I wouldn't as I have done it without listening to the album nor a great knowledge of the artist. Wouldn't be fair to the selector one way or the other................So it is a vote? YES or NO? (sorry to be pedantic but I want to be fair).
I'd assumed as there was no review comments it was just a joke comment not to be taken seriously.
I enjoyed your review but just a point regarding the above. I can see why you might feel like that but I must admit I'm rather the opposite. While I go to the opera about twice a week during the season, I love it more for the music/singing rather than the visual performance. I do enjoy the visual aspects but I spend far more time listening to (what I consider to be) fine performances on CD.I liken this kind of music to Opera, yes its lovely and touching, but its more a visual entity for me and you either buy into that or not.
Fair enough mate, I can imagine not everyone who goes to the Opera is there for a visual experience, but I think a lot do, As in musicals, its a package of stunning costumes, lights and a whole gammut of visuals.I enjoyed your review but just a point regarding the above. I can see why you might feel like that but I must admit I'm rather the opposite. While I go to the opera about twice a week during the season, I love it more for the music/singing rather than the visual performance. I do enjoy the visual aspects but I spend far more time listening to (what I consider to be) fine performances on CD.
At the concert, King of the Mountain is performed musically a great deal heavier than the track version. At its crescendo it is very loud and driven by strong percussion. It sounds like a storm is building and building and is the perfect precursor to the 'ninth wave' which commences with a dialogue between a person that has seen a ship go down and the coastguard and then 'dream of sheep'. So it wasn't exactly as you envisaged but pretty close mate.I can imagine, in a show, after a very loud segment, stage full of dancers, all kinds of visual imagery, the lights dim down, there is suddenly quiet, darkness, a solitary spotlight is pointed at a place on stage and a woman appears, solitary, sad, and sings beautifully, And Dream Of Sheep.
I started another play through and completed Acts I & II. I will aim to do Act III again tomorrow but your summing up that Act I plus cloud busting would be a terrific live album is where I am heading. Act I is very good and "Cloudbusting" hit the spot first time through too.Whew.
First, kudos to @Saddleworth2 for choosing this and for a magnificent, beautiful, thoughtful and personal write-up — I’m betting no one will create a better one.
But it’s hard to translate a multi-media experience into an aural-only one. It’s also sometimes hard to translate one person’s emotional meaning into another one’s own. In both cases, the music has to be of such spectacular quality that it can bridge the gap. This is not that.
And not being a particular fan of “song suites” (with — here’s that record again — Quadrophenia being a very notable exception), I was truly disappointed that two of these three acts (save the encore) were lengthy concept pieces, and while I pick up the profundity, the music is without much in the way of tempo changes or power. The found-sound story links are a struggle, which they absolutely cannot be (cf. Dazzle Ships by OMD, where they make the record). I completely agree with the idea that these are partial musicals so I need to think about them differently, but even then, I didn’t struggle with the messages — it was the music I found leaden. As such, I found it difficult to make a pleasurable connection with any of act 2 and most all of act 3. It’s accompaniment for something else I’m blind to.
As a lyricist/singer/performer, Gabriel was like this early on too, and it was a blessing when he left, both to Genesis (now freed of his pretensions, though still groaning under the weight of those of the remaining members) and to him when he stopped with that costume crap and started producing songs with social and emotional depth. (You may have gathered that I don’t care for early Genesis).
But act 1 is a different animal. These are great art rock songs (and I’ve enjoyed Hakim and Rhodes’ contributions on a number of other records). “Lily” is a groove; “Hounds of Love” soaring; “Top of the City” beautiful; “Running Up That Hill” a classic; “King of the Mountain” full of Laurie Anderson-y quirks but potent. But we only return to that energy at the very end on “Cloudbusting”, a terrific closer and one of her best songs.
I appreciate the courage to offer up this record despite its user-unfriendliness. And if the intent is to get me to explore more of Kate Bush’s catalog, then job done. For me, the first 40 minutes and “Cloudbusting” stripped out is a live record worth a 7 or even an 8. But taken as a whole package, 5/10 is the best I can do.
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