FEATURE:
Cutting the Cake
IN THIS PHOTO: Kate Bush photographed in 1981/PHOTO CREDIT: Clive Arrowsmith
Kate Bush in November 1981
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IN various Kate Bush features…
IN THIS PHOTO: Kate Bush photographed for NME magazine on October 13, 1982 in London, England/PHOTO CREDIT: Anton Corbijn/Contour by Getty Images
I do look at particular time periods. For this one, I want to look back forty-five years to November 1981. There are a couple of reasons for focusing on this time period. It was when she was working on The Dreaming. Its first single, Sat in Your Lap, came out earlier in the year. It would take until September 1982 for the album to come out. I think EMI probably needed to put something out. Never for Ever came out in September 1980. Not wanting momentum to drop, it was this hard act to juggle. In the sense the two albums are very different. Never for Ever had more in the way of singles and more ‘radio-friendly’ songs, though there were also songs that definitely would not translate to radio. The Dreaming has very little in the way of the more radio-friendly sound. EMI worried it might be a failure. That a lack of natural singles would harm them somehow. Sat in Your Lap was successful and well-reviewed. Though the label would have expected the album to come sooner than it did. In 1981, Bush was immersed in recording and making this album. Producing solo for the first time, it was a case of her learning as she went along and ensuring everything was as good as it could be. She was using the Fairlight CMI a lot. Not an expert with it, there would have been a lot of experimentation and playing around. Though she had knowledge of it, so she was not a complete novice. Also, as a producer, Bush would have been more rigorous and exacting than Andrew Powell (who produced her first two albums). This was an album made in her own vision, so there was more time spent on the songs. The compositions and production more detailed and denser. As she headed towards the end of 1981, Bush would have needed a rest. It would be an intense period. There are a couple of events from November 1981 that caught my eye.
It is a fascinating period. In October 1981, as I have mentioned in other features, Bush took a short break from writing and recording to visit Loch Ness. I am not sure what attracted her to that location, but it is very beautiful and she might have wanted to see if she could spot the illusive (and fictional) monster. There was also a period in December when Bush was tightening melodies and lyrics. So a lot of 1981 was frantic and hectic. Though there was this little spell when she stepped aside or honed in on aspects of the creative process. In November 1981, Abbey Road Studios turns fifty. That was a big anniversary. Bush recorded out of there a fair bit and this space meant a lot to her. She got to cut the celebration cake with Helen Shapiro. The video that we have is pretty poor quality, though it would have been quite an honour for Bush to do that. Though she would not have had much time for calm. People there would have wanted to chat and she would not have been able to step back and unwind. However, it goes to show that Bush was doing stuff outside of recording. I think people assume she was constantly in the studio or there was little outside activity. From travelling to Scotland in October 1981 and a trip to Abbey Road Studios the following month, I wonder what she did for Christmas that year. Most of 1982 was very intense, so I think November 1981 was a relative moment of calm. In that she was refining and honing. It was expensive recording The Dreaming. She worked out of several studios, including Abbey Road. One of the most interesting events in Kate Bush’s career was on 20th November, 1981. Dr. Desmond Morris the zoologist invited Bush on Friday Night Saturday Morning to talk about her music and expressive dance. A lot of talk show appearances would have found Bush going through the motions. Quite formulaic and a drain at times. Though this seemed like something genuinely exciting. You can see how engaged she is speaking with Morris.
Forty-five years ago, Kate Bush had achieved so much but was recording solo for the first time. It would have been quite scary, as everything rested on her shoulders. A lot of responsibility. Days and nights in various studios, it was not an entirely happy experience. Doing shows like this where she got to talk about her music with someone you would not naturally expect to request her services, that must have bene a treat. I do also think that the final weeks of 1981 was a rare chance for pause. Bush was busy working still, but she was more immersed in The Dreaming from the start of 1982. 1983 a year when she sort of rebuilt and took time to be with family and friends. 1981 was a pretty busy year, though November did afford a couple of interesting diversions. I do feel for Kate Bush. There was a certain expectation for her to remain in the public eye as it were. Being at Abbey Road Studios for their fiftieth was an honour, though she was probably being asked about new music and what was going on. Not as a chilled a day as she would like. Appearing on a new T.V. show. An important booking, but also part of promotional obligations you suspect. Ensuring that she is still in the forefront and engaging. Bush would have liked to have spent more time writing and recording, though she was also quite tired too. Throwing herself into The Dreaming. Needing periods of detachment too. How much of that was she truly afforded? That is why 1983 was an important year. Bush very much recharging and rebuilding to an extent. I wanted to home in on November 1981. Not only because it was forty-five years ago. A couple of curious happenings in terms of what was taking up Bush’s time. As she headed out of 1981 and into a new year, things changed. Perhaps her most challenging year to date. Though what we got with The Dreaming is this enduring masterpiece. One of the greatest ever albums from…
A singular talent.