all the doubt away and tell us the whole story... Mystery Demo: "Don't Let The Sunshine In" -- Kate Bush? www.youtube.com/watch?v=4fWwXo7lJU8 This is Kate Bush..... sorry... but it is. EMI trying to find a niche for kate... Thankfully they decided to let her pigeon hole her or commercialise her... although..as a demo... it could be worse... with production it could be quite good (ish)
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