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Premier livre en français sur Kate Bush, Kate Bush Le temps du rêve par Frederic Delâge, sorti le 17 janvier 2017 Kate to release the live album "Before the Dawn" 3 CD pour le 25 novembre 2016 ! Kate récompensée, elle remporte l'Editor's Award pour sa série de concerts à l'Hammersmith Apollo. Kate en concert ! Kate récompensée aux South Bank Sky Arts Awards !

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 Q&A avec Del Palmer

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Masculin Gémeaux Cochon
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Date de naissance : 26/05/1971
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MessageSujet: Q&A avec Del Palmer   Sam Oct 03, 2015 3:40 pm

Voici la transcription d'un Q&A qui eu lieu avec Del Palmer et Stewart Arnold lors d'une récente convention de fans de Kate. Une fan sur Homeground m'en a fait suivre une copie, car le texte avait été retiré de Homeground (je n'ai pas trop compris pourquoi, mais je crois que Del n'était pas très heureux d'avoir été enregistré et retranscrit à son insu...). Bonne lecture !

_______________________________

Q&A session conducted at the After the Dawn Convention, by event organiser Lisa Oliver on 26th September 2015. Del was apparently always going to attend but had asked that this not be made known until he turned up. Also present is dancer Stewart Avon Arnold.



Stewart

I haven’t seen this man in...how long since we last saw each other?


Del

Who are you!? Who am I?


Lisa

Who are we?


Del

Go on. Take the chance.


Stewart

15, 20 years?


Lisa

Is it really? Wow.


Del

Life goes on.


Stewart

He used to be good looking!


Del

Laughs sarcastically, followed by the rest of the room.


Lisa

Oh God, here we go!


Del

I remember in the ‘79 shows, these guys, him and Gary, we always saw their backs. And every now and again they’d do something where they were coming towards us. And what they’d do is they’d just pull these stupid faces in an attempt to totally try and crack us up. It was just, I mean I’ve never seen anything, [to Stewart] you’ve got a really malleable face haven’t you?


Lisa

[laughs] Is that a compliment? That your face is so malleable.


Del

But then what they would do, they would turn round and when they faced the audience...


Stewart

Our faces were straight as straight.


Lisa

They’re professionals man, that’s why. Did it ever work? Did you ever lose it?


Del

Once, yeah. Once. Funnily enough it was the night that they filmed. I think it’s the beginning of Kite. I missed the intro. Someone’ was pulling a face. And they kept it in. You can see that I’ve missed the intro. I got sacked after that!


Stewart

It was interesting actually because it was through meeting Del, and Preston [Heyman; drummer] and Al [Alan Murphy, guitarist] because in those days when I was at college I was listening to Earth, Wind and Fire and blah blah blah. They introduced me to a different type of music. You got me into...


Del

You still having therapy for it?


Stewart

Yeah.


Del

Pat Metheny and all that stuff.


Stewart

Yeah, Pat Metheny and Donald Fagen and Steely Dan.


Del

Can I just do a small experiment here? Can you all raise your hands if you’ve ever heard of an album called Hound of Love. [counts crowd] 1, 2, 3, 4.


Lisa

You want a seat [until this point Del has been knelt on the floor.] Come on.


Del

No, I’m stuck now I can’t move.


Lisa

He can’t get up. He’s getting on a bit. (crowd cheers)


Del

Hound of Love; what a great album. You know what, ten years ago, no thirty years ago today we were having a party to celebrate it being number 1. I remember that really well because we all got really shitfaced. Am I allowed to swear? (audience cheers in approval). I do tend to cuss quite a lot. It’s just nature. But that album, it was one of those times when everything was just right. You know everything about that album was right. People in the record company were right. We went to Ireland for 6 months. We worked in Ireland. It was a great time. We drove up the west coast of Ireland. We kipped in a car twice because we couldn’t find anywhere to stay. It was a really love time. We played with some great musicians. We had some great people working on the album. We had just bought our own studio. Everything was just really perfect. It was a real insight because the album before, The Dreaming, I actually think is a much better album.


Lisa

I agree. Sorry, I do.


Del

But the thing about is that the people at the top of the record company at that time , they didn’t believe in it at all. Therefore, it did a nosedive. Everybody thinks that album was a real disaster. It really wasn’t. It really wasn’t at all. I think it’s a great album. But at the time when Hounds of Love came out, they had a new guy in charge at the record company and he was very very different. He said, look, you’ve got your studio, go away, make this album, take as long as you like. Take six months if you want to. (audience laughs) Yeah, I think we spent, it must have been well over a year on that. I think we started in ‘83 on that stuff. It was just a happy time. We went Ireland, when we went to Ireland. We went to Windmill Lane (recording studio) and we met the Irish guys, Bill Whelan, and went into the studio. Bill started playing the part that he was going to fit into the jig. The guys came in, they came into the studio, and they started playing it. And they stood round in a circle and they put Kate in the middle. And by the end of it she was just blubbing like a baby. It was quite remarkable to see. She was just in bits on the floor. Completely blown away by this. I have to say, so was I but I managed to hold it together.


Lisa

No, you’ve let the side down now. You’re a man.


Del

You can’t just start blubbing. You can’t do that. I was afterwards. I was like (feigns crying). But it was really good times and they were fantastic. They did such a good job. And when we got back, we had to put the whole thing together. We went into the studio and what we decided that what we going to do was put The Ninth Wave together in its order, just to see how it felt. And at the time, Hello Earth had two big sections of nothing. She hadn’t came up with the idea of using that vocal thing. The Nosferatu thing. So we played it through and it got to the bit where there were sort of bits of nothing. When we started we had two bits of nothing. But when we got to the end of it, she looked at me and said, ‘this just isn’t working, this doesn’t work.’ So what would you prefer? She said, ‘there’s something missing. It doesn’t have an ending.’ Because at the time we didn’t have the last song. The Morning Fog song. That wasn’t there. There was something else there. And it just didn’t work. She said ‘I need to go away. I need to find something that works.’ That grounds it and gives it ending. And makes it uplifting, You can’t leave people at the end of Hello Earth going, ‘oh my god.’ It’s gotta be uplifting, it’s gotta let them go; yes!! Fantastic!! So she wrote that song. She wrote it the following day and we pretty bunged it down. We tagged it on the end...


Stewart

She wrote it in a day!? That’s quick for Kate!


Del

Yeah, yeah. At times she can do that. Sometimes she’ll take months agonising over a couple of words. And other times she’ll just bang out a song. There’s no rhyme or reason to any of it. I guess that’s the artistic terms. So we tagged it on the end, and we played it through, and we said, ‘yeah, that’s gonna work.’ But what we gonna do with these two huge spaces with nothing? And again, she just said, ‘well I’ve just seen the Nosferatu film. I wonder if we can get away with using that or something similar.’ So she went away and got on to EMI and they got on to the publishers. And it turned out that it wasn’t a copywritten piece of music, it was a traditional thing. So with traditional music, as long as you do your own arrangement of it then you can use it. Which we did. And it just slotted in there perfectly. It’s absolutely perfect. It was remarkable really that it came together.


I remember at the time that when we editing all that stuff up, you didn’t have computers in order to run your music. You had to do it on tape and hack the tape up. And if it didn’t work, then oh my god. I remember the studio was just covered in bits of tape and rolls, and little notes written up with bits of tape and stuff. I lived in fear of her saying, ‘do you remember that piece that we cut out?’ (audience laughs) That’s exactly it. I had cardboard boxes full of little bits of tape, which had a note on the side saying; ‘The second piece of the choral section of the third verse.’ It’s in here somewhere. And she’d do that all the time. I’m sure sometimes she did it for a laugh because she knew it wound me up. I’d get very angry about it. But I must say that it was a very happy time on that album. It just all seemed to come together. And then it showed in the music. It is a very uplifting album. For me, it’s my favourite of her albums. Followed very very closely by The Dreaming. But because it’s like two sides of the same coin really. She just moved into her production capacity after Never For Ever. When we went on to do The Dreaming, we chucked everything at that, including the kitchen sink. If it stuck, we put it on the record. When we got to Hounds of Love, it was a very different approach. It was like trying to be a little bit more discreet I thought, about what we use. And we came up with the philosophy that it doesn’t matter how good it is, if it doesn’t serve the song; it goes. And there were a lot of ideas that were originally planned to have gone into the Hounds of Love album which never got used. Some of them got regurgitated on other projects, but most of it never got used unfortunately. So there is a lot of stuff lying around. Or I don’t know whether it’s still lying around. And, you know, I’d say it was just a very happy time. Does anyone want to comment on it?


Audience Man

Del, have you got one favourite song?


Del

Yeah, RUTH for me. Fantastic drums. Fantastic drums.


Other Audience Man

Del, you said there was something else at the end of The Ninth Wave. What was there previously?


Del

Again, it was just one of these things that left you feeling; ‘ugh.’ ‘They’re not gonna get rescued. This is gonna end in a tragedy. And you couldn’t end it like that. You can’t! You just could not end that piece of music like that. It had to be uplifting. You went to the shows last year. Or I’m sure most of you did. How uplifted were you when she did that song? It was cracking wasn’t it? So you couldn’t leave it any other way. So she had to find something that was going to be uplifting. And she did a great job.


Another Audience Man

Del, how much work has Kate done, partially or completely, that we haven’t heard?


Del

There isn’t a lot. No, there isn’t a lot. I’m being honest about this. What was happening was, that on the first two albums, particularly Lionheart, we were doing a lot of demos. And when we went to record the stuff, it was like, get the demo out. And it was never like the demo was. So when we built our own studio we said, ‘we’re not gonna demo anymore, we’re just gonna go straight to mastering.’ And very few things got thrown away. There’s a few things, but very little.


Another Audience Man

It’s good to know because it frightens me that there might be hours and hours that we haven’t heard.


Del

There isn’t. There isn’t. Trust me, there isn’t. There really isn’t.


Yet Another Audience Man

Del, we’ve all heard the track ‘Kidnapped On A Building Site.’ Do you know where that came from?


Del

Kidnapped On A Building Site? (audience laughs)


Yet Another Audience Man

It just appeared about three years ago, as a fully formed track.


Del

I don’t know.


Yet Another Audience Man

You don’t know?


Del

I mean I can’t remember every single thing. It’s like the Hounds of Love album. For years I didn’t know the titles of any of those tracks. I used to have working titles. So like RUTH was; ‘John Got It On,’ ‘John Caught The Bus To The Depot’ and ‘John Had a Pair of Socks.’ Or ‘John Wore a Hat Today.’ But she’d say, ‘can you put on Hounds of Love?’ And I’d say ‘what’s that?’ Then she’d say, ‘oh you call it John’s Got A Hat On Today.’ Oh alright. That one.


Audience Lady

When you watched the Before the Dawn concert, and you saw that being put out there, did it sort of match what you had visioned in your head as you were making it?


Del

No, no. It was much better and much different than I expected. What we’d talked about doing, she’d gone beyond that. There was things about it that, if I’m honest, found a little disappointing. But that’s just a personal thing. I was so close to all of that. That album. In fact both of those albums. I was never going to be completely happy with the entire thing.


Audience Lady

We had a bit of an argument, me and my friend Stuart, about this. A lot of Kate’s music, she leaves you to your own imagination, to make up the ending...


Del

But that’s what any good artist should do. You should make your own judgements with it.


Audience Lady

And with Before the Dawn, our argument was, does she actually, does the woman die at the end? Or does she come back to life?


Presumably Stuart

It seems she dies at the end.


Audience Lady

I thought she didn’t die.


Del

That’s what The Morning Fog is about. She’s being rescued, she’s being redeemed.


Presumably Stuart

But I mean she’s carried out on the fish. It’s like; she dies.


Stewart

We’re never gonna hear the end of this for the next five hours.


Del

It’s called...drama! (audience laughs and applauds)


Audience Lady

Yes!!


Scottish Audience Man

Sort of a personal question; does she care about commercial success?


Del

No. Not in the slightest.


Scottish Audience Man

Because I always thought that after The Dreaming album, I felt personally, I felt she looked at it and thought, ‘this has to be more commercial.’


Del

No, no, no. She’s never ever been concerned about being commercial.


Stewart

I think that’s the problem she’s had with the record companies. Isn’t it?


Del

Exactly. Her philosophy is; as long as I have enough money to make the next record, I’ll give it away.


Scottish Audience Man

Did she get any pressure from the record company to make it more commercial. The Hounds of Love I mean.


Del

No comment. (audience laughs) I...


Interrupting Audience Man

Do you know if she’s making a new album?


Del

I’ve no idea. (audience grumbles) I haven’t laid eyes on her since last October so I’ve got no idea what she’s doing. I assume she’s just been relaxing, taking it easy and being a mother. As she tends to do these days.


Quiet Audience Man

I’ve got a question, with this tour, (can’t be made out)


Del

I don’t know. I mean, they obviously used a lot of pre-recorded stuff and I know that one of the keyboard players had a click in his ear, the MD had playback. I don’t know. I wasn’t involved so I don’t really know the intricacies.


Interrupting Audience Man

How many times did you go then?


Del

Twice. I went first night and last night. And it was the same both nights. (audience laughs) Except that first night, I don’t know if any of you were there the first night. But when it started, it was almost like being at a Billy Graham thing. There were all these people and it was almost like a statically religious experience. And you were all just glassy eyed. I just though, @%!@! What the @%!@ is going on!? Do these people know that she is just a human being? She’s not some deity. She just happens to be a songwriter. I mean I thought that was remarkable. That reaction. I dunno how she must have felt. She must’ve felt wonderful getting a reaction like that. It must have been stunning. Anyway, I’m gonna shut up now because I’ve got a sore throat. (audience applauds)


Lisa

Gimme that microphone back! Thank you. Can we get another round of applause for Stewart and Del! (big audience applause)

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MessageSujet: Re: Q&A avec Del Palmer   Sam Oct 03, 2015 4:20 pm

Cicilo,t'aurais pu traduire quand même ! megarire
Merci d'avoir reposté la transcription ici.En fait je l'ai lu et j'avais pas encore eu le temps d'en parler ici;je me suis dit "on a le temps" mais ça devient une habitude,notamment chez Del Palmer,de dire quelque chose publiquement et de pas vouloir qu'on le cite.Faut pas déconner,y a pas de droits d'auteur pour les interviews ou les propos publics. scratch Et d'ailleurs, j'interdis à quiconque de citer mes propos car ils sont protégés !©️Paddy megarire
Merci encore Cicilo,il y a des anecdotes intéressantes,j'essaierai d'en citer quelques unes quand j'aurai le temps.

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Ils ont voulu nous réduire au silence,ils n'auront eu qu'une minute.
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Cicilo

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Masculin Gémeaux Cochon
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Date de naissance : 26/05/1971
Date d'inscription : 11/11/2011
Age : 46
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MessageSujet: Re: Q&A avec Del Palmer   Sam Oct 03, 2015 7:42 pm

Eh, si vous aimez Kate, c'est que vous parlez un minimum d'anglais, non ? Wink

Mais je suis bon joueur, donc voici ce que je propose : s'il y a des trucs que certains d'entre vous ne sont pas sûrs de bien comprendre, dites-le moi et je vous les traduirai au meilleur de mes capacités.
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MessageSujet: Re: Q&A avec Del Palmer   Mar Oct 06, 2015 11:29 pm

Le texte a été remis sur homeground.En fait c'était could be yours, celui qui l'avait posté, qui l'avait retiré de lui-même.
Quelques anecdotes de Del sur hounds of love:ils étaient allés en Irlande et pour jig of life les musiciens avaient formé un cercle avec Kate au centre et Del raconte que Kate s'était mise à pleurer comme un bébé.Aussi que pour hello earth ils avaient enregistré plein de prises et comme à l'époque il n'y avait pas de numérique et donc il y avait des bouts de bande magnétique partout dans le studio !
Une autre anecdote:Del avait la manie de donner des titres aux chansons qui commençaient toutes par John:"John a pris le bus","John a mis des chaussettes".Une fois Kate lui demande de passer hounds of love."c'est quoi ça ?"Je crois que tu l'as appelé "John portait un chapeau" Laughing

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