Peter Gabriel feat Kate Bush

Don't Give Up Don't Give Up [surprise guesting live on a Peter Gabriel gig, June 28th 1987]



When she comes up the audience explodes so loudly you cannot even hear her sing!
[Edited 3/14/05 13:57pm]

Same Beat pts. 1-3 -- The JB's

Flamenco Sketches -- Miles Davis

Iron & Wine

Promise What You Will

Madhouse

Six

New Order

Waiting For The Siren's Call

Turn Out The Stars -- Bill Evans

Tori Amos

Operation Peter Pan

Tori Amos

If 6 Was 9

HamsterHuey said:

That's a cool ass effect she's got on her piano in that song.

I'm listening to New Order - Vietnam

Miles Davis

A rehearsel for In A Silent Way

Sheila E.

Noon Rendezvous



I have a looped drumtrack of this song. I often play it for hours while reading...

I swear you have the most schizophrenic listening habits I've ever seen!

GangstaFam said:

It's just the shuffle option turned on... I like it that way! It's like old fashioned radio, before commercialism turned every radiostation into a one-style-kinds-station.

I could never listen to those stations; I like many styles!

BTW, if I listen to ONE album, I do not post on these threads. That would be boring.

The Cure

Lullaby



I used to kiss alot on this album...

Roxy Music

If It Takes All Night

Björk

Triumph Of A Heart [Audition Mix]

The Cure

The Snakepit

Hedwig & The Angry Inch

Tear Me Down

Andre Cymone

Livin' In The New Wave

Prince & The Revolution

Susannah's Blues [Unreleased. This is also from the August 24, 1986 Le New Morning Club aftershow. Prince's father plays piano]

Roxy Music

For Your Pleasure

Listening to the new Bjork Singles on my way in ~ they're GREAT

Before that ~ Damien Rice

HamsterHuey said:

It's just that I have a hard time going from artist to artist like that. Sometimes I do, but I find I get a lot more out of music when I zero in on one artist. But keep rockin' your personal jukebox.

David Garza - Strange Mess of Flowers

Kate Bush

Ne T'en Fui Pas

GangstaFam said:

I know what you mean, but those are not the listening sessions I normally post.

Okay then;

Kate Bush

This Woman's Work I

I keep forgetting how deeply Kate Bush's music and voice touch me. ust listening to Under The Ivy can make me all weepy eyes...

I totally adore the This Woman's Work collection...

HamsterHuey said:

Is that a Best Of?

It's a collection of b-sides, remixes, extended versions and live recordings.

Blessed with one of the loveliest voices in the industry and a talent for creating theatrical, affecting songs, Kate Bush is the Stanley Kubrick of recorded music. Her lifelong career has resulted in only seven full-length studio albums and one official live release. And much like Kubrick's films, each of those albums is an impassioned, singular work of artistic vision crafted by a perfectionist. This Woman's Work, released by EMI in 1990, collects Bush's first six studio releases supplemented by two full-length discs of bonus material. Manufactured and released simultaneously in the U.S., Canada, and Japan, the Japanese release is the collector's best bet for superior packaging and sound quality. It features two substantial booklets: one comprised of 26 color photographs spanning Bush's career and the other, titled "This Woman's Work, 1958-1990: The Biographical Notes of Kate Bush," a 28-pager in Japanese only. Additionally, a detailed singles discography (1977-1986) is included in The Dreaming booklet. Beginning with her auspicious 1978 pop release, The Kick Inside, through her glossy 1989 production, The Sensual World, Bush's studio releases are presented here adorned in their original British cover art with lyrics (in English and Japanese) and detailed song-by-song personnel included. The collected works and supplemental photographs are an elegant testament to Bush's unique vision and eclectic talents. The musical range and time span of the material also convey a fascinating evolution of those talents.

Highlights from Bush's albums are numerous. In short, 1980-1985 stands as her most creative period, yielding Never for Ever, The Dreaming, and Hounds of Love. Never for Ever displays an uncanny leap (from Lionheart) in Bush's writing and performance skills. On compositions like "The Wedding List," "Delius (Song of Summer)," and "Breathing," she lays down fertile groundwork and sows the seeds that grow into trees on The Dreaming and Hounds of Love. The Dreaming is Bush's most accomplished and progressive work to date. Startling and even overwhelming at times, the album is rife with experimentation. Bush's vocal delivery and lyrics transcend anything she has done before or since. From the otherworldly darkness and bewildering rage of "Get Out of My House" to the quirky, fairy garden sounds of "Suspended in Gaffa," The Dreaming is a display of the artist at full tilt, all synapses firing toward a thematic, visionary end. Hounds of Love is Bush's most commercially successful album, and for good reason. Part pop, part prog rock/art rock, Hounds hits all corners of Bush's fan base. A slickly produced, mature, and personal work, the album is actually a sort of heightened, warmer continuation of The Dreaming. Featuring the driving, upbeat radio hits "Hounds of Love" and "The Big Sky," the moody, nightmarish sounds of "Waking the Witch," and the heart swelling on the lilting "Morning Fog" and "Watching You Without Me," Hounds is a reflection of the matured artist on the verge of introspection and assessment.

The bonus discs included in the box set are the main draw for hardcore fans. While this material certainly has its moments, there's really nothing substantial here for the casual listener to warrant purchase of the set. The spare and sedate Vol. 1 (1980-1989) is comprised of previously unreleased material, much of which has since been made available (at least for a limited time), and previously available work that had been long out of print. The highlights here are the vocal workouts: "December Will Be Magic Again" (1980), "Under the Ivy" (1985), the doleful, a cappella "My Lagan Love" (1985), and the sublime "Handsome Cabin Boy" (1986). Vol. 2 (1979, 1985-1990) is much livelier than its companion, due in large part to the rollicking concert recordings and the general upbeat quality of Bush's songs. The 1979 performances at Hammersmith (taken from her On Stage EP), baring Bush early in her career, are an entertaining and refreshing contrast to the later, slickly produced recordings on Hounds of Love, The Sensual World, and their subsequent remixes. At the same time, it is this slick, polished gloss that makes her later work so successful. Thankfully, the remixes of 1985-1990 recordings are not the standard, annoying dance mixes so prevalent in the market at the time. That said, they also aren't particularly interesting, with the pleasant exception of "The Big Sky [Meteorological Mix]." This eight-minute remix features effective, pronounced percussion and a playful midsection with characters commenting on the shapes of clouds. Other highlights include the energetic "Ken" (from the comic strip film GLC), "Wuthering Heights [New Vocal]," and the dramatic "Experiment IV." The bonus discs include lyrics but not track-by-track personnel.

By 1990 CD standards, This Woman's Work was ahead of the pack in terms of superior box design, exquisite sound quality, and an abundance of glossy color photographs; however, the exclusion of English liner notes about the artist and her work is simply a wasted opportunity. The set went out of print but was reissued in 1998. While it's no longer comprehensive or essential for fans, This Woman's Work is a handsome (and expensive) trophy for collectors and completists. ~ David Ross Smith, All Music Guide

Joni Mitchell

I Don't Know Where I Stand