FEATURE:
You're the One
Kate Bush and Del Palmer
___________
APART from her family…
PHOTO CREDIT: Rex
the person who has been in Kate Bush’s life most loyally and for the longest time, I guess, would be Del Palmer. Having met Bush in the 1970s, he works with her still today. I am not sure, if there is another Bush album, Palmer will be playing on it and engineering. I would think so. Having worked as a musician on her albums since 1978’s Lionheart and in an engineering capacity since the 1980s, there has been this close working relationship between the two of them for decades. Of course, the two were in a relationship up until about 1993 (1992/1993). Even though that relationship loss would have been very hard on them both, Palmer is still Bush’s right-hand man - and there is this great trust and reliability. During the recording of 50 Words for Snow, Palmer would have been integral; though the two would not have got in each other’s way or had too much interaction (Palmer also played bass on Snowflake and bells on Wild Man). If you need some details and background regarding the relationship between Kate Bush and Del Palmer, then the Kate Bush Encyclopaedia is at hand:
“Born on 3 November 1952 in Greenwich, southeast London, Del Palmer is an English singer, songwriter, bass guitarist and sound engineer, best known for his work with Kate Bush, with whom he also had a long-term relationship between the late 1970s and early 1990s.
He began playing bass in 1967, joining friend Brian Bath's band Cobwebs and Strange. In 1969, Palmer and Bath formed Tame with Victor King on drums. The band lasted until 1970. From 1972, Palmer and Bath were in Company with Barry Sherlock (guitar) and Lionel Azulay (drums). They signed to Cube Records in 1973, but Azulay was injured in a road accident. Charlie Morgan joined on drums in 1974 and the band changed its name to Conkers. A series of singles followed on Cube.
In 1977, the KT Bush Band began with Bush, Palmer, Bath and Vic King, playing the pub circuit. Their live set included material that would later appear on Bush's first album.[9] Beginning with her second album, Lionheart, Palmer became Bush's main studio bassist. He also appeared on stage during the Tour of Life in 1979.
He is credited as an engineer on Kate Bush's Hounds of Love, The Sensual World, The Red Shoes and Aerial. He is also credited with engineering on three further albums involving Bush: Midge Ure's Answers to Nothing (where Palmer engineered her vocal guest recordings), Roy Harper's Once and Alan Stivell's Again. He played bass guitar on Lionheart, Never For Ever, The Dreaming, Hounds of Love, The Sensual World and Aerial (on 5 tracks) and on one track on 50 Words for Snow.
Palmer plays bass on Billy Sherwood's 'Back Against the Wall' and 'Return to the Dark Side of the Moon', both Pink Floyd tribute albums. He released his first solo album titled 'Leap of Faith' in 2007 with a follow up five-track EP titled 'Outtees & Alternatives' in 2008. That same year, Palmer did the mastering for Lionel Azulay's album 'Out of the Ashes', which includes the track 'Wouldn't Change a Thing' featuring Kate Bush. He originally engineered and mixed that track in 1990. He appeared in the BBC documentary Queens of British Pop discussing Kate Bush, and again in the BBC Four documentary The Kate Bush Story – Running Up That Hill. He released his second album entitled 'Gift' in 2010. His third album, 'Point of Safe Return', was released in March 2015.
Del Palmer about Kate
Most of you will already know that I have been involved both as musician and recording engineer with Kate Bush for more than thirty years. It has been, from an artistic point of view, an incredibly fruitful liaison for me. I feel privileged to have had a front row seat to watch a true artist create so many musical masterpieces. (Del Palmer Biog, Del Palmer website)
Kate about Del Palmer
My relationship with Del is very stable. We work together, we live together. It works so well for us. That can be a very intense set-up, but I wouldn't have it any other way. It's all very close and direct. After ten years, maybe we ought to be restless, but we're not. Some say the decade between 20 and 30 I very telling time in terms of human development, but I believe that the whole of life is like that. Del and I argue a great deal - over songs. But we consider it healthy. Who wins? Normally, I do. I'm not the shy, retiring, fragile butterfly creature sometimes read about. I'm tough as nails. (Under The Burning Bush, You Magazine (UK), 22 October 1989)”.
I can imagine that there was a lot of affection in addition to disagreement when Palmer and Bush were a couple. They are both strong and determined people, though there was this connection and companionship that fed into the music. I am more interested in the working relationship. I don’t think that many people who are not big Kate Bush fans know much about Del Palmer and his input. From his exceptional musicianship to his engineering and dedication to Bush, he has been a huge part of her music and success!
In 2019, Palmer was interviewed by Music Radar about working with Kate Bush. It is interesting that he also plays in a tribute band (to Kate Bush), Cloudbusting:
“Palmer had already met Kate Bush back in 1976, when she was aged a mere 18. By 1977, the precocious, gifted teenager had decided to try her hand as a musician on the London pub circuit where, alongside Palmer, she performed early versions of the songs James And The Cold Gun and Them Heavy People. The pair soon developed a relationship as a couple, which lasted until the early 1990s.
EMI denied the KT Bush Band an opportunity to record on Bush’s debut LP The Kick Inside in 1978, but Palmer cemented his place as her main bassist later on her follow-up, Lionheart, and when performing with her on the Tour of Life in 1979. By 1985 he was working as a sound engineer on her sonic masterpiece Hounds Of Love, and continued in that role, alongside a gradually decreasing role on bass, until 50 Words For Snow (2011), Bush’s most recent studio album.
Last year, Palmer took to the stage for the first time in decades to perform many of the bass-lines from the Bush back catalogue with a cover band, Cloudbusting. With them, he paid tribute to The Kick Inside for the 40th anniversary of the album, and subsequently joined the group for an Irish tour. Aside from working with Bush, he’s engineered albums by Midge Ure and Roy Harper, and he released his third solo album, Point Of No Return, in 2015.
Why did you decide to tour Kate’s songbook with Cloudbusting, Del?
“It’s a very uncomplicated story. I was in Cornwall last summer on holiday, and Michael Mayall from the band lives down there. He said it would be nice to meet up so he could show me around some of the highlights of Cornwall, which we did, and we got talking about their 40th anniversary gig and playing The Kick Inside album. I thought this sounded really good and could be interesting. It soon got to the point where I asked to be involved. They didn’t ask me - I asked them! There’s something about getting up on stage in front of people that is totally addictive. I can’t understand why it’s taken me 40 years to do it again.”
Are they a tribute band, or a band in their own right?
“I swore black was blue that I would never be involved with a tribute act, but after a while I realised that they’re not actually a tribute act. The music is more important than the sum of the parts, and the people involved are very respectful of this body of work. When the Kate Bush Songbook tour came about in Ireland, I jumped at the chance. I’ve always had a good time in Ireland and I’m a citizen there now. With what’s going on in Europe, it might be quite useful...”
What were your early impressions of Kate back then?
“I thought ‘Where does this girl get all her energy from?’ She would be up at the crack of dawn, and she didn’t stop from that point onwards. She would travel into London for dance classes, come home and sing, then play and work on the music. When I was completely knackered and had to sleep, she would still be working on Wuthering Heights at two o’clock in the morning - to the point where we would get complaining letters from the neighbours. Up until 1979, she was absolutely full of energy and so driven to get her work out there.
“After the tour she wanted to redirect her energy into working in the studio. We did get some fantastic music out of that, but I really missed being out playing live and coming into contact with the fans in a big way. It was after that she got this reputation as a recluse - whereas in reality she was one of the most outgoing people I ever met.”
You must have had some fascinating creative experiences in the studio.
“I was fortunate to have been involved in a lot of moments that have now gone down in history. If you take This Woman’s Work as an example, it was created for a film project and done very quickly in an afternoon. You don’t realise that what you’ve just worked on is going to go down in legend. As far as you’re concerned, it’s just another recording session.”
What are your thoughts on Kate’s later work?
“I’ve always been of the opinion that the best of Kate Bush is when she is sitting down at the piano and playing: everything else is a distraction. Getting other musicians involved and looking for various sounds dilutes the purity of it all. The best stuff she’s ever done is piano and vocal songs. There’s always one on every album - one of those pure moments when it’s just her.”
You’ve continued to work with her, all these years after you first met.
“That’s right. On Aerial (2005) the most enjoyable thing was working with just her and the piano: we weren’t doing the long hours any more. Towards the end of the sessions we’d basically do office hours - we’d start about midday and work until seven and that would be it. By the time of the session she had the song, and had played it over and over - she knew it backwards. I set up the piano and vocal mic and she sat down and played it. That’s all there was. She’d already done the hard work in her own time, she’s done the homework - so all I had to do was add some studio magic to it. For me, that’s the best of her - and always has been”.
Del Palmer has been involved with Kate Bush’s since prior to The Kick Inside’s release in 1978. On 50 Words for Snow, he was the longest-serving member of her team. She has brought in a series of musicians and technical personal through the years…but it is Palmer who has always been there. I hope this working relationship continues until Bush retires. I am not sure what the future holds for Bush and music, though you can bet that her trusty friend Del Palmer will be in the mix! Palmer always delivers phenomenal performances and technical assistance on every Kate Bush album. It makes me excited to see…
WHAT comes along next.