KATE BUSH – Wuthering Heights | Precise tempo Breakdown by the meanspeed(R) music company for Educational Purposes Only | Median Expected tempo=62.8 bpm

Wuthering Heights (song)

For the most part, as you can see all around this post, the part of which that is my own work product being the bpm maps, Wikipedia once again gives us all the information with which we’d either want to know or gives us a link or citation to fully answer what we want to know.  What wiki usually leaves out is a part of the song that cannot be measured by machine: the exact tempo. So like you I am exhausted on a Monday Night spring heat-wave evening, after of 6 hours of doing measurements and graphics, I think I’ll leave the writing to “The Pedia®, whom I promote, tun to and couldn’t live without!

Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart_226 2

Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart_226 2

Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart._121png
Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart._121png

Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart

Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart

From Wikipedia, the free encyclopedia
“Wuthering Heights”
 
Single by Kate Bush
from the album The Kick Inside
B-side “Kite”
Released 6 January 1978
Format 7″ vinyl
Recorded Summer 1977, AIR Studios, London
Genre Art rock
Length 4:30
Label EMI
Writer(s) Kate Bush
Producer Andrew Powell
Wuthering Heights” is a song by Kate Bush and released as her debut single in January 1978. It became a No.1 hit in the UK singles chart and remains her biggest-selling single. The song appears on her 1978 debut album, The Kick Inside, and was also re-recorded in 1986 for her greatest-hits album The Whole Story; this version also appeared as the B-side to Bush’s 1986 hit “Experiment IV”. The B-side of the original 1978 single was another song by Bush named “Kite” – hence the kite imagery on the record sleeve. “Wuthering Heights” came 32nd in Q magazine’s Top 100 Singles of All Time, voted by readers.[edit] LyricsWritten by Bush when she was 18, the song is based on the novel of the same name. Kate Bush was inspired to write the song by the last ten minutes of the 1970 film version of Wuthering Heights.[1] She then read the book and discovered that she shared her birthday (30 July) with Emily Brontë. Bush reportedly wrote the song, for her album The Kick Inside, within the space of just a few hours late at night.Lyrically, “Wuthering Heights” uses several quotations from Catherine Earnshaw, most notably in the chorus – “Let me in! I’m so cold!” – as well as in the verses, with Catherine’s confession to her servant of “bad dreams in the night.”It is sung from Catherine’s point of view, as she pleads at Heathcliff’s window to be allowed in. This romantic scene takes a sinister turn if one considers the events of the book, as Catherine may well be a ghost, calling Heathcliff to join her in death.[edit]Guitar soloThe guitar solo at the end of the song is played by Ian Bairnson, best known for his work with Alan Parsons. It is often mistakenly said that David Gilmour played the solo, probably due to his professional associations with Kate Bush as well as his virtuosity. It is placed rather unobtrusively in the mix, and later engineer Jon Kelly would regret not making the solo a little louder in the mix.[2][edit] ReleaseRecord company, EMI had originally chosen another track, “James and the Cold Gun” as the lead single, but Bush was determined that “Wuthering Heights” would be the first release from the album.[3]She won out eventually in a surprising show of determination for a young female vocalist against a major record

Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart

Kate_Bush_Wuthering_Heights_bpm_map_New _Jersey Free_School_chart

company, but this was not the only time she took a stand against them in a bid to take control of her career.Two music videos were created to accompany “Wuthering Heights.” In one version, Bush can be seen performing the song in a dark room filled with white mist while wearing a white dress (which was the UK release); in the other, the singer dances in an outdoor environment while wearing a red dress (which was done for the American release).The release date for the single was initially scheduled to be 4 November 1977. However, Bush was unhappy with the picture being used for the single’s cover and insisted it be replaced. Some copies of the single had already been sent out to radio stations, but EMI relented and put back the single’s launch until the New Year.[4] This proved to be a wise choice ultimately, as the release would have clashed with Wings’ latest release, “Mull of Kintyre”, which became the biggest selling single in UK history up to this point in December 1977.[5] “Wuthering Heights” was finally released on 6 January 1978 and eventually crept into the charts on (week ending) 11 February at No.42.[6] The following week it rose to No.27 and Bush made her first appearance on Top of the Pops (“It was like watching myself die”, recalls Bush), and the song became one of the most played records on radio.[7] In 1986, her first compilation album erroneously stated the release date for this single as 4 November 1977.[8][edit] Chart performanceIt quickly reached number one in the UK Singles Chart, staying there for four weeks, and propelled the singer to fame. The song also was a hit in Australia, taking the top spot during Autumn in 1978 for three weeks. Its release unwittingly pitted Bush against another female vocalist, also charting with her first hit: Debbie Harry with her band Blondie, and their single “Denis.” Amid much public discussion about the two singers’ merits, Bush came out on top, while Blondie stalled at number two.”Wuthering Heights” was replaced at No.1 by Brian and Michael’s celebration of the then-recently deceased artist L. S. Lowry, “Matchstalk Men and Matchstalk Cats and Dogs,” thus having the number-one slot feature a classic of English literature followed by a tribute to a renowned painter. In reaching number one, Bush became the first woman to write and perform a UK chart-topper.[9] “Wuthering Heights” remains Bush’s biggest-selling single in the UK, and was certified gold by the BPI for sales of over half a million.[10] It was the 11th best-selling single of 1978.[edit] Charts Worldwide[edit] Cover versions”Wuthering Heights” has been recorded by a number of other artists, including Italian singer Elisa Toffoli, Brazilian power metal band Angra, American rocker Pat Benatar, Hayley Westenra, Josh Pyke, China Drum, Albert Niland, White Flag, The Decemberists, Jer Ber Jones, Susan Egan, Australian band Mr. Floppy, Italian singer Cristina Donà, Brian Campeau, Dutch rock singer Birgit Schuurman, Jim Guthrie, The Puppini Sisters in 2006, and Wolfmother on Australian radio station Triple J in October, 2009. It is also performed a cappella by Steve Coogan in two different British TV series: first as the title character in the I’m Alan Partridge; second as a fictionalised version of himself in The Trip (alongside a fictionalised version of Rob Brydon). The Icelandic singer Margrét Eir recorded an Icelandic version called “Heiðin há”. Irish singer-songwriter Albert Niland did a cover of the song in 2004 which was praised by critics. The Ukulele Orchestra of Great Britain have also made a recording of this song. The most recent interpretation of the song has just been released on iTunes internationally by pop singer Robyn Loau on her new album Only Human with production by film composer and dance music pioneer Josh “Puretone” Abrahams and Davide Carbone. [19] In 2010 Finnish poprock band Indica also made a cover from it, which can be found back on their download only single Precious Dark.[edit] In popular cultureLibby Croker, a character in the British series Shameless, is obsessed with the song. She plays it in her mobile library; she also sings to the lyrics in one of the episodes of the seventh season, while dreaming of her own Heathcliff.In the British series I’m Alan Partridge, Alan Partridge (played by Steve Coogan) is seen singing it as he walks into a travel tavern and, much to his dismay, is joined very briefly by the hotel’s manager.Steve Coogan can again be heard singing the song in another British series, The Trip, this time alongside Rob Brydon, in Episode 2, L’Enclume; both actors play fictionalised versions of themselves.Comedian Noel Fielding danced to the song during Series 3 of the UK entertainment show Let’s Dance For Comic Relief, winning a place in the show’s finale. His routine featured some of the iconic choreography of the original music video, and he also donned a similar costume. In the finale, he performed the same routine again. After Fielding had danced, fellow Boosh writer Julian Barrattstrode onto the stage dressed as Heathcliff.

Bette MIdler - The Rose - neurology map of tempo and the mid

Bette MIdler - The Rose - neurology map of tempo and the mid

"Perfect" by Alanis Morissette would have been the song for Haley That Would Have Prevented Americal Idol® From Making Itself A JOKE. Mean Speed=77.0 BPM

“Perfect” by Alanis Morissette would have been the song for Haley That Would Have Prevented American Idol® From Making Itself A JOKE.  Mean Speed=77.0 BPM.

Instead the judges chose for Haley Reinhart a song where in the 2nd line, well know for its reference to a girl so uninhibited that she performs fellatio on her boyfriend in a theater.  Asking about Alanis’ old boyfriend’s new woman, she chides, “Would she go down on you in a theater?”

Perfect_Alanis_Morissette_meanspeed_entrainment_map_6

Perfect_Alanis_Morissette_meanspeed_entrainment_map_6

The judges, instead of choosing a ‘perfect’ song, charts presented on this page, chose the blow job song.  How was it handled?  The line was changed to “Would she go out with you to a theater?”  Aside from the fact that there are 2 of the last 3 contestants who are no old enough to consent to sex in most states, one wonders, what was FOX® thinking in spreading this tripe? Another song on the album, PERFECT, would have made a perfect song.  The subject is parents that demand too much out of their children and in striving for perfection wind up putting them at a confused 77 beats per minute, the speed where the bittersweet confusion, as Massive Attack’s TEARDROP and Theme from House, M.D.®., also on FOX®.

Nope. Someone said, let’s give the 16-year-old a song about fellatio, unsafe sex and bitterness about relationships that is basically such a stylized piece written by and for Alanis that anyone else singing it is as when someone tries to sing Brown Sugar, or In The Air Tonight, Yesterday or any 10,000 Maniacs/Natalie merchant song: the results are laughable.  In short, it is a musical axiom that some performers are tortured complex people who practice and write better than they perform and their music is best performed by others (Burt Bacharach, Carole King, Jimmy Webb) and there are stylists who make the best of any song and OWN it.  Beethoven was tortured; Mozart was a stylist.  Insofar as the judges making Reinhart sing “You Oughta Know” was not only sexually immoral if not illegal, it made he show a JOKE.  I know now that Randy “Yo, dog, you are in it to win it!” Jackson has been worse every moment on-screen since he brilliant Simon Cowell left the show.

Perfect_Alanis_Morissette_meanspeed_entrainment_map_2

Perfect_Alanis_Morissette_meanspeed_entrainment_map_2

This season leaves two performers who are two of the least talented of the top ten, and the judges were so full of empty subjective adjectives an a RARE  noun and EMPTY verbs, an element I will discuss at a later time, that FOX® destroyed the show.  For every meaning less adverbial phrase used, like Jennifer “J-Lo’s” Lopepez’ “You know, I felt you feeling the song and I felt it too” groups of words that she tries to pass off as sentences which were wildly embarrassing for the show, as Simon proved spot on right: the show simply is tawdry and empty, even tacky and uber-gauche without him.

Randy, man, just keeping it real.  With J-Lo in some alternate universe, and Steve Tyler making kind if meaningless and repetitive statements as, ” Wow, man, that was _______ beautiful, man: it fell on Randy to say SOMETHING  besides the TWO  elements he referred to a few times: tone and modulation recoveries.  Not ONE WORD about rhythm tempo, harmonic tempo, melody.  Nothing.


Ian Andrew Schneider

meanspeed® music company

The New Jersey Free School

May22, 2011