FEATURE:
Something in the AIR
IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Mirrorpix
Fifty Years of Kate Bush’s Visit to a Legendary London Studio
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THIS is an important…
anniversary feature regarding Kate Bush. Next month, it will be fifty years since she went to AIR Studios in London and worked alongside David Gilmour where she recorded three songs. Two of those appeared unchanged on her debut album, 1978’s The Kick Inside. I am going to come to some timeline first of all before moving on. It is important to get some context and lead-up. I did not know that there was a period just before 1975 where Kate Bush doubted that she would go into music. That seems far-fetched now, though 1974 was a year when decisions had to be made. Let’s take a look at the years before 1975. When Bush’s demos were handed to David Gilmour by Ricky Hopper. He was a friend of the Bush family, specifically Kate Bush’s brother, John. I can imagine the sense of excitement and hope Bush would have had. These distinct and lo-fi recordings being handed to the Pink Floyd legend. This timeline gives us a real sense of how Bush developed, and the importance of the years between 1972 and 1975:
“1972
At the suggestion of Kate's family, Ricky Hopper, a friend with music business connections, tries to place "demo tapes" of Kate's songs with a record company, with a publishing deal in mind. At this stage Kate considers herself more of a writer than a singer. These original tapes have over thirty songs on each. [An unfortunate wording, since it may mean that there was one collection of thirty songs which was duplicated, and of which one copy was sent to each publisher; or that there were actually several different thirty-song collections.] All the major companies are approached. None accepts. Kate's songs are described as "morbid", "boring" and "uncommercial".
Kate feels that she cannot pursue a career in music and considers the alternatives: psychiatry or social work.
Unable to help further, Ricky Hopper makes contact with Dave Gilmour of Pink Floyd, whom he knew at Cambridge University. Gilmour, who at this time is spotting for talent that he can assist, is persuaded to listen to the demos and then to hear Kate perform. He is impressed, and agrees to help.
1973
Kate records at Gilmour's home studio. The backing band is comprised of Gilmour himself on guitar, and Peter Perrier and Pat Martin of Unicorn on drums and bass, respectively. The songs recorded at this stage include Passing Through Air (later to surface on the b-side of the 1980 single Army Dreamers) and a song now known as Maybe.
[Again, a bit more detail would have been welcome here. There is no mention of how many songs were recorded during these recording sessions. Incidentally, an excerpt of this version of the so-called Maybe, which presumably first appeared on Kate's original demos, was played by Kate during a radio programme called Personal Call. It should not be confused with the presumably more professional version of the recording which was made the following year (see below) but which has never been heard by fans.]
The new demos are again circulated to record companies with no result.
1974
With no progress in her musical ambitions, Kate seriously considers a career in psychiatry.
Kate takes her "O Level" examination and obtains ten "Pass" grades, with best results in English, music and Latin.
1975
Gilmour decides that the only way to interest the record companies in Kate's talent is to make a short three-song demo to full professional standards. He puts up the money.
June 1975
Kate goes into Air Studios in London's West End, with Gilmour as producer, Andrew Powell as arranger, Geoff Emerick as engineer. The three songs recorded are Saxophone Song (also known at this stage as Berlin), The Man With the Child in His Eyes, and a song which fans refer to as Maybe”.
That gap between 1974 and 1975. This feeling that no progress had been made. It would have been such a shame if Kate Bush had abandoned music and instead gone into the world of work. However, it is crucial that David Gilmour saw something in her and put up the money for professional recording. I am not sure how many record labels would have signed her based on those demos. However, when you listen to what was recorded at AIR Studios in June 1975, it would have been a fool that turned down Kate Bush! It is interesting the songs selected to be recorded at AIR Studios. Berlin, as it was known, is a song that does not get talked about too much. One of the lesser-discussed tracks from The Kick Inside, it is a beautiful performance from Bush. The Man with the Child in His Eyes is an obvious standout.
I do wonder what the demo of that sounded like. In terms of how things started out and what it would become. What was created at AIR Studios in June 1975 is this stirring and gorgeous performance where Bush was backed by an orchestra. These strings that give The Man with the Child in His Eyes shiver and grandeur. Maybe is a track that must have seemed like a potential hit. In terms of the history of the song (“Humming’ is a song written by Kate Bush. It was recorded as a demo, presumably in 1973. Also known as ‘Maybe’, the song was not released officially, but part of it was played during a radio interview in 1979 with Kate present. In 2018, the track was finally released as part of the Remastered box set, on the album The Other Side 2. The song has been interpreted to be a tribute to David Bowie, after he abruptly announced the ‘retirement’ of his alter ego Ziggy Stardust at the Hammersmith Odeon on 3 July 1973”), there was perhaps more personal importance than there was a feeling the song would be an album inclusion. The trio of songs recorded at AIR Studios in June 1975 was quite eclectic. I love how the two that feature on The Kick Inside remained unchanged. That what we hear on the 1978 album was recorded in 1975. In terms of importance, there are few anniversaries as big as when Kate Bush recorded at AIR Studios. I am not sure the exact date when she recorded there. I have searched around but cannot see a suite that provided the date. However, we do know that it was June 1975. Next month, there will be this celebration from fans. Wider than that, I do not know how many people know about Bush and her recorded at AIIR Studios. It was the most significant event in her career to that date. It was a turning point. In 1974, when there was no progress and Bush and her family might have discussed other options away from music. In June 1975, this magic was created and that changed everything. Let’s take a look at the two years afterwards
“July 1975
Kate takes her "mock A Level" examinations.
While Pink Floyd are at Abbey Road Studios recording Wish You Were Here, Gilmour plays the three-track demo to Bob Mercer, then General Manager of EMI's pop division. Mercer is impressed and negotiations are opened.
The deal takes some time to conclude. It is much discussed at meetings between Kate, her family, Gilmour and EMI.
1976
Kate gets a small inheritance, and decides to leave school to concentrate on preparing herself for a career in music. She buys an old honky-tonk piano for 200 Pounds and begins screeching into existence her unmistakable voice.
[This statement implies that the twenty-two demo-recordings which are now circulating among fans date from no earlier than 1976. I do not know what the basis is for Peter's assumption, however.]
The EMI deal begins to take shape. A publishing contract is settled first.
IN THIS PHOTO: Kate Bush in March 1978/PHOTO CREDIT: Mirrorpix
March 1976
Kate takes her driving test and fails.
July 1976
Kate finally settles a recording deal with EMI. The contract is for four years, with options at the end of the second and third year. Kate receives a 3,000-Pound advance [and 500 Pounds for publication rights]. EMI are content for Kate to take time to write songs, sharpen her lyrics, train her voice and generally have time to "grow up".
Kate pursues her dancing, first at the Elephant and Castle, South London. But after seeing Lindsay Kemp perform in Flowers, she attends his classes at the Dance Centre in Covent Garden. After Kemp goes to Australia, Kate trains with Arlene Phillips, choreographer of Hot Gossip. [It is probably at this time that Kate's association with Gary Hurst and Stewart Avon-Arnold, her longtime dancing partners, begins.]
August 1976
Kate takes her driving test again and passes.
1977
During the first year of the contract Kate makes two further demo tapes. [Very possibly these include the twenty-two recordings now making the rounds among fans.] She resists EMI's attempts to "commercialize" her songs. She pursues her dancing. She moves away from home and into a flat in a house owned by her father in Lewisham, Southeast London, with her brothers as neighbours”.
I can imagine that blend of emotions Kate Bush felt when she travelled to AIR Studios fifty years ago. As a sixteen-year-old, this would have been a major step for her. Going into this studio in the centre of London and being around modern technology and professionals. She had some exposure before that, though this was something very different. Her recordings there might have been a bit nervous and hampered but that sense of occasion and pressure. However, when you listen to them, they are so assured and complete. No sense of hesitation or inexperience. If Maybe (or Humming) did not really have a bigger life after AIR Studios, two of the songs she laid down made it into The Kick Inside. Producer Andrew Powell did not feel like Bush had to re-record the song when she stepped back into AIR Studios in 1977 to record her debut album. David Gilmour being this key to Bush’s career. Next month, we mark fifty years of a seismic moment. Kate Bush coming into AIR Studios. Two songs from her debut album were recorded. Another great song that is a favourite among some fans. Some underappreciate how significant the AIR recordings were. To me, it is one of the most important events in her career. There is definitely…
NO maybe about it!